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Masarykova Univerzita V Brně Filozofická Fakulta

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Masarykova Univerzita V Brně Filozofická Fakulta Masarykova univerzita v Brně Filozofická fakulta Ústav hudební vědy Management v kultuře Michael Kořínek Kontext Band Aid, USA for Africa a Live Aid ve vývoji moderní populární hudby a absence vnímání tohoto kontextu v československém prostředí Magisterská diplomová práce Vedoucí práce: PhDr. Aleš Opekar, CSc. 2014 Prohlášení: Prohlašuji, ţe jsem bakalářskou práci vypracoval samostatně s vyuţitím uvedených pramenů a literatury. …………………………………… II Poděkování: Panu PhDr. Aleši Opekarovi Csc. děkuji za všechny konzultace k této magisterské diplomové práci. Pánům doc. Ing. Vladimíru Hyánkovi, Ph.D. a Mgr. Bc. Jaroslavu Benákovi děkuji za konzultace a doporučení stran zdrojů a materiálů. Za odpověď a vyplnění emailového dotazníkového šetření děkuji: Heleně Burianové, Janě Jaruškové, Pavlu Stratilovi, Gabriele Štěpánkové a Jitce Václavkové III PŘEDMLUVA: ................................................................................................................................... 1 ÚVOD: ................................................................................................................................................. 1 HUMANITNÍ ODDÍL: ....................................................................................................................... 6 OSOBNOSTI CHARITATIVNÍCH NAHRÁVÁNÍ A KONCERTŮ: ......................................... 12 3.1 BOB GELDOF ............................................................................................................................. 12 3.2 BONO VOX ................................................................................................................................ 24 3.3 MIDGE URE ............................................................................................................................... 27 3.4 MICHAEL JACKSON ................................................................................................................... 28 3.5 LIONEL RICHIE .......................................................................................................................... 30 CHARITATIVNÍ NAHRÁVÁNÍ A KONCERTY: ....................................................................... 32 4.1 BAND AID (1984) ...................................................................................................................... 32 4.2.1 Band Aid II (1989) ............................................................................................................ 38 4.2.2 Band Aid 20 (2004) .......................................................................................................... 39 4.2 USA FOR AFRICA (1985) .......................................................................................................... 40 4.3 LIVE AID (1985) ....................................................................................................................... 46 4.4 LIVE 8 (2005) ............................................................................................................................ 64 EKONOMICKÝ ODDÍL: ................................................................................................................ 66 ZÁVĚR: ............................................................................................................................................. 67 RESUMÉ: .......................................................................................................................................... 69 RESUME: .......................................................................................................................................... 70 RESÜMEE: ....................................................................................................................................... 71 BIBLIOGRAFIE: ............................................................................................................................. 72 10.1 SEZNAM POUŢITÉ LITERATURY: .............................................................................................. 72 10.2 SEZNAM POUŢITÝCH PERIODIK: ............................................................................................... 73 10.3 SEZNAM POUŢITÝCH PRAMENŮ: .............................................................................................. 73 10.4. SEZNAM POUŢITÝCH FILMŮ .................................................................................................... 74 10.4 SEZNAM POUŢITÝCH INTERNETOVÝCH ZDROJŮ: ...................................................................... 74 PŘÍLOHY: ........................................................................................................................................ 75 11.1 HUMANITNÍ ODDÍL: ................................................................................................................. 75 11.1.1 Diskografie: .................................................................................................................... 75 11.1.2 Výčet charitativní nahrávání: ......................................................................................... 75 11.1.3 Jmenný výčet účastníků charitativních nahrávání a koncertů ........................................ 76 11.1.3.1 Band Aid - Do They Know It's Christmas? ............................................................................ 76 11.1.3.2 Band Aid II - Do They Know It's Christmas?......................................................................... 77 11.1.3.3 Band Aid 20 - Do They Know It's Christmas? ....................................................................... 78 11.1.3.4 USA For Africa - We Are the World ...................................................................................... 79 11.2 EKONOMICKÝ ODDÍL: .............................................................................................................. 81 11.2.1 Dotazníkové šetření - zadání: ......................................................................................... 81 11.2.1 Dotazníkové šetření - respondenti: ................................................................................. 82 11.2.1 Dotazníkové šetření - výsledky: ...................................................................................... 83 11.2.1.1 A Kluby České republiky o.p.s.; Jitka Václavková; 12. 03. 2013: ......................................... 83 11.2.1.2 Labyrint Brno, o.s.; Helena Burianová; 11. 3. 2013 ............................................................... 83 11.2.1.3 NaZemi; Gabriela Štěpánková; 10. 3. 2013 ............................................................................ 84 11.2.1.4 Vaizard, o.p.s.; Pavel Stratil; 16. 3. 2013 ............................................................................... 85 11.2.1.5 Ţeny50, o.s.; Jana Jarušková; 10. 3. 2013 .............................................................................. 85 IV Předmluva: Práci věnuji Ústavu hudební vědy a pedagogům, kteří na něm působí. Váţím si zkušeností a mnoţství moţností, které mi studium na Ústavu hudební vědy poskytlo. Úvod: K samotným okruhům a problematikám, které společně tvoří stěţejní téma tohoto textu. Nosnými motivy jsou projekty, spjaté s charitativním mega-koncertem pojmenovaným Live Aid. Podle oficiálních názvů a s uvedením roku uskutečnění se jedná o tyto projekty: Band Aid 1984, Band Aid II (1989), Band Aid 20 (2004), We Are The World 1985, We Are The World 25 (2010), Live Aid (1985), Live 8 (2005). Jedná se o sérii dobročinných hudebních nahrávání a koncertů moderní populární hudby, svým charakterem jedinečnosti majících vliv na samotnou historii konce dvacátého stolení a začátku století jednadvacátého. Základním nosným diskursem, který určuje uchopení tématu a jeho zpracování, je okolnost, která ovlivňuje vnímání projektů okruhu Live Aid v českém a slovenském prostředí. Československá televize v roce 1985 nevysílala přímý přenos koncertů Live Aid z Londýna a Filadelfie. Koncertní událost se stala historicky významná pro masivní celosvětovou participaci na přenášení a vysílání přenosu. Českosovensko se tak zařadilo mezi minimum zemí světa, které Live Aid nevysílaly, i kdyţ tu moţnost měly. Vzhledem k tomu, jaký význam má Live Aid v historii moderní populární hudby, lze z dané situace vyvodit, ţe ignorace koncertu československými médii ovlivnila v našem prostředí vnímání určité fáze vývoje této hudební sféry. Tato teze určuje způsob práce s tématem a strukturu textu. Důsledkem a dědictvím celé této situace je nepříliš vysoké povědomí o problematice Live Aid (a problematice událostí na tento koncert napojených), v českém a slovenském prostředí. Potvrzujícím aspektem je absence české, nebo slovenské literatury, která by se specificky těmto tématům věnovala a nějakým způsobem by je zpracovávala. Cílem tohoto textu je proto kompletace základní informační struktury vztahující se k Band Aid (1984), Live Aid (1985) a We Are The World (1985). A pak také heslovitý souhrn informací k projektům souvisejícím, k Band Aid II (1989), Band Aid 20 (2004), We Are The World 25 (1985) a Live 8 (2005). 1 Vzniknout by tak měl primárně strukturovaný faktografický souhrn. Dále historiografický koncept zasazující projekty okruhu Live Aid do linie vývoje moderní populární hudby jazzového okruhu a současně do celospolečenského sociologického kontextu, jakoţto i do sociologicko-politické situace v Československu, potaţmo České republice. Součástí bude přirozeně také muzikologické zhodnocení koncertů a nahrávání. Jako záchytné tematické motivy poslouţí těmto metodám zpracování tématu průsečíky a milníky
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