Nostalgice




Filonul lautaresc e sanatos, are fibra calita in confruntarile din carciumioare, unde sinceritatea betivilor auditori nu admite minciuna… Porunca stapanului: “Zi-i ma, una, d-aia!” – insemna inainte de toate ca solistul sa fie in contact direct cu sufletul celui care plateste pentru muzica.

Cu alte cuvinte, scapa-l pe lautar de stress-ul comenzii “ATENTIE LA MINE!” – reda-i libertatea de a se bucura el insusi de creatia sa, introdu-l pe drumul JAZZ-ului, pe care afro-americanii l-au explorat in lung si in lat, si vei avea parte de o surpriza extrem de placuta: IA TE UITA LA ASTIA! – vei spune, pentru ca tu, fiind ROMÂN, înţelegi foarte bine atat textul cat si … contextul.

Felicitari Sandei Weigl si multumirile noastre ca a transmis dragostea de muzica lautareasca celor trei japonezi care o acompaniaza cu foc la inimioara lor nipona … merita din plin laude si aplauze de-aici pana-n New York si-napoi!


Filmul “The Buddy Holly Story” a ajuns in Romania pe la inceputul anilor ’80. Noua ne-a placut mult de tot, l-am sorbit de vreo cateva ori cu nesat, pentru ca aducea vesti despre nasterea Rock-ului … vesti din Lumea libera, de dincolo de Ocean.

Nu aveam de unde sti atunci si imi pare incredibil si acum – ca specialistii in istorie muzicala din Statele Unite au reactionat criticand dur anumite nepotriviri intre scenariul filmului si realitatea faptelor.

Din felul lor de a descoperi fiecare detaliu care nu concorda cu cele intamplate de fapt, din lipsa de toleranta fata de nerespectarea adevarului, deducem cat de mult a fost iubit si apreciat Artistul Buddy Holly – care a murit la 23 de ani intr-un accident aviatic, reusind ca in atat de putin timp sa deschida un drum atat de larg celor care i-au urmat.

Fara acest film insa, cred ca noi romanii am fi fost astazi mult mai saraci, cel putin in capacitatea de a intelege preferintele muzicale ale copiilor nostri! 🙂

Iata lista erorilor, vanate din dragoste pentru Holly cel adevarat, care nu ar fi avut nevoie de croseta scenaristului pentru aprecierea publicului din toate timpurile (cf. Wikipedia):

  • Holly’s parents were not opposed to his music career in real life, nor was Holly’s pastor.
  • Holly’s romance with Santiago was “whirlwind”, not the stubborn courtship portrayed in the movie.
  • The scene in the garage in which the members of the band hear a cricket on a recorded tape is pure embellishment. This event did indeed occur, in the Norman Petty studio in Clovis, New Mexico, but it did not inspire the Crickets to choose the name: it happened after they had already decided on using the name the Crickets. The cricket can actually be heard chirping at the end of the song “I’m Gonna Love You Too”.
  • The scene in which Holly’s former friends in the Crickets appear unannounced at Santiago’s door in New York is also a fabrication, but a full reunion with the Crickets had been discussed with Holly prior to the Winter Party Dance Tour in 1959, and was scheduled to occur after the tour.
  • The scene showing Lubbock with mountains in the background of the bus station caused gales of laughter when the film was premiered in Lubbock, which is located on the flat West Texas plain.
  • The family name on their truck is spelled “Holly,” but the correct spelling was “Holley”.
  • Holly, Ritchie Valens, and the Big Bopper gave their final concert at the Surf Ballroom, not at the “Clearlake Auditorium,” as depicted in the film.
  • Buddy never toured with Sam Cooke as depicted in the film.
  • Clear Lake, Iowa is misspelled as a single word in the film, both on the auditorium marquee and the on-screen text just before the closing credits.
  • In one scene, Holly is shown writing a music score in a studio. In reality, he could not read or write music; he instead hummed the tune and worked it out himself.
  • In the scene where Holly sings “Rave On!” and “It’s So Easy” at the Apollo, the year was 1957. However, none of these songs were written or released until 1958. “Oh, Boy!” would have been the only song released at that time.
  • The Crickets said that their portrayal was negative and they didn’t like it. Their names were altered to avoid legal action, and the drummer has a racist portrayal — this prompted their then singerSonny Curtis to pen a critical song about the film called “The Real Buddy Holly Story”. In turn, this became the title of a Buddy Holly documentary made by Holly fan Paul McCartney and his MPL Productions company in association with the BBC. They also didn’t like that there were only two Crickets portrayed (rhythm guitarist Niki Sullivan was left out entirely), and being renamed, as they had already sold their movie rights to another studio. Norman Petty, the Crickets’ manager, was controversially, never depicted.
  • The guitars used by Gary Busey in the movie are inaccurate from a historical point of view. Holly is known as the first prominent Fender Stratocaster player. In the movie, the Stratocaster appears toward the end, but seems to be an early 1970s model. The first guitar shown in the movie is a Bronco, launched for the first time by Fender in 1968. The actual guitar seems to be from the early 1970s. The main guitar in the movie is a Fender Telecaster. Even though the Telecaster was launched in the early 1950s, the guitar used in the movie is most likely an early 1970s model as well. But more importantly, as far as is known, Buddy Holly never played a Telecaster on stage.
  • The lyrics of many songs in the film, including “That’ll Be the Day”, “Oh Boy!”, and “Maybe Baby”, are sung incorrectly. In some cases, lines or entire verses are sung out of order, combined with other lines or verses, or omitted entirely.

    Afisul filmului The Buddy Holly Story

 


Virginia Zeani

Cand Doamna Virginia Zeani s-a ridicat sa ne multumeasca – celor care am participat ieri in cadrul lansarii volumului autobiografic “Canta che ti passa” (rom. Canta, ca sa-ti treaca) – am retinut dragostea fata de publicul ei, fata de cei care au venit sa o admire, sa o atinga cu privirea, sa ii asculte mesajul: pentru ca, la un moment dat, Doamna Zeani (la cei usor peste 80 de ani ai Domniei Sale) ne-a spus “Dragii mei, regret foarte mult ca voi nu stati jos, pe scaune – de ceea, nu am sa vorbesc mult si, cu permisiunea voastra, am sa o fac stand in picioare, la fel ca voi…”

Dragostea fata de public – pentru ca un mare creator de roluri stie ca scena e locul unde se revarsa trairile salii pe care o are in fata. E minunata aceasta forma de recunostinta fata de cei carora le oferi talentul si munca ta. Poate de aceea se spune “Dar din dar … se face Rai!”: eu va daruiesc ceea ce am primit la randul meu!

Darurile cu care a fost inzestrata de la Bunul Dumnezeu Doamna Virginia Zeani – o frumusete desavarsita a trupului si mai ales o voce de soprana “assoluta” – s-au distilat in timp, intr-o desavirsita frumusete a sufletului, o bunatate si o dorinta de a imparti bucurie …

Va invit sa ascultati o inregistrare pe care am gasit-o pe YouTube, http://www.youtube.com/watch?v=zFsQWCXEEt4&feature=related momente de vraja in interpretarea muzicala, cu care eu personal nu m-am intalnit pana acum. Continuind vorba lui Sever Voinescu, care remarca ieri ca “marii compozitori s-au afirmat in secolul XIX, iar marile voci in secolul XX” – ne intrebam ce sanse de afirmare raman veacului acestuia?

Nimic intamplator, evenimentul de ieri a avut binecuvantarea si sprijinul Prea Sfintiei Sale Virgil Bercea, Episcopul greco-catolic al Oradei.

Virginia Zeani - lansarea cartii "Canta che ti passa"


Terminus Paradis

In 1998, anul lansarii filmului, armata era inca obligatorie in Romania. Nu intraseram in NATO (2004) si nici nu trecuseram pragul spre Europa (2007). Tara parcursese aproape un deceniu de libertate, dar lumea nu se trezise din euforia postrevolutionara.

Vezi filmul si intelegi ca unele institutii se schimba mai greu. Intelegi ca Lucian Pintilie trage un semnal de alarma: asa nu mai merge, baieti! E timpul sa opriti trenul, sa stabiliti ultima halta, sa va angajati serios pe drumul schimbarii!

“Paradisul” primului deceniu dupa schimbarea regimului Ceausescu se apropie de sfarsit, fara ca poporul sa bage de seama acest lucru. Isteria pe care o dezvolta personajele filmului e un rezultat al libertatii de a nu-ti recunoaste Creatorul, Parintele, Legile Lui, iar aceasta nu poate duce decat spre anarhie sau absurd…

Filmul ne ofera o noua perspectiva asupra parabolei Fiului Risipitor, in sensul ca Evanghelia trebuie citita cu toate simturile: daca Fiul cel mic al Tatalui a fost porcar si s-a hranit cu roscove, atunci – pare a spune Pintilie -, hai sa va fac sa simtiti, in scaunele voastre comode de spectatori, mirosul unei crescatorii de porci!  Noi, spunem ca … a reusit!

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