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Voldar: Куда ж без них?
Voldar: Чё смогу зъим, а остальное понадкусываю. Apple Computer gets familiar Beatles trademark The Beatles' Apple Corps Ltd. is now owned by Apple Computer, according to the Canadian Intellectual Property Office which posted notice on Tuesday that the logo now belongs to the computer company. Other interested parties listed were two companies, Apple Box Productions Sub Inc. and Lovecraft Ltd. The Beatles' Apple Corps Ltd. and Apple Computer were involved in a lengthy legal battle over trademarks beginning back in the 1970s. In May, 2006, a judge ruled in the computer company's favor. This reportedly led to a complete renegotiation of the Apple Corps trademark agreement. In 2007, Apple Computer gained control over all the Beatles' trademarks and won the power to license them back to the Beatles. “We love the Beatles, and it has been painful being at odds with them over these trademarks,”Apple chief exec Steve Jobs was quoted as saying by the New York Times at the time of the settlement. http://www.examiner.com/article/beatles-get-back-familiar-apple-trademark
Voldar: Paul McCartney: Yoko Ono did not break up the Beatles After 50 years, the singer tells David Frost that Brian Epstein's successor was to blame for rock'n'roll's most famous split It was almost 50 years ago and in black and white that a fresh-faced David Frost interviewed a baby-faced Paul McCartney and asked him what the future held. "I'd like to retire soon, and the way things are going I might be able to," said McCartney. Five decades on and neither man has retired, both have reached their 70s, been knighted, and now meet again for one of the longest interviews the former Beatle has ever given. In the hour-long programme to be broadcast on Frost's television show next month, McCartney lets it be known that Yoko Ono did not break up the Beatles, that he remains still a working-class boy despite his fame and fortune, and that his marriage to Heather Mills is not something he likes talking about. His second marriage does not feature in the interview; photographs show only his 1969 wedding to Linda Eastman then jump to his third marriage a year ago to another American, Nancy Shevell. The acrimonious and very public divorce with Mills is not touched upon in what is billed as a unique "in-depth interview". But it is on rock'n' roll's most infamous break-up that McCartney was uncharacteristically outspoken. "She certainly didn't break the group up, the group was breaking up," he says, which may do something to dispel decades of hostility directed at Lennon's widow by diehard fans since the group disbanded officially in 1970. He goes further and says that without Ono opening up the avant garde for Lennon, songs such as Imagine would never have been written: "I don't think he would have done that without Yoko, so I don't think you can blame her for anything. When Yoko came along, part of her attraction was her avant garde side, her view of things, so she showed him another way to be, which was very attractive to him. So it was time for John to leave, he was definitely going to leave [one way or another]." He says he was in retrospect happy with the timing of the end of the Beatles; they left "a neat body of work" so the split "wasn't that bad a thing". But McCartney has not completely mellowed with age. He admits he had found Yoko sitting in on Beatles' recording sessions very difficult, but still reserves bitterness for the late Allen Klein, the businessman who tried to take over the void left when the group's manager Brian Epstein died in 1967. Throwing a mock punch at a photograph of the man's face, he says it was Klein who set McCartney fighting against the others: "I was fighting against the other three guys who'd been my lifelong soul buddies. I said I wanted to fight Klein." He tells Frost it was the loss of their mothers at a young age – McCartney's mum died when he was 14 and Lennon's when he was 17 – that helped shape them into becoming such successful musicians: "That was a big bond with John." He talks too of the loss of Linda, the mother of four of his five children. He admits that despite the family trying everything to hold back the cancer that killed her, he had known from the first diagnosis she would not survive. "The doctors had told me privately that we'd caught it too late, that she'll have about 18 months. And that was what she had." On a happier note, the world's most successful songwriter says his role to his five children, Mary, Heather, Stella and James with Linda and eight-year-old Beatrice with Heather Mills, and eight grandchildren is the most important one of his life. "Being a father, grandfather, is my coolest thing." McCartney is apparently known for only giving 15-minute interviews and he has managed to achieve a great deal of privacy over his personal life throughout his career. This latest meeting between the two British legends is billed as Frost's return to the "Nixon-style" interviews for the TV channel Al Jazeera English, where he has worked since its launch in 2006. The 73-year-old Frost said of the 60-minute episodes, which start on 9 November: "The longer conversation not just allows us to go into more depth, but relaxes interviewees to talk more about their life and work." http://www.guardian.co.uk/music/2012/oct/27/paul-mccartney-yoko-ono-beatles-david-frost
Voldar: Всё таки Пол ну очень хороший коммерсант,как к выходу очередной серии бондианы он выставил на аукцион свой Астон Мартин DB5 1964 года. Конечная цена оказалась почти полмиллиона долларов.Почувствуйте разницу относительно ягуара Тома,который в итоге был куплен за цену в 10 раз меньше. Baby, you can drive my car: Aston Martin once owned by Sir Paul McCartney sells for £307,500 at auction Sir Paul bought the car weeks after The Beatles' appearance on The Ed Sullivan Show in America and filming A Hard Day's Night. The Aston Martin DB5 was delivered to the musician's accountants when it left the factory in July 1964 and became a regular feature of Sir Paul's 1960s lifestyle, according to contemporary records. A profile of the singer in Time magazine on 22 September 1967 noted: "Bachelor Paul, 25 (his favorite (sic) 'bird' is 21-year old actress Jane Asher), is a movie addict, loves 'the look of London', and tools around town in a spiffy blue Aston Martin DB5". It is believed Sir Paul eventually sold the car in 1970, having racked up 40,513 miles on the clock, according to service records. He has owned a number of other Aston Martins since. George Harrison also owned a DB5 model, which sold for 464,000 US dollars in 2007, which would be £288,000 according to today's exchange rate. http://www.mirror.co.uk/news/uk-news/sir-paul-mccartney-aston-martin-1410870
ТНЮ: Voldar пишет: Всё таки Пол ну очень хороший коммерсант,как к выходу очередной серии бондианы он выставил на аукцион свой Астон Мартин DB5 1964 года. барыга
Goldenday: Надо ж Полу как-то восстанавливать свой капитал после последнего развода. Все способы хороши, иначе это был бы уже не Маккартни.
Voldar: На кпнемо как то почти в одно время вышло три релиза ,которые имеют некоторое отношение к битловской музыке.Интересно,что в отличие от множества коллективов просто исполняющих музыку битлов,тут пошли несколько дальше.Одна команда называется - Vinyl Kings,вот что нашел про неё релизер: Наследие THE BEATLES в надёжных руках. Удивительно, насколько точно этот английский квинтет все стилистические и композиторские находки ливерпульской группы на все времена осмыслил и воспроизвёл. Слушаешь эти песни, и тут же возникают ассоциации (именно ассоциации, а не ощущение плагиата!) с битловскими вещами различных периодов. И представляется, как органично и безболезненно они бы вписались в различные альбомы THE BEATLES. Послушав альбомы (а их у группы уже два) сэр Пол Маккартни пришёл в восторг и благословил группу на последующие подвиги. А также горячо порекомендовал всем поклонникам легендарной группы активно совершать поездки на изобретённой современной бит-группой VYNIL KINGS машине времени. Выпущено два альбома. Vinyl Kings - A Little Trip - 2002 http://www.kpnemo.ws/music/2013/01/31/Vinyl_Kings_A_Little_Trip2002/#full Vinyl Kings - Time Machine - 2005 http://www.kpnemo.ws/music/2013/01/31/Vinyl_Kings__Time_Machine2005/#full Честно говоря,что то не очень вдохновило,а вот второй вариант использования битловского наследия,если откинуть всякую потустороннею ерунду ,вроде ничего.Описаловку можете почитать прямо на странице релиза. The Beatles - Everyday Chemistry - 2009 http://www.kpnemo.ws/music/2013/02/02/the_beatles_nikogda_ne_raspadalis/#full
chimike: 1970 апрель 9 Пол Маккартни официально объявляет о невозможности дальнейшего сотрудничества с Джоном Ленноном ...................................... группы больше не существует
Voldar: Битлс - был проект ЦРУ и МИ6,ну я так подумал когда статейку прочитал.. For young Soviets, the Beatles were a first, mutinous rip in the iron curtain The band inspired dissidents and musicians and, a new book claims, meant more to youth in the USSR than in the west Crossing the famous Finland station in Leningrad one day in the early 1960s, Kolya Vasin was stopped by a policeman who had spotted his long hair. "You are not a Soviet man!" charged the officer. "And he grabbed my hair," recalls Vasin, who was then hauled across a platform while dozens of people laughed. "I was crying from the pain, but I had to keep silent. I was afraid the man would drag me off to prison." Vasin was a diehard Beatles fan. The Beatles' music had given him, he said "all the adventures of my life", for which "I was arrested many times, accused of 'breaching social order'. They said anyone who listened to the Beatles was spreading western propaganda." More than that, in the USSR, the Fab Four "were like an integrity test. When anyone said anything against them, we knew just what that person was worth. The authorities, our teachers, even our parents, became idiots to us." Around this time, in Britain in 1962, a young Russian speaker from Yorkshire called Leslie Woodhead joined Granada TV in Manchester as a junior researcher, whose job included "persuading … local officials or champion knitters" to appear on a programme called People and Places. One week, a show featuring a brass band needed a further item. "There are these kids making a lot of noise in a cellar in Liverpool," advised a fellow researcher. "They haven't made any records yet." Woodhead duly met them for a drink, and shot the first film of them playing – a lunchtime gig at the Cavern – but transmission was delayed because of a problem with the brass band's union fees. Instead, Woodhead urged his producers to allow the Beatles into Granada's studio, and play on live TV for the first time. They sang Love Me Do and Some Other Guy. Four months later, they reached No 1 with Please Please Me. Despite Woodhead's part in Beatles history, it was not the band's story in north-west England – where he still lives – but in the Soviet Union that became, Woodhead says, "an essential narrative of my times", and that propels his effervescent new book, How the Beatles Rocked the Kremlin. This tells the remarkable story of precisely how and why, as Woodhead explains, "the Beatles came to mean more, and were more important, to that generation of Soviet youth than they were here, or in America – for several reasons". The book's main character, the Russian writer and critic Art Troitsky, makes the claim that: "In the big bad west they've had whole huge institutions that spent millions of dollars trying to undermine the Soviet system. And I'm sure the impact of all those stupid cold war institutions has been much, much smaller than the impact of the Beatles." A grand assertion, maybe – but widely shared. "Beatlemania washed away the foundations of Soviet society," explains Mikhail Safonov at the Institute of Russian History. And the Russian rocker Sasha Lipnitsky – snowflakes falling on his beret as he talks to Woodhead in a park bandstand – insists: "The Beatles brought us the idea of democracy. For many of us, it was the first hole in the iron curtain." All this became Woodhead's story, too. Before joining Granada, Woodhead had undergone his national service by eavesdropping on radio traffic between Soviet pilots at an airbase near Berlin. He later went on to become the documentary film-maker who, more than any other, recorded – often clandestinely and at risk – the anti-Stalinist underground in eastern Europe, and its eruptions during the late 1980s and early 1990s. Since then, Woodhead has often travelled through the new Russia to explore the Fab Four's role in the unravelling of a superpower. And of course, among his first ports of call was Kolya Vasin – yellow submarine on the wall of his apartment full of Beatles memorabilia and a cat called Hey Jude. There are so many others – rock musicians, eccentrics, writers, dissidents – of the same vintage, with different stories to tell, but all variations on the theme. "There was not a band anywhere in the Soviet Union", says Woodhead, "that did not start life as a Beatles tribute band." The rock musician Boris Grebenshchikov was eventually allowed to cut an album, first with the official Melodiya label, then with CBS in America, after a concert in Leningrad with Dave Stewart of Eurythmics. He speaks of the Beatles with a "mystical musing" that Woodhead says he could not tolerate in any other context. Andrei Makarevich formed a Beatles-inspired band called Time Machine , who became huge in Russia from the 1970s – only to be later denounced as "un-Russian", "advocates of indifference" – and who remain iconic today. Indeed, the repression and harassment of the music ebbed and flowed as the party controls lapsed or intensified. "It went in waves: sometimes you could be approved for an official recording, and sometimes you were banned, losing your job or education. It must have driven them insane," says Woodhead. He not only excavates the minds of the rebels but also the propaganda machine at work. He recounts how a school staged a mock trial of the Beatles – broadcast on radio – with a prosecutor and denunciations in the manner of Stalin's show trials of the 1930s. A critical bulletin shown on state TV, entitled Pop Quartet the Beatles, told the story of how "these gifted guys could be real cash earners" while, "struck down with psychosis, the fans don't hear anything any more. Hysterics, screams, people fainting!" So ran the TV commentary, accompanied by shots of dancing fans intercut with images of the Ku Klux Klan and dire poverty in the American south. "Keep on dancing, lads, don't look around," the programme taunted, "You don't really want to know what's happening. Keep going, louder and faster! You don't care about anyone else." As Woodhead points out, to Beatles fans in 1970s Russia, "Everything west was good. The kids came to believe the exact opposite of everything they were being told all those years. Whatever the authorities said was terrible was bound to be wonderful." Moreover, Woodhead says: "Once people heard the Beatles' wonderful music, it just didn't fit. The authorities' prognosis didn't correspond to what they were listening to. The system was built on fear and lies, and in this way the Beatles put an end to the fear, and exposed the lies." "The more the state persecuted the Beatles," concurs Mikhail Safonov, "the more they exposed the falsehood and hypocrisy of Soviet ideology." Looking through the other end of the telescope, it is enlightening to find what the Soviet authorities approved of. They "positively encouraged" disco music – the Bee Gees' Saturday Night Fever, Abba and Boney M (though Rasputin was officially banned) – because, says Woodhead, "it was musically rigid and could be contained within the dance floor, it wasn't going to spill out on to the streets". A concert by Santana and Joan Baez was cancelled, leading to what Russian history calls the "Rock Riot", crowds dispersed with water cannon and smoke grenades. But, writes Woodhead: "The culture commissars were untroubled by Elton John's Song Book." At Boris Grebenshchikov's concert of 1988, however, Woodhead observes how, "looking out over the kids from the best seats set above the crowd, officials and party bosses sat stiff and uneasy, spectators at a revolution they could not control". Among Woodhead's themes is that, unlike the Beatles themselves, their insurgent followers in the USSR came from families of the cultural and even political elite: Makarevich's father was a respected architect permitted to travel to the west; Lipnitsky's grandfather interpreted meetings between Nikita Khrushchev and John F Kennedy; one rocker called Stas Namin was the grandson of a former prime minister, and friend of the great composer Dmitri Shostakovich. The Beatles' imprint on even post-communist Russia is deep and enduring – a punk band called the Oz belts out Working Class Hero and Crippled Inside. And Woodhead's story is woven through with the ironies of "liberation" from communism; at a deeper level this is a book about all rock'n'roll – protest and pop, indeed – not just the Beatles in Russia. At first, Soviet fans tried to cope as their home-grown but Beatles-inspired idols were tempted, argues Woodhead, by co-operation with the state – only to watch them try to assert themselves in a capitalist west that was entirely indifferent to their work. "Boris Grebenshchikov toured America, and he was a complete non-event there," says Woodhead, "after which, it took him years to recover the esteem of his Russian fans. But then, we in the west are completely unaware of this history. It doesn't help that a bunch of Soviets are singing in Russian what we think of as our music – but there's obviously a great deal of cultural arrogance on our part." More serious was the eagerness with which capitalism devoured – and was devoured by – Russian society: Woodhead describes Paul McCartney's concert in Kiev, sponsored by an oligarch colossus, just as his famous performance in Red Square, Moscow (at which Vladimir Putin chatted with Makarevich of Time Machine) had been promoted by Alfa-Bank. "Wasn't that a perfect 21st-century deal between rock, money and politics?" writes Woodhead. In Kiev, he sees crowds shelter from a downpour under Coca-Cola umbrellas and girls on stilt heels flocking to hear McCartney via the shopping mall "in pursuit of pink fripperies". Then, "surrounded by heavy security guards", he reflects, in our conversation, "I found myself asking, is this the Russia these kids inherited from those utopian expectations? Well, yes it is; it opened the Pandora's box." "I used to struggle against the cops," laments Kolya Vasin, "now I struggle with these fools who do business and worship the dollar." Then there was that realisation that the west was not the opulent land of stretch limousines it was presumed to be. Some of Woodhead's cast know this; one even has a copy of Back in the DHSS by another Liverpool band, Half Man Half Biscuit. Makarevich was surprised and appalled to find, upon finally making his pilgrimage to Merseyside, that it was so "small and poor". "We were, and still are, exponentially wealthier than they," says Woodhead. "But when did they realise that we're as fucked as they are? Not until after the end of communism." Why the Beatles? There is no hint of the Rolling Stones or the Who in all this. In Czechoslovakia, the underground was being inspired by dark dissonance in the Velvet Underground and Frank Zappa. "I think the Czechs had that recent memory of democracy, before the war," reflects Woodhead. "And their culture has roots in Kafka and the surreal. But Soviet taste was more melodic, they like tunes above all, even a little sentiment, verging on the beautiful – and there, I'm describing a McCartney song, not hypersexual rock'n'roll, or Street Fighting Man. "It was also the right music at the right time. There had been this moment of Gagarin in space, the possibility that the Soviets may even win the cold war. Then it just fell to bits, and in the fear and disappointment, and as they said themselves: they 'needed the vitamins', and the vitamins were provided by the Beatles' music." http://www.guardian.co.uk/music/2013/apr/20/beatles-soviet-union-first-rip-iron-curtain
Voldar: Вот до чего вегетарианство доводит - Макара в Бразилии чуть саранча не съела. На Пола Маккартни налетела саранча Во время концерта в Бразилии прямо на сцене певца атаковала стая саранчи. Бывший участник The Beatles, известный своей любовью к животным, спокойно продолжил концерт. Как написано на официальном сайте исполнителя, «одно время Пол был покрыт саранчой с головы до ног». Насекомых, видимо, привлек яркий свет прожекторов – за несколько минут сцену облепили тысячи особей. Сам Маккартни стойко вытерпел такое нашествие насекомых, продолжая играть на пианино и петь. Музыкант даже приласкал одного из них. «Посмотрите на моего маленького друга, — сказал певец публике, указывая на саранчу у себя на руке. – Его зовут Гарольд! Скажи что-нибудь людям, Гарольд!» На концерте Маккартни в городе Белу-Оризонти собрались порядка 47 тыс. зрителей. Шоу в Бразилии проходило в рамках турне певца «Out There! Tour». http://the-day-x.ru/na-pola-makkartni-naletela-sarancha.html
Voldar: В другой теме,но в этом же разделе Миша нам уже обозначил мнения о новом во всех отношениях альбоме Пола,но в общем то можно и самим поделиться.Послухать уже можно здесь: http://music.yandex.ru/#!/album/1606296
Goldenday: Я днём послушал весь альбом целиком. Пока даже не пойму: радоваться или плакать.
Voldar: Димыч,я вот тоже в затруднении,хотя послушал уже 3 раза.Ну и всё таки молодец Пол,тряхнул стариной ,причем похоже не только своей.Такое впечатление собирал по сусекам своей памяти,ну и насобирал где от себя,где от Джона,где от Джоржа,а местами и Джефф с Томом. Мне больше всего понравилась On My Way To Work,да вот мучают сомнения про доктора Шпака,ну типа два магнитофона....,если никому не напомнит одну песню весьма известного коллектива,то наверно я ошибаюсь. В конце тоже 2 песни Turned Out и Get Me Out Of Here ,ну прямо как будто наши вилбуристые парни написали,только первая скорее Джорж с Джеффом,а вторая чистый Дилан.
ТНЮ: А что именно у тебя вызывает желание прослезиться? Ты ожидал от Сэра чего-то большего?
Goldenday: Goldenday пишет: Пока даже не пойму: радоваться или плакать. После третьего прослушивания решил, что порадуюсь. С утра вторично послушал "New", затем "Memory Almost Full", следом "Chaos and Creation in the Backyard", и снова "New". Не знаю, лучше ли "New" предыдущих альбомов, но не хуже точно. С ранними работами Пола сравнивать не стану: поздний Пол - всё же немного другое, но некоторые песни действительно вызывают хорошую, добрую ностальгию. Больше всего, однозначно, понравилась "Scared" - очень пронзительно и трогательно, причём, минимальными средствами. "Get Me Out Of Here", как заметил Володя, чистый Дилан. Согласен... И возможно, что-то ещё, очень знакомое, приблюзованное, вызывающее ассоциацию с разными композиторскими работами в этом стиле. Насчёт "Turned Out" соглашусь, что очень похожа на стиль Джорджа, но всё же без участия Джеффа: по моим ощущениям, у Джеффа с Джорджем всё немного поплавнее, певуче, не так заковыристо, как местами у Пола, плюс подпевки, слайд-гитара и пр.
Voldar: Ну вот ничего не могу с собой поделать ,но когда слушаю Queenie eye ,жду что сейчас вступит Джон и заорет I am the Walrus,в общем полная моржатина.А вот с On My Way To Work поинтереснее,уберите проигрыш перед припевом и послушайте пинк флоидовский взрыв мозга,то бишь Brain Damage с Dark Side Of The Moon .
Goldenday: Voldar пишет: когда слушаю Queenie eye ,жду что сейчас вступит Джон и заорет: I am the Walrus В самую точку, Володь! "Гу-гу, гу-чу"! У меня те же ощущения от вступления. Вообще чисто битловская песня как по духу, так и по саунду. (Насчёт Brain Damage: ещё не сравнивал, пока не пойму... )
chimike: мне понравился Дим на торренте он в премиум эдишн уже
ТНЮ: Послушала неделю назад альбом, в целом показался удачным. Всего более понравилась резвая "Queenie Eye". Вот, нашла рецензию на "New" клик
chimike: новый релиз бутлегов http://www.nme.com/news/the-beatles/74378
chimike: 55 best http://vm.ru/news/2014/01/15/cherez-vselennuyu-55-znamenitih-pesen-the-beatles-231075.html
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