【桃花開在周杰倫】The Peach Blossom named Jay Chou(English writing below)
上星期的Youtube影片中,我談到周杰倫前世如何修到大桃花,以及桃花和個人財富的關係。
2019年9月11日2300H,久未發新歌的周杰倫推出新歌單曲《說好不哭》,兩天內就破一千萬的流量,刷下華語樂壇的新紀錄,而且在超過十個國家,包括美國、澳洲、韓國、德國、新馬港台等,都衝上了Youtube發燒影片第一名。
相比之下,蔡依林去年年尾推出睽違四年的新專輯,打破了傳統歌手唱情歌的套路,其中七首歌都有概念新穎、議論性極高的MV,但影片流量卻不敵這次「周五」的合作。
我不是蔡依林的歌迷,但她這次為專輯的付出真的讓我刮目相看 - 回顧蔡依林出道至今的「黑歷史」MV《怪美》,邀請吳君如一起拍向80、90年代香港電影致敬的MV《腦公》,邀小S拍的MV《紅衣女孩》,以及今年榮獲台灣金曲獎年度歌曲獎的《玫瑰少年》等等。
我個人很喜歡這首《玫瑰少年》。此歌以轟動一時的「葉永鋕事件」為背後故事:葉永鋕,台灣人,國中生,因不同的性別氣質而遭到同學霸凌,不敢在下課時間去上廁所。十五歲那年,葉永鋕在上課時,提前離開教室去上廁所,後來被發現傷重倒臥血泊中,送醫後不治死亡。(取之:维基百科)
而在今年五月,台灣成為第一個將同性婚姻合法化的亞洲國家,讓《玫瑰少年》更具有代表性。
再看看周杰倫這次的新歌《說好不哭》,如果你也覺得「周杰倫是我的青春」,這MV用的許多「情懷梗」,作詞人方文山,神秘來賓五月天阿信,必會讓你驚喜連連。
對我而言,這首歌延續著周氏情歌的曲風,MV拍法沒有突破,並沒有像蔡依林的專輯有那麽強大的創意和正面能量。
可是蔡依林這次別出心裁,影片流量和賺到的錢也不少,卻依然亞於周杰倫。
這一切的現象隱藏著過去世的因果。
據我根本上師聖尊蓮生活佛開示,周杰倫前世修密教的敬愛法,想必他持了天文數字的敬愛咒。他八字寫著,這一世的寫歌本領就是他修來的眾桃花投影。
這桃花非同凡響,改變了華語樂壇對流行歌的審美觀。這次《說好不哭》的MV流量、新歌銷量等,都名列前茅,新歌上線的24小時內,總銷量548.5萬張,售額1645.6萬元人民幣(S$3.2m)。
蔡依林全身都是重桃花相,但就算如此,她和幾個星期前出新歌《對的時間點》的林俊傑,也完全被周杰倫比下去。
一些聰明的Youtuber在《說好不哭》上線24小時內火速推出了自己的翻唱影片,鋼琴彈奏版,歌詞版等。這是很明智的作法,因為不用花錢就能夠沾個邊,借一借周杰倫的桃花來旺自己。如果周杰倫的八字及歌曲旺他們的八字,就會更有效。
網路搜索,加上娛樂新聞頻道的新聞報導,他們的頻道便會迅速增加訂閱和流量。
寫了這麼多,有三點要提醒大家:
1)有幸得到師尊灌頂的敬愛尊咕嚕咕咧佛母和愛染明王法的同門,請勤修此法。
有眾桃花,貴人顯著,做什麼事情真的會比較容易,賺錢也可以比別人快。我個人的修法領悟,如果抱著利益眾生的菩提心來修,效果會更不可思議。
2) 要賺錢,你速度要快。
錢如流水走很快不等人,你要懂得觀察局勢,學學那些Youtubers的掙錢速度及魄力。如果還是不會, 批八字看風水時,可請教你的師父如何迅速為自己增強桃花。
3)往對的方向,用對的方法努力,能改自己和別人的命
無論你八字中有沒有眾生緣,你要有錢,有敬愛的魅力,你都得努力地去結眾生緣,持續地去佈施,慢慢地去積累。因為再多的眾生緣,也會有用完的一天。
以上的歌手都是努力的典範,包括那些Youtubers。因為努力而產生的影響力,能引導他人改自己的運勢,你的功德可加倍。
不要一日一日地這樣荒廢青春,別把時間都給了家人,而吝於給他人。佈施要用心思,要不然,有一天福報見底時,你和你的家人就會出現資糧荒的現況了。
「聰明人將精力用於預防和積累,而蠢蛋則寄望於補救。」
..........................
In my Youtube video last week, I talked about how Jay Chou cultivated his great Peach Blossoms in his past life and the correlation between your personal wealth and your Peach Blossoms.
On 11 September 2019 2300H, Jay Chou released his much-awaited new song "Won't Cry". His MV crossed 10 millions views within 48 hours on Youtube, setting a new record for Chinese music entertainment scene, and was the #1 trending MV in over 10 countries, including USA, Australia, Korea, Germany, Singapore, Malaysia, Hong Kong and Taiwan. His latest single also crashed Chinese music streaming site QQ music in less than a hour after its release.
In comparison, Jolin Tsai launched her new concept album end of last year, after a hiatus of 4 years. The album broke out of the conventional love ballads typical of Mandopop. 7 songs in this album were launched on Youtube with very creative and artsy music videos, which attracted much online discussion.
Yet the views on her MV cannot be compared with Jay Chou's latest MV.
While I am not a fan of Jolin Tsai, I applaud her effort for this album. The Ugly Beauty MV talks about the criticisms that Jolin Tsai had received since her debut. The Hubby MV was a salute to Hong Kong movies in the 80s & 90s, with Sandra Wu guest starring. Xiao S was also invited for her Lady in Red MV. The song Womxnly won the Song of the Year in this year's Golden Melody Awards, while this album won Album of the Year.
My personal favourite is the song Womxnly, which was inspired by the sensational story of Yeh Yung-chih, a secondary school Taiwanese student who had been long bullied for his perceived effeminate behaviour and thus, never dared to go to the school toilet at break times. One day, just five minutes before school ended, he was found dead in the school’s restroom in a pool of blood at the age of 15.
In May this year, Taiwan became the first Asian country to legalise same-sex marriage and Womxnly became even more symbolic.
Let's now take a look at Jay Chou's new single Won't Cry. If you also think that "Jay Chou is my youth", the many punchlines in this MV, the lyricist Vincent Fang and the mystery guest Ashin of Mayday will have you grinning in surprise.
To me, while this song is not bad and a continuation of Jay Chou's love ballad style, it does not carry as much creativity and positive energy as Jolin Tsai's Ugly Beauty album. Jay Chou's MV was also pretty similar to many of his past MVs. There was no breakthrough.
Yet, beneath all that we have seen till now, is the karma from many past lives.
My Root Guru, His Holiness Living Buddha expounded that in Jay Chou's past life, he practiced the Magnetization Sadhana of Varjayana, and had recited an astronomical number of the mantra of Love and Respect. As stated in his Bazi, his songwriting talent this lifetime is a reflection of his cultivated Peach Blossoms of Mass Appeal.
This is an extraordinary Peach Blossom, as it rewrote the judgment standard of Mandopop. The viewership of Jay Chou's Won't Cry MV and sales volume of the single are just as astounding. Within 24 hours of release, his new song sold 5.485 million copies online and raked in S$3.2million.
The entire physical appearance of Jolin Tsai spells of heavy Peach Blossom of mass appeal. However, with Jay Chou in the picture, both she and JJ Lin Junjie who released a new single The Right Time 3 weeks ago paled in comparison.
Some clever Youtubers quickly uploaded their own covers, in less than 24 hours of Jay Chou's new song release. There were cover songs, piano versions, and lyric version. This is a very smart way of leveraging on Jay Chou's Peach Blossom luck for FREE. Works best if the song and Jay Chou’s Bazi are compatible with their Bazi.
Through online searches and online entertainment channels who report about the covers, the Youtubers get to boost their subscriber volumes and viewership at a much faster rate.
These are the 3 points I wish to highlight to everyone after writing so much:
1) To my fellow Dharma brothers and sisters who are fortunate enough to receive our Root Guru's Dharma empowerment of Kurukullā and Rāgarāja, please cultivate this Sadhana diligently.
When you have Peach Blossom of Mass Appeal, your benefactors are prominent and everything that you do in life gets easily done, even earning money is faster for you. My personal experience is that if you practice this Sadhana with the Bodhicitta heart to benefit sentient beings, the effects will be incredible.
2) If you make money, you must be speedy.
Money waits for no man. You have to know how to observe the situations and learn the money-making speed and drive of those Youtubers. If you do not know how, seek the advise of your Chinese Metaphysics practitioner, when getting your Bazi analysed or Feng Shui audit done.
3)Move in the right direction with the right method, and you can change your life and others' too.
Regardless your Bazi has mass appeal affinity or not, to have money, to have charisma of Love and Respect, you must be diligent in forming mass positive affinities. Learn to give and accumulate your way through. For no matter how many mass affinities you have, they get expedited over time.
The celebrities and Youtubers I mentioned above are examples of diligence.
When your hard work brings you the ability to influence, you will be able to guide others to improve their luck, be it you are conscious of it or not. And that doubles up your merits.
Don't squander your youth by living aimlessly. Don't blindly give all your time to your family and be miserly in giving your time to others.
Constant giving requires thought, otherwise when your good fortune hits rock bottom, you and your family will face a dire drought of life resources.
"The smart one spends his effort in prevention and accumulation, while the fool puts his hope in salvaging. "
同時也有10000部Youtube影片,追蹤數超過2,910的網紅コバにゃんチャンネル,也在其Youtube影片中提到,...
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【NOTICE】
庫存驟減中,大家都拿到了嗎?
本期點播的歌,大家會唱了嗎?...
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攝影之聲 Voices of Photography
Issue 13 : 抗議、行動與影像
Protests, Activism and Images
本期由郭力昕、張世倫、李威儀、廖偉棠、冨山由紀子、東方輝、港千尋、顧錚與伊妮絲築起筆陣,進入台灣、香港、中國與日本的反叛運動場景。我們試圖重回台灣黨外運動興起的70年代、街頭狂飆的80年代,直至2014年太陽花學運的佔領現場,在抗爭照片、影片與攝影書堆中,追尋抗議攝影與影像政治的軌跡;同時爬梳香港與日本社會運動與抗議攝影的發展歷程,並針對60年代在日本引發的大規模抗爭事件——「三里塚鬥爭」進行了抗議攝影書考;另外也從達達主義攝影蒙太奇,看影像藝術的政治反抗。這期也特別邀請三位戒嚴世代的資深攝影工作者——宋隆泉、蔡明德、許村旭——進行影像對談,重現他們在《自由時代》、《人間雜誌》等新聞媒體工作時期在街頭運動前線攝影的衝撞實況。而內頁夾帶的《SHOUT》,則收錄香港攝影師林亦非在台灣三月學潮裡對懸浮青春的影像素描。
在Artist's Showcase單元,本期由張照堂書寫影像創作者葉清芳的狗眼人生,打開阿芳黃湯揮灑而自由放逐的私密暗箱;而Q單元則專訪著名的日本攝影書設計師町口覺、攝影家瀨戶正人與新加坡國際攝影節創辦人李錦麗,分別就攝影的編輯、創作和展覽進行對話;「台灣攝影史」連載則探查1870年代就在自拍的恆春首任知縣周有基的生平,以及台灣古早相館的命名典故;還有藝評家黃翰荻從鄧南光的鏡頭側寫,一探上世紀女性從20到60年代的歲月風華。
寫到這裡,不免發現編輯台又一次呈現被資料大規模轟炸的狀況。在工作期間的日與夜裡,我們與滿坑滿谷的影像文獻交談,與堆積如山的稿件版面作戰;透過照片穿越各個抗爭現場,看到那些曾在街頭激起的火花,又被重蹈覆轍的歷史泥浪淹沒覆蓋,令我們在理應充滿鬥志的編輯路途上,偶爾心情暗淡。
為了提振精神,這次破例在此點播一首收錄於楊祖珺1985年《大地是我的母親》專輯、由蔡式淵作詞、楊祖珺作曲的〈超級倒楣小市民〉給大家,這首歌30年依然不退流行,適合各世代闔家聆聽。保重。
「餿水牌沙拉油 毒玉米米酒
飼料牌奶粉 國民黨也要吃
袋鼠牌牛肉乾 黃樟素沙士
沒信用合作社 倒楣的小市民
我們還要衷心感謝他們
賜給我們核能電廠
有一天不必再煩惱
我們都上了天堂」
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更多資訊MORE:www.vopmagazine.com/vop013/
購買本期BUY:www.vopmagazine.com/vop013shop/
訂閱SUBSCRIBE:www.vopmagazine.com/subscribe/
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Collaboratively penned by Kuo Li-Hsin, Chang Shih-Lun, Lee Wei-I, Liao Wei-Tang, Tomiyama Yukiko, Akira Higashikata, Chihiro Minato, Gu Zheng and Agnès, this issue brings us into the scenes of movements in Taiwan, Hong Kong, China and Japan. We trace the trails of protest photography and image politics through revisiting the rise of Taiwanese social movements in the 70s, its flourishing in the 80s… all the way to the Sunflower Movement in 2014. At the same time, we look at the development of social movements and protest photography in Hong Kong and Japan, investigating the development of protest photobooks with a focus on the Sanrizuka Conflict, which sparked off large scale protests in Japan in the 60s. Also, we explore the political revolt of image arts from the point of view of Dadaism photomontage. We invited three experienced photographers from the martial laws era —Song Lung-Chuan, Tsai Ming-De and Hsu Tsun-Hsu— to a discussion on their photographs as frontline photojournalists covering street movements. As for the SHOUT insert in this issue, photographer Lam Yik-Fei from Hong Kong presents youth and uncertainty with snapshots taken during the Sunflower Movement in Taiwan this past March.
In the Artist’s Showcase, Chang Chao-Tang introduces to us the life and works of the late photographer Yeh Ching Fang, allowing us a peek into his personal black box; Q features the well-known Japanese photobook designer Machiguchi Satoshi, photographer Seto Masato and the curator of Singapore International Photography Festival Gwen Lee, who shares with us the design, layout, creation and exhibition of photographs respectively. In the Taiwanese Photography History series, we investigate the naming allusions of early Taiwanese photo studios and the life of the first governer of Heng Chun, Prefect Zhou Youji, who already took selfies way back in 1870s; art critic Huang Han-Di also explores the beauty and elegance of women in 1920s -1960s through the images of Deng Nan-Guang.
We realized, at this point, that once again the editorial desk has been again overloaded with a huge amount of reference materials. Night and day, we bury ourselves in the sea of images and documents, examining photographs of battles and the displays of passionate beliefs on the streets, which were drowned time and again by the tides of time and history. Such realization occasionally dampened our fighting spirit, which is --supposedly-- strong and relentless.
In order to boost our spirit, we have made an exception in dedicating a song here: The Ill-fated Citizens from the album The Earth is My Mother (1985) by TC Yang, written by TC Yang and Cai Shirun. After three decades, this song is still relevant and suitable for all ages.
"Cooking oil made from leftover food,
rice wine made from toxic corn
Powdered milk made from animal feed,
which the KMT themselves all need to eat too
Beef jerky made from kangaroo meat, root beer with safrole
Co-ops with no credit
Ill-fated citizens
We should also sincerely thank them
For giving us nuclear power plants
For one day we won’t need to worry anymore
As we’ll all go to heaven together"
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攝影之聲 Voices of Photography
Issue 13 : 抗議、行動與影像
Protests, Activism and Images
www.vopmagazine.com
all my life song 80s 在 VOP Facebook 的最佳解答
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攝影之聲 Voices of Photography
Issue 13 : 抗議、行動與影像
Protests, Activism and Images
本期由郭力昕、張世倫、李威儀、廖偉棠、冨山由紀子、東方輝、港千尋、顧錚與伊妮絲築起筆陣,進入台灣、香港、中國與日本的反叛運動場景。我們試圖重回台灣黨外運動興起的70年代、街頭狂飆的80年代,直至2014年太陽花學運的佔領現場,在抗爭照片、影片與攝影書堆中,追尋抗議攝影與影像政治的軌跡;同時爬梳香港與日本社會運動與抗議攝影的發展歷程,並針對60年代在日本引發的大規模抗爭事件——「三里塚鬥爭」進行了抗議攝影書考;另外也從達達主義攝影蒙太奇,看影像藝術的政治反抗。這期也特別邀請三位戒嚴世代的資深攝影工作者——宋隆泉、蔡明德、許村旭——進行影像對談,重現他們在《自由時代》、《人間雜誌》等新聞媒體工作時期在街頭運動前線攝影的衝撞實況。而內頁夾帶的《SHOUT》,則收錄香港攝影師林亦非在台灣三月學潮裡對懸浮青春的影像素描。
在Artist's Showcase單元,本期由張照堂書寫影像創作者葉清芳的狗眼人生,打開阿芳黃湯揮灑而自由放逐的私密暗箱;而Q單元則專訪著名的日本攝影書設計師町口覺、攝影家瀨戶正人與新加坡國際攝影節創辦人李錦麗,分別就攝影的編輯、創作和展覽進行對話;「台灣攝影史」連載則探查1870年代就在自拍的恆春首任知縣周有基的生平,以及台灣古早相館的命名典故;還有藝評家黃翰荻從鄧南光的鏡頭側寫,一探上世紀女性從20到60年代的歲月風華。
寫到這裡,不免發現編輯台又一次呈現被資料大規模轟炸的狀況。在工作期間的日與夜裡,我們與滿坑滿谷的影像文獻交談,與堆積如山的稿件版面作戰;透過照片穿越各個抗爭現場,看到那些曾在街頭激起的火花,又被重蹈覆轍的歷史泥浪淹沒覆蓋,令我們在理應充滿鬥志的編輯路途上,偶爾心情暗淡。
為了提振精神,這次破例在此點播一首收錄於楊祖珺1985年《大地是我的母親》專輯、由蔡式淵作詞、楊祖珺作曲的〈超級倒楣小市民〉給大家,這首歌30年依然不退流行,適合各世代闔家聆聽。保重。
「餿水牌沙拉油 毒玉米米酒
飼料牌奶粉 國民黨也要吃
袋鼠牌牛肉乾 黃樟素沙士
沒信用合作社 倒楣的小市民
我們還要衷心感謝他們
賜給我們核能電廠
有一天不必再煩惱
我們都上了天堂」
------------
更多資訊MORE:www.vopmagazine.com/vop013/
購買本期BUY:www.vopmagazine.com/vop013shop/
訂閱SUBSCRIBE:www.vopmagazine.com/subscribe/
------------
Collaboratively penned by Kuo Li-Hsin, Chang Shih-Lun, Lee Wei-I, Liao Wei-Tang, Tomiyama Yukiko, Akira Higashikata, Chihiro Minato, Gu Zheng and Agnès, this issue brings us into the scenes of movements in Taiwan, Hong Kong, China and Japan. We trace the trails of protest photography and image politics through revisiting the rise of Taiwanese social movements in the 70s, its flourishing in the 80s… all the way to the Sunflower Movement in 2014. At the same time, we look at the development of social movements and protest photography in Hong Kong and Japan, investigating the development of protest photobooks with a focus on the Sanrizuka Conflict, which sparked off large scale protests in Japan in the 60s. Also, we explore the political revolt of image arts from the point of view of Dadaism photomontage. We invited three experienced photographers from the martial laws era —Song Lung-Chuan, Tsai Ming-De and Hsu Tsun-Hsu— to a discussion on their photographs as frontline photojournalists covering street movements. As for the SHOUT insert in this issue, photographer Lam Yik-Fei from Hong Kong presents youth and uncertainty with snapshots taken during the Sunflower Movement in Taiwan this past March.
In the Artist’s Showcase, Chang Chao-Tang introduces to us the life and works of the late photographer Yeh Ching Fang, allowing us a peek into his personal black box; Q features the well-known Japanese photobook designer Machiguchi Satoshi, photographer Seto Masato and the curator of Singapore International Photography Festival Gwen Lee, who shares with us the design, layout, creation and exhibition of photographs respectively. In the Taiwanese Photography History series, we investigate the naming allusions of early Taiwanese photo studios and the life of the first governer of Heng Chun, Prefect Zhou Youji, who already took selfies way back in 1870s; art critic Huang Han-Di also explores the beauty and elegance of women in 1920s -1960s through the images of Deng Nan-Guang.
We realized, at this point, that Once again the editorial desk has been again overloaded with a huge amount of reference materials. Night and day, we bury ourselves in the sea of images and documents, examining photographs of battles and the displays of passionate beliefs on the streets, which were drowned time and again by the tides of time and history. Such realization occasionally dampened our fighting spirit, which is --supposedly-- strong and relentless.
In order to boost our spirit, we have made an exception in dedicating a song here: The Ill-fated Citizens from the album The Earth is My Mother (1985) by TC Yang, written by TC Yang and Cai Shirun. After three decades, this song is still relevant and suitable for all ages.
"Cooking oil made from leftover food,
rice wine made from toxic corn
Powdered milk made from animal feed,
which the KMT themselves all need to eat too
Beef jerky made from kangaroo meat, root beer with safrole
Co-ops with no credit
Ill-fated citizens
We should also sincerely thank them
For giving us nuclear power plants
For one day we won’t need to worry anymore
As we’ll all go to heaven together"
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攝影之聲 Voices of Photography
Issue 13 : 抗議、行動與影像
Protests, Activism and Images
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