#Janet Hsieh

[milliondollarbaby87]

Love in Taipei (2023) Review

When Ever Wong is thinking her summer before medical school will be great, her parents send her from Ohio to Taiwan on a study programme to help study Mandarin and culture. Although the fact that the teens call it “Loveboat” then maybe it will be enjoyable after all? ⭐️⭐️⭐️ Continue reading Untitled

[agentbreedlove]

The Ghost Bride l 01x05

We should cherish every moment we had together

[cilicodr-art]

Movie-log 

095. A bread factory, part one

Patrick Wang -- 2018 | USA | 8

[ulrichgebert]

Ganz besonders schön, anrührend und nur ein ganz kleines bisschen absurd  geworden sind Patrick Wangs weitläufige, zweiteilige Geschichten rund um das kleinstädtische Kulturzentrum Bread Factory. Ein vorgeblich chinesisches Aktionskünstlerpaar ist nebenan in einem neugebauten Aktionskünstlertempel eingezogen und macht ihnen die Schulzuschüsse streitig, und auch sonst ist es schwierig. Überall Gentrifizierung, Touristen und steptanzende Yuppies im Café, ganz zu schweigen vom singenden Immobilienhai-Quartett. Der Besucheransturm für ihre Produktion von Hecuba ist auch etwas mager, so daß sich Greta und Dorothea, des reizende Paar, das die Einrichtung seit 40 Jahren leitet, fast fragen, ob das alles die Mühe Wert ist. Aber anregender als das, was die Aktionkünstler machen ist es allemal, und Tyne Daly, die die resolute Kunst- und Bildungsverfechterin Dorothea spielt, hat sowieso schon mal 1000 Pluspunkte, weil sie auf der allerersten Aufnahme von Gypsy, die ich mir zulegte, Mama Rose sang. Und sie kann auch kochen.

[nuc7ear]

MV | 田馥甄 一一 - Hebe Tien One,after Another from Grass Jelly on Vimeo.

Published by：Pourquoi Pas Music Limited 何樂音樂有限公司 Executive Producer：Benoit Chen 陳信榮 CEO：Ching Wu 吳怡青 Music Director：George Chen 陳建騏 Marketing Director：Tim Lin 林建良 Marcom Specialist：Wewe Liu 劉子瑋 Press Promotion：Harry Yang 楊宗翰 Marketing Executive：Tin Ting 丁佩舟 / Ning Chiu 邱羿寧 Internet & Activity Promotion Executive：Boa Hu 胡寶彩 Video Photographer：Ning Chiu 邱羿寧 Still Photographer：Ray Chang 張芮

Management Company：A TUNE MUSIC CO., LTD 樂來樂好有限公司 General Manager：Hui-Cheng Liao 廖彗呈 Planning Manager：Elaine Wu 吳玫瑱 Project Manager：Shang-Chih Huang 黃尚智 Project Executive：Tori Yen 顏思瑜

Stylist：Chi-Lun Fang 方綺倫 Stylist Assistant：Mengchu Yang 楊孟築 Couture Making：Yu-Hao Chang 張祐豪 Hair Stylist：Johnny Ho @ Hair Culture Makeup：Queena Tseng 曾宥寧 Choreography Consultant：Chou Shu-Yi 周書毅

Lyricist：Radio Mars 火星電台 Composer：Radio Mars 火星電台 Producer：Radio Mars 火星電台 Arrangement：Radio Mars 火星電台 Acoustic Guitar：Yu Zeng 曾宇 Bass：Yang Han 韓陽 Drum：Yongheng Wu 貝貝 (武勇恆) Trumpet：Xiaochuan Li 李曉川 Backing Vocals Arrangement：Hebe Tien 田馥甄 / Shaofeng Huang 黃少峰 Backing Vocal：Hebe Tien 田馥甄 Recording Engineers：Adam Huang 黄欽勝 / Alex 阿烈 Recording Studios：Mega Force Studio 強力錄音室 / MDD Studio 北京 / Soundhub Studios 上海升赫錄音棚 Mixing Engineer：Adam Huang 黄欽勝 Mixing Studio：Mega Force Studio 強力錄音室 Mastering Studio：FLAIR MASTERING WORKS Mastering Engineer：UCHIDA TAKAHIRO 內田孝弘 OP：北京飛行者音樂科技有限公司 SP：北京飛行者音樂科技有限公司 Sound Effect：FORGOOD SOUND 好多聲音

Production DEPT.： Production House：Grass Jelly Studio 仙草影像 Director：Muh Chen 陳奕仁 Assistant Director：Xiao Chi Lin 林曉娸 Director’s Assistant：Vege Tsai 蔡馨慧

Producer：Hanson Wang 王漢聲 @ Wang’s Studio 聲意旺影音工作室 Line Producer： Hsi Hao Wang 王璽皓 / Karen Liang 梁紋綾 / Yi Cen Lin 林宜岑

D.P.：Dantol Peng 彭文星 1st Asst. Camera：Yu Hao Liu 劉于豪 Camera Assistant：Shang Ju Yang 楊尚儒 / Che Ming Chang 張哲銘 Equipment (BOLT)： Ting Kuan Chung 丁冠中 / Ting Kuan Chieh 丁冠傑 / Chien Hsu Tu 凃健旭 / Chao Hsiang Wang 王朝祥

Gaffer：Pony Ma 馬銘財 Best Boy Electrician：Yu Sheng Gao 高煜盛 / Jun Rong Tian 田峻榮 Electrician： Keng Hua Kuo 郭耿華 / Guo Min Lin 林國民 / Chen Wei Lin 林辰緯

Art Director：Mingko Wang 王閔可 Set Decorator：Bobby Wang 王敬捷 Art Assistant：Pei Chi Huang 黃霈琪 / Yi Suan Chen 陳宜瑄 Best Boy Grip： Jyun Ying Siao 蕭郡英 / You Cheng Huang 黃宥誠 / Chen Wei Huang 黃辰煒 / Guo Min Lin 林國民 / Ming Lung Wu 吳明龍 / Tzu Chi Fan 范子薺 / Chia Chieh Li 李加杰

Scenic：阿榮道具制作室 Chien Min Chien 簡建民 / Chien Sung Chien 簡建松

Stylist：Yu Ping 郁萍 / Barbie Chen 陳八比 @ Mii2styling 米兔皇造型工作室 Makeup & Hairstyle： Ching Yi Chen 陳靜怡 / Liang Yu Huang 黃亮瑜 / Zhen Hao Chiu 邱楨皓 / Hsin Wei Wang 王伈葦 / Chiao Wei Chang 張巧薇

Casting：Gime 蘇錦銘 Talent List：Tai Chong Chen 陳泰中 / Okashi Lu 呂美潔 / Ryan Hsieh 謝東豪 / Ching Chiang Wang 王靖江 / Hsi Hao Wang 王璽皓 / Ya Huang Lee 李雅煌 / Kevin Yang 楊宗昇 / Li Tai Cheng 鄭禮岱 / Daniel Chen 陳少卉

Camera Rental：Leader Asia Pacific Creativity Center 利達數位影音科技股份有限公司 Studio & Lighting Rental： Hong Chen Film Studio 鴻臣實業有限公司 Equipment：LEE RONG FILM & TV EQUIPMENT CO. 力榮影業有限公司

Virtual Camera for Previsualization： MoonShine Virtual Studio 夢想動畫虛擬攝影棚

Post-Production House：Grass Jelly Studio 仙草影像 Executive Producer：Eliza Lee 李依蒨 / Okashi Lu 呂美潔 Project Manager： Roddy Hung 洪凡柔 / Ekijo Lai 賴奕如 Financial Manager：Lulu Chen 陳奕如

CG & Compositing Lead： Greg Miao 苗天雨

Story： Muh Chen 陳奕仁 / Castor Ou 歐聰瑩 / Yu Shuo Leung 梁育碩 / Both Li 李季軒 / Xiao Chi Lin 林曉娸 / QB Lian 連又潔 / Meiling Chen 陳美齡 / Yutzu Liu 劉又慈

Storyboard： Yu Shuo Leung 梁育碩

Concept Designer： Yu Shuo Leung 梁育碩 / Castor Ou 歐聰瑩 / Both Li 李季軒 / QB Lian 連又潔 / Meiling Chen 陳美齡 / Yutzu Liu 劉又慈

3D Animator： Skip Chen 陳慈仁 / Janet Wang 王玨凝 / Youzi Su 蘇袖惠 / Nigel Huang 黃勗 / Eason Chen 陳家和 / Yu Hsuan Huang 黃于瑄 / Yuki Chou 周祐諆

3D Animator Assistant： Jia Yu Chen 陳家榆 / Ting Yi Lu 呂庭儀

VFX Artist： Skip Chen 陳慈仁 / Jerry Liu 劉至弘 / Yu Hsuan Huang 黃于瑄

Roto Artist： Bio Luo 駱信宏 / Ruth Yu 余如晨 / Bono Chang 張暐明 / Sharon Lee 李淑娟 / Sean Tsai 蔡尚甫 / Szu Tzu Huang 黃思慈 / Meng Cheng Hsieh 謝孟成 / Sean Lin 林昱燊 / Laba Lee 李建緯

Compositing： Wen Ting Li 李文婷 / Nigel Huang 黃勗 / Eason Chen 陳家和 / Ching Chi 冀擎

Compositor’s Assistant： Yuki Chou 周祐諆 / Yu Hsuan Huang 黃于瑄 / Jerry Liu 劉至弘 / Jia Yu Chen 陳家榆 Grading：Pixelfly Digital 傳翼數位影像 / Moya Chou 周佳聖

指導單位：文化部 主辦單位：文化內容策進院 特別感謝：IP內容實驗室 製作協力 　　　　　 財團法人工業技術研究院 　　　　　 2020.06

[dogpictures-net]

#Beagle #Dog

Posted by Janet Hsieh

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[saetorimedia]

Series: The Ghost Bride

Now on Netflix: The Ghost Bride based on a novel written by Malasian writer Yangsze Choo. A story about a young Malasian Chinese woman in 1890 asked to marry a families deceased son to ensure his after life and her families wealth. #netflix #review #watchthis #theghostbride

The Ghost Bride is a Taiwanese-Malasian netflix originals based on the novel The Ghost Bride written by Malasian writer Yangsze Choo. The story is about a young Malasian Chinese woman living in Colonial Malacca in 1890. As a daughter to a struggling spices dealer and with her mother deceased Li Lan is asked by the family of her childhood friend and crush to marry his deceased brother. 

[ellen-hsiao]

截圖及文字內容出處： 乱彈阿翔 [ 每個瞬間 Every Moment ]（陳彥博紀錄片電影【出發】主題曲一起出發版）- 05.31全台上映 https://www.youtube.com/watch?v=BEpfG1PIdks ▍《出發》5.31 全台上映 出發‧電影主題曲《每個瞬間》 一起出發版 集結影歌視網路體壇，夢幻陣容，熱血獻聲： 導演黃茂森 ｜陳彥博Tommy Chen｜乱彈阿翔 Luantan Ascent 黃子佼 ｜Janet 謝怡芬｜浩角翔起｜李霈瑜 大霈 | Danny 黃丹尼｜How How｜蔡哥 郭泓志｜張志豪｜陳傑憲｜蘇智傑 ｜三鐵一姐 李筱瑜｜能仁家商男籃 ｜南山高中女籃 追逐夢想的路程，一個人無法走完全程 歷經 10 年籌備，2 年半拍攝製作，飛越上萬里程，《出發》紀錄片製作團隊跑遍沙漠、高山、雪地…儘管筋疲力竭，也曾想過放棄，但還是堅持過來了 5.31 一起走進戲院，見證這部乘載眾人意志的紀錄片 追隨極地超馬選手陳彥博的腳步，一同經歷一場震撼心靈的旅程 正式預告｜https://reurl.cc/KEV8R 上映戲院｜https://reurl.cc/gEA2V ★ 亞洲第一人! 陳彥博200天內奪4大極地賽世界總冠軍！ ★ 跑遍沙漠、高山、雪地，橫跨北冰洋至南極洲，極地壯闊美景大銀幕呈現！ ★ 找回出發的勇氣，和自己拚了吧！ - 詞曲：乱彈阿翔 Luantan Ascent 製作人：乱彈阿翔 Luantan Ascent 執行製作：張尹綸 Archer Chang、黃君富 Frank Huang 編曲：乱彈阿翔 Luantan Ascent 電吉他：乱彈阿翔 Luantan Ascent 電貝斯：楊舜文 Shuen-Wen Yang 和聲編寫：乱彈阿翔 Luantan Ascent 和聲：乱彈阿翔 Luantan Ascent 合唱錄音：黃君富 Frank Huang 錄音：乱彈阿翔 Luantan Ascent 錄音助理：楊舜文 Shuen-Wen Yang、柯弗奇 Evan Ko 錄音室：赤腳不辣 Chockablock Co.,Ltd.、相信音樂錄音室 B’in Music Studio 混音：乱彈阿翔 Luantan Ascent、黃君富 Frank Huang 混音錄音室：赤腳不辣 Chockablock Co.,Ltd.、相信音樂錄音室 B’in Music Studio ---《每個瞬間》 一起出發版 MV --- 製作公司 Production｜尖蚪映畫工作室 導演 Director｜吳仲倫 Chung Lun Wu 製片 Producer｜鄭心愷 Jonathan Cheng 執行製片Line Producer｜賴亭妤 Tingyu Lai 攝影師 Director of Photography｜謝宗諭 Zongyu Hsieh ｜蔡秉孝 Ping Hsiao Tsai｜范勇志 Yuji Fan 攝影組 Camera Crew｜簡志宇Zhi Yu Jian、鄭曼姿 Manchi Cheng 剪接 Editor｜吳昭晨 Jauchen Wu 攝影器材Camera Equipment｜九晴天 #陳傑憲 https://www.instagram.com/p/ByApwCknbHI/?igshid=1ss4068kww4eh

[mrmichaelchadler]

A Bread Factory, Part Two: Walk with Me a While

[Editor's Note: This is a review of Part Two of "A Bread Factory," a matched set of films about an arts center's effect on a small town in upstate New York, written and directed by Patrick Wang ("In the Family"). Although each part stands alone and can be enjoyed separately, they are meant to be seen together. For a review of Part One, click here.]

Back in 1995, the writer-director Wayne Wang (no relation to the director of this film, Patrick Wang) released a charming pair of movies starring the same core cast, titled "Smoke" and "Blue in the Face"—ensemble pieces about inhabitants of a Park Slope neighborhood oriented around a cigar store. The first movie was traditional 1990s indie film, carefully scripted by novelist Paul Auster; when the production wrapped four days early and under budget, Wang, Auster and the actors decided to wing it and create a second film on the spot, and the result was a more freewheeling companion piece that continued some of the ideas from the first movie but felt more like a collection of caught moments. Part Two of of "A Bread Factory" appears to be just as meticulously constructed as Part One, but the difference in style and feeling is comparable. The first half of this tale of a small town art center's struggle to survive alternated conversations and confrontations with snippets of the art that the center and a rival facility put on for local citizens, and for the most part, the line separating "real" from "not real" was carefully marked. 

That's not the case in Part Two, subtitled "Walk With Me a While." It straightforwardly continues the story of Part One in some scenes, while breaking out into wild, sometimes charmingly goofy flights of fancy in others. It seems to take its cues from a scene in Part One where a visiting movie actor, flirting with a local girl in a restaurant, spills something on his shirt and then casually removes it. He wryly looks into the camera at the end of the scene just as all the patrons ogling him turn away and pretend not to be gawking. It's almost a Ferris Bueller- of Bugs Bunny-like gesture of cheekiness, to break the fourth wall in that way—especially in a movie that otherwise lets us feel as if we're a fly on the wall, observing people who have no idea we're in the room watching them as they go about their business.

In that spirit, Part Two features numerous musical numbers, staged in the spirit of an "everyday" movie musical in which ordinary characters burst in real locations spontaneously burst into song and dance. The setting, once again, is Checkford, New York. The town has two arts centers. One is a forty-year old facility built in a converted bread factory and run by a veteran married couple (Tyne Daly and Elisabeth Henry). The other is a newer place across town that's better-funded and more connected with much slicker, shallower art; it's run by a couple of hipster performance artists who go by the team name of May Ray (Janet Hsieh and George Young) and their administrator Karl (Trevor St. John). It picks up where Part One left off, with the Bread Factory having narrowly avoided closure after the school board flirted with taking away their education subsidy grant and giving it to May Ray instead. As it turns out, our intrepid gang of artists, actors, educators and loyal patrons isn't out of the woods quite yet. 

There are more scenes depicting the center's continued fight to persist and remain relevant, as well as a continuation of a subplot about the local newspaper editor Jan (Glynnis O'Connor), suddenly disappearing and leaving her paper in the hands of her talented young intern, Max (Zachary Sale), who's in violent rebellion against his controlling dad (James Marsters). The most surprising and challenging thing about Part Two is how it takes one of the central ideas from Part One—art's ability help us understand and express ourselves in everyday life—and externalizes it, so that creativity that might otherwise have been confined to the stages of the arts centers erupts into the world outside.  

A quartet of characters who work for a local real estate agency show up en masse in the office of Dorothea (Daly), the cofounder and boss of The Bread Factory, and urge her to stop fighting, sell a barn on her property that's currently being used out for set-building, retire, and travel the world with her partner, the actress Greta (Elisabeth Henry). A busload of tourists disembarks in front of The Bread Factory and wanders around town, endlessly taking selfies while being led by a tour guide who regales them with nonsense "facts" ("This is the place/Where God was invented/Where Adam and Eve dated/Each other!") Diners in a local restaurant sit at their tables, talking in groups and texting by themselves, and suddenly one young man starts doing a tap dance routine synced to the movements of his fingers as he types on his phone. 

There are other dance numbers in this vein, and they aren't just indulgences: they're plugged into one of the central ideas of the movie, the necessity of artists understanding and adapting to a changing world. Like the bit with the tourists endlessly recording themselves as they take a tour of Checkford, they show how iPhones and social media enclose us in little bubbles of narcissism that are only faintly connected to the actual world, yet at the same time turn us into bold and confident performers on a public stage, developing our own aesthetic just like the actors who appear onstage at The Bread Factory in a production of "Hecuba." 

Even seemingly ordinary scenes of people hanging out feel more theatrical and pointed in this half of the story, and more revealing of the ways that art informs life, and how the two bleed into each other so that it's sometimes hard to tell where one picks up and the other leaves off. Sir Walter (Brian May), the old English actor who has starred in many Bread Factory productions, hangs out at the newspaper office, mourning his friend Jan's disappearance and watching Max train a small army of children (all regulars at the Bread Factory) to be intrepid journalists (delightful comic scenes, like something out of an early Wes Anderson film). Sir Walter is unexpectedly joined by the local writer Jean-Marc (Philip Kerr), with whom he's been feuding for fifty years because of a bad review. Together they reach an understanding, and swap stories that are expressed as long theatrical monologues where the camera parks on their faces as they talk and transport us into a mind space. (In these scenes, and in scenes set on an actual stage, Wang channels the spirit of Ingmar Bergman, who could find an entire self-contained film in a long close-up of someone talking.)

A more traditional approach to public art is expressed in the scenes of "Hecuba" being rehearsed and then performed, with young Theresa (Jessica Pimintel), a waitress at the cafe, letting herself be convinced to portray the daughter of Greta's character, even though she's nervous about never having acted before. (Every citizen of Checkford eventually appears on the stage, we're told.) Wang gives us a nice, long scene of Theresa struggling in a read-through of the play while Dorothea directs her and Greta gives her a model to emulate, and—as in the closing scene of Part One, where Max reads from the same text and suddenly loses his self-consciousness and begins to really feel the words—we see Theresa come alive as an actress, becoming her character and being moved by the story. 

In movies, we sometimes see artists toiling in order to learn their trade and be better at it, but the scenes are usually brief and often comical (getting laughs from people making mistakes), and they don't really give us a sense of the gradual evolutionary process that takes them from being untrained to trained, bad to good. Theresa's transformation into an actress is the true heart of this film, as carefully observed as the training of an athlete in a sports film. It culminates in a daringly long sequence at the end—as long as the school board hearing that ended Part One—where Wang simply lets us watch a wrenching scene from the play as performed by her and Greta. We not only see that Theresa is a real actress, we understand intuitively how the fears of the characters in the play subtly mirror the fears of the characters (Dorothea especially) that the arts center will be taken away from them. We never see the audience during this sequence, but we can imagine ourselves there in the theater, thinking about the future of the Bread Factory and the town, and the value of art as tool for understanding and appreciating life. 

Part Two of "A Bread Factory" can be a bit discombobulating if you haven't seen part one; you have to intuit a lot of the story because it's embedded in, and implied by, the many scenes where people perform. But it's still worth seeing on its own because it can be enjoyed as a sort of unofficial anthology movie, a crazy quilt of moments where a filmmaker and his actors just go for it, not getting too hung up on whether we're going to be sold on whatever they're doing in a particular scene because there's always some new gamble awaiting us a few minutes down the road. But taken together with Part One, it seems as thorough and thoughtful a statement on art and life as any American filmmaker has given us. Part One is life, Part Two is art, but there's lots of overlap in each half, and the way the two mirror each other makes us think about our own lives in relation to the art we love, as well as Wang's movies themselves, mirrors that reflect us by drawing out our fears and dreams.

from All Content https://ift.tt/2xYh6q3

[allbestnet]

The 49 best Startup and Business Books to read

Zero to One by Peter Thiel, Blake Masters

Hackers and Painters by Paul Graham

Linchpin: Are You Indispensable by Seth Godin

The Black Swan: The Impact of the Highly Improbable by Nassim Nicholas Taleb

The Tipping Point: How Little Things Can Make a Big Difference by Malcolm Gladwell

The Compound Effect by Darren Hardy

Good to Great: Why Some Companies Make the Leap And Others Don't by Jim Collins

The Four Steps to the Epiphany by Steve Blank

Contagious: Why Things Catch On by Jonah Berger

David and Goliath: Underdogs, Misfits, and the Art of Battling Giants by Malcolm Gladwell

The Hard Thing About Hard Things: Building a Business When There Are No Easy Answers by Ben Horowitz

The Paradox of Choice: Why More Is Less by Barry Shwartz

Influencer: The New Science of Leading Change by Joseph Grenny, Kerry Patterson

The Art of the Start: The Time-Tested, Battle-Hardened Guide for Anyone Starting Anything by Guy Kawasaki

Founders At Work: Stories Of Startups Early Days by Jessica Livingston

The Lean Startup: How Constant Innovation Creates Radically Successful Businesses by Eric Ries

ReWork: Change the Way You Work Forever by David Heinemeier Hansson

The E-Myth Revisited: Why Most Small Businesses Don't Work and What to Do About It by Michael E. Gerber

Delivering Happiness: A Path to Profits, Passion, and Purpose by Tony Hsieh

Losing My Virginity: How I Survived, Had Fun, and Made a Fortune Doing Business My Way by Richard Branson

The Power of Full Engagement: Managing Energy, Not Time, is the Key to High Performance and Personal Renewal by Jim Loehr, Tony Schwartz

The Checklist Manifesto: How To Get Things Right by Atul Gawande

The $100 Startup: Reinvent the Way You Make a Living, Do What You Love, and Create a New Future by Chris Guillebeau

Big Data: A Revolution That Will Transform How We Live, Work, and Think by Kenneth Cukier

The Score Takes Care of Itself: My Philosophy of Leadership by Bill Walsh, Steve Jamison, Craig Walsh

Crowdsourcing: Why the Power of the Crowd Is Driving the Future of Business by Jeff Howe

Where Good Ideas Come From by Steven Johnson

The Strategy and Tactics of Pricing : A Guide to Move More Profitable by Thomas Nagle, John Hogan, Joseph Zale

Leaving Microsoft to Change the World: An Entrepreneur's Odyssey to Educate the World's Children by John Wood

The 22 Immutable Laws Of Branding by Laura Ries and Al Ries

Rich Dad Poor Dad : What The Rich Teach Their Kids About Money That The Poor And Middle Class Don't by Robert T. Kiyosaki

Outliers: Story of Success by Malcolm Gladwell

The 4-Hour Work Week: Escape the 9-5, Live Anywhere and Join the New Rich by Thomas Ferriss

How to Get From Where You Are to Where You Want to Be : The 25 Principles of Success by Jack Canfield, Janet Switzer

Getting Things Done: The Art of Stress-Free Productivity by David Allen

SuperFreakonomics: Global Cooling, Patriotic Prostitutes, and Why Suicide Bombers Should Buy Life Insurance by Steven D. Litt

Strategy for Sustainability: A Business Manifesto by Adam Werbach

The Big Short: Inside the Doomsday Machine by Michael Lewis

Who Says Elephants Can't Dance?: Leading a Great Enterprise through Dramatic Change by Louis V Gerstner, Jr

The Ten Faces of Innovation by Tom Kelley

Too Big to Fail by Andrew Ross Sorkin

The Innovator's Dilemma by clayton m. christensen

The Paypal Wars by Eric M. Jackson

One Click: Jeff Bezos and the Rise of Amazon.com by Richard Brandt

Cognitive Surplus: Creativity and Generosity in a Connected Age by Clay Shirky

The Curse of the Mogul by Jonathan A. Knee, Bruce C. Greenwald, Ava Seave

The Accidental Billionaires : The Founding of Facebook, a Tale of Sex, Money, Genius and Betrayal by Ben Mezrich

Lean In : Women, Work and the Will to Lead by Sheryl Sandberg

High Output Management by Andy Grove

[kuyarexdelsdiaries]

KRD Announcements: Discovery Festival 2018

From the people that brought you the successful 2-year run of TLC Festival, Discovery Networks Asia is proud to announce a level-up annual event merging four of its Channels into one special day...

Discovery Channel, TLC, AFC, and HGTV Asia will come to life this Christmas 2018 with Discovery Festival 2018! Happening this Saturday, December 8 (a Special Non-Working Holiday in observance of Immaculate Concepcion of Mary as Principal Patroness of the Philippines) at the Bonifacio High Street, Bonifacio Global City, in Taguig. Witness a day to remember as the most celebrated personalities such as Whitney Thore and Janet Hsieh from TLC, Amanda Giese from Discovery Channel, Sarah Huang Benjamin, Anton Amorcio, and Sherson & Ann Lian from Asian Food Channel.

Exciting booths, Games, Art & Lifestyle sessions, and Music on the night of the festival will surely celebrate the Christmas feel. Not only that, Discovery Festival will also have booths from different sponsors and Cable partners, and there will be Charging stations as well for those who can charge their gadgets at no cost.

Event Starts at 11am. Pre-Registration is ongoing by visiting discoveryfestival.net while on-site registration opens on Dec. 8 at 11am, at the Registration counters located at 9th and 7th Streets. (NOTE: Please have your E-Ticket ready on the day of the event for pre-registrants to have your wrist tage worn and a special limited edition eco tote bag will be given upon entrance to the event plus earn a special gift by completing each tasks during the event.

Discovery Festival 2018 is presented by: Golden Fiesta Canola Oil, Goldilocks, Toyota Motors Philippines, and Alaska Milk Corporation, and made possible by Transitions Contact Lenses, Mitsubishi Montero Sport, ArmyNavy Burger+Burrito, Maya Happy Mug, ImmunoMax, Nissin Ramen, and Philippine National Bank, with special thanks to: The Maya Kitchen, Devant TV, Light Stax, Vets In Practice Animal Hospital, Philippine Animal Welfare Society, Happy Pet & Pet, PCI Car Hub, and Vintage BZKleta.

CHANNEL PROFILES:

Discovery Channel is a 24/7 Science & General Information channel which currently broadcasts globally. Discovery Channel Asia began operations in 1995 with separate feeds throughout Pan-Asia regions.  Discovery Channel, the flagship network of Discovery Communications, is devoted to creating the highest quality entertainment in the world and remains one of the most dynamic networks on television. It offers viewers an engaging line-up of high-quality non-fiction entertainment from blue-chip nature, science and technology, ancient and contemporary history, adventure, cultural and topical documentaries. Discovery Channel reaches 174 million subscribers in Asia Pacific.

TLC Southeast Asia (formerly Discovery Travel & Adventure and Travel & Living) is a Lifestyle & Travel channel which also operates globally. TLC SEA has original programming dedicated to the asian tastes.TLC is a global lifestyle and entertainment destination, presenting non-scripted and scripted programming featuring real life stories and universal themes that resonate with viewers around the world.TLC’s programming is told through the lens of larger than life characters and adaptable formats, celebrating everything from relationships and life stages, to makeover and transformation to food and travel. Launched in Asia Pacific on September 1, 2010, TLC is currently distributed to over 148 million subscribers in the region. 

Asian Food Channel (AFC) is the region’s leading food-focused channel that celebrates the unique Asian culinary experience with the added touch of global flavor. AFC entertains viewers with a range of local and international content from reality, lifestyle to travelogue program formats. It believes in celebrating the rich history and story behind Asia’s most beloved cuisines and continues to grow its library of originally produced Asian content, breaking boundaries with new and exciting programs. Available in more than 10 countries in Asia Pacific, the channel’s online engagement via website and social media platforms surpass two million likes on Facebook and continues to increase daily. Asian Food Channel is part of Scripps Networks Interactive, one of the world’s leading producers of lifestyle content.

HGTV (Home & Garden Television) currently broadcasts worldwide, with asian feed available to many households and is dedicated to Home Improvements, DIY, Gardening, and other aspects in Home & Garden.

ABOUT DISCOVERY NETWORKS ASIA PACIFIC

Established close to 25 years ago, DNAP operates its network of channels across Asia and Pacific regions to almost half a billion subscribers.

(KRD Will cover the event and it will summarize the highlights within next week.)

[coloured-africa]

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Janet Hsieh, pregnant, host on #discoverychannel, destroying stereotypes on what pregnant women can and cannot do one dance routine at a time. We love! #taiwan #pregnancy #feminism #africanfeminism #genderequality #colouredafrica #CA https://www.instagram.com/p/BqMeNz6gkdp/?utm_source=ig_tumblr_share&igshid=1g8dhuvjdkthq

[sheclovercom]

Janet Hsieh 謝怡芬來獻寶嚕 超級可愛啦

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Janet Hsieh 謝怡芬來獻寶嚕超級可愛啦

陳嘉樺 Ellaさんの投稿 2017年12月13日(水)

[blogtintonghop24h]

Vẻ nóng bỏng của nữ MC tiết lộ 16 sự thật "muốn khóc" sau sinh

Mới đây, nữ MC Đài Loan Janet Hsieh vừa đăng tải những hình ảnh đứa con đầu đời cùng nhiều chia sẻ gây sốt trên mạng xã hội. Rõ ràng vẫn biết việc sinh nở không phải là chuyện quá "tươi đẹp", song nhiều người vẫn bị vỡ mộng vì không ngờ sự thật lại "phũ phàng" đến vậy.

Janet Hsieh có mẹ là người Đài Loan, cha là người Mỹ. Hiện tại cô đang làm công việc MC, nghệ sĩ violin, viết sách, người mẫu tại Đài Loan.

Là một người dẫn chương trình truyền hình nổi tiếng, cùng với chồng mình là chàng diễn viên điển trai George Young, Janet Hsieh đã khiến rất nhiều người hâm mộ và cập nhật thông tin về cô hàng ngày.

Gần đây, cô ngày càng được yêu thích khi liên tục chia sẻ chi tiết những tháng ngày mang thai, sinh nở của mình lên mạng xã hội. Ngày 11/10, nữ MC xinh đẹp đã hạ sinh một bé trai, bé Egan. Egan nặng 3.65kg sau 38 giờ chuyển dạ "dài lê thê và đau đớn vô tận". 

Sau khi sinh con 1 thời gian, nếm trải đủ cảm giác, bà mẹ 37 tuổi này đã đăng một bài chia sẻ "những sự thật trần trụi những ngày sau sinh chẳng ai nói với bạn" trên mạng xã hội. Chỉ sau hơn 30 giờ, bài đăng đã nhận được 42 nghìn lượt thích và hơn 2.000 lượt chia sẻ.

Qua những bức ảnh được chia sẻ, có thể thấy nữ MC vẫn xinh đẹp và quyến rũ dù đang bầu bí. Tuy nhiên những chia sẻ sau sinh của cô thì hoàn toàn trái ngược.

Hầu hết các bà mẹ đã từng trải qua chuyện sinh nở đều gật gù đồng ý "cả hai chân hai tay" với ý kiến của Janet, còn những người chưa sinh con thì nhăn nhó hoảng sợ.

Đầu tiên là bất ngờ về trang phục: "Bạn bỗng dưng thấy yêu chiếc quần lót vừa to vừa lỗi mốt thường dành cho các bà già đến lạ. Ít nhất thì tôi thấy thế. Bạn có thể bị táo bón và cả trĩ nữa. Hài thước thật!"

Nữ MC tiếp tục gây bất ngờ với chia sẻ: "Bạn sẽ thấy đau ở khắp nơi. Cơ thể cần thời gian hồi phục sau khi "vỡ vụn" vì cố gắng đẩy rồi lại đẩy một em bé ra ngoài. "Chỗ ấy" của bạn cũng sẽ đau đớn vô cùng. Và có thể sưng lên nữa. Có thể bạn sẽ muốn dùng vòi xịt để vệ sinh "chỗ ấy" thay vì dùng tay. Bạn có thể phải quay trở lại ngồi bô như hồi còn bé. Bạn sẽ bị chảy máu, có thể nhiều có thể ít nhưng kiểu gì cũng chảy máu thôi".

"Sau những tháng ngày chỉ có thể nằm nghiêng, cuối cùng bạn cũng có thể... Ôi không, chờ đã. Bạn vẫn chưa thể nằm ngửa được vì bộ ngực sưng lớn của mình. Ngực bạn sẽ rất đau, ngày càng đau hơn, cực kỳ đau. Nếu giống tôi thì ngực bạn sẽ bắn sữa ra như súng chống tăng nhả đạn"

Những bức ảnh đẹp hoàn toàn trái ngược với "sự thật phũ phàng" sau sinh: "Cổ bạn có thể sẽ bị ngoẹo vì dù ở đâu bạn cũng phải cố gắng ngoái nhìn em bé để đảm bảo rằng em bé đang ăn ngoan, ngủ ngoan, không có vấn đề gì hoặc đơn giản là vì em bé quá đáng yêu nên bạn không rời mắt nổi. Bạn sẽ biết ngày đêm đảo lộn là thế nào.  Còn chuyện ngủ à? Cũng vui lắm".

Có thể thấy, tuy phàn nàn nhưng đó lại là sự thể hiện niềm hạnh phúc và những trải nghiệm bất ngờ từ khi làm mẹ của nữ MC. Đặc biệt nhất là sự chăm sóc chu đáo, nhiệt tình của người bạn đời khiến cho những khó khăn khi làm mẹ của cô giảm bớt phần nào.

Mỹ nhân nóng bỏng trên sân cỏ Italy tiếp tục khiến dân tình phát sốt với bộ ảnh mới.

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[foxy-woods]

Birth of baby son took 38 hours, says Janet Hsieh

[nofomoartworld]

Hyperallergic: A Brief History of the Art Collectives of NYC’s Chinatown

Working on the Wall of Respect for the Working People of Chinatown, 1977 (image courtesy of Tomie Arai)

Over the last months, concerned with the proliferation of galleries in Manhattan Chinatown, the Chinatown Art Brigade, W.O.W. Project, and  Decolonize This Place have started a conversation about the link between galleries and displacement, and asked how arts workers might be responsible to their neighborhoods. While almost every New Yorker claims some connection to Chinatown — they’ve eaten in its dim sum halls, browsed its brightly-colored shops — very few have access to the neighborhood’s history, let alone its artistic legacies.

In fact, Chinatown has been the home to generations of radical organizers and artists, collectives, and movements that have demanded answers to the same questions organizers are asking today: Who gets to live in Chinatown, and under what social conditions? Will art reinforce existing power relations, or help us envision a neighborhood with room for a multigenerational, immigrant, working class population?

Without an understanding of Chinatown’s cultural movements, historical and current, we risk equating whiteness and gentrification with artistic creativity, and Asian immigrants and longstanding residents with victimhood. Below are some examples — but by no means a comprehensive list — of collectives, organizations, and artists that have defined the cultural life of modern Chinatown. In examining this history, we see that today’s artists and activists are not alone in fighting for a dynamic and inclusive arts ecology. Galleries and museums needn’t disrupt or distance themselves from a neighborhood in order to present art; indeed, the most vital art often grows out of connection to community and place.

Basement Workshop, 1970s (photograph by Henry Chu, A/P/A Institute at NYU Collection)

Up from the Basement

Around 1969, a loose collective of young people started to meet in a musty basement in Chinatown. All over the country, students were striking, picketing, and tossing out the term “Oriental” in favor of “Asian American.” Calling themselves “Basement Workshop,” these young people wanted to play a part in defining this idea of Asian American. Basement acted as an umbrella organization, a site where anyone with the interest and determination could organize cultural programs. They published the landmark Bridge magazine and the set of folios, Yellow Pearl. They ran a youth program, gathered resources(at that point very limited) on Asian American history , and offered silkscreening, choreography, photography, and film workshops.

Members of Basement trained for acts of civil disobedience demanding healthcare, jobs, and resources for communities of color, and printed flyers and pamphlets for those actions. Some who held Maoist politics thought Basement should go even further and become a revolutionary organization.

Many organizations in Chinatown and greater New York can trace their genesis to Basement Workshop, including the Museum of Chinese in America, Asian Cinevision, and the Asian American Arts Centre.

Walls of Respect 

Founded by a group of idealistic, politically progressive artists, the Cityarts Workshop led a community mural revival in New York during the 1970s. Cityarts sponsored a string of murals around New York by and about communities of color; three of their projects focused on Chinese American narratives installed in Chinatown and the Lower East Side. Cityarts hired artist Alan Okada, who designed covers for Bridge magazine, to oversee producing the murals. The first, “History of Chinese Immigration to the United States” painted in 1972, was located on Chatham Square. It featured large faces of a family against a background showing railroad, garment, and mining work — the industries historically available to Chinese laborers. “Chinatown Today” (1973) illustrated the issues of gambling and sex work in Chinatown. It showed two young people walking down the middle of a street, tempted by those businesses on either side.

Wall of Respect for the Working People of Chinatown, 1977 (photograph by Leo London via flickr)

A third mural, a project directed by the artist Tomie Arai, called the “Wall of Respect for the Working People of Chinatown” (1977) occupied the side of the Music Palace theater at the corner of Bowery and Hester. Its title nodded to the socialist realist art of China and the USSR. The vertically-oriented mural depicted a dragon swerving through several vignettes of Chinese American labor experience: garment workers, a restaurant cook, and a calligrapher.

In addition to serving as beautification of empty buildings and educating residents on Chinese American history, the murals employed youth from Chinatown and the Lower East Side, where poverty, unemployment, and a dearth of social services were creating street violence and drug abuse. All three Chinatown murals were destroyed when the buildings that hosted them were redeveloped.

Flyer for CHINA: June 4, 1989 (image courtesy the Asian American Arts Centre)

A Space for Asian American Arts

Growing out of Basement Workshop and The Asian American Dance Theatre, the Asian American Arts Centre began exhibiting artists in 1982. Located on 20 Bowery, right across from Confucius Plaza and near the heart of historic Chinatown, it was one of the first spaces dedicated to showing and shaping Asian American visual arts.

One of their first events, in 1982, was a panel discussion on the definition of Asian American art. The panelists were David Diao, Margo Machida, Lucy Lippard, Lydia Okumura, Kit Yin Snyder, John Woo, and John Yau. In addition, twenty-one artists showed their work in a slide presentation. Their inaugural Open Studio exhibition, highlighting artists who worked in or near Chinatown, featured Kwok Mang Ho, Martin Wong, a young Ai Weiwei, and many others.

Asian American Dance Theatre Poster, 1970s (image courtesy of the collection of the Asian American Arts Centre)

Perhaps their best-known exhibition, developed as a response to the Tiananmen Square crackdown is China: June 4, 1989. Arts Centre director Bob Lee invited a range of artists, Asian American and non-Asian, to contribute. The focal point was a spiral of interlocking doorways, each designed by a different artist. In the early 1990s, the Arts Centre turned its attention to China, organizing From ‘Star Star’ to Avant Garde: 10 Artists from China in 1992, which included Wenda Gu, Xu Bing, Zhang Hongtu, and Huang Yongping.

The Arts Centre showed hundreds of artists before it closed its Bowery space in the early 2000s. Today, it maintains a physical and online archive of Asian American artists, and presents exhibitions at host venues.

Epoxy and The Frog King

Around the corner, on Mott Street, an artist from Hong Kong named Kwok Mang Ho, aka “Frog King,” opened his own Kwok Gallery. From 1982-84, it served as Kwok’s studio, residence, and an exhibition space — often for Kwok’s own work.

The Epoxy Group, 1982. From left to right: Jerry Kwan, Hsieh Lifa, Kwok Mang Ho, Bing Lee, Eric Chan, Kang L. Chung, Ming Fay (image courtesy the Asia Art Archive and Kwok Mang Ho)

Kwok Gallery also served as one of the meeting grounds for the Epoxy Art Group, also founded in 1982 by six male artists with ties to Hong Kong. In addition to Kwok, Epoxy included Ming Fay, Jerry Kwan, Bing Lee, Kang Lok Chung, and Eric Chan. The name referenced the group’s strong bond despite their unique styles and backgrounds. Their frenetic, humorous installations, which utilized assemblage, collage, and graffiti, were shown at the New Museum, the Arts Centre, and the Red Spot Outdoor Theater.

Godzilla Crosses Canal

Around 1989, a group of curators and artists began to meet for a “Tuesday Lunch Club,” often at restaurants in Chinatown, to talk about their goals and frustrations. Artists Bing Lee, Ken Chu, Arlan Huang, and Ik-Joong Kang, and curator and writer Margo Machida were early members.

Godzilla in 1991. Left to Right: Byron Kim, Bing Lee, Eugenie Tsai, Karin Higa, Arlan Huang, Margo Machida, Charles Yuen, Janet Lin, Helen Oji, Colin Lee, Tomie Arai; Front: Ken Chu and Garson Yu. (photograph by Tom Finkelpearl, courtesy of Tomie Arai)

In 1990, they took the name of the fearsome Japanese monster and founded the Godzilla Asian American Artists Network. Though founded through the connections and spaces of Chinatown, Godzilla took aim at the larger art world. And though several early members had been involved in Basement, the Arts Centre, or both, Godzilla made the choice not to become a non-profit. There was no paid staff, application, or admission process — they wanted to remain a responsive and open community.

In 1991, Godzilla wrote an open letter to the director of the Whitney Museum criticizing its ongoing failure to present Asian American artists. The Whitney responded by inviting them to show slides to their curators. One Godzilla member, Byron Kim, showed his iconic “Synecdoche” paintings in the 1993 Whitney Biennial. Another member, Eugenie Tsai, was appointed curator at the Whitney in 1994, where she organized many exhibitions featuring artists of color, including one of Godzilla members Tomie Arai and Lynne Yamamoto.

“Synecdoche” (1991-present) by Byron Kim; seen here in the 1993 Whitney Biennial (photo by Dennis Cowley)

Godzilla also mounted exhibitions. For example, The New World Order III: The Curio Shop at Artists Space in 1993 used the Chinatown store as a visual reference. For the 1998 Urban Encounters at the New Museum, they created the installation “From Basement to Godzilla” reflecting upon their own genesis. Many of the artists also spoke directly on political issues: Godzilla members created a window installation in 1992 on the murdered Chinese American auto worker Vincent Chin, and collaborated with the Committee Against Anti-Asian Violence (now CAAAV: Organizing Asian Communities) on a mural in Union Square.

After its early triumphs, Godzilla’s membership ballooned — a 1997 grant report listed listed 231 members — and grew to include more South Asian and Southeast Asian artists. In 2001, with many members feeling that Godzilla had accomplished its mission, the collective disbanded. It was succeeded by another collective, Godzookie, made up of a younger, transnational group of artists and curators, which lasted for several years.

Living Chinatown

Each generation of artists that found a home or inspiration in Chinatown since the 1960s shaped, and was shaped by, the particular conditions of that era. In the 1960s and ’70s, Chinatown was a site of foment. Young activists urged the neighborhood to rise against its historic oppressors, creating agitprop and bold visual statements that eliminated the line between art and activism. In the 1980s, a new wave of diasporic Chinese artists found in Chinatown a halfway haven, a familiar niche embedded within cosmopolitan New York. In the 1990s and 2000s, a younger generation ofAsian American artists built upon and expanded those Chinatown networks as they brought activism into the art world.

With this context, it’s clear that the new galleries of Chinatown are not “bringing” art to the neighborhood — culture has grown and flourished there for decades. As the Museum of Chinese in America continues to creates a nexus for Chinese diasporic art, and organizations like CAAAV and the Chinese Staff and Workers’ Association advocate for tenants’ and worker’s rights, the future of Chinatown is an open question. Rising rents are only the manifestation of larger forces — inequality, art-washing, and elitism among them — bearing down on the neighborhood. And as with generations before, today’s socially-engaged artists and art workers will use creativity and political organizing to alter, not just accept, these social realities.

For more on Asian American arts collectives, read Alexandra Chang’s Envisioning Diaspora.

The post A Brief History of the Art Collectives of NYC’s Chinatown appeared first on Hyperallergic.

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