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SONGS OF THE FISH…

«FISH» — DRAFT TEXT OF THE SONG
(PROF. JARGON)

Why such a craving in Russian natural phenomena of song poetry? I thought about it a lot. This is some kind of madness. Snowfalls, icebergs, leaf fall are constant. Rain-rain. Snow-snow. It’s out of date (Natalya Medvedeva)

Sometimes singers don’t even read the lyrics. They listen to the recording — the composer sang to them, and if something is messed up, they sing like that, and the words sound meaningless (Larisa Rubalskaya)

P poet Ostrovoi and composer Ostrovsky back in the 60s strictly warned all of us: “Those who cannot sing and listen to songs will never be happy. ”

Alas, to listen, and even more so to sing most of what the modern Russian stage imposes, is possible only under the threat of eternal loss of happiness. But there is nothing to do, because «… the song remains with the person, the song is your true friend forever.» And without songs, the world is fresh, uninteresting, cramped. That is why we listen and, like zombies, we mutter absurd under our breath: “Oh, mom, chic ladies!” nine0003

So we decided to find out what they think about the current examples of song poetry and about the stage in general, about their place on it, two stars — the radical singer and writer Natalia MEDVEDEVA and the poetess Larisa RUBALSKAYA, who works in the traditional way.

Medvedeva, the “anfan terrible” of Russian culture, or, as the TV advertisement for her new album claims, “the plague of the 20th century,” sings mostly what she composes, while Rubalskaya’s songs were and are in the repertoire of almost all famous pop singers. nine0003

— Who do you think is the best songwriter in Russia today? Reznik, Gazmanov, Shaganov? Or — Tsvetaeva, Akhmatova, Yesenin?
Natalya MEDVEDEV: Oh my God! I don’t think the big ones should be touched at all. No need to sing them, it’s all very fraught. I don’t even like it when Yesenin is sung. I understand that if it’s with a guitar, and when they shift it to music with a rhythm box, these “me-me-me-me”, “Moscow tavern”, monstrous voices, and the video is shot with terrible faces. Ugh! Terrible! nine0003

Larisa RUBALSKAYA: How can I answer? I recognize different authors, but if you walk down the street and ask, many will call me the best. I’m vain, of course… More recently, the stage was my love and passion, and now it has been replaced by show business. My attitude towards him is critical.

NM: Tell me, what difference do you see between stage and show business?

L.R.: The thing is…

N.M.: For me, a person who has been absent from the country for half his life, there is no difference. Everywhere involved, this is especially clearly seen at the festivals «Song of the Year», the same authors. Take the same Tanich. If earlier he wrote nice civilized songs, now he is busy with . .. buckets! That is, «Lesopovalom». So what’s the difference if the people are the same? nine0003

L.R.: And here’s the difference… I’ll tell you about myself. I started composing in 84. I have always been a laureate of the “Song of the Year”, there is nowhere to put diplomas at home, but for the last two years my songs have not been in the final concert. I’m not offended, but not insanely happy either … Previously, I could help artists and wrote not the worst songs — for Allegrova, and Buynov, and Malinin, and Ovsienko. I really participated in their career, and the future path of the singer depended on the repertoire. Now, no matter how smart, good and suitable songs I compose, I am not able to help anyone. Everything is determined by commerce: is it possible to make money on this song? And I happen to be a non-commercial writer. For some reason, it turns out that before my songs were played on TV five or six times a day, but now … well, it happens, of course, but if you ask me who sings them today, I won’t answer right away. nine0003

N.M.: It’s silly to say that I would be against if my songs were played on the radio or on the “box”, but to take part in national programs, with artists who are not close to me in spirit, in aesthetics, I’m not interested, not thrilled, even humiliating. And in general on FIG it is necessary!

L.R.: Something strange is going on. It turned out that the quality of the text does not affect the fate of the song at all. Here I am — a respected author, recognized in the pop circle, I try very hard to write in good Russian. And when at concerts I read my song poems for an hour and a half, I don’t write others, they sound perfectly normal. They have a plot, plot, development, climax, everything is as it should be according to the rules of literature. nine0003

Medvedeva laughs with restraint.

L.R.: But I understand that by doing this I am losing popularity, because now the requirements for the text are much smaller.

NM: I don’t agree with this! Whose demands are small?! Allegrova, maybe? She herself is so big on the screen. ..

LR: She is good, she understands everything.

NM: The people you write for are the superstars of this country, and it doesn’t really matter what song they sing. All the same, they are superstars and still spin in the «box». nine0003

LR: They spin, but apart from the «box», there is public opinion. The people love something, but not something, and many stop loving artists, because their repertoire changes. And the song is chosen not so much by the artist as by those who pay money. They decide which song will generate income. And now I write separately poems that I read at concerts, and poems for which money is paid.

NM: This is very bad.

L.R.: What’s your offer, Natasha? nine0003

NM: You have to impose your aesthetics and your perception. What nonsense is this — impossible! You will compare Pugacheva’s songs from the album «The Woman Who Sings» with the songs she sings today, and you will see: before the cultural level was higher, but it did not depend on the people. What, the people then longed to hear «Shakespeare’s Sonnet»?! You yourself say: you are a respected songwriter, and you can impose if you are ordered by the same Allegrova or Malinin.

L.R.: They are all right, the young ones are not normal. nine0003

NM: And you should feel at ease with young people. Why would you write songs for them if you don’t know their vocabulary at all, you don’t live in their world, you don’t know what they eat, what they wear, who they worship, what they dream about?

L.R.: I try. I take a walk with the dog in the evening especially at a time when girls of about fifteen are walking, I communicate with them a lot.

NM: Have you heard the Tête-à-Tet group singing: “You don’t understand, you don’t catch up, you don’t catch up”? Their producer is already a solid uncle, dad. nine0003

L.R.: Matvey Anichkin.

NM: But now he has entered the modern youth vocabulary?

L. R.: How can I introduce the following text to the “Brilliant” group: “My friend, I don’t regret at all that I was faithful to you last summer”?!

NM: No need to write such texts for them! Why do you need to communicate with the «Brilliant» group at all?

L.R.: (convinced) . I want with everyone! I want to be tomorrow, not yesterday! nine0003

N.M.: (tired) . OK. Well…

LR: There was a TV show recently, and the «Brilliant» and I talked like girlfriends for three hours.

N.M.: I think they are full of fools. They do not care, the main thing is that the eyelashes are glued correctly.

L.R.: No, good girls. Or, for example, I wrote one song to Masha Rasputina, tried to match it, and they told her: “Masha, don’t sing, this is a shallow song!”

N.M.: Ha-ha-ha! Doesn’t go deep enough? A replica in the style of Masha Rasputina! .. Speaking of stage, one should not confuse the concepts: a popular song and pop music. I think there is a difference here.

L.R.: I can’t see.

N.M.: No! I can’t say that Pugacheva is pop music. I can rank her among a number of singers who are internationally called «pop singer», «pop star». Popular performer. And pop music is…

L.R.: «Pop music» is a good word, harmless. nine0003

N.M.: I find it disgusting! How disgusting the word «scoop» or «fuck.» If you have to say about the closeness of people, does nothing but “fuck” come to mind?!

L.R.: (timidly) . Maybe, as a synonym, I stopped being afraid of him?!

N.M.: And it’s gone! If you mean she slept with him that night…

LR: Yes, if it’s the first time.

NM: There are no such prohibitions about what you can sing about from the screen or from the stage and what you can’t. Does not exist. The task of art is to reflect life, and in our life there is both vulgarity and vulgarity. This means that there should be vulgarity and vulgarity in art, but only if it is deliberately done, as a kind of move, stylization, hoax, and if a person is vulgar and stupid, therefore his texts are the same, then he went to the ass! nine0003

LR: I think that there are two topics that can and should be sung about: love, and the other is funny, banter songs about anything. I recently wrote about love: “I am like a butterfly without wings on a flower without petals.”

N.M.: Yes, it’s just some kind of Chernobyl! In Soviet times, you would probably begin to write songs about Lenin, the party and the Komsomol?

L.R.: Yes, I would. Just now I wrote the song “Kepochka”, it is, as it were, about Luzhkov, but it is so nice, so cheerful, there is nothing there for which they would say: “Wow, Rubalskaya! Crazy, opportunism!” Just a song. nine0003

NM: About a popular character of our time.

L.R.: Yes, and Vinokur and Leshchenko will sing. In general, I am a child of the Soviet pioneer camp and I love the songs of Soviet composers all my life. And when my friends and I get together, we still sing: “I went out into the Donetsk steppe…”

NM: And I also love these songs very much. Songs of the pre-war times, the war period, the fifties. Class! Awesome! I was brought up in the Soviet Union on the Soviet song, my childhood is connected with my mother, who loved to sing, and Piekha was her favorite performer. And Piekha during my childhood was considered a very exotic bird on the Soviet stage. Even the fact that she sang with a slight accent already separated her. Today, I would not go to her concert, of course. nine0003

LR: As for English or French music, I don’t know much about it. Sometimes I like something, but mostly not. If a composer brings a melody and shows, as it were, in a foreign manner: “show-go”, I no longer have a disposition for music. It doesn’t interest me. I don’t like foreign films. Here I am, maybe a simplified person, but Her Majesty Emotion visits me only in a certain situation.

N.M.: Understood. And I was always interested in foreign people and what they sing there. What Edith Piaf sings, if the whole hall just dies, roars and groans. And what about the hall from such an audience, not bourgeois, because she was a folk singer. And why did Cocteau fall in love with her and help her? Because the Russian language, especially in recent times, has turned into some kind of wretchedness, a mockery. It seems to me that because of the lack of borders, which were imposed not so much by official censorship, but by internal censorship. She forced people to be decent: embarrassing, don’t talk about it like that … And when Mikhal Sergeyevich announced publicity, then such an orgy began, everyone perceived it as the absolute abolition of vulgarity, stupidity, inappropriateness, and it all rolled into a monstrous disgrace. For example, young bands that write lyrics for their own music, that’s all. .. People haven’t finished even four grades. nine0003

L.R.: At one time, Beatles fans were also terribly disappointed when they translated the texts of idols with a dictionary, but it turned out …

N.M.: Of course, bullshit!

L.R.: Now it has become fashionable to write Russian lyrics to Western hits. Other music critics argue that this is the only acceptable way, since our tough composers are weak as melodists. But the Russian versions turn out to be terribly far from not only poetry, but also from common sense. nine0003

N.M.: Here! Here! Monstrous! These are not texts that are written, but subtexts that are linguistically similar to the words of the original, but not to the essence.

L.R.: I absolutely agree with Natasha. Little luck.

NM: I remember the incident with the song that Frank Sinatra sang, the super hit «Mai Wei». You, Larisa, know for sure.

L.R.: If you sing, I will know.

Medvedeva is singing.

N.M.: There! It’s super! And there was a French song, it was sung by Jean Claude, such a jumper — he sang all the songs jumping. And in French it sounds like a monstrous bore, and it sings about habit. Like, as usual, I get up and drink coffee out of habit. And Frank Sinatra took the melody, and they wrote an absolutely amazing text for him: “I did everything in my own way, I took life into my own hands,” and it became an anthem to the will, an anthem to human victory. nine0003

L.R.: As for the translations of the songs, I also received orders. I am currently working with a young singer and have translated for him the song «Caruso» sung by Pavarotti. I took the text and honestly went to the Italians, asked me to make an interlinear, I wanted to compose a Russian version closer to the original, but it turned out to be so monotonous … And I wrote it in my own way. She also tried to saturate one Moroccan song with meaning. But if you translate into Russian, you still need to preserve their phonetics…

NM: Do you remember the story with the song “Shizgara”?! In fact, it sounds like «She’s got it» — «She has it.» And we sang: “Shizgara, my baby, Shizgara”!

L.R.: I have one girlfriend, even to boys, she introduced herself this way and held out her hand.

NM: Has Shizgara become a proper name?! Ha!

L.R.: You speak English, but I have been working with the Japanese all my life, I know Japanese well…

N.M.: Yes?! nine0003

L.R.: I am a translator. And after listening to a lot of cassettes of the most popular Japanese bands, now I feel like a genius of song poetry compared to what is written there! A Japanese translator decided to translate my Vain Words into Japanese. «Vain words are a vignette of a false essence.» But if you translate her version back into Russian, then instead of “Splash witchcraft into the crystal darkness of a glass,” it turns out: “Pour a strange liquid into a stale glass,” and her “vain words” sound like “words that probably won’t come in handy. ” This is such rubbish. In general, the Russian stage has become worse. nine0003

NM: She didn’t get worse, she didn’t grow anywhere. That’s the problem. Now there is an opportunity to watch a lot of various Western shows on the «box». And if you compare the concert of Natalie Cole, for example, then how it was filmed, sounded, filed, and the concert of Lada Dance with the Krol orchestra at the Variety Theater, where the same American popular songs were performed … Local squalor!

L.R.: Our pop industry is not up to par, but we can’t keep up with the West all the time! nine0003

NM: This is inevitable. ALL Western products are sold here, not just, excuse me, sausage and coffee!

L.R.: Natasha, but we are local people, local.

NM: So what, why do you buy Western things for yourself?! Look at you from head to toe…

L.R.: This is external, and as Voznesensky said, «the light must be of my own production, that’s why I make stained-glass windows. » You know, among the Japanese, if someone lives somewhere in the West, and then returns to their homeland, their children who grew up abroad are teased with a “banana”: inside you are white, but still yellow on the outside! nine0003

NM: Naturally, the light comes from within, but the equipment at all concerts and the microphone into which Voznesensky reads poetry are Western. We must learn to use them. In any case, Rozanov had it, the Russian people will do it in their own way. He can go to study abroad, and then he will come and redo everything in a Russian way. Unfortunately, this “Russian mode” turns out to be neither one nor the other, between two chairs.

L.R.: The main thing is that you don’t need to sell your soul, just as you don’t need to close yourself off from what is good in other countries. But Broadway shows require a lot of money…

NM: Look, this is not true. Why are these prices here? Some kind of local impudence, megalomania Russian or, perhaps, Moscow. 25 thousand dollars takes the director for the clip! Where does it come from?!

L.R.: Natasha, I was now interested in the promotion of a young artist, and several production centers made up estimates for me — an average of 320 thousand dollars per year.

N.M.: This is crazy! A studio — $ 35 per hour, and not the most expensive. nine0003

L.R.: We must instill in the listeners a taste, and not indulge in what they want, but according to the rules of show business, this does not work …

N.M.: Because show business often run by very strange people. Take producers, directors of record companies, where did they come from?! Yes, half of them are former farce! And these people are simply not able to give a recommendation to the performer or look at the material brought in from the point of view of aesthetic value, they have read two and a half books in their whole life! nine0003

L.R.: Natasha is absolutely right, but she is independent and brave. I can’t do that. I would like to go on and name many, but I am so dependent on them, because my products will be offered to them. I took this position: do not enter into conflict with anyone … But there must be people on the radio and on TV who understand that this song will not harm the minds and hearts of listeners, people with good taste, fighters for cases, declensions and inclinations … Our stage will not return to good songs. The new generation will come up with their own songs, which will seem like dregs to those who sing this rubbish today, and their songs will seem like masterpieces. Everything will be worse, and the current ones will be classics. nine0003

NM: This is at Svetlov’s (sings) : «Life has come up with new songs… Don’t worry about the song, guys.»

Russian man, Soviet always wanted to live in a fairy tale. The same socialist realism, everyone there wanted crazy meadows, where “rye, what are you singing about”, they wanted abundance, the cover of the book “On Tasty and Healthy Food”.