Anderson was born on 10th August 1947, the youngest of three children. He spent the first part of his childhood in Edinburgh, Scotland. He was influenced by his father's big band and jazz records and the emergence of rock music, though disenchanted with the "show biz" style of early American rock and roll stars like Elvis Presley. His family moved to Blackpool, Lancashire in 1959, where he gained a traditional education at Blackpool Grammar School. He went on to study fine art at Blackpool College of Art from 1964 to 1966.
In 1963, he formed The Blades with school friends Barriemore Barlow (drums), John Evan (keyboards), Jeffrey Hammond (bass), and Michael Stephens (guitar). This was a soul and blues band, with Anderson on vocals and harmonica. At this time Anderson abandoned his ambition to play electric guitar, allegedly because he felt he would never be "as good as Eric Clapton". He traded his electric guitar in for a flute which, after some weeks of practice, he found he could play fairly well in a rock and blues style. He continued to play acoustic guitar, using it as a melodic as well as rhythmic instrument. As his career progressed, he added soprano saxophone, mandolin, keyboards, and other instruments to his arsenal.
His famous tendency to stand on one leg while playing the flute came about by accident. As related in the "Isle of Wight" video, he had been inclined to stand on one leg while playing the harmonica, holding the microphone stand for balance. During the long stint at the Marquee Club, a journalist described him, wrongly, as standing on one leg to play the flute. He decided to live up to the reputation, albeit with some difficulty. His early attempts are visible in The Rolling Stones Rock and Roll Circus film appearance of Jethro Tull. In later life he was surprised to learn of iconic portrayals of various flute playing divinities, particularly Krishna and Kokopelli, which show them standing on one leg.
While Anderson has recorded a small number of critically acclaimed projects under his own name, and frequently makes guest appearances in other artists' work, he has been identified in the public eye as the frontman of Jethro Tull for forty-four years. This is undoubtedly because a signature motif of Anderson's career has been a highly distinctive stage image, which has often been counter to the prevailing rock music culture. While he has habitually drawn inspiration from British folklore – at different times deploying stylistic elements of mediæval jester, Elizabethan minstrel, English country squire and Scottish laird – at other times he has appeared as astronaut, biker, pirate, and vagrant. His personae often involve a large degree of self-parody.
As a flautist, Anderson is self-taught; his style, which often includes a good deal of flutter tonguing and occasionally singing or humming (or even snorting) while playing, was influenced by Rahsaan Roland Kirk. In 2003 he recorded a composition called Griminelli's Lament in honour of his friend, the Italian flautist Andrea Griminelli. In the 1990s he began working with simple bamboo flutes. He uses techniques such as over-blowing and hole-shading to produce note-slurring and other expressive techniques on this otherwise simple instrument.
He has recorded several songs on which he plays all the instruments as well as carrying out all the engineering and production (such as 1988's "Another Christmas Song"). Anderson's music blends styles such as folk, jazz, blues, rock, and pop. His lyrics are frequently complex, (mostly) tongue-in-cheek criticism of the absurd rules of society and/or religion ("Sossity, You're a Woman"; "Hymn 43"; "Thick as a Brick"). He often combines lyrics with other leitmotifs such as folk, mythological, fantastic ("The Minstrel in the Gallery", "Jack-in-the-Green", "Broadsword and the Beast"). In the 1990s and 2000s, Anderson's songs often capture 'snapshots' of his daily life ("Old Black Cat", "Rocks on the Road").
Not Ralitsa Vassileva
Ian Anderson Lyrics
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Tell all we need to know.
Like it.
Lump it.
Dig it.
Dump it ? on your late, late show.
And do you think you're Ralitsa Vassileva?
It's a long way from here to CNN in America
And a red-eyed opinion too far.
Dish the dirt or dish the gravy.
Spill the beans to me.
Sinking fast in terminal boredom
Feigned interest flying free.
And do you think you're Ralitsa Vassileva etc.
Talking monkey,
Breaking news junkie, tragedies to reveal.
Light and breezy, up-beat squeezy,
Close in to touchy-feel.
Pass the Merlot, dance the three-step
Cut to a better chase.
Align yourself with no proposition
and simpler thoughts embrace.
Let's talk about me.
Let's talk about you.
In a world of private rooms.
Hide awhile from dark stormbringers
Sad messengers of doom.
Sadly, you can't be Ralitsa Vassileva etc.
And do you think you're Ralitsa Vassileva etc.
The song "Not Ralitsa Vassileva" by Ian Anderson is a satirical critique of the media and their manipulation of information. The opening lines present the idea that the "dinner table chattering classes" know everything there is to know, and the information they present is to be accepted, whether it is liked or not. The line "dump it on your late, late show" implies that this information is sensationalized and used as a form of entertainment.
The chorus, "And do you think you're Ralitsa Vassileva? You're just hand-me-down news in a cookie jar," refers to Ralitsa Vassileva, a Bulgarian journalist who worked for CNN. The message is that those who emulate Vassileva are merely imitating a formula for delivering news that has been established by corporate media. Anderson is critical of the 24-hour news cycle, and the repeated sensationalization of current events that lose relevance soon after airing.
The second verse of the song portrays the desperation of the media to get information in the face of terminal boredom. They are opinionated and unhappy, and resort to dish dirt, dish gravy, and spill the beans. The phrase "hand-me-down news in a cookie jar" reappears in the refrain as a criticism of the formulaic nature of journalism, and the emphasis on producing entertaining content.
In conclusion, "Not Ralitsa Vassileva" is a cynical commentary on the state of news media, which is instead driven by profit rather than facts.
Line by Line Meaning
Dinner table chattering classes
People gathered around a table talking or gossiping about things they think they know.
Tell all we need to know.
Sharing all the information they think is necessary.
Like it.
Take it or leave it.
Lump it.
Accept it as it is.
Dig it.
Enjoy it.
Dump it ? on your late, late show.
Put it on your show that airs much later.
And do you think you're Ralitsa Vassileva?
Is your news as important as Ralitsa Vassileva's?
You're just hand-me-down news in a cookie jar.
Your news is not as fresh and important as it should be.
It's a long way from here to CNN in America
And a red-eyed opinion too far.
It's far-fetched to try and gain an opinion about world events from here.
Dish the dirt or dish the gravy.
Tell us all the juicy details either good or bad.
Spill the beans to me.
Tell me everything.
Sinking fast in terminal boredom
Feigned interest flying free.
Losing interest quickly, pretending to still care.
Talking monkey,
Breaking news junkie, tragedies to reveal.
People who consume all the news like it's their life's blood.
Light and breezy, up-beat squeezy,
Close in to touchy-feel.
Talking about events in a light or glib tone, as if they don't matter greatly.
Pass the Merlot, dance the three-step
Cut to a better chase.
Try to find a happier or more enjoyable topic to talk about.
Align yourself with no proposition
and simpler thoughts embrace.
Don't pick a particular side or argument, and embrace less damaging thoughts.
Let's talk about me.
Let's shift the conversation to focus on myself.
Let's talk about you.
Let's shift the conversation to focus on you.
In a world of private rooms.
In a world where everyone keeps their true feelings private.
Hide awhile from dark stormbringers
Sad messengers of doom.
Avoid those who constantly bring bad news.
Sadly, you can't be Ralitsa Vassileva etc.
It's impossible for you to have the same importance and influence as Ralitsa Vassileva.
And do you think you're Ralitsa Vassileva etc.
Is your news as important as Ralitsa Vassileva's?
Lyrics © BMG Rights Management
Written by: Ian Anderson
Lyrics Licensed & Provided by LyricFind