Наткнулся на интересное исследование института Галлопа (2009) корреляции между религиозностью и уровнем жизни стран мира.
Очевидно и не невероятно.
суббота, апреля 28, 2012
Jim Dickinson: They started running down "Brown Sugar" the first night, but they didn't get a take. I watched Mick write the lyrics. It took him maybe forty-five minutes; it was disgusting. He wrote it down as fast as he could move his hand. I'd never seen anything like it. He had one of those yellow legal pads, and he'd write a verse a page, just write a verse and then turn the page, and when he had three pages filled, they started to cut it. It was amazing!
If you listen to the lyrics, he says, "Skydog slaver" (though it's always written "scarred old slaver"). What does that mean? Skydog is what they called Duane Allman in Muscle Shoals, because he was high all the time. And Jagger heard somebody say it and he thought it was a cool word so he used it. He was writing about literally being in the South. It was amazing to watch him do it. The same thing happened with "Wild Horses." Keith had "Wild Horses" written as a lullaby. It was about Marlon, about not wanting to leave home because he'd just had a son. And Jagger rewrote it, and it's, perceptibly, about Marianne Faithfull, and Jagger was like a high school kid about it and he wrote the song about her. He took a little more time with it, but not much more, maybe an hour.
The way he did it, Keith had some words and then he grunted and he groaned. And somebody asked Mick, do you understand that? And Jagger looked at him and said, of course. It was like he was translating, you know?
They were unbelievable, the raw vocals. They both stood at the microphone together with the fifth of bourbon, passing it back and forth, and sang the lead and the harmony into one microphone on all three songs, pretty much as quick as they could do it on the last night.
from K.Richards. Life
пятница, апреля 27, 2012
Шабат шалом!
Тельавивская группа"Наарот Райнес" ("Девушки Райнеса") интересна не только своим рок-н-роллом, но и названием. Согласно википедии их название взято из "Всемирного словаря разговорного иврита" Дана Бен-Амоца и Нативы Бен Йеуда и относится к непривлекательным девушкам, во время прогулок с которыми их кавалеры избегают показываться с ними на людной улице Тель Авива - Дизенгоф и выбирают параллельную и более тихую Райнеса. Их песня "Байт ахарон" ("Последний дом\куплет") из последнего альбома, вышедшего в этом году:
Blunderbuss
Есть некоторое сходство между творчеством Кита Ричардса и Джека Вайта - оба растут из блюза, оба развивают его в новые формы без ширпотреба и шмальца. В этом треке инструменты звучат raw - в исходном, непричесанном виде и переплетаясь, создают нечто прекрасное. (Любители гармонии будут возражать.)
Очень сильный и ровный альбом. (Thanx V.Jr)
ШШШШ
It was just a terrible fucking day and it was storming out there. I was sitting there in Mount Street and there was this incredible storm over London, so I got into that mode, just looking out of Robert's window and looking at all these people with their umbrellas being blown out of their grasp and running like hell. And the idea came to me. You get lucky sometimes. It was a shitty day. I had nothing better to do. Of course, it becomes much more metaphorical with all the other contexts and everything, but at the time I wasn't thinking about, oh my God, there's my old lady shooting a movie in a bath with Mick Jagger. My thought was storms on other people's minds, not mine. It just happened to hit the moment. Only later did I realize, this will have more meaning than I thought at the time. "Threatening my very life today." It's got menace, all right. It's scary stuff.
K.Richards. Life
четверг, апреля 26, 2012
Motown
Подсел на музыку Motown, квинтэссенцией которой является для меня саундтрек тарантиновской "Джеки Браун". Слушаю сегодня "Standing in the shadows of love" и жду что вот-вот затяну вместе с ними "I'll be there ...". Ан нет! Не приходит. Так и остался сидеть с открытым ртом.
Оказалось, что это совсем другая история:
Исполнители те же.
Апрельские тезисы (по Бени)
Право первого тоста за праздничным столом по случаю Дня Независимости по традиции принадлежит Бени - главному ватику* нашей компании. Он в Израиле с 70х. Заслужил. Вчера он погрузил всех своим тостом в депресняк, рисуя перед нами апокалипсические картины будущего и призывая присутствующих к активным действиям ради противостояния тикающей демографической бомбе - растущей доле ортодокальных иудеев в населении страны. В программе действий Бени были два варианта: политический и демографический. Особое ударение он делал на последнем. Мы с Чу были самыми младшими в компании и наш сын только демобилизировался из армии. Делать детей прямо сейчас и на пустой желудок никто не желал. Даже хозяева - родители троих детей. Может после шашлыков.
Были предложения отстреливаться внуками. Но не сразу - надо дать детям возможность погулять и получить высшее образование.
Бени оставался серьезен и на наши шутки реагировал болезненно. Пришлось пить. Еще никогда водка не казалась такой сладкой. (И я не говорю о той "детской" со вкусом зеленого яблока, которую пила бабушка.)
С Днем Независимости, сограждане! No pasaran!
* ветеран (ивр.), так называют людей, много лет проживающих в Израиле.
среда, апреля 25, 2012
It's to do with roll
There's something primordial in the way we react to pulses without even knowing it. We exist on a rhythm of seventy-two beats a minute. The train, apart from getting them from the Delta to Detroit, became very important to blues players because of the rhythm of the machine, the rhythm of the tracks, and then when you cross onto another track, the beat moves. It echoes something in the human body. So then when you have machinery involved, like trains, and drones, all of that is still built in as music inside us. The human body will feel rhythms even when there's not one. Listen to "Mystery Train" by Elvis Presley. One of the great rock-and-roll tracks of all time, not a drum on it. It's just a suggestion, because the body will provide the rhythm. Rhythm really only has to be suggested. Doesn't have to be pronounced. This is where they got it wrong with "this rock" and "that rock." It's got nothing to do with rock. It's to do with roll.
K.Richards. Life
Flash
"Flash!" Shit, what a record! All my stuff came together and all done on a cassette player. With "Jumpin' Jack Flash" and "Street Fighting Man" I'd discovered a new sound I could get out of an acoustic guitar. That grinding, dirty sound came out of these crummy little motels where the only thing you had to record with was this new invention called the cassette recorder. And it didn't disturb anybody. Suddenly you had a very mini studio. Playing an acoustic, you'd overload the Philips cassette player to the point of distortion so that when it played back it was effectively an electric guitar. You were using the cassette player as a pickup and an amplifier at the same time. You were forcing acoustic guitars through a cassette player, and what came out the other end was electric as hell. An electric guitar will jump live in your hands. It's like holding on to an electric eel. An acoustic guitar is very dry and you have to play it a different way. But if you can get that different sound electrified, you get this amazing tone and this amazing sound. I've always loved the acoustic guitar, loved playing it, and I thought, if I can just power this up a bit without going to electric, I'll have a unique sound. It's got a little tingle on the top. It's unexplainable, but it's something that fascinated me at the time.
In the studio, I plugged the cassette into a little extension speaker and put a microphone in front of the extension speaker so it had a bit more breadth and depth, and put that on tape. That was the basic track. There are no electric instruments on "Street Fighting Man" at all, apart from the bass, which I overdubbed later. All acoustic guitars. "Jumpin' Jack Flash" the same. I wish I could still do that, but they don't build machines like that anymore. They put a limiter on it soon after that so you couldn't overload it. Just as you're getting off on something, they put a lock on it. The band all thought I was mad, and they sort of indulged me. But I heard a sound that I could get out of there. And Jimmy was onto it immediately. "Street Fighting Man," "Jumpin' Jack Flash" and half of "Gimme Shelter" were all made just like that, on a cassette machine. I used to layer guitar on guitar. Sometimes there are eight guitars on those tracks. You just mash 'em up. Charlie Watts's drums on "Street Fighting Man" are from this little 1930s practice drummer's kit, in a little suitcase that you popped up, one tiny cymbal, a half-size tambourine that served as a snare, and that's really what it was made on, made on rubbish, made in hotel rooms with our little toys.
That was a magic discovery, but so were these riffs. These crucial, wonderful riffs that just came, I don't know where from. I'm blessed with them and I can never get to the bottom of them. When you get a riff like "Flash" you get a great feeling of elation, a wicked glee. Of course, then comes the other thing of persuading people that it is as great as you actually know it is. You have to go through the pooh-pooh. "Flash" is basically "Satisfaction" in reverse. Nearly all of these riffs are closely related. But if someone said, "You can play only one of your riffs ever again," I'd say, "OK, give me 'Flash.' " I love "Satisfaction" dearly and everything, but those chords are pretty much a de rigueur course as far as songwriting goes. But "Flash" is particularly interesting. "It's allllll right now." It's almost Arabic or very old, archaic, classical, the chord setups you could only hear in Gregorian chants or something like that. And it's that weird mixture of your actual rock and roll and at the same time this weird echo of very, very ancient music that you don't even know. It's much older than I am, and that's unbelievable! It's like a recall of something, and I don't know where it came from.
K.Richards. Life
вторник, апреля 24, 2012
День памяти
Yeah, that’s what we don’t wanna hear anymore, alright?
(No bullets)
At least here, huh huh
(No guns, no bombs)
Huh huh
(No nothin’, just let’s all live and live)
(You know, instead of killin’)
понедельник, апреля 23, 2012
Beach boy
В тесных рядах международного пролетариата пополнение. Сегодня (рано) утром Д. заступил на вахту в качестве санитара на герцлийском пляже. Ежедневно с 7 утра до 5 вечера.
+ работа "не бей лежачего", возможность учиться, читать и отсыпаться, располагающая рабочая среда.
- необходимость рано вставать, комната без кондиционера и холодильника, минимальная зарплата
воскресенье, апреля 22, 2012
Street View: Israel
Google открыл возможность виртуально пройтись по улицам больших израильских городов с помощью Google Street View. К сожалению наша деревня пока не стритвьюзирована.
Брухим абаим! Добро пожаловать!
Снилось ...
что гулял в каких-то необыкновенно красивых местах. Много фотографировал. И вдруг, в момент, когда сделал лучший в своей жизни снимок (яркая природа и какие-то интересные строения), мой миниатюрный фотоаппарат выскользнул из руки и упал вниз, в воду под мостом, на котором я стоял. Я был преисполнен горечи и досады по поводу потери относительно нового и хорошего фотоаппарата и очень удачных снимков, которые неизвестно когда я смогу повторить (места не здешние). Был очень рад, когда понял, что это - сон и фотоаппарат на месте.
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