Americana by The Offspring

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By The Offspring

Очередная книга для любителей поиграть на нервах у родителей, для девочек во дворе, и так просто.. для себя...
Представлять вам группу The Offspring я не стану - нет смысла. У меня даже мысли в голову не пробираются о том, что кто-то может не знать этих музыкантов и тем более их альбом Americana, вышедший в 1998 году.
Альбом буквально за считаные мгновения стал супер-успешным. Кстати, он немного отличался (да и отличается теперь) от их остальных альбомов. Здесь они стебали уже не только хэви-метал, но и все музыкальные стили, которые им только удалось воспроизвести. В текстах появился какой-то юмор, но в большинстве своём они оставались такими же серьёзными и трагичными. Offspring'и производили впечатление весьма наивных провинциальных музыкантов, которые даже не понимают, насколько смешно они звучат. За это их и полюбило новое поколение реальных провинциальных подростков, звучавших так же смешно и мысливших столь же серьёзно.

Как и всегда партии голоса и гитары + табы...

Содержание:

1. have you
2. beginning on the sunlight
three. beautiful fly
four. the children are usually not all right
five. emotions
6. She's received matters
7. Walla walla
eight. the top of the road
nine. No breaks
10. Why do not you get a job?
11. Americana
12. Pay the fellow

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Additional info for Americana

Sample text

Thus I began to realize that, ironically, the real reason for what I had initially perceived as the failure of BRACS to take up the possibilities of representing/mediating/strengthening culture lay in the very nature of Yolngu culture itself. It was not simply that the notion of remote indigenous media production was a Balanda fantasy; rather, Yolngu were actually protecting Culture —perhaps even actively protecting Culture —by not recording and not broadcasting their stories and songs. And so, eighteen months into my field research, I found I had a thesis.

I had expected a form of cultural activism; I anticipated productions that could be analyzed in terms of local cultural priorities and compared with mainstream practices. But instead, I encountered what appeared to be a disconcertingly relaxed pursuit of Western pleasures. When Gambali turned up for his on-air shift still smeared with white clay from ceremony, the contrast between Culture and what went on in BRACS seemed even more pronounced. Despite all expectations, the station appeared to be actively generating an intercultural sameness rather than a distinctive cultural difference.

Nonetheless, as the weeks passed, I felt a growing disquiet in relation to my real work—my anthropological project. Despite the welcome relief from the afternoon heat offered by the air conditioning, I was growing increasingly uncomfortable as I realized that Gambali and Lassie were quite content to be what I saw as “just” DJs, playing a selection of current hits and old favorites and broadcasting action movies. Although we kept the microphone for the PA in the BRACS, and the duration and significance of some announcements meant that the broadcasters would suspend the programs, it never occurred to Gambali and the other BRACS workers to use the radio or television for raypirri.

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