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Первая радиопрограмма о Битлз на русском языке. 25 мая 1966 г. Радиостанция BBC. Ведущий - Тони Кэш

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Вступление

Готовя материалы для академичского иследования Владимира Бокарева о битломании в СССР кроме тестов передач различных ''голосов'' припомнил и одну из вероятно первых тематических программ о Битлз на русском языке. Она вышла в эфир по Би-Би-Си 25 мая 1966 г. Как всегда в пятничной полуночной программе, и конечно произвела на меня потрясающий эфект. Понятно, что кроме ''клеветнических голосов'' других адекватных источников практически еще не было, а совпечать кроме как о всеобщем загнивании западного и чуждого нам образа жизни ничего не могла сообщить.

В пятницу как всегда глушилки работали исправно, в воскресенье, в начале дня, ''те кому надо'' вероятно отдыхали, качество приема было приличным, и скрипя сердцем все же решил записать сию программу (лента тип-2 тогда стоила 3 рубля с копейками, для школьника такие деньги были немалые, на обед тогда давали по 20коп., буханка хлеба стоила - 14 коп., барматуха - 1,02 р.).

К сожалению из-за юношеской лени и неусидчивости так и не осилил переписать весь текст от программы, так и остался обрывок.

Английская версия любезно предоставлена бывшим ведущим и автором радиостанции 1963 - 1968г - Tony Cash.

В поисках оригинала передачи обратился напрямую на Би-Би-Си, но архивов и у них не сохранилось . Зато дали контакт с одним из бывших сотрудников службы. Им оказался ведущий, комментатор, автор многих джазовых, музыкальных, передач о кино, и автор данной передачи о Битлз! - Тони Кэш.

В 16 лет, его празила музыка Луи Армстронга и Джонни Дотса и он самостоятельно освоил кларнет. В студенческие годы его серъезным интересом был джаз. До сих пор Тони упражняется в игре на саксофоне, но ни в кой мере не считает себя професиональным исполнителем.

На службе в Королевском флоте начал изучать русский язык, во времена холодной войны они занимались мониторингом эфира советских судов в Германии. Затем преподовал русский язык в Лондоне в школе и университете. В те годы он два-три раза в неделю выступал в дикселенд джазовом ансамбле в клубе. О Битлз он узнал совершенно случайно. В один субботний вечер осенью 62-го в перерывах между выступлениями ставили записи популярных бит групп. Танцуя с девушкой из Ливерпуля, будучи ярым поклонником джаза он был поражен одой композицией, это сочетание блюзовой гармошки с модальными гармониями было захватывающим, а вокал был с заметным Ливерпульским произношением. Поинтересовавшись у партнерши кто это, он услышал - ''The Beatles'' - ''Love Me Do''. Их новый хит.

В 63-ом его, молодого человека, пригласили в русскую службу Би-Би-Си как специалиста по популярной музыке. Он конечно еще не был горячим поклонником зарождающего биг-бита, но новые веянья ему были не чужды. Тони вел передачи джазовой и поп музыки. У него был позывным набольшой стишок - ''У микрофона Кэш Антони / любитель джаза и симфоний / буду ублажать Вас что есть мочи / до Московской полуночи''.

На сдудию регулярно от советских слушателей приходило по 3-5 писем в неделю с заявками.

Затем он работал на телевиденье как автор многих музыкальных передач. В семидесятые Тони сотрудничал с такими группами и исполнителями как: Yes, Family, Stone The Crows, Roxy Music, B.B.King, Stephen Stills.

Тони до сих пор пишет статьи о класической музыке.

Начало:

Корабельные гудки, шум ветра... (звуки вступления очень смахивают из сюжета использованых в фильме Би-Би-Си 1963г. ''Mersey Sound'' и фильме - ''Compleat Beatles'' 1985).

Мы переносим вас в Ливерпуль, большой международный морской порт. Колыбель популярной музыки. Это родина Битлзов, жуков-ударников - Джона, Поля, Джоржа и Ринго. Ни в одном другом английском городе трудящиеся не проявляют такой стойкости и решительности как в Ливерпуле. И ни один из других больших Английских городов не испытал такой бедности и безработности как он. Это город, как поется в одной песне, люди спали в одной постели в пятером, под старым портовым пирсом. Ни где во всей Англии не найдешь такого смешения различных национальностей. Районы населенные ирладскими католиками, уэльскими протестантами. Вклиниваются пришельцы из Китая и уроженцы Вест-Индии. Но в тоже время, нет второго города где так хорошо сохранилась в своем богатстве традиционная народная музыка. Поэтому только Ливерпуль мог дать нам жуков-ударников.

''Twist and Shout''

Нетрудно понять почему здесь могла зародиться своя, так непохожая ни на что другое популярная музыка. Возрождение в Ливерпуле народной музыки, которое наблюдалось в начале 50-х годов по всей Великобритании, было особенно ярким. Что впрочем естественно проявилось в Ливерпуле. Где национальные традиции всегда отличались большой устойчивостью. В те годы в городе было продано множество гитар. Моряки приезжавшие в Ливерпульский порт из Америки часто привозили с собой пластинки, которые трудно достать в Англии. Это были блюзы Американских негров столь популярные в Соединенных Штатах. В то время в зените популярности был рок'н'ролл. Он сопровождался акомпониментом на электрической гитаре, с резким отбиванием ритма на барабанах. Вот из совокупности этих явлений и родилась музыка с которой мы связывем с представлением о жуках-ударниках и о Ливерпуле.

Люверпульцы живо чувствуют свою принадлежность к родному городу. У них своя совершенно особая манера говорить, а их произношение, так называемое ''скаус'' не похоже ни на какое другое в Англии. И даже сильно отличается произношение соседних районов. Ливерпульцы большие патриоты, независимо или речь идет о двух футбольных командах или двух местных группах бит. Когда Питер Бест -первый барабанщик ансамбля жуков-ударников был заменен Ринго Старр. Группы молодежи прошли по улице близ клуба ''Каверн''-''Пещера'' демонстрацией, выкрикивая лозунг - ''Пусть будет Бест всегда, а Ринго никогда!''. И так - музыка была создана, налицо были ее поклонники, нехватало лишь одного - таланта, что бы завоевать мировую славу, этот талант представили в изобилии жуки-ударники.

''Love Me Do''

''Love Me Do'' - ''Полюби меня'' Джона Леннона и Поля Макартни, первая имевшая успех пластинка жуков-ударников. На конкурсе боевиков она заняла 17-ое место. Она была пущена в продажу 5 сентября 1962, авторы песни Джон и Поль уже несколько лет выступали совместно. В 1955 году когда они еще оба были в школе. Они стали членами так называемой

скифл группы, самодеятельного инструментального музыкального ансамбля - примитивной народной музыки, под названием ''Quarrymen'' - ''Каменотесы''. В 1958 к Джону и Полю присоеденился Джодж Харрисон, и все трое совершили артистическое турне по Шотландии. Потом по Германии в составе квинтета ''Silver Beatles'' - ''Серебрянные Жуки''. Ринго Старр, настоящее имя которого Ричард Старки, вошел в ансамбль незадолго до выпуска пластинки ''Love Me Do''. Образовывается таким образом из трех гитар и барабана. Квартет жуков-ударников выпускают новую пластинку, которая заняла первое место в списке самых популярных пластинок того времени. Это была ''Please Please Me'' - ''Прошу тебя нонрався мне'' и опять таки сочинение Джона Леннона и Поля Макартни.

''Please Please Me''

С этого времени, что ниделали жуки-ударники имело успех. Каждая выпущенная ими пластинка, как в Англии так и в Америке, раскупалась нарасхват. За час заработка 2-3 фунта в вечер на человека, они теперь за свои выступления и от продажи пластинок, которые разошлись в количестве 160 миллиона, они получают 1,600 фунтов стерлингов в день. Жуки-ударники пользуются небывалым успехом. Но у них есть свои неприятности. Они не могут теперь без охраны появиться на улицах, зайти в кафе или в бар, или хотя бы прогуляться по парку. Их передвижение из дома в дом должны быть тщательно организованы, что бы они не пали жертвой восторженных поклонников. Которые принимают порой опасные формы. Импресарио жуков-ударников, Брай Эпстайн, так описывает в своей книге ''A Cellarful of Noise'' - ''Шумный подвал'' привычку встречать жуков с их восторженными посетителями.

Поклонники нераздумывая прямо бросаются на машину жуков-ударников, если она конечо движется со скоростью менее 39 километров в час. Как то вечером после концерта четыре поклонника Джона сорвали дверцу в автомобиле и забрались в него, их от туда выгнали, но шоферу Корбетту так и пришлось уехать без дверцы, а четверке жуков пришлось мерзнуть под холодным ветром.

Битломания достигает своего апогея в феврале 1964-го, когда жуки-ударники после своего турне по Соединенным Штатам, имевшим невероятный успех, высадились в Лондонском аэропорту. Еще никто из когда-либо приезжавших в Великобританию не удостаивался такого приема, который оказала своим любимцам тысячная толпа молодых девушек собравшихся по такому случаю.

Транскрипция оригинальной радиопрограммы

THE BEATLES by TONY CASH
RE-TYPED TEXT OF FEATURE RADIO PROGRAMME WRITTEN FOR THE RUSSIAN SECTION OF THE EAST EUROPEAN SERVICE OF THE BBC and dated 25.5.66

TAPE Dock noises, ships’ hooters CROSS FADE to Twist and Shout (fade under)

VOICE 1 Liverpool - the great multi-racial sea-port. Liverpool – the cradle of contemporary pop music. Liverpool – the birthplace of John, Paul, George and Ringo – the Beatles. No other English city is as tough or determinedly working class. No other city has seen as much poverty or as much unemployment. Liverpool, where in the words of the song: “they sleep five in a bed by the old pier head”. No other English city boasts such an admixture of nationalities. Enclaves of Irish Catholics and Welsh Presbyterians are infiltrated with Chinese and West Indians. No other English city has such a rich or well preserved tradition of folk music. No other city could give us the Beatles.

TAPE Twist and Shout last 13”

V1 That Liverpool should give birth to its own brand of popular music is easily explained. The revival of interest in folk music which took place in the middle and late fifties throughout Britain was naturally particularly marked in Liverpool where the folk tradition had always been strong. During this period great numbers of guitars were sold in the city. The seamen arriving at the port from America often brought with them recordings otherwise unobtainable in England, of negro blues artists popular in the States. This was also the period when rock ‘n’ roll was at its height – its characteristic sounds being the electric guitar and heavily accented drumming. From these diverse elements was born the music we associate with the Beatles and Liverpool.

Liverpudlians are intensely aware of themselves as Liverpudlians. They have a highly individual manner of speech; their accent, known as “scouse” is like no other accent in Britain, and differs widely even from the pronunciation of the surrounding districts. Liverpudlians are intensely partisan whether in support of their two first division football teams or their local beat groups. When Pete Best, the original drummer with the Beatles, was replaced by Ringo Starr gangs of teenagers demonstrated in the streets near the “Cavern” club chanting: “Peter for ever, Ringo never”. The music was there, the fans were there, all that was required to give the music world-wide fame was talent. And this the Beatles have in abundance.

GRAMS Love Me Do (first 12” under speech) 50”

V1 Love Me Do written by John Lennon and Paul McCartney was the Beatles’ first record to achieve popularity, reaching No 17 in the Hit Parade. It was released in the shops October 5, 1952. The composers, John and Paul had already been playing together some seven years. In 1955, while they were both still at school, they had become members of a “skiffle” or primitive folk group called the “Quarrymen”. George Harrison joined in 1958 and toured with John and Paul in Scotland, and later in Germany, in a quintet called the “Silver Beatles”. Ringo Starr (whose real name is Richard Starkie) came in shortly before Love Me Do was made. Now a quartet, three guitars and drums, the Beatles made their next record, their first to achieve the number one spot in the popularity charts – Please, Please Me, another Lennon and McCartney composition.

GRAMS Please, Please Me (first 7” under speech) 35”

VI From then on the Beatles could do no wrong. Every single record they have made since has gone to the top of the best-selling lists in England and America. From earning two or three pounds a night each, they now net some ?1,600 every day from the sale of nearly 160,000,000 records, from films and from personal appearances. Their success is unparalleled. But it has brought problems. No longer can they venture into the streets unguarded, pop into a cafe or pub, or merely stroll in a park. Their movements in and out of their homes have to be carefully arranged to avoid the fans whose enthusiasm to meet their idols can be dangerous. The group’s manager, Brian Eptstein, describes in his autobiography, A Cellarful of Noise, a typical encounter with fans.

V2 It is commonplace for fans to hurl themselves at a Beatle vehicle travelling at anything less than twenty miles an hour. After a concert in London one night four of John’s admirers wrenched off a near-side door and hurled themselves into the vehicle. The fans were fought out and Corbett (the driver) drove off without the door, with the four Beatles huddled against the wind.

VI Fan mania reached its height in February 1964 when the Beatles landed at London airport after their incredibly successful tour of the United States. No-one arriving in Britain has ever received the welcome like the one thousands of teenage girls gave the Beatles on that occasion.

TAPE London Airport, screams and jet crossing to Hard Days Night 36”

VI Paul McCartney is supposed to be the handsome one, the diplomat, something of an intellectual. John is arrogant, witty, rude, a poet of the absurd. George is talked of as the “boy next door”; he is elegant and business-like. Ringo has been called “a holy fool”. He has the reputation of being imperturbable and always contented though his face wears an almost permanently sad expression. First of all – Ringo

GRAMS What Goes On 50”

V3 That was one of the very few tracks recorded by the Beatles featuring the voice of drummer, Ringo Starr. He is the least musical of the four and he would be the first to admit that there are many more exciting and subtle drummers than he is. But he is entirely reliable, and practises hard and is constantly improving. He was born 7 July, 1940 and he is the oldest member of the group. Through illness he missed five of his ten years’ schooling. He regrets that his education is in some ways incomplete, that people use words that he doesn’t understand. This doesn’t prevent him from producing choice, descriptive phrases. “When there was all that Beatlemania”, he was once reported as saying, “we were pushed into a corner, just the four of us. A sort of trap really. We were like Siamese quads eating out of the same bowl.” In the film A Hard Day’s Night , Ringo’s acting and clowning were highly praised by nearly every film critic. Not surprisingly, he is idolised by very small children. In appearance he is the most unusual of the four. Much shorter than the others, he wears his hair longer with long sideboards. His eyes are deep-set and melancholy fringed by heavy brows. His nose is large and his lips protrude thickly. They part to reveal the most captivating smile. Ringo has no intellectual pretensions. His ambitions in the past have been to own a ladies’ hairdressing establishment or a public house. (His mother was a barmaid.) He is very patriotic and gets annoyed when the British don’t say Britain is best. Ringo is the least complicated of the Beatles. He thinks of himself as a family man and is as inordinately proud of his baby son, Zac, as any other ordinary father.

GRAMS If I Needed Someone (first 7” under voice) 35”

V4 If I Needed Someone is one of George Harrison’s best compositions. Although George has written nowhere near the number of songs that John and Paul have written, nearly every Beatles’ LP contains at least one of his numbers. He occasionally sings the lead, but more often than not his singing role is restricted to harmonising in the background. George is the youngest Beatle, born 25 February, 1943. He attended the same Liverpool primary school as Paul and John. Like Ringo he is a good listener and rather quiet. But he is more independent. Much more than the others he takes an interest in the business side of their work. Though he likes spending he is careful with money. He was the first to decide to live outside London. It was George who interested the others in Indian music. He can be stubborn and does not like making concessions. He regrets that the Beatles no longer eat and sleep on the stage as they used to in the old days in the “Cavern” in Liverpool. In an interview with a reporter he once said: “We should have stuck out for all that eating toast and chips and chickens. We only cut our hair and said all that ‘yes-sir-no-sir-three-bags-full-sir’ bit to get in.” And yet George is extremely meticulous about his clothes, his food, his music. One imagines that even in the early days when he played at clubs wearing black leather suit, with cowboy boots and pink flat hat, he was striving to look both original and elegant. He has the appearance for it. Tall and very slim, his serious, rather drawn face, peers out from under a particularly dense mob of hair. His house, capably run by his beautiful wife Patti, who is also a successful model, contains carefully and tastefully chosen furniture and ornaments. In spite of his concern to be surrounded by beautiful objects, George is no superficial dandy. He has strong convictions. He says that he thinks about the war in Vietnam every day and he believes it to be wrong. “Anything to do with war is wrong”, he is reported to have said. “They’re all wrapped up in their Nelsons and their Churchills and their Montys – always talking about war heroes.” Although he was brought up as a Catholic he has no time for religion. Music is George’s consuming passion. Not as inventive or original as John and Paul, he has the best instrumental technique on the guitar and is responsible for most of the guitar solos, which are well-rounded and neatly executed. Not surprisingly, George is the most conscientious Beatle about tuning the instruments before a recording or performance. Since hearing the great classical Indian sitar player, Ravi Shankar, George has fallen in love with Indian music in general and the sitar in particular – as indeed have quite a number of pop guitarists. But George was the first to use the instrument on a recording. You can hear it on the Beatles’ number Norwegian Wood.

GRAMS Norwegian Wood 30”

V5 The lead singer on Norwegian Wood was John Lennon who with Paul McCartney writes nearly all the Beatles’ material. John was born 9 October, 1940. If the Beatles can be said to have a leader, then it is John, for he is the most outspoken of the four. When the occasion, warrants, he can be aggressive; he does not suffer fools gladly and can be very rude. The group’s manager, Brian Epstein, relates how during a recording session he remarked that there was some kind of flaw in Paul’s voice. John overheard and bellowed at Epstein: “We’ll make the record. You just go on counting the percentages”. John even looks arrogant partly because he is short-sighted and, in spite of wearing contact lenses nowadays, is still in the habit of peering down his impressive, slightly curved nose. The imperiousness is more apparent than real. John is too indolent and disorganised to want to exercise any kind of power. He is also remarkably good-humoured and quick-witted. He bubbles over with “bons mots”. Of the four Beatles, John has undoubtedly the most all-round talent. Besides writing nonsense verse in the manner of Lewis Carroll as well as highly entertaining, absurd moral fables, he illustrates his own writings with sensitive and original line drawings. John was for a time a student at Liverpool College of Art. John’s first published work, John Lennon In His Own Write, sold more than 100,000 copies becoming a best-seller in Britain. To mark its success John was guest of honour at one of the exclusive literary luncheons given by the London bookshop, Foyle’s. When called upon to make the customary speech, he rose and this is what the BBC engineer covering the luncheon recorded.

GRAMS BBC LP 268686 Front Band 4 Foyle’s Literary Luncheon

V5 “Thank you all very much. God bless you.” Then he sat down resolutely refusing to utter another word. In an interview recorded as the guests were leaving John explained that he was too scared to make a speech. Asked whether he wanted to be remembered as a writer of a Beatle, he answered.

GRAMS BBC LP 268686 Front Band 4 Foyle’s Literary Luncheon

V5 “I don’t care whether I’m remembered or not. After I’m gone I don’t care what happens.” That answer reveals a basic attitude in the Beatles and also in young people generally – “the main thing is to get the most out of life”. This is not, however, an excuse for selfishness. The Beatles have played at charity concerts devoting the proceeds to OXFAM. John also has serious interests. He is fascinated by religion. He believes that Christianity is doomed. “We’re more popular than Jesus now”, he has said. He considers that Christ was alright but that his teaching has been twisted by his disciples and followers. A voracious reader, John’s library includes works by Swift, Aldous Huxley, George Orwell, the poet Tennyson, Oscar Wilde and Tolstoy. He is sorry that working-class people in Britain do not receive a better education. One feels that no matter what happens to the Beatles John will continue to occupy a prominent position in entertainment and the arts generally.

GRAMS I Feel Fine

V6 Contrary to what most people imagine quite a lot of the Beatles’ songs are written entirely by just one of the two writers John and Paul. I Feel Fine, for example, was written entirely by John though it was credited to both Beatles. Yesterday was written entirely by Paul

GRAMS Yesterday (first 5” under voice) 01’00”

V6 If Paul McCartney never wrote another song he would still be accounted one of the most remarkable pop composers of the decade on the strength of Yesterday alone. It is significant that Paul first called it “Scrambled Egg”. Beneath Paul’s remarkably beautiful cherubic exterior lies a biting, mischievous wit. But he knows how to control it and rarely offends people. Paul was born 18 June, 1942. His father was a cotton salesman, his mother a midwife. At school he was more successful than his colleagues. He had the qualifications to become a teacher. Paul is alert to everything going on around him, especially in painting, literature and music. He regrets that none of the Beatles has any formal musical knowledge and he has now set about learning to read music. It disturbs him that people know things he does not. Though baptised a Catholic he has little or no interest in religion. He does, however, worry about the possibility of some kind of life after death. He used to worry about growing old, but if he could be like Bertrand Russell Paul wouldn’t mind old age. Humbug of any sort dismays him and he dislikes politicians who “make up” to voters. In spite of being apathetic towards politics generally, there are social problems about which Paul feels strongly, especially colour prejudice. It may be remembered that the Beatles refused to play in front of segregated audiences in America. He is pleased about the influence of the Beatles in America. He is reported to have said: “There they were in America all getting house-trained for adulthood with their indisputable principle of life: short hair equals men; long hair equals women. Well, we got rid of that small convention for them.”

Paul enjoys nothing more than writing songs. Originally song-writing was his hobby, but now he would like to devote more time to it. If John and he wrote a song a day, he says, their rate of development would be much grater. He is supremely confident about the staying power of the songs they write. They will, he claims, be played ten years hence. Paul sees the future in song-writing. “Writing songs and performing are equally rewarding – that is when it goes well. But the song-writing thing looks like being the only thing you could do at 60. I wouldn’t mind being a white-haired old man writing songs, but I’d hate to be a white-haired old Beatle at the Empress Stadium playing for people.”

VI For may years pop music was something churned out for the masses by composers, musicians and agents whose hearts were elsewhere. The performers were rarely responsible for either the melodies they sang or the accompanying arrangements, and there was frequently a glaring inconsistency between the complex, lush backing and the essential banality of the song. Since the Beatles, that has changed. Pop melodies are still, on the whole, very simple. But they are now more frequently the result of a total commitment on the part of the performer-composer. The Beatles have achieved an integrity and consistency which makes their music highly satisfying. Before them one was tempted to say of a song – “it’s bad enough to get into the top ten”. This no longer applies.

GRAMS Beatles’ latest hit.

© Tony Cash 4 June 2013