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

#Opinion by Hang Zhi 杭之｜"Architecturally, the National Chiang Kai-shek Memorial Hall has the design of a mausoleum, and it is difficult to say that it is not a symbol of authoritarianism. However, chasms and antagonisms are like deep trenches and high walls, and it takes complicated political procedures – a compromise between the significance of power and the significance of values with loftier values - to resolve them. And the transition should not merely be an administrative “reallocation of space” by, for example, the creation of commercial museums or parks. It should be a recreation of the meaning of a space."

Read more: https://bit.ly/3pwDkbb

"陵寢建築形制的「中正紀念堂」，很難說它不是威權象徵，但撕裂對立有如深溝高牆，其解決將會是錯綜的「政治過程」，一種權力意義、價值意義的對立妥協，在更高的價值層次上。而它的轉型絕對不應該只是一個行政性的「空間的再分配使用」，弄些最後變成商業性的這種館那種園區，而應該是一個空間場景的意義再創造。"
____________
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剛剛的北美之行，在演出之餘，當然也勾結了不少的當地的媒體。

#lgbtqInHongKong #CensorshipInChina #FreedomOfSpeech #LiberateHongKong #StandWithHongKong #CantoPop

//Anthony Wong’s Forbidden Colors

Out Hong Kong Canto-pop star brings his activism to US during his home’s protest crisis

BY MICHAEL LUONGO

From 1988’s “Forbidden Colors,” named for a 1953 novel by gay Japanese writer Yukio Mishima to this year’s “Is It A Crime?,” commemorating the 30th anniversary of the Tiananmen Square Massacre, Hong Kong Canto-pop star Anthony Wong Yiu-ming has combined music and activism over his long career. As Hong Kong explodes in revolt against Beijing’s tightening grip with the One Country, Two Systems policy ticking to its halfway point, Wong arrived stateside for a tour that included ’s Gramercy Theatre.

Gay City News caught up with 57-year-old Wong in the Upper West Side apartment of Hong Kong film director Evans Chan, a collaborator on several films. The director was hosting a gathering for Hong Kong diaspora fans, many from the New York For Hong Kong (NY4HK) solidarity movement.

The conversation covered Wong’s friendship with out actress, model, and singer Denise Ho Wan-see who co-founded the LGBTQ group Big Love Alliance with Wong and recently spoke to the US Congress; the late Leslie Cheung, perhaps Asia’s most famous LGBTQ celebrity; the threat of China’s rise in the global order; and the ongoing relationship among Canto-pop, the Cantonese language, and Hong Kong identity.

Wong felt it was important to point out that Hong Kong’s current struggle is one of many related to preserving democracy in the former British colony that was handed back to China in 1997. While not his own lyrics, Wong is known for singing “Raise the Umbrella” at public events and in Chan’s 2016 documentary “Raise the Umbrellas,” which examined the 2014 Occupy Central or Umbrella Movement, when Hong Kong citizens took over the central business district for nearly three months, paralyzing the city.

Wong told Gay City News, “I wanted to sing it on this tour because it was the fifth anniversary of the Umbrella Movement last week.”

He added, “For a long time after, nobody wanted to sing that song, because we all thought the Umbrella Movement was a failure. We all thought we were defeated.”

Still, he said, without previous movements “we wouldn’t have reached today,” adding, “Even more so than the Umbrella Movement, I still feel we feel more empowered than before.”

Hong Kong’s current protests came days after the 30th anniversary commemorations of the Tiananmen Square Massacre, known in China as the June 4th Incident. Hong Kong is the only place on Chinese soil where the Massacre can be publicly discussed and commemorated. Working with Tats Lau of his band Tat Ming Pair, Wong wrote the song “Is It A Crime?” to perform at Hong Kong’s annual Tiananmen commemoration. The song emphasizes how the right to remember the Massacre is increasingly fraught.

“I wanted our group to put out that song to commemorate that because to me Tiananmen Square was a big enlightenm­ent,” a warning of what the Beijing government will do to those who challenge it, he said, adding that during the June 4 Victoria Park vigil, “I really felt the energy and the power was coming back to the people. I really felt it, so when I was onstage to sing that song I really felt the energy. I knew that people would go onto the street in the following days.”

As the genre Canto-pop suggests, most of Wong’s work is in Cantonese, also known as Guangdonghua, the language of Guangdong province and Hong Kong. Mandarin, or Putonghua, is China’s national language. Wong feels Beijing’s goal is to eliminate Cantonese, even in Hong Kong.

“When you want to destroy a people, you destroy the language first, and the culture will disappear,” he said, adding that despite Cantonese being spoken by tens of millions of people, “we are being marginaliz­ed.”

Canto-pop and the Cantonese language are integral to Hong Kong’s identity; losing it is among the fears driving the protests.

“Our culture is being marginalized, more than five years ago I think I could feel it coming, I could see it coming,” Wong said. “That’s why in my music and in my concerts, I kept addressing this issue of Hong Kong being marginaliz­ed.”

This fight against the marginalization of identity has pervaded Wong’s work since his earliest days.

“People would find our music and our words, our lyrical content very apocalyptic,” he explained. “Most of our songs were about the last days of Hong Kong, because in 1984, they signed over the Sino-British declaration and that was the first time I realized I was going to lose Hong Kong.”

Clarifying identity is why Wong officially came out in 2012, after years of hints. He said his fans always knew but journalists hounded him to be direct.

“I sang a lot of songs about free love, about ambiguity and sexuality — even in the ‘80s,” he said, referring to 1988’s “Forbidden Colors.” “When we released that song as a single, people kept asking me questions.”

In 1989, he released the gender-fluid ballad “Forget He is She,” but with homosexuality still criminalized until 1991, he did not state his sexuality directly.

That changed in 2012, a politically active year that brought Hong Kongers out against a now-defunct plan to give Beijing tighter control over grade school curriculum. Raymond Chan Chi-chuen was elected to the Legislative Council, becoming the city’s first out gay legislator. In a concert, Wong used a play on the Chinese word “tongzhi,” which has an official meaning of comrade in the communist sense, but also homosexual in modern slang. By flashing the word about himself and simultaneously about an unpopular Hong Kong leader considered loyal to the Chinese Communist Party, he came out.

“The [2012] show is about identity about Hong Kong, because the whole city is losing its identity,” he said. “So I think I should be honest about it. It is not that I had been very dishonest about it, I thought I was honest enough.”

That same year he founded Big Love Alliance with Denise Ho, who also came out that year. The LGBTQ rights group organizes Hong Kong’s queer festival Pink Dot, which has its roots in Singapore’s LGBTQ movement. Given the current unrest, however, Pink Dot will not be held this year in Hong Kong.

As out celebrities using their star power to promote LGBTQ issues, Wong and Ho follow in the footsteps of fellow Hong Konger Leslie Cheung, the late actor and singer known for “Farewell My Concubine” (1993), “Happy Together” (1997), and other movies where he played gay or sexually ambiguous characters.

“He is like the biggest star in Hong Kong culture,” said Wong, adding he was not a close friend though the two collaborated on an album shortly before Cheung’s 2003 suicide.

Wong said that some might think he came to North America at an odd time, while his native city is literally burning. However, he wanted to help others connect to Hong Kong.

“My tool is still primarily my music, I still use my music to express myself, and part of my concern is about Hong Kong, about the world, and I didn’t want to cancel this tour in the midst of all this unrest,” he said. “In this trip I learned that I could encourage more people to keep an eye on what is going on in Hong Kong.”

Wong worries about the future of LGBTQ rights in Hong Kong, explaining, “We are trying to fight for the freedom for all Hong Kongers. If Hong Kongers don’t have freedom, the minorities won’t.”

That’s why he appreciates Taiwan’s marriage equality law and its leadership in Asia on LGBTQ rights.

“I am so happy that Taiwan has done that and they set a very good example in every way and not just in LGBT rights, but in democracy,” he said.

Wong was clear about his message to the US, warning “what is happening to Hong Kong won’t just happen to Hong Kongers, it will happen to the free world, the West, all those crackdowns, all those censorships, all those crackdowns on freedom of the press, all this crackdown will spread to the West.”

Wong’s music is banned in Mainland China because of his outspokenness against Beijing.

Like other recent notable Hong Kong visitors including activist Joshua Wong who testified before Congress with Ho, Wong is looking for the US to come to his city’s aid.

Wong tightened his body and his arms against himself, his most physically expressive moment throughout the hour and a half interview, and said, “Whoever wants to have a relationship with China, no matter what kind of relationship, a business relationship, an artistic relationship, or even in the academic world, they feel the pressure, they feel that they have to be quiet sometimes. So we all, we are all facing this situation, because China is so big they really want the free world to compromise.”

(These remarks came just weeks before China’s angry response to support for Hong Kong protesters voiced by the Houston Rockets’ general manager that could threaten significant investment in the National Basketball Association by that nation.)

Wong added, “America is the biggest democracy in the world, and they really have to use their influence to help Hong Kong. I hope they know this is not only a Hong Kong issue. This will become a global issue because China really wants to rule the world.”

Of that prospect, he said, “That’s very scary.”//

Alumine Five of Stenheim

Stenheim is a relatively late entrant to the high-end speaker field. It was founded in 2010 by a collective of mainly ex-Goldmund engineers, and its products have inherited an unmistakable aesthetic and, to a lesser extent, sonic DNA, although it was a significantly evolved character that was to emerge in the shape of the debut model, the compact, two-way Alumine Two. It’s a developmental divergence that has continued and, if anything, accelerated with the emergence of each subsequent product. The latest Stenheim speakers, developed under the auspices of new owner Jean-Pascal Panchard, definitely have their own, unambiguous identity, both visually and musically.

I’ve been seriously looking forward to the arrival of the Alumine Five. Previous experience with the brand has included impressive exposure to the various versions of the enormous and enormously impressive Ultime Reference models, as well as a brief but highly rewarding flirtation with the stand-mounted Alumine Two in my own system. The possibility of combining the sense of musical articulation, enthusiasm and communication I experienced from the Alumine Two, with more than a hint of the clarity, scale and authority so effortlessly delivered by the Reference models, all in a package that, if not exactly affordable, at least isn’t completely out of the question, makes the Alumine Five a distinctly interesting proposition.

Yet, confronted with the Alumine Five in the flesh, there’s little to hint at the extraordinary promise lurking within. Resolutely rectangular in true Stenheim style, the Five’s aluminum cabinet, with its plate-to-plate construction, stands just 48" tall, 15" deep and presents a broad 11" face to the world, dimensions based on golden-ratio numbers. The front baffle is split by a physical break between the upper midrange-treble enclosure and the lower bass cabinet, independently ported by the laminated full-width slots above and below, a physical separation that is mirrored by the contrasting inlaid strips that help visually break up the one-piece side panels. The regular lines, smooth surfaces, flawless matte finish and lack of visible fixings could easily result in a bland, almost featureless appearance. But those trim strips and the offset midrange and treble drivers do just enough to give the Five a subtle hint of individual style without resorting to the sort of gauche and ostentatious flourishes that so often pass as design.

The result is a refreshingly clean, classical appearance that will blend seamlessly with a range of different decors. Despite the lack of grilles (although they are available as an option, does anybody really spend this kind of money on a speaker and then compromise the performance by fitting covers?), the beautifully profiled baffle and absence of visible fixings makes for a genuinely neat, finished appearance that matches the superb surface finish on the cabinet. The end result just looks right, in a way that makes you wonder why you’d want grilles anyway.

The first hint of its potent sonic capabilities comes when you try to pick it up. Each comparatively compact cabinet tips the scales at 220 pounds. That’s a grunt-inducing, two-man lift. Now, take a look at the figures for bandwidth and sensitivity, and an in-room response that digs down as far as 28Hz combined with 94dB efficiency should raise your eyebrows, especially given the compact cabinet dimensions. Which brings us to the first experiential disconnect: boxes this size shouldn’t produce this much bass or do it so easily. Nor should they weigh so much -- although therein lies the clue to this particular conundrum. When it comes to bass extension, it’s not the external dimensions of the box that matter, but its internal volume. Just like the Crystal Cable Minissimo, a thin-wall cabinet makes for a much larger internal volume than the external dimensions might suggest -- especially if we apply the expectations of more conventional wood-based construction. Throw in the sheer weight of the aluminum panels and the combination of mass and physical dimensions would subconsciously suggest massively thick walls -- and a correspondingly limited internal volume. Instead, what we have here is a deceptively large volume, which, combined with the inertia of the heavy cabinet and the mechanical stability provided by the material, makes for an effective mechanical reference for driver movement, meaning that more of the energy your amplifier sticks into the speaker comes out as sound and (at least in theory) it will be more precisely rendered.

So far, not very much that’s new. It’s not like Stenheim (or Magico, or YG Acoustics) has exclusivity when it comes to aluminum cabinets. But what does make Stenheim different is the unique material they use in damping their cabinet panels. Of course, the separate enclosures and the internal baffles they demand make for an inherently heavily braced structure, but look inside a dismantled Alumine Five and you’ll find strategically placed pads stuck to the cabinet walls. These three-layer, self-adhesive pads combine a heavy damping layer (adjacent to the cabinet wall itself) with added foam and impervious layers, allowing the low-volume pads to influence both the mechanical behavior of the cabinet itself and the enclosed volume. It’s an interesting solution because it manages to overcome the weakness so often audible in simple, braced aluminum cabinets (the all-too-recognizable resonant signature of the material itself) while maximizing the benefits (large volume and rigidity) by obviating the need to stuff the internal space full of wadding or long-haired wool. In fact, if the Stenheims were stood behind a sonically transparent curtain, you’d be hard-pressed to recognize the music as emanating from an aluminum cabinet at all. The absence of the bleached, grainy or lean colorations, the lack of sterile, mechanistic reproduction, is one big half of the Stenheim story, living, breathing proof that it’s not what you use but how you use it that counts.

The other half is down to the drive units, and after the cabinets, those come as quite a surprise, both the lineup and the chosen materials. In stark contrast to the use of the latest, precision CNC techniques, complex damping pads and finishing options, the Alumine Five's drivers are as traditional as they come, with a coated silk-dome tweeter and pulp or laminated paper midrange and bass drivers. The cone drivers use textile double-roll surrounds and massive magnets more normally found in pro-audio applications, and while Stenheim doesn’t build its own drivers, the company works closely with its chosen supplier (PHL, definitely not one of the usual suspects) to specify the electrical parameters, mechanical characteristics and precise details of the surface coating.

The use of such lightweight cone materials and large motors aids the system efficiency, while a hybrid second-order/Linkwitz-Riley crossover, the result of extended listening and evolution, ensures phase coherence and excellent out-of-band attenuation and makes for easy non-reactive load characteristics, despite the three-way topology. The other aspect of the driver lineup that might be considered slightly unusual is the use of a large-diameter (6 1/2") midrange unit -- although less so since Vandersteen’s patent on the approach lapsed some years ago, resulting in a rash of companies suddenly exploring the possibilities of the topology.

Perhaps more important, in the case of the Alumine Five, it means that you are getting the tweeter and midrange drivers from the Ultime Reference series speakers, teamed here with a pair of 10" woofers but without the benefit of a super tweeter. Even so, Stenheim quotes bandwidth out to 35kHz, which should suffice for most purposes. The review speakers arrived with the optional second set of terminals installed, allowing for biwiring or, more significantly, biamping, an upgrade opportunity that makes this an option you should take. If, in the meantime, you are single-wiring the speakers, make sure you factor in a set of jumpers that match your speaker cables: the Alumine Five's overall sense of musical coherence makes the benefits especially obvious. Likewise, good wiring practice is essential, both in terms of cable dressing and diagonal connection (red to midrange/treble, black to bass, with jumpers arranged accordingly).

Aside from the speaker's substantial weight, the parallel sides and flat surfaces of the four-square cabinet make setting up the Fives an absolute joy. Precise, repeatable, angular adjustments are easily achieved, while changes in attitude are just as straightforward, helped by the beautifully profiled stainless-steel spiked feet and deeply cupped footers. Both the cones and their locking rings have nice, large ports to take the supplied pry bars, but it’s worth greasing the threads before installation. One other thing to watch out for: the spikes are seriously (refreshingly) sharp -- sharp enough to penetrate a thick rug and score the floor below, so be careful where you stand the speakers once the feet are installed. Final positioning disposed the speakers on a broad front with minimal toe-in. When it came to dialing in their considerable musical energy, the most critical factor proved to be height off the ground, with tiny adjustments of the spikes making profound differences to the weight and pace of the presentation. Likewise, equal weighting of the four spikes was crucial to a proper sense of grounded weight and dynamic authority.
........................................................

Price: $60,000 per pair.
Warranty: Five years parts and labor.

(Source: The Audio Beat)

《Cope with Life》
曲：黎曉陽
詞：黎曉陽

Kill a day
Another day you knew it's not the only way
If you look another side
Maybe you'll find your way in time

What is wrong, and what is right?
What is the meaning of our lives?
And I've been spending all my time
Tried to compromise

I wanna cry
I'm just searching for a paradise
Looking for a place to hide or a place to cry
Try to cope with life
I wanna try
I'm just searching for a paradise in life
Give me time
A paradise I'll find

What is wrong, and what is right?
What is the meaning of our lives?
And I've been spending all my time
Tried to compromise

I wanna cry
I'm just searching for a paradise
Looking for a place to hide or a place to cry
Try to cope with life
I wanna try
I'm just searching for a paradise in life
Give me time
A paradise I'll find

I wanna cry
I'm just searching for a paradise
Looking for a place to hide or a place to cry
Try to cope with life
I wanna try
I'm just searching for a paradise in life
Give me time
A paradise I'll find

Give me time
A paradise
I'll find

#黎曉陽 #CopeWithLife
#谷Live #香港音樂人 #香港製造 #MadeInHongKong #廣東歌 #香港人撐香港音樂 #撐廣東歌撐谷Live #香港音樂 #StudioLive
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女性力量 由放下開始 ~ [相聚一刻] ep186
播出：2017年12月18日, 8pm
嘉賓：Joy Fok, 世界旅行者, 紀錄片製片人
主持：Esther Lee
監製：Weller Choi, Tony Chau
場地：匯智社

要令一個女人開心，談何容易？一個女人如何能令自己快樂、幸福，甚至成為女性領導？你是否付出太多，以致乾枯了都不知道？你有把自己的需要、感覺放第一位嗎？你是否照顧別人，多過自己？你是否為其他人付責任？

今集，我們為你講女性的福祉，如何取得平衡？之致得到真正的幸福，遇見真正的自己。

基本上，大多數女性實際上是女強人，甚麼是女強人？我們經常會照顧身邊的每一個人，我們的家庭成員、父母、伴侶、孩子，還有，我們的團隊…。而且，我們經常把自己的需要運想要放在最後。這次，我們的嘉賓，Joy Fok, 一位世界級的旅行家和紀錄片製片人，她經歷了很多，我們都經歷了很多，才找到自己，甚麼是真正負責任？只要好好管自己的事，而不是試圖拯救世界或親人。

我們如何理清負責？甚麼是真正的愛，關心和付出？我們什麼時候該停止？我們應該在哪裡劃出”健康界線”呢？我們有很多人，只是付出、付出、付出，而不知道我們的企圖心是甚麼？是內疚？想扮演”拯救者”？做了別人媽媽的角色？到底為什麼？

我們從過去幾十年的生活中學到了很多智慧，才懂得先愛自己，把自己放在第一位。我們提出了七個成為一個幸福的女人的鑰匙，甚至成為是一個女性領袖。而且，如何活出豐盛的生活？

1）做你喜愛做的事情，不要妥協;
2）先照顧好自己的需要，將自己放第一;
3）自己沒有的，是不能給別人的;
4）你願意放棄”某些事”嗎？
5）你是否對自己太苛刻了？
6）需要時，要求幫助吧！
7）以自己的方式享受生活。

多謝收看！

Basically, most women are actually super women. We used to take care of every one around us, our family members, our parents, our partner, our children, our team… and very often, we put us at the end of the queue. Joy Fok, our guest this time, a world traveller and TV producer, and I had gone through a lot, to find ourselves, to be truly responsible, meaning care about our own business, and not trying to rescue the world or our loved ones.

What is your “Abundance Level”? How do we distinguish between being responsible? Being loving, caring and giving? When should we stop? Where should we draw the line of healthy boundary? Many of us just give, give, give, without knowing where we come from, such as guilt, playing rescuer, mothering others or what?

We have learned so much from our past decades of life, and come to love ourselves, and put ourselves first and foremost. We have come up with 7 Keys to Be A Happy Woman, even a woman leader. And, how to lead a lif of Abundance?

1) Do what you love only, do not compromise;
2) Take care of ourselves first and foremost;
3) You can’t give have we don’t have;
4) Are you willing to give up “something”?
5) Are you being too harsh to yourself?
6) Ask for help when you need to;
7) Enjoy life in your own terms.

Enjoy our interview!