落下王国

I have mentined the movie here twice.
《the fall》 Pages as follows
are selected from the Japanese fashion magazine 《装苑》.

海の日

不干正事的总是我。我的注意力在哪呢。早就知道离住处不远就是海，到了今天怎么也耐不住要去看看海了。
绕来绕去的斜坡小路旁不时冒出一两家占据绝佳海景位置的歇脚小店铺。接着，就一个拐弯碧蓝的海就露了出来。
在这片退潮后的石壁上，渔人与海鸟总是相伴出现。
在另一片更为平坦的沙滩上，涌动的浪花惹得我晃悠着很是高兴啊。
还有,Merry Christmas。

The Fall

06年拍的片子《坠入》（The Fall），08年才出来。连续看了两遍，我喜欢听故事。隐喻充分的故事通常都有迫使去回味的激励，不过这不是单纯从黑白带进色彩的奇幻题材，它足够温情和纯粹。想象力是一部分，而能够有如想象力的随性一般变换于电影的画面里，把梦境赤裸裸地放在跟前——是异乎寻常的纯洁。

Roy特技表演时失去了一条腿，女朋友弃他而去，躺在医院时他万念俱灰，一心寻死。他对小姑娘讲述的故事其实是一场引诱，一场可以提供他得以解脱，结束生命的骗局。故事最终也印照出Roy内心的绝望，每个人都被残忍地杀害，当然也包括Roy自己。单纯讲电影的情节其实很简单，生活挫败下的青年被天真无邪充满幻想的小女孩的真情所打动，最终青年明白了自己可以操控这种死亡的想象力，使自己的命运发生改变。命运在自己的手中，坚强还是放弃，就是这么回事了——所以还是因为画面，因为这充满神秘和奇异，令人着迷的异域风情。。画面太重要了——面临绝望和希望抉择的边境时，无论如何都要表现出来的细腻，这部片子最真实的地方就在这里。

小姑娘在表演时真以为躺在她面前的Lee是残疾人。Lee Pace的眼神，深情，太...英俊。

支离

我以前很长一段时间希望能成为别人，现在我依然会这么想。但是让别人因为你的牢不可破而改变自己，也很有趣，所以现在很多时候我显得很顽固。
我也跑来跑去，但是想了解别人的生活就是一定要和别人住在一起，呆到烦为止，所以真相就是你仍然还是你自己。
所以小生，你快点过来陪我吧，好想和你一起末路狂花啊~~~

長い間、「他人になりたいなあー」とホープした。その気持ち今も相変わらず。一方、他人は固くて壊すことができない貴方により自分を変わえば、それもおもしろいじゃない。だって、あたしはいつも頑なであるのように見える。
あたしもよくそちこち走り回る、でも他人の生活を知りたいのが、他人と一緒生活して、生活し飽きたまで決まってだろう？　だから、真相は君がまだ君だ。
じゃあ、晴ちゃん、早速日本に来てあたしと一緒に末路狂花するほしいなあ〜！

Anywhere I Lay My Head

That's why I love her. We do have mutual enthusiasm for something, seriously. So, I'm not really surprised when she sing, because that's what I want to hear. Scarlett Johansson - Anywhere I Lay My Head
Year: 2008 Producer:Dave Sitek (Yeah Yeah Yeahs)

Tracklist:
1. Fawn (2:32)
2. Town with no cheer (5:03)
3. Falling down (4:55)
4. Anywhere I lay my head (3:39）
5. Fannin' street (5:06)
6. Song for Jo (4:09)
7. Green grass (3:33)
8. I wish I was in New Orleans (3:59)
9. I don't want to grow up (4:11)
10. No one knows I'm gone (2:57)
11. Who are you (4:49)
Scarlett的首张唱片，恶评如潮（只因她挫败了很多人原先美好的性幻想）。但我的感觉是听时倍感舒适，斯佳丽的声学我也十分赞赏。不能说我了解斯佳丽多少，我只是看过她的电影，搜集过她的照片（我终于有了个可以称之为青春偶像的人了么，我感谢她。）事实上，能留住我视线的并不只因她有多美，一开始我也没有真的注意到。

专辑除了原创曲Song For Jo，全是翻唱Tom Waits，在我看她只是利用了老Tom的歌词，小妮子还强悍地请来了David Bowie合声("Falling Down" and "Fannin' Street") 。整张CD听下来，我第一想到的是Nico，然后是Jesus and Mary Chain，Mazzy Star，My Bloody Valentine。。。很Indie，老天，不要太4AD！也许还不只是，我知道的真不多。难道有人单纯地指望她是Kylie Minogue那样的同类绝色？更恶劣的是还拿她和布兰妮相提并论？斯佳丽的胸部的确很直观，曲线很好莱坞，因为她其实完全不会介意。

懒得去做什么比较了，唱歌谁不会呢。我看到的是一个拥有丰富内心和独特爱好的姑娘，斯佳丽只管热衷于表达兴趣，也证明了并不是所有美女都热衷于对摇滚圈的人以身相许。这张《Anywhwere I lay my head》对我来说至少是音乐。音乐是可以令人畅游其中的，我喜欢没事听电影原声，这点来说这张唱片也合我的胃口。不讲一个人的声线该怎么样才对，音乐是可以去渲染一个场景，波动一种情绪。这里的人声就是乐器，高音或者低沉，起伏甚至隐藏，不管怎么样，斯佳丽有自己的方式。

Be high-waisted

时尚正在每个细节里透露复古的意思。就像Scarlett Johansson正在挑起的上世纪中叶的各种情趣。讲究的发髻和帽子、宽大的腰带和宝石珍珠、梦露玲珑有致的曲线、发胶的利用和追求成熟。
不过恐怕永远也没可能保证潮流会跟在你后面，因为很可能它已经是既存的了。

对高腰裤的迷恋已经几多时日。除此之外就是粉红色和背带。

没有人比斯佳丽更适合高腰裤，完美。当在Vogue第一次看到这张斯佳丽，就去寻找带来这种现代而具复古韵味的源头和标记，不用多久你就会知道，就是高腰牛仔裤。这种老裤型的确正悄悄从妈妈们的衣柜里重现生机。

Toyo Ito,TAMA ART University Library

位于东京的多摩美术大学图书馆--伊东丰雄

With its iconic arches, Toyo Ito’s new library at Tama Art University has the aura of a Romanesque building. But caves, not compression structures, were the architect’s inspiration, so any similarities to European antecedents are merely superficial. And unlike the straightforward, repetitive systems used historically, Ito’s high-tech concrete curves—each one different—tiptoe gracefully in multiple directions throughout the building.

The building marks the final stage in the development of the 45-year-old campus, one of two belonging to the multimedia art school where Ito serves as a guest professor. Located 16 miles west of central Tokyo, the hilly, 39-acre property abuts open land once earmarked for residential development but still fallow in 2007. Housed in a collection of concrete-and-glass buildings bound by tree-lined streets, the school enrolls 3,600 students who commute daily to its studio and performing arts facilities. Ito’s library commands a choice site overlooking the university’s main gate and the public bus stop beyond it. Defined on two sides by bowed walls, it makes a strong first impression: monumental without being a monument, and contextual in scale and material without getting lost in the shuffle.

To capitalize on the building’s strategic location, Ito first wanted to submerge the library and top it off with a single-story gathering place where students and professors could cross paths and exhibit their work. But this idea did not go over well with the university administration, which envisioned a conventional 3- or 4-story building with a gallery below. Also, buried infrastructure prevented a full-scale site excavation. Despite these roadblocks, Ito was unwilling to abandon his original concept altogether. So he inverted his underground grotto and turned it into a 60,700-square-foot building with a single, large space on each of its two stories, each one loosely divided into functional zones by arcades.

A continuous sheet of concrete, the building’s cavernous ground floor flows down to the north, following the land’s natural slope. It reads as a unified, slanting space accessed through an arcaded gallery. A circulation conduit and multipurpose exhibition hall all in one, this informal gallery has plenty of room for students to congregate around one of its built-in tables or display their work, be it a painting or a performance piece. It also acts as the entry foyer leading into the library, whose ground level contains the circulation desk, an administrative area, a media bar, and magazine display tables topped with glass that parallel the angled floor. A set of stairs shaped like a floating curlicue of concrete ascends to the second floor, where the main reading area flows into open stacks on one side and a two-story block of closed stacks on the other. Unlike downstairs, the floor plane here had to be level for the book trolleys that transport the library’s 10,000 volumes. But overhead, the ceiling tilts up gently, filling the entire second floor with soft, north light.

no crying angel

假日的午后，看书久了眼疲倦，抬头感受到外头和煦的日光，还有总不歇停的乌鸦啼叫声，伸个懒腰决定出门散会儿步。
新屋的对面是一个垒成山坡型的公园，有不少身杆挺拔的大树，个个撑着巨型的树冠，即使是秋天，深色的树叉搭配上并不稀疏的树叶，深深沉沉漫开去一片。山坡脚下的一处平地，用短木桩圈出一块朴素的泥土地，这里摆着两部摇木马，一架小滑梯，一片细沙坑和木长椅。像这样普通的孩童嬉戏地是每个社区必设的，通常还会有秋千，而我对此再熟悉不过了。夜晚那里是我常去散步的地方，我想我是喜欢上了这些色彩柔和造型有趣的大玩具。此时天气好，人自然不少，主妇们带着自家不止一个孩子上这儿会面其他主妇。细细嗦嗦地讲着这家长那家短，孩子们则象一群脱缰的小马，疯跑疯玩疯笑。瞧着这些精神的孩子们，我猜那些主妇们微笑的脸上透着的是满足与欣慰吧。

这不由让我想起家乡的那些孩子，他们嬉戏的场所究竟演变成什么样子呢？我们不愿承认的事实是, 高楼吞噬绿地，城市规划局面淆乱，人均绿化面积在小区设计中虽是硬指标，却更多栽上既不美观也不合时宜的灌木，日子一久便垂了头歪了腰。至于社区健身场地铺设硬质水泥地, 显然也很欠考虑。为孩子们提供一个身心愉悦且安全的环境是每个成年人保护幼者最基本的意识与责任。他们需要在有充沛阳光，清澈空气，绿树，温润的水呵护包容下，带着甜蜜灿烂的笑容被正确引导。没有人会忍心去破坏应属他们的这一切。

人的一生如此有限，我们发着柔嫩的芽茁壮成长这个过程稍纵即逝，在这纯粹又如此脆弱的起始阶段，无所保留地给予每个孩子感受美好事物的空间, 让每个孩子都留藏着自己愉悦的童年回忆 ,亦或拥有不后悔的青春。我认为，只有依恋着这个世界的美好, 信心百倍地成长，才能勇敢地面对人生中接下来的艰难，用坚强的心保护我们所爱的人并给予他们支撑。无论如何，我不愿意看见哭泣的小脸蛋，我们没有理由把自己的懦弱施加给无辜的孩子，或者斥责他们不经意的无心作为。

你知道，孩子的世界里不应有哀伤。

Factory Girl

过分戏剧。过分说教。过分冷漠。过分坦白（或者苍白）。

吸血鬼一般的安迪.霍夫曼。

乳臭未干的鲍勃.迪伦。

除了迷你裙和烟不离手的Sienna Miller。不是Edie。

Jon Brion

从我喜欢的两部电影《Punch-Drunk Love》和《Eternal Sunshine of the Spotless Mind》中的绝佳配乐开始，我忍不住去寻找Jon Brion的音乐，进而再去找他配乐的电影。Brion应该是个有趣的人。他的音乐里奇幻、美妙还有少许的慵散，有时候更像是梦的舞步，陪同影像用各种实验玩味的电子、弦乐、键盘使电影的浪漫与哀愁产生各种微妙的化学反应。听过他改编的很多熟能详耳的曲子，像Radiohead的《Creep》、Led Zeppelin的《Stairway to Heaven》和Beatles的歌等等，对Brion的音乐表现我感到惊喜，之余就是音乐的这种愉悦的自由心境。也是我目前Mp3的Top Artist。

资料：Last FM
Throughout the '90s, Brion found himself increasingly in demand in the studio, producing and collaborating on albums by Aimee Mann, Fiona Apple, Rufus Wainwright, David Byrne, and the Eels and soundtracks including the Grammy-nominated Magnolia.Recently, Brion experimented Hip-Hop style as producer on Kanye West last album, "Late Registration". The result is brilliant, with real-life instruments mashed up with heavy beats. To complete this mutation, Kanye West did a live recording of his record at the mythic Abbey Road Studio, Jon Brion being the missing link between Hip Hop and The Beatles pop music.In addition to his prolific studio work, he also has held a long-term position as "the house band" Friday nights at the high-profile Hollywood nightclub Largo. At his live shows, the crowd can expect anything from guest appearances by Aimee Mann, Michael Stipe, Elvis Costello, T-Bone Burnett, or Grant Lee Phillips, and Brion is infamous for making up songs on the spot (often from titles shouted from the audience). He also is beloved for his quirky cover versions of songs by Cheap Trick, the Beatles, and Cole Porter, proudly likening his on-stage antics to "spraying musical Raid on the classics, until each dying song flips on its back and wiggles its little musical legs in surrender." Whatever music he was involved in, his eclectic touch undeniably shaped the sound of many progressive alternative musicians throughout the '90s.