Syndigt och svart som Anna Anka

Enligt uppgift ska Anna Anka glida omkring med en numrerad [ Persia ] gjord av designern Quentin Mackay, tidigare chefsdesigner på Samsonite och deras Black Label men också LVMH och deras brand Loewe. Väskan är i alligatorskinn, är inte billig, och är en del från kollektionen “Ball and Claw”. På bilden en annan väska ur samma kollektion. Och lite smak har hon visst.

Will.I.Am has been added to the roster of song stealing by British singer/songwriter/producer FrankMusik. The song in question is Will.I.Am featuring Cheryl Cole – Boy Like You.

FrankMusik made the accusation on his twitter page by tweeting; “OK SO Cheryl Cole ft Will.i.am – Boy Like You IS A COMPLETE RIP OFF OF A TRACK I DID FOUND HERE!”

So Perez Hilton did some digging, and came up with the goods insisting that they are ‘alike’. The truth is to be seen or not.

Previous accusations included Michael Jackson’s latest single; ‘This Is It’ which was reportedly stolen by the popstar from Paul Anka’s studio when they were to do a colaboration on the song originally entitled ‘I never heard’.

To listen to both of the tracks on youtube and make your own mind up use the links below.

FrankMusik’s track is here, while Cheryl Cole and Will.I.Am’s version is here.

So, what are your views? Who did the original? Does it even sound alike?

Source

Two of Novi’s grads have impressed me with their knowledge of 50’s music. We have started quizzing each other under the Reunion posting. With this new post, I am switching the great conversations to the category Paul Anka and Other Great Music. So Doug and Margaret, here we go!

You both got the Paris Sisters, but Doug got it first by a little over half an hour. Here is my question, did he get it without looking it up? I sometimes know it right off the bat and other times, like Margaret, I head for Google or one of my book sources.

The Paris Sisters were indeed sisters. Pricilla sang lead with Albeth and Sherrell as back up. They grew up in San Francisco. They were 9, 13 & 11 when they began performing at an U.S.O. show. Lester Sill of Gregmark records caught their act and signed them to a contract. Be My Boy hit the Hot 100 on 4/30/61 but only made it to #56 (what a shame because that is a great song). On 9/10/61, the Barry Mann written song, I Love How You Love Me charted and went to #5. In 1962 they had 2 tries with He Knows I love Him Too Much (#34) and Let Me Be the One (#87). Then 2 years later they charted with their last song, Dream Lover which came out on MGM records.

As for the first country artist to switch to pop, I go with Eddy Arnold like Margaret said. He clearly was before Jim Reeves. Eddy, aka the Tennessee Plowboy, signed with RCA in 1945. His manager was none other than Col. Tom Parker. His first charted country song was One Kiss Too Many in May, 1949. Between 1949 and 1955 he had such country hits as Bouquet of Roses and Anytime. In 1955 his country hits, The Cattle Call and The Richest Man, also charted on the pop 100 at #69 and #99 respectively.

It was not until 1964, when he met his new manager Jerry Pursell, that Eddy’s career matched what it had been earlier. In 1965 Eddy suggested to Pursell he record a Timi Yuro song, Make the World Go Away. It hit the pop Hot 100 on 10/16/65 and peaked at #6. Of course, on the Country charts it hit #1 for 3 weeks, the first of 7 #1’s on the country charts over the next 3 years.

Jim Reeves attended the University of Texas where he earned his tuition by playing the guitar. His major ambition was to be a professional baseball player. He played with the St. Louis Cardinals organization until a leg injury ended his career. He began playing guitar again, became a DJ before joining the Louisiana Hayride.

Jim was a much bigger country star than Eddy Arnold. Mexican Joe was #1 on the country charts for 9 weeks in 1953. So Eddy started many years before Jim but Jim out sold Eddy. He followed up Mexican Joe with another #1, Bimbo. He went on to have 10 #1’s on the country charts. His first cross over was Four Walls in 1957. It hit #12 on pop and was #1 on country for 8 weeks. His biggest pop hit was He’ll Have to Go, which peaked at #2… (which song kept him from #1?) On the country side, He’ll Have to Go was #1 14 weeks.

So Doug, I hope it is Eddy Arnold but if not, you know more about him and Jim Reeves now…..lol.

Ah, Paul Anka. Even 50 years later, his charm spills out through the speakers, and his babyface could swoon just about anyone. He has continued his success throughout the years, which started with his early career in the 50s, and even today he is still well known and adored by women and men alike. A complete teenage hearthrob, Paul was 16 when he recorded Diana. It was widely thought that Diana was written for an older babysitter, whom Anka had fallen in love with. He sings:

“I’m so young and you’re so old
This my darling, I’ve been told”

Many years later, in 2005, that belief was thwarted by Anka, who confessed it was written about a girl at his church, and not a babysitter.

Anka, a Canadian, was hugely popular not only in the USA but also in Canada. His #1 hit, Diana, is one of the top selling 45s ever by a Canadian artist.

He’s not so bad to look at either.

Anna Anka drömmer vidare...

Ska Anna Anka följa maken Paul och bli popidol? Hon är sugen på att prova och vill då jobba med megafenomenet Max Martin. Måste erkänna att det ska bli kul att höra den där grötskånskan i en romantisk ballad. Kanske fick hon tips av Jay-Z som gäst hos Skavlan. Rap är kanske hennes grej. Och vi vet ju att hon gillar ju att sjunga i micken…

Andra förslag hon fått:

”Let’s Dance” i TV 4 - ”Kanske om jag gör träningen i USA och åker till Sverige för liveshowen och sen flyger hem, det skulle ju bli mycket pendlande för min del. Men jag ställer inte upp i Sverige i 11 veckor, det går inte.”

”Svenska Hollywoodfruar” i TV3 - ”Jag har sagt att om det bli en ny serie får det vara ett nytt koncept. Jag tog showen till toppen och kan inte ta den längre.”

Jobba med Robert Aschberg - ”Jag gillar Robert, han är en bra kille och är helt enorm med förslag, han har kastat den ena grejen efter det andra efter mig. Det gillar jag, att jobba med honom hade blivit en rolig grej”.

Anna Åberg, numera Anka, i Fröken Skåne

Har hon… eller har hon inte…det diskuteras kring om Anna Anka kommit tvåa i en Fröken Sverige-tävling. Svaret är nej! Har hon varit med? Jo, för 1993 dök Anna Åberg, numera Anna Anka, upp på podiet och såg så här “lyxig” ut. Men den tävling Anna Anka var med i var en deltävling, Fröken Skåne, där Anna blev oplacerad.

Anna Anka och Sverigedemokraterna verka lika förvirrade.

Just nu ser jag fram emot att Anna Anka ska ge sig in i politiken. Skulle vara spännande att höra henne reflektera över Sverigedemokraterna och deras politik. Komikern Anna Blomberg har följande tips till den som villa härma karaktärerna i Hollywoodfruar.

Anna Anka: “Hon är är väldigt spänd i halsen och pratar nonstop, man ska gärna vara lite spänd när man härmar henne. Hon gillar ju att stå i centrum och kastar gärna skit på andra, och gillar att säga hur avundsjuka folk är på henne. Och så uttalar hon bokstaven “u” som “y” i stället. Smuts blir till exempel smyts.”

Maria Montazami: “Hon är ju lite sävlig. Och så vill hon gärna verka mer svensk än vad hon egentligen är. Det intressanta med henne är att trots att hon är sävlig, så har hon också ett otroligt engagemang i det hon berättar om. Hon kan prata engagerat om vilka mackor hon ska ha med sig till stranden hur länge som helst.”

Agnes-Nicole Winter: “Hon är kanske lättast att göra. Hon har ett leende hela tiden när hon pratar. Och så har hon tappat bort sitt svenska språk ganska mycket. Det blir nån slags Borås-dialekt blandat med amerikanskan som blir rätt konstig. Och så leendet då, hela tiden.”

Expressen I  SvD

Una maleta altamente custodiada, secretismo por todo lo alto, una exclusiva,… ¿alguno más vio estás imágenes por televisión?. Ahora resulta que no. Que no era tan exclusivo ni tenía tanto valor…

Medio mundo ha estado pendiente del misterio que creó Sony para publicitar “This is it”. Ahora, medio mundo se siente timado porque ni era tan inédito ni eran tan 100% Michael.

A estas alturas supongo que ya sabrás que “This is it” no es tan exclusiva como creían (no voy a decir como ‘querían hacernos creer’ porque doy por hecho que ha sido un fallo, eso sí, uno de los mayores fallos de la industria musical actual).

La canción se estrenó en la web del artista el pasado lunes 12 de octubre como una primicia compuesta por el Rey del Pop, aunque sin saber muy bien donde ubicarla dentro de su carrera. Hoy tenemos las respuestas.

“This is it” no era un tema inédito, fue compuesta por Jacko y Paul Anka (quien se llevará el 50% de los derechos de autor) con el título “I Never Heard”. La idea era incluirla en el disco “Walk a Fine Line” que Anka preparaba a base de duetos.  Pero el destino quiso que fuera desechada por ambos tras diferencias de opiniones.

Michael se llevó las cintas, tras triquiñuelas se las devolvió y, en tanto, debió hacer una copia. Más tarde, Anka cedió la canción a Safire, una cantante puertorriqueña, que incluyó la canción (bajo el título original) en uno de sus discos donde queda constancia de que la canción fue escrita por los dos (vamos que de exclusiva e inédita nada).

Las explicaciones que han dado indican que el productor John McClain escuchó unos 50 temas inéditos que se encontraron y seleccionó esta canción. Sobre una base de piano y voz, le metió un arreglo que incluía los coros de los hermanos Jackson. Le cambió el nombre y ya tenía cocinado el pastel.

Sin embargo, llegados a este punto parece obvio que nos preguntemos cuánto hay de inédito y de exclusivo en las 49 canciones que restan de las 50 entre las que eligió. Supongo que ahora se andarán con más ojo, ¿no te parece?.

“This is it” la canción “póstuma” de Michael Jackson creó polémica cuando el cantante y compositor Paul Anka dijo que el tema no es “inédito”, revelando que en 1983 la compuso junto a Michael que en aquel entonces llevaba por título “I never heard”.

La primera versión fue grabada en sus estudios de Anka en Carmel, California. Tras los arreglos, Anka tenía previsto incluirla en un disco de duetos tituldo ‘Walk a fine line’.

Anka acusa al “Rey del Pop” de robarle las cintas del estudio, y decide llamar a los abogados que compartía con Jackson y amenazó con una demanda si no le devolvía las cintas; aunque Michael le devolvió las cintas, se guardó una copia y usó la canción con su voz a partir de la base de “I Never Heard”, a la que cambió el título por el de “This Is It”. El asunto quedó olvidado hasta ahora, 26 años después, para finalmente convertirse en la canción póstuma de Jackson.

Después de anunciarse sobre “This is it”, Anka pedía que se le reconozcan la co-autoría, la cual fue le fue otorgada, como lo informaron los representantes de los herederos de Jackson.

Añadir también que, Anka decidió ceder “I Never Heard” a la artista latina Sa-fire, que grabó el tema en 1990. Anka había evaluado iniciar acciones legales cuando algunos medios, como el diario The New York Times y el sitio TMZ de celebridades en internet, le informaron de los parecidos entre ‘This is it’ y la canción interpretada por Sa-Fire. Más tarde, sin embargo, dijo que estaba satisfecho con la manera en que se arregló la situación.

“This is it” es también el título del doble álbum que se pondrá a la venta el 27 de octubre, coincidiendo con la película Sony Pictures estrenará el 28 de octubre, “Michael Jackson This Is It” (Trailer).

Esta canción es un regalo de MJ, la última que nos deja y ahora revelada.

Además, Michael Jackson tiene 5 nominaciones para los American Music Awards, incluyendo Artista del año.

PAUL ANKA

One of my Facebook friends — and a former newspaper colleague — remarked today that she likes to start sentences with “and” and “but,” an indulgence we share. In fact, I make a point of telling my students that while they shouldn’t use a coordinating conjunction to begin a sentence while they are in the stifling atmosphere of academia, they should have at it once they’re writing on their own.

This got me to thinking about song lyrics that begin with “and,” only because four popped into my head immediately.

The first was “My Way,” which begins: “And now the end is near, and I must face the final curtain.” Paul Anka wrote that lyric, and according to him, it was inspired by Frank Sinatra’s announcement that he was going to quit show business.

FRANK SINATRA

The melody was written by Claude Francois and Jacques Revaux for a French song. “Comme d’habitude,” which means something like “As is my habit.” Anka’s lyrics, I understand, have no relationship to the originals but were meant to go along with Sinatra’s mood at the time.

There have been notable covers of the song by Elvis Presley, Sid Vicious, and Dorothy Squires.

Another lyric in this category was written by Johnny Mercer for a popular version of “The Song of the Indian Guest” from the opera “Sadko” by Nikolai Rimsky-Korsakov. I mentioned this here recently in connection with Mercer’s centennial. Mercer’s version is known as “Song of India,” and it begins: “And still the snowy Himalayas rise in ancient majesty before our eyes ….”

MARIO LANZA

Mario Lanza made a fine recording of that song, and Lanza also made a wonderful recording of “They’ll Never Believe Me,” which was written by Herbert Reynolds and Jerome Kern to help rescue an imported British musical, “The Girl From Utah,” in 1914. The refrain, which usually begins the song, starts: “And when I tell them how beautiful you are, they’ll never believe me ….”

The last song that occurred to me was “And I love her so,” which was written by Don McLean but is most widely associated with Perry Como.

And like that.

Demorou um pouco até poder escrever algo sobre os dois primeiros relançamentos da coleção de Frank Sinatra colocados no mercado pela Universal. Primeiro porque é difícil escrever sobre Sinatra, segundo porque não conseguia para de ouvir os discos. Os CDs em questão são My Way e Live At The Meadowlands.

My Way é Sinatra no fim dos anos 60, misturando seu som característico e sua voz impecável a algumas canções pop de sucesso, como Yesterday (Beatles), Hallelujah I Love Her So (Ray Charles), Mrs. Robinson (Simon & Garfunkel) e For Once In My Life (Steve Wonder), que não fazia parte do lançamento original e entrou como faixa bônus. Além de covers Sinatra ainda ganhou de Paul Anka a canção título e que se tornou um dos principais sucessos de sua carreira.

A produção é impecável, os arranjos perfeitos e a voz afinadíssima (sempre). É um Sinatra no seu melhor estilo pop. Outra boa razão para comprar o CD é o booklet, com texto escrito por Bono Vox.

Já Live At The Meadowlands, gravado em 14 de março de 1986, traz 18 canções inéditas de um Sinatra já veterano, mas que ainda tinha total controle do palco e da sua voz. Algumas versões impressionam pela vitalidade. I’ve Got You Under My Skin e Come Rain Or Come Shine são difíceis de parar de ouvir.

Considerado um dos shows mais raros da carreira do Olhos Azuis, Meadowlands também chega com som impecável, superior a muitos shows gravados com toda a tecnologia do século XXI.

Fim de ano é mesmo um tormento para os fãs. Melhor negociar um 14º salário para poder comprar tudo o que é lançado.

All images © FOX

[Ed. Note-- Hello monsters! You all know Erika, Glee recapper extraordinaire. Presented is her recap of last week's show. Season 1, Episode 10: "Ballad" SPOILER ALERT, duh.]

Last week: Everyone was handicapped and Sue Sylvester was human.

Will has a pop quiz for our favorite little singers: What is a ballad? Brittany says it’s a male duck. That would be a mallard, sweetie. Kurt contends that it’s a love song, which is close, but not quite. Apparently, new sectional rules require a ballad (Thanks indirectly to Rachel). On that note, just how many songs will New Directions be performing at sectionals?

Anyway, Will is dividing the Gleeks into pairs to sing ballads. Matt (the not-Asian football player) is at the hospital because of a… spider in his ear? Or would that be a nifty tool that many stumped writers refer to as a plot device? So Will is taking Matt’s place for the time being.

If that isn’t enough, Will wants the pairs to be decided by fate. The match-ups are as follows: Puck with Mercedes, Artie with Quinn, Finn with Kurt, Tina with “Other Asian” (Does anyone know his name?!), and Santana with Brittany. Kurt looks like his wildest dreams are about to come true.

Will, who is saddled with Rachel, does not look as enthusiastic. Artie asks for clarification on what a “ballad” is and clever Rachel suggests a demonstration. Will and Rachel sing the Lionel Ritchie and Diana Ross duet “Endless Love”. The voiceovers speak for themselves.

While Kurt, Puck, and Finn are thinking about Diana Ross, underwear (er…lack of it), and butts, Rachel is falling head over heels in love with Will. Will, on the other hand, realizes he made a bad call. No, really?

Meanwhile…Quinn is getting married. No, wait, she’s just getting into a white lacy dress in preparation for the Chastity Ball. Huh. While her mom gushes, Quinn is missing her Cheerios uniform. The fallen cheerleader captain is putting on the baby pounds, which makes her dress just a tad too small. Her mother is delightfully unsuspecting… right? Quinn’s dad, excited about the dress, the ball, and Glenn Beck, announces that he’s invited Finn over for Sunday dinner. The daughter looks… terrified.

Rachel is traveling down a dark road. She schedules a present and gives Will a satin, star-covered tie. What?

In other news, Emma is back! And blurting things about Will’s major sex appeal. We love Emma. Sit tight, kiddies, because Will has the harrowing tale of Susie Pepper to share with our dear guidance counselor.

Susie is strange, socially awkward, and mildly attractive. Oh, and completely obsessed with Will. Or was. Until Will got sick of the presents and the stalker phone calls at 3am and told her to stop. She then attempted suicide with… the hottest pepper in the world? Only in Glee. Luckily, she lived, after an esophagus transplant, three days of a medically induced coma, and intense psychotherapy.

Emma, in her wisdom, suggests that Will should sing his feelings to Rachel.

Kurt and Finn are working at their ballads. Finn snaps at Kurt. Kurt blames it on girls. Is he trying to turn Finn? We’re rooting for you, Kurt.

Finn, completely clueless, spills on his anxiety about Quinn giving away the baby. His baby. Er…what he thinks is his baby. Kurt has a song ready for Finn to sing. And we learn that Kurt plays piano. Why are all these children so talented?!

Finn gives a rendition of “I’ll Stand By You” from The Pretenders.

He sings it… to the sonogram. Maybe he should think about investing in a better football helmet, once he’s done paying baby bills.

However, he should have done this with his computer facing away from his door because Momma Hudson walks in and sees him singing to the sonogram. Busted! She confronts him and he breaks down in tears. She holds him and tells him that everything is going to be okay—the perfect, understanding parent.

Quinn, however, is not happy. She is pissed that Finn broke down and received comfort from his mother because no one can patch up her chew toy. Right? Honestly Finn, baby that is not yours aside, what do you see in her? The other Gleeks look on, pitying the constant baby drama.

Kurt is acting as an inside agent. And still trying to convince Finn to be gay. “It’s because she’s a girl,” he says. Our Kurt admits to being madly in love with Finn, his “knight in shining armor.” He says it only got stronger after bonding over Glee, football, and skin care. (O…kay?)

Kurt finds Finn’s stupidity “charming.” His ultimate plan? Get close to Finn so that he’ll be the shoulder for Finn’s tears when Quinn disappoints him. Which she will. Hopefully.

At practice, Will has a ballad for Rachel. Emma is also present, saying that she wanted to learn the “power of the ballad” for SAT prep.

Actually, she was there for moral support. Also, Will needed a witness, in case the plan went foul.

Will sings a mash up of “Young Girl” by Union Gap and “Don’t Stand So Close to Me” by The Police. Wow. Will has quite the dreamy voice.

Emma and Rachel are loving it, especially when he belts it out on the piano.

I’m sorry to say this Will, but this was NOT a good idea. Rachel totally misses the intent. Emma’s moral support evaporated into breathless fan girl applause.

Oh, and now Susie Pepper is stalking Rachel.

So Kurt is helping Finn dress for dinner at the Fabray’s. They discuss their respective dead parents (because Finn is raiding his dad’s old clothes) and get onto the subject of the baby. He compares himself to his father and gushes about how pathetic he is because he can’t tell Quinn’s parents what is going on. Kurt suggests having the right weapon.

Kurt suggests that Finn use that “power of the ballad,” which is like the Gleek equivalent of the Force. Use the Ballad, Finn, use the Ballad!

Meanwhile, Will comes home to… Rachel? Oh snap.

As it turns out, Terri let her in. That crazy woman, amused by the crush, is exploiting Rachel’s feelings and applying it to housework. Like cleaning.

Terri is afraid that Will is going to leave her. Angry with his “slightly” unbalanced wife, he storms out of the house to take Rachel home.

Rachel tries to practice the ballad with Will. Her song choice? “Crush” by Jennifer Paige. Yikes.

Just as she gets started, Will cuts her off and asks her about Puck. Go Will. Massive save.

Later, Susie is threatening Rachel about Will… or is she?

As Rachel storms off to stalk Will or something, Mercedes is chatting on the phone with Tina about pregnant hamsters. And the baby drama.

She and Puck are just getting ready to start their rehearsal when Mercedes tells him about the group’s plan to sing a ballad to Quinn and Finn. Puck feigns indifference. And then blurts out that he’s the father.

Whoa, Puck! Mercedes, however, stays relatively cool. She tells Puck that Quinn chose Finn and to stop messing with her life.

Poor Puck. He really lacks sympathy.

It’s dinnertime with the Fabrays! Daddy Fabray is toasting to his wonderful family when Finn freaks out. He retreats to the restroom and calls his new best bud, Kurt. Kurt tells him to relax and remember what they practiced. Uh oh. That did not sound good. About to give him more advice, Kurt is cut off with, “I have to go. They’ll think I’m pooping.” Finn spends a couple of seconds in the mirror getting pumped.

Go get ‘em, tiger.

Wait… what?

Quinn’s warning alarms start to go off when Finn walks back in with a kitchen radio. Finn, ignoring Quinn’s protests, starts to sing “Having My Baby” by Paul Anka.

BAD FINN. VERY BAD FINN.

At first, the Fabray family thinks this is a cute joke. Finally, Daddy Fabray gets the message and stops the music. He is pissed.

Cue family conference time. Daddy Fabray is mad, Mommy Fabray is quiet, and Quinn accuses her mother of knowing all along and not helping her when she needed it. She says that in their family, “If you don’t talk about it, it doesn’t exist.”

Quinn is kicked out.

She begs her father for forgiveness, and help.

He leaves and tells her to get out.

Finn and his mother take in the pregnant teenager.

Then, to distract us from all the serious drama (PHEW!), Susie and Rachel have a bathroom heart-to-heart. She tells Rachel that they’re alike, looking for “boys we can never have.” Susie, the cautionary tale, leaves Rachel with a lot to think about.

Rachel and Will are now in practice. Will stops her before she says anything else and lays his cards on the table. He seems to be bracing himself for the worst when Rachel says she understands. She even brought pink flowers as an apology. Oh, and a note that says:

Will consoles her and tells her that someday there’s going to be a boy that will like everything about her. Then they ditch practice.

But Kurt and Finn are still at it. Kurt actually looks like he feels bad for what his master plan did to Quinn. Yeah, your plan kind of sucked, Kurt.

Trying to lighten the mood, Finn turns the subject to Kurt’s ballad. Kurt blurts, “I honesty love you.” Finn, our star quarterback who always wears his helmet, thinks that this is the title to a “positive and nice and stuff” song.

Mercedes comes in and saves Kurt a potentially awkward explanation. They lead Finn into the choir room. The rest of the Glee club starts the beautiful rendition of “Lean on Me” by Bill Withers. Artie and Mercedes sing the leads. Chills.

Finn is smiling and Quinn is on the verge of tears. The club drags Finn and Quinn out of their chairs for a Glee dance circle and lots of hugs. Mercedes has a killer high note that rounds off the episode with a hopeful, wonderful feeling.

Next Week [Ed. Note: Tonight, we know]: Sue returns to being a kitten-eating monster, we meet the competition, and people turn into hippies.

A l’occasion de la cession aujourd’hui par Claude François Jr.

du catalogue des chansons de son père,

je vous propose d’écouter l’un tes tubes les plus adaptés et diffusés dans le monde,

“Comme d’habitude“, le “My Way” de Paul Anka,

et reprise ici par le King, lors de son dernier concert en 1977.

Das Rad der Zeit, es dreht sich flott, verdreht auch mal den Alltagstrott,

verdichtet Zyklus, Phantasie, doch zeitverschoben mit Magie

will wiederum ein Mythos reifen -  den irden wir nur schwer begreifen.

So ist der Wettlauf mit der Zeit – ein Bumerang der Ewigkeit.

© Ingrid Riedl

Mich hat (bis jetzt) weder die Schweinegrippe oder „Neue Grippe“ hingerafft (ansonsten könnte ich ja hier nicht meine bescheidenen Spuren hinterlassen.)

Zum Lachen habe ich aber trotzdem keinen Grund – auch wenn man behauptet: „Humor ist – wenn man trotzdem lacht.“

Nun ja, über sich selbst lachen zu können, ist auch schon was.

Wie seit über einem Jahrzehnt ist eine Urlaubsreise in das Wunschdenken eingebunden, sowie das Entgegenkommen der Krankenkasse für lebensnotwendige Medikamente ( u.a. Sauerstoff in Flaschen bei einer CF, KHK Bronchial CA mit ausgeprägtem Lungenemphysem seit mehr als 20 Jahren -  klinisch und radiologisch befundet) zu gewähren. Die Jahre vorher, erhielt ich problemlos komprimierten Sauerstoff in Flaschen – ärztlicherseits verordnet. ( PET 1990 – CT- Befund: “Milchglasfenster”)

Nach der Einführung von Flüssigsauerstoff  im Jahr 2004, war ich drei Mal beim Lungenfacharzt, erhielt aber trotz Verordnung von 2 x 20  Liter Sauerstoff mit einer 2 Liter Fl. zum Nachfüllen (für Unterwegs) – nur den Sauerstoffkonzentrator. Dieser ist lt. Richtlinien für bettlägrige Patienten vorgesehen. Da der gelieferte Konzentrator 3 Jahre ( !!! ) nicht gewartet wurde,  habe ich  ihn nach einer überstandenen Lungenentzündung zurückgeschickt. Ich muss mir – gezwungenermaßen O Pur http://www.opur.de/ aus der Schweiz – selbst kaufen. Alle meine Ansuchen auf die Bewilligung von Sauerstoff in Flaschen – wurden von der TGKK kategorisch abgelehnt.

Genauso wie mir nach klin. Intensivstationaufenthalten mit einer serösen Meningitis/Enzephalitis, wie auch nach den Schlaganfällen oder schweren Operationen – nie ein KUR- , ein Rehabilitationsaufenthalt – oder eine Hauskrankenpflege von den KRANKEN KASSEN bewilligt wurde.

Unfassbar, aber wahr!

Da bleibt mir im wahrsten Sinne des Wortes – die Luft weg.

„Was uns nicht umbringt, macht uns nur härter „ -  höre ich immer wieder.

Das tröstet mich aber auch nicht über die Tatsache hinweg, dass ich als E-RollstuhlfahrerIn, die nebenbei im eigenen Wohnbereich (Standort der erworbenen Konzession seit 1989) als ehrenamtlich Tätige seit einem Vierteljahrhundert die Räumlichkeiten zur Verfügung stellt,  auf Unterstützungen wie Heizkostenzuschuss, Mietbeihilfe – trotz x Ansuchen vergeblich warte/te.

Nun steht der Winter vor der Türe – aber es „rührt“ sich nichts. Somit wird der Ölofen (keine Zentralheizung) überwiegend kalt bleiben – müssen.

Aus dem Negativen kann man auch was Positives ziehen: Wärme trocknet die Schleimhäute aus und macht sie infektionsanfälliger. Zudem  ist in ungeheizten Räumen (bei regelmäßiger Lüftung) mehr Sauerstoff vorhanden, womit das Atmen etwas erleichtert wird.  Hust.

Also. Kein Grund zum Jammern. Es gibt Schlimmeres. Das Leben ist nun mal nicht gerecht. Oder?

So versuche ich als völlig unbescholtene Frau mit der Invaliditätspension und dem Mindesteinkommen – auszukommen. Selbst kochen, sparen, sparen, sparen.

Und ehrenamtlich arbeiten, damit wenig Zeit zum Nachdenken bleibt.

Cafe-, Kinobesuche oder sonstige kulturelle Vergnügen, die nicht umsonst sind, diverse Veranstaltungen, Friseurbesuche oder anderweitige „Bedürfnisse“ , wie eine Wohnungsadaptierung – sind gezwungenermaßen – gestrichen.

Eigentlich sollte ich das als unheilbar krebskranke AlleinerzieherIn dreier Kinder (die vom Krankenbett aus im zweiten Bildungsweg – ohne Stipendium -  zwei Studienrichtungen mit Erfolg in der kürzesten Zeit abgeschlossen hat) – verstehen. Das fällt mir natürlich nicht so leicht, wie manche meinen.

Ich müsste das – mit einer angeborenen zystischen Fibrose, überstandenen Schlaganfällen mit SAB, multiplen malignen Neoplasien, Magen- Darmoperationen, einer Hypogammaglobulinämie,  Diabetes, einer inoperablen KHK, entzündlicher Polyneuropathien – Rheuma -  ja mittlerweile im Laufe von Jahrzehnten gewohnt sein …

Dass zusätzlich eine hochgradige Coxarthrose (Trendelburgerzeichen mit Luxationsneigung), eine Läsion der Caudanerven im Rückenmark, eine ausgeprägte Skoliose der LW, eine  Kyphose der BWS,  sowie eine Arthrose der HWS und der Kniegelenke (Bakerzyste) vorliegt, scheint kaum jemanden von den Zuständigen zu interessieren. Die seit meinem 16.Lj. mehrmals durchgeführten Operationen der Knie, WS und Hüfte – brachten leider keine Besserung – aber durch unzählige Röntgenuntersuchungen und Rö-Therapien den Strahlenkrebs – zum Drüberstreuen.

Als „medizinisches Wunder“ muss/te ich dies alles ertragen und mangels Hilfeleistung (warum eigentlich?) mich mit oder ohne Krücken über 4 Stockwerke quälen. Nun sind es seit dem allgemeinen Lifteinbau bis zum Halbstock im Jahr 2007  -  immer noch 8 Stufen. (eine kostenlose Physiotherapie)

pdf Datei zum downloaden

Da wiehert der Amtsschimmel und die Behördenwillkür trägt ihre (verdorbenen) Früchte.

Gerade stehen -  Kopf hoch – Schultern zurück und ( ? gequält) LÄCHELN.

In diesem Sinne: Aufgeben? Noch nicht!

Mehr dazu in meinem Blog  Zauberfäden unter der Rubrik „Über … „   klick –>        http://myblog.de/ingrid-hexerl

Aus Innsbruck grüßt die „ÜberlebenskünstlerIn“

Ingrid

www.ingridriedl.net

Arbeite, als würdest Du das Geld nicht brauchen.

Liebe, als seiest Du niemals verletzt worden.

Tanze, als würde Dir niemand dabei zusehen.

Singe, als würde Dir niemand dabei zuhören.

Lebe als wäre es der Himmel auf Erden.

( leichter gesagt – als getan)

klick –> It’s Hard To Say Goodbye – Regine Velasquez & Paul Anka

klick –> Time To Say Goodbye * Andrea Bocelli and Sarah Brightman

]]> http://steveshark.wordpress.com/2009/11/19/anger-management-fail/ Thu, 19 Nov 2009 22:04:37 +0000 steveshark http://steveshark.wordpress.com/2009/11/19/anger-management-fail/

The legendary drummer Buddy Rich is now probably as famous for ranting at his band members as he is for his work with his sticks.

Some of his band recorded his rants secretly and then let them out into the public domain.

Here’s one example – audio only.

For those who want to read some of his deathless swearing, a typical sample I’ve taken from here.

In the following segment, Buddy has it out with a band member who refuses to shave his beard off.

…You’ve had two fuckin’ weeks to decide if you want a fuckin’ beard, or a job. This isn’t the goddam House of David fucking baseball team this is the Buddy Rich Band. Young people with faces – no more fucking beards – out! [Unintelligible] you’re through – out! This is the last time I make this announcement. No fucking beards. I don’t wanna see it – either you’re gonna either shave it off [unintelligible] I’ll treat you just like they do in the fuckin’ Marine Corps. This is the way I want MY fucking band to look. If you don’t like it – get out. You’ve had two fuckin’ weeks to make up your mind. No idle request – I’m telling how I want my band to look. You’re not gonna tell me how you’re gonna look, I’m telling YOU. There’s too much freedom in this band I’m gonna take it away [unintelligible] as long as you’re takin’ my fuckin’ money…You seem to give me the most fucking trouble of anybody. Wanna do something about it? You wanna tell me about it? [the band member with the beard says: "I'm definitely not shaving it off"] Then I’m definitely telling you one thing, you keep your fucking mouth shut, get the fuckin’ beard off or get the fuck outta the band right now. Now what do’ya think of that? Now that’s a definite suggestion. If you wanna work tonight, if I catch the fuckin’ beard on you, I’ll THROW you off the fuckin’ bandstand. Okay? [band member: "I'm not taking it off."] You what? You’re through! You don’t tell me what to do – I tell you. If you don’t like it, get off. [band member says, "I don't like it"]. Get off! Get your fuckin’ clothes and get off, right now. Pull the fuckin’ bus over. [band member says something unintelligble]. Have I got what? [band member asking about severance pay?] I got nothin’ for you – I got a right hand for your fuckin’ brain if you want it. I gave you two weeks – two weeks. You’re in the rule of MY band. If you don’t like it, that’s it! Get off, and TRY to take me to the fuckin’ union – I’d love it – love it. You get no [unintelligible] money, you get two weeks TIME. You’ve been waiting for this a long fuckin’ time. [Band member says “No I haven’t”] Yes you have. Ever since you opened your mouth because I don’t like the way you write. And I STILL play your fuckin’ charts. For you. You understand that? Not for me…I’m a success without you and without your WRITING. [band member says, “I understand that”] Go back to Sydney, and whatever is that you do over there, good luck to you. But not over here. You’re through. I want him off – right now. [band member says "It's a pleasure to be off"]. Keep talkin’. You wanna – you wanna start some shit with me? [band member says, "Not particularly"]. Then keep your fuckin’ mouth shut – right now! Or I’ll close it for you. Keep it shut! Try me! [band member says something unintelligible]. Then shut up! [band member says, "I'd appreciate it if you'd talk to me like a human being"]. I’d rather talk to you like a human being but you talk back all the time. Now keep your fuckin’ mouth shut or I’ll show you what it’s LIKE. That’s all! [band member: “That sounds like a threat] I’m not threatening you I’m telling you. You don’t wanna do what I wanna do, then I’m telling you. [band member unintelligible] Then shut-up! I want that understood by everybody. I want him off. I don’t want him on the bandstand tonight. Any time you’re ready. [band member says, "All right". The bus pulls over to side of the road]. END OF TAPE

Another guy who knew what he wanted was Paul Anka – famous for ‘Diana’ – a cheesy 1950s teeny pop song and writing the English lyrics to ‘My Way’.

Here he is insisting on shirts for his band.

Orson Wells could really fucking lose it when he wanted to:

Although my favourite example of Orson misbehaving is this outtake from a champagne advert. It’s pretty evident that he’d sampled the merchandise just a little too freely. It also happens to be my favourite outtake ever.

Make no mistake, Orson is totally fucking shitfaced drunk…

รวบรวมเรียบเรียงแปล โดย สว อิเฎล
ห้ามนำไปใช้ใน Website อื่นโดยไม่ได้รับอนุญาต
หากต้องการสอบถามเพิ่มเติมเกี่ยวกับผลงานวง ให้ถามที่ http://board.thaimisc.com/manson

อ่านหน้าอื่น ๆ : ประวัติ วง Marilyn Manson, ประวัติ นาย Marilyn Manson, ประวัติ Twiggy Ramirez, ประวัติ Madonna Wayne Gacy (Pogo), ประวัติ John 5, ประวัติ Zim Zum, ประวัติ Ginger Fish

Frank Kenny (Kenneth) Wilson เกิดวันที่ 28 กันยายน 1966 ใน Framingham ใกล้เมืองหลวง Boston ในรัฐ Massachusetts พ่อของเขาเป็นนักร้องผู้เข้าร่วมเหมือนกับ Frank Sinatra และ Paul Anka และแม่ของเขาเป็นนักเต้นให้ Warner Brothers (ท่านปลาขิงจึงคุ้นเคยกับคำว่า Warner)

Ginger Fish Sleep, Drawing by Sw Eden

ตอนที่ Frank ยังเป็นเด็กอยู่เขาชอบวง Rush และ Black Sabbath วง Neil Pert เป็นวงที่เขาคลั่งมากที่สุด Frank เริ่มตีกลองตั้งแต่อายุยังน้อย นั่นคือ grade 2-3 (ของอเมริกามี grade 1 ถึง 12 grade 1 ถึง grade 6 คือ ป.1 ถึง ป.6 และ grade 7 ถึง grade 12 คือ ม.1 ถึง ม.6) เมื่อเขาอยู่ grade 7 เขาก็เริ่มเล่นรวมวง และอยู่ในวงใหญ่ 3 ปี คาดว่าน่าจะเป็นวงดุริยางค์ หลังจากที่ครอบครัวของเขาย้ายไปที่ Las Vegas เขาก็เล่นในวงของวิทยาลัยแห่ง University of Nevada และ Nevada All-State Big Band Frank เล่นให้หลาย ๆ วงใน Las Vegas จนค่อนข้างเป็นที่รู้จัก และมีข่าวลือว่ามีบุคคล 2 คนคอยสนับสนุนเขาคือ Paul Anka และ Barry Manilow อยู่ประมาณ 2 สัปดาห์ อย่างไรก็ตามหลังจาก Frank สพน์โอกาศในการทำงานเล็ก ๆ เขาก็เริ่มทำงานที่ไม่ค่อยสุจริตนัก โดยเป็นพนักงานในงานเลี้ยงที่ Circus Circus Casino (การละเล่นใน casino อาทิเช่น slots roulette และ blackjack)

ต่อมาเมื่อความอดทนที่จะอยู่ใน casino ได้หมดลง Frank เดินทางไปที่ Orlando รัฐ Florida ในที่ที่พ่อแม่ของเขาได้ซื้อโรงละครไว้โรงหนึ่ง Frank เล่นกลองในการแสดงที่ชื่อ A Chorus Line กับ Jesus Christ Superstar หลังจากนั้นเขาก็ตกงานมาตลอดจนกระทั่ง Marilyn Manson มาชวนเขาไปเล่น Frank เปลี่ยนชื่อเป็น Ginger Fish หรือปลาขิง มาจากฆาตรกรตอนกลางคืนอย่าง Albert Fish และดาราสาวหน้าใหม่อย่าง Ginger Rogers ปีนี้คือปี 1995 ปลาขิงมาแทน Sara Lee Lucus มือกลองคนเก่า มันน่าแปลกมากที่ปลาขิงเคยทำงานเปลือกนอกเพื่อศาสนากลับมาทำงันกับคนบ้านอกศาสนา

พูดถึงการแสดงของ Manson เรา ๆ ก็รู้ เวลาจบงานทุกครั้งจะมีการทำลายข้าวของ Manson มักจะเหวี่ยวขาตั้งไมค์ไปโดน ปลาขิง และเขาก็เข้าโรงพยาบาลบ่อย จนปลาขิงมั่นใจว่าสักวันเขาต้องถูกฆ่าแน่ ๆ ปลาขิงบอกว่า ถ้า Manson ทำร้ายจนเขาทนไม่ได้แล้วเขาจะฆ่า Manson ทันที และเขาก็จะติดคุก แต่ตราบใดที่เขายังมีชีวิตอยู่เขาก็จะเล่นมันต่อไป เล่นทุก ๆ ที่ กับ Manson จนกว่าความตายจะพรากเราออกจากกัน และที่ที่เดียวที่ยังไม่ได้ไป และจะไม่ไปก็คือคุก (พวกเราคงรู้ว่าเด็กชายที่ไปร่วมห้องนอนกับปลาขิงสมัยอยู่ Las Vegas คือ Edsel Dope ผู้มักจะพูดถึงคุกบ่อย ๆ เช่นกัน ทั้งคู่ชอบคุกหรือใครชักจูงอีกคน ถึงอย่างไรก็ตาม Edsel Dope ได้อิจฉา Tripp Eisen ที่ได้เข้าคุกสำเร็จไปแล้ว) นอกจากนี้ปลาขิงผู้นิสัยดียังแก้ตัวให้ Manson ผู้ทำร้ายตนอีกว่า ทุกคนก็มีอารมณ์รุนแรงเหมือนกัน ตัวเขาเองก็มี เพราะทุกคนยังไม่โตพอที่จะควบคุมมันได้ เวลาหงุดหงิด รำคาญก็จะโยนของเป็นธรรมดา เขายังหวังว่าทุกคนจะโตขึ้น และเขาจะคอยดูการเปลี่ยนแปลงครั้งนี้

ในฤดูร้อนปี 2000 วง Paradox ออกอลบัม SUMMER เอ้ย! ฤดูร้อนปี 1998 วง Manson มี tour ที่ Europe แต่ปลาขิงมีทำสัญญากับ Mono Nucleosis ไว้ ทำให้ต้องล้มเลิกการแสดงทั้งหมด มันก็เป็นอุปสรรคอย่างหนึ่ง แต่ภายหลัง Manson ก็ได้ สมใจนึกในสมัย Holy Wood (2000-2001)

Marilyn Manson and Twiggy, Drawing by Sw Eden

ไม่นาน ต่อมาในสมัย Mechanical Animals ประมาณ 1998-1999 มีหลาย ๆ อย่างเปลี่ยนแปลงไป Zimmy ที่น่ารักออกจากวงแล้วแทนด้วย John5 ทั้ง ๆ ที่เพลง Promote ของอลบัมเป็นผลงานของ ZimZum Twiggy และ Manson ร่วมกันแต่ง นอกจากนี้ Michael Beinhorn จาก Soundgarden และ Hole ยังถูก Manson จ้างให้มาเป็น producer คนใหม่ในวงอีก ปลาขิงต้องจำเชื่อฟังเขา เพราะนายคนนี้เคยไล่ Patty Schemel มือกลองคนเก่าของวง Hole ออกจากวง ปลาขิงมาบ่นว่าแต่เดิมก่อนมีไอ้นี่มาเขาทำงานเพื่อวง แต่ครานี้ต้องมาฟังคำสั่งไอ้นี่ Manson จ้างไอ้หมอนี่มาเพื่อทำให้เสียงดนตรีดีขึ้น แต่ทำไมต้องให้ไอ้นี่มาสั้งให้เขาปรับปรุงการเล่นกลองไม่รู้เท่าไร แทนที่จะให้มันลงมาเล่นเองอย่างที่มันชอบเสียเลย ที่ปลาขิงโกรธได้ขนาดนี้เพราะ Beinhorn ไม่เคยแสดงให้เขาดู หรือสอนเขา เอาแต่สั่งเขา เหมือนกับปลาขิงไม่เชื่อว่าไอ้นี่เก่งจริง แต่ในที่สุดเขาก็ล้มความคิดเขาซะ เมื่อเขาพบว่า Beinhorn เป็นคนเก่ง

ปลาขิงเป็นคนที่แปลกที่สุดในวง เพราะเขาไม่เสพ ไม่สูบ และไม่ดื่ม Manson บรรยายเขาว่า เขาเงียบที่สุดและจนดูน่ากลัวที่สุด เหมือนกับระเบิดเวลาที่รอการระเบิดครั้งใหญ่ Manson ยังให้ฉายาเขาอีกว่า “the strangest and quietest person in the band” (ที่จริงอาจจะเป็นคนปกติสุด แต่เทียบกับทุกคนในวงที่แปลก) นอกจากนี้ปลาขิงยังเป็นสมาชิกคนหนึ่งที่อยู่ในวง Marilyn Manson ได้นาน นาน นานมาก ๆ รองจาก Pogo (Gacy) (1989-ปัจจุบัน) ปัจจุบัน ปลาขิงทำ side project กับวง Martyr Plot หลังจากเข้าโรงพยาบาลเพราะตกเวที ทำให้ Chris Vrenna (ex-NIN) มาเล่นแทนชั่วคราว

Marilyn Manson in Court, Drawing by Sw Eden

…but on of them isn’t reading Swann’s Way (by the way the subject post and this first sentence fragment should be sung to the tune of that Paul Anka/Frank Sinatra classic “My Way” or “Strangers in the Night”–just make sure its Sinatra!).

Well its Friday night and I’m home reading Proust.  I can’t decide if this makes me really intellectual and cultured or just nerdy.  I think I’ll let you make the call.

But part of the reason I’m spending my Friday night thusly is because I’m enjoying this book so much.  So far its a corker!  Sure there’s some room for complaint…let me enumerate

• Not a lot happens. I’m on page 43 and this guy is still in bed.  At this rate this 450 page book is going to end at breakfast.  And where are the damn madeleines?  Bring on the cookies!

• Some of the metaphors are a little…extended. For instance:

My mother did not come, and with no consideration for my pride (which was invested in her not denying the story that she was supposed to have asked me to let her know the results of some search) asked Francoise to say these words to me: “There is no answer,” words I have so often since then heard the doormen in grand hotels or the footmen in bawdy houses bring back to some poor girl who exclaims in surprise, “What, he said nothing? Why, that’s impossible! Did you really give him my note? All right, I’ll go on waiting.”  And–just as she invariably assures him she does not need the extra gas jet which the doorman wants to light for her, and remains there, hearing nothing further but the few remarks about the weather exchanged by the doorman and a lackey whom he sends off suddenly, when he notices the time, to put a customer’s drink on ice…

Um..what were we talking about?  What was that doorman like?

• The narrator’s a little creepy. The little dude is staring at his mom’s face planning where he’s going to give her a kiss.  That’s a little weird.

But I like it…and I can’t decide if its because of the idiosyncracies listed above or in spite of them.

Here’s something I know I like.  The narrator as a little boy thinking “I had heard people say that George Sand was an exemplary novelist.”  What a delightfully nerdy little kid!  I’m probably just jealous because when I was little I wasn’t so much weighing the relative merits of gender-conflicted novelists as trying to be funny because I thought that when people on TV watched TV they were watching us.

And don’t worry…I’ve just come to expect that you identify with every major character in fiction from The Hunchback of Notre Dame’s Quasimodo to The Secret Garden’s Colin (I’ve told you…it’s not that noticeable).  And I imagine it will continue…when we read Moby Dick you’ll be Ahab, when we read Watership Down you’ll be a bunny.

Well I think I’ve written enough for one night (Proust makes me wordy…its contagious!).

Adieu,

Jon

Very occasionally a group of people get together on the Touchedmix blog and post mixes on a particular theme. Last week, the theme was HEADS, with their features and their functions. I thought readers of this little corner of the music blogosphere might be interested in the two mixes I banged together.

*     *     *

OVER MY HEAD MIX
1. Aztec Camera – Head Is Happy (Heart’s Insane) (1985)
2. Crowded House – Pineapple Head (live) (1996/2006)
3. Johnny Cash – Mean Eyed Cat (1996)
4. The Dillards – I’ve Just Seen A Face (1968)
5. The Holmes Brothers – Smiling Face Hiding A Weeping Heart (2006)
6. Paul Anka – Eyes Without A Face (2006)
7. The Undisputed Truth – Smiling Faces Sometimes (1971)
8. Justine Washington – I Can’t Wait Until I See My Baby’s Face (1964)
9. The Flamingos – I Only Have Eyes For You (1959)
10. Mississippi Sheikhs – I’ve Got Blood in My Eyes For You (1938)
11. Robert Mitchum – Mama Looka Boo Boo (Shut Your Mouth-Go Away) (1958)
12. Emile Ford & the Checkmates – Them There Eyes (1960)
13. Lewis Taylor – Blue Eyes (2000)
14. Andrew Bird – A Nervous Tic Motion Of The Head To The Left (2005)
15. Nada Surf – The Way You Wear Your Head (2002)
16. The Sweet – The Lies In Your Eyes (1975)
17. Ben Folds – Doctor My Eyes (2002)
18. Josh Ritter – One More Mouth (2006)
19. Kaki King – Saving Days In A Frozen Head (2008)
20. The Lilac Time – The Darkness Of Her Eyes (1991)
21. Thomas Dybdahl – Pale Green Eyes (2009)
22. Ryan Adams – Halloweenhead (2007)
23. The Cardigans – Give Me Your Eyes (2005)

Download

.

Justine Washington is better known as Baby Washington; this is the original version of the song covered to good effect by Dusty Springfield.

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SENSES WORKING OVERTIME MIX
1. David Bowie – Can You Hear Me (1975)
2. Tim Buckley – I Can’t See You (1966)
3. Herman Düne – I Wish That I Could See You Soon (2006)
4. Devics – If We Cannot See (2006)
5. Richard Hawley – Can You Hear The Rain, Love (2001)
6. Scott Walker – You’re Gonna Hear From Me (1967)
7. The Righteous Brothers – See That Girl (1965)
8. Chris Montez – The More I See You (1966)
9. Cass Elliot – I’ll Be Seeing You (1973)
10. Blind Boy Fuller – What’s That Smells Like Fish (1938)
11. Smiley Lewis – I Hear You Knocking (1955)
12. The Supremes – I Hear A Symphony (1965)
13. Jim Messina – Seeing You (For The First Time) (1979)
14. Baby Huey – Listen To Me (1971)
15. The Jesus and Mary Chain – Taste Of Cindy (1985)
16. K’s Choice – A Sound That Only You Can Hear (1995)
17. Mull Historical Society – Watching Xanadu (2001)
18. Ron Sexsmith & Don Kerr – Listen (2005)
19. Rosanne Cash – I Was Watching You (2006)
20. The Magic Numbers – I See You, You See Me (2005)
21. Paul Anka – Smells Like Teen Spirit (2005)

DOWNLOAD

This is the first of two mixes prepared by Any Major Dude With Half A Heart, whose music blog lives HERE, concentrating on the physiognomy of the head theme.

1. Aztec Camera – Head Is Happy (Heart’s Insane)
2. Crowded House – Pineapple Head (live)
3. Johnny Cash – Mean Eyed Cat
4. The Dillards – I’ve Just Seen A Face
5. The Holmes Brothers – Smiling Face Hiding A Weeping Heart
6. Paul Anka – Eyes Without A Face
7. The Undisputed Truth – Smiling Faces Sometimes
8. Justine Washington – I Can’t Wait Until I See My Baby’s Face
9. The Flamingos – I Only Have Eyes For You
10. Mississippi Sheikhs – I’ve Got Blood in My Eyes For You
11. Robert Mitchum – Mama Looka Boo Boo (Shut Your Mouth-Go Away)
12. Emile Ford & the Checkmates – Them There Eyes
13. Lewis Taylor – Blue Eyes
14. Andrew Bird – A Nervous Tic Motion Of The Head To The Left
15. Nada Surf – The Way You Wear Your Head
16. The Sweet – The Lies In Your Eyes
17. Ben Folds – Doctor My Eyes
18. Josh Ritter – One More Mouth
19. Kaki King – Saving Days In A Frozen Head
20. The Lilac Time – The Darkness Of Her Eyes
21. Thomas Dybdahl – Pale Green Eyes
22. Ryan Adams – Halloweenhead
23. The Cardigans – Give Me Your Eyes

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Justine Washington is better known as Baby Washington; this is the original version of the song covered to good effect by Dusty Springfield.

Another lot of songs on the theme of heads (and other bodyparts) is on the So Much Beauty Out There blog, including songs by Etta James, Florence Ballard, Françoise Hardy, Serge Gainsbourg, Sparklehorse, Herman Düne, Lou Reed & John Cale, Palace Brothers, and much more.

wenn das mal nicht japanisch ist…

link. misterhonk

Even A Fool Learns to Love.

Someone must have enjoyed or at least tolerated Bowie’s lyrics for “Pancho,” as Bowie was offered further translation work at the start of 1968. This time it was for Claude François’ “Comme D’Habitude,” written by François, Gilles Thibault and Jacques Revaux.

“Comme D’Habitude” in the original French (here’s a multi-language translation guide) has the singer stoically noting that something has died—his lover, he’s realized, responds to his actions out of habit, “as usual,” and he goes on to admit that he too has been living without inspiration: it’s a post-mortem for a failed relationship, in which even the various infidelities, despairs and fights have a weary, bloodless feel to them. (François allegedly liked it because the song encapsulated his recent breakup with France Gall.)

By contrast, Bowie’s translation, “Even a Fool Learns to Love,” is purple, self-pitying and, worse, full of sad clowns—it’s basically another version of “When I Live My Dream” combined with some Pierrot-isms. It’s pretty dreadful stuff, and unsurprisingly Bowie’s lyric got shot down (Geoffrey Heath, who worked at Essex Music, later said that the powers that be “wanted a star to record the song, not this yobbo from Bromley”).

Soon afterward, Paul Anka heard “Comme D’Habitude” on French television and wrote a new set of lyrics for it, again completely at odds with the original song. Anka titled it “My Way.” You know the rest.

Bowie’s demo (which weirdly consisted of Bowie singing over François’ original recording) was recorded in January-February 1968. Bowie seemed to regret not getting the song—he performed it as part of his failed cabaret auditions later in 1968, and as Nicholas Pegg has noted, Bowie’s “Life on Mars” is something of a rewrite.

Top: Rudy Meisel, “Piccadilly Circus, 1968.”