活下來

If we can stop our time and stop everything,what will you do?

我會偷吻我暗戀的人,如果我有暗戀的人。

在考試的時候,我會看成績好同學的卷。

我會在垂死的親人旁,依偎她。

我會在一個演唱會上擁抱我最愛的女明星。

我會選擇做一個小偷,盜取我想要的東西。

我會去作弄一個討厭我的人。

我會……………………….再睇多次CASHBACK

CASHBACK是一部空想的電影,其拍攝手法都是很有趣的方式。男主角對女人的幻想,到他暫停了時間,探索女人。就因為空想與奇特的手法,CASHBACK後來拍了一套長篇,不過現在還未看。看了之後我才會比較一下。總括短短18分鐘的片子的確幾有趣,誠意推介的。

從FAITUNES.COM看到這一則新聞,真是覺得香港的藝人愈來愈得到國際的關心和視野,林一峰你好野!

林一峰接受國際同志雜誌《Advocate》訪問內容

There is no Elton John, Melissa Etheridge, Erasure, or even Lance Bass in Hong Kong, but there is Chet Lam. He’s penned songs for mainstream Cantonese pop artists, opened for kd lang, won awards, written collections of writing, and even starred in a couple of Chinese queer indie films. In a country and culture that still prefers its media icons closeted, Lam’s sexuality doesn’t seem to be ruffling any feathers. Even when he’s performing the male-pronoun specific, “When He Sings” (from the 2006 all-English cover album Camping) or romantic ditties about, well, Bert and Ernie.

“They are the most ambiguous gay couple in TV history, that’s for sure,” says Lam. Sitting in Manhattan’s Joe’s Café, a queer coffee spot appropriately positioned on the corner of Gay Street and Waverly, the 31-year-old Lam cuts a slight, almost schoolboy figure in a striped button-down shirt and tie. “They tell everyone they’re best friends,” he continues. “Their pictures hang on a wall in the same bedroom. And one of their songs is called, ‘When Bert’s Not Here,’ sung by Ernie. That is one of the most touching love songs I’ve ever heard.” Lam performed the song during an arts festival appearance, an Ernie puppet literally on hand.

Hopelessly stricken with wanderlust and frequently mixing Cantonese and English in his songs, Lam visited New York to finish writing his next album, catch some concerts (including Damien Rice), and have a sit-down with The Advocate.

When did you come out publicly, and what was the response?
I came out in the very first interview I did five years ago in Hong Kong because I didn’t want to make it a big deal. Hong Kong people and Chinese media like playing games with you and can be really mean. But when you lay yourself out in front of them, with no hidden agenda or anything, they will just stop asking. And that’s what I wanted to do. No more questions asked.

When did you come out as a person?
I never came out because I was never in. 

Travel and relationships play a big part in your songs. Travelogue, Too’s “CL411” deals with both. What’s the story behind it?
I grew up — not poor, in Hong Kong you can’t be too poor — but we didn’t have money at all, in a public housing estate less than 500 meters from the airport and my dad was working as a maintenance guy in the engine department. I was watching the planes go up and down every day, and I really liked them and wanted to go away. Later it became a habit, like getting away from things, from relationships. I wrote “CL411″ on the plane to San Francisco in 2003. My debut album had come out and was quite well received, and suddenly I got some money so I could do what I wanted. So I was trying to escape from someone…and I realized maybe I’m the one whom I’ve been trying to escape.

And “Two Toothbrushes”?
You know Bright Eyes? It was inspired by his work “The First Day of My Life.” I was so touched I wanted my own version! Two toothbrushes in the same glass in a bathroom together is bliss — it’s happiness, and I’m really content when I look at them. This is a symbol, and I like using real symbols and objects in my songs to make people understand what I’m talking about.

While the Chinese media doesn’t ask about your sexuality anymore, do they still touch on the issue when discussing these relationship songs?
They don’t pay attention to the words at all. Camping, the English cover album I did for fun (which includes ABBA and Madonna tunes) — it’s really gay right? They just don’t care about words. There’s no room for music criticism. It’s all about entertainment, melody, and beat, but I’m a guy of words. What I’ve been doing is out of the mainstream.

Your sister, who’s a bit of a tomboy, is in a group called at 17. Is she also gay?
Well, their business I don’t want to talk about, but I can tell you I’m close to my sister. I always call them the Hong Kong version of the Indigo Girls — or more like Tegan and Sara.

You do realize those artists are queer, right?
Are they? Oops! Well, you can judge for yourself.

There’s a clip of you performing a cover of Kylie Minogue’s “In Your Eyes” on YouTube, from your Camping live show. You bring quite a weight to the song.
Yeah, it is heavy. Those songs [for Camping], they speak something to me. When I was choosing the songs, I really had to look at the lyrics and retell the stories. But they don’t care about [most of] the words I sing in Hong Kong — only the clever ones.

You use English words in a lot of your songs. Why?
That’s how I grew up. There was English taught in my school. We are supposed to be all bilingual — trilingual with Mandarin, Cantonese ,and English — but it really helps when you listen to a lot of English songs and read the materials. Janice Ian’s song “Light to Light” opened my world — the line: “There’s wisdom in the teaching of the old familiar songs, and there’s sorrow in repeating the old familiar wrongs.” When I started to listen to the record, it started to grow inside me. That’s what inspires me to focus on words first and maybe why English words are thrown in here and there.

Have you ever been approached or pressured to sign with a major label and go mainstream Cantopop—complete with the glitzy costumes and live shows?
I cross over with those artists when I write songs for them and sometimes we perform together. But I never let them sign me. Even this year, right before I came here, someone was asking me. But I always make my own stand because people don’t like me doing mainstream stuff like that by myself.

What is your love life like these days?
My position is, “Don’t go to find them, they will find you.” Here and there they find me, but I really have to concentrate on my career because I am a one-man band. I have my own label, and I have to take care of so many things.”

Being a traveler, you could have a ship in every port, so to speak.
No! Oh, no. Wow. I wish. Not the case. It’s too time-consuming.

From:http://www.advocate.com/exclusive_detail_ektid49576.asp 

在我們的人生中不斷地迎接著每天的新挑戰,打算和大家分享一下別人的故事。在課堂中老師與我們分享了他的故事,他18歲時文化大革命,知識份子要上山下鄉,學習思想改造,在那個亂世中他沒有升上大學的機會,儘管他有這樣的能力。文革十年結束,1977年內地高考復辦,他28歲進入了大學的門檻。到現在他成為了我的老師/一個學校裡的小頭目(謙虛的講法),一位對學生不錯的大學教授。我們反觀一下香港/我們自己/青春的時候我們沒經歷過這些的事件,我們的青春有幸讓我們不斷的放縱,不斷的叛逆。別人的青春就在那些艱苦歲月中渡過。我們這一代香港人是十分幸運的。

她,一個職業女性。 香港人。未婚。突然有一天她患上了癌症,家中還有媽媽。她是我的鄰居。小時候總覺得她是一個陽光女孩,見到面都充滿笑容的。有時見到面都會關心我的情況,但突然間我父母忽然告訴我她患上了乳癌。生命的無常不禁讓我想起了今年中逝去的家政老師,我知道老師在她患病的日子中都教會見証,花上了比從前更多的日子陪子女。一次患病的經歷讓她的生命得到了一些她得不到的東西。雖然我還是很想對老師抱歉,因為我沒有交你的功課。每當我想起你時,我總是想我沒有我做學生的責任。而你沒有責罵我……….對不起已經沒有作用……….我不會再不交功課了..這一輩子…

生命真是很無常,我們在別人的經歷下學習。成長．反思自己的人生。

假如我沒有去FACEBOOK沒看到小學校長榮休的消息,那我不會知道昔日學生們都害怕的盧秀枝主任做了校長。事實上盧主任是一個很好的老師,一個好老師不是閉上雙眼,不理學生,完成教學任務,如果一個老師是這樣可以炒。在我心目中好老師除了要把自己的知識傳遞給學生外,培養品格同樣是很重要。盧主任正是擔當這一個角色,訓導主任。我夠膽謂全校最惡的應該是她,不要以為我是一個乖的學生。我曾經給她責罵,原因是一次的陸運會中我朋友偷小食部的東西,而我做了幫凶。事件一直纏擾我很長的日子,我還是長大後才敢告訴媽媽。那次的事件在我的人生上了寶貴的一課,雖然沒有被記缺點。

又有一次的運動會,爸爸送飯給我,盧主任見了說我們真像兩父女。這一切一切真是難忘。歲月催人老,看到她的照片上的樣子,頭髮的斑白,令我感慨萬分。時間是不會等人的,但珍貴的回憶會隨身。

 盧秀枝校長,努力。

人生好比是一場戲,記得閱讀張蕙菁的作品時,有一句話我特別深刻那就是我們人生中要不停地學習講再見。世界是一個PEOPLE COMES,PEOPLE GOES的社會,一段友情,一段感情要維繫很難。人生有很多的交差點,很多時候我們討厭一個人,想與他永遠地說再見,但走到街上還是會遇見。又可以是我對一個人的感情很深不想分別,但最終某一些緣故而要分開,內心卻是再見不再見。

再見,在某個時間是很難說的,與父母的離別,與至愛的分離,好友的離去,17歲的溜走,畢業…

學習說再見,每個人都必須懂的一課。不再見還是會再見,再見還是會不再見。

當她想起她,當你看到她想起她。你又會想起你的那個他嗎? 再見 不 再見。

彭秀慧,一個29+1的女導演/演員。多多支持再見不再見RE-RUN。THANKS。

十年前香港回歸,陳慧寫下了這一個香港故事。從故事中的連城,宋雲在廣州來香港,他們的奮鬥,開公司,買股票,到生了十個小孩(其中排第四的是撿回來的),年紀最大的大有與妹妹十香相差二十一年。故事先講述連家的背景,再有十香說一說她的九個兄弟姐妹,十香的故事。在她短短二十二年的人生中一個的生命歷程。

在閱讀的過程中有一種很熟悉的感覺,暴動,制水,香港國際電影節,香港小姐,表錯7日情,約定,每個香港人都一定會知其中幾項,從上一代口中得知,學習時得知。在書中滲透著一種香港的本土氣味。當中我們的父母都可能經歷過,在普慶戲院看電影,兩小無猜,許鞍華的傾城之戀,在海運大廈拍拖。上一代香港人的集體回憶映照在下一代的香港人身上。

每個人都在追求自己想要的東西,大有得到了一個好老婆,相逢在時光的流逝中終於得到了曾經想擁有凡東西。三多在婚姻的失敗中試圖找她的新生活,四海獨自的英倫生活,五美與四海之間的愛情追逐。六合在社會的運動中衍生的立志成為區議員。七喜因為挫折而激發起的讀書慾,八寶與娛樂圈結下的不解緣。九健是個永遠的正常人。而十香的生命就是見証著他們一家人的成長和生活。

原文 — ball — 2007-10-30 02:45:23

【摘自明報】中、小學普通話教中文醞釀逾10年，語文教育及研究常務委員會(簡稱「語常會」)決定動用2億元語文基 金，推行3年普通話教中文試驗計劃，每年批出30所小學、10所中學申請，逐級推行普通話教學，料可服務約120所中小學。語常會認為時機未成熟，暫不會 向教育局建議訂立全面推行普通話教中文時間表及政策。西貢崇真7年前從小一推行普通話教中文，至今已全校推行，獲教育局及天主教教區讚賞，不時邀請該校向其他 學校分享經驗。署理校長周麗雄認為，普通話教學成效大，校內研究發現，該校小四生比全港小四生的中文閱讀能力為高。周麗雄說，今年中學部銜接小學，開始推 行普通話教中文，「我們的小學生更會到中學部做助手幫忙教授普通話呢！」校方下月起更會為家長及區內幼稚園生舉辦普通話班。校長何綺霞表示，家長希望子女 多學語言，該校注重普通話的特色，因而亦成為收生的優勢。該校中文科統籌林慧及科主任張琛說，以往高年級學生會感害羞而不願意說普通話，但採用普通話授課後，學生習慣聽、講，學習得很快，且有助中文作文，亦減少書寫廣東方言。張琛說﹕「我們鼓勵學生作文後，先以普通話朗讀一次，檢查文章是否通順。」

中文寫作能力和母語是沒有必然關係的,先不說陶傑,李碧華,林夕,黃霑,黃毓民等名家，單是看看mocasting眾友便知此言非虛。誠而文采是天生的,可是行文走字卻是後天的功夫。文理不順白字連篇,只有一個原因懶,書讀得不多,文章寫得不多之過。退一步說用普通話朗讀”素質”,”打造”,”平台”,”玩命”,”公交”,等這些共產中國劣質詞匯,也改變不了是劣質中文詞匯的本質。再者９聲的”港”府話比四聲的普通話，更識合朗誦文章。
走筆至此想起倪匡在最近的電視訪問中說[大意〕(見延伸內文)，”創作有兩大敵人,一是壓制,一是提倡…因此對西九文化區的成效並不睇好”。筆者非常同意倪匡之說,難道明天筆者設立ballmazon.com 或ballmocasting.com便能幻想取代amazon或mocasting的王者地位，這是不可能的。筆者猜想特區政府堅持劃定文化區和其有趣政策的勇氣,不知是否來自聖經創世記”在起初天主創造了天地。大地還是混沌空虛，深淵上還是一團黑暗，天主的神在水面上運行。天主說：「有光! 」就有了光。天主見光好，就將光與黑暗分開。天主稱光為「晝，」稱黑暗為「夜。」過了晚上，過了早晨，這是第一天。”(創1:1-5)。特區政府創做了文化區便有了文化?特區政府說了扶貧便沒有了貧民?特區政府說學普通話文章便寫得好，文章就寫得好?港人崇利,還記得為甚麼殖民地年代人人都努力學好英語?想提高香港的中文水準，動之而利才是最佳的方法。

 

 

筆者是從一所普通話教學的小學畢業的,不得不承認用普通話教學令到學生能夠掌握一種語言。在二十一世紀學好普通話是必需的,中國是一個很大的市場,但在用普通話教學前應該各方都準備好,老師的培訓,學生的意願。學普通話不是說一口港腔的音調,而是真真正正的學好B,P,M,F,才是學懂。筆者在大學才認真地學習拼音,幸好早幾年的時間抽到一個暑假時間自學,在大學才不至辛苦到什麼都不懂。

我相信在香港在一段的時間內都不可能實施普通話教學,因為香港的師資對普通話始終不重視。投放的資源不足,普通話運動的推行都不及英文。與我同班的同學大多是港澳學生,在學習普通話的路上都比我辛苦,由此可見香港的培養不多。一週一堂的普通話課很顯然是不足,但在學生面對種種壓力下又不可能地增加。

香港的教育制度創造高分低能的「成功者」,面對著學生的語文能力下降又不段找藉口。很多時候看朋友的xanga都會發現到廣東字,那算是中文嗎?我們講的口語就應該用口講,而輸入字詞時應用書面語。香港的學校應該叫學生多用書面語寫作,多閱讀,中外名家/小說。另外是鼓勵教師多學習普通話拼音,中國內地的文化。這樣香港學生可以多認識國情,又可以開發未來的市場。