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

NTPU COVID-19 PREVENTION MESSAGE (09/09)

Dear students,

With the increasing number of infections in Taipei City and New Taipei City, the University is asking all students to comply with the following preventive measures:

Always wear a mask on Campus.
Remote learning for all classes starting from Sep 22 to Oct 5.
It will fully disinfect public spaces like dorms and venues.
Campus restaurants/cafeterias will only allow take-outs.
The Sports Center will be temporarily closed.
Preventive measures of contact tracing registration, mask-wearing, temperature-taking, and alcohol disinfection are required for all activities. It limited the number of people in the gathering to 50 people indoors and 100 people outdoors.
Starting May 17, during the access control hours (Mon-Fri., 07:30-17:00), access to the Campus will be limited to the Main Gate and dorms Gate. Only university personnel, students, and alumni may enter the Campus. University personnel and students should present their ID cards to enter the Campus.
Visitors can fill in the Entry Request Application Form at the following link to apply for a one-day entry pass. (https://forms.gle/myTMihTzp1Q6h1uz7)
The school will continue to implement access control and temperature checks. University premises must continue to be staffed for temperature taking at the entrance, and a real-name system should also be implemented
Preventive measures will constantly be adjusted in accordance with the CECC's latest announcements. Thank you for your compliance with the preventive measures.

（更新：學人宿舍出入口）

因應疫情升級，禁止校外人車入校的措施將提前自5/16(周日)起實施

清華大學出入口管制:

📍校本部(開放5出入口，關閉6出入口):
👉️24小時開放人車通行:
1. 光復路北門
2. 寶山路南門
3. 水源街西門(車輛仍依現行管制，深夜不開放)

👉️部分時段開放人車通行(上午7:00-9:00，下午4:30- 6:00)
1. 東門，關閉時間請改走北門
2. 學人宿舍出入口（僅供行人通行）

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🚫光復路機車塔(星光大道)機車及行人入口關閉，將引導由北門出入
🚫寶山路清華實驗室旁機車及行人入口關閉，將引導由南門出入
--------------------------------------

📍南大校區(開放1出入口，關閉8出入口)
👉️24小時開放人車通行:
1. 南大路大門口

🚗小編知道這幾天很多同學都會請親友來幫忙搬行李。只要同學坐在車上，出示學生證，或到校門口來接，親友及其駕駛的車輛就可以入校了(請配合戴口罩及量體溫喔)
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📣NTHU Campus Entrances Control Starting from 5/16

📍Main Campus (5 entrances remain open, 6 are closed)

👉The following entrances remain open for 24 hours a day:
1. North Gate on Kuang-fu Road
2. South Gate on Pao-shan Road
3. West Gate on Shui-yuan Street (closed at late night in accordance to current regulations)

👉The following entrances are open during limited hours from 7:00AM to 9:00AM and 4:30PM to 6:00PM
1. East Gate. Vehicles and pedestrians may enter through the North Gate on Kuang-fu Road outside of opening hours.
2. The Scholar’s Dormitory. Limited to pedestrians only

🚫The motorcycle and pedestrian entrances on Shing-Kwan Boulevard are closed. Please take detour to the North Gate.
🚫The motorcycle and pedestrian entrances next to the NTHU Lab on Pao-Shan Road are closed. Please take detour to the South Gate.

📍Nan-Da Campus (1 entrance remains open, 8 are closed)
👉The following entrance remains open for 24 hours a day:
1. Main entrance of the Nan-Da campus

《我的幸福5/2 週末》

*週日下午兩點誠品信義書店「廿世紀典範人物」新書分享會，我下午二時開始演講，離上次在台灣大學公開演説。快半年了！分享會報名一小時預告已額滿，但TVBS電視台慷慨的支持。派出SNG車，屆時TVBS文茜的世界周報YouTube 及世界周報Facebook 都將同步直播。

*新書分享會後我將直奔高雄衛武營，參加劉孟捷（李斯特巡禮之年）鋼琴獨奏會。這是劉孟捷回台，最重要的一場音樂會，我目睹他用盡了一切心力。過去即使21歲時在費城代打缺席大師的音樂會，劉孟捷都未曾如此緊張。他此次回台，手術前為了沒有遺憾，共舉行三場音樂會：其中4/17與5/30皆是與國家交響樂團NSO合作：530那一場指揮是呂紹嘉。但他告訴我，某些曲目對他而言，是Piece of Cake ：惟獨衞武營這一場，曲目由他自己決定，現場錄影，並且找了金曲獎錄音師同步錄音。

5/2衛武營-劉孟捷鋼琴獨奏會《李斯特巡禮之年》購票連結
https://www.opentix.life/event/1384752689074294784

劉夢捷明白他即將面對一個大手術，手術風險之外，他的免疫系統疾病，將使他的康復之路更長。

沒有人可以預知未來，為了圓他的夢，醫院每天都要求他早上、晚上量血壓，報告直接傳給院長。振興醫院院長魏崢雖然是亞洲第一把心臟外科醫師，但也不敢大意。

畢竟這個人的生命那麼脆弱，他的心臟主動脈剝離，那是實質的「心碎」了：但他仍有詩，仍有音樂夢。在生命的交接處，在白日與黑夜的交义口，劉孟捷想為他的音樂生涯，留下最美好的紀錄。

他選擇了李斯特。

在這場音樂會前，他甚至以英文寫下了自己與音樂、疾病的半生回顧：如李斯特的巡禮，有仰望，有沉思，有失落，有幽微的疼痛。他以詩篇般的演奏模式，傾訴，詠嘆。他曾得到天賦，也走過死蔭的幽谷。命運是一層又一層的黑影逼近，老天爺隨時想帶走他。

而他已不再流淚，不再沉浸於悲愴告別：因為對他而言活著並不容易，他要讓自己更深刻的抓住每一分時光之美。

如果時間和空間，正如哲人們所形容的
都是不實際存在的東西：那從不感到衰敗的太陽，也不會比我們了不起多少！

他如艾略特的詩句中所形容的：我們為什麼要如此貪心總在祈禱，想活上整整一個世紀？

蝴蝶雖僅活了一天，已經歷了永恆。

當他的身軀如露水還在藤蔓顫抖時，他送給我們一場「完全浪漫又超技的李斯特」。

等音樂會結束了，至少有一張CD，一段YouTube 影像：不論孟捷代表生命的那朵鮮花是否枯萎，他彈奏如天使的音聲不會飛離，它會停留在那夜，繼續釋放芬芳。

這是盡生命之力、之情獨奏的音樂會。劉孟捷説：這樣當他走進手術室時，會少一點悲傷。

或許快樂的日子本來就不多，但讓這場「完全李斯特．完全劉孟捷」的獨奏會放出神聖的光彩吧！

我必將赴會，不會錯過！我知道此刻的獨奏會，很難複製，因為它綜合了太多的情感、愛念，釋放與生命的抒情。

*劉孟捷為此次獨奏會寫下的文字：This past year has seen some unprecedented changes in the world. Many lives have been lost and many have changed. The world has changed while many of us confront the uncertainty of the future.

For most musicians, life has changed. For months, we have been conducting our lessons online, and concerts have mostly stopped or become an online experience as well. More time has been spent learning how to improve the online teaching experience than one could have imagined. While I have felt the duty to continue teaching, the format the pandemic requires for teaching leaves me unwilling to spend more time than I have to.

And truly, I have had other things to deal with. When the pandemic started to worry the American public in March, I was in the middle of a tour with the String Quartet-in-Residence at Curtis, the Vera Quartet. However, our concerts were canceled, and everything came to a sudden halt.

I felt the universe had sent me an unexpected gift, as I had also just received some terrible news concerning my worsening aortic arches and a diagnosis of kidney cancer. The sudden halt in my professional schedule seemed perfect in its timing. I was able to settle into a monastic existence, to simply practice and attempt to heal.

I see many musicians itching to be concertizing again, and many stepped into new territory, performing on the internet. Many took time to develop new podcasts, and to write new materials for their art. Sadly, many have struggled as they have fallen into desperation without any concert incomes. Altogether the music industry seems to be in peril, and many worry about how music and musicians will survive.

However, I had my own survival to think about. Having been through many difficult experiences in my life, I knew this might be the most difficult I would encounter. My Doctors describe me as a walking time bomb. My condition could be lethal at any moment if my blood pressure gets out of control. So while others wrestle with the fate of the music industry, I’ve needed to face my own fate and mortality.

Playing concerts can mean many things to people. At different times throughout my life, I’ve felt the need to express different aspects of myself. When I was young, I wanted to embody the spirit of romanticism, playing lots of Chopin and Schumann. Then there was a period of time when I wanted to challenge myself by showing off pyrotechnics. I had a brooding period where I turned to the pathos of Rachmaninoff, and then felt the need to return to the purity of Schubert and nobility of Brahms. Throughout this pandemic, I wanted to play Bach. Through Bach’s music I found a kind of spiritual sanctuary.

In considering the program for this concert, I felt again the urge to play music that reflects my current feelings and state of mind. The title of today’s recital, “Years of Pilgrimage” seems to fit exactly what I am experiencing.

Liszt wrote several volumes of “Années de pèlerinage” throughout his life to reflect on thoughts he had during his travels. He links his philosophical thoughts to the scenery which inspired them. “Au Bord d’un Source” describes feelings of rejuvenation while standing next to a clear stream of water, a symbol and source of life and energy. It seems to say, when the stream is so pure, life can be so full of joy.

In the Les jeux d'eaux à la Villa d'Este (The Fountains of the Villa d'Este), the water has a magical and supernatural quality, as Liszt himself wrote in the inscription: "But the water that I shall give him shall become in him a well of water springing up into eternal life,"( from the Gospel of John.)

For me, I have never felt more connected to Liszt than when he looked upon the valley of Obermann and questioned the meaning of existence. At this moment in my life, I often find myself reflecting my experiences of what I see and read into philosophical musings. Perhaps many people come to a time when this is so.

In all this I have felt gratitude for the love stories and sonnets that one can romantically indulge in, and for storms so violent that they threaten to destroy one’s spirit, even the hell-bound journey which brings up questions about the purpose of life…

On this journey, I felt full and alive as a human being. Looking back on this journey, I am grateful for everything, whether happy or sad, to have made an impact, found and imparted meaning to this life.

The unusual time of this pandemic has marked a milestone for me. I have journeyed back home, and as it happened, this is the first time I have spent so much time in my hometown Kaohsiung in over 35 years. It’s particularly nostalgic to play these pieces as some of them were significant in my early musical career. Vallée d’Obermann was the piece I played in my first competition at the junior high school level, in which I won first prize on the national level, which allowed me to be qualified to apply for a special permission to study abroad. This meant my dream to be educated as a musician could be continued in an environment where I could develop fully. In the following year when I was 13, I won the first Asia-Pacific Youth PIano Competition with the Dante Sonata. The competition catapulted me into national attention as I was headlined in several newspapers, and especially since it was held in Kaohsiung, I became a local hero as well. During the same event, I had a fateful meeting with one of the important influences in my life, Mr. Gary Graffman, who then mentored me throughout not only the years when I was studying at Curtis, but throughout my illness and recovery as a pianist. Right before I departed to study in Philadelphia, I played my first solo recital throughout Taiwan, and along with the Dante Sonata, I also performed the three sonnets.

It’s perfect that now, back in Kaohsiung, all these memories have flooded back into my head. I feel so lucky to have been born here, and to have met my first teacher, Chin-Li Lee, who inspired me on the path to become a musician. Prof. Alexander Sung filled me with dreams of becoming an artist. I am grateful for his belief in my talent, when he chose to give a 12 year old such philosophical pieces to play.

Having once again spent some months in Kaohsiung, I can freshly appreciate the source of inspiration it once was for me. I have returned to the source to heal. Having already glimpsed hell’s gate several times, battered and weathered by the storms of life, I know there is a reason life is this way, and it all will be alright.

Meng-Chieh Liu
April, 2021

*劉孟捷衛武營《李斯特巡禮之年》演奏會中，包括李斯特以佩脫拉克三首情詩譜寫的鋼琴琴詩：這三首情詩是從大詩人佩脫拉克一百多首情詩挑出來的，詩本身就很優美，依此激發李斯特的浪漫主義創作靈感，成為琴藝上最困難演奏，但也特別細膩溫柔的琴詩。

這三首分別是：
〈佩脫拉克第47號十四行詩〉〈佩脫拉克第104號十四行詩〉及〈佩脫拉克第123號十四行詩〉。
Franz Liszt（1811-1886）: Sonetto 47 del Petrarca, Sonetto 104 del Petrarca, Sonetto 123 del Petrarca, from Années de pèlerinage, Deuxième année: Italie

李斯特於1846年先出版藝術歌曲《三首佩脫拉克十四行詩》（Tre sonetti del Petrarca），再改成鋼琴獨奏版。

三首佩脫拉克十四行詩
中譯：焦元溥（元溥也是友情贊助，特別準備音樂資料，周日南下，聆賞劉孟捷的樂曲，並且陪同他盯著錄音共三天）

〈第47〉
祝福每天、每月、每年，
所有片刻與鐘點、時間與季節，
在那美麗的原野，

我為一雙眼眸魂縈夢牽。

祝福初遇時的甜，
與愛同在、受苦不停歇，
如弓箭刺穿令我淌血，
傷口永留感動在我心間。

祝福一切我發出的聲音，
當呼喚著我深愛的女郎，
渴望、嘆息、淚濕滿襟。
祝福我寫下的文字遠揚，
歌頌她的芳名，萬古長新。
我心永屬於她，無人能闖。

〈第104〉
我找不到和平，也無意打仗，
我恐懼、我期望，燃燒又冰透。
我向天飛升，卻躺在地上，
我一無所有，卻又擁抱整個宇宙。

我身陷囹圄，監牢又開敞；
我不受囚禁，卻銬著鎖頭。
愛情不讓我死，也不讓我飛翔；
不要我活，也不准我逃離悲愁。

欲看卻無眼，啞口還在發言，
我甘心殞滅，卻仍高聲呼救，
我痛恨自己，但仍愛著他人。

憂傷滋潤我，淚水伴隨笑臉，
生命不足惜，死亡也不煩憂；
我淪落至此，都是妳啊，我的愛人！
〈第123〉

我在塵世見到仙子的美，

她天堂般優雅無與倫比。
想起她讓我悲傷又歡喜，
所見如幻夢迷霧與幽黑。

妳的可愛眼睛使我落淚，
多少次讓太陽也要妒忌。
我還聽到四周發出嘆息，
移動了山嶽停止了河水。

愛情智慧憐憫憂傷財富，
在淚水中形成甜美聲響，
奇妙和諧世上未曾目睹。
天堂追隨著音樂的流淌，
雖然枝上樹葉並未飛舞，
空氣與風息卻充滿芬芳。

5/2衛武營-劉孟捷鋼琴獨奏會《李斯特巡禮之年》購票連結
https://www.opentix.life/event/1384752689074294784

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2020年3月26日撮影
新大阪駅（しんおおさかえき）
東海道新幹線・山陽新幹線
東海道新幹線の開業に先立ち、大阪市営地下鉄御堂筋線（現Osaka Metro御堂筋線）の駅が同年9月24日に開業した。
1964年（昭和39年）10月1日に東海道新幹線の東京駅 - 新大阪駅間が開業。新幹線・東海道本線の駅が開業。開業当初は新幹線ホームは2面3線（2 - 4番線。現在の22 - 24番線）であった。
1965年（昭和40年）4月15日に新幹線ホーム1番線（現在の21番線）の使用を開始。
1966年（昭和41年）10月1日に新幹線の引上検修線が2線設置される。
1972年（昭和47年）3月15日に山陽新幹線の当駅 - 岡山駅間が開業。
1974年（昭和49年）
7月22日に大阪市の分区に伴い、駅の所在地が東淀川区から淀川区となる。
12月7日に新幹線ホーム5・6番線（現在の25・26番線）の使用を開始。
1985年（昭和60年）3月9日に新幹線ホーム20番線の使用を開始。1 - 6番線を21 - 26番線に改称。
1987年（昭和62年）4月1日の国鉄分割民営化に伴い、東海道新幹線と新幹線改札内は東海旅客鉄道（JR東海）の管轄に、山陽新幹線と在来線ならびに在来線改札内は西日本旅客鉄道（JR西日本）の管轄になり、両社の境界駅となる。
1992年（平成4年）3月14日に東海道新幹線で「のぞみ」が運行開始され、同列車の発着駅となる。
1993年（平成5年）3月18日に山陽新幹線でも「のぞみ」が運行開始される。
1998年（平成10年）3月10日に新幹線改札口に自動改札機を導入。
2013年（平成25年）3月16日に新幹線の新ホーム27番線の使用を開始。
2014年（平成26年）1月26日に新幹線の引上線4線化により、27番線増設を含めた大規模改良工事が完成。
2019年（平成31年）12月5日に新幹線の26番線にホームドアが設置され、供用開始。
島式ホーム3面6線と単式ホーム2面2線、合計5面8線を有する高架駅。
新幹線ホームはJR東海とJR西日本の共同使用だがJR東海の管轄で、JR東海が管轄する駅では最西端となる。
実際のJR東海とJR西日本の会社境界は駅西方2.8km先（東京起点518.2km）にある。ここにはATCの上り第1場内進路と地上信号機が設置されている。
JR東海の2018年度の1日平均乗車人員は84,467人。
JR東海の駅では名古屋駅、東京駅（JR東日本の数値は含まれていないことに注意）に次ぐ第3位。
Shin-Ōsaka Station
Tokaido Shinkansen / Sanyo Shinkansen
The Tokaido Shinkansen opened on October 1, 1964.
The Sanyo Shinkansen opened on March 15, 1972.
On March 10, 1998, an automatic ticket gate was installed at the Shinkansen ticket gate.
The Shinkansen platform is jointly used by JR Tokai and JR West, but it is under the jurisdiction of JR Tokai, and it is the westernmost point at stations under the control of JR Tokai.
The average number of passengers per day for JR Tokai in 2018 is 84,467.
At JR Tokai station, it is third place after Nagoya station and Tokyo station (not including JR East figures).
新大阪站
東海道新幹線/山陽新幹線
東海道新幹線於1964年10月1日開業。
山陽新幹線於1972年3月15日開業。
1998年3月10日，在新幹線檢票口安裝了自動檢票口。
新幹線平台是JR東海和JR West聯合使用的，但它屬於JR東海的管轄範圍，是JR東海控制下的車站的最西端。
2018年JR東海每日平均乘客人數為84,467。
在JR東海站，它是名古屋站和東京站之後第三位。
新大阪站
东海道新干线/山阳新干线
东海道新干线于1964年10月1日开业。
山阳新干线于1972年3月15日开业。
1998年3月10日，在新干线检票口安装了自动检票口。
新干线平台是JR东海和JR West联合使用的，但它属于JR东海的管辖范围，是JR东海控制下的车站的最西端。
2018年JR东海每日平均乘客人数为84,467。
在JR东海站，它是名古屋站和东京站之后第三位。
신오사카 역
도카이도 신칸센 · 산요 신칸센
1964 년 10 월 1 일에 도카이도 신칸센이 개업.
1972 년 3 월 15 일 산요 신칸센 개업.
1998 년 3 월 10 일에 신칸센 개찰구에 자동 개찰기를 도입.
신칸센 플랫폼은 JR 도카이와 JR 서일본의 공동 사용이지만 JR 토카이의 관할에서 JR 토카이가 관할하는 역은 최 서단된다.
JR 토카이의 2018 년도 1 일 평균 승차 인원은 84,467 명이다.
JR 도카이 역에서 나고야 역, 도쿄역 (JR 동일본의 수치는 포함되지 않은)에 이어 3 위.

#'95年に第3AM研究開発部が開発、セガが稼働させたAC用TPS形式対戦アクション作品であり、シリーズの第一作目。カトキハジメ氏がデザインしたバーチャロイドを駆使し
、戦い抜いていく。

BGMは他のバーチャロンシリーズや、ガンブレードNY(AC/'96年)、バーチャコップ(AC/'94年)等の小山氏が作曲、作品の製作現場が壮絶な状態であり、BGMも例外ではなく、プロデューサーである亙氏と小山氏の意思疎通が取れず3ヶ月余りも没になるも、「要はアニソンなんですね」と路線を把握し作業が進行した。
爽やか調やアツい曲が多く、高速で展開される本作の雰囲気にマッチする楽曲群が並ぶが、「In the Blue Sky」は多くのチャロナーが「このゲーセンにはチャロンがある」という印にもなっていた。

作曲：小山健太郎氏

Manufacturer: 1995.12.15 SEGA / SEGA3AM
System: model 2A/2B/2C
Hardware: 68000,SCSP
composer: kentarou koyama
-------------------------------------------------------
00:00 01.Transition (アドバタイズ)
01:14 02.Virtual-on (バーチャロン タイトル)
01:19 03.M.S.B.System ver.3.3 (VR選択)
02:38 04.Sally (サリー)
02:43 05.In the Blue Sky (テムジン)
05:25 06.Winner ver.1 (勝利)
05:29 07.She's Lost Control [S.L.C.] (バイパーII)
07:50 08.Everything Merges With the Night (ドルカス)
09:59 09.Encounter (乱入)
10:35 10.Higher Ground (ベルグドル)
12:57 11.Ruins (バル・バス・バウ)
14:21 12.Winner ver.2 (完全勝利)
14:24 13.Alice in the Wonderland (ヤガランデ)
17:01 14.Loser (敗北)
17:05 15.Patience (コンティニュー)
17:34 16.Operation Moon Gate (中間デモ)
18:34 17.Earth Light (アファームド)
20:52 18.The Wind Is Blowing (フェイ・イェン)
23:08 19.Interlude (コンティニュー ～ フェイ・イェン)
23:45 20.Fade to Black (ライデン)
25:58 21.Crystal Doom (ジグラッド)
28:15 22.Absent Lovers (エンディング)
29:46 23.Waiting Girl (エンディング ～ フェイ・イェン）
31:22 24.Burned by the Fire (エンディング ～ 重量VR)
32:56 25.Atrophy (バッドエンド)
33:51 26.M.S.B.System ver.3.3
35:11 27.Withdrawal (ゲームオーバー)
35:20 28.From the Moon to Me
37:19 29.Loser [Extended] (別バージョン)
37:25 30.Not On CD (CD未収録1)
40:44 31.Not On CD (CD未収録2)
41:17 32.Not On CD (CD未収録3)
43:53 33.Not On CD (CD未収録4)
44:00 34.Not On CD (CD未収録5)
44:08 35.Not On CD (CD未収録6)
44:12 36.Not On CD (CD未収録7)
-------------------------------------------------------

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CONTROL FREAK
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daughtersjewelry ピアス
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LAVISH GATE リング
https://lavishgate.net/items/5cd3c94badb2a131403e247f
AMAIL
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NIKE
https://www.nike.com/jp/t/ナイキ-エア-マックス-97-ウィメンズシューズ-1qTbqMzY/921733-100?cp=jpns_kw_pla_10000002_pc&gclid=Cj0KCQiAuefvBRDXARIsAFEOQ9G1yeao9zve60_21yOlj8-Cain5hiwtWzq3woyQkrsxLYCYeDGKGhUaAmkXEALw_wcB
GU マシュマロパンプス
https://www.uniqlo.com/jp/gu/item/323983

最後まで、ご視聴ありがとうございました.*･ﾟ
良かったら高評価&チャンネル登録よろしくお願いします♡

オリジナルtシャツ販売中♡
https://muuu.com/videos/64510ec541701bdc

Instagram→http://Instagram.com/hinap_17
Twitter→ https://mobile.twitter.com/odkphi
wear→ http://wear.jp/hi17/
楽天room→https://room.rakuten.co.jp/room_dfb3f8aede/items

↑良かったら、こちらもフォローして頂けると嬉しいです♡

田中日菜(たなか ひな)
UUUM所属/reel2期生
のちスタオーディション2017 LUCRA賞いただきました！

"お手紙等宛先について"
☟☟☟
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お仕事などのお問い合わせは【UUUM株式会社】までお願い致します🙇‍♀️
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【ルームツアー】模様替えしたのでまたお部屋をご紹介します!"実家暮らし"
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【UNIQLO】白Tシャツで夏の着回し10パターン!どんどんお着替え♡【GU.LOWRYS FARM.ZARAなど】
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人気スキンケア動画
【激変！】皮膚科に行かずに自力で肌荒れ⇨すっぴん美肌にした５つの方法！【スキンケア】
https://youtu.be/ZabQ2AK9NI0

【必見！】ノーファンデでもOKな私が普段からやり続けてること【前編】
https://youtu.be/Pel16x6KUxA

【肌荒れ.黒ずみゼロ!】おすすめ！私のクレンジング＆洗顔法【肌荒れしてた時に使ってたものも紹介しています】
https://youtu.be/CRLP76kKDOo

【肌荒れ改善】ノーファンデって実際どうなの？メリット＆デメリット【美肌】
https://www.youtube.com/watch?v=_4n466jMJB4&t=50s

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楽曲提供：Production Music by http://www.epidemicsound.com
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#買ってよかった＃ベストファッション＃2019