Tag Archives: in other words

Música

Mr. Waldheim

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Siempre he escuchado esta canción (Good evening Mr. Waldheim) sin prestarle demasiada atención:

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Un principio rompedor, un ritmo (bajo y guitarra) que engancha, la voz profunda de Lou Reed, reconocible y sin apenas sentimiento (marca de la casa). Una canción divertida, animada.

Cuando he dicho “sin prestarle demasiada atención”, en realidad me refería a la letra (y cuando me refiero a ayer me refiero a hoy). Good evening bla bla… yes, it is true…bla bla bla

Hasta el otro día, que me dio por buscar quién era ese Waldheim, si es que era alguien, y de ahí, por su propio peso, a toparme con el resto de la letra, que no tiene desperdicio.

Antes de nada, no hay que olvidar que Lou Reed es de origen judío. Ni tampoco que

Hy·mie (hm)
n. Offensive Slang
Used as a disparaging term for a Jew.

Esta palabreja, hymie, no aparece en la letra en sí pero, si escarbáis un poco nada más por los enlaces que he dejado por el camino, os daréis de bruces (pringsteen) con ella.

Y una última cosa: ¡cuánta mala baba!
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Música

Je… Je… Jesus

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Seguramente más de uno de los que me conocen me hayan escuchado alguna vez hablar de GG Allin. Para el resto, sólo puedo advertirles de que los sigiuentes vídeos no son para todos los públicos.

El primero de ellos dura unos seis minutos y medio. En él podemos ver, entre otras cosas, cómo le gusta a GG celebrar sus cumpleaños:

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El segundo vídeo dura casi cuatro minutos. Aquí podemos ver cómo se las gasta con su público si no acaban de creerle cuando dice que va a suicidarse:

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Son dos fragmentos del documental Hated, sobre este sociópata punki. El resto del documental no tiene desperdicio alguno. Ya sabéis: sus conciertos no duraban más de una canción, se pegaba con los espectadores, les lanzaba sus propias heces después de habérselas extendida por toda la cara… Lo habré contado mil veces. O sea que, si os lo podéis bajar, os lo recomiendo. Yo lo he visto vía web, pero ya lo han quitado, por eso no pongo el enlace.

En definitiva, GG Allin es la esencia del punk. Un puto animal de escenario que continúa siéndolo al bajarse de él. Por decirlo con otras palabras, las del asesino en serie John Wayne Gacy:

GG Allin is an entertainer with a message to a sick society. He makes us look at it for what we really are. The human is just another animal who is able to speak out freely, to express himself clearly. Make no mistake about it, behind what he does is a brain

Música

Kiss my ass

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Gene Simmons, famoso componente de KISS, no se entera de nada. Pero de nada, nada. En esta entrevista se pone a decir chorradas y no hay quien lo pare. Por ejemplo:

The record industry is in such a mess. I called for what it was when college kids first started download music for free — that they were crooks.

Ahí. Haciendo amigos. Pero el tío sigue:

Every little college kid, every freshly-scrubbed little kid’s face should have been sued off the face of the earth. They should have taken their houses and cars and nipped it right there in the beginning. Those kids are putting 100,000 to a million people out of work.

¡Qué malos malosos son! Y también están acabando con el ecosistema y matando de hambre a los niños en África. El siguiente intento por hacerse el altruista es todavía más patético:

Doesn’t affect me. But imagine being a new band with dreams of getting on stage and putting out your own record. Forget it.

Cuando le recuerdan los casos de Reznor y de Radiohead… claro, eso no cuenta:

That doesn’t count. You can’t pick on one person as an exception. And that’s not a business model that works. I open a store and say “Come on in and pay whatever you want.” Are you on fucking crack? Do you really believe that’s a business model that works?

Que sí, Simmons, que sí. Puede que dentro de un tiempo cambie de opinión, como muchos otros. Que siga, por ahora, insultando a sus potenciales clientes.

Y yo, a mi vez, me bajaré lo que me apetezca, cuando me apetezca. Incluya eso la música del señor Simmons o no.

Uncategorized

Trent Reznor y las descargas

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Extraigo algunas de las preguntas que Herald Sun le ha hecho a Trent Reznor, de NIN:

Herald: It must be an odd time then to have a new album, Year Zero, out?

It’s a very odd time to be a musician on a major label, because there’s so much resentment towards the record industry that it’s hard to position yourself in a place with the fans where you don’t look like a greedy asshole. But at the same time, when our record came out I was disappointed at the number of people that actually bought it. If this had been 10 years ago I would think “Well, not that many people are into it. OK, that kinda sucks. Yeah I could point fingers but the blame would be with me, maybe I’m not relevant”. But on this record, I know people have it and I know it’s on everybody’s iPods, but the climate is such that people don’t buy it because it’s easier to steal it.

Herald: You’re a bit of a computer geek. You must have been there, too?

Oh, I understand that — I steal music too, I’m not gonna say I don’t. But it’s tough not to resent people for doing it when you’re the guy making the music, that would like to reap a benefit from that. On the other hand, you got record labels that are doing everything they can to piss people off and rip them off. I created a little issue down here because the first thing I did when I got to Sydney is I walk into HMV, the week the record’s out, and I see it on the rack with a bunch of other releases. And every release I see: $21.99, $22.99, $24.99. And ours doesn’t have a sticker on it. I look close and ‘Oh, it’s $34.99’. So I walk over to see our live DVD Beside You in Time, and I see that it’s also priced six, seven, eight dollars more than every other disc on there. And I can’t figure out why that would be.

Herald: Did you have a word to anyone?

Well, in Brisbane I end up meeting and greeting some record label people, who are pleasant enough, and one of them is a sales guy, so I say “Why is this the case?” He goes “Because your packaging is a lot more expensive”. I know how much the packaging costs — it costs me, not them, it costs me 83 cents more to have a CD with the colour-changing ink on it. I’m taking the hit on that, not them. So I said “Well, it doesn’t cost $10 more”. “Ah, well, you’re right, it doesn’t. Basically it’s because we know you’ve got a core audience that’s gonna buy whatever we put out, so we can charge more for that. It’s the pop stuff we have to discount to get people to buy it. True fans will pay whatever”. And I just said “That’s the most insulting thing I’ve heard. I’ve garnered a core audience that you feel it’s OK to rip off? F— you’. That’s also why you don’t see any label people here, ‘cos I said ‘F— you people. Stay out of my f—ing show. If you wanna come, pay the ticket like anyone else. F— you guys”. They’re thieves. I don’t blame people for stealing music if this is the kind of s— that they pull off.

Herald: Where does that extra $10 on your album go?

That money’s not going into my pocket, I can promise you that. It’s just these guys who have f—ed themselves out of a job essentially, that now take it out on ripping off the public. I’ve got a battle where I’m trying to put out quality material that matters and I’ve got fans that feel it’s their right to steal it and I’ve got a company that’s so bureaucratic and clumsy and ignorant and behind the times they don’t know what to do, so they rip the people off.

Parece que alguien no está muy de acuerdo con lo que hacen las discográficas. Cada vez se oyen más voces discordantes entre los artistas sobre este asunto de las descargas. Yo, personalmente, sigo sin estar de acuerdo con que eso sea robar, pero me gusta la tendencia de Reznor.

Conciertos

Para abrir boca

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Twenty-seven years of nothin’ but failures and promises that I couldn’t keep, Oh Lord

La pregunta era incompleta. ¿Es posible ver, además de a Wilco, a Sonic Youth y a Patti Smith, un sábado, en Barcelona, y al día siguiente ver a Ryan Adams en París?

Pues por lo menos la segunda parte está confirmada. Tenemos las entradas y los vuelos. La confirmación de la primera está al caer.

Todo esto dentro de una semana y media. Mientras tanto, un vídeo de Ryan y los Cardinals tocando What sin replaces love en el show de Henry Rollins. Apoteósico.

Conciertos

Jeff Tweedy y P2P

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Pitchfork: Why do you suppose there aren’t more high-profile bands or artists actually coming out and saying that downloads aren’t the end of the world?

Jeff Tweedy: I don’t have any idea. Fear? Greed? I don’t know. Those would be the two principle ideas that I think that would be at work there. I have fear. I have fear as a businessman that it could somehow impact my ability to take care of my family. But I don’t think that fear should be catered to above the idea that I made music because I wanted people to listen to it. I think it’s really tough for people to make that leap of faith. In particular, when they have a lot of people depending on them or they have a lot of bills to pay. You know, construction efforts underway for a second pool or whatever.

In the long run the thing that no one will be able to download is a live music experience. But I also think that there’s a lot of good will that exists between musicians and the people that support them and listen to them. And when they’re treated well, I still believe that most people want to do the right thing. Not everybody has a lot of money, so I think that I want people to be able to hear it. I think it would be nice if they paid us back for it. That would be great. It’s always going to be a better situation for us if somebody cares enough to listen.

Las negritas son mías.

Entrevista completa con Jeff Tweedy en Pitchforkmedia.

Y por cierto, parece que sólo pasan por Barcelona y Benicassim.