欢迎使用 WordPress。这是您的第一篇日志。您可以编辑它或是删除它，然后开始写您自己的博客。
Read More
=2007年，冬春=
这里不会再更新了，告别的不只最好的时光。
[img]http://images.blogcn.com/2007/3/25/4/funnylife,2007032564630.jpg[/img]
=The Innocence Mission/We Walked in Song/2007=
经历了好多天的惊心动魄以后，在听到the innocence mission新专辑的这个清晨，我忽然觉得我好了。
时间是2007年的3月将末，从这对夫妻发行第一张专辑到现在已经过去了25年。这25年间，世界其实变化多：虽然仍然有战争有流血，却出生了更多的拜金小姐和花人比黄花瘦花公半夜凉初透子；电视里虽然从未少过劣质肥皂剧，往日一起听广播的人们却都走散了。倒是这两个人仍像初涉世事之时一样，依旧认真弹着琴唱着自己的歌，歌也一点都没变。在我们都以为花草已经听滥的今天，我竟然还是轻易就被捕获了。
我原本觉得春天是雄一君的春天，潮湿一点点，烟草一点点；其实春天也是天真的春天，阳光和花草都在刚刚好的角度。
[img]http://images.blogcn.com/2007/3/18/1/funnylife,200703180339.jpg[/img]
=摇摆。西川美和。=
这个电影，首先是干净有节奏，其次是有生活，最好的一点是，刀子捅得深。
深到你来不及叫一声，已经能看到自己败坏的部分袒露在外，不可收拾。站在狭窄的木板索桥中央，跌落摔死的何止你爱慕的楚楚恋人，你也同时摔死了自己。电影里走到这步你发现自己搞砸了，回不去也执拾不起，你不得不向顺风顺水的弟弟啐口水。这时你也搞不清自己是爱他羡慕他还是真的像表现出来一样那么恨他。
实际里哪有这么好命，我不断地因为嫉妒和懒惰弄糟自己，却从来找不出人坐在对面承担“我怎么变成这样”的问题。糟糕的时候只能蒙着被子哭一场，没有死亡没有牢狱，不情愿也要继续糟糕别扭下去。戏剧好在，怎样都会有解决方式，怎样也都会有一个结局。
[img]http://images.blogcn.com/2007/3/18/1/funnylife,2007031805421.jpg[/img]
小田切让同学献上漫长的哭戏一段，也算非常完满。
（那么，他的歌词果然没得说。）
[img]http://www.douban.com/lpic/s2330540.jpg[/img]
World Keeps Turning
On our anniversary
There'll be someone else where you used to be
The world don't care and yet it clings to me
And the moon is gold and silvery
Who knows where the sidewalk ends
Well, the road will turn and the road will bend
They always say: he marks the sparrow's fall
How can anyone believe it all?
Well, the band has stopped playing but we keep dancing
The world keeps turning, the world keeps turning
On his hand he wore the ring of another
The world keeps turning, the world keeps turning
We broke the bank and we tore up the place
And we disappeared, oh without a trace
Now the sun it falls into the sea
I know I'm the only one for me
I was so green and the dress you wore was yellow
The world keeps turning, the world keeps turning
The sun is down and the moon is in the meadow
The world keeps turning, the world keeps turning
Put a hat on your head
Will you paint the whole damn town red with me?
Well, the band has stopped playing but we keep dancing
The world keeps turning, the world keeps turning
On his hand he wore the ring of another
The world keeps turning, the world keeps turning
The world keeps turning, the world keeps turning
The world keeps turning, the world keeps turning
Written by: Tom Waits/ Kathleen Waits-Brennan
Published by: Jalma Music (ASCAP), © 2001/ 2006
Official release: "Pollock - Original Motion Picture Soundtrack", 2001. Label: Unitone 5301 (Produced by Jeff Beal)
Re-released on Orphans (Bawlers), (100486304, P) & © 2006 Anti Inc.
NO.1
关于这只手机是从哪开始的只有我自己记得，是谁也没有告诉的秘密，我终于也有了一个忧伤的秘密。
这一年半里，有过混沌的春天、无所事事的夏天，事情仿佛是前进了，也有可能是在后退，亲爱的，我身在其中哪里会说得清。手机丢失以后，很多事情自然回到了原点，我不免觉得是两手空空，为此一时间迅速地败下阵来，不知再该如何开始。想起在德国的时候，有那么一阵，孤独得要命。大概消失了也不会被发现吧，当时这样愚蠢地想过。
元月节大风大雪，被小赖亮亮接去远地方放花，是非常高兴的。在车里我和亮亮解释自己的脆弱，我说是因为时时处在现实和幻觉之间、确定和怀疑之间的缘故。
我讨厌自己的时好时坏，始终未长成想要的样子。
NO.2
收到[url=http://blog.sina.com.cn/didiz]理想国[/url]串联题目4则，答案如下：
1.哪个地方留下美好的回忆？
豆浆店
2.最喜欢的歌，仅限一首。
3.这辈子最想干的事?
读万卷书，行万里路
4.拍照对你的意义是什么？
发现月之暗面
P.S.鉴于近期情绪低落，就不再叫别人接着玩了，原谅这么没有娱乐精神的我吧！
Read MoreCover
[img]http://images.blogcn.com/2007/1/27/7/funnylife,2007012713358.jpg[/img]
Back
[img]http://images.blogcn.com/2007/1/27/7/funnylife,20070127133540.jpg[/img]
冬天的周末听这个赖床发呆，简直太有剧情感并且太有幻觉了。什么青春啊梦想啊迷茫啊疯狂啊，不断以3分钟的长度重新来过。Damn！
Joseph小孩果然是人见人爱的小流氓，迫不及待要看下一出[url=http://www.douban.com/subject/1532365/]Brick[/url]。
非常凑巧的，在琢磨要买中华书局的《乐府诗集》时，看到七种静默小组更名叫做短歌行，小组里摘出来的两首我也非常喜爱。僧皎然的这首是第一次读到。
手机号码翻了一遍，最想面对说出的人仍然在欧罗巴。这时候自然少人再介意山水与情谊，闺第杯盏之间的暧昧是此一百年的主题歌。
你有一天问我有没有对策，我哑口无言。我哪里会有什么对策，只晓得加倍认真地看书看碟而已。那么如果在古代，我也会是一个伤春悲秋的小角色。
《短歌行》-王建
人初生，日初出。上山迟，下山疾。百年三万六千朝， 夜里分将强半日。有歌有舞须早为，昨日健于今日时。 人家见生男女好，不知男女催人老。短歌行，无乐声。
《短歌行》-僧皎然
古人若不死，吾亦有所悲。萧萧烟雨九原上，白杨青松葬者谁。贵贱同一尘，死生同一指。人生在世共如此，何异浮云与流水。短歌行，短歌无穷日已倾。鄴宫梁苑徒有名，春草秋风伤我情。何为不学金仙侣，一悟空王无死生。
[img]http://images.blogcn.com/2007/1/20/8/funnylife,20070120152715.jpg[/img]
=この世の限りEP, 椎名林檎×斎藤ネコ+椎名純平, 2007.1.17=
[隔约3年以来椎名林檎名义的单一的现在作品，是担任音乐监督的2007年春天公开的电影『樱花』的ending·题目曲子。作为来自初次亮相相片簿的交往的齐藤猫担任整理和指挥，由于全体约70名组成的管弦乐的音是精华部分。同时，请哥哥椎名纯平做客人·vokaru，温暖的歌声音显示登上绚烂声音深的味。合的2曲，『樱花』电影音乐用姑且不论版本的新作，哪个的乐曲也能发现椎名的新的魅力，兴趣不竭尽。]
附注一：谁翻译的介绍文字？也太烂了一点吧？！
附注二：这样又是爵士又是电影又是欧洲嘉年华气氛的，女王你究竟要歌迷饥渴到什么程度？！
[img]http://images.blogcn.com/2007/1/19/6/funnylife,2007011911627.jpg[/img]
=The Spirit of the Beehive, Directed by Victor Erice, 1973=
[b]Buzzworthy[/b]
The kids and the Whale: An unprolific Spanish perfectionist's monstrously dreamy debut
[by Michael Atkinson]
Spanish master Víctor Erice graduated from film school in the early 1960s, and has since earned a living writing criticism, directing television, and filming commercials. He has made only three features in the last 33 years, debuting with The Spirit of the Beehive in 1973, and taking roughly a decade between movies thereafter. Apparently his compulsions apply more to perfection than process. In the U.S. Erice has always been a negligible figure, but in the U.K. Beehive and 1992's Quince Tree of the Sun are routinely remembered as two of the greatest films ever made. In any case, Beehive remains arguably the finest and most beautifully wrought first film of the European '70s, a mysterious crucible as elusive, concrete, and visually primal as anything by Herzog, Straub, Olmi, or Denis. But it is also an unashamedly symbol-drunk piece of work; as if shopworking with folklore that doesn't exist, Erice insists through his visuals that everything, even the vast, furrowed Castilian plains themselves, signifies emotional intangibles. Set in post–Civil War 1940, the movie dreamily documents a rural village's quotidian, but does it so elliptically that, as is the vogue in recent Asian cinema, half the story and all of the backstory must be sought at the movie's fringes, between its scenes, and in its silent ruminations.
The connections among Beehive's central family—two ebony-eyed young sisters Ana and Isabel (Ana Torrent and Isabel Tellería), a distracted, love-letter-writing mother (Teresa Gimpera), an older, beekeeping father (Latin cinema vet Fernando Fernán Gómez)—aren't even apparent until deep in the film. Instead, precedence is given to the overbearing call-and-answer between earth and sky, and to the arrival in town of a traveling projectionist and an old, dubbed copy of James Whale's Frankenstein (1931). For the girls, the film's fierce oddness, experienced in a cinema-poor context, is electric, but it rhymes with the world as they see it—stretching away from them in every direction, rife with unclear connections, treacherously inhabited by images that belie their own meaning. Mushrooms, family snapshots (clues to Mom's forlornness), the motivations of grown-ups, a dead body, the movie image itself: Everything disguises its true nature, and Erice's implicit idea, that childhood is a process by which we understand the lies of life, is nearly as harrowing as the scale of the landscape in contrast to its pint-sized heroines.
Naturally, the phobic scene in Frankenstein when the monster confronts a flower-picking girl by the pond continuously haunts Ana's worldview—in the crayon-drawn opening credits, in her dreams, and when a wounded fugitive with large feet appears in an abandoned barn. Shot in an unforgettably jaundiced twilight (the cinematographer, Luis Cuadrado, was reportedly going blind during the shoot, and killed himself in 1980), Beehive is a graceful and potent lyric on children's vulnerable hunger, but it's also a sublime study on cinema's poetic capacity to reflect and hypercharge reality. Virtually everything about it is iconic, from Erice's perspective-assault imagery to Torrent herself, who with just two appearances ( Beehive and Carlos Saura's Cría Cuervos) became a new cineastic generation's totem of fearless innocence.