很多事情不是懂了想通了就會去做

不是做了實行了之後就不會有痛苦




懂跟想通

好像時時刻刻的諷刺著自身

行為,感受,與思考的不均等




"真實的樂園是失去的樂園"

那個不能得到的樂園,又怎麼會是真實的

如此的思考

還是沒有辦法打斷如此的思念




"我領著他到了樹下,讓他歇息著"

那個無法達到的歇息之處,那個非永久的歇息

如此的遙遠距離

還是沒有辦法讓理性阻卻如此的妄想




"而這,是否就是死亡"

當然,不會的

微笑說再見的時刻現在還是奢侈

吸食著矛盾與自覺的煙塵

是現實的存在

那個有著無法失去的樂園的存在

那個有著暫時的歇息的存在




"Fate goes ever as Fate must"

所以愉悅的享受著這責任

直到那牧歌如天使的號角般迴盪

直到那春天的原野與菩提樹之地來臨

在那之前,讓存在與不存在的歌舞上演著

幻想與幻滅的輪迴






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最近的嗜好

養蝦~

這缸的主題姑且就叫做廚房水槽吧~哈哈哈哈

中間那個突兀的金屬物件是廚房水槽排水口過濾用的...

當初想拿來裝黑土省得要換土時不方便

結果就變成這樣的大怪物了

對了,蝦子是極火/玫瑰之類的

另外推一下板橋宏昇的老闆娘非常喜歡自己殺自己的價~

在文化路麥當勞隔壁的Hotel隔壁,有要買水族產品的人可以過去看看

小蝦缸DSC00002.JPG

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各位請看這人類智慧的表現

對陌生工具的探索與好奇~

IMG_6306.JPG IMG_6308.JPG IMG_6310.JPG

還是標題該改成

"關懷早發性失智症"

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http://tw.youtube.com/watch?v=TEfO3a7SNHc

Hey~

我之前說台灣很多人喜歡復古風

喜歡那個爸爸會回家吃晚餐的年代

現在真的復古了耶~

有沒有民國57年的感覺阿~哈哈哈哈哈哈哈哈




笑吧

While we still can

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一年多了,

其實我是帶著有點氣憤的心理在追求她的吧

之前認識斷斷續續有聯絡一兩個禮拜打通電話,應該也不算在追求

突然有一次她主動打給我說問我可不可以幫忙她作業

那個時候我有空也就答應了

後來作作業聊天她才跟我說從我認識她那時她就一直有男朋友

這也就算了,當人體翻譯機這種事情我幾乎每天都在作,

後來陪她在漫畫王作作業到半夜兩三點

然後她跟我講一堆有的沒的,她說了一句"我們是好朋友阿"

我那個時候就很不高興

人互相利用是不需要理由也沒什麼好說的

講這種假到極點話真的很令我不爽

當時我也稍微提了一下說那為什麼之前也不會主動跟我聯絡之類的

我想我是想看她要怎麼實踐我們是好朋友這句話吧

不過後來她還是一樣愛理不理,我打給她幾乎都變成在聽她的手機答鈴

然後幾次有約好了也都臨時取消

我想就算說我糾纏人家我也該糾纏過了吧

只是想當面告訴她我的想法而已


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我得了跟人約一定會臨時被取消的病

明天原本跟一個女生朋友約好

然後剛她傳簡訊說她固定星期二三四要上跳舞課

阿...

好吧,我該高興她沒有當天直接放我鴿子是吧

不過她這樣做類似的狀況已經是第二次了



奇怪,我到底是有什麼問題勒

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養隻貓...

感覺這種時候有個四隻腳毛茸茸的生物陪我會愉快很多

上次跟撿到的小貓玩就覺得好開心

看到一隻比手掌大不了多少的生物煞有介事的

跟國家地理頻道裡面的獅子一樣潛行,

只是獅子在草原上,小貓在我家的沙發底下,

然後撲向我的手像想要撲倒獵物一樣張牙舞爪的樣子就覺得好可愛

玩累了很自然的鑽進我的懷裡開始打呼

可惜只留了一天就拿去送人養了

確實我的生命本身就還充滿太多不確定

連養隻魚可能都不行吧

要把一個生命帶進我的生活要考量的事情太多了

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Introduction: There’s little, if not none, doubt that culture is the foundation of the identity of any ethnic group. The meaning of the word “culture”, when concerning identity issues, actually includes many elements. For example, language is definitely a very important element of culture. Then there’s food & drink, philosophy towards life…etc. There’s also a very obvious, or audible, element is music.

Especially for we Formosans, the progress of the evolution & development of local popular music style is somehow synchronized with the development and changes of local society and culture. And certainly, with the changes in our culture comes the changes in our identity. That suggests the progress of the construction of our identity may be observed by looking at the changes of what kind of music people on this island listen to.

Yet, we must remember that the idea of “we” was and still is under construction. So we can keep a fairly open mind while examining the facts, the changes in our music, culture and ultimately our identity. Now, if we want to discuss such question, the question about the construction of our own identity, we must first recognize one very important fact. That is we Formosans are a relatively new “group of people” (should we call ourselves as a race?), we can still see the scars of those changes in our society and of course our culture very clearly in modern history. In the past 100 years, we had been strongly influenced by at least two different cultures. First was the Japanese colonization, then, especially in recent years, the invasion of American & Western culture that comes with the unstoppable train of so called Globalization. In these two cases, we can see what happened when this young and still developing culture of ours meets the challenge of such fully grown and dominating cultures - they, the American and Japanese culture steam rolled over our culture, reshaped it and left some permanent marks in our identity.

“Our” Music - Taiwanese Music & Japanese Colonization: Before we start to examine the “permanent marks”, we must try to reach back into the past as far as we can. So the first stop for the epic journey of tracing the path of the foot step of Taiwanese music is to take a look at some natural folksongs.

By definition, natural folksongs, like natural folklores, cannot be trace back to one single composer or author. Natural folksongs were sung and passed down by people through one generation to another. One perfect example is “思想起”.

“思想起” is actually only a rhythm and the first few words in each stanza of it’s lyric. As long as the singer follows the rhythm and starts every stanza of the lyric with “思想起” (remember, to recall), the singer can claim that he or she is singing the song. One of the many different versions of the song goes like this: “思想起 祖先艱心過臺灣 不知臺灣生做啥款 思想起 海水絕深反成烏 在海山浮漂心艱苦 思想起 烏水要過幾層 心該定 遇到颱風攪大湧 有的抬頭看天頂 有的心想那神明.” This version of lyric is dealing with some historical materials. Another more relaxing, down to the earth version that deals with everyday life of the people goes like this: “思想起, 山頂傳來唱歌聲, 予君聽到真驚訝一聲兩聲叫阿兄, 害君牽牛呵未行. 思想起, 上山揀柴娘歹命, 不知阿君彼山行, 舉頭來看沒君影, 滿山牛母叫子聲” (胡紅波). Other examples of typical natural folksongs that are still popular nowadays is “天黑黑” and “一隻鳥仔哮啾啾”.

The common themes in these songs are the ancient Chinese style melodies and the free yet very grassroot lyrics. These characteristics provide very bright, colorful and obvious contrast when being compared with the songs that were composed by the music workers during Japanese colonization.

When we are talking about Taiwanese music of that time, we must not fail to mention 鄧雨賢 and his works. He was born and raised in Taiwan in the very early 20th century. So he was born as Japanese and had Japanese education. We know that Imperialism and Colonialism are all about remodeling and reshaping an area and its native people into a certain shape that they could be used as a market and provide service to the dominating empire or country. In most of the cases we can see the colonized people and their cultures are being hammered into the similar size and shape of their rulers. That happened to Taiwan in 1895~1945 as well. 鄧雨賢 and his works reflected such phenomenon.

If we just try to play several of his most popular works, such as “雨夜花” and “望春風”, then think about the natural folksongs mentioned early we can immediately find that they are very much different. Furthermore, we can try to recall some of the famous Japanese songs of that time. For example, songs like “何日君再來” and “夜來香”, which sang by the legendary Japanese singer 李香蘭. We shall have no trouble to determine that 鄧雨賢 and his works were strikingly similar to the popular Japanese songs of that time. Yet both “雨夜花” and “望春風” are being considered as classic Taiwanese songs. That is the Japanese element in our music. That was the permanent mark the Japanese left behind after they tried to reshape our culture.

Pop Culture - Westernized Music: Then, in 1945, with the end of World War II, the Japanese left Taiwan. And the Japanese hand this island to the government of the Republic of China. Japanese Empire was no longer the ruler of this island. Yet their culture, their influence, the permanent mark they left behind will be there forever. The Japanese culture still is a dominating and overwhelming force, and it still influence’s Taiwan’s music industry. But this will be discussed later. Now, it’s Chinese’s turn to manipulate the culture of this island.

After the WWII, especially after 1949, the entertainment business in China had profound influence to the local music market. When the ROC government fled to Taiwan, some parts of the entertainment & cultural industry move to Taiwan as well. Movie, music, and other cultural industry and workers pour into this tiny island. With them, came the westernized, Shanghai style of music.

Much of the so called Shanghai style of music was founded in the early 20th century. In that period of time, Shanghai shared the fate of Taiwan, as a colony of different countries and it’s culture was greatly influence by those foreign cultures. The one obvious difference was Shanghai and it’s culture was directly exposed to the Western culture. If we take a look at songs sang by 白光, we should be able to pick up the elements of Western music with in most of her songs.

A very large part of Shanghai’s entertainment business in the early 20th century was about high class night clubs. Lots of 白光’s greatest hits were based on Western dance music that fit the overall theme and mood of such night clubs. Take her “魂縈舊夢” as an example, even the most numb and dull person can listen to that song, and quickly relate the rhythm and the beat within the song with Tango.

So, that’s the kind of music that being introduced to Taiwan in the 1950’s, music from a former playground of old empires. The significance of such event was the music industry in Shanghai brought in the music that was influenced by the western world to Taiwan. And it’s a great opportunity for us to observe, to see how dominating cultures change the faces of local cultures. The colonists and their empires not only rule their colonies through the guns and canons they brought with them. The most important thing about colonization is to instill the culture and value to the locals. We see that Shanghai and Taiwan were both colonized by dominating countries and their cultures. So, the music styles of Shanghai and Taiwan in the early 20th century reflected the influence of their colonizers. And when the cultural industry of Shanghai poured into Taiwan, it overwhelmed the local cultural industry as well. As mentioned before, this was the process of the construction of a very young culture. Our identity, the identity of we Taiwanese was again being reshaped and perm pressed by dominating culture.

So, that’s what happened to our music in the 1950’s and 1960’s. The western music, instead of Japanese music, was dominating this land. The next notable event was the campus folksong movement and the Movement of the Renaissance of Chinese Culture in the 1970’s and 1980’s.

Whenever we talk about the development of local culture after WWII, we must not ignore the influence of the enforcement of Martial Law and the era of White Terror. The music industry in Taiwan would have received more new ingredients from the western world and their music. And it had been proved that the locals can accept Shanghai style of westernized music. But the political restrain and manipulation limited such development. Throughout the 70’s and 80’s, when the American and European societies were smoking weed and chanting slogans such as Make Love Not War while listen to Hippie songs, we the Taiwanese were “motivated” by our government to rebuild our traditional Chinese values.

That was why when the western world was indulging in the rock music and hippie songs, our music style were still free from such influences. It was almost like trying to have a confession while the neighbors are throwing an orgy party. During this period of time, songs such as “讓我們看雲去” were dominating the music market.

Although those songs and music can be described as a part of the overall scheme of the government that was trying to reshape our culture, just like our old colonial masters did to us, they still had very positive meanings. It was the first time that we, thought led by a non-democratically elected government, were trying to find out who we are and what we are. In the same time within the cultural industry and the circles of cultural workers, we, for the first time, were having an intense debate on the definition of local culture (本土文學論戰). Famous poets such as 余光中 were all involved. The campus folksong movement and it’s products were also part of the debate.

Then suddenly the restrictions imposed by the enforcement of Martial Law were snapped by the end of 1980’s. Almost immediately the music industry and the public’s music preference went back to it’s normal, natural track and opened it’s arms to the western and even Japanese music. Rhythms and melodies of western pop music now dominated the products of the local music industry. And simultaneously Japanese style of music can be found in local music market again. Songs by中島美雪 (Nakajima Miyuki) and 美空雲雀 (Misora Hibari) were often being directly translate into local languages and sang by local singers. But the most worth-mentioning event in the recent years is the influence of Rap music to local music style.

Rap music was the music style created by the African Americans that rose in the early 1990s’. In it’s early days it remained a highly ethnical music that only sang and appreciated by African Americans. And the early attempt of introducing Rap music, by a small group of local music workers led by 豬頭皮 and 羅百吉, to Taiwan was a failure. But when Rap music became popular and started to make its way into the mainstream American music market and industry, everything just changed. Once the Rap music was accepted by the general American public, it spread in the speed of sound with the help of the trend of Globalization. The expansion, merging and acquisition of globalized American entertainment corporations became perfect vehicles for the seeds of Rap music to thrive in almost every corner of the world. Now we can hear Justin Timberlake rapping, and Jay Chou (周杰倫) rapping.

The success of Rap music represents the rise of multiculturalism and the merging and reshaping of different cultures around the world. We can say that Globalization destroys native cultures but it also brings new elements to our culture. Such success should be a very inspiring surprise to us, because it proved that a minor ethnic group can still has it’s own voice. 2Pac and Little Biggie could never imagine how popular Rap music has become. Yeah, they might not quite enjoy Justin Timberlake and his white boy rap technique.

The Construction of a New Identity: So, now we can find all sorts of music in our music market now. The Japanese elements in our music are very much alive. Songs like “人生” by 黃妃 and other famous songs by local superstar 江蕙 are still using Japanese rhythms and melodies. Jay Chou (周杰倫) and Jolin Tsai (蔡依琳) are rapping. Even the music style of traditional Chinese opera can be seen in newly produced popular songs. “霍元甲” by Jay Chou (周杰倫) serves as a great example. We can hear Jay rapping with the background music similar to that of the Chinese operas. And the old Taiwanese folksongs are being used in the making of new songs as well, just listen to 孫燕姿 (Sun, Yan-Tzu) and David Tao’s (陶喆) interpretation on “天黑黑” and “雨夜花”.

What does this mean? What does such mixed and complex preference of music tells us? In a way it demonstrates the fact that we are still a work in progress. Our identity and our culture are still being carved and modified. We are just like the Americans in the 18th and 19th century. Our culture and identity has not yet being firmly established. That’s why our identity, the idea of “we” are still open to modifications. Like Emerson described in his “American Scholar”, we must not panic in this kind of situation.

Yes, there are possible controversies even when we simply call ourselves Taiwanese. And we are challenged by the dominating cultures brought forth by the trading wind of almighty Globalization. But there’s nothing to be afraid of; we had been through this before. We lived through Japanese colonization; we lived though the chaos after WWII and the Martial Law. We will live through this and adding new elements to our culture every step we take and gradually find who we are and what we are. There’s event an pre-existing model for us to follow, just look at the rise of the United States and American culture and the teachings within Emerson’s “American Scholar”, and look at how the songs of those black American ghetto boys conquering the world. Just like 2Pac said, “Wars come and go, but my soldier stay eternal”, one day we will find our values and identity, after we battled through the storms. That’s why we incorporate so called mother language education into our education system. That’s why we must not afraid of challenges from different cultures, no matter it comes from the phantoms of our own past or modern outside world. We must confront with them, with open arms and positive attitudes.

And one day, when it’s all over, we will be able to say “Yes, we are Formosans, the sons and daughters of aboriginal tribesmen, pirates, peasants, soldiers of defeated army and Dutch/Spanish/Japanese colonists. Here we are, singing our songs, songs of our culture. Our voice may not be loud but it’s steady and clear. And Yes, we are Formosans.”

Acknowledgments
I tried my best to make this paper a serious research paper but I can’t. It’s well beyond my ability to discuss the issues of our identity academically.
Professor 胡紅波 of the Chinese Department, National Cheng Kung University provided some very important point of view about natural folksongs.

Works Cited
胡紅波. 由民間文學觀點看《思想起》的演化. http://ws.twl.ncku.edu.tw/hak-chia/o/ou-hong-pho/su-siong-ki.htm. June 1995.





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沮喪的很可怕



反正我的用途也只有作那些事情

作了也沒感謝我

平常就所有人都跟我跟陌生人一樣

hey,反正我都免費阿,反正我很閒一直都在是吧

沒人會想找我純粹聊天

沒人會想找我出去單純吃飯逛街hang out一下午

還會覺得我很兇很嚴肅很奇怪,那為什麼找我問作業的事情都不會覺得我很兇

前三名從來也不是我阿,對阿,因為前三名那些人真的會兇回去是吧,

那結果最和善的反而是我摟?

下一個再來跟我裝死的我就問你要不要跟我上床算了

反正一樣都沒人鳥我

現在在弄畢業公演的事情你們也不會幫我,

那就通通下地獄去吧

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Friends we are, eh? Pretty girl

Let's see

When will thee

Try to reach me



Agh, Maybe the Next time you need

Someone to help you on your homework



Call me, sweet heart, anytime



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下午跟一個朋友

去吃了很令人滿足的一餐,在永康街一帶吃了

義式陶罐燉海鮮

肉燥飯跟蝦仁肉圓

芒果冰


配上有話聊的朋友

今天過的很好

連騎車回家的時候都覺得心情很愉快

公車的廢氣噴在臉上都覺得是香的~

Good food + Good company = Good day

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"Courage is resistance to fear, mastery of fear - not absence of fear."
~ Mark Twain

Here's my version

"Being positive is learning to live with the negative or even the darker

side of oneself - not the absence or ignorance of the monster within one's

mind." ~ Lee, M.T.


I love the feeling of fear, eversince my days in the Academy. Fear makes me

tough, helps me to keep myself together under any situation. So do I love

the howling monster which being bonded in the most filthy corner of my

brain.


Bless those who reminds me the existence of such beast, which dwells in the

dungeon; the dungeon where all my lust, desires and ambitions being held

as prisoners. It is the existence of such sin, such lewdness within my head

that makes me human.



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So, here comes the second one

Names listed as "DEAD" on afternoon NEWS

Familiar faces, familiar names


Both were briliant

Best and brightest this country has to offer


Yet

Fate goes ever as fate must

Good ones always lead the way... into the Abyss even


Dulce et Decorum est, pro Patria mori

I only wish I was still in

In Nomine Patris, et Filii, et Spiritus Sancti

Though I am no Christian, but if there is God

Please lift them gently into your garden

For they served


Fidelitas Ferocitas

May the sun and wing always bear their names

as those many names it already carried on it's shoulder


Well,

Wish it was me, not them

they deserve more than me

Really, really, really


casualties for RoCAFA class of 2002 = 2

In Nomine Patris, et Filii, et Spiritus Sancti, Amen.

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Valkyries' gathering before the final battle.

THE WOOF OF WAR.

"See! warp is stretched
For warriors' fall,
Lo! weft in loom
'Tis wet with blood;
Now fight foreboding,
'Neath friends' swift fingers,
Our grey woof waxeth
With war's alarms,
Our warp bloodred,
Our weft corseblue.

"This woof is y-woven
With entrails of men,
This warp is hardweighted
With heads of the slain,
Spears blood-besprinkled
For spindles we use,
Our loom ironbound,
And arrows our reels;
With swords for our shuttles
This war-woof we work;
So weave we, weird sisters,
Our warwinning woof.

"Now Warwinner walketh
To weave in her turn,
Now Swordswinger steppeth,
Now Swiftstroke, now Storm;
When they speed the shuttle
How spearheads shall flash!
Shields crash, and helmgnawer (3)
On harness bite hard!

"Wind we, wind swiftly
Our warwinning woof
Woof erst for king youthful
Foredoomed as his own,
Forth now we will ride,
Then through the ranks rushing
Be busy where friends
Blows blithe give and take.

"Wind we, wind swiftly
Our warwinning woof,
After that let us steadfastly
Stand by the brave king;
Then men shall mark mournful
Their shields red with gore,
How Swordstroke and Spearthrust
Stood stout by the prince.

"Wind we, wind swiftly
Our warwinning woof.
When sword-bearing rovers
To banners rush on,
Mind, maidens, we spare not
One life in the fray!
We corse-choosing sisters
Have charge of the slain.

"Now new-coming nations
That island shall rule,
Who on outlying headlands
Abode ere the fight;
I say that King mighty
To death now is done,
Now low before spearpoint
That Earl bows his head.

"Soon over all Ersemen
Sharp sorrow shall fall,
That woe to those warriors
Shall wane nevermore;
Our woof now is woven.
Now battlefield waste,
O'er land and o'er water
War tidings shall leap.

"Now surely 'tis gruesome
To gaze all around.
When bloodred through heaven
Drives cloudrack o'er head;
Air soon shall be deep hued
With dying men's blood
When this our spaedom
Comes speedy to pass.

"So cheerily chant we
Charms for the young king,
Come maidens lift loudly
His warwinning lay;
Let him who now listens
Learn well with his ears
And gladden brave swordsmen
With bursts of war's song.

"Now mount we our horses,
Now bare we our brands,
Now haste we hard, maidens,
Hence far, far, away."

(http://omacl.org/Njal/11part.html)

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奇怪

多了個頭銜(而且是微不足道的那種)

但是

不知道為什麼

很多女生對我的態度都變了...


原來這樣就行阿??

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1 2