Freddie Mercuryと共に
お願い:こちらの情報の再利用(他BLOG/Webへ掲載)は、再利用側で出典を明記して頂けると嬉しいです。 リンクはフリーで構いませんがご一報ください。但し本、雑誌への掲載は、無断使用をお断りいたします。
  • 14Oct
    • 栗田美術館でのトーク; 皆様からのアンケート

      先週、伊丹さんと会う機会がありました。その際に、出席された皆さんのアンケ―トのコピーが栗田美術館の館長より届いていました。伊丹さん、親切にも、私の名前が載っているのもをコピーしてくれました。伊丹さん、凄く喜んでいらっしゃいました。これだったら、もっと細かいことも思いださなきゃなあ。。。なんて言われていました。私も少しはお役にたてたようで、安堵しています。また、別件ですが、KEROさんから、「わたらせテレビ」(ケーブルテレビ)でオンエアした動画をいただきました。なんか教育番組のようなトーンの番組ですが、良い思い出の証拠(笑)で、とても嬉しかったです。KEROさん、有難うございます。えっつい拝

  • 13Oct
    • Mike Moran: The ‘Barcelona’ Interview 2

      http://wearecult.rocks/mike-moran-the-barcelona-interviewBarcelonais, quite simply, the greatest solo project a Queen member has yet released, with a Mercury more inspired than any album sinceThe Game. Lyrically and musically, Mercury is at the peak of his prowess, singing a prayer to Catalonia’s capital, commanding Japanese musical forms and vocally rises with the stars he sings to onGuide Me Home. It was a project that both men took very, very seriously. “The lyrics for all these things were quite complex” Moran admits. “Quite different. Fred and I were on this very intense writing mode. It was just full on, seven days a week sometimes. Halfway through, we were working on a track calledThe Fallen Priestand Fred says ‘I don’t know about you, but I’m all lyric’d out!’ We needed another idea. He said ‘You know Tim Rice?’, I did, so we called him. We explained the concept of the album to him. Tim being Tim of course, the next thing is, the fax machine is rattling out lyrics. He was involved in that track. It was so intense we did everything ourselves! When it came to Montserrat, we recorded with different ways. Microphoning with opera singers is one thing, she had to stand close to the mike if singing a soft song, but yes, you tend not to mike opera singers too closely!”バルセロナは、非常にシンプルに、クイーンメンバーがこれまでにリリースした中で最も偉大なソロプロジェクトであり、The Game以降のどのアルバムよりも, Mercuryと共に、インスパイアされたものです。 歌詞的にも音楽的にも、Mercuryは才能の頂点にあり、カタルーニャの首都への祈りを歌い、日本の音楽形式を意のままにし、Guide Me Homeで歌うスターと共に声を上げます。それは二人の男性が非常に真剣に受け止めたプロジェクトでした。「これらすべての歌詞は非常に複雑でした」とモランは認めます。「まったく違う。フレディと私は非常に集中していて、歌詞を書くモードに陥っていました。いっぱいいっぱいでした。時々週に7日。まだ途中だったのですが、The Fallen Priestという曲で作業していたときに、フレディは「君のことは知らないが、歌詞は全部消している!」と言いました。私達には、別のアイデアが必要でした。彼は「君はティム・ライスを知っているかい?」と聞いてきて、知っていたので、彼に電話しました。彼にアルバムのコンセプトを説明しました。 ティムはいつも彼のやり方があります。次に、ファックスには、ティムが書いた歌詞がガラガラと出てきました。彼はその曲に力を貸してくれました。 とても集中していたので、ほとんどのことは自分達でやりました!モントセラの部分に関しては、さまざまな方法で録音しました。オペラ歌手にとってのマイクについては、1つありまして、柔らかい歌を歌う場合、歌手はマイクの近くに立っていなければなりませんが、 オペラ歌手をマイクにあまり近づけるつもりはありませんでした。!」The weaving ways which Mercury and Caballé change from song to song is staggering, not least on the soulful and wilfulHow Can I Go On, which featured an essential contribution from one of Mercury’s bandmates. “John Deacon came in, we needed a bass player, Fred thought he’d ask him, so he did it and was delighted to play on it. Lovely guy and great playing. We were cautious about having two Queen members, then it would be a Queen album, though Roger Taylor sang some backing vocals onBarcelonaand I played in his band The Cross later. I also played on Brian’s solo album. When they didInnuendo(1991), they used one of the first songs Freddie and I wrote for his solo album,All God’s People, they needed a track, Brian was on it anyway, so we put the other guys on and it was a Queen track. It’s a great Queen album”.Mercuryとカバリエが曲から曲へと変化する織り方は圧倒的です。 特に、ソウルフルで意図的なHOW CAN I GO,には、マーキュリーのバンドの1人が、重要な貢献を果たしているのが、特徴です。「ジョンディーコンが入っています。ベーシストが必要でした。フレディは彼に打診したいと思って、ジョンに聞き、ジョンは喜んで演奏しました。 素敵な人で素晴らしい演奏でした。クイーンメンバーを2人参加させることには慎重でした。 それはクイーンアルバムとなってしまうので。ロジャーテイラーはバルセロナでバッキングヴォーカルを歌い、その後、私は彼のバンドThe Crossで演奏しました。私はブライアンのソロアルバムでも演奏しました。彼らがInnuendo(1991)をやったとき、彼らはフレディと私が書いた最初の曲の1つーAll God's Peopleを使用しました。 彼らはトラックが必要で、ブライアンはとにかくそこにいたので、他の人を入れて クイーンの曲となりました。 素晴らしいクイーンアルバムです」。Innuendois dark in the wayBarcelonais bright and breezy. The intervening three years were not easy on Mercury, as his battles with AIDS grew more and more apparent. It’s a subject that is an inevitable one for this interview. “We knew something was amiss, sure, but it was afterBarcelonathat things were noticeably different. Roger and Brian and John would say that you’d go into denial, you don’t really want to know. Fred was such a larger than life character that we thought it would go away. Of course it didn’t and the sad thing is, because medicine changed an awful lot, if he’d gotten ill a year later, he’d probably still be alive. Fred was too early. But he was full of life, sang and worked until the day he couldn’t any more. He never gave less than a hundred per cent and did his best not to let it beat him”.バルセロナが明るくて爽やかであるように、Innuendの場合は暗いです。彼のエイズとの戦いがますます明らかになったため、Mercuryにとって3年の時間の確保は容易ではありませんでした。このインタビューでは避けられないテーマです。「何かがおかしいということはわかっていましたが、バルセロナの後に物事が著しく違ったのは確かです。 ロジャーとブライアンとジョンは、あなたは否定するだろう、あなたは本当に知りたくないと言うでしょう。 フレディは決められた人生を超える位大きかったので、それは消えると思っていました。 もちろん、そうではありませんでした。悲しいことに、薬の進歩は速いので、1年後に病気になっていれば、おそらくまだ生きているでしょう。 フレディが病気になった時期が早すぎました。 彼は力強く全うし、仕事ができなくなるその日まで歌い、働きました。 彼は100%以上を出し、それに打ち負かされないよう最善を尽くしました。」Caballé has sung the title track on several occasions, notably at the 1992 Barcelona Olympics and live on German television in 2013.It is to Mercury’s credit that the sound of his voice over a recording still has vitality to it, even if the sight of Caballé singing the track on her own is incredibly forlorn.カバリエは何度かバルセロナの曲を歌いました。特に1992年のバルセロナオリンピックと、2013年にドイツのテレビでライブを行いました。カバリエが単独で曲を歌っている光景が信じられないほど悲しく、Mercuryの声は録音を使ったとしても、Mercuryの功績です。Thirty years after its release, Barcelona still has indelible power to it. “It hasn’t dated. Freddie’s fabulous on How Can I Go On. Barcelona’s probably my favourite of the tracks, I do like Japonais and some of the others, but from the view of a complete song, Barcelona is the one for me, but they’ve all got something different to them. It was before any crossovers, Russell Watsons and that got in the charts, so it was a ground-breaker. Also, the Spanish people took it to their hearts. The Catalans are fiercely proud people, the song put Barcelona on the map because of the title. It’s a bit of an anthem for them. God bless the football team, because whenever they win something it’s played all over!”リリースから30年経った今でも、バルセロナには消えない力があります。 「日付はついていません。 フレディのすばらしいHOW CAN I GO ON。バルセロナはおそらく私のお気に入りの曲です。ジャポネや他のいくつかの曲がとても好きですが、(必要な全ての構成要素がはいている)完全な曲という見方から、バルセロナは私に合うものです。それらはすべて彼らとは違うものを持っています。クロスオーバーが始まる前に、ラッセル・ワトソンがバルセロナを歌った時には、チャートに乗ったので、先駆者でした。 また、スペイン人はそれを心に抱きました。 カタロニア人は非常に誇りに思っている人々であり、この歌はタイトルのためにバルセロナを地図に載せました。 彼らにとっては国歌に等しいものです。 サッカーチームに神のご加護を。彼らが何かに勝つたびに、それが全面的にプレイされるからです!」

    • Rogerの日記:1970年5月23日

      https://www.instagram.com/p/BzW7x4yFVOx/?utm_source=ig_web_copy_link-I.Cで練習した (ICってなんでしょう?)-すごく可能性のあるいいグループーStone Cold Crazy に決めるかも。(かな?)

    • Rogerの日記:1973年5月7日

      https://www.instagram.com/p/B3ej6idlewI/?utm_source=ig_web_copy_linkRogerのインスタから。何十年も前の日記、ちゃんととってあるんだ。凄いですね。-32ポンドのジャケット買った とか-オフィスに寄ったとか-LiarはA面にすべきだとか。。。気分は最高。

  • 12Oct
    • Mike Moran: The ‘Barcelona’ Interview 1

      ”Wearecult"の2018年10月8日記事から抜粋http://wearecult.rocks/mike-moran-the-barcelona-interviewThis interview was conducted in September, intended to celebrate 30 years of a glorious crossover project. In the wake of Montserrat Caballé’s untimely death just before publication, We Are Cult would like to take this opportunity to celebrate both her great work and her great gift. Through Caballé and Freddie Mercury, many Queen fans were introduced to opera and classical music, and we hope newer and younger fans will find as much pleasure from their shared work as We Are Cult has done.このインタビューは9月に行われ、30年にわたる輝かしいクロスオーバープロジェクトを祝いたいと思ってます。出版直前のモントセラト・カバレの早すぎる死(2018年10月6日に死亡)をきっかけとして、We Are Cultは彼女の素晴らしい仕事と素晴らしい贈り物の両方を祝いたいと思います。CaballéとFreddie Mercuryによって、多くのクイーンファンはオペラやクラシック音楽を紹介されました。新しいファンや若いファンが、彼らのコラボの結果から多くの喜びを見いだしてくれることを願っています。“I first got to know Freddie when I was the musical director for a musical calledTime, produced by Dave Clarke” Mike Moran recalls. “It was on for two years in The Dominion, London. When we were making the album before the show, there was all kinds of people on there. There was Stevie Wonder, Cliff and then Dave said Freddie Mercury’s going to sing two songs on it, and I thought, that’s a bit of a coup. We did those two songs, we hit it off really well. It was the end of theA Kind of Magictour, and he said, ‘I want to do a couple of things and do you want to work with me?’”「最初にフレディと知り合ったのは、デイブ・クラークがプロデュースしたタイムというミュージカルの音楽監督だったときです」とマイク・モランは回想します。 「ロンドンのドミニオンで2年間の公演でした。 ショーの前にアルバムを作っているとき、そこにはあらゆる種類の人々がいました。スティービーワンダー、クリフ。そしてデイブがフレディが2曲を歌うと言っていましたが、それはちょっとクーデターみたいなものだと思いました。私たちは2曲をやりましたが、本当にうまくいきました。A Kind of Magicツアーが終わる頃で、フレディは「いくつかのことをしたいので、一緒に働きたいかい?」と聞きました。Moran accepted, as any would relish the chance of working with the bona fida iconoclast and chameleon, who had penned a diverse songbook that includedBohemian Rhapsody, Body Language, Crazy Little Thing Called LoveandPrinces of The Universe;all distinctly different, yet unified by Mercury’s gusto.Moran, a favourite session keyboardist of George Harrison’s andLyndsey De Paul collaborator, was an inspired choice.“He said to me that ‘I’ve always wanted to singThe Great Pretender’,he’d not done any cover songs, so we recorded that in my studio. We co-produced that together, nice way to kick things off, and he said he’d had a year off with all this studio time, fancy doing some writing and see what happens? Also, at the end of thisAKind of Magictour, Fred was interviewed on a Spanish arts programme and he was asked do you have any Spanish singers, and he said ‘Montserrat Caballé’, which kind of shocked everybody!”ボヘミアンラプソディ、ボディランゲージ、クレイジーリトルシングコールラブを含む多様な作曲をした本物のイコノクラスト(因習打破主義者)やカメレオンと、一緒に働くチャンスを誰もが楽しむように、モランは申し出を受けいれた。曲はそれぞれ、明らかに異なりますが、Mercuryの嗜好によって統一されています。ジョージ・ハリソンとリンジー・デ・ポールのコラボレーターのお気に入りのキーボード奏者であるモランは、インスピレーションを感じ、選択した。「フレディは常にグレートプレテンダーを歌いたかった」と言いました。彼はカバー曲をしたことがなかったので、それをまず、それをモランのスタジオで録音しました。私たちは一緒にそれを共同制作し、最初に始めるものとしては、良い方法でした。彼は、このスタジオで作曲したり実験したりするために1年間の休みをとったとも言いました。また、この「A Kind of Magic」ツアーの最後に、フレディはスペインの芸術プログラムのインタビューを受け、好きなスペインの歌手はいますかと聞かれ、「Montserrat Caballé」と言い、皆を驚かせました。La Movida Madrileñawas the countercultural movement that had started in Madrid and had swept throughout much of Spain following General Franco’s death. From this point, many rock bands had reached international fame. Montserrat Caballé came a world away from that, a classical soprano more accustomed to Strauss and Mozart than Bowie or Prince. What did this stadium rocker see in Caballé?“He knew she was one of the great soprano singers of all time. The promoter of that tour Pino Sallioco, an Italian guy, lived in Barcelona, like Montserrat. Carlos Caballé was contacted and told, ‘Look what Freddie Mercury has said about your sister!’. Freddie was contacted some time later and said to me ‘Montserrat wants to meet me. I’m off to the Ritz in Barcelona next week!’, so I said ‘Have a good time!’ and he said ‘You’re coming as well!'”.As Moran points in this interview, this was a time before opera and pop crossed musical paths. Then again, Queen were no strangers to the gargantuan, to the pomposity of theatrical excesses. Their second album was a conceptual work of black and white shades, their fourth flaunted their operatic dalliances in its title and 1984’sIt’s A Hard Lifeeven borrowed the melody of Ruggero Leoncavallo’s operaPagliacci! A slip into opera seemed a natural direction for Mercury, though a first encounter with Caballé was a daunting one.La MovidaMadrileñawaはマドリッドで始まり、フランコ将軍の死後スペインの大部分を席巻した反文化運動でした。この時点から、多くのロックバンドが国際的な名声に達しました。モントセラト・カバレは、それから世界からは遠く離れてところにおり、ボウイやプリンスよりもストラウスとモーツァルトに慣れているクラシックのソプラノです。このスタジアムクラスのロッカーは、カバリエで何を見たんでしょう。「フレディは彼女が史上最高のソプラノ歌手の一人であることを知っていました。 そのツアーの主催者であるイタリア人ピノ・サリオコは、モントセラトのようにバルセロナに住んでいました。 CarlosCaballé(モンセラの兄)に連絡して、「フレディ マーキュリーがあなたの妹について何ていったかわかるかい?」と言っていました。フレディはしばらくしてから連絡をもらい、「モンセラが会いたいと言っているので、来週、バルセロナのリッツに行くんだ!」と言ったので、「楽しい時間を過ごしてね!」と私が言ったら、「君もくるんだよ!」と言われたんだ。このインタビューでモランが指摘するように、これはオペラとポップのそれぞれの融合させる前の時代でした。それから再び、クイーンは、巨大な、劇場型の過剰さ、に不慣れではありませんでした。クィーンのセカンドアルバムは黒と白の色のコンセプチュアルな作品で、4枚目はタイトルでオペラのダリアンを誇示し、1984年の「It's A Hard Life」はルッジェロ・レオンカヴァッロのオペラ「Pagliacci」のメロディーも借りました。カバリエとの最初の出会いは困難なものでしたが、Mercuryにとってオペラへの傾斜は自然な方向に見えました。“I reminded him we needed to cut a B-side” Moran says. “He went ‘Shit, I forgot!’. This was the time of the single and vinyl, we had to have a B-side. We didn’t have anything to put and we couldn’t use a Queen track. It(Exercises In Free Love)was the first thing Fred and I did together. This was very late on in the edit. I said to him early in the morning, why not play some of that flashy stuff on the piano and I’ll see what we can put together. It was a little bit classical and a bit of messing about. Then [laughs as he says this] he started to sing in this kind of falsetto voice, which I thought sounded pretty good. We put it on the other side ofThe Great Pretender. He thought it was a hysterical as he thought he was trying to be a soprano!「フレディにB面が必要なことを、(わかっているだろうけれど)念のため、伝えたんだ。「なんてこった、忘れてた!」と言ったんだ。その当時は、シングルのビニールのレコードの時代で、A面、B面の両方が必要だったんだ。クィーンのモノは使えないし、入れるものがなかったんだ。Exercises In Free Loveをフレディと一緒に初めて作ったんだ。編集するには、とても遅かった。ある朝早くに、彼に言ったんだ。「ピアノでちょと華やかなのを弾いてもらえない? それで何ができるか見てみよう」それは、ちょっとクラシックで、少しぐちゃぐちゃしてた。 それから(モランが笑いながら)彼はファルセットのような声で歌い始めて、とても良い音だと思いました。グレートプリテンダーの反対側のB面に入れました。フレディはソプラノになろうとしていると思ったので、自分でヒステリーでも起こしたかと思っていた。“So, when we met Montserrat, and we never met her, she might be a bit diva like, we can play her this and it might break the ice. Might make her laugh, if you like. To cut a long story short, they got on like a house on fire, then Fred told her that Mike and I have done this thing, Fred pretending to be a soprano. She listened to it, and at the end was very, very quiet. We didn’t know what to think, then she said ‘I really like it. You wrote it for me!’. But of course we didn’t, she got kind of mixed up. Then she said that she would be playing at Covent Garden in three weeks and told me, ‘You will play’. So, there I was three weeks later playing before three thousand people!”690/5000「だから、モントセラトに会ったとき、まず、私たちは彼女に会ったことがなくて、彼女はちょっと歌姫のように振るまっているように見えて、私たちは彼女にこれを演奏すると、アイスブレークになるかもしれない、と思ったんだ。もしかしたら、彼女を笑わせるかもしれない、と。長い話を短くすると、彼らは仲良くなった。フレディが、「Mikeと僕とで作ったんだ。」と言って フレディはソプラノ歌手のように振るまったんだ。彼女はそれを聞いて、そのあと、とーっても長い沈黙。 フレディと私は一体どう考えて良いかわからないでいると、彼女言ったんだ。「とてもいいわ、 私のために書いてくれたのね!」実際は、そうではなかったんだけれど、彼女はちょっと混乱したんだね。そして、彼女は続けて、「三週間後のコヴェントガーデンのコンサートで歌うわ!」「あなたが伴奏してね!」ということで、私は3000人の聴衆の前で演奏したんです。The minds of Caballé and Mercury had met, and the attraction was infectious. “She said can we do something together? So, that was cool. We, not really forgot about it, I carried on working on Fred’s solo album, before he told me he’d had two or three phone calls from Montserrat asking have we finished the song. So, we came up with an outline ofBarcelona. The next time she came to London, she came in and sang her part. She told us it was fabulous and loved it, but why keep it a song? Why not an album? It took some time, about a year. That was it, we never finished Fred’s solo album, the rest was spent on theBarcelonaalbum. Lots of people have covered the song, I’m doing a proper version with Russell Watson, though the one he did with Shaun Ryder was very funny[laughs]”.カバリエとMercuryの心が出会い、お互いの魅力が感染した。「彼女は、一緒に何かできるかしら? もし、そうなら、素敵ね。 」「私達は、それを忘れませんでしたが、フレディのソロアルバム制作を続けていました。 フレディがモンセラから2、3の電話をもらっていて、曲を終わらせて欲しいというお願いされているーと言うまでは。 それで、バルセロナの概要を思いついたんです。 次回、彼女がロンドンに来た時に、 彼女が入って来て、彼女のパートを歌ったんです。 彼女はとても素晴らしくて、とても好きだと言い、更に、どうしてこれは、1曲だけなの? アルバムではないの? と聞いてきたんです。少し時間がかかって、1年かかりました。それで、フレディのソロアルバムは完成できず、残りはバルセロナアルバム制作に費やしたんです。多くの人がバルセロナをカバーしました。ラッセルワトソンと、正式なバージョンで一緒に仕事をしたんだけれど、彼がShaun Ryderと一緒にしたバージョンは面白かったね。(笑)次に続く。。。

  • 10Oct
    • 実は、好きな和食の話の前に書かれていたこと(Royal Recipes By Peter)

      P35のお写真「Freddie Mercury's Royal Recipes」本では、レシピ以外にも少しフレディに関することが書かれていて、その中に次のくだりがあります。P11,「There were many places in the world Freddie enjoyed but most of all he loved London. And if I had to select and name just one place outside London that he always loved to go back to, it woud be Japan. He adored everything Japanese, Prceliain, art....simply everything.」「フレディが楽しんだ場所は、世界中に沢山ありましたが、何よりもロンドンでした。いつも帰りたいと思っていたのはロンドンですが、もし、仮に、ロンドン以外でたった1つ選ばなければならなかったとしたら、それは、日本でしょう。彼は日本の全てをとても愛していました。 磁器、芸術、シンプルに全て。」ピーターは、この本の中で、サラリと書いています。嬉しいですね。私は、この”日本の全てのもの”には、日本の文化、人々の優しい気持ち、態度、思いやり、マナーの良さ、トップクラスの人々の出会いー人間国宝に代表される職人さんやビジネス界の人、クィーンの価値をわかってくれたその先見性をもつ人達など、目に見えないものも大きんじゃないのかと思います。また、特に、日頃いつもお世話になった美佐さん、伊丹さん、現場のコンサートスタッフ、レコード会社のひと、ジャーナリスト、ファンの人達との出会いも大きな要素になっていると思っています。嬉しいですね。えっつい拝

  • 09Oct
    • フォロー申請をしてくださった方々へ

      2019年10月9日以前にフォロー申請された皆様、申し訳ございません。 操作を勘違いしていまして、「承認」した後、「削除」していました。「削除」するとフォローしている方を全部削除してしまうんですね。(汗)本日以前にフォロー申請された方、懲りずに再度申請していただければ、自動承認になります。久しぶりのブログ更新で、色々戸惑っています。えっつい拝

  • 05Oct
    • フレディが好きな和食とは?

      先日の栗田美術館、「伊丹さんトーク」では、フレディが好きな和食は?という質問がありました。回答は、いたって経験に基づいた内容でした。(笑)また、京都、嵐山、吉兆での松茸のくだりの伊丹さんの話は、面白かったですね(笑)さて、こちらは、以前アップしたものです。プロモーターが1975年にインタビューした音源です。大まかな翻訳は以下↓https://ameblo.jp/freddiemercury/entry-10016450744.htmPeter Freestoneの「Royal Recipes」には、衝撃の事実が!”He adored everything Japanese. Porcelain, art...simply everything.Except for "Sushi" and "Sashimi".”昔ながらの一般的な欧米人は、生の魚ダメな人が多いので、そうかな、、、とは思っていましたが。日本滞在中に、鮨を食べにいったというのは、無かったですし。「フレディは、日本のものを何でもとても愛していた。磁器、芸術、シンプルに全て。鮨と刺身以外は」レシピ本には、こんな風にフレディにテリヤキを出していたみたい。その説明も面白くって。。。。完璧主義のフレディに、なんとか喜んでもらおうと、JOEとPETERが四苦八苦している姿が目に浮かびます。2016年にこの本を買って、倉庫に眠っていたんですが、ふと、思い出して、ところどころ読んでいるのですが、これが面白い!どのページ、文章を見ても、フレディに対する愛が溢れすぎていて。。素敵すぎます。えっつい拝

    • Swiss Montreuxでの休日は、やっぱりフレディに寄り添いたい

      フレディが静養のためにロンドンの喧噪から離れて晩年に、過ごしたモントルー。アパートメントの前には、湖畔の側道があって、散歩には素敵なところです。アパートメントとアパートメントの前の風景。私のMontreuxでの休日のコンセプトは、・何処も行かなず、お部屋でのんびり・ワインをのみながら、フレディが見ていた風景を堪能するなので、おーい!って言ってみたら、声が届きそうなところで、同じ位の階の高さから、景色を見ていました。何もしない。素敵な時間でした。フレディの名前にちなんで、Mercury(メルキュレイ) 1cru Clos des Barraults 1995をお願いしました。ミュシュランの星がついていたフレンチに前の晩に行ったのね。飲みきれなかったので、持ち帰ったワインですね。翌日の方が、味わいは深く、すばらしかったです。至福の時。フレディが見ていたパノラマ景色。静かで、平和です。えっつい拝

  • 03Oct
    • Swiss Montreuxでの休日

      DUCK HOUSEまで、歩いてみた。湖畔をずーっと歩きました。ちょっと遠かったです。景色も素敵だし、静かで、平和。 癒されます。散歩には最適ね。舟をチャーターするのが一番いいかな。ちょっと見るだけだったら。(笑)次回は、そうしようかな。(笑)

    • Swiss Montreuxでの休日

      やっぱり、これでしょう。 散歩の途中で、つい撮りまくり。100枚位撮ったかもしれません。ただ、やっぱり写真を撮る人が多いので、人を入れたくなかったから、早朝とかDinner後(夏はまだ明るい)とかが狙い目かな。画像ソフトで人を消せるけれど、修正に手間取るから、やはり写真撮る時が肝でした。えっつい拝

    • Swiss Montreuxでの休日

      今年、スイスに用事があったので、ちょっと足を延ばして、Montreuxまで行ってきました。The Studio Experienceスタジオあり、映画あり、衣装や直筆歌詞など盛りだくさんですね。クィーンが所有していたマウンテンスタジオは、この建物の建替えで無くなってしまいました。その代わりといってはなんですが、この「スタジオを経験する」というテーマの博物館を作って、日本のものも展示されていますね。これらが無料で楽しめるなんて、なんて素晴らしんでしょう。ちなみに、綺麗な写真は、カタログにあったので、あんまり写真撮らなくても良かった。後になって気づきました。えっつい拝

  • 01Oct
    • 名古屋城への観光

      栗田美術館でのイベント用に、昔の資料を見直したり、写真を検索したり、リサーチをかけました。伊丹さんが、「多くの聴衆の人はマニアックでニッチな情報より、判り易い方がいいんじゃないかなあ?」と言わて、「そうだ、名古屋城の時に子供たちがワーッと集まってきた時には、すごく嬉しそうだったから、そんなのどうだろう。。。。」と言われました。リサーチの結果、私が見たことなかった写真があったので、よく見ると、なんと名古屋キャッスル414号、ホテルのキーがバッチリ写っていていて笑っちゃいました。伊丹さんが「泊まったホテルの前にお城があって、ホテルの窓から見えた。 なんとなく、散歩がてら行ってみるか、という軽い気持ちで出かけた」との事。なので、ホテルキーなんか持っていて、不覚にも写ってしまったんですね。(笑)綺麗なお写真はGettyImagesで。 写真にリンク張ってあります。えっつい拝

  • 29Sep
    • 栗田美術館、「伊丹さんのトーク:フレディの思い出」

      ご来場の皆様、また、この機会のために情報提供してくださった、・Cちゃん、・Ayumiちゃん、写真の許諾をしてくださった・シンコーミュージックならびに・ENGAWAさま、・Jim Hutton(生前に写真利用について、許諾を得ている)本当に有難うございます。 皆様の温かいご支援の賜物で、伊丹さんのお話に対してビジュアルを含めてサポートできました。コツコツと地味な作業を積み重ねて、色々な方に信用いただいての結果かな、と思っています。さて、今回、自分がされて嫌なことはしないで、それぞれのマテリアルに対してレスペクトしようと思いました。 従って、写真NGがちょっと多かったかと思います。ちょっと、理解していただければ嬉しいのですが、理由は、昔私がここに掲載したり、データを差し上げた人が、何のレスペクトもなく(一言もことわりもなく)、YOUTUBEに上げ、他のデータと一緒にお金儲けをしていました。 また、自分のサイトの集客率を上げるために、勝手に使われていました。昔、P2Pでクィーン情報を交換するサイトがあり、(今もあるかもしれませんが)、お互いに情報交換をする(自分だけ取っていくという人はNG、貢献が必要)、などそういった趣旨に賛同して、情報を提供したこともあります。その時主催者が勝手に私の写真を公の場所でシェアした際に、それはやめて欲しいとお願いしたら、即、やめてくれて、趣旨を解ってくれました。 でも、最近はそういうことをわかってくれずに、無視を決め込む人が多くて、本当にファンなのかな、と思うことが多かったのです。皆さんは、どれだけの先輩ファンが、お宝写真を持っていてもインターネットに上げないか、どうしてだか想像がつきますか?そんなことを解ってもらたらな、と思います。いい写真って、そんなに簡単に撮れないのね。 プロカメラマンで、プロモーション用に撮ってもらっているのと違うんですから。さて、そんなことは置いておいて、実は結構、話、忘れたことがありました!・進行の時間との兼ね合い、・お客さんの雰囲気で、マニアックなことより、もっと分かりやすい話のほうがいいかなと思ったので、ちょっと変えました。ご親切にも、私に話しかけてくださった方もいらしたので、今度、お茶会しましょう。10月22日以降に新宿あたりでできればと思っています。お茶会に参加されたい方は、メッセージでもいただければ、後程、皆の予定を合わせて、いたしましょう!えっつい拝

  • 23Sep
    • 1986年のフレディの行動。。。。再考

      現在、栗田美術館 伊丹社長のトークイベント用に、1986年のフレディの足取りを再考してみました。金閣寺の訪問が、無いと以前書いたのですが、多分、あれは、関係者が勘違いしていたのではないかと思い始めています。従っって、こんな感じだったのではないか、と思います。 9月24日 来日、ホテルによらず、西武デパート、池袋 9月25日 不明、(銀座でショッピング?) •9月26日 栗田美術館 @栃木 小石川植物園 渡辺美佐氏誕生日会 (京都に行く前日) 関西(3-4日間): 金閣寺(昭和大修復中)、お庭拝観@京都 舞妓さん研修所(祇園女子技芸術学校?)@京都 お茶屋さん、祇園@京都 骨董屋@京都 阪急デパート@大阪(鯉) 10月8日 歌舞伎観劇、その後日本刀を買いに行く@新宿 10月9日 劇団四季CATSプレミア 10月10日 竹橋の美術館(近代美術館、工芸館の方だと思われる)、西武デパート、渋谷、夜、マキシム 10月11日 買い物の整理、夜、食事、鉄板焼き、新宿2丁目 10月12日 帰国 専門店(骨董、陶器、浮世絵、漆、紙、日本刀) ベルエポック、ショーパブ

  • 03Sep
  • 09Feb
  • 29Dec
    • Mary Austin Interview @ Garden Lodge

      Freddie Mercury would dominate a stage with all the force of a hurricane. But offstage an entirely different kind of man existed. All the flamboyance was replaced by someone who was very shy, suspicious of people, and guarded his privacy almost as much as the late Howard Hughes. He had a demonic sense of humour and would explode and scream when he didn't get his own way. In fact, woe betide anyone if they dared to upset the Queen singer. Towards the end of his life, however, he surrounded himself with a small close-knit group of friends he felt he could trust. After a run of disastrous, tempestuous relationships around the world, he confided how he had felt betrayed by many of his male relationships, but had never lost his admiration for the loyalty of one woman. That woman was Mary Austin, whom he had described in the past as the 'love of his life'. Mary had been the rock star's lover for six years before he decided he preferred male partners. Shortly before his death, he became anxious to provide her and her two children with some security. For this reason, he decided to leave her his most prized possession - his 'dream home'. Having agreed to be godfather to her eldest son Richard, now aged nine, he liked the idea of his house one day becoming a family home. Much of Freddie's personal life was as dramatic as his stage performances. His wealth and stardom did not help with matters of the heart. 'Love is the hardest thing to achieve and the one thing in this business that can let you down the most,' he said. 'I have built up an immense bond with Mary. She has gone through just about everything and always been there for me.' Not only did Freddie leave his magnificent Georgian mansion, in London's Kensington, to Mary, but also the bulk of his multi-million pound fortune, with an income for life from his vast record sales and publishing. The house stands behind an expansive walled Japanese garden. Freddie was particularly fond of Japanese art and had encouraged his last boyfriend Jim Hutton to create the garden, which is still filled with flowering trees and multi-coloured roses. Freddie always had a flair for style and spent a fortune transforming the house into a splendid palatial home. Even his adored five cats were of the exotic variety! Mary talked to OK'! in the music room, which is dominated by his black grand piano, on which he composed many of Queen's hits. The top of the piano is covered in silver framed pictures of Mary and her family, and many with Freddie which capture the happy days she shared with him. The main focus of the room is a massive window which filters the daylight onto a gigantic, exquisitely cut chandelier and mirrors. The house has lovely marble and wooden floors, and mahogany staircases. Each of the sitting rooms and the spacious hall are bedecked with fine Japanese and Chinese furniture and art, oil paintings and the Dresden china Freddie collected. He would like nothing more than to tour the King's Road antique markets near his home to see what beautiful pieces of china he could discover for his beloved home. Freddie's master bedroom is hidden behind a mirrored hallway leading to two bathroom suites - one with a Jacuzzi, the other with a bath large enough for two people. The yellow bedroom is Roman-styled with a balcony, and an illuminated ceiling which can be switched to sunset, twilight or sunrise. There is a dramatic minstrel gallery where Freddie used to sometimes hide and unsuspectingly watch with amusement the behaviour of his party guests in the large drawing room below, furnished in gold and peony red silks. Nothing in the house has been changed. Mary has kept the decor and furnishings exactly as they were when I Freddie died. Her feeling was that he had impeccable style, so why change it? But when Freddie first told Mary he intended to leave her his wonderful home with all its glorious contents, her immediate reaction was of shock. In fact she was so terrified of taking on such an enormous responsibility that she urged him to place the house in trust as a museum. But Freddie was adamant. Mary had been his bedrock and a particular comfort in his final years, leading up to his death in 1991. Mary juggled looking after her son Richard and spending time with her then partner, Piers Cameron, with attending to Freddie as he suffered the final stages of AIDS. At the same time she was preparing for the birth of a second baby, Jamie, now eight. Long before he told any of his close friends or the fellow members of Queen that he had AIDS, Freddie confided his secret to Mary. From that moment she was there each day to try to comfort him as he gradually became more ill. Realising he was starting to lose his sight and with his body becoming so weak that finally he couldn't even get out of bed, Freddie decided to face up to dying by refusing to take his medication. 'It was Freddie's decision to finally end it all. He chose the time to die,' Mary recalls in a whisper. 'He knew it was coming. The quality of his life had changed so dramatically and he was in more pain every day. He was losing his sight. His body became weaker as he suffered mild fits. It was so distressing to see him deteriorating in this way. One day he decided enough was enough and stopped all the medical supplements that were keeping him going. The overwhelming thing for me was that he was just so incredibly brave. He looked death in the face and said, "Fine, I'll accept it now - I'll go." But it was peaceful and he died with a smile on his face.' After his death on November 24, 1991, Mary moved into his palatial home, but as she wandered through the huge galleried sitting rooms, surrounded by Freddie's treasures, her feelings were of confusion and loneliness. 'It was the loneliest and most difficult time of my life after Freddie died.' she says. 'I knew I was having trouble coming to terms with his death and everything he had left me. I was best left to myself in order to come out of it.' Mary discovered that there was much to cope with - the responsibility of the house and staff and suddenly coming into immense wealth. There were complications over the will and some of Freddie's relatives and friends were annoyed that she inherited so much - although Freddie had warned her that what he intended to leave her would probably cause problems in some areas. 'Before, I always had Freddie to turn to and he always had me to turn to if need be,' she says. 'Suddenly, there wasn't anyone to help me. It made me realise that I wasn't as self-sufficient as I would have liked to have been. As much as I'd been a friend to him, I realised how much of a friend he'd been to me as well. He was always very protective of me. I only realised, after he died, quite how protective he'd been. If something happened, he'd say, "Oh darling, don't worry - we'll get over that." He was uplifting. At other times, when he was aware he had AIDS and only had a limited time to live, there'd be the odd serious conversation when he'd say to me, "Let's go and sit, we don't know how long we have."' Mary dealt with the enormity of Freddie's generosity by becoming more of a recluse within the secure walls of the rock star's home. 'I felt very much out of my depth really,' she explains. 'Freddie's staff had been like family to me, but after his death most of them had left because he'd been so financially generous to them. I had sleepless nights worrying about everything. I felt as if I'd done something wrong and paranoia set in. Some of the fans even told me I was only the keeper of die house. That hurt.' It was eight years after Freddie's death before Mary received the bulk of his money from the will. 'It was a worrying time,' she admits. 'The taxman had been paid, but without the money coming through I didn't know if I could afford to keep the house. I felt under a lot of pressure.' In contrast to the outrageous rock idol, Mary is totally unassuming. Petite and slim, with green eyes and fair hair, she is shy and gives the impression that she lacks confidence in herself. Completely the opposite to flamboyant Freddie. His death clearly left a huge void in her life. 'I lost somebody who I thought was my eternal love,' she confirms. 'When he died I felt we'd had a marriage. We'd lived our vows. We'd done it for better for worse, for richer for poorer, in sickness and in health. You could never have let go of Freddie unless he died - and even then it was difficult.' The couple's closeness had always caused difficulties with others. None of the boyfriends Mary took after she stopped living with Freddie in 1980 lasted very long. They soon came to realise that they were sharing her affections with an extraordinary rock star and that their special bond of loyalty and close friendship could never be penetrated by a newcomer. Even the father of Mary's two children, painter Piers Cameron, eventually found the unusual circumstances all too much and dropped out of Mary's life altogether. 'He had always felt overshadowed by Freddie,' says Mary. 'Freddie had widened the tapestry of my life so much by introducing me to the world of ballet, opera and art, I learned so much from him and he's given me personally so much. There was no way I'd want to desert him, ever.' It took Mary ages to accept that Freddie had finally gone out of her life for good. It was five years before she could bring herself to sleep in his enormous yellow master bedroom. Before then, she just left everything in it completely untouched. 'I'd spent so long with him being unwell and there were so many memories in that room,' she recalls. 'Memories of him suffering. I just saw this very frail man lying in his bed and remembered all the little things that I used to do for him; combing his hair, because he'd lie back and all his hair would be sticking up.' She adds, 'During those times I did really feel much love for him. They were the moments I remembered every time I looked at his bed. I would sit every day next to the bed for hours, whether he was awake or not. He would wake up and smile and say, "Oh it's you, old faithful."' Freddie lived with the knowledge chat he was HIV positive for seven years, but it was some time before he confided to his closest friends how ill he might become if AIDS developed. When he did, he demanded that his illness be kept a secret. He hated the idea of his family being distressed, and of the house being besieged by the media if his illness were made public. Only friends he thoroughly trusted were told. At the time he said, 'It's nobody's business except mine.' Before Freddie became too weak to travel, he decided he wanted to make one more visit to the new flat he had bought in Montreux, Switzerland, with its magnificent views of the lake and surrounding snow-capped mountains. Queen also had their own recording studios in Montreux and, acknowledging that he was running out of time, Freddie wanted to attempt to record as many new songs as he could to leave behind for his fans. It was during this period that he somehow managed to record the poignant hit These Are The Days of Our Lives. Mary was 19 when she first met Freddie. Until then her life had been deprived. Her parents were poor. Her father worked as a hand-trimmer for wallpaper specialists and her mother was a domestic for a small company. Both parents were deaf and communicated through sign language and lip-reading. It was while working as a customer PR at the trendy Biba store in London, where her customers included Paul McCartney and Mick Jagger, that she met Freddie and Queen drummer Roger Taylor, who ran a stall in nearby Kensington Market, selling old clothes and Freddie's artwork. Mary still has one of his excellent drawings of Jimi Hendrix. Although Freddie was quite intimidating, Mary found herself fascinated by this 'wild-looking artistic musician'. She says, 'He was like no one I had ever met before. He was very confident and I have never been confident. We grew together. I liked him - and it went on from there.' But when Freddie first asked her for a date on his 24th birthday, Mary pretended she was busy onthat particular night. 'I was trying to be cool,' she recalls with a smile, 'not because there was any real reason I couldn't go. But Freddie wasn't put off. We went out the next day instead. He wanted to go and see Mott The Hoople at the Marquee Club in Soho. Freddie didn't have much money then and so we just did normal things like any other young people. There were no fancy dinners - they came later when he hit the big time. It took about three years for me to really fall in love. But I had never felt that way about anyone.' She first shared a £10-a-week bedsit with Freddie in Victoria Road, Kensington. After two years together they moved to a larger, self-contained flat in Holland Road, which cost them £19 a week. By then Queen had signed a record deal and had their first big hit, Seven Seas Of Rhye. It was at a showcase held at Ealing College of Art, Freddie's old art school, that Mary first recognised his star quality. 'Things had suddenly taken a turn for him and the band. Freddie was just so good on that stage, like I had never seen him before, as if it was something he'd stored up. For the first time I felt, "Here is a star in the making. He's on his way. I don't think he needs me any more." I didn't feel tearful or upset. I was happy that it was at last happening for him because of his talent. 'When he came off the stage all the girls and his friends were crowding around him,' she says. 'He was so busy. I started to walk away and he came running after me. He said, "Where are you going?" I told him I was going home. But he wouldn't let me go. That night, I realised that I had to go along with this and be part of it. As everything took off I was watching him flower. It was wonderful to observe. There was something about seeing that happen that was exciting. I was so happy that he wanted to be with me. 'I felt very safe with him,' she adds. 'The more I got to know him, the more I loved him for himself. He had quality as a person, which I think is rare in life these days. One thing which was always constant was the love. We knew we could trust each other and we were safe with each other. We knew that we would never hurt each other on purpose,' she says. 'One Christmas he bought me a ring and put it in the most enormous box. I opened the box and inside was another box, and so it went on until I got to this very tiny box. When I opened it, there was this beautiful Egyptian scarab ring. It's supposed to bring good luck. He was very sweet and quite shy about giving it to me.' Mary laughs for a moment, as she remembers the first time she took Freddie, with his thick mane of long, black hair, home to meet her father in their terraced Fulham home. "I hadn't warned my father how extraordinary looking Freddie was and so I think my father handled the situation very well. Sadly, my mother never met Freddie as she had died four years earlier. My father opened the door and just stayed very calm and treated Freddie very warmly. There were a few glances and comments from the neighbours. Afterwards I realised bringing home this musician must have been quite a shock for him.' It was after they had moved to their second flat in Holland Road that Mary first started to think something was going wrong with their six-year relationship. 'Even if I didn't want to fully admit it, I had realised that something was going on,' she recalls. 'Although I didn't know what it was I decided to discuss it with Freddie. I told him, "Something is going on and I just feel like a noose around your neck. I think it's time for me to go." But he insisted nothing was wrong. Then his life rocketed - the band got successful. Things were never me same after that. Our relationship cooled. I felt that he was avoiding any confrontation with me. When I came home from work he just wouldn't be there. He would come in late. We just weren't as close as we had been in the past.' Everything changed one day when Freddie told her he had something important to say, something that would change their whole relationship forever. Mary explains, 'Being a bit naive, it had taken me a while to realise the truth. Afterwards he felt good about having finally told me he was bisexual.' Mary decided to move out, but Freddie insisted she shouldn't move too far from him. 'Eventually I found a place nearby, which he wanted me to have. It was perfect for a single person such as myself. His music publishing company bought it for me for £30,000. I could see Freddie's own flat from my bathroom. I thought, "Oh, I'm never going to get away!" But I didn't mind. I was very happy there. It was small, but I'm quite happy with small places.' Mary, whose life is no longer such a struggle, today shares her magnificent house with Nick, the London businessman she married two years ago. Without telling anyone, they wed on Long Island with just Mary's two sons, Richard and Jamie, by their side. Mary admits, 'I think Nick was very brave to take me on, really. I come with a lot of baggage, a huge chapter in my life. At first, because of the past and the broken affairs, I wasn't entirely sure about marriage. Then someone said, "You don't know until you try."' A happy and contented Mary adds, 'But as life unfolds, I can now be happy with him. I can appreciate what I had and what I now have and move on with my life. I could only have moved on by meeting somebody.'

  • 28Dec
    • Auction@eBay/Bonhams;Mr. Bad Guy着用サングラス

      FREDDIE MERCURYHIS OWN PERSONAL SUNGLASSES AS SEEN ON THE MR BAD GUY ALBUM COVERI WAS THE PURCHASER OF THESE SUNGLASSES AT THE ENTERTAINMENT SALE WHICH TOOK PLACE AT BONHAMS CHELSEA ON THURSDAY 27TH JULY 2000.THE SUNGLASSES WERE LOT 320 AND FEATURE IN THE CATALOGUE FOR THE SALE.THE CAPTION IN THE CATALOGUE READS AS FOLLOWS,' Freddie Mercury's Sunglasses 1985 - Worn for many years and on the front cover of his 'Mr Bad Guy' solo album, together with the case and a colour photograph of Freddie wearing the sunglasses, Ptotograph 10 x 15.5 cm. Damage to sunglasses"The vendors details were withheld, but i beleive they were put in the sale by Gordon DALZIEL and Graham HAMILTON, Freddie's Chauffeurs and friends.included in this is the,SunglassesAuction catalogueCaseUnreleased photograph of freddie wearing the glasses.Letter from me to confirm how where and when i bought the item.I paid just over £1000 for this item (inc fees) and have been the proud owner for the past seven years. Unforunately the time is right for me to let someone else appreciate them. The reserve is less than this and this is an item that can only appreciate in value and makes a great investment.The glasses are in the exact same condition as when purchased. They are damaged as a nose support is missing and they are a bit mis-shaped. They could be restored but i've kept them in original condition. A fantastic opportunity to own a valuable piece of memorabilia.Item will be sent well packed by special next day delivery.Feel free to contact me if you have any questions. I am a fan / collector