關於 what about us violin ，我們在網路上蒐集到這些相關的討論、資訊與評價

翻轉視界 18 Changing Perspective

There's not just one road to the destination, but many roads. You just need to take the little step that’s right in front of you, and then the next one, and a few years down the track, they will seem like massive achievements.

通往目的地的路不止一條，有很多路可走。你只需要邁出眼前這一小步，然後再邁出下一步，幾年下來，將會成為巨大成就。

文章來自於New Humans of Australia (有取得授權)

★★★★★★★★★★★★

I didn’t meet my father until I was 6 years old. My parents had a comfortable, middle-class life in Shanghai, or as close as you could get under communism. But they always wanted to live overseas, and just before I was born, my dad came to Sydney to set things up. I don’t know why, but in the end, my mother and I didn’t join him until I was 6.

•a middle-class life 中產階級生活
•set things up 打點一切
•live overseas 往海外生活
•in the end 最後 (表達在經過一段時間或一連串事件之後的結果)

直到六歲前我都未曾見過父親。我的雙親在上海過著舒適的中產階級生活，或著說，在共產階級下所能得到的最接近的生活。他們一直響往海外生活，就在我出生前，我父親來到雪梨打點一切。但不知何故，直到六歲那年我與母親才終於與父親團聚。

★★★★★★★★★★★★

Unfortunately, half a year after we arrived, he left us. That was a huge shock. Our transition had already been quite difficult, as we both didn't speak English. Also, as Shanghai was such a big bustling city, Sydney felt a bit like the countryside, especially on the weekends, as no shops were open back then!

•shock 令人震驚的事件（或經歷）；驚愕，震驚 (come as a great shock 讓人倍感震驚)
•transition 轉變；過渡
•a bustling city 繁華都會

不幸的是，就在我跟母親抵達半年後，父親離開了我們。這是個巨大的打擊，因爲我們不會說英文，在適應過渡期本就已過得相當艱辛。此外，不同於上海的繁華都會，雪梨更像鄉下，尤其在週末，那時連商店都不開門。

★★★★★★★★★★★★

We were very much reliant on my dad, not only financially, but also as a conduit into the wider community. So to have that broken was quite distressing. I remember Mum crying a lot. As we had become socially isolated, we didn’t find out anything about Centrelink, so we survived on her savings for a while, and then got some help from her family back in China.

•be reliant on… 依賴...
•a conduit into 進入...的渠道
•distressing (adj.) 令人苦惱的,令人擔憂的
•become socially isolated 變得孤立於社會
•survive on her savings 僅靠的她積蓄過日子

我們相當依賴我父親，不僅是經濟，他也是我們進入更廣泛社區的渠道。因此，當局面被打破時令人相當痛苦，我還記得母親時常哭泣。由於我們孤立於社會，所以我們並不知道澳洲社會福利聯絡中心 （Centrelink）的任何資訊，僅靠母親的積蓄支撐了一段時間，然後從母親在中國的娘家得到一些幫助。

★★★★★★★★★★★★

Eventually, Mum moved us down to Melbourne, where we were able to make some new networks and family friendships. But I was bullied a bit at school about things like my food and clothing! Whenever someone bullied me, I would defend myself, but because I didn’t have the language skills to explain to the teacher why, I got in trouble quite a bit. I ended up having to move school 3 times before I came to Balwyn Primary School, which was relatively multicultural.

•be able to 能夠
•make new networks 建立新的人脈，關係網
•be bullied 被霸凌
•language skills 語言能力
•get in trouble 惹上麻煩
•end up 最後處於；最後成爲；以…告終
•relatively 相對地
•multicultural 多元文化的

最後，母親帶著我搬遷到墨爾本，在那我們能夠建立起新的網絡與家庭情誼。然而。我在學校飽受霸凌，例如我的食物及衣物。每當有人霸凌我，我會自我防衛，但我的語言技巧不足以向老師解釋事發原因，因此常常陷入麻煩。後來我不得不再三轉學，直到就讀相對多元文化的博文小學（Balwyn Primary School）。

★★★★★★★★★★★★

After that, I did alright. Music featured very prominently in my life. I had started learning the violin from the age of 2.5 years old and even with all the troubles that were going on in my life, had somehow still kept up with it. As a result, I got a music scholarship to Trinity Grammar School. But even there I used to get into quite a lot of mischief, and would often skip school to go to the movies.

•do alight 過得不錯，做的不錯
•feature (v.) 以…為特色；給…以顯著的地位
•prominently 重要地；著名地；突出地，顯眼地

之後，我便過得不錯。音樂在我生活中佔有重要的一席之地，我從兩歲半開始學習小提琴，儘管生活中事事不如意，我依然堅持不輟。因此，我獲得三一文法學校（ Trinity Grammar School）的音樂獎學金。但即使在那，我也常惡作劇、逃學看電影。

★★★★★★★★★★★★

By the end of year 11, I was told I would have to either repeat the year, or consider going to another school, which was quite humiliating for my mum. I decided to move school and surprisingly, I ended up doing quite well in year 12! As a result, I ended up getting into a double degree in Law and Music at Monash.

•repeat the year 留級 ; 重唸一年
•humiliating 令人感到恥辱的，丟臉的

11年級結束時，我被告知要麽被留級，要麼考慮轉學，這對我母親來說相當丟人。我決定轉學，而令人驚訝的是，我在12年級的時候表現優異，最後錄取蒙納士大學法律與音樂雙學位。

★★★★★★★★★★★★

When I started, my first thought was that I didn’t belong because I had done so badly in school up to year 11 and everyone else seemed so smart. But I put my head down, got through it, and ended up getting a job in the legal department of a major manufacturing company, which was a different approach to what most law students do.

•do not belong 不屬於這
•put my head down 埋頭苦幹
•the legal department of ...的法律部門
•a different approach 不同途徑
•approach （思考問題的）方式，方法，態度

當我開始進入大學，最初的想法是我不屬於這，因為我在11年級前都表現不佳，而這裡的人似乎都聰明絕頂。但我埋頭苦幹，咬牙撐過，最後在一家大型製造公司的法律部門找到工作，這與多數法律系學生的途徑不同。

★★★★★★★★★★★★

I really enjoyed it. It was hard work, but I learned a lot of foundational business, legal and corporate communication skills. After that I worked in corporate governance in RMIT, then started to moonlight as a lecturer in the Law Faculty. Eventually, they asked me if I wanted to do a PhD and I blindly said yes! I next worked at Swinburne University, and then was head-hunted to lead the corporate legal team at the Commercial Passenger Vehicles Commission.

•foundational 基礎的
•communication skills 溝通技巧
•corporate governance
•moonlight (v.) （尤指瞞著僱主）從事第二職業，兼職
•headhunt (v.) 物色（人才）； 挖角
•legal team 法律團隊

我非常喜歡這份工作，這是份辛苦的工作，但我學習了很多基礎商業、法律以及公司溝通技巧。之後我在皇家墨爾本理工大學（ RMIT）從事公司治理工作，並開始兼職擔任法律系講師。後來他們問我是否想要讀博士，我便盲目地答應了。接下來，我在斯威本大學（Swinburne University）工作，再被挖角到商用小客車委員會領導法律團隊。

★★★★★★★★★★★★

I had a good life, but after a while, I realised I wanted a different kind of job. I could see my seniors were making a lot of money but that their family life was not that good. And looking at my own upbringing, I wanted to be the kind of father who could be present in my own kids’ lives. So I decided on dentistry. It would not only allow me to use the hand skills that I had developed from playing the violin, but also the analytical and reasoning skills that I'd developed in law. Plus it would be flexible, and offer me a stable income and the chance to meet different people every day!

•upbringing 教養
•decide on sth 決定某事或東西
•analytical and reasoning skills 分析和推理能力
•offer a stable income 提供穩定收入

我的生活很不錯，但一段時間後，我意識到自己想要一份不同的工作。我知道前輩們賺了很多錢，但他們的家庭生活並不美滿。看著自己的成長經歷，我想要成為可以在孩子生活中出席的父親，所以我決定改行當牙醫。這項職業能讓我使用從拉小提琴中發展出的手部技巧，也能運用我在法律中發展出的分析與推理技能。此外，這個職業相當靈活，能為我提供穩定收入，並有機會每天與不同的人見面。

★★★★★★★★★★★★

My now fiancée, who was my girlfriend at the time, was also applying for further study, and coincidentally we both got into university in South Australia, so we moved to Adelaide together a few years ago.

•fiancée 未婚妻
•at the time 當時
•apply for 申請
•further study 繼續教育，進修；進一步研究；深造
•coincidentally 碰巧地；巧合地

我的未婚妻，當時的女友，也申請繼續深造，巧的是我們都考上南澳大學（University of South Australia)，所以幾年前一起搬到阿得雷德（ Adelaide）。

★★★★★★★★★★★★

I was lucky to get a university job at Flinders University. Initially, I started out as a casual lecturer in the law school, but I’ve since transitioned into teaching health law and research, and I’m currently writing a few books on the intersection between law and medicine. And also, obviously, trying to finish my dentistry degree!

•start out as… 起初擔任...
•transition into… 轉變到...

我很幸運的在福林德斯大學（Flinders University）找到工作，起初我在法學院擔任臨時講師，但我後來轉換到醫事法教學及研究。目前我正撰寫幾本關於法律與醫學相接的書籍，並努力完成我的牙醫學位。

★★★★★★★★★★★★

Mum eventually retrained as a Chinese high school teacher, and she’s still teaching to this day. Like most first generation migrants, she struggled quite a lot, and invested heavily in my success. After we’re married, my fiancée and I are planning to have children, and I’m sure they will have it much easier than I did.

•retrain 重新培養；再培訓；再訓練
•to this day 至今
•first generation migrants 第一代移民
•struggle a lot 掙扎奮鬥許久
•have it much easier 過的比較輕鬆

我的母親最終重新接受培訓，成為一名中文高中老師並執教至今。如同大多數第一代移民，她掙扎奮鬥許久，並為我的成功投資甚多。我與未婚妻打算婚後生孩子，我確信孩子會過的比我輕鬆得多。

★★★★★★★★★★★★

Still, a lot of the failures that I’ve had in my life have really informed a lot of my successes. Looking back, I wouldn't really want to change that to have a smoother life.

•inform [正式] 影響某人的態度或意見
https://www.ldoceonline.com/dictionary/inform

•have a smoother life 有一個更順遂的人生

我的生活中的種種失敗確實為我的成功提供借鑑。回首過去，我不會想要改變那些坎坷經歷去擁有一個更順遂的人生。

★★★★★★★★★★★★

Over the years, I've learned that perseverance is very important. I hope that through telling my story, I can be an example to others who might be in a similar position as I was: to show that there's not just one road to the destination, but many roads. You just need to take the little step that’s right in front of you, and then the next one, and a few years down the track, they will seem like massive achievements.

•over the years 多年來
•perseverance 不屈不撓，堅持不懈
•be an example 成為榜樣
•be in a similar position 處於相似的處境
•down the road/line/track 將來(的路)

多年來，我學到堅持不懈是至關重要的。我希望透過講述自己的故事，能成為其他可能與我有相似處境的人的榜樣：向他們展示通往目的地的路不止一條，有很多路可走。你只需要邁出眼前這一小步，然後再邁出下一步，幾年下來，將會成為巨大成就。

有興趣的同學可以支持New Humans of Australia

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Photographer: Paul Heinrich instagram.com/paulfheinrich

文章與圖片出處: https://bit.ly/2XJsciq

★★★★★★★★★★★★

翻轉視界: http://bit.ly/3fPvKUs

批判性思考問題大全: http://bit.ly/34rdtJ7

Farewell. Ida – Ida Haendel 192?-2020

So Ida has left us – a legend has departed. What a violinist! What a woman! Magnificent, unique, incorrigible – she was a law unto herself.

First, the playing: a film about her was aptly entitled: ‘I AM the Violin.’ And she was! The violin was her life; she mastered it, devoted so much of her existence to it, cared so much about it. Every performance was an event, which she took absolutely seriously, giving each concert her all. She spoke through her violin, proved herself through it, lived within the music she made. She was a marvel, an icon; each note she played was the result of total conviction – and as a consequence was totally convincing. She had been groomed from the beginning to be a star – and a star she was.

But she was also an adorable person. I had heard of her, of course, from my childhood onwards – hadn’t everybody? But I didn’t meet her until - I think - 2000, when I attended a memorable recital she gave at the Wigmore Hall (apparently her debut there!), concluding with a magisterial performance of Enescu’s 3rd sonata. I’d heard, to my delight, that she’d heard me somewhere, and had liked it, so I dared to go backstage afterwards. Having enthused about her playing, I rather uncertainly told her that I was Steven. She looked at me disbelievingly. ‘You’re NOT’ she announced, in her wonderful deep voice. I assured her that I certainly had been last time I looked in the mirror. She accepted this, and proposed that we play the Brahms Double together. It was such an honour; but alas, I just couldn’t do the dates she suggested.

I came across her shortly thereafter, however, at the Verbier Festival. I’d seen that she was giving masterclasses there, so when I saw her, I asked how they were going. She looked at me severely. ‘Steven,’ she boomed, wagging her finger. ‘I don’t teach.’ I was puzzled; she was, after all, advertised as the teacher of the violin class. ‘So you like teaching?’ I said, provoking her. The finger wagged again. ‘Steven,’ she repeated with equal seriousness, ‘I don’t teach.’ ‘So how’s the teaching going?’ I asked. Her finger was on its way in my direction, and she’d started to say my name in the same tone of voice – when suddenly her face broke into a big smile. ‘Oh – so you’re a tease,’ she said. After that, we got on famously. My other main memory of that Verbier encounter was of her examining something – I couldn’t see what - in the hotel lobby, and then calling me over. It turned out that the object in her hands was an album of recent photos of her. ‘Look, Steven,’ she commanded urgently. ‘Don’t I look gorgeous?’

Later, we took her to dinner near her flat in London. Tottering through the streets in her high heels, she suddenly came to a stop in front of a (closed) clothes shop, where either a pair of gold shoes or a gold dress (I can’t remember which) had caught her eye. It was impossible to budge her, late though we were for the restaurant. ‘Wouldn’t I look wonderful in that?’ she asked us challengingly. We agreed that she would. ‘I’m coming back here tomorrow morning,’ she assured us. She spoke that night about her appearance. ‘You think I dress like this just to go out?’ she asked. ‘No! Catch me at breakfast – I’ll look just the same.’ Her pride in her appearance was never-changing. Perhaps in someone else it could have been too much – but with Ida, it was wonderful, admirable; life-affirming, in fact, like her pride in her playing.

It is funny that already I’ve seen two obituaries giving her age five years apart. She’d certainly have preferred the younger estimate… It was impossible to get the truth out of her. I remember asking another glorious violinist-character, Lorand Fenyves, whether he knew Ida. ‘Oh yes, of course!’ he replied. ‘I knew her when I was 16 and she was 15.’ He paused. ‘And now I’m 80 and’ his eyes twinkled, ‘she’s 55!’

Although we never got to play the Brahms Double together, we did perform the Beethoven Triple concerto with Martha Argerich and the Rotterdam Philharmonic under the then little-known Yannick Nezet-Seguin in (I think) 2006. Now THAT was an experience – to put it rather mildly… Playing with those two way-larger-than-life ladies was something not to be forgotten; the two adored each other, and it was great fun to witness their interaction. Ida had only played the piece once before, as I remember; but she played it with utter conviction. And Martha was – well, Martha. And Yannick kept the whole thing together, somehow. So – it was special…

It was supposed to happen again, in Miami (where Ida lived); but alas, it didn’t. Still, I kept in touch with Ida and on one memorable occasion got to interview her at the Wigmore Hall (there’s a recording of that occasion on Youtube). She also came down to Prussia Cove once for three days, her visit culminating in a breathtaking account of the Bach Chaconne (she sported an almost equally breathtaking dress to match!) at the Hall for Cornwall. We also played and taught/didn’t teach together in 2010 at the Summit Music Festival, just outside New York. That was another unforgettable experience. At the concert that concluded the festival, Ida played virtuoso pieces with the orchestra that would have been impressive in someone thirty years younger – even younger – than she was. But equally Ida-ish was the post-concert experience. For some reason, it got very late, and it was well after midnight when we were taken in search of food. Not surprisingly, there were few options in the countryside at that time of night; but eventually we found a 24-hour diner. We went in and occupied a table. Looking around at the bikers and other rather unpredictable-looking types, I was a tad nervous; not Ida. I fortified myself with a margarita; she had tea. At one point, the conversation turned to Schumann, and his 2nd violin sonata (which at that time I didn’t know very well). I asked a question about it. ‘You want to hear how it goes?’ Ida demanded to know. She strode over to her violin-case, pulled out the violin, and to the astonishment (and then, luckily the delight) of the assembled company, began to play it. A photo taken at the time (below) shows me a little less than comfortable – and her absolutely in her element.

Oh, Ida. By the last time I spoke to her – too long ago, but not that long ago – I’d heard that she’d become very forgetful, so wasn’t quite sure whether to call her or not. But I dialled anyway, and the phone was answered. ‘Hello, Ida?” ‘Who is it?’ ‘It’s Steven – Steven Isserlis.” Silence – then the phone went dead. Oh dear. I tried again. This time I was able to hold her attention long enough to remind her who I was. We started to talk, and as the conversation progressed, she evidently remembered more and more about our friendship. It was true that she repeated herself a lot; but still – she was very much Ida, the same wonderful voice, the same love of life.

And now she’s gone. Farewell, Ida the legend; we humanoids will miss you – but thank you, thank you for giving us so much. Everything, in fact.

Day 75 - 在正式跟樂團彩排前為了習慣跟樂團一起演的感覺，播放著影片一起吹！由於聖桑的狂想曲是由小提琴改編給長笛的版本，所以我盡可能的想重現弦樂的特性：長樂句、弓速輕重、緩急不同帶來的樂感等等。
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無論在音量上、速度上和敏捷度上比起弦樂，管樂的限制又更多，除了得顧慮到氣量、舌速、音域等問題，而且弦樂的特性是低音可以很大聲、高音可以很細膩，然而管樂低音要厚很費力、高音要輕更不容易，剛好個性顛倒。因此如何在長笛上更好的呈現弦樂的效果，就得費心好好思考了！
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Before the formal rehearsal with orchestra, I am trying to play the music with video! The capriccioso is original written for violin, so I try my best to reproduce the string's characteristic: long phrase, the speed and weight of bow which bring us a different feelings of musical grooving, etc.
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The wind's instruments have more limit on volume, speed and agility rather than the string's instruments. We have air problems, the speed of tongue and the problem of sound's range.
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The characteristic of strings is that we have bigger sound on the lower register and tiny and fine sound on the higher register. But the wind instruments have an exactly opposed characteristic!
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So how to reproduce the string's characteristic on the flute, that is what I have to think about!
@myrllinflute
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#100daysofpractice #The100DayProject
#flute #altoflute #myrllinmyrllin #myrllinflute #taiwan #taipei
#百日練習計畫 #etude #studies #circularbreathing #flutebeatboxing #flutebeatbox
#scales #kaohsiung #wind #orchestra
#Practicewithmyrllin : @catcosin

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周興哲《如果能幸福》（HBO Asia原創影集「戒指流浪記」片尾曲）小提琴版本
 | Violin cover by Lin Tzu An of《Fortunate (HBO Asia Original Series "Adventure of the Ring" Theme Song)》by Eric Chou

人生是無數的選擇堆砌而成，我們做出選擇之後，都有個「如果」。
「如果」能更勇敢一點？又或是「如果」我不放棄？
所有的抉擇也都讓我們帶著這些遺憾，走向往後的人生。

我們承擔的遺憾都是活過的痕跡，這些痕跡不是為了提醒我們一直沈溺在過去，而是我們可以比自己以為的更好。當時的全心全意沒有浪費，因為僅有的一次，給了唯一的人給了當初的決定。如果是真的，必定值得；如果不是真的，也不代表決定錯了。

這些過去帶來必須承擔的遺憾，都是為了最後的那個決定做準備，所以即使站在各種人生的十字路口，也勇敢坦然不遺憾地做自己想做的，走往自己想要的方向吧：想哭的時候哭、想愛的時候就抱緊身邊的人或是直接說出口、想念已經不在身邊的人的話就寫下來對方會看到會知道的。


信義區香堤大道街頭演出變成登記制了，想聽我live版演出相關資訊，請追蹤Instagram限時動態！

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Our life is about lots of choices. After we make a choice, we all have a condition, a what if. What if I could be more brave or what if I could be patient waiting for you.

These are all our own stories and the sorties are bringing us to the present, telling us we may be better than we supposed to be, instead of being stuck in the past.
It’s not waste of time loving you for I did love you with all my heart and I want to believe you loved me too even for a split second.
If I were to choose again, I would still connect with you, love you again and stuck with you asking if you can develop a vaccine against missing you just because you were the only holic I have. The world with you in it is vague, the only one truth would be I told you I love you at the moment, looking at you with the light in my eyes for you are everything I've been looking for and I'll wait for you. I gave my heart to the very thing I know would break it and I'd love to do it again, without question =]

Okay it’s enough being so emotional. Another week, another cover. Let's goooo, hope y’all like this!

Should you have any request regarding cover songs, just comment below and let me know.
Also please share the video and subscribe to my channel https://bit.ly/2EsTGMQ.
Don't forget to click the 🔔 bell to be notified when my videos come out!

Visit me at Taipei Shin Kong Mitsukoshi Xinyi Plaza to enjoy more my live cover songs. Check it out details on my Instagram stories!

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編曲Arrange：林子安 Lin Tzu An
混音mix：林子安 Lin Tzu An
小提琴 Violin: 林子安 Lin Tzu An
攝影師剪接師 Photographer & Film editor: Santon.W
文字編輯 Social media editor/manager: Lily Wu

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【Cover by AnViolin】每週上傳新的小提琴cover影片，
喜歡的話請訂閱我的頻道 https://bit.ly/2EsTGMQ
也記得開啟🔔訂閱通知，按讚留言分享給你家人朋友看！

還想看子安cover什麼歌？留言跟我說 ！

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Fujii Kaze - "Kaerou"


Director：Kodama Yuichi（vivision）
Assistant Director：Sato Ryuken（DIAMOND SNAP）
Cinemato Grapher：Okuguchi Makoto（Tsuji Office）
1st Camera Assistant：Shimizu Erika
DIT：Oyama Taito（progressive）
Lighiting Director：Kobayashi Kosei
1st Light Assistant：Omura Kiron
Prop Artist：Sakai Toshihide（TATEO inc）
Art Assistant：Sano Mariko（TATEO inc）
Grip：Taniguchi Takashi（OF）
Camera Car：Arai Keita（S3）
Casting：Yamauchi Tomokazu／Nishimura Kazuyuki（KOSEI）
Location Cordinator：Yamauchi Hiroshi
Stylist：Sugiyama Mayumi／Masuda Mika
Stylist Assistant：Oga Nozomi
Costume（fujii kaze）：YOHJI YAMAMOTO
Hair & Maike up（fujii kaze）：Takai
Hair & Maike up Assistant（fujii kaze）：Morishita Haruka


Color Grading：Ishihara Yasutaka（SONY PCL）
Shooting Editor：Gorilla（vivision）
Offline Editor：Kodama Yuichi（vivision）

VFX：Mizuno Masaki／Kawasaki Kotomi（Khaki）

CGI：Takagane Koji（Khaki）

Mixer：Masutomi Kazune

Producer：Inagaki Mamoru（GEEK PICTURES）
Production Manager：Taniguchi Yuki（GEEKPICTURES）
PM Assistant：Kanazawa Satoru／Takahashi Hiroki／Takeguchi Akefumi／Oshida Keiji／Iwanaga Yasuhiro／Mimori Yosuke／Sakamoto Ryosuke（GEEK PICTURES）／Sato Yosuke（GEEK PICTURES）


CAST
Aoyama Asami
Isse
Ichizo
Kathleen
Saikatsu
Sandy K
Shibamoto Yasuyoshi
Taira Jin
Tateishi Kirara
Tanaka Jin
Daikohara Chieko
Tenkou Mayumi
Hotta Shinzo
Fujii Kaze
MASASHI
Yamaki Koharu
Yoshizawa Kazumi
Ruri


☆ 05.20(wed) release 1st ALBUM "HELP EVER HURT NEVER"(CD)
▶️ https://Fujii-Kaze.lnk.to/HEHN

1. Nan-Nan
2. Mo-Eh-Wa
3. YASASHISA
4. Cause It's Endless
5. Flavor Of Sin
6. Cho Si Noccha Te
7. Tokuni Nai
8. I'd Rather Die
9. Hey Mr.Wind
10. SAYONARA Baby
11. Kaerou


【First Edition】 ¥4,000(+tax) UMCK-7064/5
＜Bonus＞
・Special booklet
・HELP EVER HURT COVER ＜11 songs＞
1. Close To You
2. Shape Of You
3. Back Stabbers
4. Alfie
5. Be Alright
6. Beat It
7. Don't Let Me Be Misunderstood
8. My Eyes Adored You
9. Shake It Off
10. Stronger Than Me
11. Time After Time

【Normal Edition】 ¥3,000(+tax) UMCK-1659
【Digital】 ¥2,100(+tax)



iTunes Store: https://itunes.apple.com/jp/artist/%E8%97%A4%E4%BA%95-%E9%A2%A8/1486113150?app=itunes&at=10I3LI&ls=1
Spotify: https://open.spotify.com/artist/6bDWAcdtVR3WHz2xtiIPUi
YouTube Music: https://music.youtube.com/channel/UCxjfYUXFwmjUCGHMeBri5_w
Amazon Music: https://music.amazon.co.jp/artists/B0819FY3KC?ref=dm_sh_e043-549a-9e40-b221-a1efe
LINE MUSIC: https://music.line.me/artist/mi0000000011ec3db5

Official APP: http://c-rayon.com/fujiikaze/
Official site: http://fujiikaze.com/
Instagram: http://Instagram.com/fujiikaze
twitter: https://twitter.com/FujiiKaze



Go Home
Written by Fujii Kaze
Prod by Yaffle

Mixing Engineer Masahito Komori
Recording Engineer Yoshimasa Wakui / Daishi Iiba(birdie house)
Recorded at AOBADAI STUDIO / ABS RECORDING STUDIO
Mixed at ABS RECORDING STUDIO
Mastering Engineer Tsubasa Yamazaki
Mastered at EELOW

Drums Leon Yuki
Electric Bass Naoki Kobayashi
Percussion Takashi Fukuoka
1st Violin Rina Odera
2nd Violin Natsue Kameda　
1st Viola Mikiyo Kikuchi
2nd Viola Reiichi Tateizumi
Cello Yuki Mizuno
Acoustic Piano Fujii Kaze


You are melting into sunset
I am fading into sunrise
If our path never cross again
Then, that is the way it is

You're turning on the lamp
I'm searching for the light
We both have nothing to fear, nothing to lose
We both have nothing at all in the first place

See you, see you again
Those boys' eyes aren't innocent anymore
Those evening bells are ringing out but can't be heard anymore
That is, that is almost like
Everything seems to be over
Far from it, We've got a long way to go, and I'll never forget...

Ah Let's forget everything and go home
Ah Let everything flow away and go home
Though that scar hurts, tho this thirst never be quenched
That doesn't matter anymore, Let's blow them all away

Let's go home with a nice breeze
Let's go home with a gentle rain
What is the use of hating each other
I'm, I'm gonna be the first one to forget


You are worried about the future
I am still attached to the past
This is our last time, I'm supposed to be a God
But still we are too much human

I looked at the world without me
From above, and I found out
It keeps on turning exactly the same as always
That made me feel easy somewhat

See you, see you again
We say farewell at the right before the highway
Leaving all the hustle-bustle behind, I walk alone
Taking, All my life was about taking
And not a bit of giving
Not knowing the meaning of this life I've lived

Ah, Let's give everything and go home
Ah, With empty hands, Let's go home
What we can give is just what we are given
Let's say thank you and be honored
I'm waiting for you, Let's go home
Let's go home where happiness never ends
What can we take with us when we leave this world
Let go of the burdens we're carrying, one by one
What is the use of hating each other
I'm, I'm gonna be the first one to forget

Ah, How am I going to live from today

A short film by GRIM FILM's newest member, Sidney Chan from WayangTree Productions. The sound of music has an effect on us that not many would realise. Listening to familiar melodies can send us off to a faraway space and time; such as the first time and place we met, spoke, or laughed together.

"Resonance" is an experimental film about conversations through memories and non-linear storytelling. A single conversation takes place across several different locations, parallel to each other, signifying the passage of time and the developing relationship between its two main characters as recalled in memory.

Originally conceived as a simple promotional video for HELP University's FrequenC club's 5th Annual Concert, the project grew to what it is now; shot within 7 days and released just in time to be the concert's opening video on June 4th, 2014. Resonance draws several inspirations from other films; particularly old school Hong Kong dramas and Wong Fu Productions, with Joe Hisaishi's Kikujiro as a point of reference for the theme song (which had been lovingly composed by budding violinist Joshua Lew).

The crew from WayangTree Productions had been a strong supporter of FrequenC, and had collaborated in making short films since 2012.

As the original members had since moved on with their lives and its director Sidney Chan moving on to GRIM FILM, Resonance is WayangTree's final short film, and will remain dormant for an unspecified time.

This film was a race against time and an incredible adventure of chance, new and renewed friendships, and new experiences - it was a first time for the majority of the cast and crew, including the main actors. Every single person had their lasting impact on the development of this film, no matter how big or small. God bless everyone!

Equipments Used:

Camera: Canon 5D3, 6D, 600D
Lenses: 70-200 f2.8 IS II, 24-105L, 50 f1.2
Sound: Senheisser Wireless Microphone, Zoom H6
Handling: Specced Video Tripod, Weifeng Monopod, Manfrotto Monopod
Software: Adobe Premiere Pro, Adobe Audition

Main Cast:

Kimberly Choo -- Violinist http://instagram.com/kiimsical
Ving Lee - Shop Attendant http://instagram.com/xxvingxx
Fiorella Tjahjono Tan - Little Girl
Wong Tuck Cheong - Old Man (Kelab Seni Filem Malaysia) http://goo.gl/cS5c2D



Crew:
Sidney Chan (Producer,Director,DOP,Editor,Writer) http://instagram.com/thesidneychan http://goo.gl/el57KA
Sherli Li (Executive Producer, Production Assistant, Camera Operator)
Gary Yap (Camera Operator) - My Psychology - http://goo.gl/12dD5o
Mathiban Raj (Camera Operator) - http://goo.gl/scFgNr
Joylene Ling (Camera Operator) http://www.youtube.com/user/jutlin1
Davidson Chan (Sound Recording)
Chong Yu Tatt (BTS, Story Treatment)
Jason Lim (BTS, Story Treatment)
Yvonne Tan (Sound Recording, Production Assistant, Conti)
Sarah Yung Kah Yan (Creative Consultant)
Joshua Lew (Violin Composer, Violin Coach)
Mas Mahathir (Piano Composer, Piano Reprise)
Ray Mak Hon Kit (Piano Reprise)
Nelvin Chee (Script Translator, Cantonese Subtitles)
Wei Xiang aka InYourFaceZeph (Theme Song Mastering)
http://www.youtube.com/user/inyourfacezeph


Special Thanks
Jared Lee - GRIM FILM (For lenses, camera and microphoness) http://goo.gl/oqTe5j
Joylene Ling - JOY Photography (For lenses) https://www.facebook.com/JoyleneLingPhotography
YAMAHA Great Sound Music Academy Sdn Bhd (Space U8) - http://goo.gl/FGbQjO
Sarah Yung Kah Yan (for the initial meeting that led to the final film concept)
Lusi Tjahjono Tan and Family
Ray Mak Hon Kit - http://www.youtube.com/user/makhonkit
InYourFaceMusic - http://goo.gl/FD8Z4i
Kay Lee

Old Town White Coffee (Oasis Square)
Daniel Veerapen http://www.youtube.com/user/DanielVeerapen

FrequenC https://www.facebook.com/frequenc

WayangTree http://www.youtube.com/channel/UCwl_XuPIkZ3ok1RXNfCH2sw