關於 thousand years 譜 ，我們在網路上蒐集到這些相關的討論、資訊與評價

「Cinema cinema cinema. Wakanda Forever. Nothing but love.」—Tilda Swinton
　
今年威尼斯終身成就金獅獎得主蒂妲絲雲頓，稍早在主競賽評審團主席凱特布蘭琪手中，接獲榮耀。
　
蒂妲絲雲頓在演講中，一開始就提到：「最近我一直在想兩件事：第一，電影對我來說，到底意味著多少；第二，如何能夠直面接受這種至高榮譽。」
　
蒂妲絲雲頓繼續說：「電影是我快樂的地方，我真正的祖國。我內心的族譜。同時，被授予此項榮譽的人，是我心中的大師，他們是這圈子中的長者，使用我特別愛惜的語言的詩人，在淋浴時我唱著他們的歌。我是個龐克小孩、瘋狂的電影愛好者，正搭著便車去那個山腳下的車站，準備攀登他們成就的高峰。順道一提，這條路上，我才剛剛開始。」至此，現場觀眾爆出熱烈掌聲。
　
蒂妲絲雲頓接著也提及威尼斯影展，稱威尼斯是世界上最偉大、值得尊敬的影展，在此地看電影是純粹的快樂。
　
最後，蒂妲絲雲頓說：「我們可以繼續依賴電影帶來無邊無際、無比包容的可能性—我們擁有所需的一切。神奇魔毯仍在飛翔，並且永遠飛舞著，是靈魂的最佳防護裝備。電影、電影、電影，Wakanda Forever！除了愛之外，別無所有。」
　
蒂妲絲雲頓近期的作品包括魏斯安德森的《The French Dispatch》、喬安娜霍格的《The Souvenir: Part II》、阿比查邦的《Memoria》。也參與吉勒摩戴托羅《Pinocchio》的配音工作，更和伊卓瑞斯艾巴一起拍攝喬治米勒的《Three Thousand Years of Longing》。
　
今年威尼斯影展則有和阿莫多瓦合作的英文短片《The Human Voice》準備放映。蒂妲絲雲頓作品不斷，合作的導演大師雲集，如同致詞時說的，在電影這條路上，她才剛剛開始。
　
❤️蒂妲絲雲頓獲獎時的完整演說影像👉https://bit.ly/2EXANEA

#威尼斯影展 #Venezia77
#TildaSwinton

【989陽光列車 0900-1200 每週歌單】

7/31 (五)
09:02:43 Darkside Alan Walker/Tomine Harket
09:06:10 MOJITO 周杰倫
09:09:12 下一個未來 Erika 劉艾立
09:16:13 我不夠愛你 劉德華
09:20:15 這種天真 容祖兒
09:26:02 河 張韶涵
09:34:41 no song without you HONNE
09:44:04 Oh My! 徐懷鈺
09:47:47 PATI PATI iO樂團
09:50:02 再見 Hip-Hop MC HotDog/張?嶽,功夫胖,派克特
09:55:02 THE GIFT 平井大
Total time is 60:01
10:04:03 Celebrate Mika 米卡
10:07:07 Be Myself BBT
10:10:01 為你而活 神木與瞳
10:17:06 根(粵) 許廷鏗
10:22:09 倒數 鄧紫棋
10:25:53 Blue Bird 可苦可樂
10:35:04 Nobody's Love Maroon 5 魔力紅
10:44:17 一步之遙 林志穎
10:54:19 愛情釀的酒 高慧君
11:04:05 大不了就One More Time Matzka
Total time is 60:01
11:04:11 怪怪女 青鳥飛魚
11:07:45 啦啦啦 習譜予
11:11:06 越走越遠 吳克群
11:19:12 寫乎你的歌(台) 許富凱
11:23:44 愛呦愛呦 夏川里美
11:32:33 Cake By The Ocean DNCE
11:38:29 七十億分之一加一 吳卓源/婁峻碩
11:49:04 Come As You Are Santana
11:53:49 It's My Day 薛凱琪
Total time is 60:00

7/30 (四)
09:04:12 無限青春Forever Young F.I.R.飛兒樂團/Do As Infinity 大無限樂團
09:08:26 心理遊戲 陳曉東
09:12:37 Seek and Hide 女孩與機器人
09:19:17 Eyes Like Yours Shakira
09:23:51 玩偶 李若潼
09:31:26 會痛的石頭 蕭敬騰
09:37:08 全新的世界 乃木板46
09:47:06 不應該勇敢 張簡君偉
09:50:56 Viva la vida 青紀 Hikari
09:56:56 倔強 家家
Total time is 60:01
10:04:02 我愛他 丁噹
10:08:38 Hello Bye Bye 9m88
10:11:35 小小蟲 方大同
10:17:55 如果你知我苦衷(粵) 邰正宵
10:21:45 好不容易 李千那
10:25:33 Life Is A Flower Ace Of Base 王牌合唱團
10:33:50 Light Wanna One
10:38:17 沒理由 By2
10:44:45 Lost In Your Eyes Debbie Gibson 黛比吉布森
10:48:14 微笑的力量 陳謙文
10:52:22 愛讓人無力 陶莉萍
Total time is 60:01
11:04:11 一個人還是想著一個人 曾沛慈
11:08:56 城市的光 蕭煌奇
11:13:51 Best Years Of Our Lives Baha Men 巴哈人
11:20:12 為啥物我會遐邇愛你(台) 張三李四/曹雅雯
11:22:59 當時的月亮 王菲
11:26:44 小心眼 蔡佳靈
11:34:11 Boy With Luv BTS 防彈少年團/Halsey
11:38:56 是不是這樣的夜晚你才會這樣的想起我 張智成
11:43:04 感覺 張靚穎
11:53:03 你是我最愛的人 王菀之
11:56:23 Treat You Better Shawn Mendes 尚恩曼德斯
Total time is 60:01

7/29 (三)
09:02:35 Ladies and Gentleman GTM
09:05:47 多一點關心 文慧如/賴淞鳳
09:10:08 Have It All Jason Mraz 傑森瑪耶姿
09:16:18 吾愛無愛 白安
09:20:39 四百龍銀 張宇
09:26:01 失眠 許慧欣
09:34:18 I Get Along Pet Shop Boys 寵物店男孩
09:41:03 我還是愛著你 MP 魔幻力量
09:48:24 水面音 堂本剛
09:52:24 天使的指紋 孫燕姿
Total time is 60:02
10:04:09 Oops! I Did It Again Britney Spears 小甜甜布蘭妮
10:07:38 飯隨愛人 邱鋒澤
10:10:43 Just Do Me 葛仲珊
10:17:58 憂傷天使[粵] 李玟
10:22:46 讓愛延續 FS (Fuying & Sam)
10:26:25 印記 LiSA
10:35:59 28 Thousand Days Alicia Keys
10:40:12 雙手插口袋 頑童MJ116/張?嶽
10:49:37 你如何還能這樣的溫柔 趙傳
10:54:16 太陽如常升起 梁靜茹
Total time is 60:02
11:04:04 沒有傘的人 楊永聰
11:07:58 Bleedind Love蔓延的愛 Jesse McCartney傑西麥卡尼
11:11:42 到底還要等多久 Karencici
11:17:28 深情海岸(台) 詹雅雯
11:21:39 再痛也沒關係 陳勢安
11:31:46 Celebrate MBLAQ
11:36:12 仨人 郭靜/范瑋琪+張韶涵
11:40:32 不想說再見 黃品源
11:51:39 Something Out of Me Nichole Nordeman
11:55:06 Be Alright 高爾宣
Total time is 60:02

7/28 (二)
09:03:03 把你還給你 方泂鑌
09:07:03 雨林 趙詠華
09:11:28 時空旅人 SPITZ
09:17:54 勇敢 張惠妹
09:21:50 GOOD MORNING 我的鄉愁 陳零九
09:26:15 no song without you HONNE
09:33:19 糾纏 林宗興
09:38:34 OAOA(現在就是永遠) 五月天
09:43:48 低調的情歌敗給了高調的情歌 妮可醬
09:49:32 天生一對 曹楊
09:53:27 Lady Kenny Rogers
Total time is 60:01
10:04:03 飄洋過海來看你 丁噹
10:08:24 沙發上的馬鈴薯 阿達
10:11:56 Na Na Na 徐懷鈺
10:17:42 我不認識你(粵) 楊丞琳
10:21:03 怎麼就 吳是閎
10:26:03 Breathe Again Toni Braxton
10:35:01 我們的夢想 生物股長
10:40:31 比較大的大提琴 周杰倫/梁心頤、楊瑞代
10:44:38 What U Workin' With? Gwen Stefani 關史蒂芬妮/Justin Timberlake
10:50:26 雨和眼淚 四分衛
10:55:19 House Party 好事派對 家家/OZI
Total time is 60:01
11:04:11 Stupid Love Lady Gaga 女神卡卡
11:07:22 一天一天 強辯樂團
11:10:56 愛就對了 S.H.E
11:17:29 月彎彎(台) 謝金燕
11:22:11 不完美心跳 動力火車
11:30:54 偶喜翻你 玖壹壹
11:35:14 Runaway Mama 林宥嘉
11:39:07 Shampoo（Radio Edit.） After School
11:49:12 Sweet Child O' Mine Guns N' Roses
11:55:06 愛情雨 9m88
Total time is 60:01

7/27 (一)
09:02:52 吹吹風 曹格
09:06:27 Say So(Clean) Doja Cat
09:10:21 一想到你呀 組曲 A-Lin
09:17:44 下一站為了與你相遇 呂婕菲
09:21:34 Kiss Standing Egg
09:26:27 玩偶 李若潼
09:34:00 Suit &Tie Justin Timberlake/Jay Z
09:40:26 時光小偷 孫燕姿
09:47:30 想厝的人 (台) 詹雅雯
09:51:13 Perfect MFM
Total time is 60:00
10:04:09 Miles Away Madonna 瑪丹娜
10:08:56 Better 吳卓源/KIMBERLEY 陳芳語
10:12:26 不愛了 李玖哲
10:19:38 我依然是我 王笠人
10:22:48 愛你十分淚七分 裘海正
10:31:48 真命天女 SID
10:36:14 愛要坦蕩蕩 蕭蕭
10:40:08 繽紛了每一天 鼓鼓
10:47:10 GOOD GOODBYE Linkin Park 聯合公園
10:50:41 候鳥 蕭煌奇
Total time is 60:01
11:04:04 如果我變成回憶 TANK
11:08:44 刺青春 F.I.R.飛兒樂團
11:18:38 K歌之王(粵) 陳奕迅
11:22:16 NO MATTER WHAT (Live) Pavarotti/Boyzone
11:31:18 Party Rock Anthem LMFAO/Lauren Bennett and GoonRock
11:36:46 High咖 張惠妹
11:40:32 別弄花我的妝 關詩敏/Karencici
11:50:14 超級喜歡 卓文萱
11:53:11 Ray BUMP OF CHICKEN
Total time is 60:00

🎹鋼琴的大千世界/名家名言：「為何稱我為大師？主人在這裡（指著鋼琴），我只是他的奴才。」

— 李斯特著名的弟子，德國鋼琴家、作曲家、教育家 萊森奧爾(Alfred Reisenauer)

Why, there is the master (pointing to the piano), I am only the slave.”

— Alfred Reisenauer (1 November 1863 – 3 October 1907) German pianist, composer, and music educator.

📹 跟隨在李斯特學習長達十二年至李斯特過世(1874-1886)的萊森奧爾，演奏李斯特的第十號匈牙利狂想曲：
https://youtu.be/e12YwuHiQtY

📰 延伸閱讀 - 【李斯特學派 / the school of Liszt】♩.♪
https://www.facebook.com/notes/fan-chiang-yi-%E8%8C%83%E5%A7%9C%E6%AF%85/%E6%9D%8E%E6%96%AF%E7%89%B9%E5%AD%B8%E6%B4%BE-the-school-of-liszt/289155141104454/

———————————————————————1905-1906 鋼琴名家萊森奧爾（Alfred Reisenauer）在美國進行數月的巡迴演出，並接受美國著名音樂雜誌”Etude”的專訪。文章於1906年七月出版，隔年他在德國巡迴演出期間於下榻的飯店房間內過世。

📰 藝術家的養成 - 萊森奧爾的見解
The Making of an Artist - The Views of Alfred Reisenauer.

▪️With Liszt

“When I had reached a certain grade of advancement it was my great fortune to become associated with the immortal Franz Liszt. I consider Liszt the greatest man I have ever met. By this I mean that I have never met, in any other walk of life, a man with the mental grasp, splendid disposition and glorious genius. This may seem a somewhat extravagant statement. I have met many, many great men, rulers, jurists, authors, scientists, teachers, merchants and warriors, but never have I met a man in any position whom I have not thought would have proved the inferior of Franz Liszt, had Liszt chosen to follow the career of the man in question. Liszt’s personality can only be expressed by one word, ‘colossal.’ He had the most generous nature of any man I have ever met. He had aspirations to become a great composer, greater than his own measure of his work as a composer had revealed to him. The dire position of Wagner presented itself. He abandoned his own ambitions— ambitions higher than those he ever held toward piano virtuosity—abandoned them completely to champion the difficult cause of the great Wagner. What Liszt suffered to make this sacrifice, the world does not know. But no finer example of moral heroism can be imagined. His conversations with me upon the subject were so intimate that I do not care to reveal one word.

▪️Liszt’s Pedagogical Methods

“His generosity and personal force in his work with the young artists he assisted, are hard to describe. You ask me whether he had a certain method. I reply, he abhorred methods in the modern sense of the term. His work was eclectic in the highest sense. In one way he could not be considered a teacher at all. He charged no fees and had irregular and somewhat unsystematic classes. In another sense he was the greatest of teachers. Sit at the piano and I will indicate the general plan pursued by Liszt at a lesson.”

Reisenauer is a remarkable and witty mimic of people he desires to describe. The present writer sat at the piano and played at some length through several short compositions, eventually coming to the inevitable “Chopin Valse, Op. 69, No. 1, in A flat major.” In the meanwhile, Reisenauer had gone to another room and, after listening patiently, returned, imitating the walk, facial expression and the peculiar guttural snort characteristic of Liszt in his later years. Then followed a long “kindly sermon” upon the emotional possibilities of the composition. This was interrupted with snorts and went with kaleidoscopic rapidity from French to German and back again many, many times. Imitating Liszt he said, “First of all we must arrive at the very essence of the thing; the germ that Chopin chose to have grow and blossom in his soul. It is, roughly considered, this:（見譜例圖四）

Chopin’s next thought was, no doubt:（見譜例圖五）

But with his unerring good taste and sense of symmetry he writes it so:（見譜例圖六）

Now consider the thing in studying it and while playing it from the composer’s attitude. By this I mean that during the mental process of conception before the actual transference of the thought to paper, the thought itself is in a nebulous condition. The composer sees it in a thousand lights before he actually determines upon the exact form he desires to perpetuate. For instance, this theme might have gone through Chopin’s mind much after this fashion:（見譜例圖七）

The main idea being to reach the embryo of Chopin’s thought and by artistic insight divine the connotation of that thought, as nearly as possible in the light of the treatment Chopin has given it.

“It is not so much the performer’s duty to play mere notes and dynamic marks, as it is for him to make an artistic estimate of the composer’s intention and to feel that during the period of reproduction, he simulates the natural psychological conditions which affected the composer during the actual process of composition. In this way the composition becomes a living entity—a tangible resurrection of the soul of the great Chopin. Without such penetrative genius a pianist is no more than a mere machine and with it he may develop into an artist of the highest type.”

▪️A Unique Attitude.

Reisenauer’s attitude toward the piano is unique and interesting. Musicians are generally understood to have an affectionate regard for their instruments, almost paternal. Not so with Reisenauer. He even goes so far as to make this statement: “I have always been drawn to the piano by a peculiar charm I have never been able to explain to myself. I feel that I must play, play, play, play, play. It has become a second nature to me. I have played so much and so long that the piano has become a part of me. Yet I am never free from the feeling that it is a constant battle with the instrument, and even with my technical resources I am not able to express all the beauties I hear in the music. While music is my very life, I nevertheless hate the piano. I play because I can’t help playing and because there is no other instrument which can come as near imitating the melodies and the harmonies of the music I feel. People say wherever I go, ‘Ah, he is a master.’ What absurdity! I the master? Why, there is the master (pointing to the piano), I am only the slave.”

▪️The Future of Pianoforte Music.

An interesting question that frequently arises in musical circles relates to the future possibilities of the art of composition in its connection with the pianoforte. Not a few have some considerable apprehension regarding the possible dearth of new melodic material and the technical and artistic treatment of such material. “I do not think that there need be any fear of a lack of original melodic material or original methods of treating such material. The possibilities of the art of musical composition have by no means been exhausted. While I feel that in a certain sense, very difficult to illustrate with words, one great ‘school’ of composition for the pianoforte ended with Liszt and the other in Brahms, nevertheless I can but prophesy the arising of many new and wonderful schools in the future. I base my prophecy upon the premises of frequent similiar (sic) conditions during the history of musical art.” These are Reisenauer’s views upon this matter.

Continuing, he said: “It is my ambition to give a lengthy series of recitals, with programs arranged to give a chronological aspect of all the great masterpieces in music. I hope to be enabled to do this before I retire. It is part of a plan to circle the world in a manner that has not yet been done.” When asked whether these programs were to resemble Rubinstein’s famous historical recitals in London, years ago, he replied: “They will be more extensive than the Rubinstein recitals. The times make such a series posssible (sic) now, which Rubinstein would have hesitated to give.”

As to American composers, Reisenauer is so thoroughly and enthusiastically won over by MacDowell that he has not given the other composers sufficient attention to warrant a critical opinion. I found upon questioning, that he had made a genuinely sincere effort to find new material in America, but he said that outside of MacDowell, he found nothing but indifferently good salon-music. With the works of several American composers he was, however, unfamiliar. He has done little or nothing himself as a composer and declared that it was not his forte.

▪️American Musical Taste.

Reisenauer says: “American musical taste is in many ways astonishing. Many musicians who came to America prior to the time of Thomas and Damrosch returned to Europe with what were, no doubt, true stories of the musical conditions in America at that time. These stories were given wide circulation in Europe, and it is difficult for Europeans to understand the cultured condition of the American people at the present time. America can never thank Dr. Leopold Damrosch and Theodore Thomas enough for their unceasing labors. Thanks to the impetus that they gave the movement, it is now possible to play programs in almost any American city that are in no sense different from those one is expected to give in great European capitals. The status of musical education in the leading American cities is surprisingly high. Of course the commercial element necessarily affects it to a certain extent; but in many cases this is not as injurious as might be imagined. The future of music in America seems very roseate to me and I can look back to my American concert tours with great pleasure.

▪️Concert Conditions in America.

“One of the great difficulties, however, in concert touring in America is the matter of enormous distances. I often think that American audiences rarely hear great pianists at their best. Considering the large amounts of money involved in a successful American tour and the business enterprise which must be extremely forceful to make such a tour possible, it is not to be wondered that enormous journeys must be made in ridiculously short time. No one can imagine what this means to even a man of my build.” (Reisenauer is a wonderfully strong and powerful man.) “I have been obliged to play in one Western city one night and in an Eastern city the following night. Hundreds of miles lay between them. In the latter city I was obliged to go directly from the railroad depot to the stage of the concert hall, hungry, tired, travel worn and without practice opportunities. How can a man be at his best under such conditions—yet certain conditions make these things unavoidable in America, and the pianist must suffer occasional criticism for not playing uniformly well. In Europe such conditions do not exist owing to the closely populated districts. I am glad to have the opportunity to make this statement, as no doubt a very great many Americans fail to realize under what distressing conditions an artist is often obliged to play in America.”

Violin & Flute cover of A Thousand Years by Christina Perri
暮光之城電影主題曲『千年之戀』小提琴＆長笛版本


想必大家都還記得當年經典的吸血鬼電影「暮光之城」吧！
裡面男女主角在婚禮上的定情歌曲便是這一首a thousand years
由於歌詞實在太深情，加上旋律也彷彿有一種魔力，令人一聽就上癮
所以後來在很多婚禮上，都成了新人們指定的必演歌曲❤

p.s原本這首歌是Christina Perri的獨唱歌曲，但是在後來暮光之城電影原聲帶中加入了Steve Kazee做成了男女雙人合唱，你們喜歡哪一種版本呢？


請記得幫我們多多分享、按讚留言和訂閱唷，你們的支持是最大的鼓勵：）


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記得開啟小鈴鐺接收通知哦！
有喜歡的歌希望長笛琴人演奏嗎？歡迎留言在下方讓我們知道，有機會將會為你演奏哦：）



#athousandyears #twilight #暮光之城 #千年之戀 #christinaperri #長笛cover #小提琴cover #長笛演奏 #小提琴演奏 #婚禮演出 #活動演出 #商業演出 #長笛樂手 #小提琴樂手 #長笛 #小提琴 #長笛老師 #小提琴老師 #flute #violin #flutecover #violincover #長笛琴人 #長笛annie #小提琴mimi

■ 更多林子安：
INSTAGRAM：https://www.instagram.com/an__official/
FACEBOOK：https://www.facebook.com/Anviolin/
WEIBO：http://weibo.com/u/6511795600
各式工作演出邀約請私訊IG或臉書專頁
For business, please send private message to my Instagram or Facebook fan page.

■ 更多【Cover by An】：https://bit.ly/2vWVtF5

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八三夭 831《想見你想見你想見你 Miss You 3000》（電視劇「想見你」片尾曲）小提琴版本
| Violin cover by Lin Tzu An of OST of TV series “Someday or One Day” by 831

很多的粉絲聽眾敲碗這首歌都要把碗敲破了，今天就決定cover這首歌了。
和八三夭很有緣分，當初21歲的我，初次登上萬人演唱會，就是跟八三夭合作！
很謝謝八三夭讓我擔任開場solo，我聽著底下的粉絲熱情尖叫，那時我就確定了自己想要的舞台。
希望五年後也可以在小巨蛋開自己的演奏會！！

歡迎大家在沒有下雨的週末到信義區香堤大道，聽這些cover歌曲的live版！詳細演出相關資訊，我都會更新在我的Instagram 限時動態！

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Here comes my weekly updated cover.

Many fans and subscribers requested this song so here comes the cover.
The collaboration stage of 831 and me was like predestined coincidence.
My first experience stepping on the the stage with more than 10 thousand fans crowded at the concert hall, at the age of 21, was with the pop star 831!!!!!!!

Much appreciate 831 for the chance of my opening solo.
Listening to the fans screaming and yelling and cheering enthusiastically, I decided and knew that it's exactly the stage I always long for.
Hope I can have my own concert at Taipei Arena in five years!!!

Should you have any request regarding cover songs, just comment below and let me know.
Also please share the video and subscribe to my channel https://bit.ly/2EsTGMQ.
Don't forget to click the 🔔 bell to be notified when my videos come out!

Another week, another cover. Let's goooo, hope y’all like this!

Visit me at Taipei Shin Kong Mitsukoshi Xinyi Plaza to enjoy more my live cover songs. Check it out details on my Instagram stories!

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小提琴 Violin: 林子安 Lin Tzu An
鍵盤手keyboard：Neon Lu
攝影師剪接師 Photographer & Film editor: Santon.W

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【Cover by An】每週上傳新的小提琴cover影片，
喜歡的話請訂閱我的頻道 https://bit.ly/2EsTGMQ
也記得開啟🔔訂閱通知，按讚留言分享給你家人朋友看
喔！



🎼 Sheet music 樂譜連結
https://shopee.tw/product/260436562/5533249755?smtt=0.0.9



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如果你喜歡我的影片也歡迎贊助我，讓我有更多資源去提升畫面與音樂。
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還想看子安cover什麼歌？留言跟我說 ！

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#八三夭831
#想見你想見你想見你MissYou3000
#想見你SomedayorOneDay
#想見你violin
#想見你小提琴
#想見你violincover
#AnViolin
#CoverSong
#ViolinCover
#CoverByAn
#林子安
#林子安小提琴

- 作法
1 洋蔥切絲，蒜切末，小里肌切成柳條狀或厚片狀，百香果對開取出果肉。
Shred the onions, mince the garlic, and cut the pork tenderloin into strips.
2 豬柳加入適量鹽巴、米酒（或清水）抓醃，倒入一些太白水抓勻，之後再加入一些橄欖油。
Marinate the pork tenderloin with salt, rice wine, some starch and olive oil.
3 百香果加入一匙醬油、一匙糖、些許水調勻。
Mix the passion fruit, soy sauce, sugar, water.
4 豬柳放進鍋中煎至雙面微微呈現金黃色，撈起備用。
Pan fry the pork tenderloin until it becomes golden brown, and take it out.
5 洋蔥絲放入鍋中炒軟，加入蒜末爆香。
Pan fry onions and garlic.
6 放回剛剛的豬柳拌炒。
Put the pork tenderloin back into the pot.
7 加入調好的醬汁拌炒均勻。
Add in the passion fruit sauce we make beforehand.
8 起鍋，加入適量香油及辣油提味即可。
Add some sesame oil and chili oil to the dish.

Instagram https://www.instagram.com/dulahoop12/

Hi, I am Della, a nine-to-fiver. I'm trying to move on and stretch myself with something different.
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Device iPhone 8 plus
Music Jeick Walker - A Thousand Years ft. Christina Perri