關於 hawaii us state ，我們在網路上蒐集到這些相關的討論、資訊與評價

RE_____ Lara 和5位DJ朋友 社交心距離 混混得正
What do you get when you mix Lara with 5 DJs, social distancing, and the power of musical connection? Presenting…《RE》

所有音樂平台連結在這！Smartlink to all streaming platforms: https://www.soundscape.net/a/12614

啊！多麼痛的，領悟，多麼痛的！
再多傷疤優雅接受，不美麗算什麼
你是我最愛的痛，可是我要放手
心打開，像小孩不畏懼去愛
勇氣，是遇上逆境也活出最出色的自己
Ah, the pain of understanding.
Of accepting scars gracefully, no longer imprisoned by beauty.
You are my most precious pain, but I am letting go.
Opening my heart, loving like a child without fear.
For courage is the ability to live your best self in the face of adversity.

2020年給了全人類重整的機會
隔離後重啟生活 / 遠距離重心連線 / 痛苦焦慮後重生
細聽這張Remix中藏著屬於你我的 RE_____
2020 gave all of mankind an opportunity to REthink & REorganize ->
REstart after isolation / REconnect despite distance/ REbuild through suffering
Tucked away in this album are the REmnants of your very own RE_____

Lara將原音交給5位製作人無限發揮，電音中的各種聲響烘托歌詞情緒，讓人等待Lara的清新甜嗓衝撞出現救贖混沌，音樂的玩味和聲音詞語傳遞相互閃耀，remix的自由詮釋之上，原曲的核心力量更加炙熱強大。此專輯收錄2017-2020年錄製的歌曲，來自世界各地的DJ好友在愛上原曲之餘獻出最棒的編寫能力，音樂中滿是自由空氣，層層疊疊的細節值得白天聽到黑夜。
This album contains songs worked on from 2017-2020. After falling in love with the originals, DJ friends from all over the world put heart and soul into their own interpretations. Every musical note breathes freedom, and layer upon layer of worthy discovery can be heard from sunup until sundown. After handing her voice over to five talented producers, Lara eagerly awaited the collision of electronic technology and primal emotion. Her signature sweet voice offset the layered chaos of each arrangement, bringing topline and track into a delicious juxtaposition. Neither outshines the other, as the freedom of each remix only adds fire to the core strength of its original song.

最愛的痛 (FSHO Remix)
人聲切片製造情緒混沌與放手的自在，反差之間令人著迷流連，就像深陷迷宮，轉念抬頭看見彩虹出口。
Precious Pain (FSHO Remix)
Vocal chops reflect the chaos of emotional turmoil versus the freedom of letting go, reminding us that no matter how deep in the maze you get, all it takes is a simple shift in one’s state of mind to lift your head and see the rainbow exit.

心打開 (Terry Zhong Remix)
編曲中有極具生命力的心跳節奏，明亮的意境像是站在世界最高處般的無懼。
Open Heart (Terry Zhong Remix)
This song beats with the rhythm of a courageous heart, while brightness and clarity paint an image of standing at the highest point in the world, fearless.

玩轉 (DJ Noodles Remix)
Play/Turn (DJ Noodles Remix)
作品清晰字詞，強烈卻十足襯托人聲的節奏，前進感十足正如Lara與姊姊Esther共創事業的決心。
The clear message of this song’s lyrics resonate with the driving determination of the arrangement, all in line with Lara and sister Esther’s fierce entrepreneurship.

千面獸 (Chance King Remix)
Thousand-Faced Beast (Chance King Remix)
來自夏威夷擅長在音樂中融入衝浪文化和海的聲音，音樂中較量獸與海，誰更千面？
Straight from Hawaii emanating surf culture and the sounds of the sea, this remix begs the question: What is more thousand-faced, beast or ocean?

領悟 (JerryC Remix)
Realization (JerryC Remix)
Lara與JerryC合作迸出強烈火花，此曲是致敬更是打造現代聽覺情境的力作。
Lara and JerryC’s sparkling collaboration is equal parts tribute and innovation, spinning a classic song into a modern auditory experience.

【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

A salute to Mr Yuen Kung Yi (Lee Yee)

The Hong Kong version of national security law not being found on the agenda of the Standing Committee of the National People's Congress does not connote backpedalling, but just a brief lull for the international community to come to terms with it and Hong Kong people to assimilate its impact. The introduction of the law will be right back on track at the right moment after that.
相關新聞：Paradoxical theory of Hong Kong organising U.S. riots (Lee Yee)
In the international community, except for North Korea and several other nations, all civilized countries condemned the law. China has been besieged and isolated since. Although, by whistling past the graveyard, the HKSAR government claimed that the impact of stern sanctions allegedly to be imposed by the US is limited, China and Hong Kong will be buckling with merely a ban on using SWIFT for international money transfer. No wonder Yang Jie-chi inquired for US Secretary of State Affairs Mike Pompeo in Hawaii on behalf of Xi Jin-ping in no time. The intention of China to mitigate the enmities of Hong Kong and the world towards the national security law is just plain as a pikestaff.
In Hong Kong, in the very beginning, the announcement of enacting the law did make a commotion in the mass, yet later on, quite some lawyers, politicians and democrats started to succumb to it. Being oblivious to the fact that the Basic Law shall deny Beijing the legislative power over Hong Kong, they have been dickering whether the law should be effectuated in accordance with Hong Kong’s legal procedure by the law enforcement institutions in Hong Kong and the defendants tried by the courts in the city. By doing so, they have no objection to the law anymore in effect, but a rather humble request for a smidgen of rickety protection for Hong Kong people, and the legal professionals so that they can still wrest a living from lawsuits, which is indeed chipping away at the rights of Hong Kong people.
相關新聞：American violence v.s. Hong Kong violence (Lee Yee)
Meanwhile, China is working hard. Deng Zhong-hua, an unknow Deputy Director of Hong Kong and Macau Office, said in Shenzhen: The SAR has the major responsibility for conserving national security, and the law enforcement and jurisdiction should be accomplished by the SAR. But he indicated that the central government shall preserve its jurisdiction over some “extremely serious cases” under particular conditions. He did not elaborate what “extremely serious cases” are, but just said that the cases are “scarce”.
We are already familiar with the abovementioned situation. In the early 80s, a commotion and general feeling of insecurity in the mass was also created in the very beginning when China was believed to recover Hong Kong’s sovereignty. Before long, Hong Kong people had succumbed to “one country, two systems” and “Hong Kong people ruling Hong Kong” by concocting a course of self-comforting medicine called “democracy ruling Hong Kong” for the democrats and those who were unwilling or unqualified to emigrate. Having taken the drug for decades, has “democracy ruling Hong Kong’ been realized yet?
With the iron law upheld by most countries that vested interest comes first, the authoritarian rests assured: no plans are unsuccessful by baiting traps. Believe it or not.
Seeing the legal professionals tend to succumb to the introduction of the law after initiating the objections by themselves, the Hong Kong people who are still clear-headed are more than despondent. About a month ago, an elderly KOL named Yuen Kung-yi popped up. Despite having been living in the US, Beijing and Shanghai for decades, where he has gained ample experience in establishing relationships with politicians and businessmen, he has carried off most endorsements from Hong Kong netizens by scoring 6-digit views for each video clip he posted. With persistence in the Hong Kong values and unique perspectives and deliberations concerning Hong Kong, he is sincere and pragmatic, neither flinching nor self-seeking. He has even flied to Washington, D.C. to lobby the US politicians in the past few days with the belief that actions speak way louder than words. Amid the low morale among Hong Kong people, his remarks are pretty inspiring and heartening.
In his early speech, he objected to Hong Kong’s politicians and legal professionals pulling back, deeming that a discouragement to US’s sanctions. Yesterday, his daughter Erica Yuen, former TV artiste, wrote on her Facebook page that her father “is smeared out of context with fake old news and conspiracy after having just a few words of criticism of a local politician, but he “is being occupied with serious business in Washington, D.C., so will not have time and effort on tattle and prate.
“Tattle and prate” is, however, bitterly disappointing. Hong Kong has been descending for more than 20 years, not only because of the intervention of the CCP, but also the mentality of dragging out an ignoble life advocated by some politicians and KOLs. Whenever an incisive viewpoint is found, they are busy witch hunting. No wonder the CCP has Hong Kong by the short hairs.

I admire Mr. Yuen Kung-yi for his coming forward as a businessman to speak up in the darkest hour, not to mention the enormous number of views online that has suggested his viewpoints represent mainstream public opinions. One of his most significant remarks is: The last laugh lies on Hong Kong people’s resolve.
www.facebook.com/mrleeyee

2020 State Primary Election Dates
Thứ Ba, Ngày 3 Tháng 3, 2020 là Ngày Bầu Cử Sơ Bộ của hai Đảng Cộng Hòa và Đảng Dân Chủ hay còn gọi là "Siêu Thứ Ba" (Super Tuesday)
- "Siêu Thứ Ba" này là ngày Bầu Cử Sơ Bộ lớn nhất trong năm bầu cử này trên toàn quốc Hoa Kỳ. Đặc biệt là đối với Đảng Dân Chủ quyết định xem ứng cử viên Tổng Thống đại diện cho Đảng Dân Chủ là ai.

Danh sách các ứng cử viên của đảng Dân chủ:

*Bernie Sanders 78 tuổi. Thượng nghị sĩ tiểu bang Vermont
- Mục tiêu tranh cử: Bảo hiểm y tế toàn diện Medicare cho tất cả; tăng thuế đối với những người Mỹ giàu có nhất; tăng mức lương tối thiểu.
- Slogan : Not me. Us

*Joe Biden
77 tuổi, từng giữ chức Phó Tổng Thống dưới thời Obama.
- Mục tiêu tranh cử:
Xây dựng lại tầng lớp trung lưu; đầu tư vào cơ sở hạ tầng liên bang; trường đại học công miễn phí
- Slogan: Restore The Soul of America - Khôi phục linh hồn của nước Mỹ
Our best days still lie ahead - Những ngày tốt nhất của chúng tôi vẫn còn ở phía trước
This is America . We are America, second to none - Đây là nước Mỹ Chúng tôi là nước Mỹ, không ai sánh kịp
Anything is possible . No Malarkey! Bất cứ điều gì đều có thể Không có Malarkey!

*Michael Bloomberg
78 tuổi, Cựu Thị trưởng thành phố New York , tỷ phú
- Mục tiêu tranh cử:
Kinh tế, di dân, kiểm soát súng, biến đổi khí hậu
- Slogan : Rebuild America - Tái thiết nước Mỹ
Fighting for our future - Chiến đấu vì tương lai của chúng ta
A new choice for Democrats - Một lựa chọn mới cho đảng Dân chủ
Mike Will Get It Done - Mike sẽ hoàn thành nó
I Like Mike

*Elizabeth Warren
70 tuổi, Thượng nghị sĩ cấp tiến từ tiểu bang Massachusetts, một giáo sư trường luật trước khi tham gia chính trị.
- Mục tiêu tranh cử:
Thuế tài sản; quyền chăm sóc sức khỏe và phá thai; hình sự hóa sơ suất của các công ty.
- Slogan:
"Persist"; Kiên trì";
"Dream Big Fight Hard"; "Ước mơ lớn chiến đấu khó khăn";
“Big, Structural, Change”; Càng lớn, cấu trúc, thay đổi
"I have a plan for that" (unofficial slogan) - Tôi có một kế hoạch cho điều đó" (khẩu hiệu không chính thức

*Tulsi Gabbard
38 tuổi, nữ nghị sĩ cấp tiến từ Hawaii - thành viên Ấn Độ giáo đầu tiên của Quốc hội - cũng là cựu chiến binh Chiến tranh Iraq.
- Mục tiêu tranh cử:
Chấm dứt chính sách đối ngoại can thiệp; biển đổi khí hậu; kiểm soát súng.
- Slogan : Lead with Love

*Pete Buttigieg
38 tuổi, cựu thị trưởng của South Bend, Indiana
Bắt đầu chiến dịch tranh cử vào ngày 14 tháng 4 năm 2019.
- Slogan: It's time for a new generation of American leadership - Đã đến lúc cho một thế hệ lãnh đạo mới của Mỹ

About ラジオインタビュー（FM897 The Vance K Show ）された際に弾いたオリジナル曲「モノガタリ (Monogatari)」です！
Hey! Thanks so much for checking out my live radio performance of my original song "Monogatari" which means story or legend in Japanese. This is the song I wrote music with Japanese lyrics and performed on Terrace House Aloha State. It's also on my Japan debut album "Music for You".

■DOWNLOAD / ダウンロード・サイト
iTunes JAPAN： https://itunes.apple.com/jp/album/-/i...
iTunes USA: https://itunes.apple.com/us/album/mon...

This is one of four songs I performed on The Vance K Show InterFM 897 in TV TOKYO on July 27, 2017.

Hope you enjoy listening to it! :-) I had a blast..so much fun being interviewed and performing four of my songs on the show!

Thanks to the awesome:
* DJ Vance K
* Tatsu D mixer & director
* Jingu & Ichiro (Hiro Tokito) Video editor

and everyone at Tokyo's most excellent international radio station InterFM 897!!!

LYRICS (Japanese/English translation):
モノガタリ Monogatari
Story or Legend
🏝🏡
見上げたらそこには Looking up over there
ステキな家がありました There was a nice house
一歩踏み込んで I took a step forward
ドアを開けて Open the door
知らない顔が5つありました And there were 5 unfamiliar faces
"今からみんなと暮らすのか” って [mentality thinking] Imagining my new life with them
思いながら While thinking
外の景色を眺めてた I stared at the views outside
⚬
全然信じられなくて I had no faith in myself
毎回強がって I put on bravado
人に合わせ続けた I've always gotten along with everyone
それから見直して But after rethinking
何度も繰り返して And repeating and repeating
本当の自分になれたよ I've become my true self
⚬
見上げたらそこには Looking up over there
ステキなアートがありました There was nice art
瞳が綺麗で Her eyes were beautiful
笑顔が好きで I liked her smile
その想像力に見とれました That imagination [of hers] fascinated me
"今からその子を誘おうか" って [mentality thinking] "Are you going to ask her out now?"
思いながら While thinking
言いたいことを必死に考えてた I was desperately thinking about what I wanted to say⚬
勇気を出して I Took courage
時間をかけて I Took time
同じ世界を見てみた To see the same world
それから見直して But after rethinking
何度も考えて Thinking over and over
正直になれたよ I have become honest
⚬
素直になって I have become myself
たくさん経験して And experienced more
同じ時間を過ごした We have shared the same moments
感謝がしたくて I want to thank you
ありがとうが言いたくて I want to tell you that
物語は続くよ My story still continues

Eden Kai: Main vocals, Backup vocals, Ukulele, Acoustic Guitar, Percussion
© 2017 Eden Kai LLC ASCAP All Rights Reserved.

***CLICK "SUBSCRIBE" NOW*** FOR THE NEWEST VIDEOS!!!
チャンネル登録、宜しく御願いします！

CONTACT（連絡）: imagine@edenkai.com

MERCH(グッズはこちらから) : http://edenkai.store

CAMEO (For personal video shoutouts ビデオメッセージをご希望の方はこちらまで）https://www.cameo.com/edenkai

Let's Connect!（SNSやってますー！）:

WEBSITE（WEBサイト）: https://edenkai.com/

INSTAGRAM（インスタ）: https://instagram.com/edenkai_official

TWITTER（ツイッター）: https://twitter.com/edenkaiofficial

FACEBOOK（フェイスブック）: https://www.facebook.com/EdenKaiOfficial

TIKTOK（ティックトック）@edenkai_official

About EDEN KAI:
With millions of fans around the world, Eden Kai has earned his reputation as being a ukulele and guitar virtuoso, a Pop/R&B vocalist, and an accomplished actor. While many were first introduced to Eden when he joined the cast of Netflix and Fuji Television’s Terrace House: Aloha State, the young star’s success had already been years in the making. He has since gone on to make additional appearances on Terrace House: Tokyo 2019-2020, appeared on Shiro to Kiiro on Amazon Prime and has performed at the Fuji Rock Festival (the largest outdoor music festival in Japan), Nisei Week Festival in Little Tokyo, OC Japan Fair and ANA Honolulu Music Week in Waikiki. Eden’s accomplishments have earned him interviews by NBC News and The Yomiuri Shinbun (the world’s most circulated newspaper).

His most recent album, Home Sweet Home, released in 2018 and was recorded in Tokyo, Japan, produced by his music label in Japan Victor Entertainment. Three tracks from that album were featured in episodes of Netflix Japan’s Terrace House during the show’s Opening New Doors and Tokyo 2019-2020 seasons. The series also featured Eden’s instrumental compositions of “Touch the Sky” and “Feel the Earth.” “Monogatari” was his debut pop vocal single, which he wrote and performed on the show. That music, as well as Eden’s past album releases, can be heard on all major streaming services and is available for purchase on Eden’s official website, www.EdenKai.com.

In addition to working on his own music, Eden has collaborated with some of the world’s top artists and producers, including EXILE and Dream. One of his compositions was used to create “Anuenue,” a hit J-Pop single recorded and released by Dance Earth Party, which landed at #11 on the Oricon Music Charts in Japan.

Eden also recognizes the importance of using his music to help others. He has hosted several ukulele workshops in Honolulu and Japan, been the featured performer at the Waikiki Spam Jam, benefiting the largest non-profit in Hawaii that feeds the needy, and the Hawaii Food and Wine Festival from which proceeds helped local children in the community.

僕の日本デビュー・シングル「モノガタリ（Monogatari)」のミュージック・ビデオが完成しました。
この曲は、6月21日に発売になるアルバム『Music For You』にも収録されています。
みなさん、宜しくお願い致します！
■DOWNLOAD / ダウンロード・サイト
iTunes JAPAN： https://itunes.apple.com/jp/album/-/i...
iTunes USA: https://itunes.apple.com/us/album/mon...
レコチョク： http://recochoku.jp/song/S1004203778/
Mora： http://mora.jp/package/43000005/VE3WA...

■ストリーミング・サイト
Apple Music： https://itunes.apple.com/jp/album/-/i...
LINE MUSIC： https://music.line.me/launch?target=t...
AWA： https://s.awa.fm/album/7d59a880921157...

JVC VICTOR Entertainment Artist link: http://www.jvcmusic.co.jp/-/Artist/A025719.html

This is the official music video of "Monogatari", original lyrics & music by Eden Kai, is his debut single release as a J-pop artist. "Monogatari" is a Japanese word meaning 'story' or 'legend' and is the "Terrace House Aloha State" graduation song he was inspired to write on his ukulele during his stay in the Terrace House, seasons 1 & 2.

LYRICS (Japanese/English translation):
モノガタリ Monogatari
Story or Legend
🏝🏡
見上げたらそこには Looking up over there
ステキな家がありました There was a nice house
一歩踏み込んで I took a step forward
ドアを開けて Open the door
知らない顔が5つありました And there were 5 unfamiliar faces
"今からみんなと暮らすのか” って [mentality thinking] Imagining my new life with them
思いながら While thinking
外の景色を眺めてた I stared at the views outside
⚬
全然信じられなくて I had no faith in myself
毎回強がって I put on bravado
人に合わせ続けた I've always gotten along with everyone
それから見直して But after rethinking
何度も繰り返して And repeating and repeating
本当の自分になれたよ I've become my true self
⚬
見上げたらそこには Looking up over there
ステキなアートがありました There was nice art
瞳が綺麗で Her eyes were beautiful
笑顔が好きで I liked her smile
その想像力に見とれました That imagination [of hers] fascinated me
"今からその子を誘おうか" って [mentality thinking] "Are you going to ask her out now?"
思いながら While thinking
言いたいことを必死に考えてた I was desperately thinking about what I wanted to say
⚬
勇気を出して I Took courage
時間をかけて I Took time
同じ世界を見てみた To see the same world
それから見直して But after rethinking
何度も考えて Thinking over and over
正直になれたよ I have become honest
⚬
素直になって I have become myself
たくさん経験して And experienced more
同じ時間を過ごした We have shared the same moments
感謝がしたくて I want to thank you
ありがとうが言いたくて I want to tell you that
物語は続くよ My story still continues

Eden Kai: Main vocals, Backup vocals, Ukulele, Acoustic Guitar, Percussion
© 2017 Eden Kai LLC ASCAP All Rights Reserved.

With millions of fans around the world, Eden Kai has earned his reputation as being a ukulele and guitar virtuoso, a Pop/R&B vocalist, and an accomplished actor. While many were first introduced to Eden when he joined the cast of Netflix and Fuji Television’s Terrace House: Aloha State, the young star’s success had already been years in the making. He has since gone on to make additional appearances on Terrace House: Tokyo 2019-2020, appeared on Shiro to Kiiro on Amazon Prime and has performed at the Fuji Rock Festival (the largest outdoor music festival in Japan), Nisei Week Festival in Little Tokyo, OC Japan Fair and ANA Honolulu Music Week in Waikiki. Eden’s accomplishments have earned him interviews by NBC News and The Yomiuri Shinbun (the world’s most circulated newspaper).

His most recent album, Home Sweet Home, released in 2018 and was recorded in Tokyo, Japan, produced by his music label in Japan Victor Entertainment. Three tracks from that album were featured in episodes of Netflix Japan’s Terrace House during the show’s Opening New Doors and Tokyo 2019-2020 seasons. The series also featured Eden’s instrumental compositions of “Touch the Sky” and “Feel the Earth.” “Monogatari” was his debut pop vocal single, which he wrote and performed on the show. That music, as well as Eden’s past album releases, can be heard on all major streaming services and is available for purchase on Eden’s official website, www.EdenKai.com.

In addition to working on his own music, Eden has collaborated with some of the world’s top artists and producers, including EXILE and Dream. One of his compositions was used to create “Anuenue,” a hit J-Pop single recorded and released by Dance Earth Party, which landed at #11 on the Oricon Music Charts in Japan.

Eden also recognizes the importance of using his music to help others. He has hosted several ukulele workshops in Honolulu and Japan, been the featured performer at the Waikiki Spam Jam, benefiting the largest non-profit in Hawaii that feeds the needy, and the Hawaii Food and Wine Festival from which proceeds helped local children in the community.


***CLICK "SUBSCRIBE" NOW*** FOR THE NEWEST VIDEOS!!!
チャンネル登録、宜しく御願いします！

CONTACT（連絡）: imagine@edenkai.com


CAMEO (For personal video shoutouts ビデオメッセージをご希望の方はこちらまで）https://www.cameo.com/edenkai

Let's Connect!（SNSやってますー！）:

WEBSITE（WEBサイト）: https://edenkai.com/

INSTAGRAM（インスタ）: https://instagram.com/edenkai_official

TWITTER（ツイッター）: https://twitter.com/edenkaiofficial

FACEBOOK（フェイスブック）: https://www.facebook.com/EdenKaiOfficial