It’s rainbows and puppies with S.H.E — I think, they’re prepping for their tour (2gether 4Ever?) — but the girls have released a new (spec) music video for the song Hereafter, Hereafter (後來後來) from their last album, which is all about them growing up and being apart, not like they used to be. It’s all about friendship and fluff. You can check a decent translation here.
I didn’t know Doona spoke English this great, but I’m more delighted to see how expressive she is when she talks. xD
No wonder she placed on #2 on my list three years ago, and I lvoe her even more so than I did then. If I were making that list again, she would be my #1.
Back in 2012, during the CCTV Spring Gala, I was marveled watching Chinese dancer/choreographer Yang Liping (杨丽萍) doing her Peacock Love dance. First, I know it was totally not intended considering how visual a male peacock could be, but I loved that figuratively it was two male peacocks dancing a “dance of love” while literally it was a male and a female. ;P
Then I was shocked that Yang Liping (after I learned her name, of course) was in her 50s. Just looking at the video, I could have thought she was in her late 20s or her 30s. It was definitely a stretch to find her no in her 40s, but her 50s. In a world where people think 30 is too old, I was even more shocked.
CCTV is doing a special these coming weeks, I think she has retired or something? She recently did a Weibo Talk, so I went on a Yang Liping YouTube binge, where I found this fabulous video, and discovered the amazingness that is Dynamic Yunnan (云南印象).
I’m not much into fashion, but I ran into this documentary called About Face: The Supermodel, Then and Now, which featured (besides Isabella Rossellini and Christy Turlington) Carmen Dell’Orefice. I was immediately struck by the shape of her face, the lines that form when she’s posing.
I have to admit… I’m a little disappointed. Be it choice of script or choice of character — I’m choosing this as punishment from Itoh Company for Yu-chan choosing to cut her hair. LOL I’m uncertain about her hair, it looks real, but at the same time I’m unable to make a clear timeline. Maybe she shot this BEFORE she cut her hair. I would have liked her present-day character to be portrayed with her short hair, and a lot more different.
A while back a GORGEOUS Dior commercial featuring Grace Kelly, Dietrich and Monroe, alongside a slinky Charlize Theron was invading my TV and doing rotations on my YouTube ads. That was one of the only commercials I didn’t mind breaking my viewing.
Alongside with visual effects magicians, they managed to bring back classic on-screen beauties… and now, they’re latest project has been bringing back Audrey Hepburn. From the still up there, it looks PRETTY uncanny. Apparently they found the perfect Hepburn double, and did their magic twitching details to make her look IT. Sadly, we can’t watch the commercial for Galaxy Chocolate, which has only been licensed within the UK and Ireland territories.
I just began listening (truly listen) to Mayday’s discography pre the Born to Love days, finishing off titles/pinyin/title translations, when I ran into this song titled Masquerade (Male, Female, One Body) from their 2003 album, Time Machine (時光機). The thing is, the title of the song is Ci Xiong Tong Ti (雌雄同體), which is the term used to refer to “hermaphrodites” (which, by the way, isn’t longer a term accepted for people, who are now referred to as “intersex”). Perplexed, thinking that Google Translate was giving me a wonky translation, I checked the dictionary to double check.
On a quick google search, I found a pretty terrific (singable) translation of the song.
Rather than you understand me—I’d rather be a mystery
A puzzle you just cannot solve, of what’s false and real, it’ll play at your heartstrings
I’ll play you, or play your opposite form; partake in this game of love that you’ve borne.
My mind was melted. I mean, it’s not VERY often you get playful duality in music, playing on gender-role conventions and completely avoiding the titillation that seethes from… well, everywhere now.
I remember when I was in fifth grade I saw my grandfather die. There he was, lying motionless on the bed. I was close to my grandfather. He taught me how to write. I remember thinking, “If this is the end of life, that means we don’t have to take everything too seriously.” Children who grow up without seeing death don’t have that realization.