關於 best travel guitar ，我們在網路上蒐集到這些相關的討論、資訊與評價

░ 波傑克特三 PROJECT 3── 01. 第三章：印度、義大利與我 ░


CHAPTER III：INDIA, ITALY AND I



印度一直是個令我異常著迷的地方，這些年來陸陸續續去了幾回，體驗不同區域的特殊人文風情。兩年前和朋友一遊素有人間仙境之稱的喀什米爾，飛機降落後，顛簸小廂型車中播放的印度音樂、隨之瘋癲的友人、達爾湖的船屋、徹夜的誦經聲（當時適逢伊斯蘭教齋戒月）和清晨鳥兒群聚吱吱喳喳的 Bird Party，這一切怎能不用音樂記錄下來？


近幾年也因多次赴義巡演讓我對義大利產生了濃厚的情感，Elizabeth Gilbert 的書「Eat, Pray, Love」和 Stanley Kubrick 六零年代的電影「Spartacus」雖仍令我愛不釋手、回味無窮，但再生動地描述、再美的畫面也無法直接傳達艷陽下在西西里島跳進海裡游泳的爽快、隨時有美味 gelato 可品嚐的感動、濃郁香醇的咖啡、那不勒斯燙口鹹香好吃到掉淚的 pizza、飯後酒 amaro 和各種繽紛美味甜點。除了美景、美食以外，在義大利（尤其是羅馬）令我印象最深刻的要算是隨處可見的遺址、表情驚悚的雕像、噴水池和蜿蜒石子小路了──轉個彎遇到美女順便說聲 Ciao bella！在那片土地時也總讓我不自覺遙想很久很久以前⋯⋯。


於是某一天，我寫了首「給33歲的愛麗絲」送給自己，人生恰如一段美麗而永不停歇的奇幻旅程，和愛麗絲夢遊仙境一般、勇敢的冒險吧！



India has captivated my imagination for years, and I’ve returned again and again for its diverse culture and experiences. From the Indian music playing on the minibus after we landed in Kashmir, to the bumpy ride with my loopy friends; the boathouse on Dal Lake; all-night prayers during Ramadan; and the dawn tweets of the Bird Party —how could I resist capturing it through music?


My knowledge of Italy stems from my ongoing visits/tours in recent years; reading Elizabeth Gilbert’s Eat, Pray, Love; watching Stanley Kubrick’s Spartacus; and, of course, the many travel shows, movies and books about the country. But none of them could accurately capture what it’s like to dive into the Sicilian sea, lick mouthwatering gelato, savor aromatic cappuccino, consume tear-shedding pizza in Naples, down amaro digestive, and the multitude of “dolci”. Beyond the beautiful sceneries and food, the vivid statues dotting the streets of Rome, fountains sprouting around the windy streets (where at the turn of a corner, you’d often hear “Ciao bella!"), immersed in such a landscape propelled me to a place a long, long time ago …


Where Alice in Wonderland, or the “Alice” in Für Elise, are both 33 years old taking on wondrous journeys, wandering through Wonderland, like me.



許郁瑛 yuying hsu──〈波傑克特三 PROJECT 3〉


01. 《第三章：印度、義大利與我》 CHAPTER III: INDIA, ITALY AND I 17’17’’
02. 《荒廢古堡與公主王子的三部曲》 THE DESERTED CASTLE, PRINCESS AND PRINCE TRILOGY 24’50’’
03. 《印地安人的紗窗玻璃》 REMINISCENCES OF THE TRIBAL LIFE, ENVIRONMENTAL DESTRUCTION AND TAIPEI CITY WINDOW GLASS SERVICE TRUCK 16’25’’


TOTAL TIME: 58'33"



ⒸⒹ 實體專輯
誠品網路書店
https://goo.gl/DyLuPs
博客來
https://goo.gl/STZPwU
五大唱片
https://goo.gl/k9jeEB
佳佳唱片
https://goo.gl/sbsd4s
玫瑰大眾購物網
https://goo.gl/Z3t8RT


ⒹⒾⒼⒾⓉⒶⓁ 數位專輯
https://YuYingHsu.lnk.to/P3AW


WARNER MUSIC TAIWAN
release date/ august, 2018



all compositions by 許郁瑛 YUYING HSU
produced by 許郁瑛 YUYING HSU, 余佳倫 CHIALUN YUE


鋼琴 piano／許郁瑛 YUYING HSU
鼓 drums／林偉中 WEICHUNG LIN
吉他 guitar／陳穎達 YINGDA CHEN
玩弦四度 Interestring Quartet／
第一小提琴 violin I／黃偉駿 WEIJUN HUANG
第二小提琴 violin II／劉洧忻 WEIHSIN LIU
中提琴 viola／葉棣綺 CHIEE YEH
大提琴 cello／葉俊麟 JIRO YEH


recorded by 單為明 LINK SHAN , 蔡周翰 CHOUHAN TSAY
recorded at LIGHTS UP STUDIO, TAIPEI
mixed by 余佳倫 CHIALUN YUE
mixed at MUSDM, TAIPEI
mastered by DAVE DARLINGTON
mastered at BASS HIT RECORDING, NEW YORK CITY


project manager - 佘以安 YIAN SHE
album design - 陳吉寶 DICHUN CHEN
illustration - 陳狐狸 WHOOLI CHEN
inside photography - MOCCAS CHIU
copywriter - 許郁瑛 YUYING HSU, 張季岸 CHIAN CHANG


*
特別感謝 Special thanks to──
motion graphic - 王韋衫 WANG WEI SHAN
for all your help. :Ｄ



More about 許郁瑛 yuying hsu──
https://www.facebook.com/yyhsu.music



#專輯內頁文字首次分享
#金曲30 倒數3天



*
░ 波傑克特三 PROJECT 3 ░ 入圍 金曲 GMA 30 演奏類──


■最佳專輯製作人獎〈許郁瑛 ; 余佳倫〉
■最佳作曲人獎〈第三章：印度、義大利與我 CHAPTER III: INDIA, ITALY AND I 〉


░ PROJECT 3 ░ received TWO NOMINATIONS for The 30th Golden Melody Awards for──


■Best Album Producer
■Best Composer

【✨就在今晚✨】8/12 (Sat) 跟著爵士去旅行 - 高雄站 Travel With Jazz - Kaohsiung @ Madker Live House & Restaurant 美德客音樂餐酒館

高雄，我們今晚見！

Vocal/Celine Hsu 徐席琳
Guitar/Fang-Shu Li 李芳旭
Bass/Stone Shih 石哲安
Drums/Tim Lin 林宥廷

🎤 Madker Live House & Restaurant 美德客音樂餐酒館
地址：高雄市鹽埕區七賢三路43號
電話：(07) 531 3538
表演時間：7 - 9 PM
表演編制：Quartet (Vocal + Guitar + Bass+ Drums)
入場費用：$500 （$200可抵餐飲）

女爵・騎士集結了台灣新生代爵士樂手，曲風精緻優雅。經典爵士搖擺、清新飄渺芭莎、簡約現代爵士原創曲目。擅長將樂曲添加豐富元素，呈現多樣化的音樂體驗，包括主題音樂會、與搖擺舞蹈結合等，活躍於多處Live表演場地，並長期駐唱演出。在地扎根，接軌國際，享受爵士即興當下獨一無二的美好。

女爵・騎士《Lady & Knight》
☛演出時間：2017/8/12(六) 19:00-21:00
☛入場費用：$500/人(可抵用200元餐飲消費)
歡迎來電 ☎ 07-531-3538或 FB私訊預約
------------------------------------------------------

Vocal / Celine Hsu 徐席琳

歌手徐席琳(Celine Hsu)來自澳洲雪梨，有著波西米亞靈魂，旅居加拿大法語區蒙特婁、東京、香港、上海、北京等城市，遊牧巴黎、紐約，足跡遍佈21個國家數十個城市。澳洲華人歌唱大賽Finalist，於雪梨學習歌唱技巧，隨英國皇家音樂檢定指導老師進修聲樂，並持續參加爵士樂手研習課程。歌聲時而甜美時而低沈細膩，擁有辨識度極高的清雅優柔嗓音，以自在唱腔細細描繪每首歌曲。

Guitar / Fang-Shu Li 李芳旭

吉他手李芳旭(Fang-Shu Li)自15歲開始學習吉他，曾贏得YAMAHA熱音賽及政大金旋獎最佳吉他手，於2016年台中爵士音樂節新手比賽中以「李芳旭Trio」獲得前三甲的殊榮，也在2016年台北爵士音樂節中獲邀大安森林公園演出。為了在吉他演奏技巧上精益求精，芳旭於服役後前往美國洛杉磯，於洛杉磯音樂學院（ Los Angeles College Of Music）進修吉他演奏。他的演奏呈現了簡約的內斂風格，並兼具精準和自然的情感表現，芳旭特有的觸感，讓樂音化繁為簡，卻更多了一些態度。

Bass / Stone Shin 石哲安

電貝斯手石哲安(Stone Shih)的音樂風格深受爵士與J-Pop影響，並跨足搖滾與R&B等領域。於2016年台中爵士音樂節新手比賽中參與「李芳旭Trio」獲得前三甲的殊榮，也在2016年台北爵士音樂節中獲邀大安森林公園演出。除長期參與各式風格之創作、編曲、錄音、商業廣告配樂外，亦追求音樂本質能力的不斷精進，接收國際多位大師如比利時爵士貝斯名家Bart De Nolf、旅歐Saxophone大師John Ruocco之指導。

Drums / Tim Lin 林宥廷

爵士鼓手林宥廷(Tim Lin)於2016年台北爵士音樂節新秀比賽獲得第二名的佳績，於2015年獲選為台北爵士音樂節菁英樂手，並曾與「藍莓派爵士樂團」一同獲得2010年台中爵士音樂節新秀比賽第一名，多次受邀參加台中爵士音樂節演出。擅長風格包括爵士、拉丁爵士、Jazz Funk 及Rock等，近來更將觸角延伸到戲劇與舞台，隨著各種製作在兩岸演出。林宥廷 Tim 的鼓聲中，樂曲注入了心跳，強弱節拍裡產生不同的化學作用，更多的深度及廣度，更多靈魂，更觸及內心深處。

Lady & Knight is a group featuring vocals and other talented musicians that performs at various venues and events such as wedding receptions, private parties, cocktail hours, dinners, company parties and jazz cafes. Lady & Knight brings you pop crossover bossa nova and swing, and their very own jazz reinterpretation of classical masterpieces.

Originally from Sydney, Australia, Vocalist Celine Hsu was trained by vocal coaches who are renowned for their Classical, Jazz, and Contemporary vocal styles. An avid traveller, she has lived in fascinating cities such as Beijing, Shanghai, Hong Kong, Tokyo, Montreal etc.. The experience gained through her travel, has allowed Celine to appreciate musical diversity and adapt unique features into her own musical style. With Psychology Studies background, Celine adds depth into the lyrics and tells stories through songs.

Guitarist Fang-Shu Li began playing guitar at the age of 15. Gaining recognition for his talent in guitar by winning several titles as the Best Guitarist through competitions, Fang-Shu continued to improve his skills by attending Los Angeles College Of Music in the United States. Since returning to Taiwan, Fang-Shu has been awarded the best newcomer with his band "Fang-Shu Li Trio" in 2016 Taichung Jazz Festival, and was invited to perform at the Taipei Jazz Festival in the same year.

Bassist Stone Shih possesses an intriguing music style which is influenced by a variety of music genre, such as Jazz, J-Pop, Rock and R&B. Stone is a talented composer and arranger and has worked on various commercial projects. Always perfecting his craft, Stone continues to attend masters’ workshops and has been coached by Bart De Nolf, John Ruocco and alike. He has been awarded the best newcomer with "Fang-Shu Li Trio" in 2016 Taichung Jazz Festival, and was also invited to perform at the Taipei Jazz Festival in the same year.

Drummer Tim Lin is a regular participant at the various Jazz Festivals, as well as a regular performer at other renowned live jazz venues around Taiwan. He was awarded the Best Newcomer along with the band "Blueberry Jazz Pie" in 2010 Taichung Jazz Festival and in 2016 Taipei Jazz Festival. In 2015, Tim was also selected as one of the elite Musicians at the Taipei Jazz Festival Elite Jazz Camp and subsequently performed at the Festival. With passion and eagerness to expand his expertise in drums, Tim has also participated in theatre and musical productions.

Videos 影像連結：
《Honeysuckle Rose》 https://youtu.be/qoPmSlSaRK4
《All Of Me》https://youtu.be/V7qkHXvRQgE
《Fly Me To The Moon》https://youtu.be/5bMMrqLY94Q
《I Wish You Love (French/English)》https://youtu.be/3lB0gO5-1Ps

女爵・騎士Lady & Knight 官方粉絲頁:
https://www.facebook.com/ladyandknight/

Nobody’s Fool　　( January 2011 )

Yoshitomo Nara

Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.

It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.

But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.

While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.

As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.

In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.

Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.

Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!

I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.

Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.

By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.

After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.

And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.

Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.

But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.

The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.

Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.

After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.

Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.

After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.

I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….

Các bạn có đang ở nhà?! Hãy nghe Ca khúc của Bác Trần Tiến mà Bào Ngư đã cover lại với Guitar Acoustic nhé!!
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Để có kinh phí trả bản quyền cho các tác giả & thực hiện những MV hay - đẹp và nhiều hơn nữa, nên kênh Bào Ngư từ đây sẽ nhận các khoản tiền từ các mạnh thường quân yêu thích ủng hộ kênh Bào Ngư qua số tài khoản ngân hàng:
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ghi lại 1 chút về chuyến đi Dubai cuối 2019 - những nơi xuất hiện trong video: toà tháp Burj Khalifa, chợ Vàng Gold Souk, nhà thờ Hồi giáo Jumeirah Mosque...

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I got a lot of requests, I played BTS "Dynamite"
Please listen with dancing ♪
Everyone BTS is cool, isn't it? Dance, singing, and humanity are really wonderful.
I think that it would have been an unimaginable amount of hard effort to reach this point, and I get the courage.
I'll do my best too ♡

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