達明一派《回憶有罪》

June 1, 2019

I searched for and bought my copy of 達明一派 (Tat Ming Pair)《回憶有罪》 when it became available on iTune to support them. Consider supporting them yourself. If in our dark hours honourable & creative artists like them don’t get our support to voice our feelings, then we can’t blame anyone else when no one else are left to express our views and feelings

Here is a 達明一派《回憶有罪》官方MV

Lyrics:

//達明一派 回憶有罪

舊日或問天 怎允許摧毀信念
浩蕩像為了 被懷念
現在別問他 可有膽公開紀念
被現實騎劫 怎怨天

如燭光都有罪 將暗黑多幾十年 Read the rest of this entry »


胡琳 Bianca Wu 爵士貓 Jazz Cats

November 25, 2015
胡琳 Bianca Wu Bibi quote from RTHK interview

胡琳 Bianca Wu Bibi quote from RTHK program: 12音樂門‧逃 – 爵士貓 · 胡琳

By random chance, I came across Jazz singer 胡琳 Bianca Wu (Facebook, nickname Bibi) in some RTHK promos (see below) of a RTHK program: 12音樂門‧逃 – 爵士貓 · 胡琳 about Bianca. (For English speakers, have a listen to Bianca’s renditions of “Fly Me to the Moon“, “Night and Day” in 《Bianca Live: with the New York Jazz Cats》.)

I ended up watching the 12音樂門‧逃 – 爵士貓 · 胡琳 (full 50+ minutes) last night and really enjoyed it. See below for the description from RTHK. And I left two public comments at Bianca’s Facebook page as my words of encouragement which I excerpted with edits here.

//胡琳 Bianca Wu, I just finished watching the RTHK program from Canada. I ended up listening to many songs from the fan club YouTube channel today and actually quite like a few of your songs. My wife (a classically trained soprano in her youth) and I both found your voice very beautiful. What a great example of talent, hard work and determination!
And from a business perspective, how lucky you met Patrick Chu in NYC and have Patrick as your long time music producer and agent! I wish the team a lot more success in the years to come.// [Few words from Patrick.]

//P.S. One more note Bibi. I am amazed how true to yourself you seemed in the RTHK program and that kind of “young at heart” is hard to fake. Bibi, I don’t know what is the story behind the lyrics of “被窩” but the song seems to touch you (and your fans) deeply. That is very cool. Keep up the good work and please stay true to yourself and that should serve you well.
P.P.S. I am no expert in music but I love some of Nina Simone songs. If you haven’t watched it yet, I highly recommend the 2015 Netflix documentary “What Happened, Miss Simone? (2015)” [RT, Indiewire] First rate.
Finally, this picture and sequence of performance before it lead me to think that I should take some time to write you a brief note of encouragement. Good luck and I will keep watching!//

Face 01 - Screen Shot 2015-11-25 at 12.26.42 AM (2)

胡琳 Bianca Wu teary-eyed face 01

Face made - Screen Shot 2015-11-25 at 12.27.55 AM (2)

胡琳 Bianca Wu teary-eyed face 02

Artists like 胡琳 Bianca Wu who is true to her music and art are hard to find anywhere and especially in Hong Kong (a market now seems to be dominated by manufactured K-Pop stars with some serious downsides like harsh “slave contracts” as reported by BBC).

I don’t personally know Bianca’s music producer/manager/agent Patrick Chu who discovered Bibi originally in NYC in 2006. And I have no insight to the contractual terms between Bibi and Patrick but by the public accounts I’ve read in the media, it seems Patrick has treated Bianca in this music and business partnership well. Somehow Bibi and Patrick reminded me of two other pairs of collaborators. First pair is an obscure Indian mathematician discovered by an English mathematician (Ramanujan and Hardy). The second pair is an obscure Quebec French Canadian singer discovered by a singer/manager (Celine Dion and René Angélil). I think it is fair to say our world will be poorer if these three pairs of collaborators have not met.

Best of luck to Bibi in making more beautiful songs and arts (musical, films). And best of luck to Patrick in helping Bibi to create something fascinating and interesting.

*****

RTHK 12音樂門‧逃 – 爵士貓 · 胡琳 description: //『不是為了取悅樂迷,而是想認真做自己喜歡的爵士樂!』

胡琳九年前加入香港樂壇,初期曾經嘗試過不同路線,後來出版了一張以爵士樂風格翻唱四大天王歌曲的大碟, Read the rest of this entry »


Charatay張山十二年隧道巡唱

January 3, 2012

Charatay張山十二年隧道巡唱 2011 Dec

Charatay張山十二年隧道巡唱. Great sound. Creative way to have concerts. Enjoy the songs. Some pix here, here, here, and here.

Charatay張山十二年隧道巡唱_中環尾站_01.Opening

Charatay張山十二年隧道巡唱_中環尾站_02.Can’t Take My Eyes Off You

Charatay張山十二年隧道巡唱_中環尾站_03.跑步機上

Charatay張山十二年隧道巡唱_中環尾站_07.Stand By Me


鐵達時 2011廣告

December 11, 2011

Dec 5, 2015 Update: Someone wrote this “鐵達時(Titus)廣告回顧” with many links to YouTube video ads from 1988 to 2013. Some of the older videos’ quality may not be great but they are still quite awesome to watch! Check out “鐵達時 2012 愛是永恆 一百年之約 廣告” (good video quality).

====

我不知香港牌子錶鐵達時是否好、價錢合理或耐用,但它廣告的深入民心和影響力,則可以算是一流。 [HT LW & yanwei]

我覺得這兩分鐘的短篇加三十秒版比”4分鐘小說”劇場版更精更好看。

Time Is Love 2011電視廣告「這三年間」- 2分鐘電視劇場版

Time Is Love 2011電視廣告「這三年間」- 30秒 發現篇

Time Is Love 2011電視廣告「這三年間」- 4分鐘小說劇場版

天長地久(周潤發,吳倩蓮)1992

天長地久完全版(梅艷芳)1988


女人斟:星二代岑寧兒唱服 Eason

September 17, 2011

For the record.

女人斟:星二代岑寧兒唱服 Eason – 2011年09月17日

一直在幕後做和唱的岑寧兒,是岑建勳和劉天蘭的女兒。她擁有如清泉的聲線,試過在紅館牽動過萬觀眾的情緒。作為明星後代,事業沒如爆竹般,甫入行便轟動全城,沒有做主角,只在歌手背後「嘟嘟」、「啦啦」地和唱,但仍能唱出一片天,更被陳奕迅形容為「天籟之音」。 撰文:王連連
陳奕迅在去年的演唱會,刻意讓一位女和音獨唱。女和音在沒有音樂下,只與其他和音成員伴唱,唱出《 The End Of The World》。其間她投入得在尾段哭了出來,而 Eason亦為之動容,更用「天籟之音」來形容她。而很多網友在 youtube亦留言大讚看過她演出後感動落淚。

自己寫歌出唱片
放大圖片

岑寧兒在 Eason演唱會唱了一曲,天籟之音連 Eason也動容。互聯網圖片

這個靚聲新星,其實是岑建勳及劉天蘭的女兒岑寧兒( YoYo)。 YoYo從小加入合唱團,大學畢業後,做過電影場務,機緣巧合下結識李宗盛,更被對方收為徒弟;在她的表哥,即是 Swing成員 Jerald介紹下,開始參與演唱會的和音工作。第一個演出是商台音樂會,最近 YoYo不斷跟着 Eason到處巡迴演唱,又為麥當勞唱廣告歌,又會舉行個人音樂會。
YoYo憑一把靚聲令越來越多人認識她,近日她更推出個人唱片,歌曲都是由她一力創作。而她的音樂會,門票開賣十分鐘已售罄,歌迷反應熱烈,她說:「其實好耐之前已寫咗一堆歌,到今年真係覺得,入行以來要有個自我介紹,唱片就好似自己卡片,去畀大家認識我。」不過她仍不忘老本行和唱,她說:「我好鍾意唱和音,同全 group人跟住歌手風格去唱都幾開心。」

與團隊識於微時
YoYo謂自己對慢歌、抒情的歌曲會較易掌握,而李宗盛則教她如何投入在歌曲中,她說:「佢教我收到歌詞,要好似演員咁投入去個古仔度,處身諗吓遇到時嘅情況,唱嘅時候,就好似講嘢咁演繹出嚟。」
26歲的 YoYo能感動萬千觀眾,唱功甚至比現今很多歌手更高,她在 Eason的演唱會上,也想不到自己唱唱吓歌都突然落淚,她說:「我個人好理性㗎!但係有時喺台上,所有嘢就變得好極端。當日身邊同我一齊唱歌嘅人,全都係由細玩到大嘅朋友,當日又係演唱會最後一晚,突然有好多感觸。」她口中的合唱團隊 Charatay,其實由五位跟她從小認識,一起參加兒童合唱團的朋友。她們自創一些語言溝通,及只有他們六人才看得懂的歌譜,六人一早已建立深厚感情。

放大圖片

YoYo雖是岑建勳與劉天蘭的女兒,但她走到今天,靠的是自己的實力。

放大圖片

岑寧兒(左三)與合唱團隊 Charatay合作無間,默契十足。《 FACE》圖片

個唱飛極速售罄
放大圖片

YoYo的個唱門票於 10分鐘內售罄,連她自己也感驚訝。

父親岑建勳跟母親劉天蘭,曾在林子祥首個個人演唱會做和音,不過 YoYo接受不到跟父母合唱一曲,她扁着嘴擰頭說:「唔好,完全諗唔到唱乜歌。如果唱《三人行》,我又覺得詩詩同林子祥唱好啲,聽番都好感動。」不過,林子祥翻唱《三》,找來 Charatay和唱,感覺耳目一新。
雖然 YoYo一直如綠草般美化歌手的歌曲,但她卻樂在其中,現在唱到街知巷聞,更推出自己的唱片。個唱門票十分鐘內售清,她說:「當日十點鐘開賣,朋友十點十分打畀我話冇晒飛。其實我自己都冇買飛,主辦商都話要去排隊買,我都好驚訝!」


Yoyo Sham 岑寧兒 and Charatay 格勒底

July 10, 2011

三人行 - Yoyo - pix 01

I am slow and just discovered the cool sound of Yoyo Sham 岑寧兒 (Facebook) (her website) and her accapella group Charatay (格勒底, the six members are 岑寧兒、陳詠謙、張傑邦、梁仰詩、洪豐盈、袁慧妍) (Facebook). You can find out more about her music by joining her Facebook group and check out Charatay. [HT Eva]

At the moment, I love her best in her part of 三人行 – 重編新唱版本.

Here are some other songs to check out from a quick YouTube search of her name Yoyo Sham 岑寧兒 and also from the Charatay Bong’s YouTube channel.

Hill Cheung 10 Years (re-edit ) (May 2010)

Read the rest of this entry »


三人行 – 重編新唱版本

July 10, 2011

三人行 - Ah Lam - pix 01

三人行 - Bong - pix 01

三人行 - Yoyo - pix 01

The following new rendition of 〈三人行〉 is climbing my chart of favourite songs! Grat job. Beautifully done. [HT Eva]

And I left this comment at the YouTube video,

“我很喜歡這個”三人行”重編新唱版本!多謝林子祥(阿Lam)、Yoyo、Bong及各位創作人為我們帶來這一個動聽的新版本。

I really enjoy this new rendition of “三人行”! I love the original is a classic and no one wants it replaced. But we can’t simply live in the past. Great job to everyone involved. Beautifully done. Congrats!”

From YouTube song info,

“杜自持以人聲和唱(Accapella)重編〈三人行〉,在只有人聲沒有樂器伴奏之下,烘托出阿Lam有故事的聲線,今次肩負人聲和唱重責的是劉天蘭女兒Yoyo,昔日《­三人行》由劉天蘭唱女聲,今次阿Lam與Yoyo合作更具意思。”

三人行 - Yoyo - pix 02

三人行 - Ah Lam - pix 02

三人行 - Bong - pix 02

三人行 - Ah Lam - pix 03

P.S. Here is the old classic. Strangely, I like the older and more mature Ah Lam 林子祥 in the new rendition of 〈三人行〉 even more! Smoother voice and more mature sound.


機會與性格 – 李怡

July 4, 2011

For the record. See also my video interview with 李怡的外孫 Scott MacIsaac – Portrait of a Young Award-Winning Classical Pianist.

機會與性格 – (李怡) – 2011年07月05日

外孫啟新今秋進耶魯鋼琴演奏系,跳過學士課程,直接受教於只教碩士生的鋼琴大師 Boris Berman,這是女兒一家從來不會奢望的事,卡加里也開始有新聞界訪問這個十八歲的大孩子了。
有朋友問我,他有此成績(還不能講成功)主要是什麼因素?天份嗎?努力嗎?天份,我們沒人看出來,我們家也沒有音樂傳統。努力是確實的,他每天練琴六七小時,很多他喜歡的運動娛樂他都放棄。但有天份也努力的人很多,除這兩者,他的成績還取決於機會和他的性格。
去年他參加愛民頓的一次鋼琴比賽,正好 Boris Berman當評判,而 Berman一輩子才第一次去愛民頓。在這比賽中,他評了啟新第一名,在比賽後的接待會,他當面向啟新提出希望他考慮去耶魯跟他學鋼琴,可以給他獎學金,並告訴他怎麼申請。耶魯鋼琴演奏班兩年才收了兩名學生。如果不是當場被 Berman看上,即使真是天才,求見 Berman也很難。所以是機會。
啟新的性格天生關心人。四年前,他偶然讓加拿大有名的鋼琴老師 Merilyn Engle上了一小時課, Merilyn欣賞他,想收他做學生,他除了高興即時的反應卻是擔心原來教他的老師不開心。這次他去耶魯,不擔心學不好或難適應,卻擔心 Merilyn的感受。有人問他,把鋼琴當做畢生事業的目的是什麼?難道他不知道古典音樂已越來越少人欣賞了嗎?他說,古典音樂是好東西,少人欣賞所以他更要把這種事業繼承下去。
我有一位記者朋友曾訪問郎朗,問他的人生目的,他說,多些演奏會,多出些 CD,讓更多人知道他,當然也想有更多收入。所以,他拒絕為六四彈奏《風中之燭》,是很自然的事。因為他不是藝術家。


李怡的外孫 Scott MacIsaac – Portrait of a Young Award-Winning Classical Pianist

June 11, 2011

我很高興於2009年認識和有機會聽到香港名作家/社評人李怡的外孫 Scott MacIsaac 的鋼琴演奏。前幾天我在 Scott 去 Yale 跟 Boris Berman 教授讀 Certificate in Performance program 之前,訪問了Scott、他的父母和外公。(The following text are copied here from the original English version for your convenience. See original English version for additional readers’ comments and further updates.) [July 5, 2011 Update: Here is 李怡’s Chinese newspaper article “機會與性格” about Scott.]

***

Scott MacIssac - 2011 - pix 1

Scott MacIssac - 2011 - pix 3

If you spend some time with Scott MacIsaac, the first thing you will notice is that he is an easy going & sweet young man. And if you are lucky to hear him play the piano in a concert, you will discover he is a talented classical pianist and has also won many awards.

When I first heard Scott performing in 2009 at 16, I knew that Scott was talented but I only knew him as a person through the eyes of his grandpa Lee Yee 李怡, a famous Hong Kong writer/editorialist. In order to write about Scott in an informed manner, I spent an afternoon plus an evening chatting with Scott and his parents Doug, Wendy and grandpa Lee Yee. And conducted two extensive over the phone followup interviews with Scott and Lee Yee. I appreciate their time very much especially since Scott is leaving Calgary soon (in August 2011) to enter Yale‘s Certificate in Performance program to study piano with Professor Boris Berman.

The Portrait

After some careful considerations, I decided the best way for me to share my insights about Scott is to divide this article into three sections: 1) Impressions, 2) Two Q&As, and 3) YouTube videos (my “Portrait of a Young Classical Pianist” short video, Scott’s TSO Competition videos, and his recent Calgary performance) allowing you chances to see Scott plays the piano and to listen to him and his parents in their own words.

Impressions

I am not a piano/classical music expert, but judging from the multiple awards Scott has received over the years, I can safely and objectively say he is very talented! :) And the two performances of Scott I attended in the last few years, I thought the music were played beautifully and many pieces were performed full of passion. In chatting about piano music with Scott, I often saw his eyes lit up and his face filled with a big smile. And in our chats, he, even at his young age, recognizes a perfect performance doesn’t really exist and there are always things to improve in every performance.

When I raised the observation/fact that the career of a concert pianist can be tough and classical piano music isn’t exactly rising in popularity, I sensed he truly sees piano as his calling and willing to work very hard to overcome the challenges faced by concert pianists everywhere. And he even aspires to try to reengage the younger/newer generations to love classical piano music more. Scott clearly knows this is not an easy task so I really admire him for wanting to try.

As a person, Scott is very easy going, nice and considerate. I feel Scott truly appreciates & treasures the teachings & insights from his first piano teacher Beverly a few blocks from his home and his current UC teacher Marilyn (see photos below).

Scott MacIsaac & Marilyn Engle at TSO Competition 2011Scott MacIsaac & Marilyn Engle at UC CONTRASTS Chamber Music Festival 2011

Scott’s parents, and grandpa Lee Yee shared with me the story of Scott’s concern when his piano skill advanced and it was time to transition from Beverly to Marilyn. I was deeply touched to hear that Scott, at the young age of 14 (?), didn’t want to hurt his first teacher’s feeling. The mark of a nice and considerate boy.

The following is how Marilyn described her first encounter with Scott in a December 2010 UC article “Gifted pianist plays for U of C“,

Engle describes the first time she met MacIsaac as being like a scene from a movie. “I still remember. I was eating my sandwich, he started to play a Chopin concerto, and the sandwich got slower and slower as it approached my mouth, and then it stopped completely and I realized, that’s talent.”

Scott emphasized to me that Marilyn‘s teaching was curial in his improved and refined piano skills, winning multiple awards in recent years, and ultimately for his skills to be recognized by Boris which lead to his acceptance to Yale.

In my mind, I think all great teachers understand their talented student will one day reach a new level of maturity/sophistication in skills. And when that day comes, a different teacher may arrive to try to assist the student in reaching a new level.

Two Questions & Answers

In my extensive interviews with Scott, we touched upon many topics. Here are two Q&As that I personally find particularly interesting and illuminating.

Kempton: Classical piano pieces were created long long time ago. [Many people considered the creativity/act of creation done and finished years ago.] Do you see your each performance as a new “act of creation” [in itself]?

Scott: “Every performer has their own interpretation of a piece. Their own way, in which they view a piece, on how it should be played. Even the composer, the one who actually created the work, even he does not have the, as you say, the “correct” interpretation of it. Cause there are, in music, an infinite ways that one can interpret a piece. Even the creator of the piece himself plays it differently than everyone else. Everyone plays it differently from each other. Thats what makes music unique and creative is that everyone has their own way in which they feel [a certain piece should be played].”

And here is the second Q&A. This one is about the creative process, my attempt to understand how Scott thinks during the first moment of creation.

Kempton: When you first look at a printed music score, are you [simply] “hearing” how it sounds [in a basic and straight forward manner as the music is written/specified on the printed pages], or are you already thinking about how to manipulate it [that is, to add your artistic and creative touch to it]? The creative process, does it happen during even the first look [of the music score]?

Scott: “It actually does happen during the first look. The first time you actually see or hear a piece is when the piece is most clear to you, the most fresh. Because thats when its the first time you are ever going to see it. It’s like if you watch a movie for the first time, and there are little shock elements in the movie that surprise you on the first time. The second time its is not going to surprise you as much, because you already know that it’s going to happen.

In music, it is the same deal. The first time you see it is when everything is fresh. When all the little shocks in the music which most people or non-musical audiences wouldn’t understand fully but you can make it more understandable for them if you actually know where these shocks are. And if they do sound fresh to yourself, they will come across fresh to the audiences too.”

YouTube videos: “Portrait of a Young Classical Pianist” short video, TSO Competition videos, and a recent Calgary performance 

Here is my short video “Scott MacIsaac – Portrait of a Young Classical Pianist (English & Chinese version)“. I hope you enjoy it as much as I in creating it.

Here is a link to the English version of my short video “Scott MacIsaac – Portrait of a Young Classical Pianist” (including interview footage with Scott’s dad Doug).

Have a listen to Scott’s recent award winning performance at the Toronto Symphony Orchestra Competition (here, here, and here).

Here is a short video clip of Scott performing “Franz Joseph Haydn: Sonata No. 39 in D major” a few days ago at University of Calgary‘s CONTRASTS Chamber Music Festival (June 7th, 2011).

Special thanks

Special thanks to Scott, his parents Doug & Wendy, and his grandpa Lee Yee for spending time with me for me to write this article and to create the video.

Concluding Thoughts

I really enjoy interviewing & chatting with Scott. I know Scott will grow muscially in the coming years under the tutelage of Boris at Yale and for years to come with his hard work and determination. I hope to stay in touch with Scott and update you on his progress and achievements.

If Scott can find time in his busy schedule (this may be tough) and together with some creative use of technologies (possibly Skype & advanced audio recording tools, etc), may be I can even bring you some interesting updates & insights bi-occasionally. :) Will see about that.

Postscript

In the interview, Scott mentioned he has read Professor Boris Berman‘s “Notes from the Pianist’s Bench” (via Amazon), if you are interested, you can read a few sample pages of the book via Amazon.


Scott MacIsaac 卡加利大學鋼琴表演 (6月7日)

June 7, 2011

Scott MacIssac - 2011 - pix 1

Scott MacIssac - 2011 - pix 2

Time flies and it has been two years since my first report of the talented Scott MacIsaac (香港著名作家李怡的外孫) playing at the 2009 Winners of the Calgary Concerto Competition concert. This past weekend, I had the pleasure to video interview/chat with Scott in depth to get to know him a little bit more before he leaves Calgary in August to study piano at Yale School of Music plus I also interviewed Scott’s loving parents. It will take me some time to write the article plus edit & process the interview video clips, but I hope to post the interview soon.

For those that loves piano & classical music, Scott will perform once more at University of Calgary, Department of Music‘s CONTRASTS Chamber Music Festival (June 7th, 2011)  before he leaves for Yale to study with Professor Boris Berman. Hope you have time to attend CONTRASTS.

Scott MacIssac - 2011 - pix 3

By the way, here are YouTube videos of Scott MacIsaac at Toronto Symphony Orchestra Competition: Final Round (May 29th, 2011) performing Sergie Rachmaninov: Piano Concerto no. 2 in c minor op. 18. Scott won second prize at the TSO competition. Enjoy.

TSO Piano Competition: Concerto no.2 in c minor op.18, I. Moderato

TSO Piano Competition: Concerto no.2 in c minor op.18, II. Adagio sostenuto

TSO Piano Competition: Concerto no.2 in c minor op.18, III. Allegro scherzando


「最佳歌詞」 : 《別要留戀》Just Move On (作曲/編曲/主唱: 張繼源、填詞:黎建彰) – 第十六屆加拿大中文歌曲創作大賽

May 29, 2011

I am so happy that 《別要留戀》(作曲/編曲/主唱: 張繼源、填詞:黎建彰) has won 「最佳歌詞」best lyrics in SQ16 (第十六屆加拿大中文歌曲創作大賽“最佳歌詞”). (AM 1470 press release) It takes a great team, so congrats to Andy & Domonic!!! Great job, well done.

Check out what I wrote before, see the following for the lyrics.

Please vote for #3 別要留戀 - Just Move On

別要留戀 / Just Move On

作曲/編曲/主唱: 張繼源 (Domonic Cheung)
填詞: 黎建彰 (Andy Lai)

望天際飄雲 從來未停止化作雋美的畫意
原因就是在於它的變 永不盡 從沒有恬靜的瞬間
* 夢總有醒時 卻有些回憶往往也沖不淡
時刻帶你重溫那陣時
那些事才令你加倍在意
世間太多的悲喜無常
為何注重錯失得到與成績
轉眼日落都將色彩褪減
要看清這一生高低浮沉
從而領會箇中一切更覺難得
別要留戀那次向著前行
Repeat *
讓你重新開始 繼續前行


Silly Girl 傻女 (A cappella)

May 29, 2011

Aileen Kwan

Here is Aileen Kwan’s rendition of Priscilla Chan’s (陳慧嫻) Silly Girl (傻女). Enjoy.


ABBA “Thank you for the Music”

May 29, 2011

Aileen Kwan

Here is a rendition of ABBA‘s “Thank you for the Musicsang by Aileen. I hope you will enjoy the song as much as I did.


別要留戀 – Just Move On – 請投一票選我最喜愛歌曲 Please vote

May 15, 2011

Please vote for #3 別要留戀 - Just Move On

請聽聽 #3 別要留戀 – Just Move On,投票選我最喜愛歌曲。Go Domonic & Andy Go !!!

“今年網上投選我最喜愛歌曲方式以全新的面貌出現,你除了可以率先聽到各入圍歌曲外,大會亦為參賽者拍攝短片進行拉票,他們會現身說法創作意念、靈感、創作中遇到的趣事及其個人音樂背景。 ”

別要留戀 / Just Move On

作曲/編曲/主唱: 張繼源 (Domonic Cheung)
填詞: 黎建彰 (Andy Lai)

望天際飄雲 從來未停止化作雋美的畫意
原因就是在於它的變 永不盡 從沒有恬靜的瞬間
* 夢總有醒時 卻有些回憶往往也沖不淡
時刻帶你重溫那陣時
那些事才令你加倍在意
世間太多的悲喜無常
為何注重錯失得到與成績
轉眼日落都將色彩褪減
要看清這一生高低浮沉
從而領會箇中一切更覺難得
別要留戀那次向著前行
Repeat *
讓你重新開始 繼續前行


Perfect Moment

May 13, 2011

Have a listen to Martine McCutcheon‘s Perfect Moment. Lovely song. (Here is the song on YouTube)

Love Actually – Natalie (love the film)

I recently discovered the opening and closing shots of Love Actually were real footage (not staged) shot by the film crew’s hidden camera at Heathrow Airport. The crew had to rush to ask people to sign release forms in order to be able to use these real people footage. Thats why they are so real. And thats why I love them!


十歲的加拿大女孩Maria Aragon與Lady Gaga合唱

February 18, 2011

For a young 10-year-old girl, sometime a simple” tweet can be a life defining/changing event if the tweet was from Lady GagaCBC News is reporting that Maria Aragon will duet with Lady Gaga in Toronto on March 3rd. Maria must be so thrilled now. Twitter, YouTube, and social media tools have bring stars and their fans so much closer.

Read more about Maria Aragon in Winnipeg Free Press “Even the Lady herself is gaga over girl’s talent – Local student’s video viral, gets star gushing and Winnipeg Sun.

LADY GAGA – Born This Way (Cover)

Maria Aragon performs “Just The Way You Are” on Hot 103

P.S. On a personal note. I still remember only less than two years ago that many reporters don’t have Facebook account and don’t use social media tools. Now, traditional news media often report news initiated from the social media.


香港中文大學 – 李歐梵教授主講「文學、電影與人文精神」

January 31, 2011

Highly recommended. A very insightful talk/video presentation.

香港中文大學四十五周年校慶博文公開講座系列 – 李歐梵教授主講「文學、電影與人文精神」

By the way, there is a total of eight lectures in the series (博文公開講座系列). Check them out to see if you enjoy lectures in other subject areas.


側田為什麼走? – (林燕妮)

January 19, 2011

“從前的歌星如張國榮、譚詠麟、梅艷芳等在紅館登台,會受到眾人的喝采和讚美,記者也有禮貌很多。如今的 pa pa razzi只會踩他們和捏造各種負面新聞,連基本禮貌也沒有。在這種不良氣氛之下,怎能做得好?既無收入又讓人噓而不讚,真的很難受。” I really like this article. For the record.

側田為什麼走? – (林燕妮) – 2011年01月20日

公認唱歌好的側田在紅館開完 27及 28日的演唱會便走了,他要上北京。那兒是中國的音樂人中心,很多人在認真又專心地做音樂,沒有狗仔隊的偷窺,沒有音樂之外的繁瑣事情要應付。
側田為什麼要走?在香港他早已經是紅歌星,勝利了,但他的性格 不適合在這地方待得太久,他不喜歡 pa pa razzi的騷擾。即使懷才有遇,但環境完全跟他的性格相反。所以人要發展自己的事業生涯,也需要找到個適合自己的地方,那是很重要的。
側田是個多才多藝的人,他在美國唸「平面設計」的,大學畢業也在 Yahoo工作過。他能作曲、編曲和 填英文歌詞,亦能夠做監製,全能一腳踢。
側田喜歡唱歌,但卻沒有做「星」的虛榮心。在香港這個複雜的地方,他處理不了音樂以外的事。他是個很純的人,正常的訪問他也會直 着性子去回答的。他不懂得扮個別人以為他很純那種純,他本身就是 pure的。
很多人有做歌星、出唱片和在紅館踏台板的夢想,但那個時代已經過去了。除了寥寥幾個頂尖歌星之外,樂壇其實一片蒼涼。唱片銷量之少,連成本也收不回。在紅館開演唱會,側田每場所收的只是幾十萬,七除八扣之下,真正放進自己口袋的其實不多,所以側田說買不到樓。
告訴你一下真相,在紅館搭一個台,唱兩場跟三十場的支出是一樣的,現在已經沒什麼歌星可以連開二、三十場的了。對比之下,同一個台,兩天和三十天的費用都是一樣的,在紅館演出要花很多時間準備,主辦商不虧本也賺不了多少錢。
歌星在台上很辛苦的,一個人做三小時,要唱要跳還要說話,登台之前又得排練,付出是很大的。想入行做歌星,除非父母很富有,自己不用擔心錢便可以滿足他們的虛榮感。
家中不富有的,老實告訴你,連任何亮相的衣服都要借,借來一條「賴屎褲」也得穿,多難看也要穿,自己負擔不起服裝費便是這樣。
他們常常做商場秀,看上去工作很多,其實是零收入的,商場並不付錢。有錢可收的是某品牌指定一個歌星去為他的品牌宣傳,才能得到報酬。
有些活動是電台或者電視台主辦的,那些一定沒錢收,總之凡與媒體有關的工作,歌星都是白做,唯一的回報,頂多是有照片見報,維持一下知名度,別給忘掉而已。
即使是紅歌星,也得靠走埠賺錢,在本港是回不了本的。走埠,同一樣的衣服同一樣的歌,省了很多製作費,不作巡迴演出真的收入近 乎零。
從前的歌星如張國榮、譚詠麟、梅艷芳等在紅館登台,會受到眾人的喝采和讚美,記者也有禮貌很多。如今的 pa pa razzi只會踩他們和捏造各種負面新聞,連基本禮貌也沒有。在這種不良氣氛之下,怎能做得好?既無收入又讓人噓而不讚,真的很難受。
側田選擇去北京,因為他可以在那兒安靜地搞音樂。他的普通話並不流利,讓他說英語流利得多,不過,住下了,四周的人都說普通話,早晚都說得來的。中國的版圖很大,一首好歌需要長一點時間才會全國流行,但收入也多啊,走內地逐站表演,進賬是很豐厚的。內地賺錢機會多,側田在港所賺不到的錢,他日都會賺回來的。我覺得側田的取向是對的,為什麼要獃在一個市場不佳的地方?
每個人都會進入不同的行業,踏上成功路應有所選擇,那就是去適合你的公司做事。俗語不是說:「最怕入錯行」嗎?入錯行便要轉行,要是做自己沒興趣的工作,哪能做得出色?(待續)