關於 a star is born full album ，我們在網路上蒐集到這些相關的討論、資訊與評價

LADY GAGA – THỊ DẬU XINH ĐẸP

Nhân tiện Thị Dậu hay còn được fan gọi yêu là “Gà” hay Lươn Thị Dậu, Dậu Xaoline. Nhân dịp Lady Gaga cho chúng ta một bộ phim về một trong những thương hiệu luôn nằm top 10 nổi tiếng và doanh thu tốt nhất trong thập niên hiện tại “House of Gucci”. Chúng ta cũng nhìn lại về cái sự nghiệp ca hát, phim ảnh và dĩ nhiên rồi – Thời trang của Thị Dậu.

Nhắc tới phim ảnh thì trước “House of Gucci” thì chị Dậu nhà ta đã thể hiện mình có số có má trong mảng diễn viên ở bộ phim “A Star is born” - tên Việt Nam là “Vì sao vụt sáng” đánh dấu sự trở lại của Lady Gaga với các hit “Shallow” “I’ll never love you again”.. và một vẻ đẹp không thể đằm thắm hơn. A star is born cũng giúp chị mình đoạt dăm ba cái giải Grammy và đề cử Oscars trong khi người ta hoài nghi về cái sự flop của Thị Dậu.

Nhưng ai cũng nhớ một thời – đặc biệt là những con quỷ bé (The Little Monsters) , Lady Gaga nổi lên như 1 pop star ngoài các hits mà ai cũng nghe đi nghe lại như “Poker Face” “Bad Romance” “Alejandro” “Paparazzi”.. còn là trang phục quá dị đời tại thời điểm đó của Gaga. Ai cũng kêu Gaga điên, Gaga làm lố nhưng mà phải đến bây giờ - khi bắt đầu có được tí kiến thức còm - mới thấy được cái đi trước thời đại và vượt ra khuôn khổ của Thị Dậu. Thảo nào năm 2011 CFDA trao giải Fashion Icon cho chị.

Nhiều người sẽ ấn tượng những outfit chỉ có trên VIdeo của Gaga nhiều hơn - đặc biệt là “Bad romance” có sự nhúng tay của nhà thiết kế lỗi lạc (Và cũng là 1 người đi trước thời gian nữa) Alexander Mcqueen . Đôi boots “Armadillo” mà ngày xưa mình nghĩ là cái chân cua chân tôm là một trong những sản phẩm cuối cùng của NTK đại tài - Lady Gaga cũng đã mang đôi boots đó trong MV Bad Romance. Sau cái chết của A. Mcqueen, LadyGaga đã tri ân NTK bằng bài diễn của mình và đồng thời một trong những hình ảnh iconic nhất của Lady Gaga “Chiếc váy đỏ như màu thịt” của Lee trong runway Thu-Đông năm 1998 Alexander McQueen

Tiếp đến 2011, Versace nhận ra sự ảnh hưởng của Gaga lên không chỉ giới nhạc mà còn thời trang nữa. Tuy trưởng thành ở Mỹ, nhưng Stefani Joanne Angelina Germanotta mang trong mình dòng máu Ý và một gia đình Công giáo - do đó sự sang trọng và quý tộc đã chảy trong huyết quản của Thị Dậu. Mối nhân duyên với Versace bùng cháy vào năm 2013, trong Campaign quảng bá mùa Xuân Hạ 2014 - Versace đã nhận thấy Gaga đúng là một “biểu tượng thứ thiệt”. High-fashion, luxury như những gì mà Versace mong đợi, Lady Gaga đã cho người hâm mộ đúng 1 hình ảnh sang chảnh với “Medusa Head” – Bà chúa rắn.

Nhắc tới Thierry Mugler - người ta nhớ ngay những items mang đậm avant-garde (Tiên phong) nhưng lại “dị” hơn nhiều. “Cyborg” (Hình tượng nửa người nửa máy) là 1 trong những ý tưởng luôn được Mugler khai thác - Gaga dưới bàn tay Mugler càng tôn lên vẻ độc đáo của Thị Dậu nhà ta. Gaga cũng có lần hợp tác với Tomford SS 2016 nhưng cá nhân mình không ấn tượng với hình ảnh 1 cô gái theo style Chic’s disco classic nên không nói nhèo. Nhưng đến AW 16 Lady Gaga xuất hiện thật bất ngờ với 1 hình ảnh “Lowkey” khác hoàn toàn với tính cách của cô với 1 chiếc áo khoác màu xám lông chuột oversize, 1 blouse cổ điển của Marc Jacobs để tri ân Bowie tại lễ trao giải thưởng Grammy.

Bẵng một thời gian sau đó – Không ồn ào, không sản phẩm âm nhạc mới, Lady Gaga trở lại với album mang tên đệm của mình “JOANNE” với MV “Million Reasons” theo 1 cách không thể đơn giản hơn khi Gaga độc tấu với cây đàn guitar điện của mình. Ấn tượng mạnh chính là full set pink from head to toe của Gaga - đơn giản nhưng đẹp - khi tìm hiểu, thì bộ đồ của Gaga được may bởi Brandon Maxwell - 1 nhà thiết kế tài năng của Mẽo chuyên sản xuất đồ cao cấp cho phụ nữ.
Trước “A Star is born” - Lady Gaga còn góp mặt trong vai Countess trong season thứ năm của series nổi tiếng “American Horror Story” và được mệnh danh “ 1 dân chơi thứ thiệt” khi diện những item archived của Yohji Yamamoto và Mcqueen. Sau màn trở lại ấn tượng với bạn diễn không biết là “Phim giả tình giả không?” vì hai anh chị trông thắm lắm, Lady Gaga hoạt động mạnh mẽ hơn rất nhiều và một khi Thị Dậu xuất hiện. Muốn hay không muốn, người khác sẽ phải ngước nhìn và xuýt xao. Đúng vậy – Lady Gaga suốt năm 2020 khiến khan giả mồm chữ O, mắt chữ @ khi luôn thay đổi outfit trên các giải thưởng lớn – với những tên tuổi lớn. Và như trước giờ, vẫn cực kì ấn tượng. Như 1 tranh vẽ thời kì Phục Hưng vậy, Thị Dậu nên mở lớp bổ túc văn hóa mặc đi sự kiện cho mấy em út bây giờ đi chứ. Iris Van Herpen, Area, Valentino hẳn tự hào khi mẹ Quỷ cho biết thời trang của họ đỉnh như thế nào.

Thị Dậu nhà ta, vẫn luôn như vậy. Giỏi – Đẹp – Hát hay.

Ủng hộ cho Bi tại:
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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….

璃絲是個懷抱野心的演藝圈新人，為了爬到一線明星的位置，她開始把性、權威與金錢當武器，換取各種獎項、戲劇與表演的機會。

漸漸的，璃絲從一個天真單純的女孩，變得糜爛又暴躁，她的粉絲越來越多，朋友卻越來越少，原本以為「犧牲會有回報」的鐵律逐漸失效，她有辦法掙脫潛規則的迴圈嗎？

妹妹娃娃多媒體新電影飾演Lara梁心頤，路斯明，以及林辰唏 【明日之星】10/18首映會，10/19上映。

官網：www.tomorrows.star.com.tw
特別感謝：https://www.home-boutique.com

Lssse is a newcomer to the industry; full of wild creativity and potential. In order to attain high standing in the entertainment industry, she uses sexuality, authority and money as weapons in exchange for various achievements and opportunities.

Slowly, Lssse goes from an innocent and pure girl to one who is gorgeous yet violent. As her fans increase, the adverse is happening to her friends. Although she initially felt that 'sacrifice will bring reward', she's slowly realising that's not how the world works. Does she have the means to leave behind the restrictions of this industry and truly become Tomorrow's Star?

Meimeiwawa Multimedia new movie 'Tomorrow's Star' starring Lara Veronin, Johnny Lu & Mathilde Lin in theatres 19th October.

→ 11/11 Lara梁心頤【千面獸】演唱會
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S.H.O iTunes http://itunes.apple.com/us/album/star-single/id419459289

S.H.O-PIMP CODE Coming soon!

S.H.O MY SPACE
http://www.myspace.com/shobwsjpn

S.H.O TWITTER
https://twitter.com/SHO_aka_ENERGY

S.H.O was born in Hidatakayama, Japan. He was part of the national Alpine ski team until 2004. In 2004 he had a big accident and couldn't ski any more as a member of the team. He lost his dream of Olympic gold. At the time, 2 PAC songs were his salvation and motivation. He reformed himself and decided to grab a gold medal on a different stage.
S.H.O committed himself to spend his 2nd life with the music he loves and respects BLACK HIP HOP. After he came back to Japan, He started music activities in Yokohama, Japan.
He had respected THE GAME so he has sent his photos with message to THE GAME, then flied to LA. After he met with THE GAME, he got tattoo of "THE BLACK WALL STREET" logo on his right arm and went back to LA. Fortunately, S.H.O was admitted by THE GAME and played 8 stages together in the U.S. and JAPAN.
This experience motivated him and pushed him and he made his 1st album "RIZE & PEACE" on January 20, 2008. This album is including "NEVER GIVE UP feat. CLEVER" that was rated highly as a classic. He got next tattoo "RIZE & PEACE" on his chest. This tattoo is implied his real name, Shohei. After release his 1st album, he tattooed glaive which he designed. This glaive represents "brave", "fight" and "his strength". In the same year, he released his 2nd album "BRAND". It's contained 15 tunes including once-hailed songs "BRAND", "LET'S GO feat. OX" and "MY WAY". To prove himself as a brand like GUCCI or LOUIS VITTON, he tattooed "BRAND" on his left arm. His tattoos remind him of his experience, influence and keeps him grounded to remain true and original.
In 2009, he appeared on a full page of THE SOURCE magazine April/May issue as known as the best hip hop magazine in The U.S. It was a huge opportunity to show S.H.O to the world. The long-awaited his 3rd album "ENERGY" is released on April 25, 2010. "Even If It Ends" which is a collaboration with American R&B female artist Az One.
He has the upmost respect for U.S. hip hop music. This influence and motivation powers him to grab his dream of gold! HIP HOP GOLD!!!

SHO PV

S.H.O iTunes http://itunes.apple.com/us/album/hustle-hard-feat-havoc-mobb/id394407432

Pimp Code

m-field

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[PIMP CODE楽天アイネットメディア]
http://www.rakuten.ne.jp/gold/fort2001/

S.H.O was born in Hidatakayama, Japan. He was part of the national Alpine ski team until 2004. In 2004 he had a big accident and couldn't ski any more as a member of the team. He lost his dream of Olympic gold. At the time, 2 PAC songs were his salvation and motivation. He reformed himself and decided to grab a gold medal on a different stage.
S.H.O committed himself to spend his 2nd life with the music he loves and respects BLACK HIP HOP. After he came back to Japan, He started music activities in Yokohama, Japan.
He had respected THE GAME so he has sent his photos with message to THE GAME, then flied to LA. After he met with THE GAME, he got tattoo of "THE BLACK WALL STREET" logo on his right arm and went back to LA. Fortunately, S.H.O was admitted by THE GAME and played 8 stages together in the U.S. and JAPAN.
This experience motivated him and pushed him and he made his 1st album "RIZE & PEACE" on January 20, 2008. This album is including "NEVER GIVE UP feat. CLEVER" that was rated highly as a classic. He got next tattoo "RIZE & PEACE" on his chest. This tattoo is implied his real name, Shohei. After release his 1st album, he tattooed glaive which he designed. This glaive represents "brave", "fight" and "his strength". In the same year, he released his 2nd album "BRAND". It's contained 15 tunes including once-hailed songs "BRAND", "LET'S GO feat. OX" and "MY WAY". To prove himself as a brand like GUCCI or LOUIS VITTON, he tattooed "BRAND" on his left arm. His tattoos remind him of his experience, influence and keeps him grounded to remain true and original.
In 2009, he appeared on a full page of THE SOURCE magazine April/May issue as known as the best hip hop magazine in The U.S. It was a huge opportunity to show S.H.O to the world. The long-awaited his 3rd album "ENERGY" is released on April 25, 2010. "Even If It Ends" which is a collaboration with American R&B female artist Az One.
He has the upmost respect for U.S. hip hop music. This influence and motivation powers him to grab his dream of gold! HIP HOP GOLD!!!

SHO PV