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

The Three Groanings

“For the creation was subjected to vanity, not of its own will, but because of him who subjected it, in hope that the creation itself also will be delivered from the bondage of decay into the liberty of the glory of the children of God. For we know that the whole creation groans and travails in pain together until now. Not only so, but ourselves also, who have the first fruits of the Spirit, even we ourselves groan within ourselves, waiting for adoption, the redemption of our body. For we were saved in hope, but hope that is seen is not hope. For who hopes for that which he sees? But if we hope for that which we don’t see, we wait for it with patience. In the same way, the Spirit also helps our weaknesses, for we don’t know how to pray as we ought. But the Spirit himself makes intercession for us with groanings which can’t be uttered. He who searches the hearts knows what is on the Spirit’s mind, because he makes intercession for the saints according to God.” (Romans‬ ‭8:20-27‬ ‭WEB‬‬)

Firstly, the whole creation is groaning due to the fall that happened when Adam sinned. Sin brought death into the world, and death is producing all these groanings that show that creation is suffering.

God never designed for animals to harm man, and insects (such as mosquitoes) never bit Adam and Eve in the garden. Every creature, including man, was herbivorous, eating plants and fruits.

“God said, “Behold, I have given you every herb yielding seed, which is on the surface of all the earth, and every tree, which bears fruit yielding seed. It will be your food. To every animal of the earth, and to every bird of the sky, and to everything that creeps on the earth, in which there is life, I have given every green herb for food;” and it was so.” (Genesis‬ ‭1:29-30‬ ‭WEB‬‬)

After Adam, the appointed ruler of earth, ate from the tree of the knowledge of good and evil against God’s command, that sin caused all of Adam’s subjects and kingdom to experience death and fall under a curse.

Ever since, the earth has been groaning, suffering from the effects of sin. Earthquakes, volcanic eruptions, tsunamis, hurricanes—these are some manifestations of the earth’s groans.

Animals, insects, and birds attacking humans, plants producing poisons, these are also part of creation’s groans.

Secondly, we believers who have the indwelling Holy Spirit groan because we feel all the limitations and imperfections of this mortal body that has been corrupted by sin.

We who know about the Rapture eagerly long for the redemption of our body. Imagine a body that can never die or be destroyed. It never feels suffering, tiredness, or weakness, and can appear and disappear at will, traveling across the world in an instant, passing through solid objects at ease if needed to. This are just some of the amazing capabilities of the glorified body that is promised to us. Jesus demonstrated these after He rose from the dead.

God knows that we are groaning within, and that the sinful flesh makes us limited and weak at times. Our spirit is willing, but the flesh is weak. To combat this, God gave us the greatest gift after Jesus’ ascension: the indwelling Holy Spirit.

The Spirit prays for the solutions to our most urgent needs that even we are unaware of, and He does so through groans that cannot be uttered.

Even though the Spirit does not pray with intelligible words, Abba God knows what is in the Spirit’s mind, and He takes that as perfect prayer in accordance with His own will.

These are the three groanings. The first came because of sin, the second because of patiently waiting for the final part of redemption, and the third is God’s gracious help to us while we are still waiting.

How wonderful it is to know that the Holy Spirit is offering up perfect prayers for you, even when you do not know the right things to pray for.

“Who is he who condemns? It is Christ who died, yes rather, who was raised from the dead, who is at the right hand of God, who also makes intercession for us.” (Romans‬ ‭8:34‬ ‭WEB‬‬)

In the same chapter, we find that Jesus who is in Heaven is also praying for us.

We have the Holy Spirit praying for us from earth, and we have Jesus praying for us from Heaven. This is according to Abba God’s will, and it is perfect.

“What then shall we say about these things? If God is for us, who can be against us? He who didn’t spare his own Son, but delivered him up for us all, how would he not also with him freely give us all things?” (Romans‬ ‭8:31-32‬ ‭WEB‬‬)

The triune God is for you, not against you. The world was corrupted by sin, but God’s heart is not to destroy or condemn the world, but to save it.

He has already provided the perfect atonement through the blood that Jesus shed at the cross. God is using all His power to give you a glorious future, so put your faith in Him!

You don’t have to feel helpless or afraid…God has given you powerful spiritual weapons to use in spiritual warfare. In “Silencing the Serpent”, you will discover what these weapons are, what the enemy’s tactics are, and how you can break free from longtime addictions, bondages, and unhelpful beliefs: https://bit.ly/silence-the-serpent-now

THE MIRACLE OF TIME-QURANIC PERSPECTIVE

By: Abdullah Bukhari bin Abdul Rahim.

Translated by: Nur Fatimah Zahrah binti Rahimin Affandi.

Time is a miracle that Allah created. It does not have a body nor a face, but its existence itself is significant in our lives. When the clock is ticking, it is called "seconds". When the sun sets in the West, it will change to "days". When the earth completed its cycle by surrounding the sun for 365 days, it will change to "years". That is the beauty of "time". Nobody can run away from it. People that were young, now became old as time goes by. Humans also can mature and gain numerous experiences through time.

Despite that, sometimes time can be defeated with knowledge. Educated people with knowledge can change the power of time using vehicles that can speed. Travel with planes is very different from travel with cars. The principles said by Allah when he told about Prophet Sulayman's power which can decrease his traveling duration from a month to a day by riding the wind. Metaphorically speaking, we can say that the vehicle used by Prophet Sulayman to ride the wind is similar to a plane used today:

وَلِسُلَيْمَانَ الرِّيحَ غُدُوُّهَا شَهْرٌ وَرَوَاحُهَا شَهْرٌ

Meaning: And to Sulayman (We subjected) the wind- ITS MORNING (JOURNEY WAS THAT OF) A MONTH- AND ITS AFTERNOON (JOURNEY WAS THAT OF) A MONTH. (Saba'[34:12]).

Not just that, the angels that are created with light by Allah can also overcome the "time" with their swift movements. It turns out that "time" deals differently with the angels' technology and the humans' capabilities. Allah's commandment wraps it beautifully:

تَعْرُجُ الْمَلَائِكَةُ وَالرُّوحُ إِلَيْهِ فِي يَوْمٍ كَانَ مِقْدَارُهُ خَمْسِينَ أَلْفَ سَنَةٍ

Meaning: The angels and the Spirit will ascend to Him (to accept and complete their task) during a Day the extent of which (felt by the people that are at fault) is fifty thousand years (al-Ma'arij [70:4]).

Time is also one of Allah's first creations because there are a lot of verses that highlighted the early creation of the sky and the earth created in 6 "times":

وَهُوَ الَّذِي خَلَقَ السَّمَاوَاتِ وَالْأَرْضَ فِي سِتَّةِ أَيَّامٍ وَكَانَ عَرْشُهُ عَلَى الْمَاءِ

Meaning: And it is He who created the heavens and the earth in six days - and His Throne had been upon water (Hud[11:7]).

The existence of "time" in this world is determined by the sunrise, sunset and the emergence of the moon. Though, it will definitely differ from the "time" in al-Barzakh. This is because we do not know if there is the sun and the moon in al-Barzakh. It could be that the humans that died in Prophet Adam's time or died a day before Doomsday is still in a same "time" space with the power of Allah as "the Creator of Time".

I have read a dialogue between 2 people of Tabi'in (students of the companions that did not get the chance to meet Rasullullah SAW) that met in a dream. Abdullah bin al-Mubarak said: "I dreamt of meeting Sufyan al-Thawri (have passed away). And i asked him: What did Allah do to you?" Sufyan answered: I have met Muhammad SAW and his companions (al-Ruh by Imam Ibn al-Qayyim, al-Jawziyyah, case 28). Despite that, this dream still cannot be considered as an argument.

"Time" is a creation of Allah that is bound to its Creator. It is compulsory for "time" to obey Allah's desire like how the fire obeyed when saving Prophet Ibrahim AS:

قُلْنَا يَا نَارُ كُونِي بَرْدًا وَسَلَامًا عَلَى إِبْرَاهِيمَ

Meaning: Allah said, "O fire, be coolness and safety upon Ibrahim!" (al-Anbiya'[21:69]).

Throughout the human history, the power of time has been taken away by Allah for a few times like in the tale of 7 pious young men that slept in a cave:

وَلَبِثُوا فِي كَهْفِهِمْ ثَلَاثَ مِئَةٍ سِنِينَ وَازْدَادُوا تِسْعًا

Meaning: And they remained in their cave for three hundred years (by the count of the scribes) and exceeded by nine (by your count) (al-Kahf[18:25]).

Although "time" has passed for 300 hundred years, the 7 bodies of these young men are still very youthful like how they were when they first slept. Same goes to the tale of a young man of Bani Isra'il that slept for a hundred years:

أَوْ كَالَّذِي مَرَّ عَلَى قَرْيَةٍ وَهِيَ خَاوِيَةٌ عَلَى عُرُوشِهَا قَالَ أَنَّى يُحْيِي هَذِهِ اللَّهُ بَعْدَ مَوْتِهَا فَأَمَاتَهُ اللَّهُ مِئَةَ عَامٍ ثُمَّ بَعَثَهُ قَالَ كَمْ لَبِثْتَ قَالَ لَبِثْتُ يَوْمًا أَوْ بَعْضَ يَوْمٍ قَالَ بَلْ لَبِثْتَ مِئَةَ عَامٍ فَانْظُرْ إِلَى طَعَامِكَ وَشَرَابِكَ لَمْ يَتَسَنَّهْ وَانْظُرْ إِلَى حِمَارِكَ وَلِنَجْعَلَكَ آَيَةً لِلنَّاسِ وَانْظُرْ إِلَى الْعِظَامِ كَيْفَ نُنْشِزُهَا ثُمَّ نَكْسُوهَا لَحْمًا فَلَمَّا تَبَيَّنَ لَهُ قَالَ أَعْلَمُ أَنَّ اللَّهَ عَلَى كُلِّ شَيْءٍ قَدِيرٌ

Meaning: Or [consider such an example] as the one who passed by a township which had fallen into ruin. He said, "How will Allah bring this to life after its death?" So Allah caused him to die for a hundred years; then He revived him. He said: "HOW LONG HAVE YOU REMAINED (HERE)?" THE MAN SAID, "I HAVE REMAINED (HERE) A DAY OR PART OF A DAY" HE SAID, "RATHER YOU HAVE REMAINED (HERE) ONE HUNDRED YEARS. LOOK AT YOUR FOOD AND YOUR DRINK; IT HAS NOT CHANGED WITH TIME. AND LOOK AT YOUR DONKEY ( THAT WAS ONLY LEFT WITH BONES); and We will make you a sign for the people. And look at the bones (of this donkey) - how We raise them and then We cover them with flesh." And when it became clear to him, he said, "I know that Allah is over all things competent" (al-Baqarah [2:259]).

This story clearly shows that Allah is the only one that holds the absolute power of controlling "time". This man's body and food was not affected because "time" was not allowed to touch them, but the donkey turned into bones because Allah allowed "time" to impose its power on it. Subhanallah!

It is the same with Prophet Isa AS. On a normal count, the Prophet was already over 2000 years old, but the Prophet's youth stayed with him like when he was brought up to the sky. He became immune from "time" and did not age because Allah forbid "time" from touching Prophet Isa AS.

May this writing open our hearts to realize that time is a very magical creation of Allah. This is one of the reasons why Allah swore against "time" in the Qur'an:

وَالْعَصْرِ (1) إِنَّ الْإِنْسَانَ لَفِي خُسْرٍ (2) إِلَّا الَّذِينَ آَمَنُوا وَعَمِلُوا الصَّالِحَاتِ وَتَوَاصَوْا بِالْحَقِّ وَتَوَاصَوْا بِالصَّبْرِ (3)

Meaning: By time! Indeed, mankind is in loss -Except for those who have believed and done righteous deeds, and advised each other to truth and advised each other to patience (al-'Asr[103:1-3]).

Benefit this creation of Allah the best you can because it will be the reason for our happiness and sorrow in the hereafter. We will definitely be glad if we spend our "time" wisely by filling up our lives being obedient to Allah. On the contrary, we will suffer and regret if we waste our "time" in doing sinful and unbenificial things.

Rencana asal:
https://m.facebook.com/story.php?story_fbid=10205913539463006&id=1394678315

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….

最近のモーニングルーティーンでございます☀️
2020年は朝活したり早めに行動できるよう意識していく…！🏇
お出かけする日はこんな感じです☻
だらけきった日はマジでだらけきってる、、、
のでまたその様子もお届けさせて下せえ😂


🌛ナイトルーティン：https://youtu.be/USrYVEWjYII
🏡ルームツアー：https://youtu.be/UHXD2aTvTyo

「music (vocal)」
・A Traveling Spirit - Daniel Kadawatha
・Even If the Sky Is Falling Down - The Waiting


※時計が映っていたりするのですが、10分早めております…！
正しくは動画のテロップに記載している時間でございます🙇‍♀️
どうぞご了承くださいませえええええ！


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たくさんいただいて幸せな限りです😢💗
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「やまもも、初めてのイベントやります！」
日時：2020年3月28日(土)
第3公演 OPEN 16:30 / START 17:00

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※電子チケットのみのご用意となります。
https://emtg.jp/feature/zuuum_202003/
先行受付期間：2020/2/21(金) 17:00〜2020/2/25(火) 23:59
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パジャマ：GU
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(最終形態)
アウター：Kastane(福袋)
トップス：w closet(福袋)
スカート：Who's Who Chico(福袋)
ヘアバンド：Seria
マフラー：Earth music&ecology(福袋)
バッグ：apres jour

(ブラウンのパンツ)
SEVENDAYS=SUNDAY



❤︎ 月水金土 20：00 動画投稿中 ❤︎



▶︎やまもものゲーム実況：https://www.youtube.com/channel/UC-cuJUZzawOkcnnldvmwZmQ
▶︎やまもものサ部(サブチャンネル)：https://www.youtube.com/channel/UCk8akFcOU--v1fYnWXf2Gmg


🤳🏻SNS情報
❤︎ Twitter：https://twitter.com/yamamomoda4
❤︎ Instagram：https://www.instagram.com/yamamomoda4
❤︎ WEAR：https://wear.jp/yamamomoda4/
❤︎ 楽天ROOM ：https://room.rakuten.co.jp/yamamomoroom?scid=we_rom_iphoneapp_mr_others



わたしの動画を見てくれたあなたに、
少しでも元気をお届けできたらいいなあ。
人生一度きり、毎日をめいっぱい一緒に楽しもう！



💌ファンレターなどの送り先
〒106-6137
東京都港区六本木6-10-1六本木ヒルズ森タワー37階
UUUM株式会社 やまももちゃんねるつ宛
※飲食物は受け取れないのでご了承くださいませ(；；)



▶︎▶︎▶︎提供ありがとうございます
DOVA SYNDROME：https://dova-s.jp/
Epidemic Sound：https://player.epidemicsound.com/
Music is VFR：http://musicisvfr.com/free/se/motion-pop03.html
PIXTA：https://pixta.jp
OtoLogic：https://otologic.jp