пел ли шансон Джонни Кэш?
www.youtube.com/watch?v=bDktBZzQIiUесть два момента
Кантри и блюз, даже про тяжелую воровскую долю, в Америке не имеют статуса шансона в России: музыки низших слоев общества с недоразвитым вкусом, считающих допустимым (и часто даже оправданным) нарушать закон.
поэтому у нас перетекания, типа как у Эверласта из репа в кантри практически невозможны. не запоет Шевчук "Какая осень в лагерях"
https://www.youtube.com/watch?v=zmt6OyRqb8Aвторое, (западно)европейский человек очень любит академизацию и может сотворить культ из чего угодно, даже из примитивных песен слепых негров. почитайте историю попадания блюза и джаза в Англию. сидеть, одев костюм и затаив дыхание, слушая Моцарта это еще ладно, но с черной музыкой ведь тоже самое произошло. именно западный человек ответственен за еще более отвратительное явление, чем фьюжн: ворлд мьюзик — вкорячивание в народную музыку синтезаторов и прямой бочки.
Дом восходящего солнца был бы воспринят здесь именно как блатная песня и врядли бы попал на пластинку
во времена Утесова полегче было
https://www.youtube.com/watch?v=k-OxMYarQygв 20-е большевики много правды понаписали в мемуарах, а потом цензура и 37-й.
блатную песню отправили в подполье, она теперь в приличных местах даже в качестве guilty pleasure не прокатывает
из автобиграфии Кита Ричардза
"Mick and I must have spent a year, while the Stones were coming together and before, record hunting. There were others like us, trawling far and wide, and meeting one another in record shops. If you didn't have money you would just hang and talk. But Mick had these blues contacts. There were a few record collectors, guys that somehow had a channel through to America before anybody else. There was Dave Golding up in Bexleyheath, who had an in with Sue Records, and so we heard artists like Charlie and Inez Foxx, solid-duty soul, who had a big hit with "Mockingbird" a little after this. Golding had the reputation for having the biggest soul and blues collection in southeast London or even beyond, and Mick got to know him and so he would go round. He wouldn't nick records or steal them, there were no cassettes or taping, but sometimes there would be little deals where somebody would do a Grundig reel-to-reel copy for you of this and that. And such a strange bunch of people. Blues aficionados in the '60s were a sight to behold. They met in little gatherings like early Christians, but in the front rooms in southeast London. There was nothing else necessarily in common amongst them at all; they were all different ages and occupations. It was funny to walk into a room where nothing else mattered except he's playing the new Slim Harpo and that was enough to bond you all together.
There was a lot of talk of matrix numbers. There would be these muttered conversations about whether you had the bit of shellac that was from the original pressing from the original company. Later on, everybody would argue about it. Mick and I were smirking at each other across the room, because we were only there to find out a bit more about this new collection of records that had just arrived that we'd heard about. The real magnet was "Hell, I'd love to be able to play like that." But the people you have to meet to get the latest Little Milton record!
The real blues purists were very stuffy and conservative, full of disapproval, nerds with glasses deciding what's really blues and what ain't. I mean, these cats know? They're sitting in the middle of Bexleyheath in London on a cold and rainy day, "Diggin' My Potatoes"... Half of the songs they're listening to, they have no idea of what they are about, and if they did they'd shit themselves. They have their idea of what the blues are, and that they can only be played by agricultural blacks. For better or worse it was their passion."
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Тема: Творческая импотенция гитаристов России. Причины, расследования (см.стр.102-103) (Прочитано 206514 раз)
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