#09-23

De elé még elmondom, hogy miért. Nem vagyok biztos benne, hogy minden pontjában tökéletes a szöveg, de belenyúlt valamibe, amin én is gondolkodtam egy párszor. Akinek van türelme, olvassa el.

Udvarlás margójára 21. - A felnőtt nővel nem lehet csajozni

"Önbizalmat elérni úgy lehet, hogy szembenézünk a félelmeinkkel, és a félelemmel teli konfliktusainkat úgy oldjuk meg, hogy az ebből származó sikerélmény építsen. Vagyis tudatosan ugrok olyan racionális és érzelmi megmérettetésekbe, ami új, ami ismeretlen, amitől félek, teljesen mindegy, hogy öröm vagy fájdalom vár rám. És mindezt csak ma tehetem meg. Tudván azt, hogy mindezt önmagamért teszem. Az ilyen megmérettetések megoldása után születik meg a felnőtt férfi meg a felnőtt nő." - Csernus Imre

Amikor egy 40 feletti férfi 20-on éves csajokat szed fel, nagyon gyorsan kap egy csomó negatív kritikát. Csak a friss hús kell neki, csak szűkre vágyik, hajtja kislányokat.

Most adnék egy másik nézőpontot, mert sokadszorra jön szembe ez a minta.

Egy válás után a férfiak megpróbálnak újra nővel kapcsolódni. De sokaknál ez utoljára a kora 20-as éveikben volt. Hisz azóta csak a feleségével volt, más nővel nem érintkezett. Annyi minta van benne arról, hogy kell felszedni egy nőt, hogyan kell szexelni, amit akkor megélt. Van az a férfi, aki azt szeretné persze újra megélni is.

Az egyetlen érettebb nő az életében a párja volt (aki szintén nem tudott felnőni lehet) Így most tétován áll, mihez kezdjen. Reméli azon mintái még működnek, sikerül benne újra bekapcsolni a vadászó oroszlánt is. Azt is megjegyezném, hogy magáról sincs kialakult képe, hogy valóban idősebb férfi lett, így benső nézete miatt is a fiatalabb csajokat keresi. A benne élő "női" kép is ilyen fiatal csajban mutatkozik meg.

Van persze, amikor valakivel van egy szexkapcsolat, egy rapid randi, de ott még nem igazán mutatkozik meg a női oldal sem. Ez most nem valami "erős", meg "igazi" nőről szól. Mert megjegyzem, a nők esetében is látni, amikor csak fiatalabb pasikkal pörögnek. Persze lehet sok oka, de most maradjunk a fővonalnál.

Amikor hallgatom a férfiakat (illetve néha nőket), hogy a férfinak nem állt fel, vagy gyorsabban elélvezett, nem probléma alapúan kell ezt kezelni. És nem ezt kell végképp megoldani. Ne szerelgessük már a férfiakat, megalázó.

A férfi szembesül egy érett, hús-vér nővel, aki már két lábbal áll a földön, elboldogul az életben. Nagyon más, mint korai 20-as csaj. Más a teste, más az energiája, más a kommunikációja. Zavarba ejtő tud lenni. Egy felnőtt érett nő teste más, mint amit eddig a fejében gondolt. Hagyjuk a pornót, ott egy MILF is agyon van szabva. De ez egyben szembesíti azzal, hogy ő sem fiatal már. Érteni akarjuk a férfit. Hát ahogy elnézem hogyan kezelik a férfi szexualitás problémáit, nagyon nem megy az értés.

Ezért drága Uram, mielőtt beleugranál a Tinder, online partner kereső és egy retro party tengerébe, érdemes átgondolni, hogy vagy. Miként látod magadat, miként látod a nőket.

Képes vagy felnőtt érett nővel jól kommunikálni, ami több mint a munkahelyi poénkodás és flört. Szembe mersz nézni azzal, hogy milyen lesz a szex?

Ez már nem csajozás. Nem egy csaj fog szemben ülni veled. Ahogy korábban írtam, az udvarlás nem randizás. Lehet kalandozni, lehet vadászni, de ha valóban egy társat akarunk, akkor valahol korban, intellektusban azonos kellene. Valahol írtam ebben a sorozatban is korkülönbségről, az jól mutat filmben, egy posztban, egy magazin címlapján, de a valóságban eljön az a határ, amikor ezzel szembesülni nagyon rossz lesz.

Kilépve egy hosszú kapcsolatból, hiába vagyunk nagykorúak már 20-on éve is, a felnőttséget nem kapjuk ingyen. Ha felnőtt nőt szeretnél csajok helyett, felnőtt férfinak kell lenned.

"Úgy tartják, a türelem erény, hogy aki vár, elnyeri méltó jutalmát. Persze azt is mondják, hogy aki sokat hezitál, veszíthet. Sajnos van úgy, hogy ami a felszínen türelemnek tűnik, az valójában a lélek mélyén rejtőző félelem maga. Mintha sok birkagyapjúba csomagolnánk egy igen eszes farkast." - Everwood

Látom hány esetben ijesztő ma ez egy férfinak. Bele kell állni. Fel kell nőni a feladathoz. Itt régi trükkök nem jönnek be. Ha komolyan 20-on éves sémákkal jössz, meg szextechnikákkal, PUA szövegekkel, akkor nem vagy több, mint a veszett fejsze nyele. Nem azért vérzel el a szexben, mert valami probléma van veled, csak olyan terepre tévedtél, ahol a fiatalkori dolgok már nem működnek.

Azért finoman jelzem, hogy most felnőtt nő volt a másik oldalon, nem egy kiéhezett, a férfit szintén csak használó nőnemű személy. Mert hát azon az oldalon sem kellene sokáig kapargatni a felszínt. Hol vannak a férfiak szlogent mindig akkor ejtse ki valaki a száján, ha valóban úgy gondolja, hogy képes lenne egy férfi partnere lenni.

A felnőtt férfiban él egy oroszlán, de ezt nem vadászatra használja már. Hanem egy nő megtartására. Az úriemberség valahol itt kezdődik el. Így lesz egy randiból udvarlás.

John William Coltrane, also known as Trane (September 23, 1926 – July 17, 1967), was an American jazz saxophonist and composer. Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of modes in jazz and was later at the forefront of free jazz. He led at least fifty recording sessions during his career, and appeared as a sideman on many albums by other musicians, including trumpeter Miles Davis and pianist Thelonious Monk.

As his career progressed, Coltrane and his music took on an increasingly spiritual dimension. Coltrane influenced innumerable musicians, and remains one of the most significant saxophonists in music history. He received many posthumous awards and recognitions, including canonization by the African Orthodox Church as Saint John William Coltrane and a special Pulitzer Prize in 2007. His second wife was pianist Alice Coltrane and their son Ravi Coltrane is also a saxophonist.

Biography

Early life and career (1926–1954)

Coltrane was born in his parents' apartment at 200 Hamlet Avenue, Hamlet, North Carolina on September 23, 1926. His father was John R. Coltrane and his mother was Alice Blair. He grew up in High Point, North Carolina, attending William Penn High School (now Penn-Griffin School for the Arts). Beginning in December 1938 Coltrane's aunt, grandparents, and father all died within a few months of one another, leaving John to be raised by his mother and a close cousin. In June 1943 he moved to Philadelphia. In September of that year his mother bought him his first saxophone, an alto. Coltrane played the clarinet and the alto horn in a community band before taking up the alto saxophone during high school. He had his first professional gigs in early to mid-1945 – a "cocktail lounge trio", with piano and guitar.

To avoid being drafted by the Army, Coltrane enlisted in the Navy on August 6, 1945, the day the first U.S. atomic bomb was dropped on Japan. He was trained as an apprentice seaman at Sampson Naval Training Station in upstate New York before he was shipped to Pearl Harbor, where he was stationed at Manana Barracks, the largest posting of African-American servicemen in the world. By the time he got to Hawaii, in late 1945, the Navy was already rapidly downsizing. Coltrane's musical talent was quickly recognized, though, and he became one of the few Navy men to serve as a musician without having been granted musicians rating when he joined the Melody Masters, the base swing band. As the Melody Masters was an all-white band, however, Coltrane was treated merely as a guest performer to avoid alerting superior officers of his participation in the band. He continued to perform other duties when not playing with the band, including kitchen and security details. By the end of his service, he had assumed a leadership role in the band. His first recordings, an informal session in Hawaii with Navy musicians, occurred on July 13, 1946. Coltrane played alto saxophone on a selection of jazz standards and bebop tunes.

After being discharged from his duties in the Navy, as a seaman first class in August 1946, Coltrane returned to Philadelphia, where he "plunged into the heady excitement of the new music and the blossoming bebop scene." After touring with King Kolax, he joined a Philly-based band led by Jimmy Heath, who was introduced to Coltrane's playing by his former Navy buddy, the trumpeter William Massey, who had played with Coltrane in the Melody Masters. In Philadelphia after the war, he studied jazz theory with guitarist and composer Dennis Sandole and continued under Sandole's tutelage through the early 1950s. Originally an altoist, in 1947 Coltrane also began playing tenor saxophone with the Eddie Vinson Band. Coltrane later referred to this point in his life as a time when "a wider area of listening opened up for me. There were many things that people like Hawk [Coleman Hawkins], and Ben [Webster] and Tab Smith were doing in the '40s that I didn't understand, but that I felt emotionally." A significant influence, according to tenor saxophonist Odean Pope, was the Philadelphia pianist, composer, and theorist Hasaan Ibn Ali. "Hasaan was the clue to ... the system that Trane uses. Hasaan was the great influence on Trane’s melodic concept."

An important moment in the progression of Coltrane's musical development occurred on June 5, 1945, when he saw Charlie Parker perform for the first time. In a DownBeat article in 1960 he recalled: "the first time I heard Bird play, it hit me right between the eyes." Parker became an early idol, and they played together on occasion in the late 1940s.

Contemporary correspondence shows that Coltrane was already known as "Trane" by this point, and that the music from some 1946 recording sessions had been played for trumpeter Miles Davis—possibly impressing him.

Coltrane was a member of groups led by Dizzy Gillespie, Earl Bostic and Johnny Hodges in the early to mid-1950s.

Miles and Monk period (1955–1957)

In the summer of 1955, Coltrane was freelancing in Philadelphia while studying with guitarist Dennis Sandole when he received a call from Davis. The trumpeter, whose success during the late forties had been followed by several years of decline in activity and reputation, due in part to his struggles with heroin, was again active and about to form a quintet. Coltrane was with this edition of the Davis band (known as the "First Great Quintet"—along with Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums) from October 1955 to April 1957 (with a few absences). During this period Davis released several influential recordings that revealed the first signs of Coltrane's growing ability. This quintet, represented by two marathon recording sessions for Prestige in 1956, resulted in the albums Cookin', Relaxin', Workin', and Steamin'. The "First Great Quintet" disbanded due in part to Coltrane's heroin addiction.

During the later part of 1957 Coltrane worked with Thelonious Monk at New York’s Five Spot Café, and played in Monk's quartet (July–December 1957), but, owing to contractual conflicts, took part in only one official studio recording session with this group. Coltrane recorded many albums for Prestige under his own name at this time, but Monk refused to record for his old label. A private recording made by Juanita Naima Coltrane of a 1958 reunion of the group was issued by Blue Note Records as Live at the Five Spot—Discovery!in 1993. A high quality tape of a concert given by this quartet in November 1957 was also found later, and was released by Blue Note in 2005. Recorded by Voice of America, the performances confirm the group's reputation, and the resulting album, Thelonious Monk Quartet with John Coltrane at Carnegie Hall, is widely acclaimed.

Blue Train, Coltrane's sole date as leader for Blue Note, featuring trumpeter Lee Morgan, bassist Paul Chambers, and trombonist Curtis Fuller, is often considered his best album from this period. Four of its five tracks are original Coltrane compositions, and the title track, "Moment's Notice", and "Lazy Bird", have become standards. Both tunes employed the first examples of his chord substitution cycles known as Coltrane changes.

Davis and Coltrane

Coltrane rejoined Davis in January 1958. In October of that year, jazz critic Ira Gitler coined the term "sheets of sound" to describe the style Coltrane developed during his stint with Monk and was perfecting in Davis' group, now a sextet. His playing was compressed, with rapid runs cascading in hundreds of notes per minute. He stayed with Davis until April 1960, working with alto saxophonist Cannonball Adderley; pianists Red Garland, Bill Evans, and Wynton Kelly; bassist Paul Chambers; and drummers Philly Joe Jones and Jimmy Cobb. During this time he participated in the Davis sessions Milestones and Kind of Blue, and the concert recordings Miles & Monk at Newport(1963) and Jazz at the Plaza (1958).

Period with Atlantic Records (1959-1961)

At the end of this period Coltrane recorded his first album as leader for Atlantic Records, Giant Steps (1959), which contained only his compositions. The album's title track is generally considered to have one of the most difficult chord progressions of any widely played jazz composition. Giant Steps utilizes Coltrane changes. His development of these altered chord progression cycles led to further experimentation with improvised melody and harmony that he continued throughout his career.

Coltrane formed his first quartet for live performances in 1960 for an appearance at the Jazz Gallery in New York City. After moving through different personnel including Steve Kuhn, Pete La Roca, and Billy Higgins, the lineup stabilized in the fall with pianist McCoy Tyner, bassist Steve Davis, and drummer Elvin Jones. Tyner, from Philadelphia, had been a friend of Coltrane's for some years and the two men had an understanding that the pianist would join Coltrane when Tyner felt ready for the exposure of regularly working with him. Also recorded in the same sessions were the later released albums Coltrane's Sound (1964) and Coltrane Plays the Blues (1962).

Coltrane's first record with his new group was also his debut playing the soprano saxophone, the hugely successful My Favorite Things(1960). Around the end of his tenure with Davis, Coltrane had begun playing soprano, an unconventional move considering the instrument's neglect in jazz at the time. His interest in the straight saxophone most likely arose from his admiration for Sidney Bechet and the work of his contemporary, Steve Lacy, even though Davis claimed to have given Coltrane his first soprano saxophone. The new soprano sound was coupled with further exploration. For example, on the Gershwin tune "But Not for Me", Coltrane employs the kinds of restless harmonic movement used on Giant Steps (movement in major thirds rather than conventional perfect fourths) over the A sections instead of a conventional turnaround progression. Several other tracks recorded in the session utilized this harmonic device, including "26–2", "Satellite", "Body and Soul", and "The Night Has a Thousand Eyes".

First years with Impulse Records (1959–1961)

In May 1961, Coltrane's contract with Atlantic was bought out by the newly formed Impulse! Records label. An advantage to Coltrane recording with Impulse! was that it would enable him to work again with engineer Rudy Van Gelder, who had taped both his and Davis' Prestige sessions, as well as Blue Train. It was at Van Gelder's new studio in Englewood Cliffs, New Jersey that Coltrane would record most of his records for the label.

By early 1961, bassist Davis had been replaced by Reggie Workman, while Eric Dolphy joined the group as a second horn around the same time. The quintet had a celebrated (and extensively recorded) residency in November 1961 at the Village Vanguard, which demonstrated Coltrane's new direction. It featured the most experimental music he had played up to this point, influenced by Indian ragas, the recent developments in modal jazz, and the burgeoning free jazz movement. John Gilmore, a longtime saxophonist with musician Sun Ra, was particularly influential; after hearing a Gilmore performance, Coltrane is reported to have said "He's got it! Gilmore's got the concept!" The most celebrated of the Vanguard tunes, the 15-minute blues, "Chasin' the 'Trane", was strongly inspired by Gilmore's music.

During this period, critics were fiercely divided in their estimation of Coltrane, who had radically altered his style. Audiences, too, were perplexed; in France he was booed during his final tour with Davis. In 1961, Down Beat magazine indicted Coltrane and Dolphy as players of "Anti-Jazz", in an article that bewildered and upset the musicians. Coltrane admitted some of his early solos were based mostly on technical ideas. Furthermore, Dolphy's angular, voice-like playing earned him a reputation as a figurehead of the "New Thing" (also known as "Free Jazz" and "Avant-Garde") movement led by Ornette Coleman, which was also denigrated by some jazz musicians (including Davis) and critics. But as Coltrane's style further developed, he was determined to make each performance "a whole expression of one's being".

Classic Quartet period (1962–1965)

In 1962, Dolphy departed and Jimmy Garrison replaced Workman as bassist. From then on, the "Classic Quartet", as it came to be known, with Tyner, Garrison, and Jones, produced searching, spiritually driven work. Coltrane was moving toward a more harmonically static style that allowed him to expand his improvisations rhythmically, melodically, and motivically. Harmonically complex music was still present, but on stage Coltrane heavily favored continually reworking his "standards": "Impressions", "My Favorite Things", and "I Want to Talk About You".

The criticism of the quintet with Dolphy may have affected Coltrane. In contrast to the radicalism of his 1961 recordings at the Village Vanguard, his studio albums in the following two years (with the exception of Coltrane, 1962, which featured a blistering version of Harold Arlen's "Out of This World") were much more conservative. He recorded an album of ballads and participated in collaborations with Duke Ellington on the album Duke Ellington and John Coltrane and with deep-voiced ballad singer Johnny Hartman on an eponymous co-credited album. The album Ballads (recorded 1961–62) is emblematic of Coltrane's versatility, as the quartet shed new light on old-fashioned standards such as "It's Easy to Remember". Despite a more polished approach in the studio, in concert the quartet continued to balance "standards" and its own more exploratory and challenging music, as can be heard on the Impressions (recorded 1961–63), Live at Birdland and Newport '63 (both recorded 1963). Impressions consists of two extended jams including the title track along with "Dear Old Stockholm", "After the Rain" and a blues. Coltrane later said he enjoyed having a "balanced catalogue."

The Classic Quartet produced their best-selling album, A Love Supreme, in December 1964. A culmination of much of Coltrane's work up to this point, this four-part suite is an ode to his faith in and love for God. These spiritual concerns characterized much of Coltrane's composing and playing from this point onwards—as can be seen from album titles such as Ascension, Om and Meditations. The fourth movement of A Love Supreme, "Psalm", is, in fact, a musical setting for an original poem to God written by Coltrane, and printed in the album's liner notes. Coltrane plays almost exactly one note for each syllable of the poem, and bases his phrasing on the words. The album was composed at Coltrane's home in Dix Hills on Long Island.

The quartet played A Love Supreme live only once—in July 1965 at a concert in Antibes, France.

Avant-garde jazz and the second quartet (1965–1967)

In his late period, Coltrane showed an increasing interest in avant-garde jazz, purveyed by Ornette Coleman, Albert Ayler, Sun Ra and others. In developing his late style, Coltrane was especially influenced by the dissonance of Ayler's trio with bassist Gary Peacock, who had also worked with Paul Bley, and drummer Sunny Murray, whose playing was honed with Cecil Taylor as leader. Coltrane championed many younger free jazz musicians such as Archie Shepp, and under his influence Impulse! became a leading free jazz record label.

After A Love Supreme was recorded, Ayler's style became more prominent in Coltrane's music. A series of recordings with the Classic Quartet in the first half of 1965 show Coltrane's playing becoming increasingly abstract, with greater incorporation of devices like multiphonics, utilization of overtones, and playing in the altissimo register, as well as a mutated return of Coltrane's sheets of sound. In the studio, he all but abandoned his soprano to concentrate on the tenor saxophone. In addition, the quartet responded to the leader by playing with increasing freedom. The group's evolution can be traced through the recordings The John Coltrane Quartet Plays, Living Space, Transition (both June 1965), New Thing at Newport (July 1965), Sun Ship (August 1965), and First Meditations (September 1965).

In June 1965, he went into Van Gelder's studio with ten other musicians (including Shepp, Pharoah Sanders, Freddie Hubbard, Marion Brown, and John Tchicai) to record Ascension, a 40-minute piece that included solos by the young avant-garde musicians (as well as Coltrane), and was controversial primarily for the collective improvisation sections that separated the solos. After recording with the quartet over the next few months, Coltrane invited Sanders to join the band in September 1965. While Coltrane frequently used over-blowing as an emotional exclamation-point, Sanders would overblow entire solos, resulting in a constant screaming and screeching in the altissimo range of the instrument.

Adding to the quartet

By late 1965, Coltrane was regularly augmenting his group with Sanders and other free jazz musicians. Rashied Ali joined the group as a second drummer. This was the end of the quartet; claiming he was unable to hear himself over the two drummers, Tyner left the band shortly after the recording of Meditations. Jones left in early 1966, dissatisfied by sharing drumming duties with Ali. Both Tyner and Jones subsequently expressed displeasure in interviews, after Coltrane's death, with the music's new direction, while incorporating some of the free-jazz form's intensity into their own solo projects.

There is speculation that in 1965 Coltrane began using LSD, informing the "cosmic" transcendence of his late period. After the departure of Jones and Tyner, Coltrane led a quintet with Sanders on tenor saxophone, his second wife Alice Coltrane on piano, Garrison on bass, and Ali on drums. Coltrane and Sanders were described by Nat Hentoff as "speaking in tongues". When touring, the group was known for playing very lengthy versions of their repertoire, many stretching beyond 30 minutes and sometimes being an hour long. Concert solos for band members often extended beyond fifteen minutes.

The group can be heard on several concert recordings from 1966, including Live at the Village Vanguard Again! and Live in Japan. In 1967, Coltrane entered the studio several times; though pieces with Sanders have surfaced (the unusual "To Be", which features both men on flutes), most of the recordings were either with the quartet minus Sanders (Expression and Stellar Regions) or as a duo with Ali. The latter duo produced six performances that appear on the album Interstellar Space.

Death and funeral

Coltrane died of liver cancer at Huntington Hospital on Long Island on July 17, 1967, at the age of 40. His funeral was held four days later at St. Peter's Lutheran Church in New York City. The service was opened by the Albert Ayler Quartet and closed by the Ornette Coleman Quartet. Coltrane is buried at Pinelawn Cemetery in Farmingdale, New York.

One of his biographers, Lewis Porter, has suggested that the cause of Coltrane's illness was hepatitis, although he also attributed the disease to Coltrane's heroin use. In a 1968 interview Ayler claimed that Coltrane was consulting a Hindu meditative healer for his illness instead of Western medicine, although Alice Coltrane later denied this.

Coltrane's death surprised many in the musical community who were not aware of his condition. Davis said that "Coltrane's death shocked everyone, took everyone by surprise. I knew he hadn't looked too good... But I didn't know he was that sick—or even sick at all."

Personal life and religious beliefs

In 1955, Coltrane married Naima (born Juanita Grubbs). Naima Coltrane, who was already a Muslim convert, heavily influenced his spirituality. When they married, Naima had a five-year-old daughter named Antonia, later named Saeeda. Coltrane adopted Saeeda. Coltrane met Naima at the home of bassist Steve Davis in Philadelphia. The love ballad he wrote to honor his wife, "Naima" was Coltrane's favorite composition. In 1956 the couple left Philadelphia with their six-year-old daughter in tow and moved to New York City. In August 1957, Coltrane, Naima and Saeeda moved into an apartment on 103d St. and Amsterdam Ave. in New York, near Central Park West. A few years later, John and Naima Coltrane purchased a home on Long Island on Mexico Street. This is the house where they would eventually break up in 1963. Said Naima about the break in J.C. Thomas's Chasin' the Trane: "I could feel it was going to happen sooner or later, so I wasn't really surprised when John moved out of the house in the summer of 1963. He didn't offer any explanation. He just told me there were things he had to do, and he left only with his clothes and his horns. He stayed in a hotel sometimes, other times with his mother in Philadelphia. All he said was, 'Naima, I'm going to make a change.' Even though I could feel it coming, it hurt, and I didn't get over it for at least another year." But Coltrane kept a close relationship with Naima, even calling her in 1964 to tell her that 90% of his playing would be prayer. Coltrane would be dead in four years, but he always kept in touch with her. Naima brought serenity and a calmness into his life. All who knew Naima described her gentle spirit and serenity. They remained in touch until his death in 1967. Naima Coltrane died of a heart attack in October 1996.

Coltrane and Naima were officially divorced in 1966. In 1963, Coltrane met pianist Alice McLeod. He and Alice moved in together and had two sons before he was "officially divorced from Naima in 1966, at which time John and Alice were immediately married." John Jr. was born in 1964, Ravi in 1965, and Oranyan ("Oran") in 1967. According to the musician and author Peter Lavezzoli, "Alice brought happiness and stability to John's life, not only because they had children, but also because they shared many of the same spiritual beliefs, particularly a mutual interest in Indian philosophy. Alice also understood what it was like to be a professional musician."

Coltrane was born and raised in a Christian home, and was influenced by religion and spirituality from childhood. His maternal grandfather, the Reverend William Blair, was a minister at an African Methodist Episcopal Zion Church in High Point, North Carolina, and his paternal grandfather, the Reverend William H. Coltrane, was an A.M.E. Zion minister in Hamlet, North Carolina. Critic Norman Weinstein noted the parallel between Coltrane's music and his experience in the southern church, which included practicing music there as a youth.

In 1957, Coltrane had a religious experience that may have helped him overcome the heroin addiction and alcoholism he had struggled with since 1948. In the liner notes of A Love Supreme, Coltrane states that, in 1957, "I experienced, by the grace of God, a spiritual awakening which was to lead me to a richer, fuller, more productive life. At that time, in gratitude, I humbly asked to be given the means and privilege to make others happy through music." The liner notes appear to mention God in a Universalist sense, and do not advocate one religion over another. Further evidence of this universal view regarding spirituality can be found in the liner notes of Meditations(1965), in which Coltrane declares, "I believe in all religions."

After A Love Supreme, many of the titles of Coltrane's songs and albums were linked to spiritual matters: Ascension, Meditations, Om, Selflessness, "Amen", "Ascent", "Attaining", "Dear Lord", "Prayer and Meditation Suite", and "The Father and the Son and the Holy Ghost". Coltrane's collection of books included The Gospel of Sri Ramakrishna, the Bhagavad Gita, and Paramahansa Yogananda's Autobiography of a Yogi. The last of these describes, in Lavezzoli's words, a "search for universal truth, a journey that Coltrane had also undertaken. Yogananda believed that both Eastern and Western spiritual paths were efficacious, and wrote of the similarities between Krishna and Christ. This openness to different traditions resonated with Coltrane, who studied the Qur'an, the Bible, Kabbalah, and astrology with equal sincerity." He also explored Hinduism, Jiddu Krishnamurti, African history, the philosophical teachings of Plato and Aristotle, and Zen Buddhism.

In October 1965, Coltrane recorded Om, referring to the sacred syllable in Hinduism, which symbolizes the infinite or the entire Universe. Coltrane described Om as the "first syllable, the primal word, the word of power". The 29-minute recording contains chants from the Hindu Bhagavad Gita and the Buddhist Tibetan Book of the Dead, and a recitation of a passage describing the primal verbalization "om" as a cosmic/spiritual common denominator in all things.

Coltrane's spiritual journey was interwoven with his investigation of world music. He believed not only in a universal musical structure that transcended ethnic distinctions, but in being able to harness the mystical language of music itself. Coltrane's study of Indian music led him to believe that certain sounds and scales could "produce specific emotional meanings." According to Coltrane, the goal of a musician was to understand these forces, control them, and elicit a response from the audience. Coltrane said: "I would like to bring to people something like happiness. I would like to discover a method so that if I want it to rain, it will start right away to rain. If one of my friends is ill, I'd like to play a certain song and he will be cured; when he'd be broke, I'd bring out a different song and immediately he'd receive all the money he needed."

Religious figure

After Coltrane's death, a congregation called the Yardbird Temple in San Francisco began worshiping him as God incarnate. The group was named after Charlie Parker, whom they equated to John the Baptist. The congregation later became affiliated with the African Orthodox Church; this involved changing Coltrane's status from a god to a saint. The resultant St. John Coltrane African Orthodox Church, San Francisco is the only African Orthodox church that incorporates Coltrane's music and his lyrics as prayers in its liturgy.

Samuel G. Freedman wrote in a New York Times article that "the Coltrane church is not a gimmick or a forced alloy of nightclub music and ethereal faith. Its message of deliverance through divine sound is actually quite consistent with Coltrane's own experience and message." Freedman also commented on Coltrane's place in the canon of American music:

In both implicit and explicit ways, Coltrane also functioned as a religious figure. Addicted to heroin in the 1950s, he quit cold turkey, and later explained that he had heard the voice of God during his anguishing withdrawal. [...] In 1966, an interviewer in Japan asked Coltrane what he hoped to be in five years, and Coltrane replied, "A saint."

Coltrane is depicted as one of the 90 saints in the Dancing Saints icon of St. Gregory of Nyssa Episcopal Church in San Francisco. The icon is a 3,000-square-foot (280 m2) painting in the Byzantine iconographic style that wraps around the entire church rotunda. It was executed by Mark Dukes, an ordained deacon at the Saint John Coltrane African Orthodox Church, who painted other icons of Coltrane for the Coltrane Church. Saint Barnabas Episcopal Church in Newark, New Jersey, included Coltrane on their list of historical black saints and made a "case for sainthood" for him in an article on their former website.

Documentaries on Coltrane and the church include Alan Klingenstein's The Church of Saint Coltrane (1996), and a 2004 program presented by Alan Yentob for the BBC.

Instruments

In 1947, when he joined King Kolax's band, Coltrane switched to tenor saxophone, the instrument he became known for playing primarily. Coltrane's preference for playing melody higher on the range of the tenor saxophone (as compared to, for example, Coleman Hawkins or Lester Young) is attributed to his start and training on the alto horn and clarinet; his "sound concept" (manipulated in one's vocal tract—tongue, throat) of the tenor was set higher than the normal range of the instrument.

In the early 1960s, during his engagement with Atlantic Records, he increasingly played soprano saxophone as well. Toward the end of his career, he experimented with flute in his live performances and studio recordings (Live at the Village Vanguard Again!, Expression). After Dolphy died in June 1964, his mother is reported to have given Coltrane his flute and bass clarinet.

Coltrane's tenor (Selmer Mark VI, serial number 125571, dated 1965) and soprano (Selmer Mark VI, serial number 99626, dated 1962) saxophones were auctioned on February 20, 2005 to raise money for the John Coltrane Foundation. The soprano raised $70,800 but the tenor remained unsold.

Legacy

The influence Coltrane has had on music spans many genres and musicians. Coltrane's massive influence on jazz, both mainstream and avant-garde, began during his lifetime and continued to grow after his death. He is one of the most dominant influences on post-1960 jazz saxophonists and has inspired an entire generation of jazz musicians.

In 1965, Coltrane was inducted into the Down Beat Jazz Hall of Fame. In 1972, A Love Supreme was certified gold by the RIAA for selling over half a million copies in Japan. This album, as well as My Favorite Things, was certified gold in the United States in 2001. In 1982 he was awarded a posthumous Grammy for "Best Jazz Solo Performance" on the album Bye Bye Blackbird, and in 1997 he was awarded the Grammy Lifetime Achievement Award. In 2002, scholar Molefi Kete Asante named Coltrane one of his 100 Greatest African Americans. Coltrane was awarded a special Pulitzer Prize in 2007 citing his "masterful improvisation, supreme musicianship and iconic centrality to the history of jazz." He was inducted into the North Carolina Music Hall of Fame in 2009.

His widow, Alice Coltrane, after several decades of seclusion, briefly regained a public profile before her death in 2007. A former home, the John Coltrane House in Philadelphia, was designated a National Historic Landmark in 1999. His last home, the John Coltrane Home in the Dix Hills district of Huntington, New York, where he resided from 1964 until his death, was added to the National Register of Historic Places on June 29, 2007. One of their sons, Ravi Coltrane, named after the sitarist Ravi Shankar, is also a saxophonist.

The Coltrane family reportedly possesses much more unreleased music, mostly mono reference tapes made for the saxophonist, and, as with the 1995 release Stellar Regions, master tapes that were checked out of the studio and never returned. The parent company of Impulse!, from 1965 to 1979 known as ABC Records, purged much of its unreleased material in the 1970s. Lewis Porter has stated that Alice Coltrane intended to release this music, but over a long period of time; Ravi Coltrane is responsible for reviewing the material.

Chasing Trane: The John Coltrane Documentary, is a 2016 American film directed by John Scheinfeld. Narrated by Denzel Washington, the film chronicles the life of Coltrane in his own words, and includes interviews with such admirers as Wynton Marsalis, Sonny Rollins, and Cornel West.

Discography

The discography below lists albums conceived and approved by Coltrane as a leader during his lifetime. It does not include his many releases as a sideman, sessions assembled into albums by various record labels after Coltrane's contract expired, sessions with Coltrane as a sideman later reissued with his name featured more prominently, or posthumous compilations, except for the one he approved before his death. See main discography link above for full list.

Prestige and Blue Note Records

Coltrane (debut solo LP) (1957)

Blue Train (1957)

John Coltrane with the Red Garland Trio (1958)

Soultrane (1958)

Atlantic Records

Giant Steps (first album entirely of Coltrane compositions) (1960)

Coltrane Jazz (first appearance by McCoy Tyner and Elvin Jones) (1961)

My Favorite Things (1961)

Olé Coltrane (features Eric Dolphy, compositions by Coltrane and Tyner) (1961)

Impulse! Records

Africa/Brass (brass arranged by Tyner and Dolphy) (1961)

Live! at the Village Vanguard (features Dolphy, first appearance by Jimmy Garrison) (1962)

Coltrane (first album to solely feature the "classic quartet") (1962)

Duke Ellington & John Coltrane (1963)

Ballads (1963)

John Coltrane and Johnny Hartman (1963)

Impressions (1963)

Live at Birdland (1964)

Crescent (1964)

A Love Supreme (1965)

The John Coltrane Quartet Plays (1965)

Ascension (quartet plus six horns and bass, one 40' track collective improvisation) (1966)

New Thing at Newport (live album split with Archie Shepp) (1966)

Kulu Sé Mama (1966)

Meditations (quartet plus Pharoah Sanders and Rashied Ali) (1966)

Live at the Village Vanguard Again! (1966)

Expression (posthumous and final Coltrane-approved release; one track features Coltrane on flute) (1967)

Brooklyn Nine Nine Season Five Countdown Week

( ; - ; ) 歌詞・歌詞本

*❤*⌒*❤*⌒*❤*⌒*❤*⌒*❤*~🔌

Яё∫Ц...φ(*ゝωб*)書き込み㊥

2021-09-23 (木)

( ̿–ᆺ ̿–) චᆽච ( ̿–ᆺ ̿–) චᆽච ( ̿–ᆺ ̿–)

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=͟͟͞͞ ♡︎ 甲戌

〖引用🤩雑学ネタ帳〗

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〜時は一巡した・手仕事・雀の千声鶴の一声・ツーカーの仲〜

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ただ今、都合により投稿の分断 ࿎♡̸᩠࿎ 中断期間に突入

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〖✳追記☄23日 (木)✴〗

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☆

☆*＊* 市販のカレー粉だと調味料のレパートリーを増やそうとして味付けするには、それだけ使いづらい部類に入って犬猿の仲だった私的な意識が、昨日は、スーパーで売り場の通路側を見ていたら、味付け決まるこれ１本！ 「バーモントカレー味」 ࿎♡̸᩠࿎ 「味付カレーパウダー 【甘口】 」 が目に入りました。

ʚ♡⃛ɞ ２種類あって、 「 【中辛】 ジャワカレー味」 は、まだ買っていません。

ᝰ✍🏻 これは、野菜のもやし＆ピーマンに合うなぁと、即決で買う程に有り難いと思いながら帰りました。

💙 料理の味付けは、何より時短で簡単が嬉しいです。

₍₍ ( ๑॔˃̶◡ ˂̶๑॓)◞♡ 🙂😄😁😆✨🥰

NHK小諸ラジオ中継局アンテナ（小諸ラジオ送信所）

☆*＊* 蜘蛛の巣からめた蜘蛛の糸の登場～‼️

☆*＊* 巻き付いたツル性植物が自ら離れて、次の日には、何も誘導してないのに自然に巻き付きました。

巻き付く撮影日：2021-09-23 (木)

=͟͟͞͞ ♡︎ 甲戌

撮影時刻 🔜 09:28

離れた撮影日：2021-09-22 (水)

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〜(^∇^〜）ﾕﾗﾕﾗ（〜^∇^)〜

٩꒰ ˘ ³˘꒱۶~♡ お天気

✩⋆*॰¨̮⋆｡˚✩ 夕方の雨だれ涙

撮影日：2021-09-18 (土)

=͟͟͞͞ ♡︎ 庚午

♥︎︎∗︎*ﾟ蝶々さん登場で、ここで、やっとお待たせした投稿に入れることが叶いました。

撮影日：2021-07-16 (木)

=͟͟͞͞ ♡︎ 乙丑

撮影時刻 🔜 10:22

🦋⚮̈白い蝶々さん❔εïз⸒⸒🦋

😚 😘蝶々になって皆んなに逢いに来たよ～⁉️

蝶はモグラではない。 でも、そのことを残念がる蝶はいないだろう。 -　アインシュタイン　-

🦋❁︎*: εïз εïз εïз εïз ƸӁƷ 🦋❁︎*:

ＬＯνЁ ﾟ･*:.｡. ☆ｌｏυё☆.｡.:*･゜ＬＯνЁ ﾟ･*:.｡. ☆

〖◌𓈒 ໒꒱ 森昌子さん ·̩͙꒰ঌ ໒꒱·̩͙ 〗

自分の為に、そして、子供たちのために、悔いのない人生を歩んでいきたい 帰るなら今のうちですが 越冬つばめは私の歌です！

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

（n‘∀‘)η< 犬猿の仲 by Team S(SKE48)『Doubt!』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

Doubt! Doubt! Doubt! 私 ホントのことを言ってない どうしようもないくらいあなたが好きなのに 自分騙してる 上京するなんて 突然聞かされたから 「せいせいするわ」 って意地悪言ったのよ 喧嘩ばかりして 犬猿の仲だったけど それはあなたのことが気になってる証拠 あなたの目が少しだけ寂しそうだった 無理をして微笑んでくれたのに・・・Doubt! Doubt! Doubt! 「行っちゃ嫌だよ」 って泣きたかった 聞き分けよくない私でいい 声に出して 本音を言えたらいいけど 幼馴染みのあなたには素直になれなくて 嘘を見抜いてよ そういうことがあったら なんだかんだあっても 相談されるって自信があったのよ 「悲しませたくなかった」 ぼそっとつぶやかれても 薄っぺらなやさしさに 私は傷ついた 最後まで喧嘩して離れてゆくのね 私たち 相性が悪いのかな Doubt! Doubt! Doubt! いつも言いたいことを言ってるのに・・・ どうして肝心な話できないんだろう? Doubt! Doubt! Doubt! 私 ホントのことを言ってない どうしようもないくらいあなたが好きなのに 自分騙してる Doubt! Doubt! Doubt! 「行っちゃ嫌だよ」 って泣きたかった 聞き分けよくない私でいい 声に出して 本音を言えたらいいけど 幼馴染みのあなたには素直になれなくて 嘘を見抜いてよ

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

by 門倉有希『私は今、生きている』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

小さな頃から 一緒に過ごした町は 窓を開けると海 澄んだ青空 そんな景色を 愛していたあなたは 何処か遠い場所から 見守っているでしょう 時として この世は残酷だけど 恨んでも 時計は巻き戻らないから もう一度あの頃の 町に還ると 信じて この空がある限り この生命がある限り 希望と 遥か彼方のあなたを胸に 歩き出した 新たなる旅 私は今、生きている こぼれる涙も いつしか乾くだろう そっと私を包む あなたの言葉抱いて ひとりきり 荒野に佇んでいた 寂しさに 押し潰されそうになるけど もう一度あの頃の 夢に向かうと 信じて この空がある限り この生命がある限り 希望と 遥か彼方のあなたを胸に 凛と咲いた 花のように 私は今、生きてゆく この空がある限り この生命がある限り 希望と 遥か彼方のあなたを胸に 歩き出した 新たなる旅 私は今、生きている 私たちは あなたと共に生きている

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

by 細野晴臣『蝶々さん』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

喋々さんあたしに 翔び方を教えて 東京から逃げてった あの娘はOcean Liner Girl 船長さん Sails away Just-aチョトマテmoment please 東京から船にのり あの娘のもとに行く喋々さん船長さん Show me how to fly away with you あの娘に会えたなら さよならバイバイ喋々さん 船長さん 喋々さん 喋々さんあたしに 翔び方教えて 東京から海の果てに 翔ぶよなOcean Liner Ship 船長さんためしに Just-aチョトマテmoment please 喋々さんの飛んで行く 海の果てはパラダイス 喋々さん船長さん Show me how to fly away with you あの娘に会えたなら さよならバイバイ喋々さん 船長さん 喋々さん

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

by 太田裕美『青空のサングラス』♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

ZORROと二人きり 車に乗り込み出かけよう バックミラーに映る都会は 白黒映画の摩天楼 友だちはみんないい人ばかりよ でも私立ち止まってたら 自分を見失いそうなの サングラスを外したら 心に飛び込むハイウェイ 生きてるまぶしさ 太陽に向ってまっすぐに咲いた ひまわりの素直な心で 私に明日に駆けてくわ 草原の中のドライブ・インから 電話して あなたにGood-by 言おうとしたの ベルを12回数えたわ トラック野郎がジューク・ボックス 鳴らしてる 流れ出す歌は 二人の 「木綿のハンカチーフ」 サングラスを外したら 私は素顔に戻るのよ 生きてるまぶしさ ZORROは尾を振って 蝶々を追いかけはしゃいでる 空が青すぎて 不思議ね 涙があふれたわ

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

by 高井麻巳子『2gの片想い』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

「最低！」 なんて言わないでよ 笑顔に見惚れて キミの前髪切ったヘア・スタイル 「似合うよ」 って言うの忘れたんだ アフリカに住む蝶の話 夢中で喋って ふっと気づくとキミは呆れ顔で 窓を見てる...ドジだね 1！2！3！＆4'll in Love ハートを秤にのせたら Sing! Sing! Listen to my love 2g ボクの片想い 1！2！3！＆4'll in Love ちょっぴり悲しい気持ちで Dance! Dance! With a lonely love 恋しているのサ いつだって 靴のサイズも星も趣味も わかってるのに 急に天気の変わるキミの心 涙雨は永遠の謎さ 門限遅れそうなくせに 肩寄せるキミさ 電車無理に乗せたら ふくれている それはボクのせいかな？ 1！2！3！＆4'll in Love キミがきまぐれの分だけ Sing! Sing! Listen to my love 2g ボクの片想い 1！2！3！＆4'll in Love 誰よりキミが好きな事 Dance! Dance! With a lonely love そんなに何度も言えないよ 1！2！3！＆4'll in Love ハートを秤にのせたら Sing! Sing! Listen to my love 2g ボクの片想い 1！2！3！＆4'll in Love ちょっぴり悲しい気持ちで Dance! Dance! With a lonely love 恋しているのにサ いつだって

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

（n‘∀‘)η< 世界中に 発表 by 沢田研二『ダーリング』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

ここへすわってくれ 足を組んでくれ 黄昏に顔を向けてくれ その指で髪をかきあげてくれ ダーリング ダーリング ダーリング これからいうことを きいてくれ 笑わないと 約束してくれ ※あなたがほしい あなたがほしい あなたがほしい ダーリング ダーリング ダーリング※ △ぼくにはもう あなたしかない 夜が来ても 朝が来ても 春が来ても 夏が来ても 秋が来ても 冬が来ても ぼくにはもう あなたしかない ダーリング△ 声をきかせてくれ キスをかわしてくれ あたたかい涙 わけてくれ その声で熱く ささやいてくれ ダーリング ダーリング ダーリング すべてがわかったと いってくれ 世界中に 発表してくれ (※くり返し) (△くり返し×２)

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

（n‘∀‘)η< あなたの未来 by 斉藤由貴『卒業』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

制服の胸のボタンを 下級生たちにねだられ 頭かきながら逃げるのね ほんとは嬉しいくせして 人気ない午後の教室で 机にイニシャル彫るあなた やめて想い出を刻むのは 心だけにしてとつぶやいた 離れても電話するよと 小指差し出して言うけど 守れそうにない約束は しない方がいい ごめんね セーラーの薄いスカーフで 止まった時間を結びたい だけど東京で変ってく あなたの未来は縛れない ※ああ卒業式で泣かないと 冷たい人と言われそう でももっと哀しい瞬間に 涙はとっておきたいの※ 席順が変わり あなたの隣の娘にさえ妬いたわ いたずらに髪をひっぱられ 怒ってる裏ではしゃいだ 駅までの遠い道のりを はじめて黙って歩いたね 反対のホームに立つ二人 時の電車がいま引き裂いた ああ卒業しても友だちね それは嘘では無いけれど でも過ぎる季節に流されて 逢えないことも知っている (※くりかえし)

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

by 南野陽子『ひとつ前の赤い糸』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

見わたす限りずっと 風にそよぐコスモス バスを降りて　うすいピンクの さざ波に抱かれた 誘い出したくせに あなたは無口なの… 私はあんなウワサで 迷わないのに 彼女は　ひとつ前の 赤い糸ね　そう信じてるわ あなたに寄りそいたい 背中みつめて そっとつぶやいた ひたむきに恋しても ちぎれたり　ほどけたり だけど きっと苦い傷みは やさしさになるの 大きな白いシャツは 陽射しの　匂いがする そばにいると あたたかいのよ 秋が深まっても そっぽを むいたままで ギュッと手を つなぐ人… 確かめる言葉より あなたらしいね 彼なら　ひとつ前の 赤い糸よ そう言い切れるわ テレやで　ぶっきらぼう そんなあなたに　ついて ゆきたいの ときどき　もつれてもね ふたりの糸 ひきちぎらないで あなたに　寄りそいたい 涙に負けない 愛を続けたい あなたに　寄りそいたい 涙に負けない 愛を続けたい

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

（n‘∀‘)η< 呼び出し by 太田裕美『雨だれ』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

ひとり雨だれは淋しすぎて あなた呼びだしたりしてみたの ふたりに傘がひとつ 冬の街をはしゃぐ風のように 寒くはないかと気使うあなたの さりげない仕草に気持がときめく 淋しがりやどうし肩よせあって つたえあうのよ弾む恋の芽ばえ 何故かあなたに甘えたくなって そっと腕を組んだ街角よ ふたりの影はひとつ いつか愛に優しく包まれて 見つめる瞳にふれあい探すの 心がほのかに高まってゆくのよ 淋しがりやどうしそっと寄りそい 感じあうのよ熱い恋の芽ばえ

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

（n‘∀‘)η< あなたの住所 by 太田裕美『九月の雨』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

車のワイパー透かして見てた 都会にうず巻くイルミネーション くちびる噛みしめタクシーの中で あなたの住所をポツリと告げた September rain rain 九月の雨は冷たくて September rain rain 想い出にさえ沁みている 愛はこんなに辛いものなら 私ひとりで生きていけない September rain 九月の雨は冷たくて ガラスを飛び去る公園通り あなたと座った椅子も濡れてる さっきの電話であなたの肩の 近くで笑った女は誰なの? September rain rain 九月の雨の静けさが September rain rain 髪のしずくをふるわせる 愛がこんなに悲しいのなら あなたの腕にたどりつけない September rain 九月の雨の静けさが 季節にあせない心があれば 人ってどんなに倖福かしら ライトに浮かんで流れる傘に あの日の二人が見える気もした September rain rain 九月の雨は優しくて September rain rain 涙も洗い流すのね 愛が昨日を消して行くなら 私明日に歩いてくだけ September rain 九月の雨は冷たくて September rain 九月の雨は優しくて

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

by 近藤真彦『泣いてみりゃいいじゃん』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

愛を失いたいのなら ホンキで だれか愛してみりゃイイじゃん 肩で風切るヨコハマも最後と お前マジに泣くから 風のかわりに抱くだけ 愛してるの それだけじゃ でもね 生きていけないって 思うと言ってた ひとりぼっちで生きて ふたりぼっちになって ひとりぼっちに帰るなら ヨコハマがいいじゃん 心と体比べたらいつでも 体が先に感じるじゃん ふざけたキスが得意よとハネてた 西の元町生まれ 波の音よりイカしてた なァ すぐにケンカするやつ嫌いか? そんなんじゃないって 背中を叩いた やけにセンチになって こらえ切れなくなって 想い出だけがつらいなら 泣いてみりゃいいじゃん 忘れないピカピカの横浜と神戸の二都物語 ひとりぼっちで生きて ふたりぼっちになって ひとりぼっちに帰るなら 泣いてみりゃいいじゃん 夜がまぶしくて 眠れやしねえじゃん

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

（n‘∀‘)η< 星は光り by C-C-B『Love is Light』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

Hold Me Tight, Love Is Light 星は光り Hold Me Tight, Love Is Light 二人包むよ 孤独だった昨日までが 夢のよう　君がいる Ah　闇の中で 抱きあえば降り注ぐ Moon Light もしも君がいなくなれば またもとの暗闇さ Ah　瞳あけて 見つめてて永遠に Hold Me Tight, Love Is Light ぼくを見て……

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

by 河合奈保子『コントロール』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】 あざやかなトリックね その気もないサヨナラ 生真面目さを逆手にとる ショックのすぐあとから 優しい声で肩を抱いた 気持ちの揺れ利用するように 海の風が蒼い切なさ 胸の奥に誘い込む ※コントロールされて 心はセンチメンタル コントロールされた涙で口づけした※ 嘘とあなた ひどいひとだわ コントロールやめて 私を試さないで 無防備なまま とっくに愛してるわ 海辺止めたクルマで 長い口づけ受けた 波の音さえ変わるほど 白く曇るガラスね いくら好きとつぶやいても 今は自分が 見えないの 外は雨ね 暗い渚よ 胸に風が滑り込む コントロールされて 心で舵とれない コントロールされた 瞳があなたを見る 何か言って 声がききたい コントロールやめて 私をもうこれ以上 愛してるのは きっとあなた以上よ (※くりかえし) コントロールやめて 私を試さないで コントロールやめて とっくに愛してるわ

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

by パク・ヨンハ『僕の頁をめくれば』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】 (ღ•ㅂ•๐) あの日　君は　木枯らしに　ゆれて ♪♪" (ღ•ㅂ•๐) 指も髪も　ほほえみに　染まっていた ♪♪" (ღ•ㅂ•๐) 真夜中　ひとり　瞳とじて　思うたび ♪♪" (ღ•ㅂ•๐) 胸の奥が　じらされるから　すぐに逢いに　行きたい ♪♪" (ღ•ㅂ•๐) さよならさえ　感じさせないほど ♪♪" (ღ•ㅂ•๐) 君のことを抱きしめて　はなさない ♪♪" (ღ•ㅂ•๐) 僕の頁を　めくる先には　いつも君がいる ♪♪" (ღ•ㅂ•๐) 君の涙　僕にぬぐわせて ♪♪" (ღ•ㅂ•๐) 波の中に　ひとつぶが　まぎれても ♪♪" (ღ•ㅂ•๐) かまわない　いつも　君の姿　さがしてる ♪♪" (ღ•ㅂ•๐) どんなときも　さがしだせるよ　もうこれ以上　泣かないで ♪♪" (ღ•ㅂ•๐) さよならまで　つながってくような ♪♪" (ღ•ㅂ•๐) 頁は破り捨てるよ　めくらずに ♪♪" (ღ•ㅂ•๐) そして跡には　未来という名の　言葉を残そう ♪♪" (ღ•ㅂ•๐) ねえこんな大きな　世界で　そう偶然　君と出逢えて ♪♪" (ღ•ㅂ•๐) 毎日　君であふれて　もう他には見えなくなって ♪♪" (ღ•ㅂ•๐) ずっとさがしてたもの　ねえとうとう君にたどりつけた ♪♪" (ღ•ㅂ•๐) 永遠を　誓いたい… ♪♪"

(ღ•ㅂ•๐) さよならへ　落ちて行きそうな ♪♪" (ღ•ㅂ•๐) 予感でさえ抱きしめて　歩いてく ♪♪" (ღ•ㅂ•๐) たとえば明日が　見えなくなっても　君を守りたい ♪♪"

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

（n‘∀‘)η< リアル by ZARD『誰かが待ってる』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】 見慣れたビルを背に 近づく足音 "元気か"と無邪気に問いかける まるで初めて会ったように 眩しい瞳が憎らしい… ※トキめく想いで 心を飾れば 微笑む私を 誰かが待ってる※ いつも贅沢な言葉に怯えてた サヨナラがリアルに笑うの 愛していたこと…忘れない すべてが夢に変わっても △一番大切な 優しさをあげる 振り向く私を 誰かが待ってる△ (※くり返し) (△くり返し)

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

（n‘∀‘)η< 運命 by ピンク・レディー『レディーX』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】 このままでいいでしょ　いつの日か逢いましょ 名前などいいじゃないの　レディーXで その方が楽しく　お話も出来るわ 何もかも知った後は　さびしくなるだけよ さあダンスをしましょう　もうお別れよ そんな顔しないでいて 楽しみが薄(うす)れるわ 不思議がいいのよ 恋なんて謎(なぞ)があるうちよ 暗闇(くらやみ)のくちづけ　香水の匂いを 今度まで忘れないで　レディーXの この次は名前を　その次はアドレス 段々に教えましょうね　洒落(しゃれ)てる遊びでしょ さあ乾杯しましょう　もうお別れよ とてもうれしい夜だわ 恋をした気分だわ 尾(つ)けたりしないで 運命にみんなまかせましょう

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

\ Hello ♡/ あまりに殺風景なほど田舎なので、アプリから音楽＆ステッカーを入れてみました。 ✧ᴴᴱᴸᴸᴼ✧

( ⁎ᵕᴗᵕ⁎ )❤︎ 動画࿎♡̸᩠࿎活躍中～♡( ❛⃘ੌᵕ ❛⃘ੌ )

1921年には 「I'd walk a mile for a Camel（キャメルのためなら1マイルでも歩く）」 という有名なキャッチフレーズが生まれた。

世界初のアメリカンブレンドを採用したタバコで、現在の生産はJTが行っている

⚆.⚆🤍スクープ࿎♡̸᩠࿎フォーカス ⚆.⚆🤍

☆*＊* 月夜の途中で消えた月明かり ࿎♡̸᩠࿎ 月齢 12.1

撮影日：2021-09-19 (日)

=͟͟͞͞ ♡︎ 辛未

撮影時刻 🔜 00:22

(｡ì _ í｡)ゞ'`ｨ 🎞 動画あります。

＼゜＼、＼・、＼、＼・。゜、＼・＼。゜＼、、＼・。゜＼、・＼＼・＼。゜＼、＼゜＼、＼・、＼、＼・。゜、＼・＼。゜、

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

by 石川秀美『愛の呪文』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

心に影をひく秋の陽はせつない 立ち去る背中に移り香を残すの ちがう誰かを抱いても 私を忘れぬように 愛の呪文をとくのは私よ ※Get back! Get back! Get back! 百億の魅惑の粉をふりかけてあげるわ Get back! Get back! Get back! 月明かり あなたをホラ! 虜にするのよ※ 射すような 視線は顕われたライバル 舞い散る銀杏の影で待ちぶせてる こみあう車道を渡って 煙にまいてしまうわ 行方は彼の熱いうでのなか ※※Get back! Get back! Get back! 百億の夜明けの光を瞳に集めて Get back! Get back! Get back! ささやくの 私とホラ! 堕ちるところまで△ からめた 蜘蛛の糸 私だけのものでいて (※くり返し) (※※くり返し)

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

by シブがき隊『月光淑女!（ムーン・ビーナス』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

Moon Venus! I love you I'm in the crazy love so hot crazy love Moon Venus! Are you ready? Com'on dance! dance! dance! All right!! 接吻の途中で 「お・あ・ず・け」 と笑い ドレスのままで夜のプール飛び込む 手強いね サンバでよろめく おまえを抱いたら スーツの胸に口紅のバラが咲いたぜ 似合うかい? 俺の夏を恋に染める ちょっと過激な淑女 ウィンクして部屋の鍵を杯に沈める 誘われて 乱されて ハート 火の海さ ※踊り明かそうか月光淑女 原始のビートで 恋した男はアイヤーヤイーヤイ紳士な野獣さwoo! woo! 夜毎に危険な月光淑女 甘い共犯者 抱きあいたいのにアーヤーヤーヤイ じらされたいのさ woo! woo!※ 続きは明日とステップ止めたら 誰かと結婚しちゃうかもとおどかす うわ手だね 俺が愛を突き刺すまで 悪魔演じる女神 バラに添えたハート・エース 微笑んで破る 燃やされて 落とされて ピーク寸前さ 愛し明かそうか月光淑女 神妙なリズムで月の雫ならアイヤーヤイーヤイ素肌が光るぜ woo!woo! 素敵な事件は月光淑女 二人共犯者 他人じゃないのにアイヤーヤイーヤイ 明日もじらしあう woo! woo! (※くりかえし)

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

by 中森明菜『LIAR』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

Platinaの 月明かり こんな切なさを 夜更けのせいだと 思ってた 一つつく 嘘で又 一つ嘘をつく 勝手な人など ゆるせない Ah 霧のように 行方も残さず 貴方が消えてた ※ただ泣けばいいと 思う女と 貴方には 見られたくないわ 次の朝は 一人目覚める 愛は 悪い 夢ね※ 退屈な画面から 誰か 叫んでる 見知らぬ 顔した Actress 窓の隅 塗り替えた ビルが 光るけど 錆てて 心は 変わらない Ah 自分よりも 大事な誰かが 居るなら 教えて もう貴方だけに 縛られないわ 蒼ざめた 孤独選んでも 次の朝は 一人目覚める それが 自由なのね (※くりかえし)

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

by 童謡・唱歌『十五夜お月さん』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

十五夜お月さん　御機嫌(ごきげん)さん

婆(ばあ)やは　お暇(いとま)　とりました

十五夜お月さん　妹(いもうと)は

田舎(いなか)へ貰(も)られて　ゆきました

十五夜お月さん　かかさんに

も一度わたしは　逢(あ)いたいな

🎋⭐️🎋🌌✨🎋✩🎋🌌✨🎋⭐️🎋

このに他あっても、投稿人の検索で引っかからなかった『歌詞』を眠れる森の美女にして申し訳ありません。

by お部屋の管理人より🕊˻˳˯ₑ®

( ⁎ᴗ_ᴗ⁎)ﾍﾟｺｯ (* . .)))

ﾓｰ 甘┳┓ﾓｰ 甘┳┓ﾓｰ 甘┳┓ﾓｰ 甘┳┓

😷𓂃◌𓈒𓐍😷𓂃 𓈒𓏸◌😷𓏸𓈒𓂃😷𓂃◌𓈒𓐍◌𓈒

#左腕がスマホ腕になって痛さ倍増なのに何とか頑張ってます💘やめたいっ！　(ｷｯﾊﾟﾘ) 投稿休むか (๑˃̵ᴗ˂̵)و ﾖｼ!

#腕持ってかれる～ ࿎♡̸᩠࿎ お疲れ⌒♪ﾟ+. スマホいじりすぎー 📱♬∗*ﾟ

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#逢瀬 #世界 #追伸 #消息 #安息日 #殺風景 #動画 #お庭 #日本 #JAPAN

#様子見 #万年金欠 #貧乏家の人々 #生きてゆくしかない #ひっそり #人生 #潜むように #消息 #面倒臭い #めんどくさい #与える愛 #孤独 #あくせく #夜なべ仕事 #公開日記 #網を張る #無料代行サービス #処理係 #真夜中のど壺

👑 No. 投稿数 ⟴ 2,559

👑 No. １ ⟴ ３９６

2020-09-24 (木)🔋

(っ'-')╮=͟͟͞͞⚾ﾌﾞｫﾝ ⚾ ｶｷｰｰﾝ (*･ω･)_/彡° ヾ(･ω･;)

2020-09-23 (水) 公開日

2020-09-24 (木) 🔋

(っ'-')╮=͟͟͞͞⚾ﾌﾞｫﾝ ⚾ ｶｷｰｰﾝ (*･ω･)_/彡° ヾ(･ω･;)

2018-06-14 (木) 公開日