What does buckley’s taste like: A Brief History of Bad Taste

And while the whole color of American rock was preparing for Woodstock, the experimental singer played enchanting concerts in Copenhagen and London, striking the audience with a soulful minor and psychedelic atmosphere of the new program. After a «spell-like jam session with atonal tendencies,» audiences emerged from his performances fascinated and confused at the same time.

“The general mood of music is decadent and experimental,” wrote at 1970 pro « Lorca » weekly Melody Maker . «This result is really very strong — and let’s face it: this is one of the most daring adventures that we have ever heard in rock.»

Unexpectedly too complex for the perception of the album turned its back on Buckley not only 16-year-old ladies, but also his label. Such an intricate avant-garde could only be sustained by a publisher with nerves of steel. Be that as it may, Jack Holtzman gave up and decided not to release a new album Starsailor .

“The album “ Lorca ” did not please me then, and it was my mistake,” he lamented later. “Tim was far ahead of me, and all his splendor was wasted. In vain did I not recognize his right to choose then.

Years later, it became obvious that internal changes had been brewing in Buckley for quite some time. He re-read a lot of books about innovators in art — from the impressionists to pop art, and then unexpectedly appeared on pages The New York Times with program material dedicated to the work of Federico Garcia Lorca.

“The problem with the avant-garde is that it happens very quickly,” Buckley wrote at the time. «By the time it’s commercialized, it’s usually over.»

Holding a grudge against the label and unreasonable humanity, Tim disappeared from the radar for a long time. True, before the sudden disappearance, he managed to make a scandal live on one of the TV shows.

“When all the TV cameras were set up and we were given the signal “Move!”, Tim turned around and calmly said: “Let’s play another song,” the musicians of his band recall. — We didn’t rehearse it at all and therefore performed it for a couple of minutes longer than the broadcast time. An operator was running towards us, stumbling, putting his hand to his throat, giving a signal to stop. Buckley looked through him as though through an empty place and continued to play. Because music was more important to him than all this rubbish around.

It is generally believed that Buckley deliberately repulsed the audience because of his relentless passion for experimenting with new forms. I would suggest another version: like any great artist, he did not treat his fans with condescension. Yes, each of his discs is strikingly different from the previous one, but it was an invitation (and a challenge, too). It was like he was encouraging fans to jump into the unknown with him.

During 1971, in mournful desperation, Tim became addicted to hard drugs and did not touch his guitar for months. He was engaged in frank graphomania — he wrote scripts for unreleased films and reread the magazine file Rolling Stone . At the same time, he was listening to the top 40 on the radio, and suddenly a plan of revenge ripened in his head. He decided to radically change the composition of the group and record an openly commercial album, where all the compositions would demonstrate a perverse taste of shameless sexuality.

«I wanted desperately to get revenge for all the rock sex idols, including Jagger and Morrison, who didn’t really say anything sexual,» the 25-year-old Buckley later declared. — I didn’t get any sexual energy from modern rock songs. And so I decided to make it more outspoken, less puritanical.»

Album « Greetings from L . A . was recorded in July 1972 «in haste» — with a simple structure and an uncomplicated sound, oriented towards the tastes of those American radio stations that predominantly broadcast funk. In depraved texts — sheer lust and «saliva of desires», in music — a minimum of «black sounds», an exceptionally bare rhythm with sizzling female backing vocals and a powerful accent on the weak beat. In the final composition « Make It Right » debauchery reached its peak — in sensual calls to hit, spank and whip. It was dirty and spectacular, real blood and milk. Since the early days of James Brown and Marvin Gaye, male vocals have never been so defiant, «howling» and «shrouded in sex.» Especially when performed by a white musician.

By chance, a young journalist was present at the presentation of this album in Los Angeles New Musical Express and future rock star from The Pretenders Chrissie Hynde.

“I could feel my brain leaking out of my ears when the innocent boy of my dreams walked onto the stage,” she recalls. — After a few songs, he increased the speed, somehow wryly smiled and suddenly yelled: “Climb on me, innocent heifers! Come on, let’s be bold! Let’s see what you’ve learned here without me!»

The crowded hall moved in waves, not too slow and not too fast, as the doctor had ordered. Hormones beat like a fountain and whipped on the cheeks of the fans. And the audience felt so good that they almost didn’t feel any pain — despite their shortness of breath and lost brains…

Unfortunately, the sweet «greetings from Los Angeles» reached the brains and hearts of mankind only a few years later. It happened in the summer of 1975 — right after the 28-year-old singer Tim Buckley, chosen by film producers for the main role in the biopic about the folk minstrel Woody Guthrie, died of a heroin overdose.

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Good example:

Jessie Buckley

T

CULTURE•PERSONALITY

Text: Mary Immortal

Alex Garland’s Male Gender is released in Russia, starring Jessie Buckley, a recent Oscar nominee who plays Sally Bowles in West End’s new Cabaret, for which she won a Laurence Olivier Award. By the age of 32, Buckley managed to act with Charlie Kaufman, play in the theater with Kenneth Branagh and receive the title of the new Tilda Swinton from Garland. We are talking about a young actress who will definitely become a star of a generation.

New Tilda Swinton and Molecule Girl

Writer and director Alex Garland, one of Danny Boyle’s favorite screenwriters and author of Annihilation and Ex Machina, the sacred cow of modern English counterculture, whom gamers pray with equal zeal (in his spare time he writes scripts for computer games) , and lovers of political sci-fi. He recently said in an interview that Irish actress Jessie Buckley, the lead character in his new film Male Gender, is a gift from heaven. She did not audition for the role, just one conversation at a party was enough — very strange, but very impressive — like the entire career of a 32-year-old actress.

Male Gender, 2022

At the same party, Garland told Buckley that he was thinking of making a folk horror about the main myths of what is now called «toxic masculinity», about its cycles and history. In the story that Garland was trying to briefly describe to Buckley, the main character, who has left to escape a personal tragedy in an English village, meets different men who introduce themselves by different names, but look the same (they were all played by Rory Kinnear in the end) and together form a characteristic gallery of «kind of «- an aggressive teenager, a misogynist shepherd, a «kind» boss, bartenders, passers-by and policemen who seem to be chasing the main character. Buckley, according to Garland, reacted to his story «as abstractly and at the same time as clearly as possible» — she began to talk about what the heroine, who found herself in such a situation, might think about the metallic taste of blood. “It was a very instinctive conversation, but I immediately understood her and immediately thought we would work together,” said Garland, who had previously compared his actress to Tilda Swinton.

End Thinking, 2020

Similarly, Buckley, who starred in End Thinking, worked with director Charlie Kaufman, one of America’s strangest and most original postmodernists. Charlie had previously written scripts about what was going on in John Malkovich’s head («Being John Malkovich») and had Nicolas Cage play himself and his imaginary twin brother («Adaptation»). Kaufman, who filmed Ian Reid’s psychedelic novel about how the hero is lucky to introduce his girlfriend to his parents in «Thinking How to End Everything», and the journey in the end turns out to be either a dream or a hallucination of the episodic hero of the book, described Buckley her acting task as follows: «You have to play the role of the Molecule Girl.» Buckley didn’t need more: after her role in Kaufman’s film, she received the Cannes Film Festival award as the best emerging actress.

Sally Bowles and Juliet

Such non-conventionality in the approach to work in the case of Buckley is explained very simply: she is a graduate of the most traditional school — the Royal Academy of Dramatic Art in London. The classical base of one of the oldest acting schools is, as you know, one of the best preparations for experiments. Buckley got into the academy in a not entirely trivial way (at least for conservative England) — with the help of a talent show and a viral YouTube video.

In the early 2000s, the great and terrible Andrew Lloyd Webber, author of the musicals Evita, Jesus Christ Superstar and The Phantom of the Opera, was looking for young talent for his productions and organized several theater shows in the Minutes of Glory genre. . At one of these, where they were looking for Nancy in the upcoming revival of Oliver!, 17-year-old Buckley came (she herself now says the following about this: “Looking back, I can’t believe I did it. I definitely don’t have the courage repeat this. I don’t know who that person was»). There she took second place, which caused an uproar on the Internet — but she immediately got an agent who just sent her to study at the academy. There she played the entire classic Shakespearean repertoire, from Juliet from Romeo and Juliet to Miranda from The Tempest.

As is often the case with English actors, cinema came after theatre, and to this day her work schedule revolves around the theatre, where she has worked with the best of the best from the very beginning. She played with Jude Law in «Henry V», with Kenneth Branagh in «The Winter’s Tale» her partners were Judi Dench and Branagh himself, and now in 2021 under her and the star of «Fantastic Beasts» Eddie Redmayne, with whom she has been friends since her studies at the Royal Academy, staged a new version of «Cabaret» based on Isherwood’s novel about the coming of Nazism to Germany 1930s. To say that they broke the bank is to say nothing, about Buckley, who cleared the role of the romanticism of Liza Minnelli, who received an Oscar for the film adaptation of Cabaret, the press wrote that this was a career-defining performance. In the same year, Buckley released The Strange Daughter, Maggie Gyllenhaal’s critically acclaimed directorial debut. In the story of what impossible tasks society requires of mothers, Buckley got under the «patronage» of the lead actress Olivia Colman, who noticed her from the time of student productions at the academy.

“Strange Daughter,” 2020

Olivia Colman’s student and punk

Gyllenhaal says her biggest fear in preparing for Daughter was finding a female performer for the role that Buckley ended up playing. “For the role of “Colman in his youth”, the strongest actress was simply needed, who would not play “under her”, but would be an independent unit. Fortunately, Olivia immediately understood this, called me and said — go to Jesse. She is a real punk and will not be afraid, ”said Gyllenhaal. And so it happened — and the characterization given by Colman Buckley was completely accurate. Punk is the most important concept in Buckley’s creative process, and if she wants to compliment someone, then she uses this word. She called the nerd Kaufman, the quite public Garland, and herself «punks» — «a girl who is actually afraid of everything, but does it anyway.»

Her particular fear (and passion) is music production, which she conquered — of course — with the recording of an album. She recorded it not with anyone, but with the «greatest guitarist of the generation» Bernard Butler of the Suede group, which, along with Oasis, Blur and Pulp, was once part of the «big four» of Britpop. The album For All Our Days That Tear The Heart is due out next month, and while the public has been shown two singles, from which it is clear that the duet, as they say, has developed — this is artistic jazz plus a new reading of the classic mournful Irish moorland ballads (a tribute back to Buckley’s hometown). The actress herself, who plans to play one of the main roles in Sarah Polley’s new film «Women Talk» about rape inside a Protestant church (Claire Foy, Frances McDormand and Rooney Mara will speak with her), is still going to be a rock star until he is going to, although he admits that the temptation is great.

album For All Our Days That Tear The Heart

«But if you’re going to leave, it’s only with Olivia,» says Buckley. She is already working with her on a new comedy with a promising plot. Based on a true story, «Angry Little Letters» is set in the seaside town of Littlehampton in the 1920s. The devout Edith Swan (Colman), along with other residents, begins to receive insulting letters containing — nightmare — obscene language. Suspicions immediately fall — of course — on Buckley’s heroine.

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