#04-26

2020-04-26 (日) ✡☪💮

👑 No.２

【📷💕フォト 【◎】д=) ギャラリー📷💕】

ˣx✖ˣ♡✖ˣx♡xˣ✖xˣ♡ˣx✖ˣx♡xˣ✖♡ˣ✖xˣ

【いかりやさん💜台詞】

地べたを這いずり回ってんだ

文句も言わず 命令通りにな

*:..｡oƒ *:..｡oƒ *:..｡oƒ *:..｡oƒ *:..｡oƒ *:..｡oƒ *:..｡oƒ

ੈ✩ ｷﾋﾞｼｲ..(((;꒪∆꒪＼˚💦 ✨

ੈ✩ ハコベ（繁縷）♪ૢ

《花言葉》

愛らしい・ ランデブー・追想・密会

私と逢っていただけますか

別名：ヒヨコグサ（雛草）

ੈ✩ 開いた赤いチューリップ球根 ♪ૢ

【検索🌟情報】

《花言葉》

思いやり

「思いやり」 の花言葉は、三人の騎士を思いやる美少女の言い伝えにちなむともいわれます。

【英語の花言葉】

perfect lover（理想の恋人）・ame（名声）

【赤い】　愛の告白

【黄色い】　望みのない恋・名声

【白い】　失われた愛

【紫】　不滅の愛

【ピンク】　愛の芽生え・誠実な愛

ੈ✩ イチゴ鉢植え (🍓)♪ૢ

ੈ✩ ツツジ濃いピンク♪ૢ

ੈ✩ツルニチニチソウ（蔓日々草）♪ૢ

ੈ✩ スミレ（菫）♪ૢ

ੈ✩ ミセバヤ（見せばや）♪ૢ

ੈ✩ ヒメオドリコソウ（姫踊り子草）♪ૢ

ੈ✩ ムラサキケマン（紫華鬘）♪ૢ

ੈ✩ タンポポ・ダンデライオン♪ૢ

⏳♪♪★☆★⏳♪★☆★♪⏳★☆★♪♪⏳

◆◇◆◇◆◇◆◇◆◇◆◇◆◇◆◇◆◇◆◇

 /)/) (\¥(\¥

( . .)(♡)(. . )

ଘ♡ଓ*:ﾟ+｡.໒꒱°*。⋈｡♡:* :ﾟ+｡ଘ☆:ﾟ+｡⋈｡

─┘─┘─┘─┘─┘─┘─┘─┘─┘─┘

by 太田裕美『たんぽぽ』 ♪̊̈♪̆̆̆

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 🎼 雲のようにひろがる 胸の中の淋しさ ♪゛

(ღ•ㅂ•๐) 🎼 どうぞあなたのはずむ声で涙けして下さい ♪゛

(ღ•ㅂ•๐) 🎼 振り向いても誰もいない 風の音 ♪゛

(ღ•ㅂ•๐) 🎼 灰色した舗道の隅に咲いた花 ♪゛

(ღ•ㅂ•๐) 🎼 そんな小さな花のように ♪゛

(ღ•ㅂ•๐) 🎼 そばに置いてください ♪゛

(ღ•ㅂ•๐) 🎼 そんな小さな花のように ♪゛

⏳♪♪★☆★⏳♪★☆★♪⏳★☆★♪♪⏳

by 野口五郎『青いリンゴ』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 🎼 青いリンゴを 抱きしめても ♪゛

(ღ•ㅂ•๐) 🎼 思い出さえ 帰らない ♪゛

(ღ•ㅂ•๐) 🎼 涙 なみだの 海に今 ♪゛

(ღ•ㅂ•๐) 🎼 ぼくは 深く沈もう ♪゛

⏳♪♪★☆★⏳♪★☆★♪⏳★☆★♪♪⏳

by シブがき隊『恋するような友情を』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 🎼 何が起きても消えない ♪゛

(ღ•ㅂ•๐) 🎼 折れたギター叫ぶロック ♪゛

(ღ•ㅂ•๐) 🎼 変わる季節風 壁のグラフィティー ♪゛

(ღ•ㅂ•๐) 🎼 夢を追って 取り逃して ♪゛

(ღ•ㅂ•๐) 🎼 すねてみたことも 何度かあったけど ♪゛

(ღ•ㅂ•๐) 🎼 朝のランナー 夜のボクサー ♪゛

(ღ•ㅂ•๐) 🎼 光るいなびかり 割れるガラス窓 ♪゛

(ღ•ㅂ•๐) 🎼 君と僕が主役はった ♪゛

(ღ•ㅂ•๐) 🎼 映画みたいだと 今では笑うけど ♪゛

☆═━┈☆═━┈┈☆═━┈┈☆═━┈┈☆═━┈┈

❣❣❣❣❣♥❣❣❣❣❣♥❣❣❣❣❣♥❣❣❣❣❣♥❣❣❣❣❣♥❣❣

by 岡村孝子『青い月』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 心のドアをふいに開いた あなたの言葉 ♪♪"

(ღ•ㅂ•๐) 深く静かな私の海に小石を投げて ♪♪"

(ღ•ㅂ•๐) 今ざわめく風に ♪♪"

(ღ•ㅂ•๐) 駆け出す鼓動 空に青い月 ♪♪"

(ღ•ㅂ•๐) もしもこの恋を受けとめたら ♪♪"

(ღ•ㅂ•๐) どんな場所へたどり着くの ♪♪"

(ღ•ㅂ•๐) 永遠という時間(とき)の河を ♪♪"

(ღ•ㅂ•๐) どこまでもあなたとふたりで ♪♪"

(ღ•ㅂ•๐) 心の中にひそかに生きる 悲しい愛を♪̊̈♪̆̈

(ღ•ㅂ•๐) いつか私は越えるでしょうか 思い出にして ♪♪"

(ღ•ㅂ•๐) 今揺れるこの想い ♪♪"

(ღ•ㅂ•๐) 見透かしてる 青く光る月 ♪♪"

(ღ•ㅂ•๐) いっそこの恋を踏み出したら ♪♪"

(ღ•ㅂ•๐) 望む場所へたどり着くの ♪♪"

(ღ•ㅂ•๐) 永遠という時間の河を ♪♪"

(ღ•ㅂ•๐) どこまでもあなたとふたりで ♪♪"

(ღ•ㅂ•๐) 今揺れるこの想い ♪♪"

(ღ•ㅂ•๐) 見透かしてる 青く光る月 ♪♪"

(ღ•ㅂ•๐) もしもこの恋を受けとめたら ♪♪"

(ღ•ㅂ•๐) どんな場所へたどり着くの ♪♪"

(ღ•ㅂ•๐) 永遠という時間(とき)の河を ♪♪"

(ღ•ㅂ•๐) どこまでもあなたとふたりで ♪♪"

(ღ•ㅂ•๐) 今この恋を踏み出したら ♪♪"

(ღ•ㅂ•๐) 望む場所へたどり着くの ♪♪"

(ღ•ㅂ•๐) 永遠という時間の河を ♪♪"

(ღ•ㅂ•๐) どこまでもあなたとふたりで ♪♪"

⏳♪♪★☆★⏳♪★☆★♪⏳★☆★♪♪⏳

by 大塚愛『CHU-LIP』 ♪̊̈♪̆̆̆

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 🎼 彼と暮らすと癖が似てくる ♪゛

(ღ•ㅂ•๐) 🎼 離れられないのよ そうゆうこと ♪゛

by 谷村新司『男と女に戻る時』 ♪̊̈♪̆̆̆

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 🎼 二人で過ごす 時が何故か ♪゛

(ღ•ㅂ•๐) 🎼 淋しくて 胸が痛くなる ♪゛

(ღ•ㅂ•๐) 🎼 愛になれすぎ 気付かぬ間に ♪゛

(ღ•ㅂ•๐) 🎼 目の前の君さえ 見えない ♪゛

(ღ•ㅂ•๐) 🎼 見つめ直そうお互いに ♪゛

(ღ•ㅂ•๐) 🎼 男と女に戻って ♪゛

(ღ•ㅂ•๐) 🎼 別れるのも愛し直すのもいい ♪゛

⏳♪♪★☆★⏳♪★☆★♪⏳★☆★♪♪⏳

󾠜୨୧┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈୨୧󾠜

by 酒井法子『月明かりの下』 ♪̊̈♪̆̆̆

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 🎼 やがて花は芽吹いて 咲いては散ってゆくけど ♪゛

(ღ•ㅂ•๐) 🎼 めぐりゆく季節を越えて 変わらないものがあるの ♪゛

⏳♪♪★☆★⏳♪★☆★♪⏳★☆★♪♪⏳

by 永井真理子 『boy』 ♪̊̈♪̆̆̆

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 🎼 すこしの休みと太陽と 小さな恋があればいい ♪゛

(ღ•ㅂ•๐) 🎼 色褪せないささやかな明日を迎えて ♪゛

⏳♪♪★☆★⏳♪★☆★♪⏳★☆★♪♪⏳

by 裕木奈江『いつでも』 ♪̊̈♪̆̆̆

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 🎼 持て余した時間は 少しずつ ♪゛

(ღ•ㅂ•๐) 🎼 眠気へと変わる ♪゛

(ღ•ㅂ•๐) 🎼 なんでもない その言葉や ♪゛

(ღ•ㅂ•๐) 🎼 しぐさに 一喜一憂して♪゛

(ღ•ㅂ•๐) 🎼 あなたに··· 初めて··· ♪゛

⏳♪♪★☆★⏳♪★☆★♪⏳★☆★♪♪⏳

by 天月-あまつき-『Fairytale,』 ♪̊̈♪̆̆̆

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 🎼 別れの刻はすぐにやってきて ♪゛

(ღ•ㅂ•๐) 🎼 話したかったことも半分くらいで ♪゛

(ღ•ㅂ•๐) 🎼 「せわしない日だったね。」 って笑い合う ♪゛

(ღ•ㅂ•๐) 🎼 二人は再会の環に思いを馳せた ♪゛

(ღ•ㅂ•๐) 🎼 一人では輝けない私からね ♪゛

(ღ•ㅂ•๐) 🎼 御伽話の続きがあるの 聞いておいて ♪゛

(ღ•ㅂ•๐) 🎼 久しぶりね ♪゛

(ღ•ㅂ•๐) 🎼 重なり合う鼓動が命の瞬きを教えてくれてる ♪゛

(ღ•ㅂ•๐) 🎼 誰の愛を受けても消えないでしょう ♪゛

(ღ•ㅂ•๐) 🎼 あと数秒で離れていく星を見送るなら ♪゛

(ღ•ㅂ•๐) 🎼 例え何千年経っても会えるから ♪゛

(ღ•ㅂ•๐) 🎼 そういう話しよ 約束ね ♪゛

▤ ▥ ▦ ▧ ▤ ▥ ▦ ▧ ▤ ▥ ▦ ▧ ▤ ▥ ▦ ▧ ▤

by 芹洋子『たんぽぽ』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 🎼 どんな花よりたんぽぽの ♪゛

(ღ•ㅂ•๐) 🎼 花をあなたに贈りましょう ♪゛

by ガロ『たんぽぽ』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 🎼 心のまどの中の私と自然のみわく ♪゛

🌼💕꒰♡꒱ ʚ♡⃛ɞ ʚ❤︎ɞ ʚ♥︎ɞ ʚ❤︎ɞ ʚ♡⃛ɞ ꒰♡꒱🌼💕

ੈ✩ライラック （庭木）♪ૢ

《花言葉》

思い出・友情

《紫色》 恋の芽生え・初恋

《白い色》 青春の喜び・無邪気

❥❥» スイートピー ♪ૢ

《花言葉》

門出・別離・ほのかな喜び・優しい思い出

♡ͥ ♡ͦ ♡ͮ ♡ͤ♪♡ͥ ♡ͦ ♡ͮ ♡ͤ♪♡ͥ ♡ͦ ♡ͮ ♡ͤ♪♡ͥ ♡ͦ ♡ͮ ♡ͤ♪

❥❥» 赤いスイートピー花の 「📆💡つもり」 で植えた新たなライラック （庭木）の新芽❕ ♡⃛ೄ

2018年・2019年は、左右に白い花が下側に咲きました❕

新しいライラック庭木の右側には、残っている片割れ

３０年が過ぎ枯木になり横たわっています。

同じ並びに皇居帰りのユウスゲ (夕萓) を植えました。

☆━━━━━━━━━━━━━━━━━━━☆

NHK・じだいげきだよ オフロスキー

(ღ•ㅂ•๐) 🎼 「ふろおけは ただしくつかうべし おふろにはゆっくりつかるべし」 ♪゛

(ღ•ㅂ•๐) 🎼 またやろう 「だいじょうぶ つもりだから」 ♪゛

☆━━━━━━━━━━━━━━━━━━━☆

by 中森明菜『薔薇一夜』 ♪̊̈♪̆̆̆

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 🎼 月が欠けるように 果てる愛なら... ♪゛

(ღ•ㅂ•๐) 🎼 夢にすがるように 枯れる花なら... ♪゛

(ღ•ㅂ•๐) 🎼 薔薇一夜 咲かせても ♪゛

(ღ•ㅂ•๐) 🎼 まごころさえ 見えはしない ♪゛

(ღ•ㅂ•๐) 🎼 希望ない 夜明けへと ♪゛

(ღ•ㅂ•๐) 🎼 切なく 散るだけ ♪゛

⏳♪♪★☆★⏳♪★☆★♪⏳★☆★♪♪⏳

by 松田聖子『赤いスイートピー』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 🎼 春色の汽車に乗って 海に連れて行ってよ ♪゛

(ღ•ㅂ•๐) 🎼 煙草の匂いのシャツに ♪゛

(ღ•ㅂ•๐) 🎼 そっと寄りそうから ♪゛

(ღ•ㅂ•๐) 🎼 何故 知りあった日から ♪゛

(ღ•ㅂ•๐) 🎼 半年過ぎても あなたって手も握らない ♪゛

(ღ•ㅂ•๐) 🎼 春色の汽車に乗って 海に連れて行ってよ ♪゛

(ღ•ㅂ•๐) 🎼 I will follow you あなたに ♪゛

(ღ•ㅂ•๐) 🎼 ついてゆきたい ♪゛

(ღ•ㅂ•๐) 🎼 I will follow you ちょっぴり ♪゛

(ღ•ㅂ•๐) 🎼 気が弱いけど ♪゛

(ღ•ㅂ•๐) 🎼 素敵な人だから ♪゛

(ღ•ㅂ•๐) 🎼 心の岸辺に咲いた 赤いスイートピー ♪゛

(ღ•ㅂ•๐) 🎼 四月の雨に降られて ♪゛

(ღ•ㅂ•๐) 🎼 駅のベンチで二人 ♪゛

(ღ•ㅂ•๐) 🎼 他に人影もなくて ♪゛

(ღ•ㅂ•๐) 🎼 不意に気まずくなる ♪゛

(ღ•ㅂ•๐) 🎼 何故 あなたが 時計をチラッと見るたび ♪゛

(ღ•ㅂ•๐) 🎼 泣きそうな気分になるの? ♪゛

(ღ•ㅂ•๐) 🎼 I will follow you 翼の ♪゛

(ღ•ㅂ•๐) 🎼 生えたブーツで ♪゛

(ღ•ㅂ•๐) 🎼 I will follow you あなたと ♪゛

(ღ•ㅂ•๐) 🎼 同じ青春 走ってゆきたいの ♪゛

(ღ•ㅂ•๐) 🎼 線路の脇のつぼみは 赤いスイートピー ♪゛

(ღ•ㅂ•๐) 🎼 生き方が好き ♪゛

(ღ•ㅂ•๐) 🎼 このまま帰れない 帰れない ♪゛

(ღ•ㅂ•๐) 🎼 心に春が来た日は 赤いスイートピー ♪゛

■□─━─━─━─━─━─━─━─━─━─━─━─━─━─━─━─□■

by 森田健作『男なら気にしない』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 🎼 誰かと誰かさんが どうにかなったってどうでもいいじゃないか ♪゛

(ღ•ㅂ•๐) 🎼 男なら気にしない 手紙を書いたのに 返事が来なくても ♪゛

(ღ•ㅂ•๐) 🎼 泣くことァないじゃないか 男なら気にしない ♪゛

(ღ•ㅂ•๐) 🎼 たった一度の青春の 無駄づかいは ♪゛

(ღ•ㅂ•๐) 🎼 ごめんこうむりたいものさ そうじゃないか ♪゛

(ღ•ㅂ•๐) 🎼 ヤバンな人なんかきらいと 言われても ♪゛

(ღ•ㅂ•๐) 🎼 きらいでいいじゃないか 男なら気にしない ♪゛

(ღ•ㅂ•๐) 🎼 汗水流すのは 馬鹿だと云われても ♪゛

(ღ•ㅂ•๐) 🎼 何でもないじゃないか 男なら気にしない ♪゛

(ღ•ㅂ•๐) 🎼 ダンスに誘われて 棒立ちになっても ♪゛

(ღ•ㅂ•๐) 🎼 平気でいいじゃないか 男なら気にしない ♪゛

(ღ•ㅂ•๐) 🎼 たった一度の青春の無駄づかいは ♪゛

(ღ•ㅂ•๐) 🎼 ごめんこうむりたいものさ そうじゃないか ♪゛

(ღ•ㅂ•๐) 🎼 カッコ悪くても 流行(はや)りでなくっても ♪゛

(ღ•ㅂ•๐) 🎼 関係ないじゃないか 男なら気にしない ♪゛

■□─━─━─━─━─━─━─━─━─━─━─━─━─━─━─━─□■

▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬

#野口五郎 #青いリンゴ

#シブがき隊 #恋するような友情を

#芹洋子 #ガロ #たんぽぽ

#岡村孝子 #青い月 #酒井法子 #月明かりの下

#永井真理子 #boy #裕木奈江 #いつでも

#天月-あまつき- #Fairytale,

#松任谷由実 #原田知世 #ダンデライオン～遅咲きのたんぽぽ

トライアングル #トライアングル・ラブレター

Frederick Douglass Patterson (October 10, 1901 – April 26, 1988), born in Washington D.C. and orphaned at the age of two. Patterson would later become president of what is now Tuskegee University (1935–1953) and founder of the United Negro College Fund (1944, UNCF). In 1987, President Ronald Reagan awarded Dr. Patterson the Presidential Medal of Freedom, the nation’s highest civilian honor. In 1988, he was awarded the Spingarn Medal from the NAACP.

Early life and Family

Frederick Douglass Patterson was born on October 10, 1901 in Washington, D.C. to Mamie Lucille and William Ross Patterson. He was named after the great abolitionist and D.C. resident Frederick Douglass. Douglass was orphaned by the age of 2 when both of his parents died from tuberculosis. He then moved in with his sister Bessie, his primary caregiver, who sacrificed to ensure him a good education. She dedicated nearly half her $20 monthly salary to enroll him in the private elementary school of Samuel Huston College (currently Huston-Tillotson College) where his affinity for education quickly shined through. In later years he studied in the Agriculture Department at the Prairie View Normal and Industrial Institute (now Prairie View A&M University) in Texas. Later, he enrolled at Iowa State College (now University) College of Veterinary Medicine, where he graduated in 1923. Thelma Dale Perkins, born in 1915, was a niece of his.

Path to Academic Excellence

By the age of 31, Patterson had attained three educational degrees: a Doctorate of Veterinary Medicine and Master of Science from Iowa State, and a Doctorate of Philosophy from Cornell University. His journey to academic accomplishment was not without its roadblocks. He was the only African American working at the Iowa State College veterinary clinic, where he learned important personal lessons about race and society.

In his autobiography, reflecting on the experience, he writes, “I learned a lesson with regard to race that I never forgot: how people feel about you reflects the way you permit yourself to be treated. If you permit yourself to be treated differently, you are condemned to an unequal relationship.” The same year Patterson received his Doctorate from Iowa State College in 1923, Jack Trice, the College's first African American student athlete, died from injuries sustained in a football game.

Patterson taught veterinary medicine for four years at Virginia State College while serving as the Director of Agriculture. From there, he became head of the veterinary division, then the director of the School of Agriculture at the Tuskegee Institute.

In 1935, at the young age of 33, he had distinguished himself enough to be named the third President of Tuskegee Institute

Professional career

At Tuskegee Institute, President Patterson (1935-1953) was responsible for transforming the Institute into a full-fledged university with graduate programs that exist to this day. Over the course of his Presidency he founded the School of Veterinary Medicine, the Commercial Dietetics program, and spearheaded the University's engineering and commercial aviation programs. All of these programs uniquely situated African Americans and Tuskegee University in a position where they could provide highly skilled interns for prestigious internships in emerging fields.

Legacy of Leadership

In 1944 founded two institutions which would largely shape his overall legacy: the School of Veterinary Medicine at Tuskegee University which has graduated approximately 75 percent of the United States' black veterinarians, and the United Negro College Fund (UNCF) which administers 37 private historically black colleges and universities throughout the United States and administers 10,000 scholarships every year. Today, UNCF has raised over $3.6 billion since its inception in 1944.

Dr. Patterson's leadership won him national recognition and earned him an invitation to serve on President Harry S. Truman's President's Commission on Higher Education from 1946-47. This commission called for an important shift in American college education away from European concepts, and towards equality of opportunity. Important developments flowing historically from this Commission's report were the development of the community college network and the Title III of the Higher Education Act of 1965.

Dr. Patterson eventually became a director of the Phelps-Stokes Fund from 1958-1969 where he worked to improve education for youth of all disadvantaged backgrounds. He also founded the nonprofit Robert R. Moton Memorial Institute to improve the recruitment and management processes of HBCUs.

Eventually, Dr. Patterson would receive the Presidential Medal of Freedom from President Ronald Reagan on June 23, 1987 in recognition of his lifetime of leadership and success in the educational field. He received a Candace Award from the National Coalition of 100 Black Women in 1986.

Enduring Legacy

In honor of the profound impact Dr. Patterson had on college education, especially in the African American community, UNCF established the Frederick D. Patterson Research Institute (FDPRI) in 1996. FDPRI is the nation's foremost research institution regarding educational issues facing African American from preschool to adulthood. Headquartered in Washington, DC within UNCF headquarters close to Howard University in the Shaw neighborhood of DC, the legacy of Dr. Frederick D. Patterson continues to live on.

Patterson is a member of Alpha Phi Alpha fraternity.

Hónapok óta nem volt ilyen vergődésem, mint az elmúlt éjszaka. Iszonyat fáradtság és mégis képtelen voltam aludni. Nem tudott az agyam megnyugodni. Mindent próbáltam. Mindent IS. Ott basztam el a dolgot, hogy tegnap nézegettem megint az Olasz ingatlanokat. És az a ház ami korábban tetszett nekem, szóval folyton folyton visszatérek oda, hogy az nekem rohadtul tetszik és egyre jobban tudom, hogy miért. Hogy az nekem kéne... és akkor elkezdődik a kattogás, hogy ha ezt eladnám és ő költözne az oda, ő meg az oda, és akkor azt meg kiadnám, de tulajdonképpen, ha ezt kifizetném, akkor arra meg vehetnék fel hitelt, amit meg abból finanszíroznék, de ha amazt eladnám nem is kellene hitel, de akkor ki hol fog lakni???? :D :D Majd minden harmadik sor végén a csattanás, hogy "te hülye vagy bazdmeg, nekiindulnál a bárminek? Nem vagy te normális!!!" és akkor a következő, hogy persze, ha Logan... és akkor a hisztérikus sikoly, hogy "nem érted, hogy NEEEEEEEM? Hát, hányszor kell még elmondani?" és akkor, hogy jóóó, de talán lenne olyan csávó, aki meg igen. Talán, ha nem söpörnék be mindenkit következetesen a "haverom vagy" szőnyeg alá. Hiszen minden épeszű ember boldogan költözne egy olaszországi, pálmáskertes, tengerpartközeli ROMBA! :D És a minden épeszű között talán akad férfi is. Szóval egy fél házért vennék magamnak egy férfit? Mit egy fél házért? Mindenem odaadnám, ha lenne olyan, aki szeret is meg békén is hagy. Dehogy adnád, okosabb vagy te annál... hát, ja, okosabb. Cseszhetem. :( Jó, hogy reggel lett végre.

"Ma" Rainey (born Gertrude Malissa Nix Pridgett, September 1882 or April 26, 1886 – December 22, 1939) was one of the earliest African American professional blues singers and one of the first generation of blues singers to record. She was billed as the Mother of the Blues.

She began performing as a young teenager and became known as Ma Rainey after her marriage to Will Rainey, in 1904. They toured with the Rabbit Foot Minstrels and later formed their own group, Rainey and Rainey, Assassinators of the Blues. Her first recording was made in 1923. In the next five years, she made over 100 recordings, including "Bo-Weevil Blues" (1923), "Moonshine Blues" (1923), "See See Rider Blues" (1924), "Black Bottom" (1927), and "Soon This Morning" (1927).

Rainey was known for her powerful vocal abilities, energetic disposition, majestic phrasing, and a "moaning" style of singing. Her powerful voice was never adequately captured on her records, because she recorded exclusively for Paramount, which was known for its below-average recording techniques and poor shellac quality. However, her other qualities are present and most evident in her early recordings "Bo-Weevil Blues" and "Moonshine Blues".

Rainey recorded with Louis Armstrong, and she toured and recorded with the Georgia Jazz Band. She continued to tour until 1935, when she retired and went to live in her hometown.

Life and career

Gertrude Pridgett claimed to have been born on April 26, 1886 (beginning with the 1910 census, taken April 25, 1910), in Columbus, Georgia. However, the 1900 census indicates she was born in September 1882 in Alabama, and researchers Bob Eagle and Eric LeBlanc suggest her birthplace as being in Russell County. She was the second of five children of Thomas and Ella (née Allen) Pridgett, from Alabama. She had at least two brothers and a sister, Malissa, with whom Gertrude was later confused by some writers.

She began her career as a performer at a talent show in Columbus, Georgia, when she was about 12 to 14 years old. A member of the First African Baptist Church, she began performing in black minstrel shows. She later claimed that she was first exposed to blues music around 1902. She formed the Alabama Fun Makers Company with her husband, Will Rainey, but in 1906 they both joined Pat Chappelle's much larger and more popular Rabbit's Foot Company, in which they were billed together as "Black Face Song and Dance Comedians, Jubilee Singers [and] Cake Walkers". In 1910, she was described as "Mrs. Gertrude Rainey, our coon shouter". She continued with the Rabbit's Foot Company after it was taken over by a new owner, F. S. Wolcott, in 1912.

Beginning in 1914, the Raineys were billed as Rainey and Rainey, Assassinators of the Blues. Wintering in New Orleans, she met numerous musicians, including Joe "King" Oliver, Louis Armstrong, Sidney Bechet and Pops Foster. As the popularity of blues music increased, she became well known. Around this time, she met Bessie Smith, a young blues singer who was also making a name for herself. A story later developed that Rainey kidnapped Smith, forced her join the Rabbit's Foot Minstrels, and taught her to sing the blues; the story was disputed by Smith's sister-in-law Maud Smith.

From the late 1910s, there was an increasing demand for recordings by black musicians. In 1920, Mamie Smith was the first black woman to be recorded. In 1923, Rainey was discovered by Paramount Records producer J. Mayo Williams. She signed a recording contract with Paramount, and in December she made her first eight recordings in Chicago, including "Bad Luck Blues", "Bo-Weevil Blues" and "Moonshine Blues". She made more than 100 other recordings over the next five years, which brought her fame beyond the South. Paramount marketed her extensively, calling her the "Mother of the Blues", the "Songbird of the South", the "Gold-Neck Woman of the Blues" and the "Paramount Wildcat".

In 1924 she made some recordings with Louis Armstrong, including "Jelly Bean Blues", "Countin' the Blues" and "See, See Rider". In the same year she embarked on a tour of the Theater Owners Booking Association (TOBA) in the South and Midwest of the United States, singing for black and white audiences. She was accompanied by the bandleader and pianist Thomas Dorsey and the band he assembled, the Wildcats Jazz Band. They began their tour with an appearance in Chicago in April 1924 and continued, on and off, until 1928. Dorsey left the group in 1926 because of ill health and was replaced as pianist by Lillian Hardaway Henderson, the wife of Rainey's cornetist Fuller Henderson, who became the band's leader.

Some of Rainey's lyrics contain references to lesbianism or bisexuality, such as the 1928 song "Prove It on Me":

They said I do it, ain't nobody caught me. Sure got to prove it on me. Went out last night with a crowd of my friends. They must've been women, cause I don't like no men.

According to the website queerculturalcenter.org, the lyrics refer to an incident in 1925 in which Rainey was "arrested for taking part in an orgy at [her] home involving women in her chorus." "Prove It on Me" further alludes to presumed lesbian behavior: "It's true I wear a collar and a tie... Talk to the gals just like any old man."

The political activist and scholar Angela Y. Davis noted that "'Prove It on Me' is a cultural precursor to the lesbian cultural movement of the 1970s, which began to crystallize around the performance and recording of lesbian-affirming songs." Towards the end of the 1920s, live vaudeville went into decline, being replaced by radio and recordings. Rainey's career was not immediately affected; she continued recording for Paramount and earned enough money from touring to buy a bus with her name on it. In 1928, she worked with Dorsey again and recorded 20 songs, before Paramount terminated her contract. Her style of blues was no longer considered fashionable by the label.

Death

In 1935, Rainey returned to her hometown, Columbus, Georgia, where she ran three theatres, the Lyric the Airdrome, and The Liberty Theatre until her death. She died of a heart attack in 1939, at the age of 53, in Rome, Georgia.

Legacy

Rainey was inducted into the Blues Foundation's Hall of Fame in 1983 and the Rock and Roll Hall of Fame in 1990.

Bob Dylan referred to Rainey in the song "Tombstone Blues" on his 1965 album Highway 61 Revisited, pairing her with Beethoven, perhaps as symbols of great art, a compliment to Rainey's stature as an artist ("where Ma Rainey and Beethoven once unwrapped their bedroll").

In 1981 Sandra Lieb wrote the first full-length book about Rainey, Mother of the Blues: A Study of Ma Rainey.

Ma Rainey's Black Bottom, a 1982 play by August Wilson, is a fictionalized account of the recording of her song of the same title in December 1927.

Sterling A. Brown wrote a poem, "Ma Rainey", in 1932, about how "When Ma Rainey / comes to town" people everywhere would hear her sing.

In 1994, the U.S. Post Office issued a 29-cent commemorative postage stamp honoring her.

In 2004, "See See Rider Blues" (written in 1925) was inducted into the Grammy Hall of Fame and was added to the National Recording Registry by the National Recording Preservation Board of the Library of Congress.

Academy Award winner Mo'Nique played Rainey in the 2015 film Bessie.

The first annual Ma Rainey Blues Festival will be held in April 2016 in Columbus, Georgia, near the home that Rainey owned and lived in at the time of her death.

Recordings

This sortable table presents all 94 titles recorded by Rainey.

The recording dates are approximate.

The classification by Sandra Lieb is almost entirely by form. Blues songs which are only partly of twelve-bar structure are classified as mixtures of blues and popular song forms. Blues songs without any twelve-bar or eight-bar structure are classified as non-blues.

The JSP and DOCD columns refer to the two complete CD reissues.

Click any label to sort. To return to chronological order, click #.

Paul Robeson, Jr. (November 2, 1927 – April 26, 2014) was an American author, archivist and historian.

Biography

Robeson was born in Brooklyn to entertainer and activist Paul Robeson and Eslanda Goode Robeson. As his family moved to Europe he grew up in England and Moscow, in the Soviet Union. In Moscow he attended an elite school. The Robesons returned to the United States in 1938 to live first in Harlem, New York, and after 1941 in Enfield, Connecticut. Robeson, Jr. graduated from Enfield High School and attended Cornell University where he graduated with a degree in electrical engineering in 1949.

Robeson worked on the legacy of his father, published two books about him, and created an archive of his father's films, photographs, recordings, letters, and publications. As an advocate for social and racial justice he shared the political views with his father indicating that "like him, I am a black radical". He was married to Marilyn Greenberg in 1949; the couple had two children (David, who died in 1998, and Susan) and one grandchild.

Robeson died of lymphoma in Jersey City, New Jersey in 2014.

Paul Robeson, Sr. legacy

Robeson maintained on many occasions that his father "never joined the Communist Party or any party for that matter -- he was an independent artist and would never submit to any kind of organizational discipline."

On his own politics he stated: "I was much more an organized political person", he said, adding that from about 1948 to 1962, he was a member of the Communist Party. "It was an instrument, a radical instrument that could help advance the interests of African-Americans. It helped build the early civil-rights movement and independent trade union movement in the 1930s, '40s and '50s." He said he left the party in 1962 after "it became bureaucratic and corrupt".

Robeson's father, Paul Sr., was one of his closest friends and protectors, traveling and living with him intermittently during his life. Following his father's death, Robeson Jr. worked extensively to establish the Paul Robeson Archive and the Paul Robeson Foundation. The archive, currently housed at Howard University's Moorland-Spingarn Research Center, is the largest repository in the Western hemisphere of Robeson documents and articles, totaling well over 50,000 items. He is of Igbo descent through his father.

William James "Count" Basie (August 21, 1904 – April 26, 1984) was an American jazz pianist, organist, bandleader, and composer. His mother taught him to play the piano and he started performing in his teens. Dropping out of school, he learned to operate lights for vaudeville and to improvise accompaniment for silent films at a local movie theater in his home town of Red Bank, New Jersey. By age 16, he increasingly played jazz piano at parties, resorts and other venues. In 1924, he went to Harlem, where his performing career expanded; he toured with groups to the major jazz cities of Chicago, St. Louis and Kansas City. In 1929 he joined Bennie Moten's band in Kansas City, and played with them until Moten's death in 1935.

In 1935, Basie formed his own jazz orchestra, the Count Basie Orchestra, and in 1936 took them to Chicago for a long engagement and their first recording. He led the group for almost 50 years, creating innovations like the use of two "split" tenor saxophones, emphasizing the rhythm section, riffing with a big band, using arrangers to broaden their sound, and others. Many musicians came to prominence under his direction, including the tenor saxophonists Lester Young and Herschel Evans, the guitarist Freddie Green, trumpeters Buck Clayton and Harry "Sweets" Edison and singers Jimmy Rushing and Joe Williams.

Biography

Early life and education

William Basie was born to Harvey Lee and Lillian Basie in Red Bank, New Jersey. His father worked as a coachman and caretaker for a wealthy judge. After automobiles replaced horses, his father became a groundskeeper and handyman for several wealthy families in the area. Both of his parents had some type of musical background. His father played the mellophone, and his mother played the piano; in fact, she gave Basie his first piano lessons. She took in laundry and baked cakes for sale for a living. She paid 25 cents a lesson for piano instruction for him.

Not much of a student in school, Basie dreamed of a traveling life, inspired by touring carnivals which came to town. He finished junior high school but spent much of his time at the Palace Theater in Red Bank, where doing occasional chores gained him free admission to performances. He quickly learned to improvise music appropriate to the acts and the silent movies.

Though a natural at the piano, Basie preferred drums. Discouraged by the obvious talents of Sonny Greer, who also lived in Red Bank and became Duke Ellington's drummer in 1919, Basie at age 15 switched to piano exclusively. Greer and Basie played together in venues until Greer set out on his professional career. By then, Basie was playing with pick-up groups for dances, resorts, and amateur shows, including Harry Richardson's "Kings of Syncopation". When not playing a gig, he hung out at the local pool hall with other musicians, where he picked up on upcoming play dates and gossip. He got some jobs in Asbury Park at the Jersey Shore, and played at the Hong Kong Inn until a better player took his place.

Early career

Around 1920, Basie went to Harlem, a hotbed of jazz, where he lived down the block from the Alhambra Theater. Early after his arrival, he bumped into Sonny Greer, who was by then the drummer for the Washingtonians, Duke Ellington's early band. Soon, Basie met many of the Harlem musicians who were "making the scene," including Willie "the Lion" Smith and James P. Johnson.

Basie toured in several acts between 1925 and 1927, including Katie Krippen and Her Kiddies as part of the Hippity Hop show; on the Keith, the Columbia Burlesque, and the Theater Owners Bookers Association (T.O.B.A.) vaudeville circuits; and as a soloist and accompanist to blues singers Katie Krippen and Gonzelle White. His touring took him to Kansas City, St. Louis, New Orleans, and Chicago. Throughout his tours, Basie met many jazz musicians, including Louis Armstrong. Before he was 20 years old, he toured extensively on the Keith and TOBA vaudeville circuits as a solo pianist, accompanist, and music director for blues singers, dancers, and comedians. This provided an early training that was to prove significant in his later career.

Back in Harlem in 1925, Basie gained his first steady job at Leroy's, a place known for its piano players and its "cutting contests." The place catered to "uptown celebrities," and typically the band winged every number without sheet music using "head arrangements." He met Fats Waller, who was playing organ at the Lincoln Theater accompanying silent movies, and Waller taught him how to play that instrument. (Basie later played organ at the Eblon Theater in Kansas City). As he did with Duke Ellington, Willie "the Lion" Smith helped Basie out during the lean times by arranging gigs at "house-rent parties," introducing him to other leading musicians, and teaching him some piano technique.

In 1928, Basie was in Tulsa and heard Walter Page and his Famous Blue Devils, one of the first big bands, which featured Jimmy Rushing on vocals. A few months later, he was invited to join the band, which played mostly in Texas and Oklahoma. It was at this time that he began to be known as "Count" Basie (see Jazz royalty).

Kansas City years

The following year, in 1929, Basie became the pianist with the Bennie Moten band based in Kansas City, inspired by Moten's ambition to raise his band to the level of Duke Ellington's or Fletcher Henderson's. Where the Blue Devils were "snappier" and more "bluesy," the Moten band was more refined and respected, playing in the "Kansas City stomp" style. In addition to playing piano, Basie was co-arranger with Eddie Durham, who notated the music. Their "Moten Swing", which Basie claimed credit for, was widely acclaimed and was an invaluable contribution to the development of swing music, and at one performance at the Pearl Theatre in Philadelphia in December 1932, the theatre opened its door to allow anybody in who wanted to hear the band perform. During a stay in Chicago, Basie recorded with the band. He occasionally played four-hand piano and dual pianos with Moten, who also conducted. The band improved with several personnel changes, including the addition of tenor saxophonist Ben Webster.

When the band voted Moten out, Basie took over for several months, calling the group "Count Basie and his Cherry Blossoms." When his own band folded, he rejoined Moten with a newly re-organized band. When Moten died in 1935 after a failed tonsillectomy, the band tried to stay together but couldn't make a go of it.

Basie formed a new band that year, which included many Moten alumni, with the important addition of tenor player Lester Young. They played at the Reno Club and sometimes were broadcast on local radio. Late one night with time to fill, the band started improvising. Basie liked the results and named the piece "One O'Clock Jump." According to Basie, "we hit it with the rhythm section and went into the riffs, and the riffs just stuck. We set the thing up front in D-flat, and then we just went on playing in F." It became his signature tune.

John Hammond and first recordings

At the end of 1936, Basie and his band, now billed as "Count Basie and His Barons of Rhythm," moved from Kansas City to Chicago, where they honed their repertoire at a long engagement at the Grand Terrace Ballroom. Right from the start, Basie's band was noted for its rhythm section. Another Basie innovation was the use of two tenor saxophone players; at the time, most bands had just one. When Young complained of Herschel Evans' vibrato, Basie placed them on either side of the alto players, and soon had the tenor players engaged in "duels". Many other bands later adapted the split tenor arrangement.

In that city in October 1936, the band had a recording session which the producer John Hammond later described as "the only perfect, completely perfect recording session I've ever had anything to do with". Hammond had heard Basie's band by radio and went to Kansas City to check them out. He invited them to record, in performances which were Lester Young's earliest recordings. Those four sides were released on Vocalion Records under the band name of Jones-Smith Incorporated; the sides were "Shoe Shine Boy", "Evening", "Boogie Woogie", and "Lady Be Good". After Vocalion became a subsidiary of Columbia Records in 1938, "Boogie Woogie" was released in 1941 as part of a four-record compilation album entitled Boogie Woogie (Columbia album C44). When he made the Vocalion recordings, Basie had already signed with Decca Records, but did not have his first recording session with them until January 1937.

By then, Basie's sound was characterized by a "jumping" beat and the contrapuntal accents of his own piano. His personnel around 1937 included: Lester Young and Herschel Evans (tenor sax), Freddie Green (guitar), Jo Jones (drums), Walter Page (bass), Earle Warren (alto sax), Buck Clayton and Harry Edison (trumpet), Benny Morton and Dickie Wells (trombone). Lester Young, known as "Prez" by the band, came up with nicknames for all the other band members. He called Basie "Holy Man", "Holy Main", and just plain "Holy".

Basie favored blues, and he would showcase some of the most notable blues singers of the era after he went to New York: Billie Holiday, Jimmy Rushing, Big Joe Turner, Helen Humes, and Joe Williams. He also hired arrangers who knew how to maximize the band's abilities, such as Eddie Durham and Jimmy Mundy.

New York City and the swing years

When Basie took his orchestra to New York in 1937, they made the Woodside Hotel in Harlem their base (they often rehearsed in its basement). Soon, they were booked at the Roseland Ballroom for the Christmas show. Basie recalled a review, which said something like, "We caught the great Count Basie band which is supposed to be so hot he was going to come in here and set the Roseland on fire. Well, the Roseland is still standing". Compared to the reigning band of Fletcher Henderson, Basie's band lacked polish and presentation.

The producer John Hammond continued to advise and encourage the band, and they soon came up with some adjustments, including softer playing, more solos, and more standards. They paced themselves to save their hottest numbers for later in the show, to give the audience a chance to warm up. His first official recordings for Decca followed, under contract to agent MCA, including "Pennies from Heaven" and "Honeysuckle Rose".

Hammond introduced Basie to Billie Holiday, whom he invited to sing with the band. (Holiday did not record with Basie, as she had her own record contract and preferred working with small combos). The band's first appearance at the Apollo Theater followed, with the vocalists Holiday and Jimmy Rushing getting the most attention. Durham returned to help with arranging and composing, but for the most part, the orchestra worked out its numbers in rehearsal, with Basie guiding the proceedings. There were often no musical notations made. Once the musicians found what they liked, they usually were able to repeat it using their "head arrangements" and collective memory.

Next, Basie played at the Savoy, which was noted more for lindy-hopping, while the Roseland was a place for fox-trots and congas. In early 1938, the Savoy was the meeting ground for a "battle of the bands" with Chick Webb's group. Basie had Holiday, and Webb countered with the singer Ella Fitzgerald. As Metronome magazine proclaimed, "Basie's Brilliant Band Conquers Chick's"; the article described the evening:

"Throughout the fight, which never let down in its intensity during the whole fray, Chick took the aggressive, with the Count playing along easily and, on the whole, more musically scientifically. Undismayed by Chick's forceful drum beating, which sent the audience into shouts of encouragement and appreciation and casual beads of perspiration to drop from Chick's brow onto the brass cymbals, the Count maintained an attitude of poise and self-assurance. He constantly parried Chick's thundering haymakers with tantalizing runs and arpeggios which teased more and more force from his adversary".

The publicity over the big band battle, before and after, gave the Basie band a boost and wider recognition. Soon after, Benny Goodman recorded their signature "One O'Clock Jump" with his band.

A few months later, Holiday left for Artie Shaw's band. Hammond introduced Helen Humes, whom Basie hired; she stayed with Basie for four years. When Eddie Durham left for Glenn Miller's orchestra, he was replaced by Dicky Wells. Basie's 14-man band began playing at the Famous Door, a mid-town nightspot with a CBS network feed and air conditioning, which Hammond was said to have bought the club in return for their booking Basie steadily throughout the summer of 1938. Their fame took a huge leap. Adding to their play book, Basie received arrangements from Jimmy Mundy (who had also worked with Benny Goodman and Earl Hines), particularly for "Cherokee", "Easy Does It", and "Super Chief". In 1939, Basie and his band made a major cross-country tour, including their first West Coast dates. A few months later, Basie quit MCA and signed with the William Morris Agency, who got them better fees.

On 19 February 1940, Count Basie and his Orchestra opened a four-week engagement at Southland in Boston, and they broadcast over the radio on 20 February. On the West Coast, in 1942 the band did a spot in Reveille With Beverly, a musical film starring Ann Miller, and a "Command Performance" for Armed Forces Radio, with Hollywood stars Clark Gable, Bette Davis, Carmen Miranda, Jerry Colonna, and the singer Dinah Shore. Other minor movie spots followed, including Choo Choo Swing, Crazy House, Top Man, Stage Door Canteen, and Hit Parade of 1943. They also continued to record for OKeh Records and Columbia Records. The war years caused a lot of members turn over, and the band worked many play dates with lower pay. Dance hall bookings were down sharply as swing began to fade, the effects of the musicians' strikes of 1942–44 and 1948 began to be felt, and the public's taste grew for singers.

Basie occasionally lost some key soloists. However, throughout the 1940s, he maintained a big band that possessed an infectious rhythmic beat, an enthusiastic team spirit, and a long list of inspired and talented jazz soloists.

Post-war and later years

The big band era appeared to have ended after the war, and Basie disbanded the group. For a while, he performed in combos, sometimes stretched to an orchestra. In 1950, he headlined the Universal-International short film "Sugar Chile" Robinson, Billie Holiday, Count Basie and His Sextet. He reformed his group as a 16-piece orchestra in 1952. Basie credits Billy Eckstine, a top male vocalist of the time, for prompting his return to Big Band. He said that Norman Granz got them into the Birdland club and promoted the new band through recordings on the Mercury, Clef, and Verve labels. The jukebox era had begun, and Basie shared the exposure along with early rock'n'roll and rhythm and blues artists. Basie's new band was more of an ensemble group, with fewer solo turns, and relying less on "head" and more on written arrangements.

Basie added touches of bebop "so long as it made sense", and he required that "it all had to have feeling". Basie's band was sharing Birdland with such bebop greats as Charlie Parker, Dizzy Gillespie, and Miles Davis. Behind the occasional bebop solos, he always kept his strict rhythmic pulse, "so it doesn't matter what they do up front; the audience gets the beat". Basie also added flute to some numbers, a novelty at the time that became widely copied. Soon, his band was touring and recording again. The new band included: Paul Campbell, Tommy Turrentine, Johnny Letman, Idrees Sulieman, and Joe Newman (trumpet); Jimmy Wilkins, Benny Powell, Matthew Gee (trombone); Paul Quinichette and Floyd "Candy" Johnson (tenor sax); Marshal Royal and Ernie Wilkins (alto sax); and Charlie Fowlkes (baritone sax). Down Beat magazine reported, "(Basie) has managed to assemble an ensemble that can thrill both the listener who remembers 1938 and the youngster who has never before heard a big band like this." In 1957, Basie sued the jazz venue Ball and Chain in Miami over outstanding fees, causing the closure of the venue.

In 1958, the band made its first European tour. Jazz was especially appreciated in France, The Netherlands, and Germany in the 1950s; these countries were the stomping grounds for many expatriate American jazz stars who were either resurrecting their careers or sitting out the years of racial divide in the United States. Neal Hefti began to provide arrangements, notably "Lil Darlin'". By the mid-1950s, Basie's band had become one of the preeminent backing big bands for some of the most prominent jazz vocalists of the time. They also toured with the "Birdland Stars of 1955", whose lineup included Sarah Vaughan, Erroll Garner, Lester Young, George Shearing, and Stan Getz.

In 1957, Basie released the live album Count Basie at Newport. "April in Paris" (arrangement by Wild Bill Davis) was a best-selling instrumental and the title song for the hit album. The Basie band made two tours in the British Isles and on the second, they put on a command performance for Queen Elizabeth II, along with Judy Garland, Vera Lynn, and Mario Lanza. He was a guest on ABC's The Pat Boone Chevy Showroom, a venue also opened to several other black entertainers. In 1959, Basie's band recorded a "greatest hits" double album The Count Basie Story (Frank Foster, arranger) and "Basie and Eckstine, Inc.": album featuring Billy Eckstine, Quincy Jones (as arranger) and the Count Basie Orchestra. It was released by Roulette Records, then later reissued by Capitol Records.

Later that year, Basie appeared on a television special with Fred Astaire, featuring a dance solo to "Sweet Georgia Brown", followed in January 1961 by Basie performing at one of the five John F. Kennedy Inaugural Balls. That summer, Basie and Duke Ellington combined forces for the recording First Time! The Count Meets the Duke, each providing four numbers from their play books.

During the balance of the 1960s, the band kept busy with tours, recordings, television appearances, festivals, Las Vegas shows, and travel abroad, including cruises. Some time around 1964, Basie adopted his trademark yachting cap.

Through steady changes in personnel, Basie led the band into the 1980s. Basie made a few more movie appearances, such as the Jerry Lewis film Cinderfella (1960) and the Mel Brooks movie Blazing Saddles (1974), playing a revised arrangement of "April in Paris".

During its heyday, The Gong Show (1976–80) used Basie's "Jumpin' at the Woodside" during some episodes, while an NBC stagehand named Eugene Patton would dance on stage; Patten became known as "Gene Gene, the Dancing Machine".

Marriage and family

Basie was a member of Omega Psi Phi Fraternity. On 21 July 1930, Basie married Vivian Lee Winn, in Kansas City, Jackson County, Missouri. They were divorced sometime before 1935. Some time in or before 1935, the now single Basie returned to New York City, renting a house at 111 West 138th Street, Manhattan, as evidenced by the 1940 census. He married Catherine Morgan on 13 July 1940 in the King County courthouse in Seattle, Washington. In 1942, they moved to Queens.The Basies bought a whites-only home in the new neighborhood of Addisleigh Park in 1946 on Adelaide Road and 175th Street, St. Albans.

On April 11, 1983, Catherine Basie died of a heart attack at the couple's home in Freeport, Grand Bahama Island. She was 67 years old.

Basie died of pancreatic cancer in Hollywood, Florida on April 26, 1984 at the age of 79.

The singers

Basie hitched his star to some of the most famous vocalists of the 1950s and 1960s, which helped keep the Big Band sound alive and added greatly to his recording catalog. Jimmy Rushing sang with Basie in the late 1930s. Joe Williams toured with the band and was featured on the 1957 album One O'Clock Jump, and 1956's Count Basie Swings, Joe Williams Sings, with "Every Day (I Have the Blues)" becoming a huge hit. With Billy Eckstine on the album Basie/Eckstine Incorporated, in 1959. Ella Fitzgerald made some memorable recordings with Basie, including the 1963 album Ella and Basie!. With the 'New Testament' Basie band in full swing, and arrangements written by a youthful Quincy Jones, this album proved a swinging respite from her Songbook recordings and constant touring she did during this period. She even toured with the Basie Orchestra in the mid-1970s, and Fitzgerald and Basie also met on the 1979 albums A Classy Pair, Digital III at Montreux, and A Perfect Match, the last two also recorded live at Montreux. In addition to Quincy Jones, Basie was using arrangers such as Benny Carter (Kansas City Suite), Neal Hefti (The Atomic Mr Basie), and Sammy Nestico (Basie-Straight Ahead).

Frank Sinatra recorded for the first time with Basie on 1962's Sinatra-Basie and for a second studio album on 1964's It Might as Well Be Swing, which was arranged by Quincy Jones. Jones also arranged and conducted 1966's live Sinatra at the Sands which featured Sinatra with Count Basie and his orchestra at the Sands Hotel in Las Vegas. In May 1970, Sinatra performed in London's Royal Festival Hall with the Basie orchestra, in a charity benefit for the National Society for the Prevention of Cruelty to Children. Sinatra later said of this concert "I have a funny feeling that those two nights could have been my finest hour, really. It went so well; it was so thrilling and exciting".

Basie also recorded with Tony Bennett in the early 1960s—their albums together included the live recording at Las Vegas and Strike Up the Band, a studio album. Basie also toured with Bennett, including a date at Carnegie Hall. Other notable recordings were with Sammy Davis, Jr., Bing Crosby, and Sarah Vaughan. One of Basie's biggest regrets was never recording with Louis Armstrong, though they shared the same bill several times. In 1968 Basie and his Band recorded an album with Jackie Wilson titled "Manufacturers of Soul".

Legacy and honors

Count Basie introduced several generations of listeners to the Big Band sound and left an influential catalog. Basie is remembered by many who worked for him as being considerate of musicians and their opinions, modest, relaxed, fun-loving, dryly witty, and always enthusiastic about his music. In his autobiography, he wrote, "I think the band can really swing when it swings easy, when it can just play along like you are cutting butter."

In Red Bank, New Jersey, the Count Basie Theatre, a property on Monmouth Street redeveloped for live performances, and Count Basie Field were named in his honor.

Mechanic Street, where he grew up with his family, has the honorary title of Count Basie Way.

In 2009, Edgecombe Avenue and 160th Street in Washington Heights, Manhattan, were renamed as Paul Robeson Boulevard and Count Basie Place. The corner is the location of 555 Edgecombe Avenue, also known as the Paul Robeson Home, a National Historic Landmark where Count Basie had also lived.

In October 2013, version 3.7 of WordPress was code-named Count Basie.

Representation in other media

Jerry Lewis used "Blues in Hoss' Flat" from Basie's Chairman of the Board album, as the basis for his own "Chairman of the Board" routine in the movie The Errand Boy.

"Blues in Hoss' Flat," composed by Basie band member Frank Foster, was used by the radio DJ Al "Jazzbeaux" Collins as his theme song in San Francisco and New York.

In Home Alone 2: Lost in New York (1992), Brenda Fricker's "Pigeon Lady" character claims to have heard Basie in Carnegie Hall.

Drummer Neil Peart of the Canadian rock band Rush recorded a version of "One O'Clock Jump" with the Buddy Rich Big Band, and has used it at the end of his drum solos on the 2002 Vapor Trails Tour and Rush's 30th Anniversary Tour.

Discography

The majority of Basie's recordings were made with his big band, see Count Basie Orchestra Discography.

From 1929–1932 Basie was part of Bennie Moten's Kansas City Orchestra:

Bennie Moten's Kansas City Orchestra (1929–1932): Basie Beginnings (1929–1932, RCA/Bluebird Records)

Basie also made several small group recordings without his band:

The Swinging Count! (Clef 1952 [1956]) as The Count Basie Sextet

Count Basie Presents Eddie Davis Trio + Joe Newman (Roulette, 1958) with Eddie "Lockjaw" Davis and Joe Newman

Atomic Swing (1958, Roulette Jazz)

Memories Ad-Lib (Roulette, 1958)

String Along with Basie (Roulette, 1960)

Count Basie and the Kansas City 7 (1962, Impulse!)

Basie Swingin' Voices Singin' (ABC-Paramount, 1966) with the Alan Copeland Singers

Loose Walk (with Roy Eldridge) (1972, Pablo)

Basie Jam (1973, Pablo)

The Bosses (with Big Joe Turner) (1973)

For the First Time (1974, Pablo)

Satch and Josh (with Oscar Peterson)

Basie & Zoot (with Zoot Sims) (1975, Pablo)

For the Second Time (1975, Pablo)

Basie Jam 2 (1976, Pablo)

Basie Jam 3 (1976, Pablo)

Kansas City 5 (1977, Pablo)

The Gifted Ones (with Dizzy Gillespie) (1977, Pablo)

Montreux '77 (Live) (1977 Pablo)

Basie Jam: Montreux '77 (Live) (1977, Pablo)

Satch and Josh...Again (with Oscar Peterson) (1977, Pablo)

Night Rider (with Oscar Peterson) (1978, Pablo)

Count Basie Meets Oscar Peterson – The Timekeepers (with Oscar Peterson) (1978, Pablo)

Yessir, That's My Baby (with Oscar Peterson) (1978, Pablo)

Kansas City 8: Get Together (1979, Pablo)

Kansas City 7 (1980, Pablo)

On The Road (1980, Pablo Today, Red Vinyl)

Kansas City 6 (1981, Pablo)

Mostly Blues...and Some Others (1983, Pablo)

20 Golden Pieces of Count Basie (1993, Bulldog)

Jazz & blues (1995, Editions Atlas)

Count Basie [K-Tel] (1996, K-Tel)

Count Basie's Got Rhythm (1998, Emporio; 2001, MCI)

Jumpin' (2000, Columbia River Entertainment Group)

The Memorial Album (2012, AAO Music)

Filmography

Hit Parade of 1943 (1943) – as himself

Sugar Chile Robinson, Billie Holiday, Count Basie and His Sextet (1950) – as himself

Cinderfella (1960) – as himself

Sex and the Single Girl (film) (1964) – as himself with his orchestra

Blazing Saddles (1974) – as himself with his orchestra

Last of the Blue Devils (1979) – interview and concert by the orchestra in documentary on Kansas City music

Awards

Grammy AwardsGrammy Hall of Fame

By 2011, four recordings of Count Basie had been inducted into the Grammy Hall of Fame, a special Grammy award established in 1973 to honor recordings that are at least 25 years old, and that have "qualitative or historical significance."

Honors and inductions

On May 23, 1985, William "Count" Basie was presented, posthumously, with the Presidential Medal of Freedom by President Ronald Reagan. The award was received by his son, Aaron Woodward.

On September 11, 1996 the U.S. Post Office issued a Count Basie 32 cents postage stamp. Basie is a part of the Big Band Leaders issue, which, is in turn, part of the Legends of American Music series.

In 2009, Basie was inducted into the New Jersey Hall of Fame.

National Recording Registry

In 2005, Count Basie's song "One O'Clock Jump" (1937) was included by the National Recording Preservation Board in the Library of Congress National Recording Registry. The board selects songs in an annual basis that are "culturally, historically, or aesthetically significant."

\ Hello ♡/ みんな去ってしまった ✧ᴴᴱᴸᴸᴼ✧

🌼💕⸜🌷︎⸝‍🌸🌹🌺🌻🌼💐

2021-04-27 (火)

( ̿–ᆺ ̿–) චᆽච ( ̿–ᆺ ̿–) චᆽච ( ̿–ᆺ ̿–)

👑 No. 投稿数 ⟴ 2,337

👑 No. １ ⟴ １９５

⑅⃛⑅⃛⑅⃛ℒℴѵℯ⑅⃛⑅⃛⑅⃛♡*

=͟͟͞͞ ♡︎ 乙巳

〖引用🤩雑学ネタ帳〗

哲学の日、駅伝誕生の日、婦人警官記念日（婦人警官の日）、国会図書館開館記念日、悪妻の日、世界生命の日、絆の日、ロープデー、駒ヶ根ソースかつ丼の日、つなぐ日、スタジオキャラットの日、タッパーの日、仏壇の日、高級食パン文化月間

||＊||:||＊||:||＊||:||＊||:||＊||:||＊||:||＊||:||

♡/// 春景色の時間 🌃🌙*.｡★*ﾟ

〖制約条件〗行動範囲＆徒歩圏内＆〖偶然の一致〗

( ᵕᴗᵕ )⋆☪︎ ɢᵒᵒᵈ ɴⁱᵍʰᵗ♥️(-_-)_zzz%%%

NHK小諸ラジオ中継局アンテナ（小諸ラジオ送信所）

🕐🕑🕒🕓🕔🕕🕖🕗🕘🕙🕚🕛

【黒板】 ＼_( ﾟﾛﾟ)ここ重要。ﾒﾓょ!！ﾒﾓ! !

( ' '♬) (^_^♪)♪😇♪೨̣̥*♪♪♪♪

🎞ᎥᏝᵒᵛᵉϋෆ* 最後のシュミレーション (Ü)۶🤔٩(Ü)

ʚෆ⃛ɞ ໒꒱· ﾟʚ♥ɞ «❤︎» ʚ♥ɞ ໒꒱· ﾟʚෆ⃛ɞ

〜時は一巡した〜

ˣx✖ˣ♡✖ˣx♡xˣ✖xˣ♡ˣx✖ˣx♡xˣ

◝▾̎⃝◜·͙.♬ ( ͡° ͜ʖ ͡° ) ◝▾̎⃝◜·͙.♬😏💭💕◝▾̎⃝◜·͙. ♬ ((﹡ˆ︶ˆ﹡))♬* ◝▾̎⃝◜·͙.♬

♥︎︎∗︎*ﾟ本番登場～❕🤍主張お便り ५✍( '▿' )ﾒﾓ

🎞ᎥᏝᵒᵛᵉϋෆ* しまるドアの向こう あなたの涙は見ないから 🚪ﾊﾞﾀﾝｯ

🎞ᎥᏝᵒᵛᵉϋෆ* 月の夜 窓叩くツバメ ☽︎‪𓂃 𓈒𓏸◌‬

🎞ᎥᏝᵒᵛᵉϋෆ* 古い写真のように君はいない ‪(´⊙⊙`)

🎞ᎥᏝᵒᵛᵉϋෆ* この俺を捜すのは やめとくれ ( •̀ᴗ•́ )/

🎞ᎥᏝᵒᵛᵉϋෆ* Lonely face 愛なんて何処にもないと思えば気楽 (ღ˘⌣˘ღ)iloveyou

🎞ᎥᏝᵒᵛᵉϋෆ* 雪をはねて猫柳が 顔を出します 𖤣𖥧𖥣｡

〖ことわざ〗

生き馬の目を抜く（いきうまのめをぬく）

〖意味〗

生きている馬の目を抜き取るほど、すばやく物事をする。油断のならないさま。生き馬の目を抉 (くじ) る。生き牛の目を抉る。「―・くせちがらい世の中」

🕐🕑🕒🕓🕔🕕🕖🕗🕘🕙🕚🕛

👑＊:.｡o+👑＊:.｡o+👑＊:.｡o+👑*ೄ

😍⌨️ ♡̷⁺₊˚✧ ︎💕︎💕

(∗︎⚬̀︎−︎⚬́︎∗︎)b

春の眠気に勝てなーい🐑💤💭

( ˉ ˘ ˉ )😴(´0`)Zzz…

〖ことわざ〗

春眠暁を覚えず

〖意味〗

春眠(しゅんみん)暁(あかつき)を覚えず

春の夜はまことに眠り心地がいいので、朝が来たことにも気付かず、つい寝過ごしてしまう。

⋆｡˚ᎶᎾᎾⅅ ℕᏐᎶℍᎢ⋆｡˚✩( ¯꒳¯ )ᐝ

🎞ᎥᏝᵒᵛᵉϋෆ* おじぎも忘れずに m(❁_ _)m ペコリンチョ♡ (✽˘▿˘✽) peko

追記：カラスさんのおじぎ動画は、後乗せで投稿しますね。

໒꒱ʚ✞ɞ(◉8◉)໒꒱ʚ✞ɞ໒꒱(◉8◉)ʚ✞ɞ໒꒱

🎞ᎥᏝᵒᵛᵉϋෆ* はなれないでよ　近くをとんで ‪𓂃 𓈒𓏸໒꒱

🎞ᎥᏝᵒᵛᵉϋෆ* 翼ひろげて眠るわ 𓂃 𓈒𓏸໒꒱

🎞ᎥᏝᵒᵛᵉϋෆ* ああ突然 オレンジ色の ( ⸝⸝⸝˙ ˙⸝⸝⸝ )

🎞ᎥᏝᵒᵛᵉϋෆ* ああ光が 私をつつみ (💡•᎑•💡)

🎞ᎥᏝᵒᵛᵉϋෆ* いったい俺は何を主張しかかげるのか ٩( *´﹀`* )۶♬*゜

🎞ᎥᏝᵒᵛᵉϋෆ* 欲に意地はりあうことから降りられない (((≫_≫)))

🎞ᎥᏝᵒᵛᵉϋෆ* 思い出さえ　帰らない (*￣ｰ)ﾉﾉ[家]

🎞ᎥᏝᵒᵛᵉϋෆ* 君はどこに　眠るの ( ᵕᴗᵕ )⋆☪︎ ɢᵒᵒᵈ ɴⁱᵍʰᵗ

🎞ᎥᏝᵒᵛᵉϋෆ* 真っすぐ君へと線を引きたい ◌⑅◌┈┈┈┈┈◌⑅◌

🎞ᎥᏝᵒᵛᵉϋෆ* 仲良く暮らしたとさ ﾟ+.(*♡Ü(Ü♡*)ﾟ+.　

🎞ᎥᏝᵒᵛᵉϋෆ* きっと 変わらないのは 鳥のように 自由な心 ㄟ( ･ө･ )ㄏ

🎞ᎥᏝᵒᵛᵉϋෆ* ずっと変わらないのは 空のように自由な心 ︎︎☁︎*°⋆͛*

🎞ᎥᏝᵒᵛᵉϋෆ* たかが人生なりゆきまかせ (Ü)۶♡٩(Ü)

🎞ᎥᏝᵒᵛᵉϋෆ* 男なんかは星の数ほど 👦⑉👦⑉👦⑉👦🏻𖤐⸒⸒

🎞ᎥᏝᵒᵛᵉϋෆ* たかが人生 綺麗なときは ✿ﾟ❀.(*´▽`*)❀.ﾟ✿

🎞ᎥᏝᵒᵛᵉϋෆ* 花よりもっと短いはずね ꒰ღ˘◡˘ற꒱

🎞ᎥᏝᵒᵛᵉϋෆ* あたしだけ飛べる青空を持ってる人ならば ️️️⛅️

～>ﾟ～～～～～～～へび

🎞ᎥᏝᵒᵛᵉϋෆ* 緑の蛇 喋りすぎる 🐍𓆗𓆙 (*￣ｰ)ﾉﾉ[家]

🎞ᎥᏝᵒᵛᵉϋෆ* 🚇 見知らぬ乗客と同じ行く先まで 🚃💨💨

🎞ᎥᏝᵒᵛᵉϋෆ* 🎫 切符をください私にも それだけ言いたかった 🎫

🎞ᎥᏝᵒᵛᵉϋෆ* あなたは多分未来の恋人ね 👼💑👼

🟨 白日夢（はくじつむ）

🟨 白昼夢（はくちゅうむ）

〖意味〗

日中、目を覚ましたままで空想や想像を夢のように映像として見ていること。また、そのような非現実的な幻想にふけること。白日夢。

ʚ♡⃛ɞ 赤いキャンドル代用 🕯🤍

♡/// 球根チューリップ🌷

《花言葉》

〖花：〗 王冠

〖葉っぱ：〗 剣

〖球根：〗 金塊

を表しているといわれています。

《赤い花言葉》 恋の告白

《イギリス花言葉》

博愛・思いやり

《フランス花言葉》

正直・丁重・華美

恋の告白・まじめな愛

〖花言葉の由来〗

広く知られている物語があります。それが、オランダのチューリップ物語です。

昔ある村に、とても心やさしく美しい女性がいました。女性は、3人の騎士からプロポーズをされます。

3人の騎士は、それぞれの家宝である 「王冠」 「剣」 「金塊」 を女性にプレゼントし、愛を伝えました。しかし、心やさしい女性は1人を選ぶことができません。

そこで、女性は女神フローラに会いに行き、「どうか私を花の姿に変えて下さい」 とお願いしました。女性の願いを聞き入れた女神フローラは、女性をチューリップの花の姿に変えてあげたのでした。

3人の騎士の愛の告白に対し、だれも傷つけたくないという女性の思いやりが、チューリップの花言葉として残り、語り継がれています。

ੈ✩ 水仙（スイセン）球根

《花言葉》

自己愛・神秘

《黄色の水仙（スイセン）の花言葉》

私のもとへ帰って

《白の水仙（スイセン）の花言葉》

神秘

❥❥» 手狭なスペース・代用アップライトピアノ 🎹🎵 🎹🎶🎼.•*¨*•.¸¸♬🎶

❥⃝❥⃝❥⃝ たんぽぽ 🌼💕

♥︎︎∗︎*ﾟムラサキツユクサ（紫露草）

《花言葉》

尊敬しているが恋愛ではない

ひとときの幸せ・尊敬しています

《英語の花言葉》

esteem not love（尊敬しているが恋愛ではない）

ʚ♡⃛ɞ 代用・金と銀の器 🍶

♥︎︎∗︎*ﾟオダマキ（苧環）

《花言葉》

〖オダマキ全般〗

愚か

〖紫のオダマキ〗 「勝利への決意

〖赤いオダマキ〗 「心配して震えている」

〖白いオダマキ〗 「あの方が気がかり」

♥︎︎∗︎*ﾟピンク色の花が咲く球根チューリップ🌷

♥︎︎∗︎*ﾟ手狭なスペース・酒場と墓場ランキングボード ❁⃘*.ﾟ

o♬*ﾟ・*:..｡o♬*ﾟo♬*ﾟ・*:..｡o♬*ﾟ

by 萩原健一『愚か者よ』 ♪♪"

by 近藤真彦『愚か者』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 愚か者よ おまえの流した涙を受けよう ♪♪"

(ღ•ㅂ•๐) 愚か者よ 私の胸にほほをうずめて 今夜は眠れよ ♪♪"

(ღ•ㅂ•๐) 身果てぬ夢に男はさまよい 女はこがれる ♪♪"

(ღ•ㅂ•๐) ルージュを引けば 偽りだけがいつも真実 それが人生 ♪♪"

(ღ•ㅂ•๐) ごらん金と銀の器を抱いて ♪♪"

(ღ•ㅂ•๐) 罪と罰の酒を満たした ♪♪"

(ღ•ㅂ•๐) 愚か者が街を走るよ ♪♪"

(ღ•ㅂ•๐) おいで金と銀の器を抱いて ♪♪"

(ღ•ㅂ•๐) 罪と罰の酒を飲もうよ ♪♪"

(ღ•ㅂ•๐) ここは愚か者の酒場さ ♪♪"

(ღ•ㅂ•๐) 愚か者よ おまえの失くした時間を探そう ♪♪"

(ღ•ㅂ•๐) 愚か者よ 私の腕に夢をあずけて今夜は眠れよ ♪♪"

(ღ•ㅂ•๐) ごらん金と銀の器を抱いて ♪♪"

(ღ•ㅂ•๐) 罪と罰の酒を満たした ♪♪"

(ღ•ㅂ•๐) 愚か者が街を走るよ ♪♪"

(ღ•ㅂ•๐) おいで金と銀の器を抱いて ♪♪"

(ღ•ㅂ•๐) 罪と罰の酒を飲もうよ ♪♪"

(ღ•ㅂ•๐) ここは愚か者の酒場さ ♪♪"

(ღ•ㅂ•๐) 失くした時間を男は振り向き 女は消し去る ♪♪"

(ღ•ㅂ•๐) 仮面をつけて 快楽だけがいつも真実 ♪♪"

(ღ•ㅂ•๐) 愚か者よ 愚か者よ 今夜は眠れよ ♪♪"

♡┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈♡

🕊 𓈒 𓂂𓏸 ⸜🕊⸝🕊💭⸜🕊⸝🕊💭🕊 𓈒 𓂂𓏸

by 近藤真彦『Baby It's You』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 赤いキャンドルの 灯が揺れてる ♪♪"

(ღ•ㅂ•๐) 踊るお前の影が 窓に映る ♪♪"

(ღ•ㅂ•๐) 振り向けば ガラス越し見えるはず ♪♪"

(ღ•ㅂ•๐) 雨に打たれるままの俺の姿 ♪♪"

(ღ•ㅂ•๐) グレーのトレンチ 襟をたて待ち続ける ♪♪"

(ღ•ㅂ•๐) パーティーのざわめきが ブルースさ ♪♪"

(ღ•ㅂ•๐) Baby It's You 別れたら死ぬほど淋しいよ ♪♪"

(ღ•ㅂ•๐) Baby It's You お前しかいないよ ♪♪"

(ღ•ㅂ•๐) やるせないエモーション ♪♪"

(ღ•ㅂ•๐) 窓に体当たりして そのまま ♪♪"

(ღ•ㅂ•๐) お前 横向きにして さらいたいよ ♪♪"

(ღ•ㅂ•๐) 乱暴な男だと 言われても ♪♪"

(ღ•ㅂ•๐) そんな愛し方しか 出来ないのさ ♪♪"

(ღ•ㅂ•๐) カッコつけても 未練だね ふと微笑うよ ♪♪"

(ღ•ㅂ•๐) ずぶ濡れの ソフトも絵にならないね ♪♪"

(ღ•ㅂ•๐) Baby It's You 踊ってる ♪♪"

(ღ•ㅂ•๐) 相手を殴りたい ♪♪"

(ღ•ㅂ•๐) Baby It's You あきらめが悪いね ♪♪"

(ღ•ㅂ•๐) 止められないエモーション ♪♪"

(ღ•ㅂ•๐) 濡れた煙草 投げ捨てて ♪♪"

(ღ•ㅂ•๐) 哀しい気持ちさ ♪♪"

(ღ•ㅂ•๐) お前なしじゃ生きられない ♪♪"

(ღ•ㅂ•๐) そいつが答えさ ♪♪"

(ღ•ㅂ•๐) Baby It's You 別れたら ♪♪"

(ღ•ㅂ•๐) 死ぬほど 淋しいよ ♪♪"

(ღ•ㅂ•๐) Baby It's You お前しかいないよ ♪♪"

(ღ•ㅂ•๐) やるせないエモーション ♪♪"

♡┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈♡

🕊 𓈒 𓂂𓏸 ⸜🕊⸝🕊💭⸜🕊⸝🕊💭🕊 𓈒 𓂂𓏸

by 近藤真彦『Made in Japan』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) テキサスのドライブ・インで ♪♪"

(ღ•ㅂ•๐) この手紙 お前に書くよ ♪♪"

(ღ•ㅂ•๐) 孤独だけカップに注ぎ ♪♪"

(ღ•ㅂ•๐) 走り去る車 数えて ♪♪"

(ღ•ㅂ•๐) Oh Darlin' ♪♪"

(ღ•ㅂ•๐) 忘れるための旅なのに 馬鹿だね

Oh Darlin' ♪♪"

(ღ•ㅂ•๐) 古いラジオの恋歌がしみてる ♪♪"

(ღ•ㅂ•๐) Made In Japan ♪♪"

(ღ•ㅂ•๐) 泣きたいくせに ♪♪"

(ღ•ㅂ•๐) Made In Japan ♪♪"

(ღ•ㅂ•๐) 唇噛んで我慢してるよ俺 ♪♪"

(ღ•ㅂ•๐) 爪の先まで日本人だね 黒い髪と黒い瞳が恋しい ♪♪"

♡┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈♡

🕊 𓈒 𓂂𓏸 ⸜🕊⸝🕊💭⸜🕊⸝🕊💭🕊 𓈒 𓂂𓏸

by 近藤真彦『夕焼けの歌』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) ゛あばよ゛とこの手も 振らずに ♪♪"

(ღ•ㅂ•๐) 飛び出した ガラクタの町 ♪♪"

(ღ•ㅂ•๐) あんなに憎んだすべてが ♪♪"

(ღ•ㅂ•๐) やりきれずしみるのは何故か ♪♪"

(ღ•ㅂ•๐) 憧れた夢さえまだ報われずに ♪♪"

(ღ•ㅂ•๐) 人恋しさに 泣けば・・・・♪♪"

(ღ•ㅂ•๐) ゆらゆらとビルの都会に広がる ♪♪"

(ღ•ㅂ•๐) あの頃と同じ 夕焼け空 ♪♪"

(ღ•ㅂ•๐) クソ食らえとただ ♪♪"

(ღ•ㅂ•๐) アスファルト 蹴りつけ ♪♪"

(ღ•ㅂ•๐) ああ春夏秋・・・と ♪♪"

(ღ•ㅂ•๐) この都会誰れを迎い入れ ♪♪"

(ღ•ㅂ•๐) また誰れを追い出すのだろう ♪♪"

(ღ•ㅂ•๐) はじめて恋したお前は ♪♪"

(ღ•ㅂ•๐) 俺の目が好きと言ったのに ♪♪"

(ღ•ㅂ•๐) 握りしめたこぶしが 空振りする度 ♪♪"

(ღ•ㅂ•๐) 何が宝と言えば・・・ ♪♪"

(ღ•ㅂ•๐) ゆらゆらと俺の頬に焼きつく ♪♪"

(ღ•ㅂ•๐) あの頃と同じ 夕焼け空 ♪♪"

(ღ•ㅂ•๐) 土下座したいほど ♪♪"

(ღ•ㅂ•๐) 愛が欲しいだけ ♪♪"

(ღ•ㅂ•๐) ああ春夏秋・・・も ♪♪"

♡┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈♡

🕊 𓈒 𓂂𓏸 ⸜🕊⸝🕊💭⸜🕊⸝🕊💭🕊 𓈒 𓂂𓏸

❣Ꮠ ᏞᎾᏙᎬ ᎽᎾᏌ❣

♡┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈♡

🕊 𓈒 𓂂𓏸 ⸜🕊⸝🕊💭⸜🕊⸝🕊💭🕊 𓈒 𓂂𓏸

ひとりじゃないっていいね。

o♬*ﾟ・*:..｡o♬*ﾟ_____☆*°_______☆*°

𝚠𝚎𝚕𝚌𝚘𝚖𝚎 ♬︎♡ 𝓌ℯ𝓁𝒸ℴ𝓂ℯ

いらっしゃいませ (‘-‘*)ｴﾍ

♡𝕋𝕙𝕒𝕟𝕜 𝕐𝕠𝕦 ＞📣〃May I help you?〃

“No, thank you. I’m just looking (around).”

ᐠ( ᐢ ᵕ ᐢ )ᐟｲﾗｯｼｬｲﾏｾ💖

⋆.*⃝̥◌ॱ꒰*ॢ˘̴͈́꒵˘̴͈̀*ॢ꒱ॱ◌̥*⃝̣ ⋆ ꒰* ॢꈍ◡ꈍ ॢ꒱.*˚‧

___☆*°______☆*° o♬*ﾟ・*:..｡o♬*ﾟ

#お庭 #日本 #JAPAN