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Lunch with the FT: Russell Brand
Towards the end of lunch with Russell Brand, in the course of which the comedian has called on everyone to stop paying taxes, announced the end of his acting career and embraced various women, including – nearly – me, he says: “So, how are you going to write this piece? Do you do gonzo, as in, ‘Russell Brand arrives in a flurry of dadadada, his black Mercedes outside, chats to people in the kitchen and then goes to the toilet?’ ”
Brand has been good at many things in his year life. He has made people laugh. He has made them cross. He has had a genius for getting into scrapes, womanising, yoga and, more recently, for trying to incite his m Twitter followers to a peaceful revolution. Now, slightly annoyingly, it seems he could also have been good at writing interviews. His suggested intro is just like the one I was planning. Here is my version.
A black Mercedes pulls up outside a boarded-up shop in London’s East End. Out of it gets a tall man in s
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Russell Brand’s charm offensive
Features correspondent
The week’s best arts and culture reads – including middag with the revolutionary of the moment, Bob Dylan’s lost tapes and Dylan Thomas’ school days.
After the fallSasha Frere-Jones | New Yorker | 27 October
Finally, Bob Dylan’s Basement Tapes emerge in their entirety – 6 CDs, songs. The quality fryst vatten uneven: “Better to approach it as a toolbox than as a serial listening experience”. But the historical value is immense. These were the years in which Dylan invented his mature style and placed han själv beyond ordinary criticism: “The question would be less about his identity or his relevance than about what duties he was assigning himself”.
Pinched, poked and proddedRobert Storr | ARTnews | 27 October
Alberto Giacometti’s spindly sculpted figures were seen as “ravaged archetypes of a tragic century”, visual echoes of the Holocaust and okänt, when first exhibited soon after World War II. But
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Russell Brand (I)
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