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Hacken Lee Cantonese Albums Download Emily Lo Suk Yi Mandarin Immersion
Hacken Lee Cantonese albums download Emily Lo Suk Yi Mandarin Immersion. It's all about Mandarin. And about learning the language through music, movies, and TV serials. I'll have my own personal reviews about new artists and what I'm doing to learn the language. My aim is to post at least once a week and the steps I'm taking to improve my learning. There's no better motivation to learn something than to actually write down your progress. And so, here it is! Mandarin Immersion! Monday, December 04, 2006. The First Song I Learned Lyrics For. The very first song I learned the lyrics to was S.H.E.'s song 戀人未滿 (Not Yet Lovers) (Lian Ren Wei Man) and it was off of their album "Together" (album cover is at left). The reason I learned the lyrics to the song was because after hearing this song many times, I just felt compelled to learn what they were singing. I managed to find their lyrics from S.H.E Angelic Fansite. That site has everything you need to know about the group, including lyrics to all of their songs in Chinese, Pin Yin, and English! This is basically how I'm learning Mandarin - I find songs I like, find the lyrics and try to learn the song. By doing this, I can slowly pick up how to read Chinese characters, learn how to say them (well, sort of), and know the meaning of the words. And so, below is the video for the song 戀人未滿 (Not Yet Lovers) (Lian Ren Wei Man), which by the way, still remains my favorite Mandarin song. -
Transformative Works and Cultures, Special Issues: Transformative Works and Fan Activism, No
Transformative Works and Cultures, special issues: Transformative Works and Fan Activism, No. 10 (June 15, 2012) Editorial Henry Jenkins & Sangita Shresthova, Up, up, and away! The power and potential of fan activism Theory Melissa M. Brough & Sangita Shresthova, Fandom meets activism: Rethinking civic and political participation Henry Jenkins, "Cultural acupuncture": Fan activism and the Harry Potter Alliance Neta Kligler-Vilenchik, Joshua McVeigh-Schultz, Christine Weitbrecht, & Chris Tokuhama, Experiencing fan activism: Understanding the power of fan activist organizations through members' narratives Ashley Hinck, Theorizing a public engagement keystone: Seeing fandom's integral connection to civic engagement through the case of the Harry Potter Alliance Andreas Jungherr, The German federal election of 2009: The challenge of participatory cultures in political campaigns Matt Yockey, Wonder Woman for a day: Affect, agency, and Amazons Praxis Sun Jung, Fan activism, cybervigilantism, and Othering mechanisms in K-pop fandom Bethan Jones, Being of service: "X-Files" fans and social engagement Marcus Schulzke, Fan action and political participation on "The Colbert Report" Alex Leavitt, Andrea Horbinski, Even a monkey can understand fan activism: Political speech, artistic expression, and a public for the Japanese dôjin community Tanya R. Cochran, "Past the brink of tacit support": Fan activism and the Whedonverses Lili Wilkinson, Nerdfighters, "Paper Towns," and heterotopia Cheuk Yin Li, The absence of fan activism in the queer fandom of -
Cass Phang: the Complete Profile Created on 19/04/2002 1:32 PM, Updated on 16/02/2012 03:56:00
Cass Phang: The Complete Profile Created on 19/04/2002 1:32 PM, Updated on 16/02/2012 03:56:00 Cass Phang Personal Information Chinese Name Ling, Phang (彭羚) Original Name Caspina Ying Ying, Phang (彭映盈) Family Origin Panyu, Guangdong, China Date of Birth 2nd February 1969 Horoscope Aquarius Hong Kong Place of Birth Height 160cm Married with Jan Hoi Fung, Lamb (林海峰) in September 1998 First daughter, Jae Wing, Lamb (林泳), was born on 14th February 2000 Family Status Second daughter, Cloe Ching, Lamb (林清) was born on 28th July 2004 Father, Mother and Elder Brother emigrated to Toronto (Canada) in early 90s Languages Chinese (Cantonese), Chinese (Mandarin), English, novice Japanese High School in Australia Education Munsang College, Hong Kong Sony Music (1998 - 2002) Recording Companies EMI (1993-1998) Rock In Records (1990-1993) Personal Albums and Songs Cass joined Rock-In Records as a singer and published her first December 1990 (Cantonese) album - With Love Cantonese Album – Somewhere In Time (愛過痛過亦願等) Single I’ll Wait Regardless I Was Hurt (愛過痛過亦願等) was the second highest radio airplay rating of the Commercial Radio FM903 channel, and was one of the Top 20 Ultimate Songs in the Commercial Radio Ultimate Song Chart Show Presentation. The August 1991 song also stayed at the No. 1 position of Malaysia Redifussion 988 Pop chart for 10 consecutive weeks. Single Old Homestead (故居) was the first song composed by Cass herself. Champion song: I’ll Wait Regardless I Was Hurt (愛過痛過亦願等) Cantonese Album – As If It’s My First Love (彷彿是初戀) April 1992 Gold Album (over 25,000 sales) Brought to you by PhangLing.com. -
Announcement of 2021 Interim Results
Hong Kong Exchanges and Clearing Limited and The Stock Exchange of Hong Kong Limited take no responsibility for the contents of this announcement, make no representation as to its accuracy or completeness and expressly disclaim any liability whatsoever for any loss howsoever arising from or in reliance upon the whole or any part of the contents of this announcement. (Incorporated in Hong Kong with limited liability) Stock Code: 00511 ANNOUNCEMENT OF 2021 INTERIM RESULTS RESULTS HIGHLIGHTS For the six months ended 30 June 2021 (the “Period”): • Total revenue of the Group increased from HK$1,226 million to HK$1,248 million, an increase of 2%, mainly due to a 31% increase in advertising income from Hong Kong TV Broadcasting. • Total costs decreased from HK$1,646 million to HK$1,597 million, a reduction of 3%. • Adjusted EBITDA improved from negative HK$210 million to negative HK$140 million. • Loss attributable to equity holders of the Company was HK$284 million (2020: Loss of HK$293 million). Loss per share was HK$0.65 (2020: Loss per share of HK$0.67). Excluding the wage subsidies under the Government’s Employment Support Scheme of 20201, the loss attributable to equity holders of the Company improved by HK$43 million or 13%. • No interim dividend was declared by the Board (2020: nil). BUSINESS HIGHLIGHTS • Advertising income from Hong Kong TV Broadcasting reported an encouraging 31% increase from HK$351 million to HK$460 million. TVB’s five digital channels, in aggregate, averaged a prime time rating of 25.2 TVRs, representing a 78% audience share against all channels in Hong Kong, which was significantly higher than all other domestic free TV operators. -
Hong Kong Cantopop
Hong Kong Cantopop A Concise History Yiu-Wai Chu Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2017 Hong Kong University Press ISBN 978-988-8390-57-1 (Hardback) ISBN 978-988-8390-58-8 (Paperback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Hang Tai Printing Co., Ltd. in Hong Kong, China Contents Acknowledgments viii A Note on Romanization x Chapter One Introduction 1 Chapter Two Days of Being Marginalized: The 1950s to the Early 1970s 21 Chapter Three The Rise of Cantopop: The Mid- to Late 1970s 40 Chapter Four An Age of Glory: The 1980s 69 Chapter Five The Best of Times, the Worst of Times: The 1990s 105 Chapter Six After the Fall: The New Millennium 145 Chapter Seven Epilogue: Cantopop in the Age of China 184 Appendix Chronology of Major Events 197 Selected Bibliography 218 Index 226 1 Introduction “Every generation has its own voice,” claimed James Wong 黃霑, the late god- father of Cantopop, in his doctoral thesis on the development of Cantopop.1 The English term “Cantopop”—Cantonese popular songs—did not come into existence until the 1970s, when Billboard correspondent Hans Ebert used it “to describe the locally produced popular music in Hong Kong” in 1978.2 Per James Wong’s remark—which was adapted from the well-known saying of the Qing dynasty master of Chinese culture, Wang Guowei 王國維: “Every dynasty has its own representative form of literature”3 —Cantopop is a musical form from and the voice of contemporary Hong Kong. -
Riding a Melodic Tide: the Development of Cantopop in Hong Kong
Riding a Melodic Tide: The Development of Cantopop in Hong Kong 1. Introduction Cantopop has confronted many challenges in recent years. With the departure of several singers and music artists, the guiding force behind the Cantopop scene seems to have ebbed away. In his doctoral thesis The Rise and Decline of Cantopop: A Study of Hong Kong Popular Music (1949 - 1997), the late James Wong wrote that Cantonese popular music has lost its influence in the mighty torrent of history; slowly but surely its impact is fading from Hong Kong’s popular culture. James Wong’s conclusion is a sad one. Whether it is correct or not, it raises one question that demands an answer: how does Cantopop relate to us? Though characterized by commercial productions, Cantopop is also the fruit of the unstinting efforts of countless singers, music artists and producers, whose hard work has generated thousands of pieces of music that combine to build a local popular culture for Hong Kong. We grew up with Cantopop. It is our collective memory. To trace this precious memory, we interviewed many organizations, record companies, music artists, singers, academics and music critics. The idea was to discover and trace the sequence of Cantopop’s development after World War Two from different perspectives. In a progression spearheaded by the music industry and the mass media, Cantopop rode the wave of local culture amid a period of social change to emerge and then exert a significant impact on the Chinese people of Hong Kong, the Mainland and overseas. The study outlines the development of Hong Kong Cantopop over the decades. -
Where in the World Is Andy Lau? Putting the Popular
WHERE IN THE WORLD IS ANDY LAU? PUTTING THE POPULAR BACK INTO STUDIES OF HONG KONG POPULAR ENTERTAINMENT Joyleen Johanna Christensen BEc, BA (Hons 1), GDPTT, GDipArts A thesis submitted in fulfilment of the requirements of the degree of PhD (Film, Media & Cultural Studies) June 2013 University of Newcastle, Australia STATEMENT OF ORIGINALITY The thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository**, subject to the provisions of the Copyright Act 1968. **Unless an Embargo has been approved for a determined period. 2 ACKNOWLEDGEMENTS I wish to begin by thanking Dr Hamish Ford and Associate Professor David Boyd for their time, patience, and sage advice. I have little doubt that I would still be struggling with this research if you both had not agreed to come on board as my supervisors when you did and I will be forever indebted to your significant contributions to this work. In addition to his input into this thesis, I will be eternally grateful to Associate Professor Boyd for introducing me to Film Studies and providing me with the opportunity to embark on a career that I love. I would also like to acknowledge what an exceptional source of inspiration and support Dr Ford has been since he took over the primary supervision of this thesis in 2010. -
Organizing Music
The performance of identity in Chinese popular music Groenewegen, J.W.P. Citation Groenewegen, J. W. P. (2011, June 15). The performance of identity in Chinese popular music. Retrieved from https://hdl.handle.net/1887/17706 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/17706 Note: To cite this publication please use the final published version (if applicable). Chapter 5: Organizing Music §1 Evolution “Huh-ooohw,” hovers an unstable, low male voice, “huh-eeehw.” A sudden Mountain-Song-like movement lifts the melody to a high pitch: like a rubber band stretched and then released, the voice howls: “ee-oo.” It remains high, but the volume now wavers and decreases, into a nasal falsetto. “Ii- ih-i-i,” on the last bit of breath. Silence again, a loud sigh “whiiiy,” followed by high, barely audi- ble, “e-e-e” sounds. Low again: “whoo-oo-ee.” The melody now jumps back and forth between al- most painfully high and low registers, while simultaneously working the overtones through changes of the vowel. Silence, another sigh, followed by a glissando. The sixth phrase is relatively conven- tional – a few drawn-out high notes with only microtonal fluctuations, briefly interrupted by a sud- den dive into lower registers. Then the glockenspiel enters with a quiet tremolo. On Taoism 道极 (1985) begins with composer Tan Dun singing the germ cell of the composition. A bass clarinet and bass bassoon take turns developing the melodic line provided by the voice, render- ing the music almost monophonic: a single calligraphic-melodic line divided over the three solo in- struments employs a palette of tone-colors on a canvas of strings.1 The seven phrases of the open- ing, the seventh accompanied by the glockenspiel, also foreshadow the division of the thir- teen-minute composition into seven parts. -
TVB Finance ( Local Productions) Annex 5
(2 ) Annual Returns to the Communications Authority Annual report on programming commitments of Year 2017 INDEX Independent local productions Annex 1 Independent local productions (1 page) I Total hours: 33 I Local productions Annex 2 Jade Channel (19 pages) Total hours: 4419.07 Annex 3 J2 Channel (3 pages) Total hours: 580.3 Annex 4 J5 Channel (3 pages) Total hours: 1628 Annex 5 TVB Finance Channel (4 pages) Total hours: 1345.3 Annex 6 iNews / TVB News Channel (1 page) Total hours: 8670 Annex 7 Pearl Channel (2 pages) Total hours: 2348.5 I Total hours of local productions: 18991.17 I Independent Local Productions ( All Channels) Annex 1 dhi~~er ;~>~t;:~l~;~~\ TitI~? ...~);::i;!~~i!ti!!~~:;;~gjl~;!:';!·' .......... 'I! ·)~i.:J<V~!);~·•• ,,~ ••••• {!; .. \~:,!.i! .. .Airdai~ i."·~I~;~;.·!J.~~;!':i~:~F!;\.~... Dt:raii6ij~~·} 'f~tiill~pi~oa~~1 T6t~tHd~'~~' Jade Aberdeen 2017/04/01 2 hrs 1 2 W~{r Triad 2017/05/06 2 hrs 1 2 "'L~ffi. Return of the Cuckoo 2017110105 2 hrs 1 2 +Jj 1JJllS'9 Jj 7't Tales from the Dark 1 2017110114 2 hrs 1 2 *~~)l~*JU ili5llll~ Tales from the Dark 2 201711 0/21 2 hrs 1 2 *~~)l~*JU iit~J~ 2017/12/30 2 hrs 35 min 1 2.5 Purple Hairpin, The 2017112131 2 hrs 1 2 Jl;!::.~Jt=c:~"P 12 Get Outta Here 2017/10/31 2 hrs 1 2 JE I*J n!¥] UfJI J5 The Hiddens 2017/01101 - 2017/01114 Ihr 14 14 ~~i!!~fr' Dreaming About Ancient China in Kyoto & Nara 2017/06108 - 2016107/06 30 mins 5 2.5 g~1t~;;6;: ~ ~<0/$\"< r±fi-++-~-R Total Hours: 33 Jade ( Local Productions) Annex 2 t, " ..... -
Television Broadcasts Limited Annual Report
TELEVISION BROADCASTS LIMITED ANNUAL REPORT 200 REVIEW OF OPERATIONS If the Gain on Disposal was excluded, the profit attributable to OVERVIEW equity holders would have increased from HK$1,031 million to HK$1,189 million, and the earnings per share would have For the year ended 31 December 200, the Group achieved increased from HK$2.35 to HK$2.71, which represented an a turnover of HK$4,201 million (2005: HK$4,177 million), increase of 15% over 2005. which represented an increase of 1% over 2005. Cost of sales amounted to HK$1,778 million (2005: HK$1,792 million), which represented a decrease of 1% over 2005. Gross profit for the year amounted to HK$2,423 million (2005: HK$2,385 million), which represented a gross profit percentage of 58% (2005: 57%). Included in cost of sales was the cost of programmes, film rights, movies and stocks which amounted to HK$1,171 million (2005: HK$1,148 million). This represented an increase of 2% over 2005. Selling, distribution and transmission costs amounted to HK$451 million, a similar level as for 2005 (2005: HK$452 million). General and administrative expenses amounted to HK$504 million (2005: HK$491 million), which represented an increase of 3% reflecting a slightly higher staff cost over 2005. Operating profit included interest income of HK$58 million COMMENTS ON SEGMENT INFORMATION (2005: HK$25 million), and a net exchange gain arising from the Revenue from terrestrial television broadcasting which translation of inter-company balances denominated in foreign comprised predominantly local advertising revenue, decreased currencies of HK$58 million (2005: net exchange loss of HK$1 slightly from HK$2,23 million to HK$2,219 million. -
Public Report En.Pdf
Report on the Public Consultation Exercise for the Renewal of the Domestic Free Television Programme Service Licences Asia Television Limited Television Broadcasts Limited Communications Authority May 2015 CONTENTS Chapter 1: Introduction 1 Chapter 2: The Public Consultation Exercise 3 Chapter 3: Reporting Principles 9 Chapter 4: The Public Views Collected 13 Part 1: Quantitative Analysis of Data of the Public 13 Opinion Survey Part 2: Comments Collected from Public Hearings and 20 Group Discussions and Written Submissions from Individuals and Organisations Part 3: Comments Retrieved from Newspapers 128 Chapter 5: Follow-up Actions 137 Appendix I: Executive Summary of the Public Opinion Survey Appendix II: Summaries of the Public Hearings Appendix III: Summaries of the Group Discussions Chapter 1 Introduction Applications for Renewal of Licences The existing domestic free television programme (“free TV”) service licences of Asia Television Limited (“ATV”) and Television Broadcasts Limited (“TVB”), with a validity period of 12 years, run from 1 December 2003 to 30 November 2015. ATV and TVB submitted applications to the Communications Authority (“CA”) for renewal of their free TV licences on 29 and 19 November 2013 respectively (hereinafter referred to as the “licence renewal applications”). In accordance with the Broadcasting Ordinance (Cap. 562) (“BO”) and the established practices for processing the licence renewal applications, the CA conducted a comprehensive assessment of the performance of ATV and TVB since December 2003 and made recommendations to the Chief Executive in Council (“CE in C”) on the applications on 4 November 2014. Public Consultation Exercise 2. Free TV service is the most pervasive medium in Hong Kong and is a very significant source of free entertainment, education and information for the general public. -
E 8010Pro-20000523.Pdf
IMPORTANT If you are in any doubt about this prospectus, you should consult your stockbroker, bank manager, solicitor, professional accountant or other professional adviser. STAREASTnet.com Corporation (Incorporated in the Cayman Islands with limited liability) * LISTING ON THE GROWTH ENTERPRISE MARKET OF THE STOCK EXCHANGE OF HONG KONG LIMITED PLACING AND PUBLIC OFFER Number of Offer Shares: 170,000,000 (subject to Over-allotment Option) Comprising: Number of Placing Shares: 153,000,000 (subject to reallocation) Number of Public Offer Shares: 17,000,000 (subject to reallocation) Offer Price: HK$1.18 per Share Nominal Value: HK$0.10 each Stock Code: 8010 Global Coordinator and Bookrunner BNP PRIME PEREGRINE Joint Sponsors and Lead Managers BNP PRIME PEREGRINE Co-Lead Managers CLSA Emerging Markets CU Securities Limited Co-Managers Celestial Capital Limited Nomura International (Hong Kong) Limited NSC Securities (Asia) Limited The Stock Exchange of Hong Kong Limited and Hong Kong Securities Clearing Company Limited take no responsibility for the contents of this prospectus, make no representation as to its accuracy or completeness and expressly disclaim any liability whatsoever for any loss howsoever arising from or in reliance upon the whole or any part of the contents of this prospectus. A copy of this prospectus, having attached thereto the documents specified in the paragraph headed “Documents delivered to the Registrar of Companies” in Appendix IV, has been registered with the Registrar of Companies in Hong Kong as required by section 342C of the Companies Ordinance (Chapter 32 of the Laws of Hong Kong). A copy of this prospectus has also been lodged with the Registrar of Companies and Businesses in Singapore as an information memorandum for the purposes of Section 106D of the Companies Act, Chapter 50 of Singapore.