5.17.2010
Malcolm McLaren Will Return Shortly...What Gets Me hot | accessdate = 2010-05-17 | quote
Emmanuelle Beart prise à l'arrière d'une voiture
Jane Birkin nue au pieu avec Gainsbourg
(video) Literally Blogging Japanese Rose Gardens ロー ズ・ガーデン
by hougakupop
ローズ・ガーデン リン・アンダーソン
ロー ズ・ガーデン
(Video 2) Japanese Rose Garden／Lynn Anderson ローズ・ガーデン／リン・アンダーソン
(Video) Rose Garden／Lynn Anderson ローズ・ガーデン／リン・アンダーソン | 00000piopio | 11,434 views
LYNN ANDERSON 思い出の７０年代ヒット ローズ・ガーデン
Memories of 70's Hits
１８００～２０００円もするＬＰを買うなんてとんでもない。ラジオ（当然ＡＭ）の洋楽チャート番
組にかじりつき、吟味に吟味を重ねた末、やっと手に入れた１枚４００円のシングル盤。
１枚１枚が宝石のように大切に思えたものでした。
そんな思い出のヒット曲の数々をご紹介しましょう。
ローズ・ガーデン／リン・アンダーソン
71年4月～71年5月の大ヒット！
※チャート・ランキングはChifumiさんのＨＰ「オール・ジャパン・ポップ２０」で。
ローズ・ガーデン
リン・アンダーソンの爽やかな歌声で全米第３位まで
上昇したポップ・カントリーの傑作。
日本でも大いに受け、後に南沙織が歌って大ヒットした「１７歳」の
原曲になったとも言われています。
「ローズ・ガーデン」だけの一発屋と思われがちのリンですが、
本国アメリカではカントリー・チャートの常連として数十曲のヒット
を持つスター・シンガーでした。
LYNN ANDERSON／Greatest Hits
SONY 2004年
リン・アンダーソン
1.If I Kiss You (Will You Go Away) #5Hit
2.Promises, Promises #4Hit
3.No Another Time #8Hit
4.Big Girls Don't Cry #12Hit
5.Flattery Will Get You Everywhere #11Hit
6.That's a No No #2Hit
7.I've Been Everywhere #16Hit
8.Rocky Top #17Hit
9.Stay There 'Til I Get There #7Hit
10.Rose Garden #1Hit
11.You're My Man #1Hit
12.How Can I Unlove You #1Hit
13.Cry #3Hit
14.Listen to a Country Song #4Hit
15.Fool Me #4Hit
16.Keep Me in Mind #1Hit
17.Top of the World #2Hit
18.Sing About Love #3Hit
19.Talkin' to the Wall #7Hit
20.What a Man My Man Is #1Hit
21.He Turns It into Love Again #13Hit
22.Wrap Your Love All Around Your Man #12Hit
23.It Isn't Always Love #10Hit
24.Sea of Heartbreak #33Hit
※順位はカントリー・チャート
現在リリースされているリンのベスト・アルバムの中では
一番の内容ではないでしょうか。
（あまり日本人好みとは言えないごっついお顔の
ジャケットが少々悲しいけど。）
「If I Kiss You (Will You Go Away)」はメロディがキュートなポップ・カントリー。リンのママ、リズ・アンダーソンの作品です。
「That's a No No」はグラミーを獲得したチャ－リー・プライドの
「Kiss An Angel Good Morning」をはじめ多くの名曲を手がけた
ベン・ピータースの作品。いい曲です。
「I've Been Everywhere」は州の名前を早口で歌いまくる楽しい曲。
「Rocky Top」は伝説のポップ・カントリー・デュオ、エヴァリー・
ブラザーズに数々の名曲を提供したブライアント夫妻の作品。
テネシー州の州歌でもあり多くのアーティストがカバーしています。
「Rose Garden」はやっぱり文句なしの名曲。
永遠に歌い継がれていくでしょう。
「You're My Man」はリンの当時のダンナ、グレン・サットンの
ポップなナンバー。良いです。グレンのナンバーは他にも
「.Sing About Love」や「He Turns It into Love Again」
などが収録されていますが、本当にいい曲を書きますね。
「How Can I Unlove You」は「Rose Garden」の作者、ジョー・サウス
の作品。「Rose Garden」には及びませんがなかなかの名曲です。
「Top of the World」はカーペンターズでおなじみのナンバー。
録音自体はリンの方が早く、カントリー・チャートを賑わしました。
カレンの歌声が耳タコになっている人には新鮮に聞こえていいかも。
（管理人もリンのヴァージョンの方が好き！）
「ローズ・ガーデン」でグラミー賞まで獲得し、栄光を
手に入れたリンですが、昨年（２００４年）は薬物を服用して
運転中に逮捕、今年に入ってもスーパーでハリポタの
ＤＶＤ（苦笑）を万引きして再び逮捕されるなど近況はかなり
悲惨なことになっているようです。
なんとかがんばって再起してほしいもんですね。
Martin Amis's Summer of Lust in a Tuscan Castle
A summer of lust in a Tuscan castle
Martin Amis talked to us about his new novel. He’s not sure he’ll be talking about it in Britain.
by Mike Doherty on Thursday, May 13, 2010In a corner of Martin Amis’s living room in London, watched over by elegantly sombre paintings, stands a bright-orange pinball machine called Eye of the Tiger. “It’s a really good one,” says the renowned novelist. “I’m getting worse and worse at it. All that flow of youth is gone.”
At 60, Amis increasingly finds himself in a retrospective mood. He’s too irreverent to be an éminence grise, but he’s no longer the notorious enfant terrible of English letters. Lately, he’s been helping to nurture the talents of budding authors at the University of Manchester and Toronto’s Humber School for Writers, and in his new novel, The Pregnant Widow, his famously coruscating humour is more benign than ever before, leaving ample room for emotion.
And yet, in the British press, the sport of Amis-baiting, which reached an apex in 1995 (when Amis left his long-time agent and obtained a £500,000 advance for his novel The Information), continues apace. “It happens to me whether I’ve got a book coming out or not,” he notes wearily, his basso drawl barely rising above the sound of the cars passing outside. “And the more I speak in public and give interviews, then obviously the more grist there is.” This January, such grist was provided by a Sunday Times profile, where Amis suggested public euthanasia booths could help Britain deal with the upcoming “silver tsunami” of an aging population. Tabloids immediately stirred up a “feud” by quoting the reactions of anti-euthanasia pressure groups.
“I’m seriously thinking of not doing interviews in this country for the next book,” says Amis, “just to see if it’s any better.” He feels that the British press conceives of him and his late father, Lucky Jim author Kingsley, as “one entity,” and that they’ve had enough of the “Amis franchise”: “I’ve just been around too long. They’ve been telling me since I was 40 that my powers have gone.”
That said, British reviews of The Pregnant Widow have generally been positive. The novel looks back from a contemporary perspective on the sexual revolution of the hippie era. Protagonist Keith Nearing (the latest in a long line of comically treated “Keiths” in Amis’s fiction) spends the summer of 1970 reading canonical English novels in a Tuscan castle where he’s staying with his long-suffering girlfriend, Lily, and their friends. At one point, the 20-year-old university student undergoes a “sexual trauma” which is, we’re told, “the opposite of torture, yet . . . It ruined him for 25 years.”
With an abundance of playful literary allusions, Amis writes of what happens when emotion is dissociated from sex—a theme he first approached in 1984’s Money, his most acclaimed work. In fact, The Pregnant Widow is shot through with elements of his earlier fiction, from its leisurely country house setting (1975’s Dead Babies) to the presence of a duplicitous femme fatale (1989’s London Fields) to bittersweet meditations on mortality (The Information). The lustful, scheming, literature-obsessed Keith recalls the protagonist of his creator’s 1973 debut, The Rachel Papers, a novel which Amis now finds “laughably crude” and “technically clumsy.” In one’s “evolution as a writer,” he says, “the musicality and pyrotechnic prose”—defining elements of his earlier fiction—“sort of thin out. What gets very good is your craft, the sense of what goes where.”
The Pregnant Widow started out as an attempt to recast parts of Amis’s life, which he first chronicled in his memoir Experience (2000), as fiction. And while he eventually shrugged off the “shackles” of fact, a few of the novel’s characters are directly modelled on departed friends and family, including his sister, Sally, who died at age 46 in 2000. Her fictional alter ego’s addictive personality and promiscuity are peripheral to the book’s plot, but she occupies the novel’s emotional centre. Keith, meanwhile, shares Amis’s birthday and his below-average height, but the author stresses his book “isn’t autobiographical.”
Keith, Amis notes, “is a provincial, illegitimate orphan. What I had to attack in that character was any sense of entitlement.” And in doing so, he used the weapon that has served him best over the years, and that allows him to oppose the slings and arrows of the British press: comedy. “When I read these miserable, po-faced, prize-winning novelists,” says Amis, “I think, ‘You’re deluding yourself if you think you’re getting anything out of this.’ It’s a really crippled response to what being alive is, if you don’t find it funny. You’re on the wrong planet.”
