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Nickelback в прессе

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Неплохое интервью, спасибо!

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не знала в какую тему поместить
New Zealand DJ Gets Nickelback's Chad Kroeger Tattooed On His Ass

Now, we've seen some pretty heinous tattoos in our time, but this one should probably be submitted to ugliesttattoos.com straight away.

Jason Mac is a New Zealand radio DJ for The Rock FM. He unfortunately lost some kind of bet which meant he had to get Nickelback singer/guitarist Chad Kroeger tattooed on his right ass cheek.

That sounds bad enough in itself, but when you consider Kroeger is holding a penis instead of a microphone, it becomes even worse.

We think the dick microphone replacement is pretty appropriate, though, considering Nickelback are constantly ridiculed with the "cock rock" label and Kroeger's pretty obsessed with the wang as it is.

There's video of Mac getting the tattoo done over at The Rock FM.

The only tattoos I think might actually be worse are this World Trade Center one, and these tats of a vagina on some dumbo's neck and a butterfly with a penis for its body. Gross.

In case you're curious, here's what Mac's tattoo looks like in its full glory:
http://s56.radikal.ru/i153/1002/e7/b57e651a4e03.jpg

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...без комментариев...

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мда.....)

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Была на форуме видяшка, где у ребят брали интервью, там вопросы в студии вроде фанаты задавали. Речь зашла про татуировки, кто-то рассказал, что один парень сделал тату с надписью никельбэк. На что Чад ответил: "All of us made mistakes..." Думаю тот же случай...
А Чад на тату больше похож на Джонни Деппа... Глаза подкрашены;))

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C одной стороны конечно ЛОЛ  :D
С другой опять Никелей грязью полили, ублюдки  :angry:

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как у нас говорят, "голова больна, а ноги лечит"
за что ж они Чада так не любят, нам наверное не понять.... завидно что ли?

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Просто большей части женского населения планеты очень нравится голос Чада, вот мужики и завидуют... :)

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TiGrA написал(а):

о большей части женского населения планеты очень нравится голос Чада

да и не только голос :love:

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ТОВАРИЩИ!!!!Все таки скучно тут без чата хоть и с фртками

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the BESTолочь написал(а):

Все таки скучно тут без чата хоть и с фртками

в чем веселье от чата? мы не ставим перед собой цели развеселить

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Can this pickle get more fans than Nickelback? Yes it can!  дебилизм полнейший :mad:

Yesterday the rock band Nickelback was surpassed in Facebook popularity by a pickle. On Feb 3rd a Facebook fan page was started to get a pickle more fans than Nickelback and in a little over two weeks it succeeded. The pickle now has 1,417,335 fans as opposed to Nickelback’s 1,413,834 Facebook fans.
Was this a special pickle? No. It was just a pickle. Actually it was a picture of a pickle. However, it is pretty clear from the comments on the page that most people who joined are not pickle enthusiasts, but are showing that they are not fans of the band. Much of the negative feeling towards the band comes from what is described as a “generic” sound. For many Nickelback has come to be the most common example of a band that plays for the money, not the love of the music. Of course, musical taste is subjective and over 1.4 million people disagree.
The “Can this pickle get more fans than…” idea was not new to the Nickelback, however the anti-Nickelback was far more successful than any other.  An anti-Twilight group is in second with over 500,000 Fans

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Friend, хм, негативное внимание тоже внимание! кому-то завидно, а кто-то флешмобит за компанию.

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ну не обязаны их все любить. Пусть даже 30 % из 100 любят, а остальные терпеть не могут. У успешных людей должны быть те, кому они не нравятся. Это нормально, ведь полно примеров талантливых и знаменитых людей, которых многие при любом удобном случае ругали. А вот тех, кто участвует в подобных опросах, я вот как раз не понимаю. Это как-то неуважительно, и не только по отношению к тому кого ты "судишь". Опять же, аудитория неизвестна. В Facebook"е" народа полно!)
Единтсвенное, что немного возмущает, так это “generic” sound. Он у всех есть. Многих известных исполнителей и коллективов можно узнать по первым звукам мелодии, тк это "в их стиле". Не знаю музыкантов, которые всегда по-разному звучали... Или я мало музыкантов знаю...

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Milo4ka написал(а):

Не знаю музыкантов, которые всегда по-разному звучали... Или я мало музыкантов знаю..

Не ты одна,по ходу.Вот мне нравится,когда Джон Купер из Скиллит звучит как Джон Купер.Или когда Шиноду можно узнать по первым нотам.Очень разными музыканты бывают только в начале карьеры,когда ищут себя в музыке.Когда легендарные Квин начали вместо глэма писать панк,многие били их пластинки и жгли плакаты.Мое мнение-если ты нравишься всем,ты-попса.А попсу я не слушаю.

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Никели(по слухам) выступят на церемонии закрытия Олимпийских Игр :cool:
и еще
Afterwards, Nickelback's Chad Kroeger hit the Molson Canadian Hockey House, swaggering into the tent like a proper rock god as a blond companion trailed behind, waiting impatiently while he stopped for photos and to give autographs.
отсюда http://www.ctvolympics.ca/about-vancouv … 49439.html

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http://sports.yahoo.com/olympics/vancou … oly,216353

Вот ещё источничек, забавный ))

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По-любому выступят! =)

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Не знаю было ли это уже.В этой статье говорится,как Deniel стал барабанщиком

In this new series from our UK counterparts, we will be chatting to Roadrunner artists about the instruments they play, why they got into playing and what's the main set-up for their instrument of choice.

We kick this off with the first of a 3 part sit down with Daniel Adair, drummer with rock giants NICKELBACK, who's not only an amazing drummer, but an all round awesome guy. Here's what he had to say:

RRUK: How old were you when you started to play the drums?

DA: 13 years old.

RRUK: What or who inspired you to play drums?

DA: It’s kind of a weird beginning- my Dad was a drummer. He was in cover bands and we lived Toronto back when he would tour Michigan, Ohio and stuff like that. He was playing CCR (Creedence Clearwater Revival) and stuff like that when it was brand new. He played it to the troops going to Vietnam the next day. He’s got some stories from when everyone was doing pills, amphetamines and stuff. I think he was kind of a crazy guy out there.

Then he had a bunch of kids, got a normal job and put the drums in the closet. We moved to Vancouver, I was really bored one day and I saw his kit in the closet. It was a sparkly green 1967 Ludwig kit. I didn’t know anything! I just kind of pulled it out, figured out how to set it up and banged around. It was kind of fun.

That week I think I saw Much Music [Canada's #1 destination for music videos, live performances and interviews- ed.] and I saw a drummer live and thought “Oh, that’s how that works!”. Then I tried it again and thought I had a knack for it.

The real inspiration came when my sister had this Rush - Hemispheres tape and Neil Peart, he was a drum God to everybody, and I heard this. Then I could finally identify what sounds were doing what. I guess right off the bat I could hear exactly what was happening but then I heard what he was doing and I was like “Holy fuck! Those are high hats?!”. He was doing all these fast high hat patterns and I couldn’t believe you could actually do that with that little kit. Before that I had heard just regular playing and I was done!

At the time, I was in grade 7- you hit puberty, you’re trying to be cool and whatever. I was hanging out with this ‘cool’ guy in school. I slept over his house one night and he put on his brother’s ‘Masters Of Puppets’ record – fuuuuuuuuuuuck! (laughs) So all in the same week I heard this superfast high hat action with Neil Peart and then I heard that thick...Master Of Puppets- I mean you know the album. Especially when it came out in ’86, oh my god, I was blown away. I would sit up in my room and air drum. I would know what I was hearing and I knew where the drums where. I would learn these albums by air drumming them, then my parents would go to work and I would set up the drum kit again. I didn’t really tell them I was doing it. My Dad kind of knew, he was like “You been playing that kit again?” And I was like “Yeah”. He didn’t think much of it. He thought it was a ‘phase’. So I was learning all these albums up in my room air drumming, it’s amazing how you can do that with drums, and then I would sit down and play it. So that’s kind of the long, convoluted story of how I got started. (laughs)

RRUK: So you were mainly self taught? Did you have any lessons?

DA: I was mainly self-taught, at 17 or 18 I took some lessons because my whole new epiphany was when I heard Dave Weckl, the fusion cat (highly acclaimed Jazz fusion drummer). Then there was a whole new elite of drummer Gods out there like Vinnie Colaiuta, Dave Weckl, Dennis Chambers that aren’t really in the rock world. I signed out this CD at the library, it was ‘fusion-ey’-keyboard heavy, kind of cheesy fusion stuff but the drumming was “Oh my god! That’s Neil Peart times twenty! How can he do that?!”.

Then I realized I hit a brick wall with my technique because I was just bashing. So studied with a teacher and he taught me rudiments, I started learning some latin, I started learning how to read [music] and it progressed from there.

RRUK: Can you remember the set up of the first drum kit you had?

DA: Yup, the very first one was just had a 14x5 Ludwig 402 snare, a 13x9 rack, a 16x16 floor and a 22x16 kick drum and then hat, scratch, ride. And then my sister, she helped me out so much, she came in to some money when she was 18 or 19 and she bought me my first drum kit. It was my friend Paul’s used drum kit. It was this bastard red kit, it had 8, 10 12, 13, 14, 16 inch tops, it was like a Neil Peart drum kit. It had the kick with the double bass pedal, bunch of symbols – they were black but I painted them red. They were all mismatched and sounded pretty crappy but it didn’t matter. It was my drum set! And I could finally play to a Rush song! That was thanks to my sister, she believed in me enough and she bought that kit. She spent like $800 or $900 which was a lot of money at that time and it was huge for her so her investment paid off!

RRUK: What styles would you say have inspired you the most over your career, if you were to pick a handful?

DA: The most would be split down the middle, and it’s a weird mix, and it would be between metal and jazz fusion. It’s really weird because I love aggressive music, for instance I love Meshugga, I love all the bands on Roadrunner, love that and stuff like Porcupine Tree and I love the jazz fusion stuff. Like everyone I like a lot of different things. I like the aggression of hard rock and metal and I love the finesse of the jazz fusion stuff. So I guess in Nickelback I can bring out that aggression and then when I’m home I do more prog stuff with my other bands. For instance Martone is instrumental, a lot of shred, a lot of odd time signitures. So yeah fusion, prog, metal – kind of all over the place! People like me as a rock drummer because I learnt when I first got the three doors down gig that you can’t get out in front of a crowd and think about technique and just play perfectly. People wanna see you hitting hard, so I had to learn how to hit and not hit myself. That comes from my metal roots to bash!

RRUK: So who would you say that you aspire to now?

DA: I still always find myself ‘youtubing’ Dennis Chambers. He plays with Santana right now but he’s a big session guy, he’s a jazz fusion legend. He played with P-Funk, Parliament Funkadelic, all the funk back in the days in Baltimore. I think when he was nine James Brown wanted him to tour with him but his mom wouldn’t let him, that’s his story. He heard him in this club and James Brown was like “You gotta come out with me” and his mom was like “No way!”. If you ever YouTube this guy, just go Dennis Chambers solo, unbelievable. Him and all those upper echelon cats like Vinnie Colaiuta who is Frank Zappa’s drummer. He’ll play with Faith Hill and then he’ll play with Jeff Beck and everybody. These are the ‘drummer’s drummers’, I still look up to those guys because they just seem to have attained this impossible level of playing.

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а вот и вторая часть

RRUK: So give us a quick run through of your drumming career, run us through you’re first band to where you are now.

DA: Okay, I’ve never done that before! It’s actually kind of cool. So you heard how I started, at 13. Then from 13 to 18 I obsessively played all the time. I’d skip school, when my parents were at work I’d go home and just drum all day. The neighbours would phone the cops because I was so loud. I learned all the Primus albums, all the Rush albums, John Bonham, I learned every Zeppelin album – so I think that’s where a lot of my roots came from. Then 18, I sold my car and went to Europe and back packed for a year. So I stopped drumming, then I came back and I was kind of a lost teenager. I didn’t really have any goals or aspirations, I was confused. I kind of played a bit but was kind of more in to just partying and smoking pot – just pissing my time away. I mean it was fun but I wasted a lot of time! 18 to 22 I really didn’t drum much at all. I knew I could, deep down inside myself I always knew I had something special. I was terrified to play in front of people because I’m such a perfectionist. The few people I played in front of were like “Holy shit dude! You’re really good!” and I was like “Uh, really?”. I didn’t know because I never put myself out there and never got feedback so I didn’t know I just did what I did. Secretly, I didn’t want to admit it to myself, I knew I was good enough to do it as a career. But I was scared of the whole getting out there because of the shyness thing.

So I was 22 or 23, like two in the afternoon, a beautiful afternoon. I was just sitting in my car getting high with all these dudes. It was so lame, I looked around I was so baked I saw people driving to work and doing things and I thought ‘I’m a fucking loser’. I’m not doing anything with my life. I’m 22, I live at home, work in a glass factory, got nothing going on, I’m not drumming. Then it was weird, I went like that (snaps fingers), and I remember someone said somewhere about the company you keep, if you want to be a rocket scientist; hang around with rocket scientists. I thought I’m hanging around with a bunch of losers who are on welfare and 30 and living with their parents – just ‘cause I wanted to get high and I had a fear to go out there and confront the real world.

So I said fuck it, I’m going to go work in a music store. I need to be around musicians. I went to work at a music store, got the job and then it all changed. I started to hang around with new people and I started to meet guys who would come in. I started to play more then. I was really bad! I played the staff party the first week that I worked there and I couldn’t even play Shuffle! I was like oh god I gotta practice. So I went and took lessons again and started to play in cover bands with those guys that I worked with, got my chops doing that. Learned Stevie Wonder, rock, all that stuff.

Then I started teaching, and I dated this girl who went to music college. She was a fantastic piano player, she taught me theory, I learned to play guitar and bass. I met my buddy Dave Martone, who I still have the band with, he had just got out of Berkley so I saw how he played and we did all this fusion stuff together. So I really started to grow and then around 25 I got really disillusioned again. Oh sorry I skipped one point. I had an original band also around 24/25 and I really spear headed that. I was on the phone all the time talking to college radio stations trying to get our stuff out. We won ‘Vancouver Seeds’ which is CFox’s big promotion in town. We won and we opened up for Nickelback. There was like 700 people there, it was killer, our biggest gig ever.

I think they [Nickelback] had just gotten back from a Canada on ‘The State’ tour and ‘Leader Of Men’ was big. We were like oh man, it’s Nickelback; Canada’s biggest band! Well not yet, but we got to open up for them which was cool and then I just had some personal issues. I was kind of really scattered and anxious. I think I saw something happening and I shut down or something. It was a little overwhelming and my relationship wasn’t going good either so I think that had something to do with it. Strangely enough I took a break for like 18 months and just stopped playing and then again I went “Ok, this is fucked. I know I can play.”. I tried to get my head in shape a bit and grew up, again. Such a weird thing but that’s life I guess. So then I came out at the age of 26 and said if I don’t make a career in music by the time I’m 30 I’m going to go get a real job and I’ll always play as a hobby or something. So I just tried my best. I learned that you had to network so I got out there and met studio owners and managers and agents and it paid off because my friend Jane who ran the Armory Studios in Vancouver phoned me and said “‘3 Doors Down’ are here mixing an album and they don’t have a drummer. I just played them the Martone album and they were like who’s this drummer??”

So I came in that night and had a beer with them. We got drunk and they said “play some drums” so I did a little solo for them and they were like “come to Mississippi for an audition” and then I got the gig. So I went from music store to playing David Letterman and everything happened that year. I was starstruck, it was pretty cool. Then two and a half years later I went this is cool but there’s more for me. Then we got on the Nickelback tour and Chad saw me do my solo every night and phoned me six months later “Hey you wanna, uh, jump ship?”.

So there were some hiccups, I look back to that period when I stopped and it’s funny, I read something on Jim Carey and he had the same thing at the same age. He went to LA, he tried and was making it somewhere and then he kind of had this ‘overwhelmed moment’ where he stopped for a coupe of years too and then he got back in to it. So when I read that I felt a little better. Being a perfectionist or being a little anxious, I don’t know what it was.

RRUK: Maybe deep down you knew that you weren’t ready for it yet?

DA: You know what? I don’t think I was a mature enough person to be able to handle the road at that point. I think I would have been really super overwhelmed or something but however it worked out, it worked out fine. The timing was perfect and here I am now.

RRUK: So...you have been indorsed by a couple of companies over the years. Tell us who you have been indorsed by, who you are indorsed by now and why the change?

DA: I have always been with Regal Tip sticks. I used those sticks about six, seven years before I got 3 Doors Down so when I phoned them they said come on board. You know I always loved their products so I’ve been with them since day one. Same with Remo Drum heads always loved them. I just went with the brands, not who’d give me more, just the shit I liked. So I phoned Remo, no problem, Regal Tip drum sticks, Sabian they’re awesome and they’re a Canadian company. I knew them working in the music store, they were such great, great dudes and such a great company to deal with I knew I wanted to be with them. And Pearl I was a huge Pearl fan, so I got in with Pearl. I stuck with Pearl until about two years ago and its because live the snare drums weren’t really cutting through for me so I would get some boutique drum companies and get some custom snares because they were just really nice sounding.

Then I did some sessions in our off time and three separate occasions I worked with these other producers who brought in a DW kit and they said ‘why don’t we try this because we’re not getting the sounds we want’ and it was night and day, like that is the ultimate experiment, is to be in a studio with a mic, you hit a tom “boom”, you hit another, you can hear it. There’s no line, like oh my God it sounds so much better. And I’m like ‘I’m not using their snares live any more’. The final thing was I flew down to California to meet them, because I don’t want to sign to a bunch of douchebags, like I don’t care how good the product is if they’re not a good family then (I’m not interested). Because Pearl was awesome to me, I still stay in touch with them, they’re great guys, but I met them (DW) and they were killer and they didn’t try and push me. They said take your kit home and let ‘IT’ be the judge for you. They didn’t shit talk Pearl, nothing. They said ‘it’s up to you, if you like our stuff then cool’. And I was you know, that was the proof right there. Just sounded great so I got on with them and they gave me a bunch of kits and it’s been happily ever after.

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