Неве Цедек*

 

* все, кроме №1 (Абу Хасан, Яффо)

אור נופל

Посетили выставку фотографий Флита “אור נופל”\“Incident Light”. Среди идей, стоящих за экспозицией, мне понравилась мысль о том, что мы видим только те тела, которые возвращают свет, т.е. часть нашей сущности вообще инородная, не принадлежащая нам. Всего лишь отражение света.

And because you've been playing every day, sometimes two or three shows a day, ideas are flowing. One thing feeds the other. You might be having a swim or screwing the old lady, but somewhere in the back of the mind, you're thinking about this chord sequence or something related to a song. No matter what the hell's going on. You might be getting shot at, and you'll still be "Oh! That's the bridge!" And there's nothing you can do; you don't realize it's happening. It's totally subconscious, unconscious or whatever. The radar is on whether you know it or not. You cannot switch it off. You hear this piece of conversation from across the room, "I just can't stand you anymore"... That's a song. It just flows in. And also the other thing about being a songwriter, when you realize you are one, is that to provide ammo, you start to become an observer, you start to distance yourself. You're constantly on the alert. That faculty gets trained in you over the years, observing people, how they react to one another. Which, in a way, makes you weirdly distant. You shouldn't really be doing it. It's a little of Peeping Tom to be a songwriter. You start looking round, and everything's a subject for a song. The banal phrase, which is the one that makes it. And you say, I can't believe nobody hooked up on that one before! Luckily there are more phrases than songwriters, just about.

K.Richards. Life

Шабат шалом!

Новый альбом Каролины всегда праздник.
Save Me From Myself (студийная версия):

и живьем в студии армейской радиостанции.

Гарбузим

Купили свой первый арбуз в этом году. Красный и сладкий. Вполне. Единственный недостаток - цена (7.50 кг)

Формула счастья

Пришел к выводу, что для хорошей жизни\счастья необходимы следующие условия:

В детстве:

1. Адекватные родители (воспитание и гены)
2. Здоровье

В взрослой жизни:

1. Адекватные родители (воспитание и гены)
2. Здоровье
3. Адекватный партнер
4. Адекватная страна проживания
5. Адекватные дети

По моему мнению пункт №5 не обязательный, так как он является  естественным результатом выполнения пункта №3 (плавно переходящего в пункт №1). 

Все пункты, за исключением первого, есть результат наших выборов и поддаются нашему влиянию (п.5 - до определенного момента, п.3 далеко не всегда, тесно связан с п.1 (гены) и пп. 3-4 ). П.1 можно изменить в следующем поколении с помощью п.3.

Все остальное - производные.

Paint It Black

There was certainly that conscious element in those RCA days, from the end of '65 to summer of '66, of pushing the envelope in milder ways. There was "Paint It Black," for example, recorded in March 1966, our sixth British number one. Brian Jones, now transformed into a multi-instrumentalist, having "given up playing the guitar," played sitar. It was a different style to everything I'd done before. Maybe it was the Jew in me. It's more to me like "Hava Nagila" or some Gypsy lick. Maybe I picked it up from my granddad. It's definitely on a different curve to everything else. I'd moved around the world a bit. I was no longer strictly a Chicago blues man, had to spread the wings a bit, to come up with melodies and ideas, although I can't say that we ever played Tel Aviv or Romania.

K.Richards. Life

Satisfaction

I wrote "Satisfaction" in my sleep. I had no idea I'd written it, it's only thank God for the little Philips cassette player. The miracle being that I looked at the cassette player that morning and I knew I'd put a brand-new tape in the previous night, and I saw it was at the end. Then I pushed rewind and there was "Satisfaction." It was just a rough idea. There was just the bare bones of the song, and it didn't have that noise, of course, because I was on acoustic. And forty minutes of me snoring. But the bare bones is all you need. I had that cassette for a while and I wish I'd kept it.

A peculiarity of "Satisfaction" is that it's a hell of a song to play on stage. For years and years we never played it, or very rarely, until maybe the past ten or fifteen years. Couldn't get the sound right, it didn't feel right, it just sounded weedy. It took the band a long time to figure out how to play "Satisfaction" on stage. What made us like it was when Otis Redding covered it. With that and Aretha Franklin's version, which Jerry Wexler produced, we heard what we'd tried to write in the first place. We liked it and started playing it because the very best of soul music was singing our song.

So we're the song factory. We start to think like songwriters, and once you get that habit, it stays with you all your life. It motors along in your subconscious, in the way you listen. Our songs were taking on some kind of edge in the lyrics, or at least they were beginning to sound like the image projected onto us. Cynical, nasty, skeptical, rude. We seemed to be ahead in this respect at the time. There was trouble in America; all these young American kids, they were being drafted to Vietnam. Which is why you have "Satisfaction" in Apocalypse Now. Because the nutters took us with them. The lyrics and the mood of the songs fitted with the kids' disenchantment with the grown-up world of America, and for a while we seemed to be the only provider, the soundtrack for the rumbling of rebellion, touching on those social nerves. I wouldn't say we were the first, but a lot of that mood had an English idiom, through our songs,  despite their being highly American influenced. We were taking the piss in the old English tradition.

K.Richards. Life

The Last Time

Mick and I knew by now that really our job was to write songs for the Stones. It took us eight, nine months before we came up with "The Last Time," which is the first one that we felt we could give to the rest of the guys without being sent out the room. If I'd gone to the Rolling Stones with "As Tears Go By," it would have been "Get out and don't come back." Mick and I were trying to hone it down. We kept coming up with these ballads, nothing to do with what we were doing. And then finally we came up with "The Last Time" and looked at each other and said, let's try this with the boys. The song has the first recognizable Stones riff or guitar figure on it; the chorus is from the Staple Singers' version, "This May Be the Last Time." We could work this hook; now we had to find the verse. It had a Stones twist to it, one that maybe couldn't have been written earlier-- a song about going on the road and dumping some chick. "You don't try very hard to please me." Not the usual serenade to the unattainable object of desire. That was when it really clicked, with that song, when Mick and I felt confident enough to actually lay it in front of Brian and Charlie and Ian Stewart, especially, arbiter of events. With those earlier songs we would have been chased out the room. But that song defined us in a way, and it went to number one in the UK.

K.Richards. Life

When we put out "Little Red Rooster," a raw Willie Dixon blues with slide guitar and all, it was a daring move at the time, November 1964. We were getting no-no's from the record company, management, everyone else. But we felt we were on the crest of a wave and we could push it. It was almost in defiance of pop. In our arrogance at the time, we wanted to make a statement. "I am the little red rooster / Too lazy to crow for day." See if you can get that to the top of the charts, motherfucker. Song about a chicken. Mick and I stood up and said, come on, let's push it. This is what we're fucking about. And the floodgates burst after that, suddenly Muddy and Howlin' Wolf and Buddy Guy are getting gigs and working. It was a breakthrough. And the record got to number one. And I'm absolutely sure what we were doing made Berry Gordy at Motown capable of pushing his stuff elsewhere, and it certainly rejuvenated Chicago blues as well.

K.Richards. Life

Made in U.S.A.

The source.

Д. принес задачку из психометрии:

"После того, как у Белоснежки сгнило четверть яблок в корзине, то число "хороших" яблок оказалось на восемь больше, чем гнилых. Сколько яблок было в корзине?"

После 10 минут умственых усилий, в которых были задействованы почти атрофирующиеся участки мозга, мне удалось найти правильный ответ.  Вспомнил, что на мой вопрос "ради чего вы учитесь?" несколько детей ответили, что "чтобы не ударить в грязь лицом перед своими детьми". Йа, йа. Натюрлих.

Dondate

A.S. 1 По сведениям ди-джея на 88FM только 5% рок композиций начинаются с ударных.

A.S. 2 "I didn't care much for the Beatles. I kind of secretly liked them, but I saw the death of the saxophone unraveling before my eyes. None of these guys have saxes in their bands, man!" (Bobby Keys in "Life" by K.Richards)

В День Памяти Холокоста небо над Израилем было сковано песчаным панцирем. Когда я вышел из самолета в Эйлате было светло, но неба не было видно. В помещении приходилось включать свет. Когда таксист сообщил мне, что в городе всего лишь +30 я был разочарован. Прогноз погоды готовил меня как минимум к 38-40.
Как и предполагали месстные жители, все вечерние рейсы были отменены. Все авиакомпании предлагали на выбор бесплатный автобус или утренние рейсы на следующий день. Ехать 2 часа (всего 4.5) по ночной пустыне в песчаную бурю мне не очень улыбалось (в новостях сообщили о большой аварии возле Ницаны) и я поменял билеты на утренний рейс. Благо  гостеприимные коллеги в кибуце всегда готовы предложить мне комфортабельный ночлег.

Утром благополучно вернулся в ясный и солнечный Тель Авив. 

A.S. В этом году фортуна повернулась спиной к любителям футбола. Оба матча Барса - Челси выпали на Дни Памяти, во время которых нет трансляций развлекательного характера. В СМИ проходила бурная дискуссия по поводу запрета трансляции. Были предложения транслировать матч без комментаторов. В итоге не транслировали. Желающие могли посмотреть матч в интернете. Я. рассказывал, что несколько мужиков из кибуца поехали смотреть матч в египетский Хилтон Таба, расположенного прямо у границы.

Чу рассказывает, что Д. соб ирался смотреть игру в сети вместе с друзьями, но в последний момент передумал и остался с ней дома смотреть "Жизнь прекрасна" по ТВ.

The Pop

The famous day when Andrew locked us in a kitchen up in Willesden and said, "Come out with a song"--that did happen. Why Andrew put Mick and me together as songwriters and not Mick and Brian, or me and Brian, I don't know. It turned out that Brian couldn't write songs, but Andrew didn't know that then. I guess it's because Mick and I were hanging out together at the time. Andrew puts it this way: "I worked on the assumption that if Mick could write postcards to Chrissie Shrimpton, and Keith could play a guitar, then they could write songs." We spent the whole night in that goddamn kitchen, and I mean, we're the Rolling Stones, like the blues kings, and we've got some food, piss out the window or down the sink, it's no big deal. And I said, "If we want to get out of here, Mick, we better come up with something."

We sat there in the kitchen and I started to pick away at these chords.... "It is the evening of the day." I might have written that. "I sit and watch the children play," I certainly wouldn't have come up with that. We had two lines and an interesting chord sequence, and then something else took over somewhere in this process. I don't want to say mystical, but you can't put your finger on it. Once you've got that idea, the rest of it will come. It's like you've planted a seed, then you water it a bit and suddenly it sticks up out of the ground and goes, hey, look at me. The mood is made somewhere in the song. Regret, lost love.Maybe one of us had just busted up with a girlfriend. If you can find the trigger that kicks off the idea, the rest of it is easy. It's just hitting the first spark. Where that comes from, God knows.

With "As Tears Go By," we weren't trying to write a commercial pop song. It was just what came out. I knew what Andrew wanted: don't come out with a blues, don't do some parody or copy, come out with something of your own. A good pop song is not really that easy to write. It was a shock, this fresh world of writing our own material, this discovery that I had a gift I had no idea existed. It was Blake-like, a revelation, an epiphany.

"As Tears Go By" was first recorded and made into a hit by Marianne Faithfull. That was only weeks away. After that we wrote loads of airy-fairy silly love songs for chicks and stuff that didn't take off. We'd give them to Andrew and, amazing to us, he got most of them recorded by other artists. Mick and I refused to put this crap we were writing with the Stones. We'd have been laughed out of the goddamn room. Andrew was waiting for us to come up with "The Last Time."

K.Richards. Life

The Jazz

Back then I used to rag Stu and Charlie wicked about jazz. We were supposed to be getting the blues down, and sometimes I'd catch Stu and Charlie listening to jazz on the sly. "Stop that shit!" I was just trying to break their habits, trying to put a band together, for Christ's sake. "You've got to listen to blues. You've got to listen to fucking Muddy." I wouldn't even let them listen to Armstrong, and I love Armstrong.

K.Richards. Life

The Blues

The drive in the band was amazing among Mick, Brian and myself. It was incessant study. Not really in the academic sense of it, it was to get the feel of it. And then I think we realized, like any young guys, that blues are not learned in a monastery. You've got to go out there and get your heart broke and then come back and then you can sing the blues. Preferably several times. At that time, we were taking it on a purely musical level, forgetting that these guys were singing about shit. First you've got to get in the shit. And then you can maybe come back and sing it. I thought I loved my mother and I left her. She still did my laundry. And I got my heart broken, but not right away.

K.Richards. Life

Проблемы роста

В нашей семье возникла новая ситуация – взрослый сын. Впервые за все время Д. оказался в ситуации, когда у нас нет объективных оснований его содержать. Теперь, когда ему нужно куда-то выйти, я не  тянусь автоматически за кошельком, а если он захотел поесть, я не бросаю все дела и организую что-то на плите. Теряющая градус вертикаль родительской обязанности перед учеником\молодым работником\солдатом плавно переходит на горизонталь родительского права на независимость и соучастие. Возникла та хрупкая ситуация, в которой обе стороны формально готовы к расставанию (повторяю ФОРМАЛЬНО), но предпочитают оставаться вместе из-за разных меркантильных интересов. Многие бытовые вопросы проявляются теперь в новом свете. Требуются новые правила игры.

Думаю, что суть этой метаморфозы мы с Чу более-менее когнитивно (повторяю КОГНИТИВНО) ухватили. По прежнему остаются открытыми практические  вопросы мер и пропорций.

Chuck Berry

Chuck Berry is fantastic, but he would weave by himself, with himself. He did great overdubs with his own guitar because he was too cheap to hire another guy most of the time. But that's just on records; you can't re-create that live. But his "Memphis, Tennessee" is probably one of the most incredible little bits of overdubbing and tinkering that I've ever heard. Let alone a sweet song. I could never overstress how important he was in my development. It still fascinates me how this one guy could come up with so many songs and sling it so gracefully and elegantly.

K.Richards. Life

Живьем и в цвете:



and "DON'T TOUCH MY AMP!"

Jimmy Reed

Minimalism has a certain charm. You say, that's a bit monotonous, but by the time it's finished, you're wishing it hadn't. There's nothing bad about monotony; everyone's got to live with it. Great titles--"Take Out Some Insurance." This is not your everyday song title. And it would always come down to him and his old lady having a fight or something. "Bright Lights, Big City," "Baby What You Want Me to Do?" "String to Your Heart," wicked songs. One of Jimmy's lines was "Don't pull no subway, I rather see you pull a train." Which actually means don't go on the dope, don't go underground, I'd rather see you either drunk or on cocaine. Took me years and years to decipher this.

K.Richards. Life

And we didn't want to make money. We despised money, we despised cleanliness, we just wanted to be black motherfuckers. Fortunately we got plucked out of that.

K.Richards. Life

Будни

В связи с огромными трудностями, связанными с моим возвращением после длительного перерыва (две командировки и трехнедельные каникулы) на работу, решил помочь себе и детям (около трети смотались домой за время каникул) вернуться к рутине. С этой целью провожу в эти дни занятия на тему “Возвращение к будням”. Вчера состоялась премьера в двух группах. Я попросил ребят задуматься о смысле слов “будни” и “рутина” (отдельным экземплярам пришлось объяснять значение этих слов) и изобразить его на бумаге.

Несколько иллюстраций.

1 год в проекте, 10й класс

3й год в проекте, 11й класс:

Искали плюсы в буднях. У старших их было больше. Чувствуется лучшая адаптация к самостоятельной жизни. Обсуждали способы облегчить возвращение к будням.

… А кому легко?!

Stu

Stu was solid, formidable looking, with a huge protruding jaw, though he was a good-looking guy. I'm sure much of his character was influenced by his looks, and people's reactions to them, from when he was a kid. He was detached, very dry, down-to-earth and full of incongruous phrases. Driving at speed,for example, would be "going at a vast rate of knots." His natural authority over us, which never changed, was expressed as "Come on, angel drawers," "my little three-chord wonders" or "my little shower of shit." He hated some of the rock-and-roll stuff I played. He hated Jerry Lee Lewis for years--"Oh, it's all just histrionics." Eventually he softened on Jerry, he had to crumble and admit that Jerry Lee had one of the best left hands he'd ever heard. Flamboyance and showmanship were not in Stu's bag. You played in clubs, it had nothing to do with showing off.

K.Richards. Life

Alexis Korner Inc.

Alexis Korner was the daddy of the London blues scene--not a great player himself, but a generous man and a real promoter of talent. Also something of an intellectual in the musical world. He lectured on jazz and blues at such places as the Institute of Contemporary Arts. He used to work for the BBC--DJ'ing and interviewing musicians, which meant he was in close contact with God. He knew his stuff backwards; he knew every player who was worth his salt. He was part Austrian, part Greek and had been brought up in North Africa. He had a real Gypsy-looking face with long sideburns, but he spoke with a really rich "I say, old boy" voice, very precise English.

Alexis's band was damn good.

K.Richards. Life

Весенняя коллекция 2012

R'n'B

Rhythm and blues was a very important distinction in the '60s. Either you were blues and jazz or you were rock and roll, but rock and roll had died and gone pop--nothing left in it. Rhythm and blues was a term we pounced on because it meant really powerful blues jump bands from Chicago. It broke through the barriers. We used to soften the blow for the purists who liked our music but didn't want to approve of it, by saying it's not rock and roll, it's rhythm and blues. Totally pointless categorization of something that is the same shit--it just depends on how much you lay the backbeat down or how flash you play it.

K.Richards. Life

I was looking for the core of it--the expression. You would have no jazz without blues out of slavery--that most recent and particular version of slavery, not us poor Celts for example, under the Roman boot. They put those people through misery, not just in America. But there's something produced by its survivors that is very elemental. It's not something you take in in the head, it's something you take in in the guts. It's beyond the matter of the musicality of it, which is very variable and flexible. There's loads of kinds of blues. There's very light kind of blues, there's very swamp kind of blues, and it's the swamp basically where I exist. Listen to John Lee Hooker. His is a very archaic form of playing. Most of the time it ignores chord changes. They're suggested but not played. If he's playing with somebody else, that player's chord will change, but he stays, he doesn't move. And it's relentless. And the other, the most important thing apart from the great voice and that relentless guitar, was that foot stomp, a crawling king snake. He carried his own two-by-four wood block to amplify his stomps. Bo Diddley was another one who loved to do just that one elemental chord, everything on one chord, the only thing that moves is the vocal and the way you're playing it. I really only learned more about this later on. Then there was the power in people's voices, like Muddy, John Lee, Bo Diddley. It wasn't loud, necessarily, it just came from way down deep. The whole body was involved; they weren't just singing from the heart, they were singing from the guts. That always impressed me. And that's why there's a lot of difference between blues singers that don't play an instrument and blues players that do, be it piano or guitar, because they have to develop their own way of call and respond. You're going to sing something and then you've got to play something that answers or asks another question and then you resolve. And so your timing and your phrasing become different. If you're a solo singer you tend to concentrate on the singing, and most times hopefully for the better, but sometimes it can be divorced from the music in a way.

K.Richards. Life

Отношение к прошлому вещь субъективная.

Предложение поработать два дня в качестве школьного медсестра санитара в школе, находящейся по соседству с той, которую закончил Д., было воспринято им сдержано и с оговорками. Идея просыпаться рано утром и тащиться с рюкзаком в школу не вызывала у Д.  особого энтузиазма в силу свежести еще не обработанной ученической травмы.

Зато Чу просто сияла от счастья, сообщая мне утром, заспанному, о том что она везет Д. в школу, как в добрые старые времена. (В лесу раздавался топор дровосека За дверью раздавались проклятья Д.)

Мне оставалось лишь посочувствовать им обоим.

The Messenger*

Тонкий, тяжелый и очень человечный фильм израильтянина-американца Орена Мовермана о самой тяжелой должности в американской армии**.  Потрясающая игра Вуди Харрельсона (Оскаровская номинация за второстепенную роль в 2011), который, по-моему, является самым интересным персонажем в фильме.

ШШШШ

* Посланник \ השליח

** Когда-то собирал материал и читал лекцию офицерам по работе с пострадавшими в АОИ. Среди присутствующих почти не было мужчин. Хотя я не уверен, что именно они сообщают семьям погибших (и раненных) горькую весть. Судя по фильму, их американские коллеги появляются лишь на втором этапе, для более продолжительной работы с семьями.

Mick sometimes had the use of his parents' Triumph Herald at the weekend, and I remember we went to Manchester to see a big blues show, and there's Sonny Terry and there's Brownie McGhee, and John Lee Hooker and Muddy Waters. He was the one we wanted to see particularly, but also we wanted to see John Lee. There were others, like Memphis Slim. It was a whole revue that was going through Europe. And Muddy came on, acoustic guitar, Mississippi Delta stuff, and played a magnificent half an hour. And then there was an interval and he came back with an electric band. And they virtually booed him off the stage. He plowed through them like a tank, as Dylan did a year or so later at the Manchester Free Trade Hall. But it was hostile--and that's when I realized that people were not really listening to the music, they just wanted to be part of this wised-up enclave. Muddy and the band were playing great. It was a knockout band. He had Junior Wells with him; I think Hubert Sumlin was on there too. But for this audience, blues was only blues if somebody got up there in a pair of old blue dungarees and sang about how his old lady left him. None of these blues purists could play anything. But their Negroes had to be dressed in overalls and go "Yes'm, boss." And in actual fact they're city blokes who are so hip it's not true. What did electric have to do with it? Cat's playing the same notes. It's just a little louder and it's a little more forceful. But no, it was "Rock and roll. Fuck off." They wanted a frozen frame, not knowing that whatever they were listening to was only part of the process; something had gone before and it was going to move on.

K.Richards. Life.

Спешите видеть!

+35

Когда тело только начинает прогреваться после длинной и холодной (израильской \французской \русской \украинской) зимы, тридцатипятиградусный сухой воздух сауны, врывающийся в домашнюю прохладу при открытие окна, не приносит ничего, кроме удовольствия.

Дирижер

Случайно попали на премьеру "Дирижер" Лунгина на РТР. Еще одно качественное российское кино на популярные для местного кинематографа в последнее десятилетие темы отцовства, веры, долга и любви. Действия фильма происходят в Иерусалиме и описывают несколько историй: крестный путь отца, потерявшего сына, детей, лишившихся матери в терракте, супружеской пары в разгаре кризиса в отношениях и исламского террориста-смертника, посылаемого на убийство и смерть собственным отцом. Будучи несведущим в христианской теологии (красной нитью, объединяющей все истории в фильме, звучат "Страсти по Матфею"), поэтому могу лишь рассуждать об увиденном в общечеловеческом контексте. 

 Все персонажи в фильме одиноки и несчастны. Каждый ищет спасение и жертвует ради этого чем-то очень дорогим. Но их жертвы не приносят ожидаемого покоя, обрекая их на  вечные страдания. Персонажи метаются в вечных осях любовь-долг, преступление-наказание, одиночество-признание. Я заметил в фильме только два проявления искренней близости. Первый раз - между дирижером и девушкой израильтянкой, абсолютно не знакомыми и не понимающими языка друг друга. Она проявляет к нему жалость и милосердие, в которых он находит минутное утешение. Второй раз - в отношениях отца и сына - джахида. Первая - рожденная ненавистью, вторая - ненависть порождающая. Оба отца (отец художника и отец шахида) жертвуют своими детьми ради принципов. По-моему, абсолютно неоправданных. (Возможная параллель с И.Х., который был принесен в жертву своим божественным отцом). 

Бог в образе Дирижера выглядит угрюмым, одиноким и несчастным. (Таким же выглядит в фильме и его город). Люди боятся его и он не жалует их своей любовью, за исключением редких моментов скупого милосердия. Он устал, но концерт должен состоятся при любых обстоятельствах. 

Хорошее кино. Заставляет задуматься. Очень професссионально снято. Все персонажи, включая израильтян, очень аутентичны. Ивритоговорящие зрители имели преимущество, понимая тексты на иврите, недоступные остальным.

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