В "Ровеснике" пока тихо.

Номер Два за 2002-й.

Материалы о "Метелице" (Metallica), Би Джиз (не Би-2, ну Вы знаете), Элтоне Джоне.

В обзоре фильмов - "Властелин Колец", к нему же и постер.

Только из-за Битловостей покупать, наверное, не стОит, так как ВОТ ОНИ ВСЕ:


ПОЛ МАККАРТНИ, его дочь модельер Стелла МАККАРТНИ, актриса ТВИГГИ, музыканты Лайэм и Ноэл ГАЛЛАХЕРЫ, а также певец Том ДЖОНС обратились к правительству Великобритании с призывом «Положить конец бесчеловечной английской традиции охоты на лис»! По мнению авторов обращения, «эта традиция давно уже изжила себя, ее жестокость выходит за пределы человеческого воображения». В открытом письме Кабинету министров Англии сэр Пол так прокомментировал свою очередную акцию гуманизма и доброй воли: «Мы мечтаем жить в стране, где причинять боль и страдания диким животным в ходе псовой охоты будет считаться противозаконным. Большинство англичан согласны с тем, что такого рода действия жестоки, бессмысленны и давно изжили себя».

КРАТКОСТЬ, КОТОРАЯ СЕСТРА
В марте этого года независимая американская фирма грамзаписи Simball Records выпускает сборник песен «45 Seconds Of», чья продолжительность не превышает 45 секунд. В сборник войдут 99 вещей, в том числе всяческие intro и outro известных групп, а также произведения таких музыкантов, как Chicks On Speed, Hood, Лали Пьюна, Electric Birds, Safety Scissors и Mannequin Lung. Единственная проблема, с которой пока столкнулись составители альбома, - включение в подборку «битловской» версии «Maggie Мае» с пластинки «Let It Be»: несмотря на то, что песня эта народная, авторские права на ее 40-секундную аранжировку принадлежат то ли The Beatles, то ли Майклу Джексону, то ли вообще никому. Как признался Ринго СТАРР, к которому составители обратились за советом, «по мне, так пойте все подряд, но я вам этого не советовал».

ДЖОРДЖ ХАРРИСОН О БЫТОВОМ ОБСЛУЖИВАНИИ НАСЕЛЕНИЯ
«По-видимому, The Beatles что-то значили в 60-е, но те люди, для кого мы имели значение, давно выросли. Лично я воспринимал распад нашей группы как потерю отличной, очень хорошо оплачиваемой работы, хотя ближе к концу я уже не был уверен, что играю в The Beatles, не был уверен, что наши действия назывались творчеством: это больше походило на очередь злобных домохозяек в прачечную».

И ДОБАВКА:
«В следующем номере «Ровесника» мы публикуем одно из последних интервью Джорджа Харрисона, - это очень ироничный и трогательный рассказ о том, чего широкая публика никогда о Джордже не знала».

О как!

Unseen Interview with George Harrison - 1997

Shortly after work finished on The Anthology, The Beatles' confidante and press officer Derek Taylor sat down and interviewed the group individually - asking them the questions that no-one else dared.

As part of MOJO4music's tribute to George Harrison, we publish the full transcript of his conversation with the most thoughtful and spiritual Beatle, an extract of which was printed in MOJO 83.

Derek Taylor: Ringo says The Beatles were never a problem but sometimes the individual members were. Do you agree? That the individuals had difficulties but they were always lost once the Beatles started being the Beatles in the studio, on stage...

George Harrison: It was easier in the early days because it was fresh, we were fresh and we were more taken in by the whole thing. Once you get there then the whole object of the media is to start trying to kill you off. But as it got to the mid-'60s and we all needed different things it became less cohesive and towards the end, particularly from The White Album to the end of Let It Be, it was terrible, horrendous, not enjoyable at all.

D: When you came back from India on your own, full of energy, a consciousness you only got in India, and then sudddenly you were back in EMI, back into recording...

G: Well, that time it was a bit of a jolt but the worst time was after the long three-month trip in Rishikesh. The whole process I'd been through in india of, um, refining my conciousness, and then to be thrust back in at the time Apple started, it was like coming back to a circus. Apple was already out of control when I got back from India and it just went worse and worse until it exploded.

D: In one of the scenes before the concert on the roof you say, 'I don't want to go up, you know, by the chimneys with all those people.' Apple was definitely 'all those people', never really any place you could find peace.

G: Yeah, because the conflict for me was as long as you're a so-called person in the public eye there's always going to be a conflict between a private, quiet side and being on view to the whole world. From the late 60s I'd had enough of being famous. There's bigger villains and rascals in industry and business and government who deserve to be shoved on the front of tabloid newspapers [rather than] some innocent pop musicians. We'd arrived at that level where we were notorious, like the Great Train Robbers. The commotion that was created by the media was just childish and pointless and was interfering with my life because that isn't me, that aspect isn't me, as I've said many times.

D: I'm not this body...

G: Well, I'm sure you know that whole thing about The Beatles being like a suit that you are for a period of time and then you take it off and people still mistake me for being that suit. It's easier now because you know there's other people possessed by the tabloids, like the Royal Family and Oasis who want to give them the two fingers.

D: Are you flattered by all the new guitar groups who are citing The Beatles as an influence.

G: Well, I do prefer these young bands that are playing guitars and drums and stuff as opposed to the techno music which I think is largely made by people who aren't musical but who just have a sense of, um, computers and also that music is very disturbing to the nervous system, just dangerous for your head and your physical body apart from being trite and, you know, having no meaning other than just to jump about on the dance floor. But the funny thing about Oasis is that they're into this album called Wonderwall that was based on an album I made for a soundtrack and, um, the naughty bloke from Oasis, what's his name?

D: Liam...

G: ...Gallagher. I mean, he reckons he's into All Things Must Pass more than The Beatles. That's nice. It's flattering.

D: When Paul was looking back over the second part of it all, 1966, deciding not to tour he said he saw most of the decisions [in the Beatles] as fairly OK... you got out of touring, into the studios for Sgt. Pepper, and then it was out of '67 and Brian's death and into Rishikesh and then out of Apple into Abbey Road so that in the end he wouldn't change much. How do you feel about that?

G: No, at the time it was happening it wasn't easy because there was always the conflict of what we should do. Hindsight is a good thing but you had to fight for it. I was talking about not touring at least a year before saying, 'I can't stand this.' It was just so dangerous, like The Philippines and Japan and Chicago and all these riots. And even that thing with Ringo when he had to go to hospital. Any normal people would have said OK, we'll push everything back a week and instead there were people like Vic Lewis saying, 'Oh no, you know you are going on tour mate!' with some stranger who doesn't know what's happening. It was ridiculous.

D: There's a terrific theme now, from revisionists, that the '60s were a great disaster, nothing was achieved, it all came to nought. How would you feel about the '60s looking back yourself.

G: Well, if you look at the positive things that came out of it there was a lot of good music and art and dance and fashion and all that stuff. You know, where would the music industry be? There's billions and billions of dollars worth of business all based upon those people from the '60s. We helped create the record industry. It used to be the record business, now it's the record industry.

Прочитала я интервью в мартовском номере "Ровесника" Он уже вышел. И сравнила с оригиналом, тоесть тем интервью с которого делали перевод.Почему-то из интервью вырезали многие высказывания, оставили самые негативные. Некоторых вещей в оригиннале я вобще не нашла. Получается что это фантазия переводчика. Если кому интересно, то я могу кинуть на форум английскую версию.

Lenna
Дико разочарован давно любимым журналом !!!
Эту кастрацию следовало назвать "выдержки" , но никак не "последнее интервью"...