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Ïîñëåäíèå ÍÎÂÎÑÒÈ (ïðîäîëæåíèå)
Zero: Ïîñëåäíèå ÍÎÂÎÑÒÈ
Ziggy Pop: ïî÷èòàë, Êîðãàí ìîëîäåö, ãí¸ò ñâîþ ëèíèþ. Ýòî ñàìîå ãëàâíîå.
Ziggy Pop: Billy Corgan talks tour, criticism, songwriting approach Tonight, Billy Corgan took a break from his antique shopping (totes jealous) to sit down with Kristin Burns for a live USTREAM audience and do a pre-show interview in Orlando. He took some interesting questions from the fans in the peanut gallery, so if you missed the broadcast, you should check out the recorded video here. Check out my notes below for some of the highlights: The Pumpkins have already written 10 or 11 new songs, but have only played 5 or 6 of them in soundcheck. Corgan states that the rest are more appropriate for album-style tracks, not so much for the live setting. He’s looking at October as the next time they’ll be in the studio, and seems excited that all members will participate in the recording. As far as what’s been worked up for the current tour: they tried out approximately 50 (!) vintage Pumpkins songs for this show, but aggressively curated down to the current setlists. More specifically, he stated that they worked up an alt-rock-y version of Raindrops + Sunshowers, but had doubts about the audience reception. Tristessa and GLOW were considered (and Tristessa was played), but ultimately didn’t make the current rotation. Regarding audience feedback from soundcheck, Corgan talks at length about how he is rarely under the illusion that a song is better than it is. He has a very critical stance on his own songs, and oftentimes doesn’t disagree with the critics, but disagrees with their methods of evaluation (e.g. comparing new songs to old work, balance and diversity on a given record). He cites the critical reaction to Zeitgeist as an example, and elaborates. Corgan also explains how every era has its own songs that were left off the album, or didn’t feel like they fit into the era in which they were created. He discusses “Drown” as an example of a Gish-era song that was more like Siamese Dream, but serendipitously saw release on the Singles soundtrack. This leads to a discussion of his approach to songwriting in general, as a journey, creating songs along the path that may not be ‘great’ songs, but may be side trips to explore new ideas. He explains the idea that “effort does not always equal excellence” via the example of “Starla” — it was essentially written on a napkin and recorded in a day, and he considers it a payoff of this ‘journey’ approach to the Smashing Pumpkins’ body of work. For more of Corgan’s thoughts about songwriting and his legacy and reputation as an artist, you’ll have to watch the full interview here: http://www.ustream.tv/recorded/8386209 âèäåî-âüþ, íüþ
Ziggy Pop: Billy Corgan, Smashing Pumpkins still explosive at House of Blues When it comes to the current incarnation of the Smashing Pumpkins, the man is pretty much the band. Lead singer Billy Corgan is all that’s left of the lineup that helped usher alternative rock into the platinum-selling mainstream in the early 1990s with blockbuster albums such as Siamese Dream. In an epic, sold-out show on Monday at House of Blues, Corgan proved that’s enough. Armed with an arsenal of spotlights, strobes and production touches, the new edition of the Pumpkins somehow squeezed an arena-sized spectacle into the cozy music hall. “I don’t know what kind of music is supposed to be played up here, but it’s not rock ‘n’ roll,” Corgan mused after an incendiary “United States” built on a mash-up of metal, ambient noise and woozy psychedelia that would be a challenge for any stage to contain. “It sounds so weird up here.” For a solid two hours, Corgan and the current Pumpkins – guitarist Jeff Schroeder, bassist Nicole Fiorentino and drummer Mike Byrne – shifted effortlessly from expansive pieces into more tightly constructed gems such as “Perfect,” and “Widow Wake my Mind.” The latter was among the solid new songs that also included the hypnotic opener, “Astral Planes,” which segued seamlessly into the throbbing bass of 1998’s “Ava Adore.” It was one of the occasional moments that offered the other band members a chance to shine, opportunities that were handled capably, but without flash. In the end, the musicians seemed like hired guns, a perception heightened by the fact that Corgan didn’t bother to introduce them. Ah well. The important thing: this unit is good. Although the band savors its moodiness, the musicians rocked with impressive economy, especially on a taut, exuberant take on “Tonight, Tonight” that injected surprising urgency into a well-worn anthem. There were also plenty of old-school rock riffs in the utilitarian 30-minute opening set by Bad City, part of an all-Chicago bill that also featured the more formidable and engaging Kill Hannah. The latter band expressed its reverence for the Pumpkins, a devotion that Corgan and company still deserve. “”We ain’t going anywhere,” Corgan intoned over and over near the end of the night. When the result is this inspired, that’s good news.
Ziggy Pop: Smashing Pumpkins at Metro next Tuesday for benefit concert From a press release: THE SMASHING PUMPKINS will perform a benefit concert next Tuesday, July 27 at Chicago’s Metro to raise money for medical care for Matthew Leone, bassist for Chicago band Madina Lake. Tickets will go on sale Wednesday July 21 [ed. tomorrow!] at noon. Ticket distribution for this show is somewhat complex: There will be a raffle for tickets. Individuals can enter the raffle as many times as they wish for $10 each entry. A majority of the venue will be sold to raffle winners. [...] There will also be a very limited amount of balcony VIP tickets put onsale for those fans who want to make a larger donation and ensure entry into this special event for $100 each. [...] Additionally, a limited amount of soundcheck VIP tickets will be available for $500 each. The soundcheck VIP event (approximately 30 minutes), set for the late afternoon, includes a meet and greet/photo with the Pumpkins and merchandise items, plus a seat at a table in the balcony for the show. All proceeds from the raffle and concert will go to the Matthew Leone Fund at Sweet Relief. Sweet Relief Musicians Fund is a non profit 501(c)(3) organization provides financial assistance to all types of career musicians who are struggling to make ends meet while facing illness, disability, or age-related problems. For more information on Sweet Relief, visit www.sweetrelief.org. http://metrochicago.com http://www.ryanmanno.com/MatthewLeoneBenefit_Pumpkins.pdf áëàãîòâîðèòåëüíûé êîíöåðò ñîñòîèòñÿ â ëåãåíäàðíîì ÷èêàãñêîì êëóáå "Ìetro" 27 èþëÿ. Äåíüãè, âûðó÷åííûå ñ âûñòóïëåíèÿ, ïîéäóò íà ëå÷åíèå Ìýòüþ Ëåîíà (áàñèñò ÷èêàãñêîé ãðóïïû Madina Lake). ðåñïåêò Áèëëè, ìîëîäåö
Ziggy Pop: çàâòðà, 22 èþëÿ, ñîñòîèòñÿ ðåëèç êîìïèëÿöèè êëóáà "Metro". Ïîñëåäíèé òðåê - Ëûñûé, ×åìáà è åù¸ êàêîé-òî õðåí ñ ãîðû.
Ziggy Pop: Pumpkins will headline Denver radio-station festival on Sept. 18 The Smashing Pumpkins’ hinted-at September run of U.S. concert dates started to become reality yesterday as KTCL-FM in Colorado’s capital city announced the lineup for its “Big Gig 2010.” The Pumpkins are supported by fellow Chicagoans Chevelle, Denver’s own Flobots, and others. A ticket presale is this Friday and the full onsale is Saturday.
Philosopher: Sleater-Kinney òîæå äîñòàâëÿåò
Ziggy Pop: Smashed Pumpkins: Billy Corgan battles to keep the legacy alive Thursday, July 22, 2010 By Scott Mervis, Pittsburgh Post-Gazette So you think the 10-song album format is not relevant anymore? I think it's been destroyed. I understand why people are still doing it because they don't know what else to do. But it's destroyed. I don't see how that means anything anymore. And I realize if you print that, some guy's going to go, "Well, I love Johnny and the Toads' "Forest" album.' No, I'm not trying to throw a blanket over everything. I'm just saying, generally, people are not that interested. Why we keep insisting collectively as the music world, keep shoving something down people's throats that they obviously don't want, I don't get that. We're not talking about like it's been a couple bad years. We're talking where it's been over 10 years now. If you were talking about sandwiches or cookies, do you think they would last that long in that kind of thinking? It's a preciousness that isn't needed. Just figure out how to get people what they want when they want it. Maybe it's about putting out 40 songs a year, maybe it's not about producing everything perfectly. Maybe you produce the best song you can produce perfectly and the other five songs you just run in the studio and cut in a couple days. Maybe it is the DIY model at the end of the day. For the Christina Aguileras of the world who, it's about being perfect, well then, that's fine. But for the rest of us, I don't see how that works anymore. What's the time frame on these 44 songs and releasing this physical product? I'd say right now we're probably in the four-year range. The touring slows things down a little bit and trying to align ourselves with the reality of how to market the stuff in a very real way. The fanbase is really impatient for me to put out this music. But I'll give you a perfect example. I played a show the other night and there were probably 1,500 people there. I said, "I'm going to play a song now called 'Widow Wake My Mind,' it's available for free on smashingpumpkins.com, so hopefully some of you know it." I said, "How many people actually know we're putting out songs for free?" and only a third of the audience raised their hands. The message is they're there, they're interested, they bought a ticket, they don't even know it's there. They're coming 'cause they loved "1979" way back when... Doesn't matter. I got them in the door and I have that opportunity, and obviously if I play a good show the likelihood of them finding out is going to go up. I'm not mad about that. It makes me scratch my head like "How do I get this information out to people?" You say, oh, if it's free, people are going to know about it. No, it's not. There's so much information. Even if someone reads it, they don't necessarily retain it four hours later when they're arguing with their friend. Life moves on, life moves really fast. What I don't want to do is keep throwing songs into a vacuum to the 5,000 people that pay attention every day, who follow the ups and down and argue about the color of my hat. Do you think people figure "I have so much Smashing Pumpkins music ... They made so much great music and I have so much of it." Then the need for more decreases. What I think it is is if you keep doing the same thing, it limits the interest of why you want to go back. It's like seeing "Die Hard 4." The audience gets smaller because they already know how it ends. So I think you have to prove to the audience that you've moved on. And if you look at other people's success where they've had major comebacks -- U2, Elvis and plenty of other people -- it's usually because they find something new in their music. And so the indication right now is, it's still a very early stage. I seem to be finding something new and the audience is responding to that. If I can turn that corner and prove there is a whole new rich vein of music I'm tapping into in a way that doesn't alienate people but makes them say "Oh, this is why I liked them in the first place," that's my responsibility. If you keep putting out the same songs, why would you want to hear it? You can just go back to the old stuff. That's what I do. There's no judgment there on the audience. It's my job to go, "Hey I have something new to say." That's why I look at people like Neil Young. You watch them kind of wander in the wilderness for a while and you go, "Aw, man, what's he doing?" And boom, all of a sudden he finds a new way to do the Neil Young thing and you go "Aw, he's back," and you're right back there. I feel like I'm at the tip of the iceberg right now and I don't know where it's going, but it feels good. Read more: http://post-gazette.com/pg/10203/1074397-388.stm#ixzz0ubTEvhUc
Ziggy Pop: ‘Rat in a cage' no longer: Billy Corgan smashes Pumpkins preconceptions by following his art By Steve Wildsmith A word to the wise, advises Billy Corgan — there are two sides to every story. He's speaking about himself, but also about the past, present and future of the band he's fronted for almost two decades, The Smashing Pumpkins. During the group's 1990s heyday, Corgan was one of rock's prominent personalities — by some standards a musical genius, by others a maniacal control freak whose artistic decisions were often called into question. The Pumpkins, performing Friday (July 23) at The Valarium in Knoxville, made many music news headlines during the height of their fame, and many of them focused as much on the personalities of the members and the clashes between them as on the music they were making. Fifteen years later, it's hard to talk about the band without acknowledging that checkered past. That's something Corgan has resigned himself to dealing with, even though The Smashing Pumpkins 2010 is a markedly different creature than it was when a legion of fans snatched up copies of such classic albums as “Gish,” “Siamese Dream” and “Mellon Collie and the Infinite Sadness.” “We're 17 years removed from ‘Siamese Dream,' and there are people who see that as this Holy Grail moment that totally expresses what they were feeling at the time,” Corgan told The Daily Times during a recent phone interview. “I really appreciate that, but at the same time, people feel like that (after its release) I made a left turn and got lost in the woods somewhere — not understanding that part of what made that album so beautiful is that I completely committed to what it was and then, when I finished it, I said it was time to move on to something else. “I didn't do what most people do and say, ‘Oh, you like it? I'll try to give you more.' That's never been who I am, and that's where it becomes this tough thing — I want to make people happy, and I want them to like what I do, but not at the expense of my own curiosity.” That curiosity has been the driving force behind the Pumpkins since the band's inception in 1988, when Corgan met guitarist James Iha while working at a Chicago record store. Three years later, the “classic” lineup of the band was in place — Iha, drummer Jimmy Chamberlin, bassist D'arcy Wretzky and Corgan — and the group released its first full-length album, “Gish.” Landing smack in the middle of the grunge revolution, “Gish” was something startling in its departure from the Seattle sound — slow and dreamy with roots in psychedelia, heavy and droning like the goth and doom rock Corgan cut his teeth on and melodic and pretty, making the most of the technical abilities of the band members and the capabilities afforded by a good studio. Although the album's success was modest, it set the Pumpkins up for that aforementioned Holy Grail — the 1993 release of “Siamese Dream,” considered a landmark album of the shifting 1990s alternative music scene that would go on to sell 6 million copies worldwide. Not bad for an album some criticized at the time as being overproduced, and one Corgan said had a simple influence. “To me, I was just making a Boston record,” he said. “‘More Than a Feeling'? I told (producer) Butch (Vig) that's what it sounded like — a Boston record. It wasn't ‘Sgt. Pepper' or anything.” Not long after its release, the band started getting as much press for what went on behind the scenes as they did for what happened on stage. A picture of Corgan as the de facto ruler of the Pumpkins, a guy who exercised total creative control in the studio to the point that some reports have him playing every instrument on the band's first two studio albums, combined with the image of his bandmates as playground kids complaining over not getting picked for kickball, and the Pumpkins became the alternative equivalent of a “90210” episode, much to Corgan's chagrin. “I don't think there's any doubt in my mind that the tabloid aspect of the band's history affected us,” he said. “We were on the cover of Rolling Stone in 1994, and it's pretty amazing — that was only three years after ‘Gish' came out, and the tabloid aspect is already in that, talking about arguing and getting into all of that (crap) already. So it was already formed and has followed us the whole time, and there's no doubt in my mind that aspect of the band's history has overshadowed the band's artistic achievements, which I think are pretty numerous. “That's been frustrating, because when you try to focus people on an artistic endeavor, they're like, ‘Yeah yeah, but what about the drama?' It's a weird kind of Faustian bargain — the public remains open to the idea of the band or the music, but it comes with this sort of price tag, because it also has to include a bunch of crap other people don't get asked about. So that part is always an uneasy relationship for me. I've tried to move on, but people won't let me move on, so I've just accepted that it's part of the circus.” Corgan and company would follow “Dream” with the biggest album of the band's career — the sprawling, two-disc opus “Mellon Collie and the Infinite Sadness,” an album that debuted at No. 1 on the Billboard charts, earned the Pumpkins seven Grammy nominations and sold almost 10 million copies. The single “1979,” a song whimsical by Pumpkins standards, gave the band its first No. 1 single on the Billboard Mainstream Rock chart, and by all accounts, the record was a massive success. In its wake, however, Corgan had no interest in delivering more of the same. “You try to find a balance between excitement, where you're offering something new, while at the same time honoring your artistic vision knowing that not everyone is going to understand,” he said. “I've been in the interesting position many times of creating something people really like, and then moving on and having them think there's something really wrong with me. To me, coming from a musical legacy and having had a musical father, I grew up with this internal integrity of what real music was about. “I'm trying to bring a real music consciousness to something as artificial as alternative music, which has more poseurs per capita than any other genre of music, and I'm trying to stick to that. It's a matter of pride ... to hold your own set of musical values against a set of values totally telling you you're wrong.” Despite their lackluster sales by the band's early standards, Corgan still regards the band's “Mellon Collie” follow-ups — 1998's “Adore” and 2000's “Machina/The Machines of God” — as albums worthy of attention, if for no other reason than the fact they marked the progress of his artistic journey. The same holds true for his post-Pumpkins projects, after the band first broke up in the wake of the “Machina” release — the one-off project Zwan, and a solo album, “The Future Embrace.” But those projects aren't The Smashing Pumpkins, and as much as he may have sated his muse during the making of them, a deeper need to reassemble his old band led him, in 2005, to call for the Pumpkins to reunite. Iha ignored the call; Wretzky, replaced during the final years of the old lineup by Melissa Auf der Mauer, was nowhere to be found. Chamberlin, who was kicked out of the band after “Mellon Collie” for overdosing on heroin (a public tragedy wrapped up in the death of touring keyboard player Jonathan Melvoin), was back on board, however, and two years later, the album “Zeitgeist” was released. The lack of label support in the wake of a changing musical climate, as well as the jaded opinions by some that the new version of The Smashing Pumpkins was simply Billy Corgan and a few hired guns, seemed to torpedo “Zeitgeist” from the start, however. Corgan wasn't deterred; he simply dusted his hands of the business and set out to release the band's next album, “Teargarden by Kaleidyscope” as a 11 EP/4-song collection of 44 singles, all released for free over the Internet and collected at the end in a deluxe boxed set. Certainly, it's unconventional, even if, by critical standards, it's a return to the sound that made the Pumpkins so amazing from the outset. But that, of course, has always been Corgan's style — and by extension, it's been the style of the Pumpkins as well. For he is it, and it is he, and though the faces beside him on the stage may seem strange, the philosophy to which they all subscribe is the same. “The thing I've found over the last 22 years is that when I stand under the umbrella of the idea of The Smashing Pumpkins, it somehow coordinates my brain in a way that makes me try harder, be more open to new musical ideas and be flexible in a way that I don't seem to be without it,” Corgan said. “The fact that I called it Smashing Pumpkins in 1987 is just a name I gave to the idea, and that's what I try to explain to people now — I'm completely faithful to the idea, which is why I wasn't faithful to the band members and why I am faithful to these band members, because they're faithful to the idea. “They don't swear allegiance to me; they swear allegiance to the idea, and I'm beholden to the idea too — and the idea is to push forward, to try and find new things. The one thing I have learned is that if I spend most of my energy focusing on the band and the music of the band, that seems to solve more of those problems than anything I can say. Longevity, consistency, putting on good shows, still looking halfway decent — that says more on a heart level than saying, ‘Oh, you don't understand me; I'm really a nice guy.' “If you do that, you end up sounding like a politician,” he added. “I've stopped trying to politic for my own resume. I thinks it speaks for itself, but until I die or somebody decides to give me credit, it's just going to be the way it is.” This story was edited for presentation on the Web. Additional information and details are available for subscribers only. If you want every word of Blount County's best news and information source you can get home delivery and e-edition subscriptions here. Nobody knows Blount better than The Daily Times, your hometown newspaper for 125 years and counting.
Ziggy Pop: Spin.com to broadcast Pumpkins concert tonight Spin.com will broadcast the Smashing Pumpkins’ New York City concert tonight on its website at 8 p.m. EDT. In celebration of SPIN’s 25th anniversary, the magazine is broadcasting five consecutive concerts live from New York City, including the Pumpkins’ show tonight at Terminal 5. The broadcasts will be filmed “in high-quality video from nine different camera angles.” Also participating are the Flaming Lips, the Black Keys, the National, and Spiritualized. http://terminal5nyc.com/event/4850 In order to watch the broadcasts, viewers must allow the “SPIN25 Livestream” on Facebook and “like” the “ZYNC application.” This can be done through Spin’s website at http://spin.com/spin25live
Ziggy Pop: Like the Smashing Pumpkins, there are two sides to the band's frontman Billy Corgan. In the same way the Chicago-based alt-rockers mixed self-loathing grunge with arena-ready guitar solos and pop hooks during their rise to stardom in the 1990s, there is blase side of Mr. Corgan to counteract the iconic figure's love of the spotlight. Both sides were on display Saturday night during a sold-out show at Mr. Small's Theatre in Millvale featuring the newest incarnation of a band whose only remaining original member is Mr. Corgan. The frontman was both the embodiment of a guitar hero -- spreading his arms and pushing out his chest like a holy man reveling in the adoration of his followers before ripping ear-splitting solos with his signature guitar tone -- and a musician resigned to the fact that his fans wish he would avoid new material in favor of songs he wrote 15 years ago. Mr. Corgan complained to Rolling Stone magazine earlier this month about "jerkos" who wished the band would play all of the band's 1993 hit "Siamese Dream" on the band's current tour, but the Pumpkins chose songs from all across their lengthy discography -- from classics such as "Today" and "Cherub Rock" to recent free online downloads -- during their two-hour set Saturday. If Mr. Corgan chose to reward his fans by playing the band's hits, he did so reluctantly. Most of these songs were note-for-note recreations of the studio versions -- the extended guitar solo on "Ava Adore" and the dark mood of "Eye" were exceptions, and two of the night's highlights -- and one could not help but sense an air of indifference from Mr. Corgan on such radio-friendly songs. Yet Mr. Corgan also indulged at times in lengthy guitar monologues, filling the stone church at Mr. Small's with more noise than its cozy setting could handle. The band seemed to find a middle ground with its newest batch of songs, which although not as memorable as the hits, rocked hard without overwhelming the audience. Much like the band's original lineup, Corgan was the dominant figure, with newly added 20-year-old drummer Mike Byrne a distant second. Wearing a white headband that made look like an extra from the movie "The Karate Kid," the baby-faced Mr. Byrne drove the music with powerful fills reminiscent of longtime Pumpkin Jimmy Chamberlain. Jeff Schroeder and new member Nicole Fiorentino were non-factors on rhythm guitar and bass, respectively, and seemed content to play their parts while showing no energy of any kind on stage. -- Christopher Merriman http://post-gazette.com/pg/10207/1075376-388.stm
Ziggy Pop: After 6 years away, Billy Corgan set to retake Metro stage “The Smashing Pumpkins” have of course not played at Chicago’s Metro concert hall since December 2, 2000, but bandleader Billy Corgan has headlined there as recently as 2004. Tonight both man and b(r)and return to the stage that, more than any other, facilitated their rise to some cultural prominence.
Ziggy Pop: Corgan interviewed by Matt Pinfield on New York radio station WRXP; Pumpkins perform “Freak” (and more?) in studio http://www.1019rxp.com/pinfield/
Jahua: Ñåé÷àñ çàøåë â òâèòòåð è âèæó òàêóþ êàðòèíó: Ê ÷åìó áû ýòî, íèêòî íå â êóðñå?
Ziggy Pop: Smashing Pumpkins heading to South America in November The Smashing Pumpkins have announced the first confirmed date of their planned South American tour: November 20 at the Planeta Terra Festival in Sao Paulo, Brazil.The band tweeted the announcement this morning, and Rolling Stone Brazil reported it shortly afterward. A flurry of Twitter activity led by Brazilian fans quickly followed. By lunchtime, “Smashing Pumpkins” had become the number one Trending Topic on Twitter internationally. The performance will mark the Pumpkins’ first visit to Brazil since 1998. Also confirmed to be performing at the festival are English electropop band Hot Chip and French alternative rock band Phoenix. Tickets for the festival go on sale August 1st.
Ziggy Pop: Jahua ïèøåò: íèêòî íå â êóðñå? õ.ç.
Ziggy Pop: Mike Byrne blogs the great experience of his incredible, awesome, unreal last month http://satisfactosaurus.blogspot.com/2010/07/wrapping-up-first-leg.html ìàëü÷èê ïîäåëèëñÿ âïå÷àòëåíèÿìè çà ïðîøåäøèé ìåñÿö
Ziggy Pop: Smashing Pumpkins head to Asia, add new US tour dates This week, the Smashing Pumpkins head overseas to kick off the next leg of their tour in Singapore before heading to Japan and Korea. An update today on the official tour page also finds the band making good on their promises for additional US dates, listing the previously-reported Denver fest alongside new gigs in Tucson, Arizona and Santa Barbara, California. Tickets for the added shows go on sale Friday and Saturday respectively. Those seeking tickets will have to act fast: the vintage Rialto Theatre in Tucson is 1800-max and the LoBero in Santa Barbara is half as small!
Desire: Çèããè, îíè ñîâñåì ðÿäîì :)
Ziggy Pop: àãà, îñîáåííî êîãäà Ñåâåð è Þã Êîðåè ñòîÿò íà ïîðîãå ÿäåðíîé âîéíû. À äî Ñèíãàïóðà ëåòåòü âñ¸ ðàâíî ÷òî äî Áàíãêîêà, ò.å. íå áëèçêî. Äà è âîîáùå ó ìåíÿ óæå äðóãèå ïëàíû=)
ïîëíàÿ âåðñèÿ ñòðàíèöû