關於 art young living ，我們在網路上蒐集到這些相關的討論、資訊與評價

“I hope to play a role not only in making videos to improve people’s watercolor skills, but in healing people's hearts through painting too.”❤️

73 year-old Harumichi Shibasaki may be an unlikely social media star – but he has painted his way into the living rooms of young and old – at a time when we need him most. 💡🎨🙌🏽

And like the late American painter Bob Ross, Shibasaki’s tone is both encouraging and soothing as my daughter and I discovered when we attempted a lesson ourselves!🌳😅💕

#TechForGood #shiba_watercolor

Black Panther 導演悼念 Chadwick Bosemen 極度真摯的一封信。極度令人感動。What a great man. Calm, assured, always studying. Just like me.

Before sharing my thoughts on the passing of the great Chadwick Boseman, I first offer my condolences to his family who meant so very much to him. To his wife, Simone, especially.
I inherited Marvel and the Russo Brothers' casting choice of T'Challa. It is something that I will forever be grateful for. The first time I saw Chad's performance as T'Challa, it was in an unfinished cut of Captain America: Civil War. I was deciding whether or not directing Black Panther was the right choice for me. I'll never forget, sitting in an editorial suite on the Disney Lot and watching his scenes. His first with Scarlett Johansson as Black Widow, then, with the South African cinema titan, John Kani as T'Challa's father, King T'Chaka. It was at that moment I knew I wanted to make this movie. After Scarlett's character leaves them, Chad and John began conversing in a language I had never heard before. It sounded familiar, full of the same clicks and smacks that young black children would make in the States. The same clicks that we would often be chided for being disrespectful or improper. But, it had a musicality to it that felt ancient, powerful, and African.
In my meeting after watching the film, I asked Nate Moore, one of the producers of the film, about the language. "Did you guys make it up?" Nate replied, "That's Xhosa, John Kani's native language. He and Chad decided to do the scene like that on set, and we rolled with it." I thought to myself, "He just learned lines in another language, that day?" I couldn't conceive how difficult that must have been, and even though I hadn't met Chad, I was already in awe of his capacity as actor.
I learned later that there was much conversation over how T'Challa would sound in the film. The decision to have Xhosa be the official language of Wakanda was solidified by Chad, a native of South Carolina, because he was able to learn his lines in Xhosa, there on the spot. He also advocated for his character to speak with an African accent, so that he could present T'Challa to audiences as an African king, whose dialect had not been conquered by the West.
I finally met Chad in person in early 2016, once I signed onto the film. He snuck past journalists that were congregated for a press junket I was doing for "Creed," and met with me in the green room. We talked about our lives, my time playing football in college, and his time at Howard studying to be a director, about our collective vision for T'Challa and Wakanda. We spoke about the irony of how his former Howard classmate Ta-Nehisi Coates was writing T'Challa's current arc with Marvel Comics. And how Chad knew Howard student Prince Jones, who's murder by a police officer inspired Coates' memoir Between The World and Me.
I noticed then that Chad was an anomaly. He was calm. Assured. Constantly studying. But also kind, comforting, had the warmest laugh in the world, and eyes that seen much beyond his years, but could still sparkle like a child seeing something for the first time.
That was the first of many conversations. He was a special person. We would often speak about heritage and what it means to be African. When preparing for the film, he would ponder every decision, every choice, not just for how it would reflect on himself, but how those choices could reverberate. "They not ready for this, what we are doing…" "This is Star Wars, this is Lord of the Rings, but for us… and bigger!" He would say this to me while we were struggling to finish a dramatic scene, stretching into double overtime. Or while he was covered in body paint, doing his own stunts. Or crashing into frigid water, and foam landing pads. I would nod and smile, but I didn't believe him. I had no idea if the film would work. I wasn't sure I knew what I was doing. But I look back and realize that Chad knew something we all didn't. He was playing the long game. All while putting in the work. And work he did.
He would come to auditions for supporting roles, which is not common for lead actors in big budget movies. He was there for several M'Baku auditions. In Winston Duke's, he turned a chemistry read into a wrestling match. Winston broke his bracelet. In Letitia Wright's audition for Shuri, she pierced his royal poise with her signature humour, and would bring about a smile to T'Challa's face that was 100% Chad.
While filming the movie, we would meet at the office or at my rental home in Atlanta, to discuss lines and different ways to add depth to each scene. We talked costumes, military practices. He said to me "Wakandans have to dance during the coronations. If they just stand there with spears, what separates them from Romans?" In early drafts of the script. Eric Killmonger's character would ask T'Challa to be buried in Wakanda. Chad challenged that and asked, "What if Killmonger asked to be buried somewhere else?"
Chad deeply valued his privacy, and I wasn't privy to the details of his illness. After his family released their statement, I realised that he was living with his illness the entire time I knew him. Because he was a caretaker, a leader, and a man of faith, dignity and pride, he shielded his collaborators from his suffering. He lived a beautiful life. And he made great art. Day after day, year after year. That was who he was. He was an epic firework display. I will tell stories about being there for some of the brilliant sparks 'till the end of my days. What an incredible mark he's left for us.
I haven't grieved a loss this acute before. I spent the last year preparing, imagining and writing words for him to say, that we weren't destined to see. It leaves me broken knowing that I won't be able to watch another close-up of him in the monitor again or walk up to him and ask for another take.
It hurts more to know that we can't have another conversation, or Facetime, or text message exchange. He would send vegetarian recipes and eating regimens for my family and me to follow during the pandemic. He would check in on me and my loved ones, even as he dealt with the scourge of cancer.
In African cultures, we often refer to loved ones that have passed on as ancestors. Sometimes you are genetically related. Sometimes you are not. I had the privilege of directing scenes of Chad's character, T'Challa, communicating with the ancestors of Wakanda. We were in Atlanta, in an abandoned warehouse, with bluescreens, and massive movie lights, but Chad's performance made it feel real. I think it was because from the time that I met him, the ancestors spoke through him.
It's no secret to me now how he was able to skilfully portray some of our most notable ones. I had no doubt that he would live on and continue to bless us with more. But it is with a heavy heart and a sense of deep gratitude to have ever been in his presence, that I have to reckon with the fact that Chad is an ancestor now. And I know that he will watch over us, until we meet again.

🎹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.”

Check out One Championship's upcoming events: https://bit.ly/3xL55kV


? Instagram http://www.instagram.com/sherrybyw
☀️ Facebook http://www.facebook.com/sherrybyw
? TikTok https://bit.ly/2ZRS1Kn

Let's chat!
For random questions - sherry@abrushofbeauty.com
For business inquiries - info@abrushofbeauty.com

Big thanks to One Championship for sponsoring the tickets and inviting me & my friends to the fight! It was so much fun going to an offline event for the first time in ages (and feeling safe about the whole process with the ART on-site COVID test)!

•••••••••••••••••••••••••••• CAMERA, EQUIPMENT, AND MUSIC ••••••••••••••••••••••••••••••••
https://soundcloud.com/ikson

DJI Osmo Pocket
Canon EOS 70D
Canon EF-S 18-55mm f/3.5-5.6
Canon EF-S 24mm f/2.8
Canon EF 50mm f/1.8
Iphone XR

Hello my loves! Today I'm showing you how I remove my gel nails at home without breakage. This method can be used on acrylic and polygel nails as well! If you're living for these "Tina Nails It" videos, please hit like and subscribe! ? https://bit.ly/2JFCtDr



Follow:

Tina Yong http://instagram.com/tina_yong



Products used:
Kiara Sky 100 grit half moon file https://kiarasky.com/92da1
Kiara Sky Portable Nail Drill https://kiarasky.com/ac277
Kiara Sky 5-in-1 Medium Bit (rose gold) https://kiarasky.com/2f5c8
(Get 10% off Kiara Sky with code TINAYONG)

Nail Soal Off Clips https://amzn.to/39Ei7VW
Professional Cuticle Pusher https://amzn.to/3itzxc3
Angelpro Cloud Buffer http://www.angelpronail.com/onlineshop/index.php?route=product/product&path=64_81&product_id=212
Angelpro Bling Shiner http://www.angelpronail.com/onlineshop/index.php?route=product/product&path=64_81&product_id=207



____________________________

Watch more nail videos:
Easy Ombre Gel Nail Art
https://www.youtube.com/watch?v=O21uqu_7QEY&t=483s

DIY Nail Extension For Beginners
https://www.youtube.com/watch?v=ZpOBkf_KYCk&t=5s

Simple Rainbow Nail Art Tutorial ?
https://www.youtube.com/watch?v=_u7cgRSSBF0&t=12s

Doing Dip Powder Nails At Home
https://www.youtube.com/watch?v=RjYMIZqZsUg&t=675s




____________________________
Shop my Lashes https://petitecosmetics.com
Get 20% off using code TINA20
Shop my Bags & Accessories https://markandscribe.com
________________________


Music from Artlist.io Music by Alexi Blue - Easy Love - https://thmatc.co/?l=309E20BB

*This video is not sponsored. Some links above are affiliate links which mean I do make a small amount if you chose to buy the products. This does not cost you any extra but it’s a great way to help support my channel.

九粒Jolie 首支單曲!!! 親自作詞作曲饒舌到舌頭都打結的ABCD。
從開始教英文之後就一直想要做一首台灣的英文國歌來洗腦大家。
想要把我們從小耳熟能詳的ABCD 歌改編成我們都能一起唱又勵志的饒舌歌。
（ps:如果唱得太快可以開啟中文字幕看翻譯哦！）
這首ABCD 希望讓九粉們能夠跟著我一起唱出來，
以後出去就可以跟別人說：" 欸我英文很屌哦！ 我會英文饒舌欸嘿嘿！”
哈哈哈 沒有啦！開玩笑。
ABCD其實是我想寫出我們學英文的痛苦還有人生真的是個struggle，
我們想要不當muggle就必須認真打拼才能拼出自己的一遍天下。
希望能夠讓大家更有信心的唱英文以及療癒到每一個你。

這首歌也在Spotify & Apple Music 上架囉！
想要無限循環的趕快點起來吧！

Spotify:
https://spoti.fi/3n3plsn
Apple:
https://apple.co/2JTQ249

想跟九粒邊起笑邊學道地英文，千萬不要錯過12月限時優惠哦！
九粒Jolie的生活口說入門課已經在VoiceTube開賣囉！
連結點起來，優惠搶起來！👉🏻 https://bit.ly/3q4ZW39 

此頻道驚喜連連 除了讓你開心偶英文以外 還會不定期的出一些讓你下巴掉下來的影片 還不趕快訂起來😏
👉🏻  https://www.youtube.com/joliechi

ABCD
詞 Lyricist：九粒 Jolie 
曲 Composer：九粒 Jolie 
編曲 Arranger：MTC Beatz 
錄音師 Recording Artist：林清智 Zachary Lin
混音師 Mixing Engineers：Josh & Rob

It’s Jolie b your TBT
ABCDE

Who? What? Why? When? Where? 
Do you really care? 
Come and sit your ass down over here
Open your mouth and ears 
It won’t be your nightmare. You’ll get it I swear I swear 
321 let go

A is for Apple 
B is for Ball
C is for Candy 
D is for Door
Apple Ball Candy Door 
Apple Ball Candy Door 
Say it with me! Apple Ball Candy Door 

Seriously Jolie? Are you for real? 
I’m kidding.
I know these vocabs be too easy.  You are never gonna use it. 
Are you ready? Life’s a party. Let’s get crazy. 

A is your Ass. want you to shake dat ass. 
B is that Bitch you hate. That bitch your hot ex dates.
C for Can D for Do 
Yes you can do this too (I see you)
E for Excuse. Excuse me, can I get some water, please? 


Life’s a struggle 
Don’t want to be a muggle 
想出國 雅思托福要先通過
出國後hustle 獨立自主要double 
Life’s a puzzle 
要努力拼湊 才能chuckle 
Life’s a struggle 
don’t want to be a muggle 

Be humble. 以後的hustle gonna double 
In this jungle, you’ll be in a lot of troubles
Life’s a puzzle 要努力拼湊才能chuckle 

I know English grammars so not fair 
Their explanation be not clear 
We spent so many years 
had so many tears, been living in fear, I need this for my career 
Come on, I don’t want to be like Britney Spears.

Life’s a struggle 
Don’t want to be a muggle 
想出國 雅思托福要先通過
出國後hustle 獨立自主要double 
Life’s a puzzle 
要努力拼湊 才能chuckle 

I’m tired of it I’m done with it 
Please tell me how to make a change 
Fucking hate sounding so strange 
Getting minimum wage 
Spending life in a cage 
For real it’s time to make a change 

跌倒失敗又怎樣 we are still so fucking young 
想在社會闖蕩有狀況麥給我慌 
當你唱完這首歌希望你不要在迷惘
女大當自強想要狂 just sing this bomb ass song
Life’s a struggle. Don’t want to be a muggle 
想出國 雅思托福要先通過
出國後hustle 獨立自主要double 
Life’s a puzzle 努力拼湊才能chuckle 

Life’s a struggle. Don’t want to be a muggle 
Be humble. 以後的hustle gonna double 
In this jungle, you’ll get in a lot of troubles
Life’s a puzzle 要努力拼湊才能chuckle

製作 Production：創造影像工作室
導演 Director： 蔡佳穎 Charlie Tsai 
製片 Producer：書華 Shu Hua
導演助理 2nd AD： 王安宜 An Yi Wang
製片助理 PA：Fish Hsu 許庭瑜
攝影師 DP：Roux Chen 陳希如
二機攝影師 B Cam DP：小光 Light
攝影大助 1st AC： 鍾喬程 Calvin Chung 
燈光師 Gaffer：Ben Lau 劉本淵
燈光助理 Best Boy：施晴蓁 Helena Shih
美術 Art Director：游蕎豫 Qiao Yu You
美術助理 Assistants Art Director： 程凱揚 Kai Young Cheng, 、莊雁婷 Yan Ting Zhuang
造型師Makeup & Hair Artists：Erica 詹于慧 、Sini Tong 湯湯
服裝造型 Stylist：Jolie Chi 九粒
剪接師 Editor：Charlie Tsai 蔡佳穎
調光師 Colorist：Roux Chen 陳希如
字幕師 Title Design: Jason Xiao 蕭董 

攝影器材：旋轉牧馬
燈光器材：貞寶企業有限公司
攝影棚：七號盒子攝影棚

特別感謝：我的神母親大人、Yayun Hsu、AJ Li 、 Joanne Lin、 米鹿、好運道具、吉利貨車出租、銘傳大學環管督導、李亮辰、林力誠、彭楷翔、李品萱、張詠琳、魏采綾、陳柏臻、酷炫阿唐、詹舒涵、辜郁綺、張朔豪、Amy Liu、Rachel、Grace

#ABCD #英文國歌 #唱出你的心聲