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อ่านหน้าอื่น ๆ : ประวัติ วง Marilyn Manson, ประวัติ นาย Marilyn Manson, ประวัติ Twiggy Ramirez, ประวัติ Madonna Wayne Gacy (Pogo), ประวัติ John 5, ประวัติ Zim Zum, ประวัติ Ginger Fish

Frank Kenny (Kenneth) Wilson เกิดวันที่ 28 กันยายน 1966 ใน Framingham ใกล้เมืองหลวง Boston ในรัฐ Massachusetts พ่อของเขาเป็นนักร้องผู้เข้าร่วมเหมือนกับ Frank Sinatra และ Paul Anka และแม่ของเขาเป็นนักเต้นให้ Warner Brothers (ท่านปลาขิงจึงคุ้นเคยกับคำว่า Warner)

Ginger Fish Sleep, Drawing by Sw Eden

ตอนที่ Frank ยังเป็นเด็กอยู่เขาชอบวง Rush และ Black Sabbath วง Neil Pert เป็นวงที่เขาคลั่งมากที่สุด Frank เริ่มตีกลองตั้งแต่อายุยังน้อย นั่นคือ grade 2-3 (ของอเมริกามี grade 1 ถึง 12 grade 1 ถึง grade 6 คือ ป.1 ถึง ป.6 และ grade 7 ถึง grade 12 คือ ม.1 ถึง ม.6) เมื่อเขาอยู่ grade 7 เขาก็เริ่มเล่นรวมวง และอยู่ในวงใหญ่ 3 ปี คาดว่าน่าจะเป็นวงดุริยางค์ หลังจากที่ครอบครัวของเขาย้ายไปที่ Las Vegas เขาก็เล่นในวงของวิทยาลัยแห่ง University of Nevada และ Nevada All-State Big Band Frank เล่นให้หลาย ๆ วงใน Las Vegas จนค่อนข้างเป็นที่รู้จัก และมีข่าวลือว่ามีบุคคล 2 คนคอยสนับสนุนเขาคือ Paul Anka และ Barry Manilow อยู่ประมาณ 2 สัปดาห์ อย่างไรก็ตามหลังจาก Frank สพน์โอกาศในการทำงานเล็ก ๆ เขาก็เริ่มทำงานที่ไม่ค่อยสุจริตนัก โดยเป็นพนักงานในงานเลี้ยงที่ Circus Circus Casino (การละเล่นใน casino อาทิเช่น slots roulette และ blackjack)

ต่อมาเมื่อความอดทนที่จะอยู่ใน casino ได้หมดลง Frank เดินทางไปที่ Orlando รัฐ Florida ในที่ที่พ่อแม่ของเขาได้ซื้อโรงละครไว้โรงหนึ่ง Frank เล่นกลองในการแสดงที่ชื่อ A Chorus Line กับ Jesus Christ Superstar หลังจากนั้นเขาก็ตกงานมาตลอดจนกระทั่ง Marilyn Manson มาชวนเขาไปเล่น Frank เปลี่ยนชื่อเป็น Ginger Fish หรือปลาขิง มาจากฆาตรกรตอนกลางคืนอย่าง Albert Fish และดาราสาวหน้าใหม่อย่าง Ginger Rogers ปีนี้คือปี 1995 ปลาขิงมาแทน Sara Lee Lucus มือกลองคนเก่า มันน่าแปลกมากที่ปลาขิงเคยทำงานเปลือกนอกเพื่อศาสนากลับมาทำงันกับคนบ้านอกศาสนา

พูดถึงการแสดงของ Manson เรา ๆ ก็รู้ เวลาจบงานทุกครั้งจะมีการทำลายข้าวของ Manson มักจะเหวี่ยวขาตั้งไมค์ไปโดน ปลาขิง และเขาก็เข้าโรงพยาบาลบ่อย จนปลาขิงมั่นใจว่าสักวันเขาต้องถูกฆ่าแน่ ๆ ปลาขิงบอกว่า ถ้า Manson ทำร้ายจนเขาทนไม่ได้แล้วเขาจะฆ่า Manson ทันที และเขาก็จะติดคุก แต่ตราบใดที่เขายังมีชีวิตอยู่เขาก็จะเล่นมันต่อไป เล่นทุก ๆ ที่ กับ Manson จนกว่าความตายจะพรากเราออกจากกัน และที่ที่เดียวที่ยังไม่ได้ไป และจะไม่ไปก็คือคุก (พวกเราคงรู้ว่าเด็กชายที่ไปร่วมห้องนอนกับปลาขิงสมัยอยู่ Las Vegas คือ Edsel Dope ผู้มักจะพูดถึงคุกบ่อย ๆ เช่นกัน ทั้งคู่ชอบคุกหรือใครชักจูงอีกคน ถึงอย่างไรก็ตาม Edsel Dope ได้อิจฉา Tripp Eisen ที่ได้เข้าคุกสำเร็จไปแล้ว) นอกจากนี้ปลาขิงผู้นิสัยดียังแก้ตัวให้ Manson ผู้ทำร้ายตนอีกว่า ทุกคนก็มีอารมณ์รุนแรงเหมือนกัน ตัวเขาเองก็มี เพราะทุกคนยังไม่โตพอที่จะควบคุมมันได้ เวลาหงุดหงิด รำคาญก็จะโยนของเป็นธรรมดา เขายังหวังว่าทุกคนจะโตขึ้น และเขาจะคอยดูการเปลี่ยนแปลงครั้งนี้

ในฤดูร้อนปี 2000 วง Paradox ออกอลบัม SUMMER เอ้ย! ฤดูร้อนปี 1998 วง Manson มี tour ที่ Europe แต่ปลาขิงมีทำสัญญากับ Mono Nucleosis ไว้ ทำให้ต้องล้มเลิกการแสดงทั้งหมด มันก็เป็นอุปสรรคอย่างหนึ่ง แต่ภายหลัง Manson ก็ได้ สมใจนึกในสมัย Holy Wood (2000-2001)

Marilyn Manson and Twiggy, Drawing by Sw Eden

ไม่นาน ต่อมาในสมัย Mechanical Animals ประมาณ 1998-1999 มีหลาย ๆ อย่างเปลี่ยนแปลงไป Zimmy ที่น่ารักออกจากวงแล้วแทนด้วย John5 ทั้ง ๆ ที่เพลง Promote ของอลบัมเป็นผลงานของ ZimZum Twiggy และ Manson ร่วมกันแต่ง นอกจากนี้ Michael Beinhorn จาก Soundgarden และ Hole ยังถูก Manson จ้างให้มาเป็น producer คนใหม่ในวงอีก ปลาขิงต้องจำเชื่อฟังเขา เพราะนายคนนี้เคยไล่ Patty Schemel มือกลองคนเก่าของวง Hole ออกจากวง ปลาขิงมาบ่นว่าแต่เดิมก่อนมีไอ้นี่มาเขาทำงานเพื่อวง แต่ครานี้ต้องมาฟังคำสั่งไอ้นี่ Manson จ้างไอ้หมอนี่มาเพื่อทำให้เสียงดนตรีดีขึ้น แต่ทำไมต้องให้ไอ้นี่มาสั้งให้เขาปรับปรุงการเล่นกลองไม่รู้เท่าไร แทนที่จะให้มันลงมาเล่นเองอย่างที่มันชอบเสียเลย ที่ปลาขิงโกรธได้ขนาดนี้เพราะ Beinhorn ไม่เคยแสดงให้เขาดู หรือสอนเขา เอาแต่สั่งเขา เหมือนกับปลาขิงไม่เชื่อว่าไอ้นี่เก่งจริง แต่ในที่สุดเขาก็ล้มความคิดเขาซะ เมื่อเขาพบว่า Beinhorn เป็นคนเก่ง

ปลาขิงเป็นคนที่แปลกที่สุดในวง เพราะเขาไม่เสพ ไม่สูบ และไม่ดื่ม Manson บรรยายเขาว่า เขาเงียบที่สุดและจนดูน่ากลัวที่สุด เหมือนกับระเบิดเวลาที่รอการระเบิดครั้งใหญ่ Manson ยังให้ฉายาเขาอีกว่า “the strangest and quietest person in the band” (ที่จริงอาจจะเป็นคนปกติสุด แต่เทียบกับทุกคนในวงที่แปลก) นอกจากนี้ปลาขิงยังเป็นสมาชิกคนหนึ่งที่อยู่ในวง Marilyn Manson ได้นาน นาน นานมาก ๆ รองจาก Pogo (Gacy) (1989-ปัจจุบัน) ปัจจุบัน ปลาขิงทำ side project กับวง Martyr Plot หลังจากเข้าโรงพยาบาลเพราะตกเวที ทำให้ Chris Vrenna (ex-NIN) มาเล่นแทนชั่วคราว

Marilyn Manson in Court, Drawing by Sw Eden

How cool would this be?? A.I. winner Adam Lambert told TV Guide he want to be in the remake of Jesus Christ Superstar.

“I heard theyre trying to do a remake of Jesus Christ Superstar and I want to play Judas. I’m going to start publicly campaigning for it. I think a movie would be really cool!”

Adam would be a refreshing addition to any broadway cast!

Termine Musical Starlights in Alsdorf und Düren

Das Musical Starlights gibt drei Gastspiele in der Stadthalle Alsdorf und der Arena Kreis Düren im Landkreis Aachen. “Musical Starlights” ist eine Show, die sich aus Highlights bekannter Musicals zusammensetzt. Wer kennt sie nicht? Die Musical Hits “Mamma Mia”, “Cabaret” oder “We will rock you”.

Deborah Sasson vereinte die original Solisten aus “Phantom der Oper”, “Les Miserables” und “Jesus Christ Superstar”, einem hervorragenden Chor und bekannten Tänzern aus der Musical Szene.

Die Termine für diese Musicals in Alsdorf und Düren sind:

22.Januar.2010, Arena Kreis Düren, 20 Uhr und

27/28.Februar.2010, Stadthalle Alsdorf, jeweils 20 Uhr

Mittels Videoprojektionen tauchen sie in die Welt der Musicals aus “König der Löwen”, “Mary Poppins” oder “Tanz der Vampire”. Zudem erleben sie Musical Hits aus den Highlights von “Moulin Rouge”, “Hairspray” und “We will rock you”. Erleben sie eine Zeitreise durch die schönsten Musicals und lassen sie sich in einer traumhaften Show verzaubern.

Quelle: http://www.baffy-scorpion.de/index.php/musical-starlights-aachen-dueren/

BroadwayWorld recently published an interview with Michael Kunze about his musical adaptation of Rebecca, which is aiming for an English language transfer to the a major commercial centre like the West End or Broadway. Kunze takes great pains to try and distinguish his work from traditional Broadway fare, so let’s take what he says, put it under a microscope and see if it holds up. The boxed sections below are all quotations from the interview.

The dramamusical is a tool to make clear that this is not a typical Broadway-type musical, which is more a musical-comedy. In what I do, we do drama with music. The way I write the shows is that I basically write the drama, of course with the music in mind, but the music is something that comes next, like a movie. The music is a very important element, but the most important element of the drama is the story, so the music really serves the story, and the music doesn’t really have a right in its own beside the story, like a number that is just made for the music and the dance.

Huh? It seems that Mr Kunze hasn’t seen any musical since 1926. He doesn’t seem to be aware of – for example – Show Boat, South Pacific, Sweeney Todd, Marie Christine, The Light in the Piazza. He doesn’t seem to be aware that musical theatre in the American tradition extends beyond the tradition of musical comedy that was dominant until the 1940s, but which made way for the Rodgers and Hammerstein musical play, in which music is most certainly in the service of the drama and for the various forms of the concept musical, in which the music is often related most clearly to the ideas that are being communicated in the show from the very moment of its inception. Even if we look at the musical comedies that have appeared after the Rodgers and Hammerstein revolution, many are far more integrated than their counterparts in the 1920s and 1930s. So I’m left to wonder whether this is a case of ignorance or self-importance.

It really isn’t something that I’ve invented. Jesus Christ Superstar [and] the other Andrew Lloyd Webber stuff, if you exclude Cats, follows the same kind of basic idea. Well, Andrew would never say that the music only serves the story, but that’s what it really is. He uses the music to tell the story, and that’s what all dramamusicals do.

All right, so he seems to know something about British musical theatre and deems it of a high enough standard to rank alongside his “dramamusicals”. But is it true of Andrew Lloyd Webber’s musicals that the music serves the story? Without engaging in an elaborate discussion on the matter, I’d be willing to bet that there is at least one example in each of the Lloyd Webber musicals where the music does not serve the drama fully. Off the top of my head – and to keep in line with the example Kunze himself cites – there’s “King Herod’s Song” in Jesus Christ Superstar, although the newer, rock-flavoured arrangement does help its cause somewhat. So it seems that perhaps the music does not need a particularly profound dramatic agency for it to serve the drama in these “dramamusicals”, which of course contradicts Kunze’s original thesis, that ‘the music doesn’t really have a right in its own beside the story’. What other purpose does a song like “You Can Get Away With Anything” in The Woman in White, for example, have if it doesn’t really serve the character and the humour comes not from the lyrics but from a pair of rats that clamber in and out of the actor’s costume? Or is Kunze saying that the music in a case like this still serves a dramatic purpose, even though the song as a whole is a failure because of the lyrics?

I think all the shows that concentrate on a dramatic story are dramamusicals. Billy Elliot is a dramamusical. Wicked is a dramamusical. I just want to distinguish where theatre is more theatrical than in a classical Broadway musical which is based on the vaudeville tradition, on dance, on spectacular things happening, and this is not what I look for…. I think (Wicked is) a milestone in the development of the musical, because in the history of the musical, this show will be regarded as the first one that really combines the European tradition with the Broadway tradition.

Now I’m just beginning to chuckle. Wicked being taken as a prime example where the music exists in service of the drama? The book of Wicked was forced to fit in with Stephen Schwartz’s ideas regarding the way the story should be told. The book in its best moments is competent, but completely falls to pieces in the second act, completely ignoring the very concept that Maguire had in the first place: to fill in the gaps of the story behind The Wonderful Wizard of Oz without contradicting the basic mythology in that particular book in the series and its iconic movie musical adaptation and thereby offer a different perspective on the story. Winnie Holzman, spurred on by Schwartz, creates a story that prides itself in tying itself all up very neatly, but it does so with little sense of logic and the songs that punctuate the book become less and less credible as dramatic building blocks as we speed towards the final curtain. This doesn’t even begin to engage with ideas around the way the music is orchestrated, which separates it out even further from the given circumstances of the show. It doesn’t even work to access the show from the perspective of post-modern deconstruction, which is surely the very point of creating a musical of this nature, because the choices are so inconsistent – and in contradiction to Kunze’s view on the show, constructed around “spectacular things happening” rather than on any firm set of dramaturgical principles. Perhaps Wicked is a milestone, but it’s not one that develops musical theatre as an art form. In what is commercial, yes; in what is popular, sure. In what artistically successful and dramatically compelling; most certainly not. And I’m still not clear on what specifically European musical theatre traditions are incorporated into this hybrid form, but based on what Kunze has said about the “dramamusical”, I’m convinced they do more harm than good.

I believe in drama as the key entertainment in theatre, and I think I’m not the only one who does. I didn’t even invent the name dramamusical, that was invented by a journalist. I just think it’s more European because I think the tradition of opera with the highly dramatic stories lent more to that kind of art-form, and I think that also our audiences in Europe, and I really include here in England, are more interested in going to theatre and have a real theatrical experience, a real emotional experience at last, not just an entertaining evening, but something they can discuss after the show.

Well, at least Kunze displays some humility by admitting that he did not come up with the idea of a dramatically integrated musical. I wonder who the journalist who coined the term is; I’d love to have a look at what he has to say about this potent new musical theatre form he has identified….

The comparison with opera that follows is not one that works for Kunze’s argument either. Opera by its nature is led by the music; it is music theatre rather than musical theatre and, as long as it is technically well-performed, opera often manages to be excused in its shortcomings as drama. This is, of course, a generalisation as there are operas, particularly those that are more contemporary that do integrate dramatic aspects more successfully into the theatrical whole and certainly even many traditional operas have a strong narrative and thematic thrust – but they are still led first and foremost by the music, hence the prominence of the composer and the conductor in any discussion of any opera.

Then we get to what effect Kunze believes a musical should have on its audience. In his eyes, musicals like Wicked, The Phantom of the Opera and his own shows offer a rare, real emotional experience that delivers a sense of enlightenment hitherto unseen in the musical theatre canon and one to which the American musical theatre tradition holds no claim. Clearly, he’s never heard of Carousel, Cabaret or Pacific Overtures. Obviously, there is no such experience to be had in Camelot, Follies, Fiddler on the Roof.

I’ve never really engaged with Kunze’s musicals, but his work must be truly phenomenal if it is what he implies they are: impeccable examples of musicals in which all other elements are in service to the drama. I must get my hands on Elisabeth, Tanz der Vampire or this impending masterpiece of the musical stage, Rebecca, and see for myself – but they had better live up to the high expectations that Kunze has created for them….

Tremate gente perché i gatti più famosi del mondo sono arrivati anche nella città eterna.

Cats, nato dal genio Andrew Lloyd Webber (ispirato alle poesie di Thomas Stearns Eliot con aggiunte di Trevor Nunn e Richard Stiloge), andato in scena la prima volta al New London Theater nel West End di Londra l’11 maggio 1981 è arrivato anche da noi attraverso la trasposizione teatrale della Compagnia della Rancia, la principale società di produzione di musical in Italia, in questi giorni in scena al Teatro Sistina di Roma.

Dopo quasi 30 anni questi gatti fanno ancora impazzire le platee di tutto il mondo con le loro storie, i loro balli e i loro splendidi costumi (quante ore ci vorranno per far assomigliare il volto umano a quello di un gatto? pensare che c’è gente che paga oro per averlo sotto l’effetto di un bisturi loro ci mettono qualche ore e solo qualche trucco).

Trama: Come ogni anno i gatti della tribù Jellicle si sono dati appuntamento al chiaro di luna per festeggiare insieme al loro leader Deuteronomio, il quale dovrà scegliere chi tra loro passerà al “Dolce aldilà” per rinascere a nuova vita. I Jellicle si presentano e raccontano la loro storia. Tra di loro c’è anche Grisabella, un tempo gatta affascinate ora reietta del gruppo.

Momento speciale e il più celebrato di tutto lo spettacolo è la canzone Memory interpretata dalla stessa Grisabella (canzone poi ripresa da oltre 100 artisti in tutto il mondo compresa Barbra Streisand).

La messa in scena al Teatro Sistina è splendidamente arrangiata e accurata nei dettagli musicali, con ottimi interpreti e meravigliosi costumi. Purtroppo la parte coreografica manca a tratti di stile e di sintonia tra i vari attori.

Malgrado questa pecca Cats rappresenta una un’ottima interpretazione e opportunità di conoscere e apprezzare il musical che ha fatto storia e continua a mietere vittime feline in ogni parte del globo.

Uomini tremate, i gatti son tornati…MIAO!

Tintoretto, La crocifissione (clicca per vedere più grande, che merita)

La presenza o meno di una dozzinale* riproduzione della crocifissione di Cristo sulle pareti delle aule scolastiche non è esattamente uno dei principali problemi della scuola italiana, è il caso di ammetterlo.
Ma lo stesso, quando oggi ho letto della sentenza della Corte europea dei diritti dell’uomo di Strasburgo, secondo la quale il crocifisso in classe è

una violazione dei genitori ad educare i figli secondo le loro convinzioni e, nel contempo, una violazione alla libertà di religione degli alunni

ho più che sorriso. Ancora di più quando ho letto che la persona da cui è nato il tutto, Soile Lautsi è una cittadina italiana di origini finlandesi: qualcosa di leggermente più problematico del primo Adel Smith che passa per strada. La signora Lautsi è socia Uaar e questo mi fa storcere un po’ di più il naso perché non amo tantissimo il fatto che l’associazione sia particolarmente sbilanciata su una posizione di ateismo militante che mi sembra semplicemente una religione di segno opposto, ma non si può avere tutto dalla vita.
Però, insomma, è interessante che il problema sia stato posto, per così dire “dall’interno”, perché in parte bagna le polveri a tutte le argomentazioni che si limitano a mettere in scena un noiosissimo scontro con l’islam che, insomma, non è poi così urgente (quelli che cercano di mettere i bastoni tra le due ruote a chi vuole bere una birra dopo mezzanotte sono tutti cristianissimi, ci avete mai fatto caso?). Ovvero, il punto è: l’Italia del 2009 quasi 2010 non è un monolite cristiano, tanto meno cattolico.** Fanno tutti a gara a chi è più Obama, poi si dimenticano, per dire, che nel suo discorso di insediamento ha ricordato che l’America è fatta di credenti di diverse confessioni (e anche di non credenti).
Di più: dopo la revisione del 1984 dei Patti Lateranensi, l’Italia non ha più una religione di stato (lo dice implicitamente pure l’articolo 3 della Costituzione, lo ha detto esplicitamente la Corte Costituzionale – sempre sia lodata*** – nel 1989) quindi la presenza dei crocifissi nelle aule e negli altri edifici pubblici è difficilmente giustificabile ed è giusto che qualcuno metta il dito nella piaga e ricordi che, buongiorno, non siamo più la società degli anni cinquanta.
Non a caso, qual è l’obiezione che sta marcando la linea da seguire per il ricorso alla Corte europea?****
“Vabbeh, ma è un abitudine, una tradizione, non è che è un simbolo religioso, siamo abituati ad averlo lì, è la nostra cultura…”

Ecco, qui, se io fossi il papa mi incazzerei come ai bei tempi dei roghi in piazza e farei partire scomuniche a raffica, tipo M60.
Ma forse anche al papa non importa molto. Diciamo allora che se fossi un credente mi incazzerei tantissimo. Ho fatto la cresima in seconda media, mi sono sparato una quantità incredibile di anni di catechismo. E credo che un paio di cose sul senso della rivelazione cristiana, ripensandoci a posteriori, le ho imparate.
C’è un simbolo, che dovrebbe ricordare un gesto di estremo sacrificio, drammatico, imponente, totalizzante, il punto di svolta dei rapporti tra il mio Dio e l’uomo e arrivano questi che dicono “no, ma in fondo non è veramente un simbolo religioso, è solo un simbolo della nostra identità”. Tipo la maglia della nazionale.
Mi stanno più simpatici, a questo punto, monumenti al bigottismo come Buttiglione che parlano di “sentenza ripugnante” perché almeno dimostrano che in un qualche modo distorto ci credono, sono coerenti con se stessi e con la loro visione integralista della religione.
Perché poi di quello, si tratta. Occupare simbolicamente (ma i simboli sono importanti, rimandano sempre a qualcosa) spazi che dovrebbero essere invece vuoti.
Ma non vuoti nel senso di una mancanza desolante in cui l’Uomo è abbandonato a se stesso e dalla quale non potranno che sorgere mostri, come vuole la retorica ratzingeriana (che, comunque, è perfettamente coerente con il ruolo di un papa – era la pop star polacca l’eccezione patinata, un papa deve assomigliare più a Eymerich che a Bono). Gandalf li definirebbe “bianchi”, perché il bianco è il colore che riunisce tutti gli altri, quello a partire dal quale ogni cosa è possibile. Sono spazi che devono restare bianchi perché sono pubblici, cioè di tutti. Cattolici, protestanti, islamici, ebrei, buddhisti, sikh, non importa. Le religioni sono uno dei metodi più efficaci che l’uomo ha a sua disposizione per odiare ferocemente il suo prossimo; mettere queste differenze in secondo piano quando si ha a che fare con la cosa pubblica dovrebbe essere una basilare regola di buon senso.

Comunque. Oggi ci prendiamo la soddisfazione di sghignazzare un pochino davanti ai cattivi colti con le mani nella marmellata dalla mamma che farfugliano giustificazioni ridicole mentre i loro piccoli sgherri qua e là fanno a gara a chi strepita più forte.
Domani, sappiamo già come andrà i finire. Una puntata di Gad Lerner, un po’ di rumore, poi sempre meno e poi boh. Comunque vada il ricorso, nessuno toglierà nulla da nessun muro e continueremo tutti a fare finta di vivere ancora negli anni cinquanta. Mentre in realtà cambiamo ogni secondo.

Un esempio? Anche quest’anno il 31 ottobre si è portato dietro le polemiche su Halloween, con particolare enfasi sugli allarmi della Chiesa per la “satanicità” della festa. Ma da tempo il refrain è sempre lo stesso: “tradizioni importate, americanata, dove andremo a finire, sbroc sbroc”. Ora, io quando sento parlare di tradizioni metto mano alla pistola. Poi ho letto questo post. Leggetelo, ci vuole un attimo. Fatto?
Bene. Tra vent’anni, i bambini che oggi festeggiano Halloween saranno degli adulti per i quali questo modo di passare la sera del 31 ottobre sarà una tradizione della loro infanzia. E come tale la passeranno ai loro figli.
Come dice quella frase di Calvino? “Un classico è un testo che non ha mai finito di dire quello che ha da dire”.
Ecco, diamo la parola al signor Zimmerman di Duluth, Minnesota, che da quarantacinque continua a cantare dai giradischi, dai mangianastri, dai lettori cd, dagli iPod di mezzo mondo le stesse attualissime parole:

Come mothers and fathers
Throughout the land
And don’t criticize
What you can’t understand
Your sons and your daughters
Are beyond your command
Your old road is
Rapidly agin’.
Please get out of the new one
If you can’t lend your hand
For the times they are a-changin’

________
* Il cristianesimo ha dato al mondo dei capolavori dell’arte, ma oltre a queste vette di eccellenza ci sono anche orribili baratri di orrore cosmico.
** In Italia, curiosamente, si tende a far finta che i protestanti non esistano. Va bene, magari da noi sono pochi e sono, coerentemente, molto meno chiassosi dei cattolici, ma esistono. Ah già: poi mezza Europa è protestante.
*** Senza la CC, cioè un organo che si occupa di controllare che i principi della Costituzione vengano recepiti dalle leggi, la Costituzione sarebbe una lista dei desideri. Poi ovviamente la CC è composta di esseri umani e questi possono essere fallibili, ma il concetto stesso dell’istituzione è ammirevole.
**** “E io pago” dice il grillino in me. Scusatelo, ma ogni tanto scappa.

Whatever you’re attached to will be used to your disadvantage in predatory franchising relationships.

Ray makes many excellent points over at Blue MauMau.

One of his greatest insights is this:

your marriage will be used as a way of making you do what “they” want you to do.

In my experience, the attorney you hire to protect your family is simply weak, not evil.

That is their role, their fate.

Their folly.

Do you have certain music that you can listen to over and over without getting tired of it?

Because Kira does.  And her current favorite, which she requests now every time we get in the car, I have only myself to blame for.

I have loved the music from Jesus Christ Superstar for about twenty years.  I own the soundtrack from the movie and know most of the words to all of the songs. However, there are a number I won’t attempt to sing along with because even to my own ears, in my own car all by myself (or with an uncritical small audience), my voice isn’t anywhere in the realm of doing justice to them.  Mr. Webber writes some tough tunes.

One of those that is out of reach of mortals is “Gethsemane,” sung by Jesus (Ted Neeley).  And that, my friends, is Kira’s passion.  “Play the man with the poison, Mommy!” (That would be the lyric, “Take this cup away from me/for I don’t want to taste its poison.”)

I thinks she likes it because he, literally though musically, screams in it.  And she gets to scream right along.  On key, thankfully.

I love the song myself.  But I have to confess I have found myself grateful lately that entire days go by when we do not get in the car, because the only thing more wearing than hearing the same song for an entire trip is hearing it requested for an entire trip.

On a whim I went online yesterday, thinking I should really go see it live sometime, hello.

Woe was me when I saw that it played just a few hours away back in March ‘09 (how did I miss that??), but I’ve decided it might just be worth a longer trip to see Ted Neeley himself perform as Jesus. I bet he’s got it down pretty well: he’s been playing the role, off and on now, for about 40 years.   And while I wouldn’t necessarily bet on it, who knows? This might be his last tour.

I’m really starting to get excited about this paper for my Religion and the Body class. Rather than just stick with “The Passion of the Christ” (over done!) I’m branching out to do a survey of the crucifixion in several Jesus movies. I’m starting with a 1905 silent film, working my way through “The Greatest Story Ever Told,” “Jesus Christ Superstar” (duh.), “Jesus of Nazareth”, and a few others in addition to “The Passion.” I’m focusing primarily on Jesus’ body, how it is dressed, treated, abused, what it looks like…etc… It’s something I’ve never really paid attention to before, and it’s fascinating.

My argument right now is that over the years not only has the violence level of Jesus films increased, but Jesus has become more and more super-human. That’s not a theological argument, mind you, but rather just a look at the Jesus character. I mean let’s face it, Mel Gibson’s Jesus would have been dead from blood loss long before he ever carried the cross to Golgotha. But I also haven’t seen many of these movies in quite awhile (if ever) so I might change that working hypothesis.

Oh man, I’m totally nerding out. I apologize. Here… here’s a picture of a hamster for those of you who are bored with this entry already.
I tried to get Archie to help me with my homework. He decided to try and make a nest out of my wool sweater instead. He’s tricky like that.

The difficult thing about being a “Religious Studies” master’s student is that I’m not always sure I belong in “Religious Studies.” However, I think this is an issue for most people in Religious Studies departments. A lot of what we do, what we’re interested in, sort of spans disciplines. Some of us are interested in archaeology, sociology, psychology, history, literature, etc. But we all come together under the umbrella of “religious studies” because what we study has some aspect of “religion” in it… maybe.

So I ask myself: my paper is on film, and while it’s religious film, is it religion? Is what I’m doing film studies or is it religious studies? Do I belong in another department?

Perhaps it all comes down to the question of “what is religion really?”
I’ll get back to you on that one…

PS: Did you know Christian Bale once played Jesus? I don’t know that I’ll be watching “Mary, Mother of God” for my paper, but I just might for my own fascination. Is it possible he could rival Willem Dafoe as my favorite? Uh oh…

From the New York Post:

LONDON, Oct 25 – British composer Andrew Lloyd Webber has been diagnosed with prostate cancer, the BBC reported on Sunday.

The broadcaster quoted a statement from the 61-year-old’s spokesman as saying the condition had been caught in its very early stages.

“Andrew is now undergoing treatment and expects to be fully back at work before the end of the year,” the spokesman said.

Lloyd Webber, behind hit musicals including “Jesus Christ Superstar“, “Cats” and “Starlight Express“, recently announced he was staging a sequel to “The Phantom of the Opera“. “Love Never Dies” is due to open in London in March 2010.

He is also set to judge a BBC television talent show next year.

Lloyd Webber’s spokesman could not immediately be reached for comment.

Long rehearsal today. Seven hours of Andrew Lloyd Webber. Which, annoyingly, includes several songs not in 4/4. Being a classically trained pianist, used to solo performance and specialising in music of the Romantic era, I very rarely keep time. So when I’m not only expected to not make up the beat, but to count in seven (“It’s easy! BA-ba-BA-ba-BA-ba-ba!”), I fail. Oh well, I’ve got quite a few months to practise.

After the rehearsal, I caught the train into the city to see Maxim perform with his Melbourne Youth Music (MYM) group, the Percy Grainger Youth Orchestra. They performed along with the MYM choirs (Vox Minor, Major and Synergy), which sang, among other things, It Don’t Mean A Thing (If It Ain’t Got That Swing). Good fun.

Maxim’s group was pretty good, performing Dvorak, Sibelius and others, and featuring a solo trumpeter for one of their pieces. I’ve got photos of all of these, but I really can’t be bothered going through and linking them, so you’ll just have to have a look at my Flickr page.

We finished the day off by having dinner at the Denn (where else?) and by walking back to the car singing various songs (“I dreamt I met a Galilean…”). Good times.

JESUS CHRIST, SUPERSTAR! DO YOU THINK YOU’RE WHAT THEY SAY YOU ARE?

I’m terribly sorry. I’ll stop singing now. It’s just that today has marked my return to The Theatre (this phrase must be said excessively dramatically), by which I mean the commencement of rehearsals for the 2010 Ivanhoe Grammar musical (Jesus Christ Superstar, obviously) with me playing piano. Although I’ve never heard/seen it before, today’s run-through of the songs has put quite a few of them in my head. I will dream of shouting Jews tonight…

The trip into uni this morning was quite interesting. A tumultuous cacophony (still feeling dramatic) caught by attention while I was on the tram and I managed to get this snap of what I presume to be Year 12s, celebrating raucously. Then I saw this colourful character outside Melbourne Central (excuse shitty quality, taken from moving vehicle). This bizarre, coat-donning, flower-brandishing man was running around doing God-knows-what. The Big Issue guy is looking slightly surprised because Flower Coat Man just gave him a huge hug. On arriving at uni, I noticed this subversive poster which appears to be a Lost Dog sign but is actually more strange and links to this website. To top it all off, this innocent-looking telephonist went loco and started yelling “WHO ARE YOU PEOPLE?!” over and over again. It’s a good thing he didn’t kill me for taking his photo (Benefit of Telephoto Lenses #23).

After Psychology, in which we learned why Rorschach tests aren’t used anymore and that we are to double space our essays if we intend to get high marks, we all went to sit on the grass and photosynthesize. Well, apart from Cameron, who ditched. Also, we got some pizza. Here’s Jackie Enjoying Her Life (and infringing upon James’ trademark). Personally, I think the photo is a bit creepy. It seems like a brochure photo for the university, where students enjoy a diverse range of foods such as pizza!

Today’s photo was taken at Ivanhoe. I saw this crow or blackbird or whatever they’re called walking around with a Glad ziplock bag with crackers in it. It was pretty funny. And everything under the sun is in tune, but the sun is eclipsed by the moon.

http://www.kennedysbaryork.co.uk/

Professor of Saxophone for the Royal Marines, Simon Bates is known and respected for his stylistic versatility and instrumental prowess. Musical Director for Rick Astley’s re-launch tour in September, Simon is in great demand on the London jazz and session scene – his playing features on countless adverts, film scores, TV theme tunes and pop records. Simon has appeared live and recorded with a wide variety of bands and musicians including Elvis Costello, Lulu, Billy Ocean, Rick Wakeman, D:Ream, Chaka Khan, Emma Bunton, Seal and Peter Erskine. He has performed around the world in a wide variety of settings from the Q.E.2. and Eiffel Tower to Ronnie Scott’s and the Jazz Cafe.

Simon appears frequently on television in programmes such as ‘Johnny Vaughan Tonight’ for which he was Musical Director and was featured on Channel 4’s Big Breakfast every Friday. Some of Simon’s compositions have appeared on the ITV show ‘This Morning’ and on the Discovery Channel. He has also written many advertising jingles, a multitude of library music, commissions from other bands and musicians and cues for all television networks.

Simon’s extraordinary ability to play virtually any instrument in the woodwind family plus windsynth and percussion in any style has led to regular appearances in West-End shows such as Starlight Express, Follies, Chicago and Jesus Christ Superstar.

Simon started to learn the violin at school but the draw of his father’s old clarinet was too much, and so he started to have lessons. With the intense competition of his twin brother, (now a freelance French Horn player), Simon progressed quickly and achieved Grade 8 on the clarinet at the tender age of 12 and viola at only 13. He started to play sax at the age of 14 and got his first paid gig in the same year. At the Colchester Institute, whilst studying for a classical music degree, he turned to jazz and improvised music and went on to the Guildhall School of Music where he gained a Postgraduate Advanced Certificate in Jazz and Studio Music and a L.G.S.M. Performance Diploma. Simon Bates is an official endorsee of Yamaha Custom Saxophones and BG accessories.

For further information visit www.simonbates.net

Sat 17th October
Yamaha Brass & Woodwind Day
From 10am, Sax guru (Sax, Flute and Clarinet) Simon Bates will be demonstrating live, plus hosting FREE interactive live master classes in-store.

Find out more about Simon Bates here: http://procustom.yamaha.com/en/artists.php?id=3

Simon will also be performing a live gig in the evening, ask in store for more details.

We will also be joined by Yamaha’s own Charlie Robertson and our Technician and Brass & Woodwind expert Peter Pollard who will be offering advice and FREE Instrument Health Checks throughout the day.

Call David or Ben now on 01904 658836 to book a place in one of Simon’s instrument master classes and to find out more about this exciting event

Kennedys Bar Restaurant is unique to York; set in the quarter, a lively cosmopolitan area bursting with eateries, bars and boutique shops and is just a stone’s throw from York Minster.

Kennedys offers a stylish and modern setting for people to drink and dine, attracting a broad range of clientele.

The versatile layout distributed over three floors offers something for everyone. Including a roof top sun terrace, areas to dine, a contemporary ground floor bar, and basement music bar and dance floor.

A bar that seeks to set its self apart from its contemporaries, Kennedy’s prides it’s self on relaxed and friendly service and freshly prepared food.

1872 – Composer Ralph Vaughan Williams was born.
1968 – The Jimi Hendrix Experience was formed in London.
1968 – John Sebastian left the band Lovin’ Spoonful to start his solo career.
1970 – Andrew Lloyd Webber and Tim Rice’s “Jesus Christ Superstar” debuted on Broadway.
1975 – Rod Stewart and the Faces play their final show together. The group’s breakup was due to Stewart wanting to further his success with his solo career.
1985 – Ricky Wilson, of the B-52’s, died of complication of AIDS at the age of 32.
1991 – Nirvana’s album, “Nevermind” was certified gold by the RIAA.
1996 – “The Rolling Stones Rock and Roll Circus”, the film documentary, was released. The work had been filmed in December 1968.

Sitter hemma hos Frans. Vi har precis ätit vårrullar från den lilla kinakiosken. Framför oss ligger chokladkakor. Igår var vi på fest hemma hos Alva hela natten. Det var riktigt trevligt. Vi drack vin och pratade och festade natten lång. Åsa, Sara och Håvard var där också. Kul med alla dessa människor man gillar som samlas på en plats.

Idag har vi mest sovit och botat bakfylla. Dessutom har vi sett Jesus Christ Superstar-filmen. Lite kul. Jag kanske inte föll totalt, men den var lite fin.

Jag gillar Malmö jävligt mycket märker jag. Det är lite soft här nere. Det glids runt, det hängs, det är nära till allt, men det är också lite litet. Knepigt det här.

Yesterday was the Arlington Village “Concert for Local Talent”. It was held in the Church, St. Pancras and as well as benefitting the church itself, we also had a retiring fund for St.Wilfrid’s Hospice. The concert was held in memory of Ron Church who died of lung cancer earlier on this year and as a tribute to recognise all that he gave to the Church and to the local area.

This informal and friendly concert has become an annual event attracting talented performers from the surrounding areas and with a variety of performances, there is something for everyone. It was due to be performed during the spring, however it was postponed on the event of Ron’s death.

It kicked off with a group of accordion players called the “Adlibs” who took us through six pieces of music ranging from waltzes, through to Tango and to a Polka with a few marches scattered through.

Natalie Beams after singing at the Arlington Concert for Local Talent

During the interval we were treated to a lovely spread including smoked salmon canapes, onion tartlets, and scones with cheese and with jam. There was also served fresh apple juice and a tropical blended juice. Bravo to the ladies who organised all of this.

Opening the second half with the comedy song Jollity Farm were Keith Myerson on the guitar and Jim Tipler on the mandolin with both of them singing and encouraging the audience to participate with the animal noises during the song. Jim Tipler then swapped his mandolin for a guitar and performed with his wife Josie a Buddy Holly song called “Wishing.” Josie then took up the spotlight to recite 3 poems penned by local poet Jill Church, who happens to be her Mother. Anne Hope then read a piece by Dorothy Parker called “A Telephone Call” On a more serious note, Keith Myerson and Jim Tipler returned, both with guitars this time to perform the Andrew Gold song “Never Let Her Slip Away” The final performance of the evening went to the local choral group called Concentus Chorale. Conducted by Adrian White and accompanied on the keyboard by Arnold Ford, the group performed a medley of songs from Lionel Bart’s musical “Oliver” and then the Overture and Medley from “The Lion King”

The feedback from the audience was that it was a great show, they all enjoyed it very much. Hopefully we will be able to top it next year.

Mark 8:27-38

Just the other day I came across a spoof news report from two years ago which claimed that the then Home Secretary Jacqui Smith wanted people to use their loyalty cards more, and for stores which didn’t have them to introduce them. This was to combat terrorism, in the light of the Glasgow bombers having bought their supplies from B & Q, which didn’t at the time have a loyalty card. According to the article, she wanted loyalty cards to replace the unpopular idea of identity cards, and for the data collected by loyalty cards to be used in intelligence gathering operations. In the article, these words are put into Jacqui Smith’s mouth:

“The plan is not just for the ID cards, but to outsource the whole of MI5 to Tesco,” said the Home Secretary. “Frankly they seem to know more about what people in this country are doing than we do.”

Identity. It’s a big theme today. Identity cards and identity theft are but two major areas of concern and controversy about the identity of individuals in our society.

And identity is a central theme of our Gospel reading. It’s about the identity of Jesus, and the consequent identity of his disciples. I see this revelation of identity coming in three phases.

Firstly, we have a confession.

If you like reading stories, I wonder what kinds you prefer. Thrillers, romance, epics? If you enjoy whodunits or mysteries, you will be somewhat disappointed by Mark’s Gospel. In the very first verse, he tells us it is the Gospel of Jesus the Christ, the Son of God. Jesus is both the Christ (or Messiah) and the Son of God. At the Cross, the Roman centurion confesses that Jesus is the Son of God, and here, Peter says ‘You are the Messiah’ (verse 29), when Jesus asks the disciples who they think he is, as opposed to the opinions of people they know.

This, then, is one of the high water marks of Mark’s Gospel. Here, after all the build-up, with Jesus’ popularity among ordinary people and the opposition starting to rise from those who feel threatened by him, is a decisive confession by Peter. ‘You are the Messiah.’ Lesser options, like the ones proposed by others, will not do. Jesus is more than ‘John the Baptist; and others, Elijah; and still others, one of the prophets’ (verse 28).

And it’s similar today. Lesser confessions will not do. Around the time I first became seriously interested in faith for myself, musicals like Godspell and Jesus Christ Superstar had been popular. Both contain elements that are worthy of appreciation by Christians, and it’s interesting to see how people without a clear Christian faith perceive Jesus, but both fall short. Godspell is ambivalent about the Resurrection. Jesus is dead at the end, and you simply have the ambiguous song ‘Long live God.’ And Jesus Christ is more than a superstar. Indeed, his whole approach to life would critique attitudes to stardom and popularity.

Do we run the danger of making a lesser confession in the Church sometimes? Possibly. Might liberal Christians be so enamoured by the social justice implications of Jesus’ teachings that they forget the importance of salvation from our own sins? Might catholic Christians be so entranced by the power of the sacraments in remembering Jesus that they overlook the personal responsibility we have in embracing faith? Might evangelical Christians be so caught up with the personal blessings of salvation that they pass over the social implications of his message and ministry?

These are all over-simplifications, I know, but I hope I make this simple point. Encounter with Jesus leads to a full-blooded confession of him as Messiah. It involves the blessings of forgiveness, new life and salvation for us. It starts with God’s initiative towards us, and we need to respond. And it isn’t merely for our own benefit, but for sake of God’s love for the world. All these things are implied in confessing Jesus as Messiah.

So let’s make sure our confession of Jesus is not a truncated one, not restricted by the vision of the world or by our church tradition. Let’s accept that confessing Jesus as Messiah leads us to a big, inspiring vision of who he is, what he does, who he blesses and what he calls us to do.

Secondly, there is confusion. Early in my ministry, I asked a congregation how they might have imagined their new minister before I arrived. Perhaps I was married with children, with brown eyes and right-handed. At the time, I was single (without children!). My eyes are blue (please don’t say ‘red’ after the service!) and I’ve always been part of that elite minority of people who are left-handed.

Similarly, when I moved from that appointment, I obtained a profile from one circuit I was interested in, only to find buried in it a description of their ideal minister as being married with children. At the time, I was still single (and still without children!). I found it sobering to talk the other morning with our Chair of District about our move from this circuit when she said I would be a more attractive option to some circuits because I was married with kids.

People can imagine all they like what someone is like, only for reality to deal a shock to them. that’s certainly what happened to Peter when Jesus explained that as Messiah he would have to suffer and die (verse 31). You’ll remember that Peter was shocked and began to rebuke Jesus (verse 32), only to earn the response

‘Get behind me, Satan! For you are setting your mind not on divine things but on human things.’ (Verse 33)

Peter’s fantasies about the Messiah have to be exploded. No warmongering conqueror of the Roman occupying forces, but the suffering conqueror of occupying sin. We think of other Gospel stories, like James and John getting mad when a village doesn’t respond to the message of Jesus. They ask him whether calling down fire from heaven would be a good response, and Jesus declines their suggestion. No wonder they were nicknamed the Sons of Thunder.

All this is obvious to us with hindsight. We know that Jesus came as a suffering Messiah, not a military general or a freedom fighter. We know the way of the Messiah is the journey to the Cross. So you might think it would be easy for us to live without the confusion of Peter and the first disciples.

I am not so sure. We may know in our heads that the path of Jesus would take him to Calvary, but there are times when we want to call on a warlike Messiah, just like his first followers. Think about how we pray sometimes about evil. We may want God to sort it with a quick fix. We may ask God to zap evildoers, whether they are tyrants inflicting injustice on their people or folk we know who have treated us unfairly or even cruelly.

I wonder whether those are the kinds of prayers to which God answers, ‘No.’ I wonder whether heaven even says, ‘Get behind me, Satan’ to us when we pray like that. I wonder whether the way we need guiding out of our confusion about Jesus is to focus our thoughts and devotions much more solidly on the Cross. Having seen some churches ripped apart by bitterness and lack of forgiveness, I do suspect we have our fair share of Peters and Sons of Thunder in today’s church. But here, especially, and as always, the Cross is what unscrambles our confusion about Jesus.

Thirdly and finally, this passage presents us with a challenge. Many of us may find the world of the prosperity gospel preachers baffling and bizarre. If you’ve caught sight of any on satellite TV, you’ll know what I mean.

But it’s easy to understand their appeal. ‘God wants you rich’ is an attractive message in a materialistic society. ‘Jesus suffered so that you don’t have to’ plays well in a culture that spends all its time trying to avoid suffering. And while we might see through the ‘God wants you rich’ approach, I think a lot of us don’t so much think about suffering as attempt to avoid it.

But think about it we must, because the challenge of Jesus here is that just as he was to go to the Cross, so too his followers would have to face suffering because they are his disciples. ‘If any want to become my followers, let them deny themselves and take up their cross and follow me,’ he says (verse 34).

It’s not that Jesus thinks we should go looking for suffering, but he calls us all to such an abandonment to his ways that it will bring us in the firing line of evil, just as happened to him. If that happens, then self-preservation is not an option. If I want to save my life, I will lose it, but if I surrender it for Jesus and the Gospel I will save it (verse 35).

Now that thought is one we need to apply not only to ourselves as individuals, but also to churches. How often I hear churches in these days of aging and declining congregations talk about how they are going to survive and keep open. ‘How are we going to keep our church going?’ people ask. I suggest that it is a question based on self-preservation rather than a concern for the Gospel. It’s about how we are going to save our lives, rather than a passion for other people to know the love of God in Christ. Maybe churches that talk like that are the very ones that will lose their lives.

Few people like the idea of embracing suffering head on – I certainly don’t! However, we need to remember that Jesus offers us hope with these challenging words: if we are willing to lose our lives for his sake, we will save our lives. That might be in this life, it might be in the life of the world to come. But Jesus keeps his promises. I recently read this story:

Bernard Gilpin (1517-1583) was a preacher who was taken into custody for preaching the gospel during the time when Queen Mary Tudor was persecuting Protestants. He was being taken to London to certain death, but to the amusement of the guards accompanying him he kept saying, ‘Everything is for the best.’ On the way he fell off his horse and was hurt, so they could not travel for a few days. He told the amused guards, ‘I have no doubt that even this painful accident will prove to be a blessing.’ Finally he was able to resume his journey. As they were nearing London, later than expected, they heard the church bells ringing. They asked someone why this was so. They were told, ‘Queen Mary is dead, and there will be no more burning of Protestants.’ Gilpin looked at the guards and said, ‘Ah, you see, it is all for the best.’[1]

So let us embrace the challenge, knowing Jesus will give us life everlasting, whatever we lay down now.

Herregud vad jag vill se detta. En norsk uppsättning av Jesus Christ Superstar, med Hank von Helvete som Jesus (och en Pete Doherty-look-alike som Judas). Går nu och fram till nyår. Synd att det är så långt till Oslo bara.

Jag såg även ett annat youtube-klipp där de kysste varann, lite aggressivt sådär. Men där Judas är den som bestämmer i min favorituppsättning, London-versionen från 2000, är han Hank von Helvetes bitch här. Intressant. Uppsättningen verkar rätt street också, inte så glammig som den svenska uppsättningen med Ola Salo häromsistens (som jag tyvärr aldrig såg).