Ini adalah awal rekor bagi AKB48. Selain popularitas yang semakin berkembang, ‘Beginner’ juga telah menarik banyak perhatian karena video musiknya yang kontroversial. Disutradarai oleh Tetsuya Nakashima (‘Kokuhaku’, ‘Kamikaze Girls’), video tersebut harus diedit untuk televisi karena tema kekerasan-nya. Sebagai hasilnya, baru-baru ini diputuskan bahwa versi yang belum diedit hanya akan tersedia melalui layanan download Recochoku mobile.
Rekor penjualan AKB48 sudah sangat kuat sepanjang tahun ini. Dua single terakhir mereka terjual lebih dari setengah juta kopi di minggu pertama, menjadikan mereka sebagai artis ketiga yang berhasil mencapai itu (dua lainnya adalah Utada Hikaru dan Ayumi Hamasaki).
source : yahoo!
1. Sugashikao - Tsuki no Naifu .
"beautiful song" from guitarist Suga .Feel heart so warms , delightful song (lebay).Lagu yang pencarian nya memakan waktu 2 , 5 tahun lebih soalnya nih lagu nyetelnya waktu jaman vcd dan mp3 itu ngak ada tulisan sapa artis ama lagunya .Tambah cover nya hilang entah kemana (oh,my GOD).Untung masih ingat anime nya , ya bener ini insert song HONEY & CLOVER anime yg belum dan kayaknya gak kan ke tonton . Pokonya ini lagu paling berkesan dari segala aspek.palagi versi terbaru dari single sayonara HOMERUN adem berasanya . . .
2. Yutaka Ozaki - Oh . . My Little Girl
ma-chan favourite singer .Beutiful voice,handsome,charismatic and misterious .Sosok yang baru ku kenal memasuki tahun 2010 ini , parah dah .Nemu lagunya juga ngak sengaja dan nyarinya ampun deh kalo ngak ada mbah GOOGLE.Ini lagu kalo di bilang irama sedih ada , gembiranya juga ada jadi cuma satu buat nih lagu "ngenag mantan" kayaknya .Hahahaha,balik lagi ke sosok Yutaka,pria ini memang penuh misteri saking rumit kali ya hidupnya sampe matinya cara ngak wajar.Well,Yutaka Ozaki memang pantas jadi legends buat lagunya . . . lagunya di recycle oleh beberapa artis , yg paling enak versi oh my little girl nya Van Tomiko jamin tidur akan nyenyak dah . . .
3. Ono Masatoshi - You`re The Only One
you don`t know and known this song before you wacth doramas Anything For You.Lagu ini denger suara gitar aja bikin bulu bergetar (lebay on) , suara si Ono ni tinggi banget pantes dia ngebuat band cadas metal galneryus yg aliran mantap tenan.Poko e ni uta mantape kalo gak percaye LISTEN RIGHTFULLY !!! .Dorama nya pun hit besar dan mengangkat nama Ono ke permukaan musik di jeppun . . .
4. Mr.Children - Shirushi
mister children is really masterpiece band by Sakurai sama .Wonderful song and PV`s !!!!.Band dengan sound paling kumplit mau diajak rock hayu,diajak dance siapa takut,slow pop yu mari,alternatif boleh lah,Pop jelas itulah genrenya walo ada yg nyebut rock juga.whateverlah,yg penting sound misuchiru (panggilan sayangnya "PLAK") punya ciri khas yg tak di punyai band lain yaitu teknik vokal dan juga liriknya yg renyak kayak kripik.NYAM . . . NYAm . . . Lalu kenapa di posisi ke 4 soalnya 10 lagu ini berkesan semua posisi tidak menentukan prestasi .hehehe,balik lagi ke Shiruishi , lagu ini pertama kali di donlot januari 2007 ,alunan piano nya itu bikin gua hanyut ke samudera . . . Tambah si Sakurai nyanyi "Darling. . . Darlin . . ." bikin nyesep dah , nilai plus nya PV nya cuman lagi nampilain sakurai duduk tenang sendirian !!!! that so AWESOME . . .
nanti di lanjut . . .
At seventeen, she is already a big movie star in Russia. Last year, in Lilya 4-Ever, she brought tragic depth to her role as a teen-turned-prostitute. Oksana has just appeared in her first American film, The Bourne Supremacy. [Poet, photographer (and index cover boy) Slava Mogutin spoke with the acting prodigy in her hometown, St. Petersburg.]
SLAVA: Setting up this interview wasn't easy. You really hate doing publicity, don't you?
OKSANA: It's just something I have to do. I don't have an agenda, I don't care about my image. I've been told many times, "It's part of your job." But the way I see it, my job is to be on the set and to play my role. Everything else is nonsense.
SLAVA: How do you feel when someone asks for your autograph?
OKSANA: I'm happy to do it. People see me for one minute, but their memories will last for a long time.
SLAVA: After your brief — but memorable — appearance in The Bourne Supremacy, would you consider moving to the U.S.?
OKSANA: I might go there for work, but I wouldn't want to live there. I was born in St. Petersburg, and my parents were born in St. Petersburg. I love this city and I'll stay here unless they kick me out for some reason.
SLAVA: Have you ever been to New York?
OKSANA: No. The flight's too long. I hate long flights — there's nothing to do.
SLAVA: You can listen to music.
OKSANA: Not for twelve hours straight.
SLAVA: How about moving to Moscow?
OKSANA: No, never! I don't like the energy there. That city takes more than it gives.
SLAVA: You're quite composed for someone so young. How old were you when you started acting?
OKSANA: Eleven or twelve. My girlfriends found out about the casting call for Sergei Bodrov's film Sisters and invited me along. I was cast for one of the main roles.
SLAVA: That movie caused quite a stir when it came out in 2001 because it presented a modern Russia, with gangsters and Chechnyan rebels. I can't believe that was your first film. You're so comfortable in front of the camera.
OKSANA: I never studied acting, never took any classes. It comes to me naturally.
SLAVA: American audiences caught on to you when you starred in Lilya 4-Ever, a bleak film by Swedish director Lukas Moodysson. It's about a young Russian girl who turns to prostitution to support herself after her family abandons her. What was your first impression after you read the script?
OKSANA: I wasn't shocked by the story, if that's what you mean. I liked Lukas's previous movie, Show Me Love, so I wanted to be in this one.
SLAVA: I know Moodysson doesn't speak Russian. What was it like working with him?
OKSANA: He's very calm and reserved. In some ways, that made it easier for me because I didn't feel any pressure. But there were times when I wasn't sure whether or not he was happy with my work. We were communicating through an interpreter, so it was often hard to understand what he wanted from me.
SLAVA: That film also comments on modern-day Russia. The grim economy here has forced so many young Russian girls into the world of prostitution and porn.
OKSANA: But prostitution is everywhere. It's legal in Holland — if you go to the Red Light District, you'll find plenty of it. It's a global problem.
SLAVA: I think that the most disturbing scene in Lilya 4-Ever is the one in which Lilya and her friend Volodya get high sniffing glue on the roof of a squat. What's your take on drugs?
OKSANA: Most teenagers have tried pot. So what? How many drugged-out kids have you seen on the streets of St. Petersburg?
SLAVA: Not many, but I've seen a few. I've seen plenty of used hypodermic needles on the streets, especially in the suburbs of Moscow...
OKSANA: I haven't seen any. I'm sure these kids exist, and they have their scene, but I don't know much about it.
SLAVA: Tell me about your family.
OKSANA: My mother's an accountant and my father's in the car business.
SLAVA: Did they see Lilya 4-Ever?
OKSANA: They did. They cried.
SLAVA: I know you hate to talk about your private life, but I have to ask one more question about it, because it's big news here. Are you still involved with Sergei Shnurov, the lead singer of the Russian rock band, Leningrad?
OKSANA: Yes, we live together. We've been together for a year and a half.
SLAVA: Were you a fan before you met him?
OKSANA: I had no idea who he was when I first met him, even though he's a major rock star. We met while we were both working on Andrei Proshkin's movie, Games of the Butterflies. Sergei wrote the music, and I played one of the lead characters.
SLAVA: Do you think it's your destiny to be an actress?
OKSANA: I don't know for sure if I'll still be acting in five or ten years. I might give it up completely and try something else.
source : indexmagazine
Instead of a musical soundtrack there is, for the most part, the sighing of the wind in the trees, the rumbling of freight trains and trucks and, sometimes, the absent-minded humming of Michelle Williams, who plays Wendy, a young woman drifting through Oregon and Washington on her way to Alaska.
The Northwestern setting might put you in mind of a story by Raymond Carver, whose clean-lined prose has something in common with Ms. Reichardt’s reserved and attentive shooting style. At first glance “Wendy and Lucy” looks so modest and prosaic that it seems like little more than an extended anecdote. A young woman pauses on her journey in a nondescript, weary town and encounters a run of bad luck, some of it brought about by her own bad decisions. Her car breaks down. She is arrested for shoplifting. Her dog goes missing.
But underneath this plain narrative surface — or rather, resting on it the way a smooth stone rests in your palm — is a lucid and melancholy inquiry into the current state of American society. Much as “Old Joy” turned a simple encounter between two longtime friends into a meditation on manhood and responsibility at a time of war and political confusion, so does “Wendy and Lucy” find, in one woman’s partly self-created hard luck, an intimation of more widespread hard times ahead.
This movie, which was shot in August 2007 and made its way through various international festivals before arriving in Manhattan on Wednesday, seems uncannily well suited, in mood and manner, to this grim, recessionary season. We may be seeing more like it, which I suppose would be a silver lining of sorts.
Ms. Reichardt, quietly establishing herself as an indispensable American filmmaker, explores some paradigmatic and contradictory native themes: the nature of solidarity in a culture of individualism; the tension between the lure of the open road and the longing for home; the competing demands of freedom and obligation.
But these lofty ideas — the same ones that animated Sean Penn’s “Into the Wild,” another movie about a young person’s trek toward Alaska — are grounded in an unyielding material reality, subject to the remorseless logic of the cash nexus. The most expressive, most heartbreaking moment in “Wendy and Lucy” involves a small sum of money changing hands, a gesture that encapsulates both Ms. Reichardt’s humanism and her unsentimental sense of economic reality. Whatever big dreams may be driving Wendy, her mind is necessarily focused on dollars and cents.
Ms. Williams, always a thoughtful, risk-taking actress (see everything from “Brokeback Mountain” to “I’m Not There” to “Synecdoche, New York”), here expunges all traces of movie star glamour, dressing in brown, knee-length cut-off shorts and a shapeless blue sweatshirt, and framing her delicate, slightly elfin face with drab dark hair. Wendy’s manner is wary and diffident, and she calculates the dangers and possibilities of every encounter as if she were counting out pennies and dimes. She confronts a casually indifferent, intermittently compassionate world with an attitude that seems at once independent and helpless. Contemplating the final leg of her journey, which began in Indiana, Wendy is resilient and determined. Also lost, terrified and alone.
Except, that is, for Lucy, the yellow-brown mutt who is her companion, her responsibility and one of the few fixtures in Wendy’s mobile, minimal world. She has, in addition to her dog, an old Honda Accord, a money belt and a notebook in which she carefully records mileage and expenses. Her plan is to find work in a fish cannery, maybe in Ketchikan.
“I hear they need people up there,” she says. It’s a plain and practical statement that is also terribly sad in its implications. Apart from Lucy, there may not be anyone else who needs or wants Wendy.
When Wendy calls her sister back in Indiana from a pay phone, the sister is curt and suspicious, expecting a request for money or assistance. Some of the strangers Wendy meets are a little more generous and encouraging, but always within the constraints of their own circumstances. A parking lot security guard (Walter Dalton) becomes the closest thing she has to a friend, but only after he has shooed her off the premises. A mechanic (Will Patton) knocks a few dollars off his towing fee and gives her the benefit of his automotive expertise, which may hurt more than it helps. With one exception — a young supermarket worker (John Robinson) who insists on strict enforcement of the store’s zero-tolerance policy toward shoplifters — people give Wendy a break when they can.
Ms. Williams and the filmmakers (Ms. Reichardt wrote the screenplay with Jon Raymond, from whose story “Train Choir” “Wendy and Lucy” is adapted) refrain from making too overt a play for our sympathy. Like the locals Wendy encounters, we don’t know enough about her to form a clear judgment, and we may subject her to our own doubts and prejudices.
I think the film’s neutral, nonexpository style encourages this, allowing the more conventional-minded among us to wonder if driving to Alaska is really the best idea, or to question the wisdom of other aspects of Wendy’s plan. Disapproving of Wendy’s choices is one route to caring about her, which in turn leads to some difficult, uncomfortable questions. What would any of us do in her situation? What would we do if we met someone like her? How can we be sure we haven’t?
What will happen to her? The strength of this short, simple, perfect story of a young woman and her dog is that this does not seem, by the end, to be an idle or trivial question. What happens to Wendy — and to Lucy — matters a lot, which is to say that “Wendy and Lucy,” for all its modesty, matters a lot too.
“Wendy and Lucy” is rated R (Under 17 requires accompanying parent or adult guardian). It has some swearing, a little drug use and a brief implication of violence, but no nudity, sex or murder. The rating seems to reflect, above all, an impulse to protect children from learning that people are lonely and that life can be hard.
(SOURCE :http://movies.nytimes.com/2008/12/10/movies/10wend.html)
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