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| Elegant-Portrait-with-Bold-Lip Photo by Natuty from Studio.Stock |
日曜日なので、穏やかな内容を書いています。
昔から自分のセルフ学習のテーマに、魚と言うしなやかでヒンヤリと泳ぐ、硬質な宝石で覆われた哲学その物についてずっと考える、という物があります。
釣りは趣味ではありませんし、大昔パートナーが飼って居たコバルトブルーを再現した水槽の中で静かに水の呼吸をする、綺麗な魚達に私の家族では無いからと、ご飯をあげるのにも、いちいち断って恐々あげていたのを記憶しています。
魚というと、食卓や銀色のバットが積まれた斜めのショーケースに並ぶ、美しい材料達意外に、私は必ず夏の正午に誰も知らない長方形の小さな石造りの池に、まるで隠れているかのように濃い緑色の中をちら、と弾力ある赫で少し泳ぎ、覆い被さった低木樹の葉の影に停まった、魚の影を連想します。
日曜版でも他のポストでも何度も描いているので、読んで下さっている皆さんは、どうしてエナメルの心には必ずこの石造りの水鉢があり、何時迄も小さな魚が暮らしているのだろう？ と不思議だと思います。
実は、近くには誰も使っていない、焼けたガラスで覆われた屋外植物室が有り、ドライフラワーの小さな葉が堕ちて来た星のように散らばる中、3段の上にアロエベラや見た事はきっとあるのだろうけれど、生涯分からない、取り立てて調べようとも思わない、虚無的な実体を私の中にだけ持たない植物達が、平気そうに並んで居ます。
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| Fashionable-Night-Out Photo by Natuty from Studio Stock |
私の心の中には赫い魚が泳ぐ静かな人工庭園のベンチがあり、近くにはガラスの室外植物室があり、麒麟草が揺れる線路を挟んで咲き溢れる濃い桃色の芙蓉が残る、知りもしない3階建ての窓が落ちたビルが建っています。
此の景色は、私が一時期実際に過ごしていた日常に存在した景色です。
可笑しなことに、私はその咲き溢れる濃い桃色の花をじっと見つめながら、”此の景色は一生忘れないだろうから、憶えやすい形容詞で一回で言えるようにして、記憶しておかなければならない”と、毎日毎日じっと食い入るように見ては、口の中で言葉を直していました。
BTSの麗人Vさんが、Championのメーカーの今季イメージに決まったそうです。
キャッチコピーは、”SPOKEN LIKE A TRUE"
最初そのまま訳してしまい、事実みたいに話せよ、と促す言葉として取りました。
「お前は嘘くせえよ（リアルじゃ無いよ）」という意味。
リアルじゃ無いは、私の”沈黙の世代”の言い方で、子供じみた世間知らずだらけ、という感じです。
先程インスタグラムを見たら、”本物は語らない”が正規の訳なんだそうです。
沈黙は本物の証、なのでしょうか。
唯の偶然ですが、実は”沈黙の世代”は、お前の世代には本物が居ない。コピー。オリジナリティ皆無と、けちょんけちょんに言われていたので、少し嬉しかったです。
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| Portrait-of-a-Stylish-Young-Woman Photo by Natuty from Studio.Stock |
リアルという大江千里さんの楽曲があり、十人十色の後のリリースだったので期待されまくって居たのですが、ハードでシリアスな楽曲で、大江千里さんは余りメジャーにならないまま、鋭い感性の楽曲をその後リリースし続けることになりました。
大江さんと当時所属していたepicソニーには申し訳ありませんが、私はそのお陰でセンシティブや感受性は女性だけのものという、先入観を持たずに制服を着ている時間を過ごせました。
この楽曲が収録されていたのは”未成年”というアルバムで、私はアルバムを予約注文していました。
するとこの謎めいたポスターが付いて来ました。
白黒の写真なのも珍しく、顔が途中までしか出していないのも何もかもが中学入学前の私には物珍しく、家に持って帰り、そのポスターに小さく几帳面で神経質そうなフォントで、
「You can't make an omelet without breaking eggs. （卵を割らなければオムレツは作れない）」と印刷されていました。
言葉通りに読めば、「始めなければ何も起こらないよ」という要点ですが、
これ多分「説教」を言われている大江千里なんですよね。
年齢的には大江千里さんは私のすぐ上のお兄さん世代ですが、やり過ごす、というちょっぴりスパイスの効いた成長期な夏休みの過ごし方を言っているようにも思えます。
当時私は、オムレツ・・・？ という所で思考が絶句し、本物のオムレツを作れたのは、ずっとずっと後、鉄の小さなフライパンと生クリームとバター2欠片と4つの白い卵でした。
"分からなくても誰も死なない事は、どれだけ時間を掛けても気の済むまで付き合って良い "
この個人的なエピソードから私が卵の殻を投げ捨て得た教訓は、これです。
それでは、秋を気にして秋めいた夏物を考える、素敵な日曜日をお過ごし下さい。
此のアルバムは、「男ユーミン」と冠された初期の大江千里の代表的なアルバムです。
実はその前に2枚アルバムがあり（WAKUWAKU、其の後Pleasure)、既に邦楽ポップ界の大ホープであった大江千里は、アルバムリリースの度FMラジオで特集インタビューが放送される等、大注目株でした。
理由は、当時シンガーソングライターの登竜門であったヤマハポップスコンクール、通称ポプコンで準優勝に輝いてのデビューだったからです。
それがこのアルバム収録の「渚のONE - SIDE SUMMER」で、何と大学在学中に作詞作曲アレンジまで大江千里1人で制作してしまった楽曲で、当時殆ど直しを入れていないと語っていました。プロ盤は編曲のみ清水信之氏となっています。
大学在学中のバンドメイト達はこの曲を聴いて、大江と自分達は全く違う、と唖然としたと言います。
現在はジャズに転向されていますので、アップルミュージックとスポティファイ等、大江千里のポップス時代とジャズ時代と、配信インターフェイスはジャンル分けをした方が良いと思うのですが。
Enamel
O.です。
皆さん、大江千里というと「Rain」が1番有名ですね。
ですがこの未成年というアルバムは当時楽曲界に衝撃を走らせました。
恐らく2枚のアルバムで出し切ったであろう彼の繊細性と天才性がさらに広く大きく姿を現わしたのですから。
２曲目の「真冬のランドリエ」はエナメルの生涯を左右する程の楽曲です。彼女は此の楽曲について殆ど言葉を発しません。
其れ程の楽曲なので、後に邦画で映画化されています。
ぜひお聴きになり、大江千里の才能に唖然として下さい。
彼は当時24歳でした。驚きです。
Prof.O,
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| Young-Woman-Enjoying-a-Green-Drink Photo by Natuty from Studio.Stock |
Studio.Stock (Use Free)
20260816 13:45 文章を直しました。
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| Elegant-Portrait-with-Bold-Lip Photo by Natuty from Studio.Stock |
Since it’s Sunday, I’m writing about something gentle.
For a long time now, one of my themes in self-study has been to constantly reflect on fish—those supple, cool creatures that glide through the water, covered in hard jewels, embodying philosophy itself.
Fishing isn’t a hobby of mine, and I remember how, long ago, in an aquarium recreating the cobalt blue of a fish my partner used to keep, I would cautiously feed the beautiful fish—which weren’t part of my family—only after asking permission each time, as if they weren’t really mine.
When I think of fish, aside from the beautiful ingredients lined up on the dining table or in a slanted display case stacked with silver trays, I always picture the shadow of a fish in a small, rectangular stone pond that no one knows about at noon in summer—a fish that swims briefly through the deep greenery as if hiding, its body a supple crimson, before coming to rest in the shadow cast by the overhanging leaves of the shrubs.
Since I’ve written about this many times—both in the Sunday edition and in other posts—I imagine my readers must wonder: Why does Enamel’s heart always contain this stone water basin, and why do tiny fish continue to live there forever?
In fact, nearby there is an unused outdoor greenhouse covered in baked glass. Amid the small dried flower petals scattered like fallen stars, plants—such as aloe vera and others I’ve surely seen before but will never truly understand, nor feel the need to look up—stand nonchalantly in three tiers, embodying a nihilistic essence that exists only within me.
For a long time now, one of my themes in self-study has been to constantly reflect on fish—those supple, cool creatures that glide through the water, covered in hard jewels, embodying philosophy itself.
Fishing isn’t a hobby of mine, and I remember how, long ago, in an aquarium recreating the cobalt blue of a fish my partner used to keep, I would cautiously feed the beautiful fish—which weren’t part of my family—only after asking permission each time, as if they weren’t really mine.
When I think of fish, aside from the beautiful ingredients lined up on the dining table or in a slanted display case stacked with silver trays, I always picture the shadow of a fish in a small, rectangular stone pond that no one knows about at noon in summer—a fish that swims briefly through the deep greenery as if hiding, its body a supple crimson, before coming to rest in the shadow cast by the overhanging leaves of the shrubs.
Since I’ve written about this many times—both in the Sunday edition and in other posts—I imagine my readers must wonder: Why does Enamel’s heart always contain this stone water basin, and why do tiny fish continue to live there forever?
In fact, nearby there is an unused outdoor greenhouse covered in baked glass. Amid the small dried flower petals scattered like fallen stars, plants—such as aloe vera and others I’ve surely seen before but will never truly understand, nor feel the need to look up—stand nonchalantly in three tiers, embodying a nihilistic essence that exists only within me.
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| Fashionable-Night-Out Photo by Natuty from Studio.Stock |
Inside my heart, there’s a bench in a quiet artificial garden where crimson fish swim; nearby is a glass greenhouse, and across the railroad tracks where kirin grass sways, there’s a three-story building—whose windows have fallen out and whose name I don’t even know—still standing, surrounded by deep peach-colored hibiscus in full bloom.
This scene is one that actually existed in my daily life for a time.
Funnily enough, as I stared intently at those overflowing deep peach-colored flowers, I thought, “Since I’ll never forget this scene for the rest of my life, I have to memorize it so I can describe it in one go using an easy-to-remember adjective,” and day after day, I would gaze at it intently, refining the words in my mind.
I heard that BTS’s V has been chosen as the face of Champion’s campaign for this season.
The tagline is “SPOKEN LIKE A TRUE.”
At first, I translated it literally and interpreted it as a phrase urging people to speak as if it were fact.
It means, “You’re so fake (you’re not real).”
“Not real” is a phrase from my “Silent Generation”—it conveys the sense of a bunch of childish, naive people.
I just checked Instagram, and it seems the official translation is “The real thing doesn’t speak.”
Is silence a sign of authenticity, then?
It’s just a coincidence, but actually, the “Silent Generation” used to get absolutely torn apart—told that there are no real people in your generation, that you’re all just copies with zero originality—so this made me a little happy.
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| Portrait-of-a-Stylish-Young-Woman Photo by Natuty from Studio.Stock |
I’m sorry to Chisato Oe and Epic Sony, her label at the time, but thanks to that song, I was able to spend my school days without the preconception that sensitivity and emotional depth were traits exclusive to women.
This song was included on the album *Minor*, which I had pre-ordered.
When it arrived, it came with this mysterious poster.
The black-and-white photo was unusual, and the fact that only part of his face was visible—everything about it—was a novelty to me before I even started middle school. I took it home, and printed on the poster in a small, meticulous, and somewhat neurotic-looking font were the words:
“You can’t make an omelet without breaking eggs. (You can’t make an omelet without breaking eggs).”
Taken literally, the message is, “Nothing will happen unless you get started,” but
I think this is probably Chisato Oe being lectured.
Age-wise, Chisato Oe is from the generation just above mine, but it also seems like he’s describing a way to spend summer vacation during adolescence—one with a bit of spice—by just letting things slide.
Back then, my thoughts came to a halt at the word “omelet…?” It wasn’t until much, much later that I actually made a real omelet—using a small cast-iron skillet, heavy cream, two knobs of butter, and four white eggs.
“When it comes to things you don’t understand, and no one will die from it, you can take as much time as you need to figure them out until you’re satisfied.”
This is the lesson I learned from this personal episode—one that allowed me to finally cast aside the eggshells.
Well then, I hope you have a wonderful Sunday, thinking about autumn-inspired summer outfits as the season turns.
This album is a representative work from Chisato Oe’s early career, often referred to as the “Male Yuming” era.
In fact, he had already released two albums prior to this—*WAKUWAKU* and, later, *Pleasure*—and as a rising star in the Japanese pop music scene, Chisato Oe was already attracting significant attention, with special interviews airing on FM radio every time he released a new album.
The reason for this was that he made his debut after winning second place in the Yamaha Pop Contest—commonly known as “Popcon”—which was considered the gateway to success for singer-songwriters at the time.
That song was “Nagisa no ONE - SIDE SUMMER,” included on this album. Remarkably, Chisato Oe wrote the lyrics, composed the music, and arranged the track entirely on his own while still a college student; he later stated that almost no changes were made to the original version. On the professional release, Nobuyuki Shimizu is credited solely for the arrangement.
His bandmates from his college days reportedly listened to this song and were stunned, realizing that Oe was completely different from them.
Since he has since shifted to jazz, I think it would be better to categorize his pop and jazz eras separately on streaming platforms like Apple Music and Spotify.
Enamel
This is O.
For most people, “Rain” is Chisato Oe’s most famous song.
However, this album, *Minor*, sent shockwaves through the music world at the time.
It was because his sensitivity and genius—which he likely had fully expressed in just two albums—were revealed on an even broader and grander scale.
The second track, “Midwinter Landrie,” is a song that shaped Enamel’s entire life. She rarely speaks about this song.
It’s such a remarkable piece that it was later adapted into a Japanese film.
Please give it a listen and be astounded by Chisato Oe’s talent.
He was only 24 at the time. It’s astonishing.
Prof. O,
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| Young-Woman-Enjoying-a-Green-Drink Photo by Natuty from Studio.Stock |
20260816 13:45 Revised the text.
