amaterasu kingdom dimensionsⅥ-19-方丈記私記&緋色の研究。- A Personal Account of the Hojoki & A Study in Scarlet./愛は花、君はその種子。
で。2026042313:58(日本時間)。
"『マジンガーＺ対暗黒大将軍』令和6年能登半島地震 復興応援配信【公式】"
で。2026042408:39(日本時間)。
で。2026042507:51(日本時間)。
で。2026042612:48(日本時間)。
『方丈記私記-堀田善衛 128-167ページ』
で。2026042613:23(日本時間)。
◆林 義郎（はやし よしろう、1927年〈昭和2年〉6月16日 - 2017年〈平成29年〉2月3日）は、日本の政治家、通産官僚。位階は正三位。
大蔵大臣（第97代）、厚生大臣（第62代）、衆議院議員（11期）などを歴任した他、日中友好議員連盟や日中友好会館の会長も務めた。from wiki.
◆小野寺 五典（おのでら いつのり、1960年〈昭和35年〉5月5日 - ）は、日本の政治家。自由民主党所属の衆議院議員（10期）、自由民主党税制調査会長（第38代）、自由民主党宮城県連会長。
外務大臣政務官（第3次小泉内閣）、外務副大臣（第1次安倍改造内閣・福田康夫内閣）、防衛大臣（第12代・第17代・第18代）、衆議院沖縄及び北方問題に関する特別委員長、衆議院情報監視審査会長、衆議院予算委員長、自由民主党政務調査会長（第63代）、同政務調査会長代理を歴任した。from wiki.
そうそう、実際問題、それをみるとき、おれのあたまにはさゆみの顔がうかぶわけですが、今日の朝、5番街のエレナで、26日限定で、山口県産ひとめぼれが3,500円ちょい(税抜)で売ってたので、ちょうど昨日の夜で米が切れてたので、即決で買いました。2026042613:35(日本時間)。
◆長谷川 初範（はせがわ はつのり、1955年6月21日 - ）は、日本の俳優。愛称は「ショパン」。
北海道紋別市出身。北海道紋別北高等学校、横浜映画放送専門学院（現・日本映画大学）演劇科卒業。ケイダッシュ所属。
来歴(抜粋)
1980年、特撮テレビドラマ『ウルトラマン80』（TBS）に主人公・矢的猛役で初主演。後に長谷川は、『80』までの昭和ウルトラシリーズと世界観がつながった2007年放送の『ウルトラマンメビウス』（CBC）にも、厳しいスケジュールを縫って同役に客演している。そのオファーに当たり、円谷プロダクションのプロデューサー・渋谷浩康から届いた「矢的先生への同窓会の招待状」としての熱い内容の手紙に、長谷川はいたく感動して出演を快諾したという。from wiki.
"＜特別配信＞『ウルトラマン』第26話「怪獣殿下(前篇）」【ウルトラマンシリーズ60周年記念】 -公式配信-"
で。2026042608:33(日本時間)。
"from BEN-HUR"
と、いう事で。2024091615:50(日本時間)。
で。2026042817:05(日本時間)。
2026年4月 8日 (水)
出戻りさん、いらっしゃい－1980年代から令和の盤上へ
そうそう、すっかり過疎た挙句に絶滅危惧種だそうな我が方のなんG(？)さんたちに質問なんですが、いにしえの政府標準米ってのも全部古米だったんですか？2025052705:11(日本時間)。
と、平均て、古米だか何だか混ぜたブレンド米などとかの価格足して印象下げてる？2025052705:13(日本時間)。
もうちょい市場に出るまで待った方がいいと思いますが、もう止まらんのか？備蓄米、日本の農家の方たちが使用してる品種かどうか調べた方がいいみたいですよ念のため(笑)。輸送費込みでも込みじゃなくても、人件費が格安、奴隷労働か？で作りゃ政府商売卸値1000円でも東インド会社なんて目じゃないボタモチでしょうからね。とりあえず防疫(笑)。ゴミズは処刑ズ。2025060105:05(日本時間)。
つうても市場に出るまでに虫が湧いたら流石に不味いのでおっとろしい量の防虫剤がかかってるか(奴隷労働のささやかな抵抗などとかのションベンザーメンその他は知らん・笑。ゴミズは処刑ズ。)？ゴミズは処刑ズ。2025060105:11/日本時間。
そうそう、これはyoutubeでサムネイル画像を見ただけだと思うのですが、アヘン商売って東インド会社がやってたんだっけ？からの何でか連想で(笑)、とある日本のラーメン屋が、頑張って調理師免状とか飲食店の営業許可証みたいなの取ったんだろうに/2025060106:38/日本時間。、客を自分が作るラーメンのトリ子にして商売大繁盛にする為に麻薬を混ぜてたって事件は事実なんですか？ゴミズは処刑ズ。2025060106:35(日本時間)。
そーそーついでに。2025060106:47(日本時間)。
『零戦燃ゆ 第6巻 10-23ページ』
そーそー、世界中も、他にきんぺー(中)とか南極(日)とか一族郎党ゴミ処刑ズがいるのであれですけど、これをいい機会として。2025021605:48(日本時間)。
そーいえば、俺は予告編ぐらいしか観たことないけど、今となっては随分前ですが、記憶頼りで、実写版デビルマンが予算不足か何かで"凄い！最終戦争ハルマゲドンがほとんどイトーヨーカ堂の中で展開している！"な感じで、記録的低評価だった、な、話を、聞き、読みましたが(そこは俺も人の事が言えんので相見互いということでいいだろう・笑)。2025021305:42(日本時間)。
俺のカワイイ親分さん達をさておいても、苦しめて殺すと言う意味で俺は必ず報復する。USEぞゴミは処刑ズ。2025021410:16(日本時間)。
裏社会というか、裏世界というか、ま、おれの妻は現在芸能界などでご活躍のみなさんとは全く無関係な偶然ソックリさんですが、わりと。
我がAKDをみならない、お前なんかどっちにしろいてもいなくても同じつうことでゴミズは処刑ズ。な、いなくても成り立つ経済構造に切り替えればどうです？新日鉄でしたか？よく知らんので、なんで泥船ザルにお布施をせにゃならんのだとかあるでしょうが、露骨な村八分は角が立つので表面上はにこやかに付き合えばいいんですよ、どうせ此奴等皆殺。ゴミズは処刑ズ。2025021605:54(日本時間)。
そーそー遠島大リーグ送りにならないよう皆がんばってくれたまへゴミズは処刑ズ。2025021606:00(日本時間)。
で。2025021714:43(日本時間)。
"低予算エヴァンゲリオン「Evangelion」 Low-budget Version"
"from Space Runaway Ideon Be Invoked Movie 1982 ENG SUB"
で。2026042617:00(日本時間)。
で。2026042709:54(日本時間)。
◆三億円事件（さんおくえんじけん）は、1968年（昭和43年）12月10日朝、東京都府中市で金融機関の現金輸送車に積まれた約3億円の現金が白バイ警察官に扮した男に奪われた窃盗事件である。正式な事件名は「現金輸送車強奪事件」である。通称では「三億円強奪事件」と呼ばれる。後に有楽町三億円事件・練馬三億円事件との区別のため、「府中三億円事件」とも称されることがある。犯人検挙に至らなかったことから、1975年（昭和50年）12月10日に刑事訴訟法250条における公訴時効が成立し、未解決事件となった。また1988年12月10日には、除斥期間の経過により損害賠償請求権も消滅した。from wiki.
◆古谷 敏（ふるや びん、（1943年〈昭和18年〉7月5日 - ）は、日本の俳優、スーツアクター。ビンプロモーション元代表取締役社長。シンビンプロモーション所属。東京都港区西麻布出身。本名は同字異読の古谷 敏（ふるや さとし）[注釈 1/資料によっては読み仮名を「さとし」で記載している。]。
特撮テレビドラマ『ウルトラQ』で「ケムール人」と「海底原人ラゴン」を、『ウルトラマン』で主役ヒーローウルトラマンをスーツアクターとして、『ウルトラセブン』でウルトラ警備隊のアマギ隊員を顔出しで演じ、ウルトラシリーズの初期を支えた一人として知られる。特にウルトラマンは、古谷の体形を前提としてデザインが確定した。from wiki.
"＜特別配信＞『ウルトラマン』第27話「怪獣殿下（後篇）」【ウルトラマンシリーズ60周年記念】 -公式配信-"
ゴミズは処刑ズ。
で。2026042808:12(日本時間)。
で。2026042817:31(日本時間)。
"【※非常事態】マスコミが報じない..東京湾沿岸で年齢不詳の身元不明な水〇体が次々と発見された恐ろしく不気味な未解決事件７選！【ゆっくり解説】"
『方丈記私記』
で。2026051019:12(日本時間)。
で。2026042612:41(日本時間)。
『緋色の研究-コナン・ドイル 2-35ページ』
で。2026042914:13(日本時間)。
で。2026043015:27(日本時間)。
で。2026050116:03(日本時間)。
で。2026050212:39(日本時間)。
『緋色の研究-コナン・ドイル 136-159ページ』
で。2026050315:40(日本時間)。
『緋色の研究-コナン・ドイル 160-175ページ』
で。2026050316:00(日本時間)。
『緋色の研究-コナン・ドイル 176-205ページ』
"from 地球(テラ)へ…"
『緋色の研究』
で、あのですね。
10月 29, 2018 水曜どうでしょう 欧州リベンジ / どうでしょう 原付西日本制覇
"ヨーロッパ・リベンジ 第1夜"
"ヨーロッパ・リベンジ 第2夜"
☟we are akdXXXVI。
"from アメリカ横断"
"原付西日本制覇 第五夜"
"原付西日本制覇 最終夜"
"続サイコロ3 最終夜"
敬王明示対象商倭。
でですね。
分りづらいが一目瞭然、ヒラリークリントンさんのご両親、で。
フーターズとはこういう雰囲気のお店で、クリントン大統領ご夫妻の娘さんユリアクリントンさん大泉洋さんとご夫婦。
で。
2020年7月3日現在、札幌市役所で問題になってる円山近辺の地熱の上昇は超時空要塞の始動なので大丈夫。
で、以前、ラッキーボウルでのスペースハリアー映像をどうぞ、とか、いいましたが、これ、回転必勝法は当然として、非常に、当時の、おれっぽいんですが。
で。
藤村さんでしょ。7月 29, 2018
"超時空要塞マクロス 第27話 愛は流れる"
"超時空要塞マクロス 第36話 やさしさサヨナラ"
超時空要塞マクロスの音楽は藤村忠寿飯島真理ご夫妻。
したがって羽田健太郎清水信之加藤和彦はゴミ処刑。(6月 12, 2019)
で。
そういえば、震災とは無関係だったとおもいますが、芥川龍之介さんの作品に浅草を舞台とした映画のシナリオプロットみたいなのがあったような。』
"芥川龍之介 生前の映像 昭和2年 (1927)"
"公衆作法 東京見物 (1926年)"
でですね、突然ですが。
大杉栄さん。
大杉栄さんの奥さん堀保子さん。
大杉栄さんを刺した神近市子さん。
大杉栄さんの恋人伊藤野枝さん。
あのですね、お写真それぞれの撮られた日付はわからないのですが、堀保子さんと伊藤野枝さんは同じ方では？
でですね、甘粕正彦さん。
もし、甘粕さんの奥さん甘粕ミネさんと神近市子さんが同じ方だとすれば。
これは政治的思想的謀略事件ではなく、単なる痴情のもつれだよワトソン君(これは、超冗談です・笑)。
甘粕さんはホームズファンでしょうか？ご長男忠男さんが生まれたのは1932年？
橘宗一さんがお生まれになったのは1917年？
"シャーロック・ホームズの冒険 第1話 ボヘミアの醜聞 (日本語吹き替え)"
フランツ・ヨーゼフ1世（ドイツ語: Franz Joseph I.[1]、1830年8月18日 - 1916年11月21日）は、オーストリア皇帝（在位：1848年 - 1916年[2]）。ハンガリー国王などを兼ねた。
全名はフランツ・ヨーゼフ・カール・フォン・ハプスブルク＝ロートリンゲン（ドイツ語: Franz Joseph Karl von Habsburg-Lothringen）。ハンガリー国王としてはフェレンツ・ヨージェフ1世（ハンガリー語: I. Ferenc József）、オーストリア帝国内のベーメン国王としてはフランティシェク・ヨゼフ1世（チェコ語: František Josef I.）である。
68年に及ぶ長い在位と、国民からの絶大な敬愛から、オーストリア帝国（オーストリア＝ハンガリー帝国）の「国父」とも称された。晩年は「不死鳥」とも呼ばれ、オーストリアの象徴的存在でもあった。皇后は美貌で知られるエリーザベトである。
【出典: フリー百科事典『ウィキペディア（Wikipedia）』】
エリーザベト・アマーリエ・オイゲーニエ・フォン・ヴィッテルスバッハ（ドイツ語: Elisabeth Amalie Eugenie von Wittelsbach、1837年12月24日 - 1898年9月10日）は、オーストリア＝ハンガリー帝国の皇帝（兼国王）フランツ・ヨーゼフ1世の皇后。「シシィ」（Sissi, Sissy, Sisi）の愛称で知られる。ドイツ語表記ではエリーザベトが正しいが、日本ではエリザベートとも表記されている。
【出典: フリー百科事典『ウィキペディア（Wikipedia）』】
オーストリア皇帝フランツ・ヨーゼフ1世とその妻の皇后エリーザベトの間の長女として生まれた。洗礼名は父方の祖母ゾフィー大公妃に因む。妹ギーゼラとともに母親のハンガリー訪問に同伴された際、妹ともども病気に罹って下痢と発熱に苦しんだ。ギーゼラは回復したものの、ゾフィーはそのまま亡くなった。死因は後年になって、その下痢と発熱が続いたという症状から、チフスだったと推測されている。
【出典: フリー百科事典『ウィキペディア（Wikipedia）』】
でですね。
☟we are akdLXXVII。
山階宮武彦王さんと奥さんの佐紀子さん。
武彦王さん。
佐紀子さん。
山階宮安子さん。
賀陽宮恒憲王さんと佐紀子さん。
賀陽宮恒憲王さんと奥さんの敏子さん。
賀陽宮邦壽王さん。
賀陽宮邦憲王妃好子さんと佐紀子さん。
※高島兄弟共血縁関係一切なし、ゴミ処刑、と思ってますよ。高島忠夫さんの話。２０１８０８２１。
"天皇・皇后と日清戦争"
"”国民”への道のり ~明治日本・農村の記録~"
de.
Speaking of which, Hotei-san, I really liked "(maybe) Tomorrow Never Knows" which was included in the Best of Phil Manzanera-san album that I borrowed from a library (maybe) near Narimasu. It was really cool.
Sō sō, I also like David Bowie-san's "Waterloo Sunset." That said, when I hear this song, the first thing that comes to mind is "The Adventures of Sherlock Holmes" (although he also covered My Death lol).
sateoki, as I mentioned earlier, about the two men kissing on the cover of Suede's first album...
Brett-san and Justine-san, right?
de, あのですね、高さは311津波の高さですか？とかありつつ、何かと細かいことはさておき(笑)。
"01 Suede - So Young (Remastered Official HD Video)"
"02 Suede - Animal Nitrate (Remastered Official HD Video)"
"03 Suede - She's Not Dead (Audio Only)"
"04 Suede - Moving (Audio Only)"
"05 Suede - Pantomime Horse (Audio Only)"
"06 Suede - My Insatiable One (Audio Only) (日本盤ボーナストラック)"
"07 Suede - The Drowners (Remastered Official HD Video)"
"08 Suede - Sleeping Pills (Audio Only)"
"09 Suede - Breakdown (Audio Only)"
"10 Suede - Metal Mickey (Remastered Official HD Video)"
"11 Suede - Animal Lover (Audio Only)"
"12 Suede - The Next Life (Audio Only)"
Suedeさんのファーストアルバム(1993年4月1日"日本盤？"発売 from 高画質CDジャケット画像.comさんのサイト) ジャケットのキスをする二人の男性、ブレッドさんとジャスティーンさんでしょうか(笑)？
Blurゴミ処刑。
※所で、すっかり俺の家の前だけブルルンと鳴らす平均80な本日のよゐこちゃんゴミ処刑囚ズだらけになって来た、てのは、やっぱり俺に感謝すべきでしょうな(笑)。2023062011:49(日本時間)。
そうだね、大掃除はみんなと皆で分かち合おうよ(死ねばそれでいい・笑)。2023062012:09(日本時間)。
で、そうそう、増井修さんだったか他の方だったか、1990年代前半、ロンドン空港の手荷物チェックの係のおばさんに"suedeの取材で日本から来た"と話すと"suedeは日本でも人気があるの!?"とルンルンになった、な、感じの文章が当時のロッキンオンにあったと思いますが、今となっては、なんでか、エリザベス女王さんのお顔が浮かぶのですが(笑)。2023062016:01(日本時間)。
"聖戦士ダンバイン 第41話 ヨーロッパ戦線"
この回をカセットに録音したテープがあったので。
"BBC TV Coronation of Queen Elizabeth II Westminster Abbey 1953 (William McKie)"
この回をカセットに録音したテープがあったので。
あれですもんね、"天皇陛下"として昭和天皇がロボットアニメに出るようなもんですもんね。
"BBC TV Coronation of Queen Elizabeth II Westminster Abbey 1953 (William McKie)"
で。2023062106:04(日本時間)。
撮り溜めしすぎて如何ともしがたい所もあるんだろうけど、嫌がらせスケジュールは当分火曜の朝(於日本)を軸にしたほうがいいぞ当然皆殺。
で。2023062108:23(日本時間)。
I've continued to this day with the mindset and level of playing skill that "I can play the songs I write (although in reality I rely on programmed music)."
”布袋寅泰 ミュージック・スクエア 930114 カバー特集/Hotei Tomoyasu Music Square 930114 Cover Feature”
え～と、誰だっけ？期待のニューカマだな、マークボランブライアンフェリーキンクス(蛆虫百万匹)ブラー(生ごみの火)ボブデュラン(吊)グレン的ロックゴミ処刑済。
de.
day 2.
(Now, let's turn on the radio.)
Before turning on the radio, I remember looking out the window of my hotel room at the parking lot and street below and wondering, "Is it going to rain?"
’Today, the semi-finals of the Fukushima High School Baseball Qualifiers, which were postponed due to yesterday's rain, will be held at Koriyama Stadium.’
(It must have rained quite a bit yesterday after all...
Hmm? 'Localized heavy rain is predicted in Fukushima again today.'
Well, since it's called localized heavy rain, let's hope we don't get caught in it.)
"Well, I guess I'll head out too."
で。2026010105:18(日本時間)。
Speaking of which, when I was watching an episode of Combat!, I saw a group of young German officers and thought, "Huh? Aren't they the guys from Ziggy Stardust and the Spiders from Mars?" At the same time, I thought, "Why can't any of the glam rock guys recognise what they look like without make-up!" (Marianne Faithfull-san was easy to recognise, lol).
"布袋寅泰 ミュージック・スクエア 900405 第1回目/Hotei Tomoyasu Music Square 900405 1st"
この番組の放送曲リストが載ってる『布袋寅泰が選ぶロック名盤ン百枚(当然寸評-たぶん口述☜これは当然ではない-付)！』な、感じのぴあ別冊本、原明のわかりやすい場所にボロボロの状態であると思うので持ってきた方がいいな。
マークボランブライアンフェリーイギーポップ中島みゆき(刺身)サザンオールスターズ(蒲鉾)ゴミ処刑済。
あ、今日の朝食用に蒲鉾と寒天切らなくちゃ。
俺はベスト盤でTomorrow Never Knows聴いただけですけど(この音源ではないかも)、時間が出来たら(笑)、ライブ全曲聴いてみたくなるアンサンブルですけど、ど、このメンツだとTomorrow Never Knowsが一番のポップ曲ですかね(笑)？
"17 Tomorrow Never Knows"
sateoki.
Hmm, but the proprietress at the izakaya yesterday... she told me in great detail about the supplies that will be needed at evacuation centers and temporary housing, but if I hadn't brought up the topic, she probably wouldn't have brought it up.
Honda-kun said that this two-day weekend is his first holiday in weeks...I guess everyone is just doing what they can individually to help with Fukushima's reconstruction, as a matter of course.)
"Oh, that's Honda-kun's car."
で。2025010207:31(日本時間)。
It's been 35 years since I first discovered the band Zig Zig Sputnik☜┏○ﾍﾟｺｯ sigue sigue sputnik, and now their long-awaited second single has finally been released today(gomen-na-sai)!
sateoki.
Based solely on my memory of trying to play the riff for ’Immigrant Song’ while looking at "Guitar Magazine," I once said something like, "Maybe the riff for ’My Sharona’ came to him after he tried to play the riff for ’Immigrant Song’ but couldn't get it to work."
sateoki.
Is the leader? of The Knack a relative of Pete Townshend-san? Listening to their music again, I feel like their guitar tone has something in common with The Who.
早速持ってまいりました『布袋寅泰のRadio Pleasure Box』。マークボランブライアンフェリーゴミ処刑済。
anodesune, The more I tried to play the riff for 'Immigrant Song,' the more it turned into 'My Sharona(a masterpiece)'. That's my memory.
de.
"But I feel bad for making you drive me both of your precious days off."
"What? Oh, don't worry about it. When I have a day off, I usually go for a long drive. It's a good way to relax... And you'd like to be in Koriyama by around 4pm, if possible, right?"
"If possible (it would save me money on transportation home)."
"In that case... Iwaki is a bit too far... It was obviously damaged by the tsunami, too. and, Yonezawa is in the opposite direction from Koriyama, so getting to Koriyama at 4pm would be a pretty tight schedule."
"Oh, I just mentioned the name of a place that came to mind without even knowing where it was (lol), so don't get hung up on it."
"Well, you know... west of Fukushima City there's a toll road called the Bandai-Azuma Skyline that's really famous for its autumn leaves... well, summer is still in full swing... but it's free right now. So we could go in a circle and go through that to Lake Inawashiro, and then get to Koriyama, and I think that would be just the right amount of time."
"Okay, let's go that way."
で。2026010305:12(日本時間)。
so-ieba.
"02 B-Blue (Live At Tokyo Dome 1988)"
"03 To The Highway (Live At Tokyo Dome 1988)"
"04 Baby Action (Live At Tokyo Dome 1988)"
"05 Bad Feeling (Live At Tokyo Dome 1988)"
"06 1994 - Label Of Complex- (From Last Gigs)"
"07 Dramatic Drastic! (Live At Tokyo Dome 1988)"
"08 Marionette (Live At Tokyo Dome 1988)"
"09 Wagamama Juliet (Live At Tokyo Dome 1988)"
"11 Cloudy Heart (Live At Tokyo Dome 1988)"
"12 Working Man (Live At Tokyo Dome 1988)"
"13 Plastic Bomb (Live At Tokyo Dome 1988)"
"14 Justy (Live At Tokyo Dome 1988)"
"15 Image Down (From Last Gigs)"
"16 Beat Sweet (Live At Tokyo Dome 1988)"
"17 No. New York (From Last Gigs)"
"18 Only You (Live At Tokyo Dome 1988)"
"19 Dreamin' (From Last Gigs)"
"20 On My Beat (From Last Gigs)"
"21 Blue Vacation (From Last Gigs)"
"22 Rendez-Vous (From Last Gigs)"
"23 Honky Tonky Crazy (From Last Gigs)"
"24 No. New York (Encore; From Last Gigs)"
"from BOØWY - LAST GIGS プロショット版 1988年4月5日 東京ドーム (ノーカット・ノー編集)"
In Honky Tonky, Hotei-san almost gets the chorus started in the wrong place, and Himuro-san makes eye contact with him, "That's not right!", causing him to blush and laugh, but the first time I had this footage was on a videotape that Honda-kun dubbed for me.
de, Whether or not the wish comes true is a separate issue, but the person is killed because they try to interfere with other people's legitimate wishes.
sateoki, I had wondered if Hotei-san's decision to avoid calling 'him' "the roots of punk rock" was intentional, but the way he introduced Frank Sinatra-san at the end convinced me that it was (lol).
"布袋寅泰 ミュージック・スクエア 900419 パンク・ムーブメント・シンガー特集/Hotei Tomoyasu Music Square 900419 Punk Movement Singer Special"
家族構成は何となく覚えてる忌野清志郎仲井戸麗市(日本国内焼却処分)イギーポップ川田龍平(ぶらんにゅーAIDS)同類項ゴミ処刑済。
アディダスじゃないよ。
de.
"But how did you feel when you first heard about the nuclear accident?"
"I couldn't think about it."
"Huh?"
"Well, all our lifelines were gone and we had nothing to eat. We were doing our best just to survive, so we didn't have the luxury of worrying about the nuclear accident. At least in my case, at least."
I think we were talking about the situation at the very beginning of the nuclear accident, but I think I heard details from Honda-kun at the time, such as whether the only way to get information was by radio (because the electricity was out), but I don't remember very well. ☜This is just an example I came up with now.
I think I heard Honda-kun say something along the lines of, "I first learned about the situation on the TV in my car's navigation system," or "we kept warm by using the car's heater," but naturally, in Fukushima City at the time, gasoline quickly became an extremely valuable commodity that was hard to come by, just like electricity.
I think I also heard about the "rumors" and the distribution of newspapers from him, but I don't remember much beyond what I've mentioned above.
I think I heard something along the lines of, "Of course I was worried about the nuclear accident, but the convenience store near my house was becoming a distribution point for relief supplies, and the reality that I had to make sure to receive food and water for my family there was my top priority at the time."
で。2026010404:47(日本時間)。
anodesune hotei-san, This is just my own personal opinion.
When I started making music, I didn't have any particular idea that "songs with a BPM of less than 200 aren't songs," but all of my songs were over 200 BPM and around 2 minutes long.
渋谷陽一への追悼文
2025年7月24日 00:11
いいなと思ったら応援しよう！
誰にその質問をされたかで変わる可能性はありますが(これも対象者別の、か笑？)、木が左上なら平凡にバランスを考え俺は原っぱの右下よりに巻くのは描けないと思うのでにょろにょろと右を向いた蛇を描くでしょう(で、ds分かります？)。
ブラーブラーゴミ処刑済。
so-so- hotei-san, I saw a live performance by Paul Weller-san (who likes catchy songs) that featured only modest songs (this is my personal opinion), and he said to me something along the lines of, "These kinds of songs are what's really important, and you should never forget that."
sateoki, So I started making these pointlessly fast songs, but the tempo slowed down a bit, and soon I started making songs that were over 10 minutes long each.
After that, I quickly settled on songs around 170 BPM and around 4 minutes long.
de, Naturally(lol), I had already read "The Evolution of Rock Music" by Shibuya Yoichi-san, so I thought to myself, "I've traced the evolution of rock music myself in a very short period of time, lol."
de.
noise
"01 OVERGROUND"
"02 NOISEⅠ"
"03 NOISEⅡ"
"04 NOISEⅢ"
"05 FIRST CONTACT"
"02 NOISEⅠ"
"03 NOISEⅡ"
"04 NOISEⅢ"
"05 FIRST CONTACT"
I also made things like this.
The total time spent composing the originals for NOISE I to III was less than one minute, and I feel like it took less than an hour including sound editing.
sateoki.
"布袋寅泰 ミュージック・スクエア 900426 ミラクルポップ (再掲)/Hotei Tomoyasu Music Square 900426 Miracle Pop (Reprint)"
何か出てきた気もするけど、ニューかまはなかったのでいいだろう。
で、仙台はどこだ？
de.
It wasn't in this location, but I think it was a conversation that took place while driving around the area.
"A peach farm..."
"Oh, you didn't know? Fukushima is a famous peach-producing region."
"Wow, there are a ton of peaches growing there. Of course peach farmers grow peaches..."
"They're in season right now. Fukushima peaches are delicious. Well, they're delicious, but..."
At the time, I seem to recall there being a lot of talk about how radiation accumulates in all agricultural crops, not just peaches. - This is just my vague recollection, but if that is scientific truth, then the same thing would naturally happen in the same situation.
If I had had the money(lol) at the time, I'm sure there's a very good chance I would have bought and eaten the peaches. It wouldn't have been hypocritical or a sign of friendship, I would have simply eaten them because I wanted to eat peaches. However, I probably wouldn't have bought them as a souvenir for my friend who lives in Tokyo.
Well, this is true in most residential areas outside of cities in Japan(lol), but after this I continued to see scenes of Fukushima as being blessed with fertile soil perfect for farming. Yes, at this time, crops were being grown in Fukushima. There were people growing crops. I wonder what happened to those crops.
で。2026010504:31(日本時間)。
あのですね、『ジミヘンドリクス最後の24時間』で、オーヴァードーズか酒の飲みすぎで喉にゲロ詰まらせたんだったか、はたまた別のか、合わせ技か、で、人事不省に陥ったジミヘンさんを最初に発見し、「地味！」「地味！！」と山頂のロックスターには致命的な一言をスタッカート気味に連呼し続けたジミヘンさん(おばあさんは日本人なんですよね？)の恋人の白人女性の方が俺にはカーペンターさんに見えたのですが。
de.
Come to think of it, I think there is a meaning to the Yamaoka family's wasteful use of electricity not long after the earthquake (other than for emotional education), but now that I think about it, I don't think we generally heard of rice shortages at that time.
de.
"Wow, there are no cars on the road at all. It's almost funny."
"This place is famous for its autumn leaves, right? today is a weekday outside of tourist season, so that's to be expected, isn't it?"
"That's true, but... this Skyline is a pretty famous tourist spot in itself, and what's more, this road is toll-free right now. And yet, I haven't encountered any oncoming traffic so far, and there aren't any cars in my rearview mirror. It's just funny."
"I wonder if many people don't know that this road is now toll-free?"
"I'm not sure if people outside the prefecture are aware of this, though..."
I don't remember the details of our conversation, but I was certainly being considerate to the people of Fukushima when I spoke to Honda-kun (I wasn't just saying things I didn't actually mean).
I think I said something along the lines of, "Maybe people outside Fukushima Prefecture aren't aware that this Skyline is currently free to use?"
That's right! Just as Honda-kun knew the fact, at least many people within Fukushima Prefecture were aware of it.
Why was there no other car on that road at that time, to the point that it made we laugh?
Was it because it was a weekday out of season(lol)? - Even though I'm writing this, it's not like there were no other cars on the entire Skyline route.
so-so-, I'll write about this later, but what made the biggest impression on me on this second day's journey was (a) police car (about the point where we reached the bottom of the Skyline towards Inawashiro).
Now that I think about it, the most memorable comment I heard on my drive today was my mother, who was in the passenger seat, saying, "Oh? That road is closed."(lol) - The road was blocked off by a security guard.
で、そういえばですね、どこだったか？
俺は東京の有名なデートスポット、表参道のお洒落なお店、六本木ヒルズ、渋谷のタワマンなどとか、建設前、改装中にはけっこうお邪魔してます。営業中はご縁がありませんでした。表口を知らないってやつですね。
で。2025010603:22(日本時間)。
"布袋寅泰 ミュージック・スクエア 9053 ライブ特集/Hotei Tomoyasu Music Square 9053 Live Special"Marvin Gaye And A Long-Lasting Family Issues That Killed Him Final 24 Hours 2023/10/09 17:44
目標処刑人数30億人。
.png)
.png)
.png)
.png)
.png)
.png)
.png)
.png)
で。2023101107:42(日本時間)。
"Marvin Gaye - LIVE The Midnight Special 1974"
"Blondie - Full Concert - 070779 (Early Show) - Convention Hall (OFFICIAL)"
"01 What's Going On"
"02 What's Happening Brother"
"03 Flyin' High (In The Friendly Sky)"
"04 Save The Children"
"05 God Is Love"
"06 Mercy Mercy Me (The Ecology)"
"07 Right On"
"08 Wholy Holy"
"09 Inner City Blues (Make Me Wanna Holler)"
◆『ホワッツ・ゴーイン・オン』（What's Going on）とは、マーヴィン・ゲイが1971年に発表したスタジオ・アルバム。1971年発売時の日本版タイトルは『愛のゆくえ』。
背景
ゲイは当時、ベトナム戦争から帰還した弟から戦場の様子を聞き、反戦曲「ホワッツ・ゴーイン・オン」をモータウンの専属作家のアル・クリーヴランド、フォー・トップスのメンバーのレナルド・ベンソンらと共に書き上げた。モータウンの社長ベリー・ゴーディは当初この曲を気に入らず、シングルとしてリリースすることに難色を示したが、ゲイはそれに対して、リリースしなければ残りの曲のレコーディングもしないと反論した。そして、最終的には1971年1月20日、アルバムに先駆けてシングルとして発表され（B面は「ゴッド・イズ・ラヴ」）、Billboard Hot 100で2位、R&Bチャートでは1位を記録。この曲のヒットを受けて、ゴーディは残りの曲のレコーディングを指示し、5月にアルバムが完成した。
2曲目の「ホワッツ・ハプニング・ブラザー」は、タイトル曲に引き続き弟に捧げられた反戦歌で、更にアルバムを通じて貧困、警察の横暴、ドラッグ問題、児童遺棄、都市の退廃、秩序不安といったアメリカの社会問題について言及されている。タイトル・ナンバーのメロディが随所で再登場する構成も相まって、コンセプト・アルバムと呼べる内容である。また、ゲイは自分の表現を妥協せずに貫くべく、モータウンのアーティストとしては異例のセルフ・プロデュースに挑み、同時期にセルフ・プロデュースの路線にシフトしたスティーヴィー・ワンダーにも影響を与えている。
反響・評価
セールス的にはポップ・アルバム・チャート6位、R&Bアルバム・チャートでは9週連続1位という成功を収めた。また、ゲイが射殺された1984年にも再度アルバム・チャート入りし、154位を記録している。イギリスではリリース当時はヒットしなかったが、1998年に11週全英アルバムチャート入りを果たし、最高56位を記録した。
アメリカ議会図書館は、2003年度の国立録音資料登録の一つとして本作を選出した。
タイトル曲は『ローリング・ストーン(Rolling Stone)』誌の「ローリング・ストーンの選ぶオールタイム・グレイテスト・ソング500」では4位、アルバムは『ローリング・ストーンの選ぶオールタイム・ベストアルバム500』（2020年版：大規模なアンケートによる選出)では１位にランクされている。また、2013年に『エンターテインメント・ウィークリー』誌が選出した『史上最も偉大なアルバム100』では13位となった。
ジョン・ブッシュはオールミュージックにおいて本作に5点満点を付け「マーヴィン・ゲイの傑作というだけでなく、ソウルミュージックの中でも最も重要かつ激しいレコード」「シングルが支配的だったモータウンから登場した、圧倒的に優れたフル・レングス作品であり、ほぼ間違いなく至上最高のソウル・アルバム」と評している。
収録曲
Side 1
1. ホワッツ・ゴーイン・オン（1971年発売時の邦題：愛のゆくえ） - What's Going on （Al Cleveland, Marvin Gaye, Renaldo Benson）
2. ホワッツ・ハプニング・ブラザー（1971年発売時の邦題：友に何が起きるのか） - What's Happening Brother （M. Gaye, James Nyx）
3. フライン・ハイ - Flyin' High (In the Friendly Sky) （M. Gaye, Anna Gaye, Elgie Stover）
4. セイヴ・ザ・チルドレン（1971年発売時の邦題：御子に救いを） - Save the Children （A. Cleveland, M. Gaye, Renaldo Benson）
5. ゴッド・イズ・ラヴ（1971年発売時の邦題：神の御前に） - God is Love （M. Gaye, A. Gaye, E. Stover, J. Nyx）
6. マーシー・マーシー・ミー - Mercy Mercy Me (The Ecology) （M. Gaye）
Side 2
1. ライト・オン - Right on （Earl DeRouen, M. Gaye）
2. ホーリー・ホーリー（1971年発売時の邦題：全知全能の神よ） - Wholy Holy （R. Benson, A. Cleveland, M. Gaye）
3. イナー・シティ・ブルース（1971年発売時の邦題：無への叫び） - Inner City Blues (Make Me Wanna Holler) （M. Gaye, J. Nyx）
カバー
ダーティー・ダズン・ブラス・バンドは2006年、本作の全内容をカバーしたアルバム『ホワッツ・ゴーイング・オン』を発表した。また、アルバム収録曲に関しても様々なカバーが存在する。
・ホワッツ・ゴーイン・オン
・上記項目を参照。
・セイヴ・ザ・チルドレン
・ダイアナ・ロス - アルバム『タッチ・ミー・イン・ザ・モーニング』（1973年）に収録。
・マーシー・マーシー・ミー
・ジェシ・コリン・ヤング - アルバム『オン・ザ・ロード』（1976年）に収録。
・ロバート・パーマー - アルバム『ドント・エクスプレイン』（1990年）に収録。
・マイケル・マクドナルド - アルバム『モータウン2』（2004年）に収録。
・ボーイズIIメン - アルバム『モータウン〜ヒッツヴィルUSA』（2007年）に収録。
・ホーリー・ホーリー
・アレサ・フランクリン - ライブで歌唱。ゴスペル・ライブを収録したアルバム『至上の愛〜チャーチ・コンサート』（1972年）に収録。
・ジョン・レジェンド&ザ・ルーツ - アルバム『ウェイク・アップ!』（2010年）に収録。
・イナー・シティ・ブルース
・リー・リトナー - アルバム『ツイスト・オブ・モータウン』（2003年）に収録。
from wiki.
"01 Let's Get It On"
"02 Please Stay (Once You Go Away)"
"03 If I Should Die Tonight"
"04 Keep Gettin' It On"
"05 Come Get To This"
"06 Distant Lover"
"07 You Sure Love To Ball"
"08 Just To Keep You Satisfied"
◆Let's Get It On is the thirteenth studio album by American soul singer, songwriter, and producer Marvin Gaye. It was released on August 28, 1973, by the Motown subsidiary label Tamla Records on LP.
Recording sessions for the album took place during June 1970 to July 1973 at Hitsville U.S.A. and Golden World Studio in Detroit, and at Hitsville West in Los Angeles. Serving as Gaye's first venture into the funk genre, Let's Get It On also incorporates smooth soul and doo-wop styles alongside sexually suggestive lyrics, leading to one writer's description of it as "one of the most sexually charged albums ever recorded". Gaye infused ideas of spiritual healing in songs about sex and romance, in part as a way of coping with childhood abuses from his father Marvin Gay Sr., which had stunted his sexuality.
Following the breakthrough success of his socially conscious album What's Going On (1971), Let's Get It On helped establish Gaye as a sex icon and broadened his mainstream appeal. It produced three singles—the title track, "Come Get to This", and "You Sure Love to Ball"—that achieved Billboard chart success. Let's Get It On became the most commercially successful album of Gaye's career at Motown, resulting in more creative control being given to him by the label. Its erotic balladry, multi-tracking of Gaye's vocals, and seductive funk sound also influenced later R&B recording artists and producers, with the title track specifically helping pioneer the slow jam and quiet storm formats.
In retrospect, Let's Get It On has been regarded by writers and music critics as a landmark recording in soul. It increased the popularity of funk during the 1970s, while Gaye's smooth-soul sound marked a change from his record label's previous success with the "Motown Sound" formula. Among the most acclaimed LPs in history, it frequently appears on professional rankings of the greatest albums and has been inducted into the Grammy Hall of Fame as a historically important recording. In 2001, it was reissued by Motown as a two-CD deluxe edition release. In 2023, the album was reissued with added material for its 50th anniversary.
Background
In the spring of 1972, Marvin Gaye was suffering from writer's block. Following the release of his most commercially successful album up to that point, What's Going On (1971), and the soundtrack album to the blaxploitation film Trouble Man (1972), Gaye had struggled to come up with new material after Motown Records had renegotiated a new contract with him. The contract provided him with more creative control over his recordings. The deal was worth $1 million, making him the highest-earning soul artist, as well as the highest-earning black artist, at the time. He was also struggling with deciding whether or not to relocate to Los Angeles, following Motown-CEO Berry Gordy's move of the record label and replacement of the Detroit-based Hitsville U.S.A. (Motown Studio A) recording studio with the Hitsville West studio in Los Angeles. Amid relocation and his lack of material, Gaye was struggling with his conscience, as well as dealing with expectations from his wife, Gordy's sister Anna. Gaye's separation from Gordy pressured him emotionally. During this time, he had also been attempting to cope with past issues that had stemmed from his childhood.
His view of sex was unsettled, tormented, riddled with pain.
— David Ritz, Gaye's biographer
During his childhood, Gaye had been physically abused by his preacher father Marvin Gay, Sr., who disciplined his son under extremely moralistic and fundamentalist Christian teachings. As a result, the meaning and practice of sex had later become a disturbing question for Gaye. As an adult, he suffered from impotence and became plagued by sadomasochistic fantasies, which haunted him in his dreams and provoked intense feelings of guilt. Gaye learned to cope with his personal issues with a newly found spirituality. He began incorporating his new outlook into his music, as initially expressed through the socially conscious album What's Going On, along with promotional photos of him wearing a kufi in honor of African traditional religions and his faith.
By winning over record executives with the success of What's Going On, Gaye attained more creative control, which he would use, following his brief separation from wife Anna Gordy, to record an album that was meant to explore themes beyond sex. As with What's Going On, Gaye wanted to have a deeper meaning than the general theme that was used to portray it; in the case of the former album, politics, and with its follow-up effort, love and romance, which would be used by Gaye as a metaphor for God's love. In his book Divided Soul: The Life of Marvin Gaye, Gaye biographer David Ritz wrote of the singer's inspiration behind Let's Get It On:
If the most profound soul songs are prayers in secular dress, Marvin's prayer is to reconcile the ecstasy of his early religious epiphany with a sexual epiphany. The hope for such a reconciliation, the search for sexual healing, is what drives his art ... The paradox is this: The sexiest of Marvin Gaye's work is also his most spiritual. That's the paradox of Marvin himself. In his struggle to wed body and soul, in his exploration of sexual passion, he expresses the most human of hungers—the hunger for God. In those songs of loss and lament—the sense of separation is heartbreaking. On one level, the separation is between man and woman. On a deeper level, the separation is between man and God.
In the album's liner notes, Gaye explained his views on the themes of sex and love, stating "I can't see anything wrong with sex between consenting anybodies. I think we make far too much of it. After all, one's genitals are just one important part of the magnificent human body ... I contend that SEX IS SEX and LOVE IS LOVE. When combined, they work well together, if two people are of about the same mind. But they are really two discrete needs and should be treated as such. Time and space will not permit me to expound further, especially in the area of the psyche. I don't believe in overly moralistic philosophies. Have your sex, it can be exciting, if you're lucky. I hope the music that I present here makes you lucky."
Recording
Gaye proceeded to record some more politically conscious material at the Golden World Records studio, known as Motown's Studio B, as well as the preliminary vocals and instrumentation for some of the material to be featured on Let's Get It On. Following the earlier sessions in Detroit at Golden World, Gaye recorded at Hitsville West in Los Angeles from February to July 1973. Accompanied by an experienced group of session musicians called The Funk Brothers, who had contributed to Gaye's What's Going On, and received their first official credit, Gaye recorded the unreleased songs "The World is Rated X" and "Where Are We Going" and the single "You're the Man" (1972) at Golden World. "Where Are We Going" was later covered by trumpeter Donald Byrd. Gaye had planned the release of an album titled You're the Man, but it was later shelved for unknown reasons. The songs that were to be included on it, along with other unreleased recordings from Hitsville West and Golden World, were later featured on the 2001 re-release of Let's Get It On.
The album's first recording, "Let's Get It On", was composed by Gaye with friend and former Motown label mate Ed Townsend. It was originally written by Gaye as a religious ode to life, but Motown singer-songwriter Kenneth Stover re-wrote it as a more political first draft. Upon hearing Gaye's preliminary mix of Stover's draft, Townsend protested and claimed that the song would be better suited with sexual and romantic overtones, particularly "about making sweet love." Gaye and Townsend rewrote the song's lyrics together with the original arrangements and musical accompaniment of the demo intact. The lyrics were inspired by Janis Hunter, whom Gaye had become infatuated with after meeting each other through Ed Townsend during the initial sessions. Townsend has cited Hunter's presence during the album's recording as an inspiration for Gaye. Gaye's intimate relationship with Hunter subsequently became the basis for his 1976 album I Want You. While recording the title track, he was inspired to revive unfinished recordings from his 1970 sessions at the Hitsville U.S.A. Studio.
Townsend assisted Gaye with producing the rest of the album, whose recording took place at several sessions throughout 1970 to 1973. They worked on four songs together, including the ballad "If I Should Die Tonight", while Gaye composed most of the other songs, including those from past sessions. "Just to Keep You Satisfied" was originally recorded by several Motown groups, including The Originals and The Monitors, as a song dedicated to long-standing love. With re-recording the song, he had re-written the arrangement and lyrics to address the demise of his volatile marriage to Anna Gordy Gaye, who happened to be the original song's co-writer. The background vocals for the album were sung by Gaye, with the exception of "Just to Keep You Satisfied", which were done by The Originals. Most of the instrumentation for the album was done by members of The Funk Brothers, including bassist James Jamerson, guitarists Robert White and Eddie Willis, and percussionist Eddie "Bongo" Brown. Gaye also contributed on piano during the sessions.
Music and lyrics
"Let's Get It On" features soulful, passionate lead vocals and multi-tracked background singing, both by Gaye. It has a 1950s-styled melody and begins with three wah-wah guitar notes and centers on simple chord changes, while its arrangements are centered on an eccentric rhythm pattern. Its signature guitar line is played by session musician Don Peake. Music journalist Jon Landau dubs the song "a classic Motown single, endlessly repeatable and always enjoyable". The song is reprised on the fourth track, "Keep Gettin' It On". It expands on the title track's sensual theme with political overtones: "won't you rather make love, children / as opposed to war, like you know you should."
The third track, the ballad "If I Should Die Tonight" originally appeared on the vinyl LP in a shortened version lasting only 3:03. For the 1986 'twofer' (with "What's Going On") CD reissue of the album, Motown recording engineers for the first time restored the missing verse which had been omitted from the LP. The full length track, which has been used for all subsequent releases, runs to 4 full minutes.
"Distant Lover" has Gaye crooning over serene instrumentation, leading to soulful screams near the end; from a heartbroken croon to an impassioned wail. The song's lyrics chronicled the yearning its narrator feels for a lover who is "so many miles away", as he pleads for her return and laments the emptiness he feels without her. Music writer Donarld A. Guarisco later wrote of the song's sound, in that "Marvin Gaye's studio recording enhances the dreamy style of the song with stately horn and strings, tumbling drum fills that gently nudge the song along, and mellow, doo wop-styled background vocals that echo "love her, you love her" under his romantic pleas. The song later became a concert favorite for Gaye and a live concert version, featuring female fans screaming in the background, was released as a single from his Marvin Gaye Live! album in 1974.
"You Sure Love to Ball" is one of Gaye's most sexually overt and controversial singles, with its intro and outro featuring moaning sounds made by a man and woman engaged in sex. The sexually-explicit and risqué nature of the album's content were, at the time, controversial, and the recording of such an album was deemed as a commercial risk by Motown A&R's (Artists and Repertoire) and label executives.
Marketing and sales
Released on August 28, 1973, Let's Get It On surpassed Gaye's previous studio effort, What's Going On, as the best-selling record of his tenure with Motown. The album peaked at number two on the US Billboard Top LPs chart, behind The Rolling Stones's Goats Head Soup (1973), while it also managed to reach number one in Cash Box for one week, as well as two weeks at the top of Record World's music charts. Let's Get It On charted for 61 weeks on the Billboard charts, and remained at the top of the Billboard Soul Albums for 11 weeks, becoming the best-selling soul album of 1973.
Two of the album's singles reached the top 40 of the Billboard Hot 100, including "Let's Get It On", which became Gaye's second number-one US single, and the top-30 hit "Come Get to This", which peaked at number 23 on the chart. The album's third single, "You Sure Love to Ball", charted at number 50 on the Hot 100 and at number 13 on the Soul Singles chart.
Along with the album's music and sexual content, Let's Get It On's commercial success and promotion helped establish Marvin Gaye as a sex icon, while helping further expand his artistic control during his tenure at Motown. This commercial success also led to a much publicized tour for Gaye to promote Let's Get It On and expand on his repertoire as a live performer. Successful concert performances of the album's material helped Gaye gain an increasing popularity and fan base in the pop market, while earning him a reputation as one of the top live performers of the time. His performance at the Oakland Coliseum during the 1973-1974 tour was released on the 1974 LP Live!, which would serve as Gaye's only release during his sabbatical period in the mid-1970s.
Critical reception
Let's Get It On received positive reviews from music critics. Billboard called it "fine in terms of vocal attack and material [...] touches on the excellent in terms of instrumental support", while citing the title track and "Distant Lover" as the album's best recordings. Jon Landau of Rolling Stone found Gaye's performance on-par with that of What's Going On and wrote that "he continues to transmit that same degree of intensity, sending out near cosmic overtones while eloquently phrasing the sometimes simplistic lyrics". Although he viewed that it "lacks that album's series of highpoints", Landau commented that "it ebbs and flows, occasionally threatening to spend itself on an insufficiency of ideas, but always retrieved, just in time, by Gaye's performance. From first note to last, he keeps pushing and shoving, and if he sometimes takes one step back for every two ahead, he gets there just the same — and with style and spirit to spare". In Creem magazine, Robert Christgau called the record "post-Al Green What's Going On, which means it's about fucking rather than the human condition, thank the wholly holey".
Since its initial reception, Let's Get It On has been viewed by writers as a milestone in soul music. In The Best Rock 'n' Roll Records of All Time, Jimmy Guterman writes that the album was "a bit more conventional musically (soul crossing into mild funk) and much more focused lyrically than its predecessor, What's Going On". Chicago Tribune writer Greg Kot commended Gaye for using "the multi-tracked vocals perfected on 'What's Going On', this time to convey his most intimate desires", commenting that "while the album is replete with erotic imagery, both implied and explicit, it is also as much preoccupied with distance and unfulfilled need". Jason Ankeny of Allmusic called it "a record unparalleled in its sheer sensuality and carnal energy", writing that "Gaye's passions reach their boiling point [...] With each performance laced with innuendo, each lyric a come-on, and each rhythm throbbing with lust, perhaps no other record has ever achieved the kind of sheer erotic force of Let's Get It On". Ankeny also dubbed it "one of the most sexually charged albums ever recorded." Allmusic's Lindsay Planer cites it as a "hedonistic R&B masterpiece." BBC Music's Daryl Easlea found Gaye "in supreme command of his material", and viewed it as "much more than an album about simple lust", but an "iconic, rapturous work".
Accolades
Much like What's Going On, Let's Get It On has been included in numerous professional lists of the best albums. It was ranked number 58 on The Times's 1993 publication of the 100 Best Albums of All Time. Blender magazine ranked the album number 15 on its list of the 100 Greatest American Albums of All Time. In 2003, it was ranked number 165 on Rolling Stone's 500 Greatest Albums of All Time publication; the 2020 edition of the list ranked it 422nd. Also in 2003, Let's Get It On was reissued by Universal Music; the re-release was later given a silver certification by the British Phonographic Industry. In 2004, Let's Get It On was inducted into the Grammy Hall of Fame and cited by The Recording Academy as a recording of "historical significance". Based on such listings, the aggregate website Acclaimed Music ranks it as the 215th most critically acclaimed album in history, as well as the 70th most from the 1970s and the eighth most from 1973.
[...]
Legacy and influence
Because of the album and its singles' initial sales and response, Let's Get It On marked a change and transition in sound and production for Motown, which had previously enjoyed success with its trademark "Motown Sound". The label's well-known sound, however, was beginning to fade in popularity among the majority of R&B and soul listeners, while experiencing commercial pressure from contemporary styles that incorporated more diverse elements, such as Philly soul and funk. The Motown sound was typified by characteristics such as the use of tambourines to accent the back beat, prominent and often melodic electric bass guitar lines, distinctive melodic and chord structures, and a call and response singing style that originated in gospel music. In addition, pop production techniques were simpler than that of Gaye's 1970s concept albums. Complex arrangements and elaborate, melismatic vocal riffs were avoided by Motown musicians. Following his breakthrough with What's Going On, an "experiment in collating a pseudo-classical suite of free-flowing songs", Gaye used his artistic control to modify the sound and incorporate funky instrumentation, melismatic vocalization, and heavy vocal multi-tracking, in much contrast to the established production style at the label. In contrast to Motown's previously successful process of emphasizing an artist's single releases rather than their album, Gaye and fellow producer Ed Townsend followed a similar formula previously used on What's Going On, in which the album's songs flow together in a suite-form arrangement, opposing label CEO Berry Gordy's strong emphasis on hit single success.
Gaye's change of musical style and production with the album made an immediate impact on the subsequently successful Motown artists, including Lionel Richie and Rick James. The album's vocal multi-tracking and instrumentation also influenced the development of contemporary R&B and slow jams. Allmusic calls the album "the blueprint for all of the slow jams to follow decades later — much copied, but never imitated." Renown engineer Russell Elevado's work in the neo soul genre, including his production for D'Angelo's Voodoo (2000) and Erykah Badu's Mama's Gun (2000), has been influenced by Gaye's and Townsend's production techniques and sound.
The album's sexual content pushed creative barriers in the recording industry and led to an increased popularity of sexual themes in contemporary music. Music writer Rob Bowman later cited Let's Get It On as "one of the most erotic recordings known to mankind." The album's success helped spark a series of similarly styled releases by such smooth soul artists as Barry White (Can't Get Enough), Smokey Robinson (A Quiet Storm) and Earth, Wind & Fire (That's the Way of the World). The commercial success of such artists led to a change of trend from socially conscious aesthetics to more mainstream, sensually themed music. Gaye achieved further success with I Want You (1976), featuring more sexually explicit lyrics and expanded use of vocal multi-tracking, and with Here, My Dear (1978), which he based entirely on his tumultuous marriage to Anna Gordy. In an interview with music author Michael Eric Dyson, hip hop artist Q-Tip discussed the album's influence and significance to its time period, stating:
Although there was a 'conscious' revolution, there was also a great sexual revolution ... I think Let's Get It On was Marvin wanting to make commentary on what was happening. I think there was a big 'love-in' that was going on. And with him quoting T.S. Elliot [in his liner notes, that life amounts to "Birth, copulation and death"], and the young lady moaning [on the album], we hadn't heard that before. That was another first, as well as him capturing erotica like that, and weaving it into the music the way he did; it was mind blowing. I think it was a natural progression, because we were having a revolution with our minds, and then with our bodies at that time.
Following the success of Sly and the Family Stone's There's a Riot Goin' On (1971) and James Brown's late 1960s and early 1970s singles, Gaye's Let's Get It On gave greater mainstream exposure to funk and broadened its influence on the music industry. Many later R&B musicians, such as Prince, D'Angelo, and R. Kelly, were greatly influenced by its vintage sound and seductive themes, incorporating much of Gaye's musical style into their music.
Track listing
Original release
Side one
No./Title/Writer(s)/Length
1. "Let's Get It On" Marvin Gaye, Ed Townsend 4:44
2. "Please Stay (Once You Go Away)" Gaye, Townsend 3:32
3. "If I Should Die Tonight" Gaye, Townsend 3:57
4. "Keep Gettin' It On" Gaye, Townsend 3:12
Side two
No./Title/Writer(s)/Length
1. "Come Get to This" Gaye 2:40
2. "Distant Lover" Gaye, Gwen Gordy, Sandra Greene 4:15
3. "You Sure Love to Ball" Gaye 4:43
4. "Just to Keep You Satisfied" Gaye, Anna Gordy Gaye, Elgie Stover 4:35
2002 remaster bonus tracks
No./Title/Writer(s)/Length
9. "Let's Get It On (Single Edit)" 4:04
10. "You Sure Love To Ball (Single Mix)" 3:35
2001 deluxe edition
On September 18, 2001, Let's Get It On was reissued by Motown as a two-disc deluxe edition release, featuring 24-bit digital remastering of the original album's recordings, previously unissued material and a 24-page booklet which contains the original LP liner notes by Marvin Gaye, as well as essays from Gaye biographers David Ritz and Ben Edmonds.
Original album & sessions (Disc one)
No./Title/Writer(s)/Length
1. "Let's Get It On" Gaye, Townsend 4:51
2. "Please Stay (Once You Go Away)" Gaye, Townsend 3:27
3. "If I Should Die Tonight" Gaye, Townsend 4:01
4. "Keep Getting' It On" Gaye, Townsend 3:13
5. "Come Get to This" Gaye 2:41
6. "Distant Lover" Gaye, G. Gordy, Greene 4:17
7. "You Sure Love to Ball" Gaye 4:46
8. "Just to Keep You Satisfied" Gaye, Gordy-Gaye, Stover 4:27
9. "Song #3" (instrumental) Van dePitte, Gaye 5:28
10. "My Love Is Growing" Gaye 4:20
11. "Cakes" Van dePitte, Gaye 3:14
12. "Symphony" (undubbed version) Gaye, Robinson 2:51
13. "I'd Give My Life for You" (alternate mix) Gaye 3:29
14. "I Love You Secretly" (The Miracles version) Gaye, Gordy-Gaye, E. Stover 4:18
15. "You're the Man" (alternate version 1) K. Stover, Gaye 7:24
16. "You're the Man" (alternate version 2) K. Stover, Gaye 4:44
17. "Symphony" (demo vocal) Gaye, Robinson 2:48
Demos, alternate mixes & more (Disc two)
No./Title/Writer(s)/Length
1. "Let's Get It On" (demo) Gaye, Townsend 5:12
2. "Let's Get It On, Pt. 2" (a.k.a. "Keep Gettin' It On") Gaye, Townsend 3:13
3. "Please Stay (Once You Go Away)" (alternate mix) Gaye, Townsend 3:52
4. "If I Should Die Tonight" (demo) Gaye, Townsend 4:13
5. "Come Get to This" (alternate mix) Gaye 3:07
6. "Distant Lover" (alternate mix) G. Fuqua, Gaye, Greene 4:32
7. "You Sure Love to Ball" (alternate mix w/alternate vocal) Gaye 5:06
8. "Just to Keep You Satisfied" (a capella w/alternate vocal) Gaye, Gordy-Gaye, Stover 4:38
9. "Just to Keep You Satisfied" (The Originals 1970 version) Gaye, Gordy-Gaye, Stover 4:00
10. "Just to Keep You Satisfied" (The Monitors 1968 version) Gaye, Gordy-Gaye, Stover 3:10
11. "Where Are We Going?" (alternate mix) Gordon, Mizell 3:56
12. "The World Is Rated X" (alternate mix) Bolton, Bolton, Gordy, McLeod 3:52
13. "I'm Gonna Give You Respect" Hutch 2:56
14. "Try It, You'll Like It" Hutch, Wakefield 3:57
15. "You Are That Special One" Hutch 3:38
16. "We Can Make It Baby" Hutch 3:22
17. "Running from Love" (instrumental version 1) Bohannon, Gaye, Henderson 3:47
18. "Mandota" Bohannon, Gaye 3:26
19. "Running from Love" (instrumental version 2) Bohannon, Gaye, Henderson 3:54
20. "Come Get to This" (live from Oakland) Gaye 3:00
Personnel
・Orchestral arrangement, Conducting: David Van De Pitte (tracks: 5, 6, 8), Gene Page (track: 5), René Hall (tracks: 1 to 4), David Blumberg (track: 7)
・Bass: James Jamerson, Wilton Felder
・Bongos: Bobbye Hall Porter
・Bongos, Drums: Eddie "Bongo" Brown
・Drums: Paul Humphrey, Uriel Jones
・Engineer: William McKeekin, Art Stewart, Steve Smith, Lawrence Miles, Cal Harris
・Guitar: David T. Walker, Eddie Willis, Louis Shelton, Melvin Ragin, Robert White, Don Peake
・Mallet percussion: Emil Richards
・Percussion (Special treatment): Bobbye Hall Porter
・Saxophone: Ernie Watts, Plas Johnson
・Piano: Joe Sample, Marvin Gaye, Marvin Jerkins
・Photography: Jim Britt, Motown Archives
・Production, lead vocals, background vocals: Marvin Gaye, except where noted:
・Background vocals: The Originals ("Just to Keep You Satisfied")
・Co-production: Ed Townsend (tracks: 1 to 4)
・Vibraphone: Emil Richards, Victor Feldman
from wuki.
で、最近リニューアルされたそうですが、墨田区京島の曳舟文化センター(たぶん・笑)のだだっ広いリハーサルスタジオ(バンド用という訳ではないので)限定で、俺も徘徊奏法を確立してましたそう言えば(笑)。2023101107:40(日本時間)。
202,422 回視聴 2013/11/06 from Bell Boydさんのyoutubeチャンネル。
8 年前
Miles Davis - trumpet
Gary Bartz - saxes
Dave Holland - bass
Chic Corea - keyboard
Airto Moirea - percussion
Jack DeJohnette - drums
Keith Jarrett - keyboard
"マイルス・デイビス・カムバック・ジャパン・ツアー'81／MILES DAVIS COME BACK JAPAN TOUR'81 (1981年10月4日・東京 新宿西口広場)"
32,643 回視聴 2018/11/10
マイルス・デイビス・カムバック・ジャパン・ツアー'81
MILES DAVIS COME BACK JAPAN TOUR'81
(1981年10月4日・東京 新宿西口広場 特設ステージ)
1.バック・シート・ベティ(BACK SEAT BETTY)
2.マイ・マンズ・ゴーン・ナウ(MY MAN'S GONE NOW)
3.アイーダ(AIDA)
4.ジャン・ピエール(JEAN-PIERRE)
マイルス・デイビス(MILES DAVIS)(tp)
マイク・スターン(MIKE STERN)(g)
ビル・エバンス(BILL EVANS)(sax)
マーカス・ミラー(MARCUS MILLER)(b)
ミノ・シネル(MINO CINELU)(perc)
アル・フォスター(AL FOSTER)(ds)
マイルスデイビスが交通事故からの復帰した最初の超貴重なライヴ映像。
ＣＤは発売されているが、映像が無いのでアップしました。
マイクスターン、ビルエバンスが有名になるきっかけとなったツアー。
全員のプレイが素晴らしいライヴ映像です。
特にマイクスターンのプレイは、多くのギタリストに衝撃を与えました。from Junichiro Soさんのyoutubeチャンネル。
"マジンガーZ REMASTERED 第44話 大激震！！新海底要塞ブード (wikiによると1973年9月30日放送)"
"マジンガーZ REMASTERED 第45話 悪魔の標的 光子力研究所！！(wikiによると1973年10月7日放送)"
de.
"Now that I think about it, how were you during the earthquake? The damage from the earthquake in Tokyo was terrible, wasn't it?"
"Well, I don't think it was that bad compared to what happened in Tohoku at the time, but it was still incredibly scary. I've never experienced shaking like that in my life."
"Come to think of it, you said you'd never experienced an earthquake until you came to Tokyo... Ah, you weren't saying anything strange, were you(lol)?"
"Yeah, when I experienced my first earthquake at my boarding house in Kumagaya, at first I didn't think it was an earthquake at all. I thought the person in the next room was shaking the house(lol)…Oh, that's right! This happened just before the recent earthquake. The apartment I live in has a shared washing machine and laundry outside on the first floor. So, I live on the first floor and I happened to be doing laundry at the time, so I went to pick it up around the time it finished, but I thought my hands would be full with laundry on my way back, so I deliberately left the door open and locked it so that it got stuck and wouldn't close properly. So that I could open it with my foot. Then, all of a sudden, I heard a vibrating noise, like someone drilling holes at a construction site, and at first I couldn't figure out where the noise was coming from. Then I realized it was this door making the noise, but of course I had no idea why it was making the noise.
After a while, the drilling sound died down, and although I thought it was strange, I closed the door anyway. Then, a little while later, the shaking started. I thought it would stop soon, but instead, it got worse and worse. I rushed outside, and the surrounding buildings were clearly shaking. I screamed out loud, "This is yabai!""
東京都練馬区来た待ち(北町)3-1-19 103
The address of this apartment. It's hard to notice it myself.
"That night, the Kawagoe Highway was jammed with cars and a never-ending line of pedestrians. There was also a long line at the rental car place. Later, when I asked some regulars at the arcade where I worked part-time, many of them said they had walked 20 to 30 kilometers home from work that day."
"What you saw was the area from the Self-Defense Force base to Narimasu, right?"
Yes, my apartment is a little way across Kawagoe Kaido from the Self-Defense Force base.
"Did you experience any actual damage from the earthquake?"
"No, nothing in particular."
"That's good to hear (laughs). Anyway, there's a scenic tourist spot called Tsubakuro Valley up ahead, so let's stop by."
で。2026010704:55(日本時間)。
そう言えば、「ミスタームーンライト」はプリンセスプリンセスさんもカバーされておりましたが(半音下がりのビートルコードつながりでしたか笑)、さておき、ふとジムモリスンさんの声と京町の雅叙園の3階？路地の方の階段あがり階段あがり右に曲がって右に曲がってすぐの右側の座敷？で皿うどん食べてる自分が見えましたが、さておき、「バングラディシュ」に行くのをググっとこらえ、る、必要は全くないのですが、ググっとこらえ、さておき。
キンクス坂本龍一ブライアンフェリー原田知世(緊縛失態)ゴミ処刑済。
"12 Blue Moon"
「この曲が好きだ。」と俺が深津絵里に言うと、「あ！私も(『ベイブ』ver.の)ブルームーン好き！」言うてました(単に『ベイブ』が好きなのかもしれんが笑)。
最後の曲はトム・ウェイツさんのグレイプフルーツ・ムーンだって。
sateoki.
Taboo say ; "There is a taboo that should not be mentioned in Japanese history. I have read the text of Ogai san who mentioned that way. 1月 23, 2019 (Only text part)
"Hey、I'm sure anyone who knows your guitar sound will immediately know that this is the sound of the guitar you're playing、but is that okay？"
"Of course it's ok、because I'm playing the riffs that I wrote(lol)."
"Yeah、that's true(lol).
But your guitar sounds really mysterious."
"This has 5-string strings strung on the 6-string part of the guitar、and both the 6th and 5th strings are tuned down a semitone from the regular tuning."
"I see. So that's what makes it sound like that.
But then wouldn't that mean the tension on the 6th string wouldn't be able to be maintained？"
"The 6th string isn't tuned down an exact semitone; I tune it by feel、but I turn it up as far as it will go before it becomes an E."
"Wow、I see. But isn't this sound your precious weapon？Is it okay？You're telling me such important things."
"No problem、I plan to go back to regular tuning on my guitars from now on. And...
And also、amp settings and microphone orientation are important for creating a sound. Would you like to watch me set up my equipment for recording？ I think it will be helpful for drummers too."
"Thank you、but I'm about to be fired. I can't participate in this recording."
"Huh！Why ! ? Your drumming is so good！"
"A while ago、'the guys' came into the studio and listened to the rough mixes. 'They' said、'We used this drummer because we heard he was a really powerful drummer、but a drummer who sounds like he's banging on a suitcase is no good. We want you to change to a different drummer right away'."
"It's not your fault ! !
What a bunch of 'stupid people' ! !
What do 'those people' usually listen to ? !
Ok、let's start recording again now.
I don't know if it'll work out all of a sudden、but it's a one-shot live recording session ! "
"Right now？"
"Yes！Also、that vocalist is singing all the time with the key down one note、so I feel bad for him if he doesn't finish the recording soon.
And more than anything、if he heard me say this、he'd be angry(lol)、but his voice sounds great for this song right now…but his voice is a treasure、so we need to take good care of it."
"Ah、so he can sing higher notes after all！Yeah、I thought he was a really good vocalist too."
"His singing voice without using any vocal tones is several levels more amazing！"
"Yeah、I know、I want to hear his real voice too.
The bassist also plays accurate and funky bass. They've got a really good lineup."
"Of course、including you.
And the song I wrote is great too. This song is going to be a big hit(lol) ! ･･･actually、it was that bassist who told me about you."
"Huh ! ?"
"Actually、I had the authority to gather the recording members for this lip-sync. So...
Actually、those two have agreed、and we'd like you to join the band we're forming…I'm really sorry that this has become like a secret audition.
I actually wanted to talk about it properly in a more calm state･･･I seem to keep saying 『actually』(lol)."
"It's okay、if it wasn't for your encouragement、I might have quit being a drummer."
"Hey、is Jimmy married？"
"No、not yet."
"I wonder if this is what it feels like to be proposed to... Oh ! I don't mean it in a weird way(lol).
By the way、what kind of band will it be？"
"I don't really understand that、or rather、I had an idea for it、but when I heard your drums、everything just went away.
I can't really explain it、but I want to create a band that sounds like your drumming.
So、actually、nothing has been decided yet.
The only thing that has been decided is our band name."
"What's the band name？"
"Led Zeppelin."
"THE SONG REMAINS THE SAME"
※yrgm(だっけ笑？)、y(u)m(e)☜dream in japanese、rg、pQr、efghij。2024101216:20(日本時間)。☜もう10年ぐらい前ですが、一時期こういうことばかりやってたんですよ(笑)。"予期せよ奇跡、強き奇跡"とか。2024101216:28(日本時間)。で、ふと思ったので、つかぬ事聞きますが、もともとは(笑)、て感じで、G意味(－P)AG(E)じゃないでしょうね(笑)。2024101214:15(日本時間)。☜これ、頭の中で"りりがみっ""りりがみっ"とエンドレスで口ずさんでいたらふと"あれ？これコード進行GAG、GAGじゃなかったっけ(よもやペイジさん自分の名前でリフを作ったのか？それは凄い嫌がらせだ、つうても誰も気づかんだろう・笑。2024101216:16/日本時間)？"と思い、ま、'もともとは'をつければ問題なかろうと(笑)。2024101215:53(日本時間)。
そうそう、深津絵里から、「あれ私じゃないですよ！よかったですね！」と言われたので否応なく「そうですね。」と答えておきましたが、俺と同学年ぐらいだったと思うけど、この娘、も、テンションちょっとおかしい。
第3国人皆殺。
de.
"So, did you take any pictures?"
"Yeah, I got a great shot of the bridge railing."
"No, that's enough."
"Then why were you wandering around on the bridge like that? I was worried that people would look at you and think you were going to jump off and commit suicide (lol)."
"I just couldn't make up my mind to get close to the railing."
"You're not good with heights, are you?"
"Yeah, and besides, when I come to places like this, I somehow develop a fear of heights and a fear of spaces."
"Ah! I can relate to that a little bit about space phobia. I feel a sense of oppression when I come to places like this...So, right now it's just a sense of oppression, but in the fall foliage season the view from here is truly amazing... So, it can't be helped that the feeling of oppression becomes even more overwhelming (laughs), but it's really golden and incredible."
"Now that I think about it, when I went to the Great Wall of China on a school trip in high school, the situation was completely different to this place, of course, but it was incredibly high and the scenery was majestic, yet I hardly felt scared at all..."
"You don't like airplanes either?"
"I don't get to fly that often, but I do like looking out the window."
"I hate flying. My high school field trip was to America, and the plane on the way there was so shaky it practically killed me. After that, I never wanted to fly again."
"Is that called an air pocket? You know when a plane is flying, it sometimes drops in altitude."
"It's not something so trivial. For about a third of the flight, it felt like we were being shaken in a washing machine. I've had enough(lol). So, shall we head for the summit now?"
Yes, let me apologize in advance. If the Earth ends because I can't ride Irias because of the height of the cockpit, then I'm sorry.
あのですね、何度も説明してますが、説明すると、今現在、地球直撃コースで直径500キロの小天体がやって来てる。
幻魔の仕業か、「癌細胞発見！」「病原体侵入」て感じで地球を予防消去しにマクロファージでもやって来てんのか知りませんが、現在、地球の表皮が全部ン百キロだかのレベルでめくれ、ン億年前からやり直しって感じでやって来てる。
で、こんな時の為に、水星衛星軌道上に直径500キロのレーザー兵器(電源太陽)ガンドロワがある、いざとなったら「(俺がいない世界になったら)平和利用に使えばよかろう目標地球」も含め、ある、が、ここにあるでしょ？と俺が伝えたら、「確かに何か人工巨大建造物が水星衛星軌道上にある。」という報告はあるも、その後がない。もしかしたら制御方法が地球にはないのかと思う。
ま、俺の意志とリンクでもするんだろう、で、問題ないんだろうな、とは思うも、いかんせん小回りが利かない射出時直径500キロのレーザー(太陽のエネルギー凝縮発射)、500キロの小天体は簡単に消滅できるでしょうが、そこで超エネルギーレーザーは消滅しない。
と、いうことで、俺が乗らんと動かん、おれとさゆみの二人乗り、ナイトオブゴールドイリアス頭頂高31メートル、のバスターランチャー(かめはめ波元気玉システム)発射時71メートルによる宇宙空間からの狙撃。
他にもバスターランチャーは存在するも、どうしても電源が通常電源系なので、直径500キロの質量を消滅させるのはきつい(集合撃ちだとどうだろうな。収集つかんか。)。
ま、ということで、おれとさゆみが乗るナイトオブゴールドイリアス、で、「あの～申し訳ないが、俺怖くてあそこまでいけない。」で、地球終了って話。
ま、1回ぐらい勇気出してがまんするか、と、つばくろ谷の橋に向かう前のおももちで思ってる。
and 2026050716:47(japantime).
"01 INSTANT LOVE""02 MY HONEY"
"03 OH！MY JULLY PartⅡ"
"04 FUNNY-BOY"
"05 OH！MY JULLY PartⅠ"
ちなみに、俺の記憶頼りの布袋さんのラジオによると、"JULLY"とは氷室さんが部屋で飼っていたウサギの名前で、"彼も寂しかったんだろうね、一人暮らしの部屋でウサギを飼ってて、僕が「たもつ君」という名前の犬を飼ってて、たもつ君とJULLY、随分懐かしい話になっちゃいましたが"と、たぶん1992年のラジオで仰られていました。2023072411:27(日本時間)。
"06 TEENAGE EMOTION""07 LONDON GAME"
"08 SYMPHONIC"
"09 THIS MOMENT"
and
"1983.10.17 "INSTANT LOVE TOUR" 京都BIG BANG/1983.10.17 "INSTANT LOVE TOUR" Kyoto BIG BANG"
de.
◆軋①車輪が摩擦して音をたてる、争う②昔、匈奴の刑罰の一つ。車で骨を引き砕くとも、刀で顔面を切るともいう③ふみつける。いずれも蹉跌(さてつ)してしまう。
◆蹉跌[さてつ]つまずく、失敗する。
◆蹉①物に足をとられてたおれる、しくじる、失敗する②すぎる③まちがう。
◆跌①つまずく②はしる、③過ぎる(過)、度をすごす、また、ほしいまま④足のうら。
◆理が非でも（りがひでも）ぜひとも。むりにでも。是が非でも。[広辞苑第六版より]
◆軋 ①The sound made by wheels rubbing against each other; to fight ②One of the punishments of the Xiongnu in ancient times. It is said that bones were crushed with a cart, or that the face was cut with a sword ③To trample on.
Both attempts end in failure.
◆蹉跌 (Satetsu) To stumble; to fail.
◆蹉 ① To trip over something and fall; to make a mistake; to fail; ② To go too far; ③ To make a mistake.
◆跌 ① To stumble; ② To run; ③ To go too far; to be excessive; also, to be selfish; ④ The sole of the foot.
◆By all means, regardless of whether it is right or wrong. Even if it's difficult. no matter what/By all means. [From Kojien 6th Edition]
で。2026050716:11(日本時間)。
で。2026050716:20(日本時間)。
"from わんわん忠臣蔵[公式]"
で。202605:0716:36(日本時間)。
"from AWAKENINGS - レナードの朝"
コメント
8ーーーー40年前ーーーー
増井さんが出演された
「月刊にいがた」のトークショーを
聞いた者です。
当時は新潟大学を休学されて
ロッキン・オンで働いていたと
記憶しています。
当時のロッキン・オンも280円で
１番安い音楽雑誌でした。
●ロッキン・オンで働ける事になったが
給料が支払われず、渋谷氏に訴えたら
ポケットの中からしわくちゃの
4万円を渡された。
を皮切りに、楽屋落ちのような
編集部ネタ（ブラック）を筆頭に
●ミック・カーンが納豆好き
とかアーティストの裏情報等
インターネットも無い時代に
編集部やアーティストを身近に
感じる裏話満載でとても記憶に
残っています。
当時の編集部がスタッフ4人のうち
２人が新潟出身という事で
渋谷氏もよくトークライブで
新潟にきていました。
増井さんの文章が好きで
増井さんが退職されてから
新潟県民として長年
気になっていましたが
こおいう形で増井節が読めて
とても嬉しいです。
私の勝手な希望は柏崎市長か
柏崎の市議会議員になって
柏崎を盛り立てて欲しいです。
ははは！とても嬉しく懐かしいです。
ミックカーンは納豆好き！そんなこと言ってましたか笑
こんにちは、藤井です。
日本の田舎で3ヶ月近くネットから遠ざかった生活をしていて、いま現実に戻ったらこのような記事を目にして驚いて……もいないのですが、少し寂しい気持ちでもあります。増井さんはいつまでも元気よく、今後もさらなる名調子を続けていただきたいと思っています。
藤井様
コメントありがとうございます。わざわざログインして下さったみたいで、感謝です。