dimarts, 30 de juny de 2009
Ry Cooder brinda una ‘master class’ amb Nick Lowe
1. • Una hèrnia discal ha obligat a abandonar la gira l’acordionista texà Flaco Jiménez
2. • El guitarrista ofereix avui al Sant Jordi Club un viatge per les músiques americanes
Fa tot just un any Ry Cooder era molt contundent quan aquest diari li preguntava si tenia intenció de sortir de gira i si existia la més mínima possibilitat que actués a Espanya: «Ja vaig fer aquesta feina durant molts anys i va ser molt dur. Mai m’han agradat els hotels. Va arribar un punt en què el meu estómac va dir prou i quan l’estómac et diu això és millor obeirlo». Afortunadament el seu estómac ha canviat d’opinió perquè el molt venerable compositor i guitarrista nord-americà ha emprès una gira europea que aquest vespre (21.30 hores) arriba a Barcelona.
Qualsevol melòman seriós sap que aquest és el gran concert del dia. Encara que dos detalls entelen la molt esperada cita. Per un costat, mesos enrere es va anunciar un molest canvi de recinte (del perfecte Auditori del Fòrum a l’inert Sant Jordi Club). Per l’altre, i això no es va anunciar fins ahir, l’acordionista Flaco Jiménez no ha pogut ni iniciar la gira a causa d’una hèrnia discal, així que el toc fronterer del repertori es veurà seriosament minorat. Queda, això sí, la cultivada saviesa de Cooder, el nervi del seu fill Joachim (a la bateria) i l’elegància de l’anglès Nick Lowe (al baix i la veu), que a més interpretarà algunes peces pròpies.
Feia gairebé 17 anys que Cooder no actuava a Espanya. El juliol del 1992 ho va fer a la Terrassa Amèrica del Poble Espanyol com a integrant de Little Village, un divertimento que es va muntar amb els seus amics John Hiatt, Jim Keltner i Nick Lowe. Aleshores, el seu passat com a guitarrista de Taj Mahal, Van Morrison i els Rolling Stones i la seva feina com a recuperador d’estils antics com el folk,
el blues, el country, el tex-mex, el jazz i els sons hawaians havia quedat entenebrit per l’èxit de la banda sonora de Paris-Texas (1989). El discret estudiós i músic de sessió vivia uns estranys dies de popularitat internacional.
LA TRILOGIA CALIFORNIANA / Però si Coo-
der està ara de gira a Espanya és perquè durant els últims anys la seva carrera ha tingut un nou impuls gràcies al que ell denomina la seva «trilogia californiana». Són tres discos de tipus conceptual on aquest artista nascut a Los Angeles fa 62 anys evoca la terra i l’època en què va créixer. Chavez Ravine (2005) narrava la història d’un barri angelí d’immigrants mexicans demolit als anys 50 per edificar-hi un estadi de beisbol. My name is Buddy (2007) era una faula protagonitzada per un gat sindicalista que evocava els dies en què els moviments obrers tenien força al seu país. I I, Flathead (2008) està protagonitzat per músics i altres buscavides.
Els tres àlbums li han permès retrobar-se amb l’entorn musical en què va créixer i recuperar estils que interpretaven els veterans de llavors; músics avui ja ancians o difunts i dels quals Cooder ha intentat aprendre tot el possible perquè la seva experiència i llegat no quedin en l’oblit. Són discos que haurien d’interessar els fans del Bob Dylan antropòleg dels últims anys i que marquen un retorn a les seves arrels després d’una etapa viatgera en què es va aliar amb el guitarrista malià Ali Farka Toure (a Talking Timbuktú, del 1994), va rescatar de l’oblit els músics cubans a Buena Vista Social Club (1997) i va gravar amb el també cubà Manuel Galbán el disc Mambo sinuendo (2005).
LA MODÈSTIA DEL MESTRE / «Jo sempre faig les tres o quatre coses que sé fer. I sempre funciona», confessava modestament sobre les seves experiències amb músics d’altres latituds. I hi afegia: «La clau és prestar atenció». En efecte, aquesta nit s’ha d’anar al Sant Jordi Club amb els ulls i les orelles ben oberts; potser amb una llibreta per prendre notes. Això d’avui no és un concert més: és la master class d’un antropòleg musical, divulgatiu i gens exhibicionista amb la guitarra, que ha dedicat la seva vida a estudiar músiques gairebé oblidades per donar-los una nova oportunitat en aquests temps moderns.
dilluns, 29 de juny de 2009
No n'hi havia prou amb els U2 i el Ry Cooder, que demà també tenim a Barcelona els Dengue Fever, rock cambodià d'abans del Khmer Rouge fet per californians.
Hi hà un documental de una gira del grup per Cambodia tocant els hits d'allà dels 60 i 70... (cliqueu el títol per l'enllaç)
diumenge, 28 de juny de 2009
diumenge, 21 de juny de 2009
Indie Rockers, 90210
THE teenagers streamed in by the dozen past the electric gate, the 12-foot-high manicured hedges and the gleaming Lexus sedans in the driveway. They made their way to the backyard, where a makeshift performance space had been set up between the tennis court and the rose garden.
Hugging one another and milling around in skinny jeans and Converse high-tops, they took drags from their cigarettes.
It was a clear evening on a recent Friday. Behind a sprawling home in Encino, a grassy Los Angeles neighborhood on the edge of the San Fernando Valley, the gathering of nearly 300 teenagers included students from many of the area’s elite private schools — Buckley, Oakwood, Marlborough, Crossroads, Wildwood, Campbell Hall — and more than a few were Hollywood offspring.
The well-heeled children of Los Angeles are often derided as a lacquered tribe consumed with shopping and status, a stereotype sustained by the likes of the recently revived “Beverly Hills, 90210” franchise. But a different scene has been thriving here lately, composed of kids in thrift-store threads churning out homespun indie music and flocking to shows often held in one another’s backyards and living rooms.
“It certainly seems to be a phenomenon over the last three or four years,” said Linda Lichter, an entertainment lawyer whose two musician sons graduated from Crossroads. “I have a whole bunch of friends and clients whose kids are out there playing in bands. Kids aren’t responding to TV or movies anymore. Music is what’s cool.”
IN the summer, the scene coalesces at house shows like the one in Encino, a pastoral setting that made the event resemble a junior version of the Coachella Valley Music and Arts Festival. Attendees chipped in $2 to watch a half-dozen acts, including a solo electric bassoonist and an experimental folk-punk band, Slaying Chickens.
Tallulah Willis, the youngest daughter of Bruce Willis and Demi Moore, staked out a prime space close to the stage. Keely Dowd, the daughter of Jeff Dowd, a producer on whom the Coen brothers based the main character of “The Big Lebowski,” ambled past the pool with a friend.
Emma Tolkin and Taylor Thompson, both 18 and with an entertainment industry pedigree, stood in front of the crowd in cute gauzy dresses with a guitar and bass slung around their respective necks.
“This song is called ‘Shootin’ With Rasputin,’ and my grandfather wrote it,” Ms. Tolkin announced. They launched into a catchy tune with honey-voiced harmonies, recasting lyrics that had been written by Ms. Tolkin’s late grandfather, Mel Tolkin, the head writer on Sid Caesar’s “Your Show of Shows.”
Indie music has a long and storied history in Southern California, dating back to the punk scene that flourished in Orange County in the late 1970s, and continuing today at popular all-age sites like the Smell in downtown Los Angeles and Pehrspace near Echo Park.
But to veterans of this scene and the latest crop of show-going kids, elements of the city’s music landscape have lately been skewing even younger and emanating from tonier enclaves, like Santa Monica, Pacific Palisades, Brentwood and Hancock Park.
And unlike other parents who may caution against pursuing rock ‘n’ roll careers, especially as the record industry crumbles, parents here can be encouraging and even aggressive about guiding and promoting their children’s bands. Ringing up their professional contacts and ferrying gear to gigs, they engage in helicopter parenting for the future rock-star set.
Hudson Franzoni, 17, started drumming five years ago. To encourage his development, his parents built him a studio at their home in the Malibu hills.
His father, David Franzoni, a screenwriter whose credits include “Amistad” and “Gladiator,” has invited agents to watch Hudson’s bands play in the family’s backyard, with its panoramic view of the Pacific Ocean. He and his wife, Nancy, have also arranged for their son to continue his drumming lessons during their summers in Italy and while on location for movie shoots.
“I don’t want Hudson to wake up someday and say, ‘What happened to that thing I dreamed about when I was a kid?’ “ Mr. Franzoni said.
dissabte, 20 de juny de 2009
divendres, 19 de juny de 2009
dilluns, 15 de juny de 2009
McGee on music: Why we need a Faces reunion
I'm surprised by the lack of hoopla for a Faces reunion. It will mean a return to the halcyon days when Rod Stewart had critical and commercial success
Being a Rod Stewart fan these days is tough. If you mention his name in company then the odds are you're going to get at least one guffaw and a "blues traitor" comment. Why so serious about Rod the Mod? This is a man who was one of the main influences on the Sex Pistols (in his Faces days) and therefore helped instigate punk rock.
The problems people have with Stewart's career seem to start around the late 70s (his Blondes Have More Fun era), when he was making commercial bids into disco crossovers and soft pop (moves that prompted rockists to label Stewart a joke). Joke? Hardly. I can easily mention some classics from this period: Young Turks, Baby Jane and Downtown Train.
The anti-Stewart arguments are tired and scurrilous. From mod urchin to international playboy, Stewart has always been the essence of rock'n'roll by following his own instincts. His early days saw some of the heaviest players in UK music working with him: Joe Meek, Ray Davies, Julie Driscoll, Brian Auger, Fleetwood Mac and Jeff Beck. Impressive. However, it was when he joined the Faces and started his solo career that he began his iconic white-blues phase (1969-1974), releasing one commercial and critical smash after another.
A career highlight for me was discovering Stewart was a fan of Creation Records (he went on to cover the Primals and Oasis for his When We Were the New Boys album)
Being a fan, I'm surprised by the lack of hoopla for a Faces reunion. And the possibility of the Black Keys reworking Stewart?! This is news! Big news! The potential for a Black Keys and Stewart collaboration is exciting, and I have been tracking developments since I first heard the rumours. The Black Keys have been in collaboration heaven for the past few years, from their almost-there work with Ike Turner to Rick Rubin bringing them in for his ZZ Top project. Yet when I heard the Akron-based psychedelic blues boys were teaming up with Stewart? That tops the lot.
I mean, was there ever a better rock'n'roll band than the Faces? Drunken, likable and out for the good times – they have had a huge musical impact on myself, the Black Crowes, Wilco, the Sex Pistols, the Replacements, Oasis and many others. Which is why I think a Faces reunion will mean a return to the halcyon days of yore, where Stewart had critical and commercial success. Not that Stewart probably cares either way. The magic of Rod is that he does what he wants, when he wants, and hey, if he wants to work with the Black Keys and reunite the Faces, then that's fine with me.
Alan McGee 140 Posted by Alan McGee Monday 15 June 2009 15.05 BST guardian.co.uk
diumenge, 14 de juny de 2009
dissabte, 13 de juny de 2009
divendres, 12 de juny de 2009
dijous, 11 de juny de 2009
"PROVOCACIÓN" Y "ESCÁNDALO"
Grupos católicos polacos critican que Madonna dé su concierto el día de la Asunción
Algunos grupos católicos de Polonia consideran inadmisible e inmoral que Madonna actué en Varsovia el próximo día 15 de agosto, festividad de la Asunción de la Virgen, algo que consideran una "provocación" y un "escándalo", ya que sus conciertos son "anticristianos".
Un cardenal critica el "entusiasmo de lujuria" que despierta Madonna
L D (EFE) La fecha elegida por la cantante norteamericana para la que será su primera actuación en Polonia escuece a algunos y entusiasma a otros, como demuestran las 20.000 entradas que se vendieron en sólo una hora hace algunos meses, según recuerda el diario Dziennik.
Para Marian Brudzynski, miembro de la Asamblea de Mazowia (región a la que pertenece Varsovia), "Madonna no puede actuar en el día de la Asunción de María", jornada festiva en el mundo católico, donde se recuerda que la Virgen María fue llevada al Cielo después de terminar sus días en la Tierra.
Brudzynski hace un llamamiento a la moral de los habitantes de la capital polaca, y amenaza con organizar comités de protesta en las parroquias de la ciudad para no permitir que se celebre el concierto. "Haremos todo lo posible para impedir esa actuación escandalosa", asegura Brudzynski, político relacionado con la Liga de las Familias Polacas (LPR), partido ultraconservador y católico, y fiel oyente de Radio Marjya, la controvertida emisora del sacerdote redentorista Tadeusz Rydzyk.
"La organización del concierto ese día es una provocación, una herida a nuestros sentimientos religiosos", señala Krzysztof Zagozda, de la asociación católica "Unum Principum", quien también se opone a la actuación de Madonna y no descarta piquetes durante el evento.
Mientras, algunos como el padre jesuita Dariusz Kowalczyk intentan calmar la polémica y defienden que el día 15 de agosto no es un mal día para un concierto, ya que siempre se puede ir primero a la iglesia y luego al espectáculo.
dimecres, 10 de juny de 2009
Mister Anything Goes
He's taken jazz where it has never gone before - playing with pipers, punks and divas. As Ornette Coleman arrives in Britain, Patti Smith, Moby and others salute a great. By John Lewis
* John Lewis
* The Guardian, Wednesday 10 June 2009
* Article history
Ornette Coleman at the 40th Montreux Jazz festival in Montreux in 2006
Ornette Coleman at the Montreux Jazz festival. Photograph: Dominic Favre/Reuters
Born in Texas 79 years ago, saxophonist Ornette Coleman came to the jazz world's attention in the late 1950s with a brand of free improvisation that thrilled and shocked audiences in equal measure. At early gigs, he was physically attacked by disgruntled punters. Miles Davis called him "unlistenable", and Philip Larkin said his music was "like 20 monkeys trying to type the plays of Shakespeare".
1. Meltdown, curated by Ornette Coleman
2. Southbank Centre,
1. Starts 12 June
2. Until 21 June
Eventually, many acknowledged that his playing was actually highly melodic and deeply informed by the blues - but by then Coleman's music had moved on. Over the last four decades, he has been joined by symphony orchestras, Chinese erhu players, Sufi singers, opera divas, rappers, Irish pipers, punk guitarists, Yoko Ono and, in his last London appearance, a band that included not one but three bass players. One 1990s tour saw Coleman joined on stage by a fakir, who carried out a ritual body-piercing.
Self-taught, Coleman developed his own revolutionary approach to improvisation, which he called "harmolodics", a system that no one, least of all Coleman, seems able to explain. He has long brought untutored musicians into his bands: in 1966, he enlisted Denardo, his 10-year-old son, as a drummer. "I want to remove the caste system from music," he said. "It's about questioning how certain sounds are privileged above others."
Coleman has been an inspiration for many. The Grateful Dead and Yoko Ono collaborated with him; Ginger Baker and Jack Bruce formed the rock group Cream to recreate his sound ("with Eric Clapton playing the role of Ornette," says Baker, "although neither of us told Eric this"). Ian Dury's anthem Sex and Drugs and Rock and Roll was based on one of his songs; while Lou Reed, Captain Beefheart, Frank Zappa, Iggy Pop, the MC5 and Sonic Youth have all paid tribute to him.
This month, Coleman curates the Meltdown festival at London's Southbank Centre, following such previous incumbents as Jarvis Cocker, David Bowie and Morrissey. Coleman's programme is characteristically wide-ranging, with many of his erstwhile colleagues (Charlie Haden, James Blood Ulmer, the Master Musicians of Jajouka, Ono) joined by wildcard choices (the Roots, Moby, Baaba Maal, Mike Patton of Faith No More, and Flea from Red Hot Chili Peppers). But why is he such an inspirational figure? We asked musicians and former collaborators what Coleman's music means to them.
I've been obsessed with Ornette ever since my friends and I formed a jazz club at school in the 1960s to play our records to each other. Listening to him taught me a lot about improvisation, about music as a form of spiritual commune. I carry his work everywhere, in particular his soundtrack to The Naked Lunch. This is music that conjures up words, poetry, portals to another dimension.
A couple of years back, I met him for the first time in Bologna in Italy, in a pizzeria. He was playing at an opera house and invited me along. In the middle of his set, I was beckoned on to the stage. I went up and improvised a poem. There was no fear: he opens the door and he's completely compassionate. As you enter his world, you feel his confidence, enthusiasm and sense of wonder. Ornette is like a genius - and a child - in the way he approaches music. Part of his appeal to people in the world of rock and punk is that he doesn't require you to be a complex musician. He just requires that you listen, communicate and play with feeling.
As a student, I would go to the occasional avant-garde concert featuring some unlistenable 12-tone composer. A lot of the time, you'd want to go home and listen to Abba, just to cleanse your palate. Plenty of experimental musicians are challenging in desperately uncompelling ways, but not Ornette. His music is melodic, direct, soulful and often very funny. He is never dull, always committed to change and growth. That's incredibly inspiring to any artist.
Eddie Vedder, Pearl Jam
I had dinner with Ornette a few years ago. This beautiful, humble man told us remarkable stories about his remarkable life. After we'd eaten our main course, we ordered more wine and some sorbet. Ornette poured his wine into his dessert and said: "Ever had red wine and raspberry sorbet?" I said: "Er, no." And he said: "Neither have I!" I think that sums him up. He might be in his late 70s, but that was probably the sixth or seventh new thing he tried that day.
Joanna MacGregor, classical pianist
I've listened to his 1959 album The Shape of Jazz to Come all my life. I first saw him live 20 years ago. I was knocked out. I've since seen him live about 10 times now, and it's always emotional. He has the ability to be fantastically new and cutting edge, while remaining soulful and melodic. Free music is often filled with a few good bits and lots of dull bits, but Ornette is never dull. I love hearing him with very busy bass and drums. He rides over the top, like a dolphin leaping over these huge waves.
Robert Wyatt, singer-songwriter
He wrote such good tunes, didn't he? They seemed baffling to some bebop musicians in the 1950s, because of his cavalier disregard for chord changes - but all those pithy, rocking little tunes like Rambling and Blues Connection are so strong. I've never found him difficult or cerebral. In many ways, he's quite traditional, an avant-gardist who isn't afraid to look back to older forms of jazz.
His soloing is very conversational and it made his music very human, very accessible. I met him once, when my band Soft Machine played New York in 1968. He was wonderfully courteous and hospitable; I remember shaking with excitement on the way to his apartment. To us atheists, these are the true gods!
Pat Metheny, guitarist
There's no compromise with Ornette - you have to go into his yard to play.When we recorded the 1986 album Song X together, we wanted to make something unlike anything either of us had done before. I think we created something unique. He is one of the most beautiful souls on the planet, a truly gentle person as funny as he is deep. But I don't think I ever got to understand "harmolodics". When musicians talk about it like they know what it means, I listen warily. When a critic does, you can be sure he's full of it.
Larry Stabbins, saxophonist, Stonephace, Working Week
The saxophone is a hybrid, a cross between brass and woodwind, which is why it appealed to jazz musicians. They were always trying to overcome its limitations and faults. What I love about Ornette is that he exploits all its deficiencies. He used to play this terrible little plastic saxophone - but he created such a compelling sound, with such strong melodies, it didn't matter.
Ira Kaplan, Yo la Tengo
Many years ago, when I started buying jazz albums, I bought his The Art of the Improvisers. I tried, but couldn't find a way into it. Years later, I heard This Is Our Music. It was like a lighbulb coming on. From that point on, I sought out everything he'd made. I love the excitement, the sense of anything being possible, the raw emotion, the playfulness and commitment to melody. We can all learn from him
Bill Frisell, guitarist
I bought a Best of Ornette Coleman when I left school. There's enough on it to last a lifetime. His music is like a kaleidoscope opening up in your mind. I've met him a few times, but was astonished when he invited me over to his apartment earlier this year. The first time, we talked; the second time, we played together. It was incredible. He suggested playing a basic blues - and we played for about 45 minutes. Everything I did, he found something that fitted it perfectly. Being asked to play at his Meltdown is the biggest honour I can think of.
Pete Wareham, saxophonist, Acoustic Ladyland, Polar Bear
It's the sound of his alto sax that's so compelling: it's somewhere between a human voice and a distorted electric guitar. That's possibly why he's so popular with punks. I find some of his more obvious "fusion" stuff, with Prime Time, less interesting. It's a bit cluttered, too many instruments. I prefer it when he's just playing with drums and bass underneath simple, direct lines. Unlike many jazz musicians, he writes fantastic melodies - proving that free music doesn't have to be bloodcurdling noise.
dilluns, 8 de juny de 2009
Lennon jr e Lucy in the sky
"E' malata, la aiuterò io"
Il primo figlio di John in visita alla sua ex compagna d'asilo. Fu lei a ispirare la canzone su "la ragazza nel cielo con i diamanti" di ERNESTO ASSANTE
Lennon jr e Lucy in the sky
"E' malata, la aiuterò io"
ERANO bambini, avevano quattro anni ed erano insieme all'asilo. Julian era un ragazzino vivace, Lucy una bambina tranquilla. Julian un giorno fece un disegno di Lucy e lo portò a casa. Lo fece vedere al padre e gli spiegò che quella bambina era "Lucy, nel cielo, con i diamanti". Il padre di Julian era John Lennon e usò quella frase come spunto per una delle più memorabili canzoni della storia della musica popolare, "Lucy in the sky with diamonds" dei Beatles, pubblicata nel 1967 su "Stg. Pepper's Lonely Hearts Club Band". Più di quaranta anni dopo Julian è andato ad aiutare "la ragazza con gli occhi caleidoscopici", come la descrisse Lennon nella canzone, la sua vecchia compagna d'asilo Lucy Vodden, che oggi ha 47 anni ed è stata colpita da una grave malattia, il lupus.
Due mesi fa, ha raccontato il figlio di Lennon al Sunday Times, una delle sue assistenti, che conosce la sorella di Lucy, ha detto a Julian della malattia: "La notizia mi ha colpito molto", ha spiegato Lennon, "mi è molto dispiaciuto sapere cosa era successo a Lucy e ho cercato di aiutarla un po'". Così Lucy e Julian, che già si erano rivisti una ventina di anni fa a un concerto, si sono trovati nuovamente. "E' stato molto bello da parte sua", dice Lucy, "non ci vediamo quasi mai, ma non abbiamo mai perso il contatto del tutto in questi anni".
"Lucy in the sky with diamonds" non è celebre solo per essere una delle più belle canzoni dei Beatles, ma anche perché la leggenda vuole che John Lennon l'abbia scritta in riferimento all'Lsd, usando la sigla come acronimo di Lucy, Sky e Diamonds. Ma mentre è vero che solo due settimane dopo l'uscita di "Stg. Pepper" i Beatles ammisero pubblicamente di aver fatto uso di droghe e di aver provato l'acido lisergico, nel caso della canzone in questione, anche se certamente influenzata, come tutto il disco, dalle droghe psichedeliche, l'origine è certamente quella del disegno di Julian, come ha più volte raccontato lo stesso John Lennon. "Giuro su Dio o su Mao, o su chiunque altro, che non avevo idea che quelle parole richiamassero l'Lsd", dichiarò Lennon in una intervista a Rolling Stone nel 1970, ripetendo la storia ancora in altre interviste nel corso degli anni, fino alla sua morte. E che sia andata così lo hanno confermato anche gli altri Beatles, come ricorda Paul McCartney nella Anthology. Ma i dirigenti della Bbc, nel 1967, vietarono la programmazione del brano alla radio inglese.
Per qualche tempo i giornali inglesi avevano sostenuto che la Lucy della canzone fosse Lucy Richardson, anche lei iscritta alla stessa scuola di Julian nel Surrey ma di qualche anno più grande. La famiglia della Richardson (morta qualche anno fa per una grave malattia), diventata celebre come art director cinematografica in film di successo come "Elizabeth" e "Chocolat", aveva un negozio di antichità che era frequentato da Lennon. "Ma non era lei il personaggio del disegno", ricorda Vodden. "Ero molto legato a Lucy", ha detto più volte Julian Lennon, "ma non saprei dire perché chiamai il disegno in quel modo. Ed ero troppo piccolo per capire come mai colpì mio padre più di altri disegni. Io portavo a casa tutto quello che disegnavo e mia madre Cynthia ha conservato a lungo quel disegno".
Julian e la madre stanno per inaugurare a Liverpool una mostra dedicata a John Lennon, un modo per ristabilire un contatto interrotto molti anni fa: "Mio padre ci ha trattato con molta ingiustizia", dice ancora Julian, "ma oggi non ho più alcun rancore". I rapporti tra John e Julian furono piuttosto difficili fino alla fine degli anni Settanta, quando i due si ritrovarono. Ma Lennon escluse Julian dal suo testamento, causando nuove tensioni tra il figlio e Yoko Ono, tensioni risoltesi con un accordo economico qualche anno fa.
"Oggi i miei rapporti con Yoko sono buoni. Ma soprattutto ci siamo ritrovati con Sean (figlio di Yoko e John, ndr), con il quale oggi ho un rapporto splendido". John Lennon divorziò da Cynthia quando Julian aveva solo cinque anni e per consolarlo dal dolore della perdita Paul Mccartney scrisse "Hey Jude", il cui testo originale era "Hey Jules", rivolto al giovanissimo Julian. Il manoscritto della canzone, assieme a altri oggetti, è tra le curiosità della mostra che Julian Lennon inaugurerà a il 16 giugno a Liverpool: "E' un modo per ristabilire la normalità", dice, "La rabbia è scomparsa, non ho altro che amore oggi per mio padre. Se potesse venire ed entrare nella mia stanza oggi lo abbraccerei e piangerei con lui".
(8 giugno 2009)
diumenge, 7 de juny de 2009
dissabte, 6 de juny de 2009
Potser és que confonía a Elvis o ves a saber potser al Magnum amb el Neil...
Clicar titol per entrar directament a l'article.
divendres, 5 de juny de 2009
vendo entrada Wilco BARCELONA
Mensaje sanfreebird72 el Jue Mayo 28 2009, 16:59
vendo una (te sentarás a mi lado) para el Auditori. Creo que valía 50. Os la dejo por 45. Interesados enviadme un privado. Absténgase interesadas con pelos en las axilas.
Primer cop que els sento en directe (veure'ls va ser una mica de lluny- amfiteatre tercer pis i ben al darrera, tot i així el segon set de bisos em vaig poder situar a platea al costat de les taules).
Opinió completament favorable tot i que amb forces canvis respecte a la audició diguem-ne simple. De entrada els trobo molt propers a una mena de simbiossi Grateful Dead plus The Band, inclus la veu de Tweedy em porta a la de Jerry Garcia (el de les millors époques). Alguns dels crescendos em van semblar massa a prop de el que en podriem dir Grandiloqüencia Comercial... i a cops em recordaven, ves qui ho anava a dir, els Iron Butterfly del In a gadda da vida de la meva tendra infància... Sols que cada tornada del Tweedy a la simplicitat més crua i nua, et fà saborejar-ho amb més gust.
Molt poques peces, dos?, del darrer o proper disc (segons com t'ho miris), i un recorregut ampli per la seva història.
dimecres, 3 de juny de 2009
Still unsatisfied [with the sound] more than 15 minutes into their scheduled 2:20 a.m. set time, Nathan finally succumbed to shouts from the restless crowd and began lifelessly strumming his guitar in what appeared to be totally random chord progressions. As drummer Ryan struggled in vain to find a tempo for Nathan’s seasick improvisation, the music slowly turned into a half-speed, instrumental approximation of the Wavves ballad “Weed Demon”– a song which, on record, doesn’t have a drum part.
After five minutes of directionless strumming and arbitrary snare hits, Nathan dodged the evening’s first bottle and decided to wind the aimless tune to an abrupt close. Then, rubbing his hands against his face, he declared in annoyed resignation, “All right, hi everybody, we’re Wavves,” and launched into an off-key version of “Summer Goth.” The band’s playing improved steadily until hitting a sort-of stride with a sloppy rendition of the song everyone had come to see, “So Bored”. For a brief moment, the crowd was rapt, singing and pogoing along, earning the band a fleeting moment of goodwill.
But things declined quickly from there, as between songs, Nathan began ineptly mocking the crowd (”Ooooooh, I’m on ecstasy!”), going off at length about his preference for California over Spain, and eventually telling them the festival was “one of the coolest things we’ve been part of in a while,” dripping with sarcasm. Finally, fed up with Nathan’s petulant behavior, Ryan ran out from behind his drumkit and poured a full cup of beer over Nathan’s head. The act would be met with their most enthusiastic applause of the evening.
After cancelling the following night’s tour date, Wavves’ Nathan subsequently posted a blog entry about the incident in which he said, “mixing ecstasy valium and xanax before having to play in front of thousands of people was one of the more poor decisions I’ve made(duh) and I realize my drinking has been a problem now for a good period of time.”
The blog post has since been deleted. Here is the full statement, as preserved by Google’s cache:
‘I think in the back of my head I knew I wasn’t exactly mentally healthy enough to continue to tour the way I have been since February. Honest truth is this has all happened so fast and I feel like the weight of it has been building for months now with what seems like a never ending touring and press schedule which includes absolutely zero time to myself. I’m sorry to everyone who has put effort into this and to everyone who supported me. Mixing ecstasy valium and xanax before having to play in front of thousands of people was one of the more poor decisions I’ve made(duh) and I realize my drinking has been a problem now for a good period of time. Nothing else I can do but apologize to everyone that has been affected by my poor decision making. I made a mistake. Not the first mistake I’ve made and it for sure wont be the last. I’m human. Don’t know why I chose the biggest platform I could imagine to lose my shit, but that’s life. You live and you learn.”
The mad world of Marilyn Manson
By Ian Youngs
Music reporter, BBC News
Marilyn Manson: Scary and shocking?
"Do you want a fight? Do you want a fight with me?"
I met Marilyn Manson less than two minutes ago.
I am supposed to be interviewing the dark prince of rock, the grotesque goth who, as legend has it, is vampire, zombie and demon rolled into one.
And it's already the strangest interview ever. I expected him to be a bit weird - but not like this.
I also expected the shock rocker to be highly articulate. From other interviews I've watched, I know he can be the intelligent voice of a troubled generation.
But today, it's clear that Marilyn Manson is just troubled.
He is in a dingy radio studio at the BBC's Maida Vale complex, where he has just finished a shambolic radio session. Our interview is four hours late.
Next door, a BBC Radio 3 choir is singing Karol Szymanowski's Stabat Mater. I just hope he doesn't stumble into their studio by mistake.
Inside, wearing a plain black hoodie and his usual morbid pallor, he's in high spirits, joking with his band and the studio crew.
As we start, it becomes clear that he can't or doesn't want to give coherent answers, except for those that end with comments about sex, violence or preferably both.
His preoccupation is such that I have heavily edited his comments to cut out large chunks that are lurid, graphic and frankly disturbing.
I'm doing the interview with a colleague, Adrian from BBC 6 Music. Manson starts by ripping the foam cover off the end of Adrian's microphone, before being asked about his fans.
That's what I do best, worst - me being Marilyn Manson, rock star, et cetera, that's what I do
"My fans? There's no fans because I was very hot in my room." Adrian tries again, to which Manson responds: "Ceiling fans or standalone?"
There is a glint in his eye. He's toying with us, but his comments are also unnervingly lewd and random.
He carries straight on. "Is that a cellphone?" he says looking at my recording device. It's clearly not a cellphone. "Can I call you?" He then makes the first offer of a fight, not delivered aggressively, but more as a polite, jovial invitation.
Adrian asks him about the Download festival, where Manson is playing this summer. "You said load. And down," Manson interrupts, as if they're the dirtiest words in the world.
I ask my first question, and try to change tack. Can he remember the first time that he performed musically? His weird different-sized eyeballs peer out from under his hood.
"The first time I performed musically I threw up."
When was that?
"Last night. But no, the first time, I had stage fright. I was afraid of the stages and frightening and The Frighteners, which was a bad movie with, what's his name, Michael J Fox.
"So I would say the last time I had… what was the question?"
Next, I try asking where he currently lives. The answer is rambling, peppered with rude words and references to sexual violence. He also starts making weird fluttery whistling noises half-way through.
Marilyn Manson is currently on a European tour
The answer finishes with: "Et cetera and so forth and so on and wow and [more fluttering] I like to speak in those kind of terms."
It's getting curiouser and curiouser. So I ask about the film he's supposedly working on, in which he is playing Alice in Wonderland author Lewis Carroll.
"I'm playing him always in life," he replies. "I wrote a script about him because I read his diaries and it was about aphasia to the sky, the sky, left, right, and that's me.
"So I almost quit music because I didn't want to do any more so I want to put it all into film. Right now I'm in love with film. But filming myself. And I'm playing Marilyn Manson."
What stage is the film at? Have you shot any of it?
"No, I shot at someone. But that was a firearm and it was not exactly legal. But I was exonerated from the crime."
I hope and pray that he's joking and plough on. After Adrian asks him about one of his heroes, Iggy Pop, I ask why he didn't quit music but decided to release a new album.
"It was me realising that that's what I do best," he says. "That's not always good, but that's what I do best, worst. Me being Marilyn Manson, rock star, et cetera, that's what I do."
So is the film ever going to… I don't have time to finish my question.
"You want a fight? A film?" he interjects.
The film, I affirm.
"The film," he repeats, before things degenerate again.
Manson manages to answer a question about Motley Crue a bit more coherently, then, thankfully, the interview is brought to a close in less than 10 minutes.
At the time, it was in parts surreal, awkward and amusing. In hindsight, it seems a bit more disturbing. Not scary though. Just sad.
Marilyn Manson's new album The High End of Low is out now.
Manson and Von Teese get divorced
30 Dec 07 | Entertainment
Keyboardist sues Manson for $20m
06 Aug 07 | Entertainment
Manson 'will play Lewis Carroll'
31 Jan 06 | Entertainment
Manson's Croatia gig goes ahead
23 Aug 05 | Entertainment
Manson: 'Don't blame me for Jodi'
13 Feb 05 | Scotland
Manson civil sex case is dropped
18 Feb 04 | Entertainment
RELATED BBC LINKS
Marilyn Manson - BBC artist page
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