Alte Berichte des ehemaligen HH Fanclub
-
worldtrav -
2. Januar 2011 um 16:34 -
Erledigt
-
-
Heft 31...
...war dann irgendwie wieder sehr mortenlastig... und mit vielen Fragezeichen behaftet!
na gut, da habt Ihr Euren Armalarm!
An das Konzert hier erinnere ich mich dagegen noch gut...
...seine Klamotten waren der volle Helau-Effekt!
...und die Setliste da unten, die hab ich auch noch irgendwo rumfahren!
So das war's wieder für heute, Ihr lieben Leute. Viel Spaß beim Lesen und Erinnern! -
Morten: .....aber ich brauche noch ca. 20 Jahre um wieder eine Beziehung zu den Songs zu bekommen.
hmm - im Juli 1994 hat er es gesagt....
Morten, nicht mehr lange und du wirst a-ha Musik lieben -
2014 Comeback! Sach ich doch!
-
Wie lange gab's eigentlich die Fanclub Magazine, also wann ist das letzte erschienen? Und was ist aus dem Fanclub geworden? *neugierig*
-
Oh da kommen Erinnerungen hoch - habe neulich auch noch im Elternhaus den Clubaufkleber gefunden.
a-ha the blood that moves our bodies
-
Wie lange gab's eigentlich die Fanclub Magazine, also wann ist das letzte erschienen? Und was ist aus dem Fanclub geworden? *neugierig*
Das letzte Clubmagazin erschien im Februar 1998. Ellen hat dann noch 7 Hefte zum Scannen vor sich, da die letzte Ausgabe vom Magazin die #38 trägt.
Die letzten 3 Ausgaben wurden übrigens in Englisch verfasst. -
Und ich hab auch nur noch die Hefte bis Ausgabe 36 vor mir , denn die letzten beiden habe ich nicht. Ich bin damals nicht mehr so recht mit der "neuen Art" des FC klar gekommen und habe meine Mitgliedschaft auslaufen gelassen.
-
Wenn sich niemand anderes findet, kann ich die fehlenden Hefte einscannen
-
Wenn sich niemand anderes findet, kann ich die fehlenden Hefte einscannen
Ja, bitte!
-
vor allem 37 und 38 denn die hab ich wie gesagt nicht.
Ich komme momentan auch nicht dazu, frühestens wieder wenn ich Urlaub habe (ab dem 24.). Sorry! -
Oh da kommen Erinnerungen hoch - habe neulich auch noch im Elternhaus den Clubaufkleber gefunden.
a-ha the blood that moves our bodies
Ach da muss ich schmunzeln - der Spruch ist nämlich von mir. Der Fanclub hatte einen Wettbewerb dazu ausgerufen und ich hab gewonnen. Als Preis gab's ein signiertes Stay on these roads-LP Cover Das hab ich noch Meine Güte ist das lange her...
-
Ich habe gerade die Fanclubhefte weitergelesen. Bin jetzt fertig mit Nr. 31 und möchte jemanden bitten, mich mit Nachschub zu versorgen
Ellen? La Rubia?Bitte, bitte, mit ganz viel Zucker oben drauf'!
-
Google Translate or DeepL can help to understand 😉
-
We can't copy the lines from the interview and paste them into an online translator....
Yes you can. Here it is... With DeepL:
No guarantee for correct translation.
Seite 4
Morten spent September 4, 1995 in a place that is usually only accessible to paintings and other art and their lovers: the Elbschloß in Hamburg-Blanke- nese. The house, romantically situated on the Elbe, had been rented for a week by the Hamburg TV station "VH-1" in order to broadcast a large part of its program from there.
of its program from there for a week. But Morten was not only interviewed for a 20-minute report by the same station, he also gave numerous other interviews for radio and press.
and press. So among other things for the daily paper "Hamburger Abendblatt", which Larissa led with him,
and which Morten afterwards called "1/4 of an interview", because it was only 20 minutes long. This due to organizational problems in the Elbschloß, which led to the fact that some press and broadcasting dates had to be shortened, so that Morten could still take the last airplane in the evening to Berlin, in order to have there on the same evening still another date with "radio".
to make an appointment with "Radio Fritz" on the same evening. Since the "Hamburger Abendblatt" only published excerpts of the interview, we would like to give you a detailed version.
we don't want to withhold a detailed version of the interview.
Enjoy reading!
How do you feel now that the album is out? Uh, I don't feel any different. It's fun to release it because I'm guided by the process of songwriting. I've only been writing autographs for ten years, and suddenly, because of many changes in my life, I started to change, which mainly means that I "invited" chaos into my life. I stopped. I started a process through which I wanted to stop protecting the things around me, the things I was doing and the trappings, because I realized that I was almost trapped by many of these things. It started - not I started it - at the "Rock in Rio" festival, the concert where almost 200,000 people showed up to see the band play. And I looked at this huge crowd and saw the excitement and knew that they had been standing there for 12 hours to see us on stage. And I didn't feel anything, I didn't feel connected to it. And I knew that I was not able to give what I should have given. And that angered me. I became
very, very angry. And I knew that something essential had to be changed. So why did you make an album? Don't you want to be successful with it? Because now you will be confronted again with a big crowd...
That's not the point. The point was: I asked myself: what is it that you want?
You are here on stage, and almost 200,000 people have come to see you. What is wrong with you? So I realized that something in me would have to change would have to change in order to be able to open up to this.
So it wasn't the songs you played with a-ha? It wasn't. It was a personal thing. Something that prevented me from taking the final step and becoming a complete artist. And that has nothing to do with a-ha. a-ha is not the scene. It's not the point. It's personal. Because a-ha has given me so much up to this point. I mean, it's been a fascinating trip. We've done so much, and the whole
a-ha career has been so powerful. So much happened, so many different things. So much to learn from, to get something out of. And you have so many heavy things that you have to deal with and you have to put in the right position. And we all know that the only way you can do all this is if you are honest. And how can you be honest? Only if you keep your intuition and your instinct. If you write and if you perform. When you plan things and discipline them and do here and there and put on a show, that's not what makes it a live show. It depends on whether you're intuitive on stage and instinctive and it bubbles out of you alive.
bubbles out of you. Even when you write songs, it has to be like that.
Seite 6
So, how exactly did the idea to record this album come about? You could have done
you could have done something else! It's not like that, you know, because I didn't plan it. That's the whole point. I just started by getting out of control.
When was that? After the Rio thing. That's when it started gradually. Bit by bit. I started seeing things that were about to happen that maybe I didn't want to happen, but I just couldn't reach out and stop. I just let things happen as they wanted to happen.
Even in the personal realm? Everything. It all had to be. And it's dangerous because you can lose everything, you know. It is a serious and frightening thing because you don't control it. You face everything that grabs you. Of course, you yourself stir it up a little bit. But the point is that it opens you up as an intuitive and instinctive person, and it purifies your senses.
person, and it cleanses your senses, and your sense of perception becomes much clearer, and
Seite 7
this one got me writing and hasn't stopped yet. I write very fast. A lot of things have come out of it, the songs have just been
bubbled up. The second album is already written.
What is the first song you wrote?
That's interesting, I think. There are different ways to look at it. In 1983, 12 years ago, when a-ha went to England, in the summer of 1983, that's when I picked up the guitar for the first time, and by then I knew very few basic words. And I didn't know any more than I know now. I wanted to play a little at that time, and I wrote a little piece. At the same time in 1983, Havard Rem, the Norwegian poet with whom I worked on the album, wrote a Norwegian poem called "A Lullaby" Ès a lullaby for death and also for sleep. Both were written at the same time. And today that song is "Lay Me Down Tonight." It's a little piece. And it's funny. It's actually the first piece. But it
-
We can't copy the lines from the interview and paste them into an online translator....
Seite 8
had to be 10, 12 years before I started writing. The pivotal point was the fall of 1993, when things in my life really started to change. A lot of things. And the result of that process was that by the end of 1993 things were really
things were really boiling. The writing happened in spurts.
Did you have trouble explaining this a-ha and to your family?
It's an appropriate question. They were all affected by it.
But more family and friends than the band. I mean, they're included in family and friends, too, but you know what I mean. a-ha was emotionally exhausted. We didn't have the energy that we wanted and needed anymore. Individually we have it, you know. So we just naturally swarmed out in three different directions. And all of that will benefit a-ha when we go back into the studio. Whenever that is. I don't know at the moment, but it's very likely that that will happen. There are no guidelines at the moment. You should only
what is there and go where you feel you should go. Can you tell me a little more about the writing process? You once said,
that lyrics were more important than the music, so what did you focus on now? I think that the lyrics are very personal, because you talk about topics like East Timor,
religion,... The lyrics actually seem to be very important! It's both. When I say that, I say it in the same way that I would say that the personality of a person is very personal.
I would say that a person's personality is more important than their appearance. And in the same way, a song has to have a center. If there are words to music at all. They immediately determine the center of a song, whether you like it or not. Because that's how we think. That's how we perceive things. You can have a
nice, really great song, but the words are empty and don't mean anything. Then the whole song will fall flat. But you can have wonderful lyrics and a mediocre melody, and it's still a very good song. That's how it happens. The lyrics are much more important to everyone. Quite a few people say they don't pay attention to the lyrics. They don't, but they do pay attention to the words, whether they understand them or not. And the lyrics influence the writing,
the recording of the song, the whole process. They are central. But I want to respond to something else. You say that the lyrics are very personal, and I would disagree with that, because I rather think that they are general. I think that a-ha's texts are very personal, they are introspetitive. I think that Havard's texts are very general and his way of writing is very original, very basic, which makes them much more general.
more universal. I was thinking specifically about "Los Angeles," which to me really sounds very personal to me.
It's personal. But it's personal to anyone who's lived to 40. It
is a song about someone who has lived.
"You waited for me when I was strong"; it's a relationship, you know Ou, but it's someone who has lived. It could go with anybody. Look at the world today. Half of all marriages end in divorce and you have all kinds of relationships, arrangements. That's the world today. We don't have the type of family we used to have. It's not just the nuclear family that has changed. The trappings have changed as well. Today, women work, which they didn't before. So both husband and wife are at work,
which means that you often have other adults taking care of your children. And so a lot of things are changing. But we've kind of "stopped." In our minds, we look at family life as it used to be, and we equate it to that. But so much has changed, and that's what this text deals with. I think it's relevant to a lot of people. Havard's lyrics speak to me
Havard's texts speak to me, and I know that many others who read them feel the same way. When you write texts, do you observe other people or do you reflect on your own situation?
your own situation? No, I think. It's both. But you see - funny enough; I'm more interes- sed in pop than an expression and rock. I mean, they're the same in a way. They're different, but they're the same thing. I want to find the easiest
way to express things that touch people. That wake them up. In the simplest language possible. So when I write something or play something,
I like myself, but it's not accessible to other people. What does
Seite 9
that tell me? It tells me that I am very self-centered and narcissistic. I only look at my own navel. That's what it means. If it's not relevant to other people, then something about it is not okay. So it's not good for me either. I think there's a lot to be said about that. But there's also a lot of good in a community. Although, of course, listening to crowds is also very dangerous. You have to be very alert. Very awake. But that's how the natural works. That which is too weak will not survive. You can apply that to a lot of things. And I apply it to music. That's also a reason why I do this. I throw it out of me like a piece of meat thrown to a pack of wolves. They
then do with it what they naturally do.
So you don't have any specific expectations in regards to the album? I mean, I'm doing it as a public person, because I could be doing other things for myself and my people. That's not the point. I'm doing it as an artist with a big scale. I'm responding to something inside of me, and I feel
very comfortable with it. I know what I'm doing. I'm on my way to something.
Are you afraid of people not liking/appreciating your album? No, I'm not afraid. I don't think about it that way. Just in a modest way. It's small songs, and small songs are what people need. I think it's relevant to a lot of people, and I mean a lot, and that's very important. This is my active part as a member
of the world population. I have to go where it takes me, and I'm just starting out.
End
-