cool japan tv group的八卦，YOUTUBE、PTT、DCARD、PINTEREST和Yahoo名人娛樂都在討論

錯過的快來補課！現在還很懷念古坑的咖啡香呢！

#timefortaiwan

如果你不想長途開車、也不想參加旅行團，台灣好行是個不錯的選擇，在雲林，有兩條路線可以安排，今天我搭乘的是斗六古坑線，它會帶我去一些好玩的地方。
If you don’t want to drive your own car or join a tour group, the Taiwan Tourist Shuttle service is a great way to get around. In Yunlin, the shuttles run on two routes. The one I’m taking today is the Douliu Gukeng route, which passes through a bunch of fun places.

2016-2017 Episode 26 Douliu Gukeng Shuttle Bus 斗六、古坑真好玩(雲林)

雲林的斗六市，有一個相當熱門的景點，隱身在寧靜的雲中街，興建於1937年，在日治時期，這裡原本是警察宿舍群，經過了重新整修，現在變成了新興的文創聚落。
Yunlin’s Douliu has a pretty famous attraction that’s hidden along the city’s quiet Yunzhong Street. Built in 1937 during the Japanese colonial period, this complex was used as housing for the city’s police force, before it was redeveloped as a village for creative industry.

以前，我對黑膠唱片的印象，都是從電影或電視裡來的，今天可以親耳聽到，感受特別的不一樣。
Before, my only impressions of old-style black vinyl records all came from movies and TV shows. But today, I’ve got the chance to listen to and experience their special sound firsthand.

懷舊，是一種很奇妙的情感，不管你有沒有經過那段歲月，不管是你是本國人或外國人，都很容易被週遭營造出的氛圍，帶進當年的故事之中
Nostalgia is a funny thing. In the right surroundings, you can get a sense of a place’s unique history, no matter where you’re from or whether you lived through that era. This is the kind of place that can let you feel like you’re really taking a step back into the past.

這裡是華山咖啡大街看那裡密密麻麻的招牌，我想這裡應該是世界上，咖啡店密度最高的一條街了吧。
This is Huashan Coffee Street. Take a look at all the shop signs. I think this street must have the world’s highest concentration of coffee shops.

在環境和氣候上，雲林的古坑，都非常適合咖啡樹的生長。
In terms of climate and environment, Yunlin’s Gukeng Township is highly suited to growing coffee.

我從未吃過咖啡的果實。I’ve never tested coffee cherry before.

甜甜的，味道滿像棗子的。It’s sweet and teste like a jujube.

據說英國人和荷蘭人，都在這裡種過咖啡，到了1931年，日本人重新引進了阿拉比卡咖啡，並且在古坑開始大量種植，而當時所生產的原豆，大部份都運回了日本。
It’s been said that both English and Dutch settlers used to grow coffee here. In 1931, the Japanese started large-scale cultivation of the Arabica variety of coffee beans in Gukeng, shipping most of their production back to Japan.

收成後，咖啡果實需要曝曬在陽光下，這稱為日曬處理法。
After harvesting,coffee cherries need to be spread out in the sun.This is called dry processing.

在過去以前台灣人沒有喝咖啡的習慣，所以古坑的咖啡園曾經被荒廢了一段時間，一直到2003年，鄉公所開始舉辦「台灣咖啡節｣的活動，成功掀起台灣咖啡旋風，也讓雲林古坑，成為台灣咖啡的代名詞。
Up until the last decade or so, coffee-drinking wasn’t common in Taiwan, and Gukeng’s coffee fields were left unplanted during periods of low demand. Then, in 2003, the Gukeng Township office started holding the yearly “Taiwan Coffee Festival,” which proved a success in popularizing coffee among Taiwanese. The festival also made Yunlin’s Gukeng synonymous with the drink.

我不是咖啡專家，所以喝不出他們說的果香，不過，這個味道我倒是蠻喜歡的。
I’m not a coffee expert, so I can’t really make out the fruity notes that they mention. But I really like the taste!

除了喝咖啡之外，華山咖啡休閒園區裡，還規劃了14條主題步道，不同的路線，也會讓你有不同的驚喜。
Aside from being a place to drink coffee, Huashan Coffee Street has over 14 themed walking itineraries, which you can take to discover all kinds of surprises.

哇～！你看那個，好酷哦！Wow! Look at that! So cool!

這一個個蘑菇，其實是早期台灣農村所使用的穀倉，為了保存這個回憶中部樸實外觀的穀倉建築，這裡的主人因此特別仿照，建構出這別具韻味的特色建築。
Mushroom-shaped structures like these were actually used as storehouses for grain back in the day. To preserve some idea of what Gukeng used to look like, one person designed these buildings to resemble the town’s old-fashioned granaries.

雲林是台灣中部的農業大縣，在這可發現台灣不一樣的面貌，有機會的話，你一定要親自來感受一下。
In Yunlin, the agricultural base of central Taiwan, you can see a different side of Taiwan. If you get the opportunity, you should definitely come and take a look.

我是林柏妤，享受在台灣的時光，我們下次見。
I am Poyu Lin, enjoy your time in Taiwan! Ciao～see you next time.

艾琳11月日本賞楓旅遊交友團，真的快要快要出來了！

有些艾醬可能知道我從去年3月就開始每個月主辦聯誼，默默的也經營一年多了，在交友場合裡面，有最令我印象深刻也最感慨的一段話
參加者哥哥說：
「年輕的時候，不會覺得自己需要特別去認識新朋友，要去哪就去哪，朋友一揪就出門，但是35歲以後，身邊的朋友一個個結婚有家庭，假日都要顧小孩，偶爾傳line也是一直發小孩的照片給你，這時候才發現原來自己也想要有家庭⋯」

出社會之後真的覺得漸漸交友圈容易變得很狹窄，如果沒有努力去認識新朋友，很容易時間就這樣過了，赫然回想到，我去年和今年都有揪團去韓國玩，沒想到團員們旅遊回去之後，很多也互相認識變成好朋友，還自己組一個group繼續揪去韓國玩，那我何不乾脆就可以來辦一個旅遊交友團啊😆

時間會在今年11月上旬的五六日，一起去日本賞楓賞紅葉，時間正在做最後確認中，一週內會出來，真的很希望有興趣的艾醬可以把這段時間空下來，我想創造的旅遊不是只有吃喝玩樂，而是和大家一起共享回憶和時間的價值旅遊！限額30名，所有行程我和日本公司團隊 @cooljapan_tv 親自踩點，並且在行程每個環節都會設計互動互相認識的遊戲，絕對好玩！

參加者不限台灣人，有興趣的艾醬不管是香港人或馬來西亞人，只要通中文，都可以一起來玩！

消息和報名連結會第一時間發佈在艾琳聯誼團lineID: https://line.me/R/ti/p/%40uoa4117p
額滿為止，期待和你們一起創造開心的回憶！

最後，感謝我最給力的經紀公司 Cool Japan TV 最棒最厲害什麼都做得到的老闆 @shenlim_official ，還有最專業最貼心的經紀人 @chachaxxtv，上次和你們一起採點場勘也是我人生中最棒的回憶！

#艾琳 #艾琳的日常 #艾琳旅遊團 #艾琳聯誼團 #九州旅遊 #由布院 #湯布院 #別府旅遊 #日本溫泉 #溫泉勝地

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….

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※ 任何與日本的作品，活動，商務合作，請聯繫 info@cooljapantv.biz
 
今年出道 25 週年的 TRF 團長 DJ KOO，與來自馬來西亞的 C-POP 百萬金曲鬼才，Namewee 黃明志實現夢幻合作。全球爆紅曲「TOKYO BON 2020」的製作公司，株式会社 Cool Japan TV 及日本娛樂公司 Avex Management 攜手合作，安排亞洲各國合計 2,000 萬粉絲以上的人氣 YouTuber 在日本齊聚一堂，共同製作了 TRF 名曲盆舞改編版「BOY MEETS GIRL 2020」。
 
通過這次的合作，DJ KOO 與 Namewee 黃明志加入了兩人的 RAP 饒舌歌詞，實現了日語，英語，中文的多語言歌詞改編。歌曲的故事設定為，在日本流行音樂文化席捲亞洲的 90 年代，在馬來西亞聽著 J-POP 度過少年時期的 Namewee 黃明志，對 DJ KOO 訴說「少年與少女在那之後的故事並不是那麼地一帆風順」。DJ KOO 藉由引用原曲歌詞「邂逅才是人生的尋寶遊戲」，加上改編歌詞回應「一路以來受過了多少創傷，也因為這些經歷讓我們變得更堅強，更善良。讓我們一起繼續尋找人生中最寶貴的事物吧」。兩人通過這夢幻合作，對現代少年少女們發出鼓勵的訊息。
 
MV 的高潮盆舞部分，更加入了世界知名日本藝人 Piko 太郎的友情客串。此外，DJ KOO 的理念「One Asia, One World」也引起了亞洲各國人氣 YouTuber 的共鳴，齊聚一堂一同跳盆舞。舞蹈由繼承加貿百萬石文化，擁有 100 年歷史的創作日本舞蹈孝藤流傳人，孝藤右近排舞。此外，奧運會金牌選手清水宏保，avex 新人團體 callme，贊助商 Molly Fantasy 的 Lala也到場支持。
 
MV 裡也插入了首度發布此曲的舞台，在法國巴黎舉辦的 “Japan Expo 2018” 15,000  人的演唱會影像。DJ KOO 表示「面向奧運會 2020，日本將成為全世界的焦點，希望可以通過日本傳統文化盆舞，將日本的魅力告訴全世界」。
 
□　BOY MEETS GIRL 2020 / Namewee feat. DJ KOO

出演 : Namewee、DJ KOO、孝藤右近
特別嘉賓 : Piko 太郎、清水宏保、PInO、callme、AR performers
YouTuber : Shen Lim、MaoMaoTV、林進、小A辣、Nana梁雲菲、Toyz、屎萊姆的3次元、魚乾、菜喳、Cody Hong、彤彤、Kidinn、Yvonne Chua、Ernest DoCrazy、RU醬、Ayu TV

Produced by : Cool Japan TV、avex management
贊助 : Molly Fantasy
 
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In conjunction to his 25th anniversary, TRF’s leader DJ KOO collaborated with Malaysia’ Top C-POP million hits artist Namewee.
 
The production company behind the viral hit 「TOKYO BON 2020」- Cool Japan TV - the leading influencer marketing company, gathered Asia’s Top YouTubers in this Bon dance version of TRF’s remix song「BOY MEETS GIRL 2020」together with one of the largest music entertainment companies, avex entertainment.
 
This collaboration saw DJ KOO and Namewee presenting their RAP segment with multilingual lyrics ranging from Japanese, English and Chinese. The setting of the MV goes back to the 1990s when Japanese pop music and culture craze swept through Asia. For Namewee who grew up listening to J-POP, he shared with DJ KOO on how teenage love was never that smooth-sailing. This was reflected in the song “Fateful encounter is like a life-time treasure hunt”, DJ Koo then responded with new lyrics “Life might be a journey of suffering, only to make us stronger and kinder. Let’s continue to search for what matters most.” This dream collaboration aims to deliver their words of encouragement to everyone.
 
The highlight of this bon MV goes to the guest appearance of global well-known Japanese artist  Piko Taro. Together with participation of the Asia Top YouTubers, this MV humbly resonates to DJ KOO’s vision of "One Asia, One World”. The Bon dance was choreographed by Ukon Takafuji, the heir of the Takafuji clan with over 100 years of history. More guests such as Olympic gold medalist skater Hiroyasu Shimizu, avex artist group callme and Lala from Molly Fantasy also gave their support.

The MV also includes the first concert performance of this song at Paris, France where the “Japan Expo 2018” was held and garnered interest from 15,000 audience. DJ KOO expressed “With the upcoming 2020 Olympics, Japan will be the growing center-of-attraction. We hope to bring about Japan’s culture and appeal to everyone through the traditional Japanese Bon dance.”

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※ コラボレーション、日本に関するイベント開催、日本に関するビジネス相談などについてのお問い合わせは、info@cooljapantv.biz までお問い合わせください。

　デビュー25周年を迎えたTRFのリーダーDJ KOOが、C-POP史上最多のミリオンビューヒットを持つ、マレーシア出身の人気アーティストNameweeと夢の共演。「Tokyo Bon 2020」の世界的ヒットで話題のアジア最大級のインフルエンサーネットワークによるインバウンドプロモーション事業を展開する株式会社Cool Japan TVは、音楽業界を牽引するエイベックス・マネジメントとの共同プロデュースによる、アジア各国の合計2,000万フォロワーを超える人気YouTuberが日本に一堂に集結して撮影を行った、TRF名曲の盆踊りリミックス「BOY MEETS GIRL 2020」のミュージックビデオを発表した。
 
今回のリミックスで新たに聴くことができる、日本語、英語、中国語の多言語で展開されるDJ KOOとNameweeによるラップパートでは、日本のポップカルチャーがアジアを席巻した90年代、マレーシアでJ-POPを聴きながら青春時代を過ごしたと言うNameweeが、憧れのスターであったDJ KOOに「少年と少女のその後の物語は決して平坦な道のりではなかったこと」を訴え、それに対してDJ KOOは「傷ついた分だけ強く優しくなれる、人生の宝探しをこれからも続けて行こう」とオリジナルの歌詞「出会いこそ人生の宝探し」を引用して応え、かつての少年と少女たちに応援のメッセージを送っている。

クライマックスの盆踊りでは、今や世界で最も知られている日本人アーティストとなったピコ太郎がサプライズの友情出演。DJ KOOが今回のテーマとして掲げた「One Asia, One World」に共鳴して集まったアジア各国の人気YouTuberと共に、加賀百万石の文化を継ぐ石川県金沢市にて100年の歴史を持つ創作日本舞踊孝藤流の家系に生まれ、日本を代表する舞踊家として活躍する孝藤右近の振り付けによる盆踊りを踊っている。又、オリンピックの金メダリスト清水宏保、avexの後輩アーティストcallme、協賛・協力企業モーリーファンタジーのララも駆けつけて参加している。

映像中には、本作の初公開の舞台となったフランス・パリの “Japan Expo 2018” での15,000人の熱狂的な観客を前にしたライブパフォーマンスの様子も織り交ぜられており、DJ KOOは「東京オリンピックへ向けて、日本が世界から注目を集める中、日本の伝統文化である盆踊りを楽しんでいただくことを通じて、日本の魅力を世界に発信して行きたい」と語っている。

0:00 片頭
0:52 歌曲開始

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欲網購黃明志最新實體專輯《亞洲通才》及歷年專輯和周邊商品請到。Purchase Namewee Latest 《Asian Polymath》 , Others Music Albums & Merchandises Please log in to https://namewee4896.com/

#Namewee #黃明志

DJ KOO YouTube Channel : http://bit.ly/2DnKavZ
DJ KOO Official Instagram : http://bit.ly/2I4nEXI
 
Cool Japan TV Website: http://bit.ly/2znvZ6b
Business Inquiries : info@cooljapantv.biz
 
Cool Japan TV Facebook Page : http://bit.ly/2Nun0Zz
Cool Japan TV YouTube Channel: http://bit.ly/2pwbqP3
Cool Japan TV Instagram : http://bit.ly/2I3jDCR
 
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※ 任何與日本的作品，活動，商務合作，請聯繫 info@cooljapantv.biz
 
今年出道 25 週年的 TRF 團長 DJ KOO，與來自馬來西亞的 C-POP 百萬金曲鬼才，Namewee 黃明志實現夢幻合作。全球爆紅曲「TOKYO BON 2020」的製作公司，株式会社 Cool Japan TV 及日本娛樂公司 Avex Management 攜手合作，安排亞洲各國合計 2,000 萬粉絲以上的人氣 YouTuber 在日本齊聚一堂，共同製作了 TRF 名曲盆舞改編版「BOY MEETS GIRL 2020」。
 
通過這次的合作，DJ KOO 與 Namewee 黃明志加入了兩人的 RAP 饒舌歌詞，實現了日語，英語，中文的多語言歌詞改編。歌曲的故事設定為，在日本流行音樂文化席捲亞洲的 90 年代，在馬來西亞聽著 J-POP 度過少年時期的 Namewee 黃明志，對 DJ KOO 訴說「少年與少女在那之後的故事並不是那麼地一帆風順」。DJ KOO 藉由引用原曲歌詞「邂逅才是人生的尋寶遊戲」，加上改編歌詞回應「一路以來受過了多少創傷，也因為這些經歷讓我們變得更堅強，更善良。讓我們一起繼續尋找人生中最寶貴的事物吧」。兩人通過這夢幻合作，對現代少年少女們發出鼓勵的訊息。
 
MV 的高潮盆舞部分，更加入了世界知名日本藝人 Piko 太郎的友情客串。此外，DJ KOO 的理念「One Asia, One World」也引起了亞洲各國人氣 YouTuber 的共鳴，齊聚一堂一同跳盆舞。舞蹈由繼承加貿百萬石文化，擁有 100 年歷史的創作日本舞蹈孝藤流傳人，孝藤右近排舞。此外，奧運會金牌選手清水宏保，avex 新人團體 callme，贊助商 Molly Fantasy 的 Lala也到場支持。
 
MV 裡也插入了首度發布此曲的舞台，在法國巴黎舉辦的 “Japan Expo 2018” 15,000  人的演唱會影像。DJ KOO 表示「面向奧運會 2020，日本將成為全世界的焦點，希望可以通過日本傳統文化盆舞，將日本的魅力告訴全世界」。
 

□　BOY MEETS GIRL 2020 / Namewee feat. DJ KOO

出演 : Namewee、DJ KOO、孝藤右近
特別嘉賓 : Piko 太郎、清水宏保、PInO、callme、AR performers
YouTuber : Shen Lim、MaoMaoTV、林進、小A辣、Nana梁雲菲、Toyz、屎萊姆的3次元、魚乾、菜喳、Cody Hong、彤彤、Kidinn、Yvonne Chua、Ernest DoCrazy、RU醬、Ayu TV

Produced by : Cool Japan TV、avex management
贊助 : Molly Fantasy

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※ Please kindly contact info@cooljapantv.biz for any music production, events and business enquiries.
 
In conjunction to his 25th anniversary, TRF’s leader DJ KOO collaborated with Malaysia’ Top C-POP million hits artist Namewee.
 
The production company behind the viral hit 「TOKYO BON 2020」- Cool Japan TV - the leading influencer marketing company, gathered Asia’s Top YouTubers in this Bon dance version of TRF’s remix song「BOY MEETS GIRL 2020」together with one of the largest music entertainment companies, avex entertainment.
 
This collaboration saw DJ KOO and Namewee presenting their RAP segment with multilingual lyrics ranging from Japanese, English and Chinese. The setting of the MV goes back to the 1990s when Japanese pop music and culture craze swept through Asia. For Namewee who grew up listening to J-POP, he shared with DJ KOO on how teenage love was never that smooth-sailing. This was reflected in the song “Fateful encounter is like a life-time treasure hunt”, DJ Koo then responded with new lyrics “Life might be a journey of suffering, only to make us stronger and kinder. Let’s continue to search for what matters most.” This dream collaboration aims to deliver their words of encouragement to everyone.
 
The highlight of this bon MV goes to the guest appearance of global well-known Japanese artist  Piko Taro. Together with participation of the Asia Top YouTubers, this MV humbly resonates to DJ KOO’s vision of "One Asia, One World”. The Bon dance was choreographed by Ukon Takafuji, the heir of the Takafuji clan with over 100 years of history. More guests such as Olympic gold medalist skater Hiroyasu Shimizu, avex artist group callme and Lala from Molly Fantasy also gave their support.

The MV also includes the first concert performance of this song at Paris, France where the “Japan Expo 2018” was held and garnered interest from 15,000 audience. DJ KOO expressed “With the upcoming 2020 Olympics, Japan will be the growing center-of-attraction. We hope to bring about Japan’s culture and appeal to everyone through the traditional Japanese Bon dance.”
 
-
 
※ コラボレーション、日本に関するイベント開催、日本に関するビジネス相談などについてのお問い合わせは、info@cooljapantv.biz までお問い合わせください。

　デビュー25周年を迎えたTRFのリーダーDJ KOOが、C-POP史上最多のミリオンビューヒットを持つ、マレーシア出身の人気アーティストNameweeと夢の共演。「Tokyo Bon 2020」の世界的ヒットで話題のアジア最大級のインフルエンサーネットワークによるインバウンドプロモーション事業を展開する株式会社Cool Japan TVは、音楽業界を牽引するエイベックス・マネジメントとの共同プロデュースによる、アジア各国の合計2,000万フォロワーを超える人気YouTuberが日本に一堂に集結して撮影を行った、TRF名曲の盆踊りリミックス「BOY MEETS GIRL 2020」のミュージックビデオを発表した。
 
今回のリミックスで新たに聴くことができる、日本語、英語、中国語の多言語で展開されるDJ KOOとNameweeによるラップパートでは、日本のポップカルチャーがアジアを席巻した90年代、マレーシアでJ-POPを聴きながら青春時代を過ごしたと言うNameweeが、憧れのスターであったDJ KOOに「少年と少女のその後の物語は決して平坦な道のりではなかったこと」を訴え、それに対してDJ KOOは「傷ついた分だけ強く優しくなれる、人生の宝探しをこれからも続けて行こう」とオリジナルの歌詞「出会いこそ人生の宝探し」を引用して応え、かつての少年と少女たちに応援のメッセージを送っている。

クライマックスの盆踊りでは、今や世界で最も知られている日本人アーティストとなったピコ太郎がサプライズの友情出演。DJ KOOが今回のテーマとして掲げた「One Asia, One World」に共鳴して集まったアジア各国の人気YouTuberと共に、加賀百万石の文化を継ぐ石川県金沢市にて100年の歴史を持つ創作日本舞踊孝藤流の家系に生まれ、日本を代表する舞踊家として活躍する孝藤右近の振り付けによる盆踊りを踊っている。又、オリンピックの金メダリスト清水宏保、avexの後輩アーティストcallme、協賛・協力企業モーリーファンタジーのララも駆けつけて参加している。

映像中には、本作の初公開の舞台となったフランス・パリの “Japan Expo 2018” での15,000人の熱狂的な観客を前にしたライブパフォーマンスの様子も織り交ぜられており、DJ KOOは「東京オリンピックへ向けて、日本が世界から注目を集める中、日本の伝統文化である盆踊りを楽しんでいただくことを通じて、日本の魅力を世界に発信して行きたい」と語っている。

-

欲網購黃明志最新實體專輯《亞洲通才》及歷年專輯和周邊商品請到。Purchase Namewee Latest 《Asian Polymath》 , Others Music Albums & Merchandises Please log in to https://namewee4896.com/

#Namewee #黃明志

BLACK DIAMONDメンバーあおちゃんが自分の普段デイリーメイクを紹介！
Aochan from the Japanese gyaru group BLACK DIAMOND shows her daily makeup in this video tutorial.

あおちゃんのtwitter : https://twitter.com/aochanp

♡Used cosmetics｜使用コスメ♡
Base｜プリマヴィスタ 皮脂くずれ防止化粧下地 SPF20 PA++ 25ml[https://amzn.to/2Idzj70]
Concealer｜ケイト スティックコンシーラーA ナチュラルベージュ[https://amzn.to/2I7CWeV]
Foundation｜Revlon Colorstay Foundation Normal Dry Skin Caramel[https://amzn.to/2IboxOE]
Base｜AC by Angel Color - Hightcover Mattepowder healthy skin（ハイカバーマットパウダー ヘルシースキン） [https://amzn.to/2wsxD42]
Eyebrow｜KATE - designing eyebrow N EX-4（デザイニングアイブロウN EX-4 ライトブラウン系） [https://amzn.to/2lCW6OT]
Eyebrow｜Bibo - EYEFUL EYEBROW(アイフルマユズミ6ライトブラウン)[https://amzn.to/2wtAOsl]
Eyebrow Coat｜ザ・ダイソー エバビレーナ アイブローコート
Eyebrow Mascara｜Kiss me - Heavy Rotation 01（ヘビーローテーションカラーリングアイブロウ 01イエローブラウン）[https://amzn.to/30VEXU4]
Eye Line｜K-Palette - REAL LASTING EYELINER24h 1DAY TATOO DB001（リアルラスティングアイライナー24hWP DB001） [https://amzn.to/2YWc48g]
Mascara｜MAYBELLINE - thebMAGNUM VOLUM EXPRESS WATERPROOF 01Black（ボリューム エクスプレス マグナム ウォータープルーフ マスカラ 01ブラック）[https://amzn.to/3139Rdg]
Glue｜Diamond - Eyelash Fixer（ダイヤモンドELフィクサー クリア 5ml）[https://amzn.to/2We9wpd]
False Eyelash｜Diamond Lash - Celeb eye（ダイヤモンドラッシュセレブEYE 5ペア (上まつげ)）[https://amzn.to/2Ka5ln0]
Eye Shadow｜KATE - eyeshadow(色違い：デュアルブレンドアイズ BR-1)[https://amzn.to/2K9JSuw]
False Eyelash｜Dolly Wink - No.21 SECRET GIRL(ドーリーウインク アイラッシュ NO21 Sガール)[https://amzn.to/2WjSVk5]
Cheek｜CANMAKE - Powder Cheeks PW25（パウダーチークスPW25シュガーオレンジ）[https://amzn.to/2KcsQfd]
Nose Shadow｜Diamond Nose Makeup - Dolly Nose（ドーリーノーズ フェースカラー）
Lip｜DHC - Lip Cream （薬用リップクリーム）[https://amzn.to/30WIbGH]
Lip｜MAC - PATENT POLISH LIP PENCIL GO FOR GIRLIE（色違い：パテントポリッシュ リップペンシルイッツ リアリー ミー)[https://amzn.to/2Z3RpPX]
Face Shading｜CANMAKE - SHADING POWDER（シェーディングパウダー01）[https://amzn.to/2LngtOt]

Click/tap on the top right of the screen to access the related videos and playlists.
関連動画やプレイリストの確認は、画面の右上をクリックしてください。

【美容関連チャンネル】

風香 / Fuka : https://www.youtube.com/channel/UCo4TAdS9kHXiIQx-fUcUhtA
千奈 / Cheena : https://www.youtube.com/channel/UCTbUHVsWzsFhbXYb8IVvC2w
ななこね / Nanakone : https://www.youtube.com/channel/UCTxEzCNxIU1gxdnCzchPyVg
ギャル文化専用チャンネル：https://www.youtube.com/channel/UCk9rz8xCIIFjsF4zU9WsleQ


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Kawaii Makeup Tutorials｜日本の「カワイイ」を発信
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Let's play video games with Japanese｜外国人と一緒にゲーム実況
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Anime & Manga Drawing Tutorials｜イラスト＆アニメの絵かき講座
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