關於 oh well oh well 1989 ，我們在網路上蒐集到這些相關的討論、資訊與評價

[191061] 2461. Tiny Desk Concert: PUP (2021)★★★
[191062] 2462. Run the Jewels, Mexican Institute of Sound & Santa Fe Klan - Ooh La La (Remix)★★★__Olly Frostie, Mason O'Brien
[191063] 2463. Buck Meek: Two Saviors (2021)★★
[191064] 2464. Pharmakon - Somatic (2017)★★★
[191065] 2465. Pharmakon - Transmission (2017)★★★🆁
[191066] 2466. Girlpool: Before the World Was Big (2015)★★★🆁
[191067] 2467. Girlpool - Emily (2015)★★★🆁
[191068] 2468. 電影最Top：劇集井噴年！盤點2020讓人最印像深刻的十大好劇 (2021)★✚
[191069] 2469. Zayn - Vibez (2021)★__Ben Mor
[191070] 2470. Radiohead - Weird Fishes (2007)★★★🆁__Tobias Stretch∿

[191071] 2471. Alan Hawkshaw - Next Stop, L.A. (1973)★★★
[191072] 2472. Ian Thomas - Painted Ladies (1973)★★★
[191073] 2473. Sky Larkin - Antibodies (2009)★★★
[191074] 2474. Pere Ubu - Oh Catherine (1991)★★★
[191075] 2475. Pere Ubu ‎- Waiting For Mary (What Are We Doing Here?) (1989)★★★
[191076] 2476. Dan Goul - Hollow Meadow (2021)★★
[191077] 2477. India.Arie - Crazy / Sacred Space (2019)★★
[191078] 2478. First Aid Kit: Stay Gold (2014)★★🆁
[191079] 2479. AIDS Wolf: March to the Sea (2010)★★
[191080] 2480. AIDS Wolf: Cities of Glass (2008)★★∿

[191081] 2481. Ariel Pink - Dedicated To Bobby Jameson (2017)★★★🆁
[191082] 2482. Ariel Pink - Time To Live (2017)★★★🆁
[191083] 2483. Ariel Pink - I Wanna Be Young (2017)★★★🆁__Salvador Cresta
[191084] 2484. Ariel Pink - Kitchen Witch (2017)★★★🆁
[191085] 2485. Ariel Pink - Time To Meet Your God (2017)★★★🆁
[191086] 2486. 老孫聊遊戲：用修改器會遭官方調侃！它堪稱當年最硬核武俠遊戲 (2021)★★
[191087] 2487. 大聰看電影：郭敬明史詩大片《冷血狂宴》也太好看了吧！完整版深度解析！ (2021)★★
[191088] 2488. 好機車：八歲饒舌的天才血幫成員，川普居然對他做了這件事！【Lil Wayne - Something Different 】 (2021)★★
[191089] 2489. Cult of Youth - Man and Man's Ruin (2012)★★★__Kristian Emdal, Loke Rahbek, Elias Bender-Rønnenfelt
[191090] 2490. Cloud Nothings - Hey Cool Kid (2010)★★★

[191091] 2491. Body Meat - ULTIMA (2021)★★★__Daniel Brennan
[191092] 2492. Body Meat - The Well (2020)★★★
[191093] 2493. Body Meat - Nairobi Flex (2019)★★★__Daniel Brennan
[191094] 2494. Heathered Pearls & Terrence Dixon - Salvaged Copper (2020)★★★
[191095] 2495. Islet - Geese (2020)★★★__Edwin Burdis
[191096] 2496. Jenny Hval - Accident (2019)★★★__Zia Anger
[191097] 2497. Föllakzoid - Rio (2014)★★★
[191098] 2498. Lovvers - OCD Go Go Girls (2009)★★★
[191099] 2499. Feels - Awful Need (2019)★★★__Shane McKenzie, Feels
[191100] 2500. Feels - Car (2018)★★★__Gina Clyne

[191101] 2501. PR SAD - Plugged In (2021)★★
[191102] 2502. 5HTTP - Jel (2021)★★
[191103] 2503. 72Tmac - Survival (2021)★★
[191104] 2504. A1 - Way Up (2021)★★
[191105] 2505. 8corpses & Bhasper - Stoned (2020)★★
[191106] 2506. Girlpool - Pretty (2015)★★★🆁__Allyssa Yohana, Harmony Tividad, Cleo Tucker
[191107] 2507. Girlpool - Ideal World (2015)★★★🆁
[191108] 2508. Girlpool - Cherry Picking (2015)★★★🆁
[191109] 2509. Girlpool - Plants and Worms (2014)★★★__Catleya Sherbow
[191110] 2510. Girlpool - Blah Blah Blah (2014)★★★

[191111] 2511. Pill - Hot Glue (2015)★★★
[191112] 2512. Pill - Medicine (2016)★★★
[191113] 2513. Adult Mom - Sober (2021)★★__Maddie Brewer
[191114] 2514. APROBLEMM - Wheel It (2021)★★
[191115] 2515. Architects - Dead Butterflies (2021)★★__Tom Welsh, Taylor Fawcett
[191116] 2516. Atarashii Gakko! - NAINAINAI (2021)★★
[191117] 2517. Waxahatchee - Misery Over Dispute (2013)★★★🆁__Joshua Mikel
[191118] 2518. Waxahatchee - Coast To Coast (2013)★★★🆁__Ryan Russell
[191119] 2519. Wild Flag - Electric Band (2011)★★★__Andrew Ellmaker, Lara Gallagher
[191120] 2520. Simian Mobile Disco - Sweetbread (2010)★★★

[191121] 2521. No Joy - Everything New (2015)★★★
[191122] 2522. No Joy - Hollywood Teeth (2015)★★★
[191123] 2523. No Joy - Hare Tarot Lies (2013)★★★
[191124] 2524. No Joy - Blue Neck Riviera (2013)★★★__Jason Harvey
[191125] 2525. No Joy - Hawaii (2011)★★★
[191126] 2526. Yoty Benjii & Capolow - I'm a Boss (2021)★★
[191127] 2527. Bad Religion - Emancipation of the Mind (2021)★★
[191128] 2528. Baby Jungle - 4 Real (2021)★★
[191129] 2529. Big T - Trust (2021)★★
[191130] 2530. Lil Eazzyy - Big Dog (2020)★★

【水世界】的前製設定與現場劇照

WATERWORLD (1995)
In celebration of today’s anniversary of this wet mess/epic. Let’s celebrate the hard work this crew put into bringing this world to life. Water movies are never easy but when it comes to this movie anytime you bring it up and a crew member from it is in earshot, the stories pour out. Not always bad, I know a AC that said he had a blast, he loved the boat rides out and all the camaraderie the crew had to have to get thru it. To all the crew that helped bring WATERWORLD to life, We salute you and thanks for the memories. I personally enjoy this hot mess of a movie, it’s one of the last ones of its kind...done practically...in a way.
let’s take a deepest of dives into WATERWORLD

The director, Kevin Reynolds, knew there would be problems before production had even started, “During pre-production. Because having never shot on water to that extent before, I didn’t really realise what I was in for. I talked to Spielberg about it because he’d gone to do Jaws, and I remember, he said to me, “Oh, I would never shoot another picture on water”.
“When we were doing the budget for the picture, and the head of the studio, Sid Sheinberg, we were talking about it and I said, “Steven told me that on Jaws the schedule for the picture was 55 days, and they ended up shooting a 155 days”. Because of the water. And he sat there for a moment and he said, “You know, I’m not sure about the days, but I do know they went a hundred percent over budget”. And so, Universal knew the potential problems of shooting on water. It’s monstrous.”
The film began with a projected budget of $100 million which had reportedly increased to $175 million by the end of production. The principle photography had overrun for at least thirty days more than originally planned due to one major decision.

Whereas today they would film in water tanks with partially built sets, employing green screens to fake the locations, back in 1995 they decided to build everything full size and shoot out on the ocean.

This causes extra logistical problems on top of those that already come with making a major action blockbuster. Cast and crew have to be transported to sets. The camera boats and sets float out of position and will have to be reset between takes taking up valuable production time.

The first draft of Waterworld was written by Peter Radar, a Harvard graduate who wanted to break into the film business. His contact in the film industry was Brad Kevoy, an assistant to the legendary director Roger Corman.

Roger Corman is best known for making films very quickly on a small budget. He also liked to give young talent a chance to direct and write their own films. Brad informed Peter that if he could write a Mad Max rip off, he would arrange to finance and let him direct the picture.

Radar came back and pitched the idea for what would become Waterworld. Kevoy took one look at him and said,

“Are you out of your mind? This would cost us three million dollars to make this movie!”
So Radar kept hold of the idea and decided to re-write the script but, this time, going wild. He wrote what he wanted to see on-screen, limited only by his imagination, not a real world production budget.

He managed to get the newly written script shown to a pair of producers with whom he had made contact with. They loved it and ironically they passed it onto Larry Gordon. He shared the enthusiasm saying it had the kind of cinematic possibilities he was looking for. A deal was signed on Christmas Eve of 1989.

As further script rewrites progressed, it became clear that Waterworld was too big for the Larry Gordon’s production company to undertake by themselves. In February 1992, a deal was signed with Universal Pictures to co-produce and co-finance the film. This was now six years after the first draft had been written.

Universal had signed director Kevin Reynolds to Waterworld. Whilst he was finishing his latest film, Rapa Nui, pre-production for Waterworld was already underway.

The decision was taken that the largest set for the film, known as the atoll, would be built full size. The atoll was the primary location for film and in the story served as the location for a small population of survivors.

The logic behind this decision was due to the high percentage of live action filming required in this location, as well as a huge action set piece. No sound stage would be big enough to incorporate this number of scenes and it was crucial that we see the mariner sail his boat into the atoll, turn around and set out again. A full-size construction was the only way to go as the use of miniature and special effects would be impractical.

The next problem was deciding where to build this huge set. After much research, Kawaihae Harbour in Hawaii was chosen as the location. The atoll could be constructed in the harbour and rotated when needed thus allowing for open sea in the background. Later towards the end of principle photography, the atoll could be towed out into the open sea for the filming of the big action sequences which would be impractical to shoot in an enclosed harbour.

Director Kevin Reynolds also discussed the possibility of using the same water tank as James Cameron’s The Abyss, which had filmed there around five years ago,

“We had even entertained the notion of shooting at that big nuclear reactor facility where they had shot The Abyss, to use it for our underwater tank. But we found it in such a state of disrepair that economically it just wasn’t feasible. We didn’t have as much underwater work as they did. Most of The Abyss is interiors and underwater and model work, ours is mostly surface exterior.”

The production company had originally envisioned building the atoll by linking approximately one hundred boats together and building upon this foundation, just like the characters in the film. The production crew set out to search Hawaii and get hold of as many boats as possible.

During this search, a unique boat in Honolulu caught their attention. Upon further investigation, they discovered it was built by Navitech, a subsidiary of the famous aircraft production company, Lockheed.

They approached Lockheed with the strange request of figuring out how they could build the foundations of the atoll. Lockheed found the request unusual but didn’t shy away from the challenging. They agreed to design the atoll foundation and Navitech would construct it.

Meanwhile, an 11ft miniature model of the atoll was sent out to a model ship testing facility in San Diego. Scaled wave tanks are used to determine the effects of the open sea on large scale miniature models of new untested ship designs. This would help determine what would happen with the unusual design of the atoll when it was out of the harbour.

The atoll, when finished, was approximately ¼ mile in circumference. It took three months to construct and is rumoured to cost around $22 million. As the atoll would be used out on the open sea, it required a seafaring license. Nothing like this had been done before and after much deliberation, it was eventually classed as an unmanned vessel. This meant that all cast and crew would have to vacate the set whilst it was towed into position. By the end of production, the atoll was towed out to sea a total of five times.

Shooting out on the open sea presented a series of logistical problem as Reynolds describes,

“We had an entire navy, basically – I mean, this atoll was positioned about a mile off-shore in Hawaii, it was anchored to the bottom of the ocean so it could rotate. What you don’t think about are things like, you’re shooting on this atoll to maintain this notion that there’s no dry land, you always have to shoot out to sea. Away from the land. So we chose a location where we had about a 180 degree view of open water. Nevertheless, any time when you’re shooting, there could be a ship appear in the background, or something like that, and you had to make a choice. Do I hold up the shot, wait for the ship to move out, or do we shoot and say we’re going to incur this additional cost in post-production of trying to remove the ship from the background.

And at that time, CGI was not at the point it is now, it was a bigger deal. And so, even though if you’re shooting across the atoll and you’re shooting out onto open water, when you turn around and do the reverses, for the action, you had to rotate the entire atoll, so that you’re still shooting out to open water. Those are the kinds of things that people don’t realise.

Or something as simple as – if you’re shooting a scene between two boats, and you’re trying to shoot The Mariner on his craft, another boat or whatever, you’ve got a camera boat shooting his boat, and then the other boat in the background. Well, when you’re on open water things tend to drift apart. So you have to send lines down from each of those boats to the bottom, to anchor them so that they somewhat stay in frame. When you’ve got a simple shot on land, you set up the camera position, you put people in front of the camera and then you put background in there. But when you’re on water, everything’s constantly moving apart, drifting apart, so you have to try to hold things down somewhat.

And these are simple things that you don’t really realise when you’re looking at it on film. But logistically, it’s crazy. And each day you shoot on the atoll with all those extras, we had to transport those people from dry land out to the location and so you’re getting hundreds of people through wardrobe and everything, and you’re putting them on boats, transporting them out to the atoll, and trying to get everybody in position to do a shot. And then when you break for lunch, you have to put everybody on boats and take them back in to feed them.”

The final size of the atoll was determined by the size of the Mariners boat, the trimaran. The dimensions for the trimaran were finalised very early on in pre-production, allowing all other vehicles and sets to be sized accordingly.

Production required two trimarans boats which are so called because they have three hulls. The first was based on the standard trimaran blueprint and built for speed but also had to accommodate a secret crew below decks.

During wide and aerial shots it would have to look like Costner himself was piloting the boat. In reality, a trained crew could monitor and perform the real sailing of the boat utilising specially built controls and television monitors below deck.

The second trimaran was the trawler boat which could transform into the racer through the use of special practical effects rigs. Both of these boats were constructed in France by Jeanneau. Normally this type of vessel requires a year to construct but production needed two boats in five months!

Normally once the boat had been constructed, Jeammeau would deliver it on the deck of a freighter, requiring a delivery time of around a month. This delay was unacceptable and so the trimarans were dismantled into sections and taken by a 747 air freighter to the dock Hawaii. Upon arrival, a further month was required to reassemble the boat and get them prepared for filming.

sets recreating the inside of the tanker were built using forced perspective in a huge 1000ft long warehouse which had an adjoining 2000ft field. In this field, they built the set of the oil tankers deck, again constructed using forced perspective. Using the forced perspective trick, the 500ft long set could be constructed to give the impression that it was really twice as long.

There’s more to a film than just it’s sets and filming locations. Over two thousand costumes had to be created with many of the lead actors costumes being replicated many times over due to wear and tear.

This is not an uncommon practice for film production, but due to the unique look of the people and the world they inhabit, it did create some headaches. One costume was created with so many fish scales the wardrobe department had to search the entire island of Hawaii looking for anyone who could supply in the huge quantity required.

Makeup had to use waterproof cosmetics, especially on the stunt players. As everyone had a sun burnt look, a three-sided tanning booth was setup. The extras numbering in their hundreds, with ages ranging from six to sixty-five, passed through the booth like a production line to receive their spray tan. The extras then moved onto costume before finally having their hair fixed and becoming ready for the day.

In some scenes, extras were actually painted plywood cutouts to help enhance the number of extras on the set. This can easily be seen in one particular shot on board the Deez super tanker.

Filming on the water is not only a difficult and time-consuming process but also very dangerous. It’s been reported that Jeanne Tripplehorn and Tina Majorino nearly drowned on their first day of filming.

Waterworld’s star Kevin Costner reported having a near-death experience when filming a scene in which the mariner ties himself to his catamaran to survive a storm. The pounding water caused him to black out and nearly drown.

Unbeknownst to most of the crew, Kevin Costner’s stunt double was riding his jet ski across 40 miles of open ocean between his home on Maui and the film’s set on the Big Island. When he didn’t show up for work one day, the production team phoned his wife, who informed them he had already left for work. The stunt double’s jet ski had run out of gas halfway through his “commute” and a storm had swept him farther out to sea. It took a helicopter most of the day to find him. The stunt doubles name was Laird Hamilton.

As well as the logistical problems of creating a film of this scale and on water, they also had to deal with the press who seemed intent on wanting the film to fail. Director Kevin Reynolds discusses the situation,

“It was huge, we were constantly fighting – people wanted to have bad press. That was more exciting to them than the good news. I guess the most egregious example of that that I recall was that the publicist told me that one day…we’d been out the day before and we were doing a shot where we sent two cameras up on a mast of the trimaran and we wanted to do a shot where they tilled down from the horizon down to the deck below. We’re out there, we’re anchored, we’re setting the shot up and a swell comes in, and I look over and the mast is sort of bending.

And I turned to the boatmaster and I said, “Bruno, is this safe?”. And he looks up the mast and he goes, “No”. So I said, “Okay, well, we have to get out as I can’t have two guys fall off from 40 feet up”. So, we had to break out of the set-up, and go back in a shoot something else and we lost another half-day.

Anyway, the next day the publicist is sitting in his office and he gets this call from some journalist in the States and he goes, “Okay. Don’t lie to me – I’ve had this confirmed from two different people. I want the facts, and I want to hear about the accident yesterday, we had two cameramen fall off the mast and were killed”.

And, he goes, “What are you talking about?”. And he goes, “Don’t lie to me, don’t cover this up, we know this has happened”. It didn’t happen! People were so hungry for bad news because it was much more exciting than…they just said it, and you know, it hurt us.”
Upon release, the press seemed to be disappointed that the film wasn’t the massive failure they were hoping it to be. Universal Studios told Kevin Reynolds that one critic came out of an early screening in New York and in a disappointed tone said,

“Well, it didn’t suck.”

It is true that during principle photography the slave colony set sank and had to be retrieved. However due to bad press, the rumour became much bigger and to this day when you mention the sinking set, most people assume it was the huge atoll.

During production, press nicknamed the film “Kevin’s Gate” and “Fishtar”, referring to 1980’s box office failures Heaven’s Gate and Ishtar. Heaven’s Gate failed so badly it led to the sale of United Artists Studio and has become synonymous with failure in Hollywood.

As well as the exaggerated set problems and other various production rumours, there were also difficulties with the script. In a risky move, the film was green lit and moved into production without a finalised script.

The final total is a reportedly thirty-six rewrites. One of the writers involved was Joss Whedon. Joss had worked on many scripts before becoming a director having being at the helm of both The Avengers and the sequel Avengers: Age Of Ultron. He described his experience on Waterworld as,

“Seven weeks of hell”
Everything came to a head just three weeks before the end of principle photography. Kevin Reynolds who was an old friend of Kevin Costner allegedly walked off set or was fired. There was no official statement on what happened.

When Reynolds left the production this event caused many changes to be made. Composer Mark Isham had already composed approximately two-thirds of the film’s score by the time Reynolds left and that event ultimately caused him to leave production. As Mark describes in this interview excerpt,

“Kevin Reynolds quit the film, which left me working for Kevin Costner, who listened to what I had written and wanted a completely different point of view. He basically made a completely different film — he re-cut the entire film, and in his meeting with me he expressed that he wanted a completely different approach to the score. And I said, “oh let me demonstrate that I can give that to you”, so I presented him with a demo of my approach to his approach, and he rejected that and fired me. What I find a lot in these big films, because the production schedules are so insane, that the directors have very little time to actually concentrate on the music.”
Rumours report that Costner took control of production. He directed the last few weeks of principle photography and edited the final cut of the film that was released in cinemas.

Reynolds discusses his surprise at discovering that one of the most famous scenes from what is known as the extended version, was left on the cutting room floor,

“…it would have differed from what you saw on the screen to some extent, and one of the things I’ve always been perplexed by in the version that was released, theatrically, although subsequently the longer version included it, and the reason that I did the film, was that at the very end of the picture, at the very end of the script, there’s a scene when they finally reach dry land and The Mariner’s sailing off and he leaves the two women behind, and in the script they’re standing up on this high point and they’re watching him sail away, and the little girl stumbles on something.
And they look down and clear the grass away and that’s this plaque. And it says, “Here, near this spot, 1953, Tenzing Norgay and Edmund Hillary first set foot on the summit of Everest”. And that was in script and I was like, “Oh, of course! Wow, the highest point on the planet! That would have been dry land!”. And we got it! We shot that. And they left it out of the picture. And I’m like, “Whaaat?!”. It’s like the Statue of Liberty moment in Planet of the Apes. And I was like, “Why would you leave that out?”

Written by John Abbitt | Follow John on twitter @UKFilmNerd

If any the crew cares to share any of their experiences on it please comment.
Thanks for reading
If you want more deep dives visit
https://www.facebook.com/groups/crewstories/?ref=share

「我原先打算在中國進行少數民族的研究，但就在我準備博士論文研究計畫時，發生了六四事件，讓我不得不改題目，當時有人就建議我研究台灣的民主化過程，所以我就順勢改了題目，並在1991年這一整年中留在台灣研究地方選舉，自此之後我就經常來台進行長期和短期的訪問。1991年能待在台灣真是太好了，但其實每次我來到台灣，我都覺得：『天哪！我真是太幸運了！能在這個時候來到台灣！』因為台灣的發展非常迅速，方興未艾…對於一個政治學家來說，沒有比台灣更好的環境了，因為參與政治的人不僅樂於講述自己的故事，也了解你需要的東西，且願意提供給你。就整體學術社群來說，台灣學者學識淵博、造詣極高，我對他們深感欽佩。」— 任雪麗教授。

傅爾布萊特資深學者任雪麗博士為北卡羅來納州戴維森學院東亞政治系榮譽教授，擁有哈佛大學政府學博士學位，及普林斯頓大學公共與國際事務學士學位。任雪麗博士曾於2005年在政治大學進行訪問研究，並於2006年到上海復旦大學擔任客座教授。她著有兩本關於台灣國內政治的專書：《Politics in Taiwan: Voting for Democracy》及《From Opposition to Power: Taiwan’s Democratic Progressive Party》，以及多篇關於台灣國內政治及兩岸議題的文章。#WhyIChoseTaiwan #愛台灣我的選擇 #RealFriendsRealProgress #美台關係 #真朋友真進展

“I expected to do my graduate work on minorities within the PRC but when June 4, 1989 happened just as I was preparing a dissertation prospectus, I had to make a change and I got this great suggestion to study Taiwan’s democratization. So I switched up my topic and I spend the whole year of 1991 here studying local elections and then I’ve been coming back regularly for longer and shorter stays ever since then. ‘91 was a great year to be here but, as a matter of fact, every time I’ve ever been here, I thought ‘oh my gosh, I’m so lucky to have been here now ’ because Taiwan just moves at this breakneck pace and things just keep happening....there’s just no better environment for a political scientist then one in which the people who participate in politics not only want to tell their story but also understand what it is that you need and are willing to give it to you. And then the larger academic community, the Taiwanese scholars, all work at an extremely high level. I have enormous admiration for what they can do.“ Dr. Shelley Rigger, Fulbright Fellow

Dr. Shelley Rigger is a Professor of East Asian Politics at Davidson College. She has a PhD in Government from Harvard University and a BA in Public and International Affairs from Princeton University. She has been a visiting researcher at National Chengchi University in Taiwan (2005) and a visiting professor at Fudan University in Shanghai (2006). Rigger is the author of two books on Taiwan’s domestic politics: Politics in Taiwan: Voting for Democracy and From Opposition to Power: Taiwan’s Democratic Progressive Party, as well as multiple articles on Taiwan’s domestic politics and cross-Strait issues.

THIS IS MY VOICE. I recorded the track first and the video after, so there might be some synch issues, but this is MY cover. My voice. Some people are confused. :)

http://www.facebook.com/ciaela
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ザ•リトル•マーメイドって言うディズニー映画の名曲です！ 日本語では、二つのバージョンがあるらしいですが、これは１９８９年の訳です。　カナダで育てた私にとって、初めて映画館で見た映画でした。怖すぎて、映画館で泣いた記憶がありますけどw

日本語で歌う自信はないです。それに、日本語で歌っている姿を日本人に見せるのが恥ずかしいです。こうしてネットで出すのに凄く難しかったんだけど、やっぱりコンプレクスを乗り越えるために、勇気だしてアップしてみました。

よろしくお願いします！

The Little Mermaid was one of the first movies I saw in Theatres. I remember crying because it was so scary. I guess I've grown up my whole life knowing this song, and it's always been my favorite song to sing.

A couple of weeks ago, I stumbled across the Japanese version of the song on Youtube and decided to challenge myself by doing two things I've never been comfortable with: not autotuning my voice, and singing in Japanese.

I'm not sure if this is a video that will be able to stay up, or if I will have to take it down eventually for copyright issues, but in the meantime, I'm glad I took the time to move out of my comfort zone for this.

Wouldn't have the guts to post stuff like this at all if it wasn't for your encouragement though. So thanks for that.

LYRICS:

" パート・オブ・ユア・ワールド / Pāto Obu Yua Wārudo " sung by Mayumi Suzuki

ご覧なさい　素敵でしょう
よく集めたと思わない
女の子はなんでも　とって置くの
ご覧なさい　洞穴にいっぱいの宝物
不思議な物ばかり　シュアー　なんでもある
何に使うのかしら
まるで分からないの

これが見たい？　２０個あるの

だけど　もっと欲しい

人間の国に行きたい
人間は陸の上で踊るんですって

あれでほら　足

散歩する足が欲しい
軽々と弾んで歩いていくのよ

どこ歩くんだっけ？

道

おひさま　キラキラ
花はいい香りがする世界
あの陸の世界
入れたら何でもあげるのに
浜辺にいるだけでもいい
私の宝を全部あげてもいいわ
優しい人がいるかしら

優しい人出会ったら
聞いてみたいことたくさん
火が燃えるって何の事
誰かを　好きだと燃えるって
面白いな陸の

世界の一部になりたい

Gorannasai suteki deshou
Yoku atsumeta to omowanai
Onna no ko wa nandemo totte oku no

Gorannasai horaana ni ippai no takaramono
Fushigi na mono bakari
SURE nandemo aru

Nani ni tsukau no kashira
Maru de wakaranai no
Kore ga mitai? Nijuu ko aru no
Dakedo motto hoshii

Ningen no kuni ni ikitai
Nigen wa riku no ue de odorun desutte
Arede hora a-shi
Sanpo suru ashi ga hoshii
Karugaru to hazunde aruite yuku no yo
Doko arukun dakke? Michi

Ohisama kirakira
Hana wa ii kaori ga suru sekai
Ano riku no sekai

Hairetara nandemo ageru noni
Hamabe ni iru dake demo ii
Watashi no takara wo zenbu agete mo ii wa
Yasashii hito ga iru kashira
Yasashii hito ni deattara
Kiite mitai koto takusan
Hi ga moerutte nan no koto
Dareka wo suki da to moerutte
Omoshiroi na riku no
Sekai no ichibu ni naritai ...

Take a look, isn't it neat
Don't you think I've collected well
A girl will collect everything

Take a look at the many treasures in this cave
With nothing but wonderous things
SURE I have everything

I wonder what they're used for
I have absolutly no idea
Wanna see this? I've got 20
But I want more

I want to go to the land of humans
On land humans dance and
With what? Fe-et
I want legs to take a walk with
I would go jump around and walk at ease
Where do they walk? Street

Oh great sun sparkling
The world you make flowers smell nice
That world of land

If I could go there I'd give up everything
Even just to be on the shore
I would even give up all my treasures
I wonder if there is a nice person
If I meet a nice person
There would be so much I'd want to ask
What does it mean when a fire burns?
When I like someone will I burn?
I want to become part....
Of the interesting world of land

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Please watch: "How To Make Japanese Nabe | カレー鍋を作ってみた"
https://www.youtube.com/watch?v=O5rg9eM5D8I
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