Чарльз Буковски. Клавишник

Андрей! Стих Б. Весьма специфичен для понимания непосвященной публикой. Поэтому его и нет ни в одном переведённом на русский сборнике. Фото – из оформления первоисточника. Здесь Б. сам прикалывается двумя пальцами на фоно. Это – пародия на белых музыкантов. Но, - посмотрите первую ссылку:
«…In Nassim Nicholas Taleb's definition, a black swan is a large-impact, hard-to-predict, and rare event beyond the realm of normal expectations. Taleb regards many scientific discoveries as black swans—"undirected" and unpredicted… The term black swan comes from the ancient Western conception that 'All swans are white'. In that context, a black swan was a metaphor for something that could not exist. The 17th Century discovery of black swans in Australia metamorphosed the term to connote that the perceived impossibility actually came to pass…John Stuart Mill first used the black swan narrative to discuss falsification...»
(Retrieved from "http://en.wikipedia.org/wiki/Black_swan_theory")
Таким образом, «чёрный лебедь» - нарратив русскому «белая ворона». Казалось бы…Я ещё раз внимательно посмотрел биографию Б., поискал кое-что о джазе, и вот – прелюбопытная нарезка из одной статьи. От себя хочу сказать (из других источников), что в самом начале становления компании по выпуску грампластинок «Чёрный Лебедь», Harry Herbert Pace – приглашал на запись «кабацких музыкантов» (кстати, - баловавшихся и наркотой и алк.), из которых позднее «вылепились» знаменитости. Так что – последние строчки вынужден переделать. Думаю, что Б. Здесь говорит о Чёрных Лебедях – чёрных джазовых музыкантах, позиционируя их выше на голову белых. Потому и забавная фотография.
«…Harry Herbert Pace was born on January 6th, 1884 in Covington, Georgia… During his sojourn in the South, two significant things happened that would impact his figure. In 1912 in Memphis, he met and collaborated with W. C. Handy, generally recognized as the father of the Blues. Handy took a liking to Pace, they wrote songs together. Later they would develop the Pace and Handy Music Company, that would bring Harry Pace to New York City. Secondly, he met and married his wife, Ethlynde Bibb, who would be a great inspiration in his life…In 1920, Pace resigned his position in Atlanta, moved to New York, purchased a fine home on "Striver Row" in Harlem and settled in to manage the Pace and Handy Sheet Music business. The business using Pace's business knowledge and Handy's creative genius was very successful. While the company was profitable and artistically effective, Pace was frustrated. He observed as white recording companies bought the music and lyrics from Pace and Handy and then recorded them using white artists. When they did employ Blacks, they refused to let them sing and play in their own authentic style. Pace resolved to start his own record firm. Many scholars for years believed Handy was part of Pace company… Pace used the name Black Swan to honor the accomplishments of Elizabeth Taylor Greenfield (1809–1976), a remarkably talented Negro singer known as "The Black Swan." Pace had designed a logo, a handsome black and gold label with a swan in gold against the black, floating above the banner (Jazz: A History of the New York Scene). In his advertising in African-American newspapers Pace stressed the race issue, saying, "The only genuine colored records; others are only passing for colored." Among the earliest employees for Pace was Fletcher Henderson, the pianist and band leader who became the recording manager and William Grant Still, the classical composer and orchestra leader who was the musical director of the new firm(…) The first 3 records, probably recorded in April of 1921 and released in May of 1921, featured C. Carroll Clarke, a Denver-born baritone known to sing a fine ballad with a generally good reputation among high class Negro patrons, Katie Crippen, a vaudevillian who sang Blues and Revella Hughes, a soprano and vocal teacher who was very popular among the highbrow New York area patrons at that time. The Chicago Defender of May 7th, 1921 carried a press release of three paragraphs listing Black Swan 2001, 2002 and 2003 as May releases (…) Fletcher Henderson was the pianist of record on all Black Swan releases from the start until the Fall of 1921. Other regularly used musicians for Black Swan during that period included: Joe Smith, Cornet; George Brashear, Trombone; Edgar Campbell, Clarinet; Cordy Williams, Charlie Dixon, Banjo; "Chink" Johnson, Trombone/Tubas. William Grant Still also doubled as manager and played several instruments (Oboe, Violin, Cello, Clarinet, Saxophone, Banjo and others) and was available for recordings(…)Black Swan Records would have had a short and non-significant existence if it relied on the sale of its earliest records(...) The new Blues and Jazz music had national recognition and a meaningful following. In New Orleans, Ethel Waters became the first Black performer to entertain on the new mass media, radio. Musicians like Louis Armstrong in New Orleans and Joe Smith in Cincinnati came out to support and perform with the Black Swan Jazz Masters. Anew camaraderie and standard was adopted within the National Jazz community(…)By the time the participants in the Black Swan Troubadours returned to New York in July of 1922, the Pace Phonograph Co. had exploded in success(….) In December of 1923, Black Swan Records declared bankruptcy and in May of 1924 Paramount announced a deal to lease the Black Swam catalog. Black Swan Records was history(….) The Black Swan discography still has value. As late as 1987, Jazzology Records announced its intention to revive the name and reissue the series of early recordings..».
(Spring 1996 term paper for the "Black Music in New York City 1900–1935" graduate course in music at Brooklyn College. By Jitu K. Weusi)

Владимир Маркелов   24.04.2008 18:55   Заявить о нарушении