dilluns, 8 de juny del 2009

Lucy in the sky with diamonds (de La Reppublica)


LA STORIA
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"


Lucy Vodden
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)

divendres, 5 de juny del 2009

wilco (venda condicional)


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.

Wilco a l'Auditori BCN


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 del 2009

Wavves, al Primavera sembla que no els và funcionar la química... (de The Music.FM)



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.”

Com una cabra, però empitjorant



The mad world of Marilyn Manson

By Ian Youngs
Music reporter, BBC News

Marilyn Manson
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.


Marilyn Manson
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
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.


SEE ALSO
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

RELATED INTERNET LINKS
Marilyn Manson
The BBC is not responsible for the content of external internet sites

dilluns, 1 de juny del 2009

els problems de Wilco



Trist però molt interessant video en el que s'explica la historia de Yankee Fox Trot Hotel, i la expulsió de Jay Bennett que va morir no sbem de qué, mentre dormia la setmana passada.

diumenge, 31 de maig del 2009

primavera (diumenge al parc), i tanquem...




Interessant la tarda al Parc del escorxador, a quatre passes de casa, i on he apres varies coses...

M'hà extranyat veure els músics de Klaus & Kinsky amb la pulsereta que portavem aquests dies el públic de pagament, i mentre plegaven i omplien la furgoneta no m'he estat de preguntarlis que passava. Donç bé, sembla que no s'els ha donat el status d'artistes "oficials", i que en recompensa els han donat el passi de franc... :-((

Molt interessant poder moure-t per devant i per darrera del escenari quan tens un "One man show" com Karl Blau. Entens l'importancia de la pedalera a la música actual (a la meva joventut m'havia de comformar en fer anar el Wah-Wah). Tot i que m'hà agradat molt en Karl, m'haguera encantat poder fer el mateix amb el Andrew Bird.

Després de veure els Plants & Animals, m'acabo de convencer que (Akron apart), el futur està al Canada.

I finalment, es encantador que al menys una part del festival estigui oberta a tothom. Tant Klaus & Kinski com Karl Blau han disposat de un homeless cadascú, animant el show, imagino que es sentien contents de que la festa arribes a casa seva...

ambient pre-eucarístic (Neil Young al Primavera, per Pratinsky Junior)

Akron em persegueix (hauré de buscar-me un psiquiatre)


Ahir, a la cua de la maquineta de tickets per birres del Primavera. Sense paraules...

primavera (encore)

Descoberta del meu fill adolescent ("rallat" de Jayhawks va marxar al ATP), els Th' Faith Healers, un grup de Hampstead que sona a Velvet underground... el video és espantos i l'audio encara pitjor, i és de la mateixa sessió del únic que tenen penjat al MySpace...

primavera (tercera tarda)


Inici amb Alela Diane (primera visita a l'Auditori en els tres dies), fantàstica.
No en tenia cap dubte, però en directe comfirma absolutament el meu entusiasme. S'ha marcat els dos temes finals sols amb l'acompanyament d'una segona veu i la guitarra que feia posar "los puntas de pelo".
Chad VanGalen: en directe m'ha sonat com una replica de Neil Young, amb un falset que feia que t'el haguessis de mirar d'aprop per comfirmar que no ho era. Be.
Shearwater: una gran banda, amb temes molt ben lligats, llàstima del escenari (el Pitchfork és un desastre), i la hora.
Jayhawks com una banda de bar que fà 30 anys que toquen cada setmana, pero amb temes propis i molt bons, sembla mentida que portessin tants anys separats...
Ha estat el més semblant a una tarda familiar al parc...
De Neil jà he fet la entrada (de fet ahir al arribar a casa), impressionant. Tot i que esperavem dues hores i mitja (i la cosa và quedar en menys) penso que si l'hagués fet durar tres hores, també ho hauriem trobat curt.
Ahir va ser tarda familiar i després de NY cap a casa (em va saber greu no esperar als Sonic Youth). Otro dia será.

Neil (Primavera)


Al final no han estat dues hores i mitja com s'havia sentit, en una hora i mitja ens ha fet un greatest hits molt entregat, pero del darrer disc no n'he sabut reconeixer cap...
Inici electric, set acustic curtet amb "The needle and the damage done", "Old Man", i "Unknown legend", i tornada a la electricitat amb "Down by the river" i "Rockin in the free world" (entre altres), i bis o encore amb "A day in the life".
Ha estat intens tant en la veu com en la guitarra (també amb l'armonica).
Tot i que el espai no es especialment comode, el públic ha respost molt be, i per acabar s'ha marcat el detallet de la bufanda blaugrana...

dissabte, 30 de maig del 2009

primavera (segona ronda/divendres)


Deixo estar els concerts a l'Auditori pensant que caldría fer molta cua i que potser m'els acabava perdent (estava interessat en Damien Jurado i de poder repescar els MBV - no portava els taps), sembla que finalment no es va omplir.
Començo donç la tarda amb Bat for Lashes (un pop força plà del que vaig aguantar dues peces).
M'en vaig a l'altra punta a sentir els Punsetes, no els coneixía però n'havia sentit bones crítiques, donç tres peces i fora una banda més o menys arregladeta amb una Ana Torroja de segona divisió amb certes pretensions...
Tercera parada: Sleepy Sun banda de San Francisco amb dos cantants (mascle i femella) que en alguns moments et sembla que sents els Led Zeppelin i a cops a la Grace Slick, fan entrades al folk i excursions psicodèliques amb tota naturalitat, un grup a seguir.
Nova parada: i aquesta més llarga: Spiritualized. Podries dir fins a quin punt pots classificar-los de Indie... Una banda perfecte, amb la millor sonorització de la tarda, desgranant una serie de temes molt a prop del R&B més comercial però amb una altissima qualitat.
Visita ràpida als Carsick Cars indie West Coast pero fet a Pekin... curiós.
Passada per The pains of being pure at heart, música molt directe, ben resolta tot i que l'escenari (Pitchfork) és especialment incomode, i marxo a veure Art Brut, brit rock amb cantant crooner amacarrat, banda i temes ben treballats, en definitiva be.
Seguent parada Jason Lytle pop passat per la Americana...
Nova parada llarga Throwing Muses, una replica menor dels Pretenders, llastima que la veu aflautada de la cantant no l'afovereixi.
Passada novament per el Pitchfork amb els Crystal Antlers, dinamita en estat salvatge, la banda per muntar una festa en la que ballin els coixos.
I per acabar Jarvis Cocker, encara més amacarrat que els Art Brut, però amb un "savoir faire" extraordinari i amb algunes peces inoblidables en el repertori Britpop contemporani.
Encara no era la una que agafaba un Bicing cap a casa, però l'endemà encara queda molta guerra i a certes edats has de prendre precaucions.
(a a imatge els pekinesos Carsick Cars)

divendres, 29 de maig del 2009

Primavera (dijous) foto: Lightning Bolt



Bé, he superat la primera tarda nit del Primavera, i amb bones vibracions. 
Recorregut:
Cuzo grup local que desconeixía i que et porten a la época mes negre de King Crimson (diguem-ne Earthbound i Red), i que inicialment pensava que havia equivocat per Zu (que toquen o han tocat en un recinte off-Forum). Després un estona amb The Bats (grup veteranissim neozelandes) amb un folk-pop també veterà. Canvi d'escenari per veure Magic Markers una proposta de noise-garage interessant. A partir d'aquí, tot i que els escenaris estaven a prop decidir si Marnie Stern o Lightning Bolt, i em vaig decidir per aquest últims i potser el més fort que hi havia per veure ahir. Un baterista enmascarat i amb un distorsionador de sons vocals i un baixista multipedals amb customització de cordes fent més enrenou que l'aeroport de Heatrow en un dia de final de vacances...
Dels Yo la Tengo un concert aclaparador per una banda diguem que "sobradament contrastada", i per acabar Andrew Bird , un "monstre", l'actuació de un "one man show"amb una força i a la vegada en un to d'aparent simplicitat del tot desconcertant.
Quedaven el Bloodies Valentines pero jà passava la mitjanit i el que us ho explica jà estava suficientment adobat després d'unes emocions futbolístiques intenses de la nit abans, i per tant vaig posar pilot automàtic cap a casa.

dimecres, 27 de maig del 2009

Mor un ex-Wilco poc després de demandar a Wilco...

Jay Bennett, Ex-Member of Wilco, Dies at 45

By BEN SISARIO
Published: May 25, 2009

Jay Bennett, a singer and songwriter who was a former member of the rock band Wilco, died on Sunday in Urbana, Ill. He was 45 and lived in Urbana.
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Rahav Segev

Jay Bennett in 1999.
Related
Times

* More Arts News

The cause is still unknown. Representatives of his management company, Undertow Music Collective, said he died in his sleep. Edward Burch, a friend and collaborator, told The Chicago Sun-Times that an autopsy was being done. No information about survivors was available.

Last month Mr. Bennett complained on his MySpace page about severe pains in his hip. He needed hip-replacement surgery, he said, but did not have proper health insurance.

A burly, dreadlocked figure with a cracking, plaintive rasp, Mr. Bennett played in the Replacements-influenced power-pop band Titanic Love Affair during the 1990s, and released four solo albums. But he is best known for his role in Wilco, the Chicago band that expanded the earthy, folk-influenced sound of the alt-country genre with more abstract, experimental rock.

Mr. Bennett joined Wilco in 1994, shortly after the recording of the band’s first album, “A.M.,” which was released the next year. Beginning with “Being There” in 1996, he played keyboards, guitar and various other instruments, and gradually his role grew. With “Summerteeth” in 1999 and “Yankee Hotel Foxtrot,” released in 2002, Mr. Bennett became a key part of the band’s songwriting, often as a darker foil to the more fragile style of the lead singer, Jeff Tweedy. A perfectionist in the studio, Mr. Bennett took an active hand in the recording process.

He also played on “Mermaid Avenue,” the band’s Grammy-nominated 1998 project with Billy Bragg, which set unpublished lyrics by Woody Guthrie to music, as well as on its sequel, “Mermaid Avenue II,” in 2000.

But as documented in “I Am Trying to Break Your Heart,” a 2002 film about the recording of “Yankee Hotel Foxtrot” and the band’s extended struggle with its record company, Mr. Bennett and Mr. Tweedy frequently clashed in the studio, as Mr. Bennett bristled over the band’s increasingly noisy direction.

Mr. Tweedy fired Mr. Bennett from Wilco shortly before the release of “Yankee Hotel Foxtrot,” which became the band’s commercial breakthrough. Relations between the two men remained chilly. This month Mr. Bennett sued for breach of contract, contending that he was owed royalties from his work on Wilco albums as well as money from the film. The suit has not been settled, a Wilco spokeswoman said.

In a statement on Monday, Mr. Tweedy said: “We will miss Jay as we remember him — as a truly unique and gifted human being and one who made welcome and significant contributions to the band’s songs and evolution.”

Born in Rolling Meadows, a suburb of Chicago, in 1963, Mr. Bennett graduated from the University of Illinois, Champaign-Urbana, with degrees in secondary education, mathematics and political studies. He was working in a VCR repair shop when Mr. Tweedy recruited him for Wilco, and according to “Learning How to Die,” Greg Kot’s 2004 book about Wilco, Mr. Bennett often worked there between tours.

In 2002, shortly after leaving Wilco, Mr. Bennett released “The Palace at 4 a.m. (Part I)” with Mr. Burch. He also founded a recording studio in Champaign, called Pieholden Suite Sound, after a song on “Summerteeth.”

Mr. Bennett released three more albums of country-tinged folk-rock, and on his most recent MySpace post said that he was hard at work on a new one, “Kicking at the Perfumed Air.”
Sign in to Recommend More Articles in Arts » A version of this article appeared in print on May 26, 2009, on page B8 of the New York edition.

dissabte, 23 de maig del 2009

Antoine... el buscava per François i no el trobava (coses del Truffaut i del Doinel)




Les élucubrations
by Antoine

Oh, Yeah !
Ma mère m'a dit, Antoine, fais-toi couper les cheveux,
Je lui ai dit, ma mère, dans vingt ans si tu veux,
Je ne les garde pas pour me faire remarquer,
Ni parce que je trouve ça beau,
Mais parce que ça me plaît.

Oh, Yeah !
L'autre jour, j'écoute la radio en me réveillant,
C'était Yvette Horner qui jouait de l'accordéon,
Ton accordéon me fatigue Yvette,
Si tu jouais plutôt de la clarinette.

Oh, Yeah !
Mon meilleur ami, si vous le connaissiez,
Vous ne pourriez plus vous en séparer,
L'autre jour, il n'était pas très malin,
Il a pris un laxatif au lieu de prendre le train.

Oh, Yeah !
Avec mon petit cousin qui a dix ans,
On regardait "Gros Nounours" à la télévision,
A Nounours il a dit "Bonne nuit mon bonhomme",
Il est parti danser le jerk au Paladium.

Oh, Yeah !
Le juge a dit à Jules, vous avez tué,
Oui j'ai tué ma femme, pourtant je l'aimais,
Le juge a dit à Jules "Vous aurez vingt ans",
Jules a dit : "Quand on aime on a toujours vingt ans".

Oh, Yeah !
Tout devrait changer tout le temps,
Le monde serait bien plus amusant,
On verrait des avions dans les couloirs du métro,
Et Johnny Hallyday en cage à Médrano.

Oh, Yeah !
Si je porte des chemises à fleurs,
C'est que je suis en avance de deux ou trois longueurs,
Ce n'est qu'une question de saison,
Les vôtres n'ont encore que des boutons.

Oh, Yeah !
J'ai reçu une lettre de la Présidence
Me demandant, Antoine, vous avez du bon sens,
Comment faire pour enrichir le pays ?
Mettez la pilule en vente dans les Monoprix.

Oh, Yeeeeaaaahhhh !

Es del 1965, encara faltava una mica pel Maig del 68.

després d'aquesta m'en vaig al gimnàs...

perquè m'agraden els TV on the Radio?

roy paci (el manu chao o potser el rudy ventura sicilià)

dijous, 14 de maig del 2009

malentesos d'una canadenca a Campo de Criptana

Una mica d'encarnissament contra el mite...


Bob Dylan

Bob Dylan: Time For One More Change?

Bob Dylan
MR Photo / Corbis Outline

It didn't have to come to this. He could have died in that motorcycle crash or been shot by a crazed fan or sky-walked out a 10th-story window during a bad trip. But Bob Dylan--the great American artist of the past 50 years, I believe--survived, which is perhaps the only prosaic thing he's done in his life. A half-decade older than the oldest baby boomers, 68 on May 24, he has predicted their maturation--marriage, divorce, finding and losing religion, midlife crisis and regeneration, a second wind, a third.

And now, with the release of his 46th album, Together Through Life, Dylan is, officially, old. Listening to these songs, I imagine him as one of the last guests at someone else's 70th-birthday party, sitting at a table that's been cleared except for the wine stains and bread crumbs. He's wearing a bolo tie and his scraggly mustache, telling stories about women he used to know but never cared for all that much.

Actually, Dylan announced the onset of his seniority in 1997 with the excellent Time Out of Mind, a dark and wistful album that looked backward more than forward, his voice a nasal husk of itself, accessible only to his most persistent fans. There was a high-tech hipness to Time Out of Mind--the damp, echoey sound provided by producer Daniel Lanois--that doesn't exist on the new album. Everything about Together Through Life is simple: the lyrics (a collaboration with the old Grateful Dead lyricist Robert Hunter), the instrumentation and the sound, which Dylan admits, in an interview posted on his website, is an homage to the Chess records of his youth. "I like the mood of those records--the intensity," he says. "The sound is uncluttered. There's power and suspense. The whole vibration feels like it could be coming from inside your mind. It's alive. It's right there. Kind of sticks in your head like a toothache."

Well, power and suspense ... in a sad, languid way: the power of a sunset, the only suspense the shock you feel when it suddenly slips away, casting strawberry light on the outline of distant clouds. It is now apparent that there has been a narrative arc to Dylan's career. He started obvious, then exploded surreal--each new album a surprise of some sort--and is now back to being obvious again.

He began as a tribute act: Woody Guthrie reinvented, down to the studio photos in which he pooched his lips like Woody and held his guitar the same way. On his first, eponymous album, Dylan sang mostly other people's songs--except for one talking blues and the haunting "Song to Woody," which was an exercise in folk classicism. He wrote new lyrics to the tune of Guthrie's "1913 Massacre," just as Guthrie had applied his lyrics to the ancient ballads he'd learned from his mother.

The old lefty folk community embraced Dylan even as he quickly surpassed Guthrie, writing his own music to go with his brilliant lyrics to protest the atrocities of the 1960s, songs like "Blowin' in the Wind" and "A Hard Rain's A-Gonna Fall." But four-chord, straight-ahead folk music proved, well, boring after a while, and Dylan betrayed the folk pedants by going electric--"Judas!" they cried in England--and the ideology-encrusted hard-liner Pete Seeger tried to pull the plug on Dylan's breakthrough performance at the 1965 Newport Folk Festival.

dimarts, 12 de maig del 2009

Antonio Vega

Reconec que no el vaig seguir massa, tot i que penso que és un dels grans que ha donat el R&R iberic, i en definitiva, tant i tant allunyat del seu pretès Pop fundacional

Yeasayer


Nova psicodelia, trippy-gospel, com una versió acústica de Phish...