關於 cold water lyrics ，我們在網路上蒐集到這些相關的討論、資訊與評價

Kopivosian!

As a disclaimer, my husband MANager Joe writes and creates the thumbnail so I was a bit #rolleye but hey! Let's have fun lah. (The reason behind this title is simply because I made a cameo in Marsha and Velvet's much loved hit "Sumandak Sabah" which has lyrics going "Sumandak Sabah ...mana ko mau cari? Semua lawa-lawa pandai masak nasi!")

Anyhoo...in light of the Kaamatan & Harvest Festival celebrations coming soon (Harvest Festival is a celebration to thank a bountiful harvest of rice) - I've themed our D'Varomas Live Cooking Show "Borneon with a Twist".

So what was cooked today?

1. Refreshing Lemonade with Asam Boi by Rifqi
2. Quick Steamed Mantou Buns by Suzie Alias
3. Lazy Mom's Tuna Sushi Balls by Aisyah Wahab and
4. Soup Ayam Lihing by Daphne Iking

I'd like to thank my Sales Advisors Mas Era and her 14 year old son Rifqi, Suzie and Aisyah for being my co-presenters of our #DVaromas Weekly LIVE show, as well as my wonder leaders in D'Varomas for sharing and commenting over the LIVE earlier.

Why the following menu?

1. Lemonade is our a well-known favourite beverage of most Thermomix users. Plus it demonstrates the TURBO power of the TMX where we can grind the rock sugar to powdery goodness in just 2 seconds! Add 2 cut lemons (with peel intact) with cold water, TURBO another 2 seconds and voila! It's done! Popped an asam boi cause we Sabahans love our Kit Cai Ping (kasturi drink with asam boi) so this is the twist in our much loved beverage.

2. Sabah is known for it's seafood. Dip your mantou buns (Steam or fried) with your Kam Heong Prawns or Chili Butter Crab ... delish!

3. Aisyah shows us how EASY and healthier and CLEANER it is to cook rice using the "simmering basket method". No grain of rice is wasted and her easy to make sushi rolls are definitely going to be a hit amongst my kiddos!

and finally

4. Sup Ayam Lihing (Chicken Rice Wine) is a popular soup of the Kadazandusun community. Usually I would use Ayam Kampung, but I only had chicken breasts so I had to make the broth in advance. Add a bit of lihing or rice wine and hmmmmm. Heaven!

Hope you enjoy the show! Let us know in the comment box what recipes would you like on our next DVA show!

Love and Light ... Come and join the DVAs ... we shine so Bright! =P

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….

Kopivosian!

As a disclaimer, my husband MANager Joe writes and creates the thumbnail so I was a bit #rolleye but hey! Let's have fun lah. (The reason behind this title is simply because I made a cameo in Marsha and Velvet's much loved hit "Sumandak Sabah" which has lyrics going "Sumandak Sabah ...mana ko mau cari? Semua lawa-lawa pandai masak nasi!")

Anyhoo...in light of the Kaamatan & Harvest Festival celebrations coming soon (Harvest Festival is a celebration to thank a bountiful harvest of rice) - I've themed our D'Varomas Live Cooking Show "Borneon with a Twist".

So what was cooked today?

1. Refreshing Lemonade with Asam Boi by Rifqi
2. Quick Steamed Mantou Buns by Suzie Alias
3. Lazy Mom's Tuna Sushi Balls by Aisyah Wahab and
4. Soup Ayam Lihing by Daphne Iking

I'd like to thank my Sales Advisors Mas Era and her 14 year old son Rifqi, Suzie and Aisyah for being my co-presenters of our #DVaromas Weekly LIVE show, as well as my wonder leaders in D'Varomas for sharing and commenting over the LIVE earlier.

Why the following menu?

1. Lemonade is our a well-known favourite beverage of most Thermomix users. Plus it demonstrates the TURBO power of the TMX where we can grind the rock sugar to powdery goodness in just 2 seconds! Add 2 cut lemons (with peel intact) with cold water, TURBO another 2 seconds and voila! It's done! Popped an asam boi cause we Sabahans love our Kit Cai Ping (kasturi drink with asam boi) so this is the twist in our much loved beverage.

2. Sabah is known for it's seafood. Dip your mantou buns (Steam or fried) with your Kam Heong Prawns or Chili Butter Crab ... delish!

3. Aisyah shows us how EASY and healthier and CLEANER it is to cook rice using the "simmering basket method". No grain of rice is wasted and her easy to make sushi rolls are definitely going to be a hit amongst my kiddos!

and finally

4. Sup Ayam Lihing (Chicken Rice Wine) is a popular soup of the Kadazandusun community. Usually I would use Ayam Kampung, but I only had chicken breasts so I had to make the broth in advance. Add a bit of lihing or rice wine and hmmmmm. Heaven!

Hope you enjoy the show! Let us know in the comment box what recipes would you like on our next DVA show!

Love and Light ... Come and join the DVAs ... we shine so Bright! =P

Thanks for watching and please do not forget to subscribe!

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____________________________________________________
Social Media:

▶ Download / Stream link : https://spoti.fi/2BjhF2b

👑WE ARCHITECTS
• https://www.instagram.com/we.architects/
• https://soundcloud.com/wearchitects
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👑Joe woolford
• https://twitter.com/joewoolford
• https://facebook.com/JoeWoolfordMusic/
• https://www.instagram.com/joeewoolford/?hl=en

___________________________________________________

Lyrics:

I fell by the wayside like everyone else
和其他人一樣 一切已無法挽回
I hate you, I hate you, I hate you
我對你恨之入骨
But I was just kidding myself
但終究只是自欺欺人罷了

Our every moment, I start to replace
我嘗試著修補我們的美好回憶
'Cause now that they're gone
此刻耳邊迴盪的
All I hear were the words that I needed to say
全是那些來不及說出口的話

When you hurt under the surface
當你受的傷難以用言語形容 已經深入內心
Like troubled water running cold
好似不斷流動的水 寒冷刺骨
Well, time can heal but this won't
時間可以癒合傷口 但這次已經無濟於事

So, before you go
所以 在你離開之前
Was there something I could've said
我是否可以說些話
To make your heart beat better?
來安撫你內心的創傷
If only I'd have known you had a storm to weather
如果我能早點知道 妳所承受的苦痛
So, before you go
所以 在你離開之前
Was there something I could've said
我是否可以做些什麼安撫你
To make it all stop hurting?
讓你感到好受些
It kills me how your mind could make you feels so worthless
你總是認為自己不值得你所得到的一切 這讓我心碎不已
So, before you go
在你離開之前

Was never the right time whenever you called
電話總來的不是時候
Went little by little by little until there was nothing at all
鈴聲一遍一遍的響 是我無視了所有求救
Our every moment, I start to replay
我們的每段回憶 開始在我腦海中重現
But all I can think about is seeing that look on your face
但唯一清晰的 卻是你的臉龐

When you hurt under the surface
當你受的傷難以用言語形容 已經深入內心
Like troubled water running cold
好似不斷流動的水 寒冷刺骨
Time can heal but this won't
時間可以癒合傷口 但這次已經無濟於事

So, before you go
所以 在你離開之前
Was there something I could've said
我是否可以說些話
To make your heart beat better?
來安撫你內心的創傷
If only I'd have known you had a storm to weather
如果我能早點知道 妳所承受的苦痛
So, before you go
所以 在你離開之前
Was there something I could've said
我是否可以做些什麼安撫你
To make it all stop hurting?
讓你感到好受些
It kills me how your mind could make you feels so worthless
你總是認為自己不值得你所得到的一切 這讓我心碎不已
So, before you go
在你離開之前


Would we be better off by now?
我們現在是否會更好一些
If I'd let my walls come down
如果我當時有伸出援手
Maybe I guess we'll never know
也許我們永遠都不會知道
You know, you know
對吧?

Before you go
在你離開之前
Was there something I could've said
我是否可以說些話
To make your heart beat better?
來安撫你內心的創傷
If only I'd have known you had a storm to weather
如果我能早點知道 妳所承受的苦痛

So, before you go
所以 在你離開之前
Was there something I could've said
我是否可以做些什麼安撫你
To make it all stop hurting?
讓你感到好受些
It kills me how your mind could make you feels so worthless
你總是認為自己不值得你所得到的一切 這讓我心碎不已
So, before you go
在你離開之前

#WeArchitects #Joewoolford #Beforeyougo #LewisCapaldi #house #輕電音

宇宙人《明天留給我》演唱會 @Zepp New Taipei

fly away! 2021/01/23 (六) 19:00
fly again! 2021/01/24 (日) 14:00 #加演場
fly to you! 2021/01/24 (日) 19:00

1/6 (三) 正式開賣
12:00｜加演場，開放原購票觀眾優先購買！
17:00｜全面開賣

購票去：https://tixcraft.com/activity/detail/21_cosmos

-
想要假期 但是依舊遙遙無期
想要打卡 卻不是打在打卡鐘

還有五天老子就放假了
那就躲進行李，陪我一起浪費生命

請你 明天留給我！

跨越苦悶換日線，宇宙人復古新潮再飛一波！
Fly away. Fly to you.

#宇宙人 #CosmosPeople #明天留給我
-

宇宙人 第一次登陸台北小巨蛋
《你的宇宙 YOUNIVERSE YOUSB》萬人現場全紀錄
2020.11.20 開始預購 / 2020.12.17 限量編號發行

〖INFO〗
記憶回溯載體：USB 3.0 (32GB)
記憶回溯時間：約187分鐘
記憶回溯加贈套件：數位航行寫真誌＋幕後紀實影片(約6分鐘)+2020宇宙貼紀念套組+你的宇宙人PHOTO CARD(一套四張)

〖 PRE ORDER 〗
相信音樂線上購物：https://bit.ly/32V4rDK
博客來：https://bit.ly/32XjRY4
五大唱片：https://bit.ly/3pKgwFg
誠品音樂：https://bit.ly/35GV9Nf
滾石購物網：https://bit.ly/390aw5t
佳佳唱片：https://bit.ly/3kL4w2U
PCHOME : https://24h.pchome.com.tw/books/prod/DNABCG-A900B09CD

-

〖Music〗
詞 Lyrics｜林忠諭 Cosmos J、張伍 Chang Wu
曲 Composer｜林忠諭 Cosmos J
製作人 Producer｜陳建良 Eric Chen、宇宙人 Cosmos People
配唱製作人 Vocal Producer｜林忠諭 Cosmos J
編曲 Arranger｜宇宙人 Cosmos People、唐承運 Cheng Yun Tang
打擊樂器 Percussions｜嘉富 Chia Fu
鋼鼓 Steel Drums｜嘉富 Chia Fu
和聲編寫 Backing Vocal Arrangement｜林忠諭 Cosmos J
和聲 Backing Vocal｜林忠諭 Cosmos J
和聲錄製 Backing Vocal Recording｜林忠諭 Cosmos J
錄音師 Recording Engineer｜黃君富 Frank Huang、柯弗奇 Evan Ko、宇宙人 Cosmos People
錄音室 Recording Studio｜相信音樂錄音室 B’in Music Studio、Wonder Studio Wonder Studio
混音工程師 Mixing Engineer｜北城浩志 Kitashiro Hiroshi @ HAKASE studio
母帶後期處理 Mastering Engineer｜北城浩志 Kitashiro Hiroshi @ HAKASE studio
特別感謝 Special Thanks｜宋秉勤 Sunkis

〖Film Crew〗
影像製作公司 Video Production Company｜沙⻄米 RawnFresh
導演 Director｜一盞 EthanYIJAN
副導演 Assistant Director｜林鈺瑄 EML
導演助理 Assistant to Director｜范振寗 J.FAN
專案 Project Manager｜馬瑞廷 Martin Ma
製片 Producer｜許雅淳 Sheyalips
執行製片 Line Producer｜蔡孟潔 Jessie Tsai、小婉 Winn Du
製片助理 Production Assistant｜蔡長庭 Tsai Chang Ting、游士弘 You Shih Hong、小寶 Bow Chang、蔡羽容 Tsai Yu Rung
美術 Art Designer｜許雅淳 Sheyalips
執行美術 Set Decorator｜蔡孟潔 Jessie Tsai、小婉 Winn Du
美術助理 Art Assistant｜沁沁 Chin Fu
攝影師 DoP｜莊竣瑋 Kevin Chuang
跟焦師 Focus Puller｜余書豪 Fishbook
攝影助理 Assistant Camera｜林哲佑 LIN ZHE YOU、戴育祺 DAI YU QI
平面側拍師 Still Photographer｜周浩詠 Chou Hao Yung
燈光師 Gaffer｜曾鈺展 Zeng Yu Chan
燈光助理 Best Boy｜林余璠 YuFayme、朱家葆 BryanChu、曾皓 Andrew Tseng、吳睿宇 Wu Jui Yu
剪接 Editor｜一盞 EthanYIJAN
調光 Colorist｜一盞 EthanYIJAN
特效 VFX｜林鈺瑄 EML
設計 Graphic Design｜林鈺瑄 EML、范振寗 J.FAN、小婉 Winn Du
宇宙人 化妝 CosmosPeople’s Make up｜杜佳蓉 @小畫佳工作室 Cynthia Du
宇宙人 髮型 CosmosPeople’s Hair｜ | 蔡百謹 Jun Tsai
宇宙人 造型 CosmosPeople’s Artist Styling｜林欣潔 Tiffany Lin
服裝協力 Necessity Sense｜Boss
辣秘書 髮型 Secretary’s Hair｜魚花 Yu Hua Liu
演員 妝髮 Actor Make up & Hair｜魚花 Yu Hua Liu、詹于慧 Erica
演員 妝髮助理 Actor Make up & Hair Assistant｜廖健勛 Liao Chien Hsun
同事 造型 Actor Styling (Colleagues)｜狗狗 Dogee
女模&地勤員&貨運員&警衛 造型 Actor Styling｜楊佩樺 Elly Yang
女模&地勤員&貨運員&警衛 造型助理 Actor Styling Assistant｜王彥淳 Rex Wang
服裝管理 Wardrobe｜陶永翔 Rex Tao

〖Starring〗
被開除的員工 The Employee that got fired｜小玉 Cosmos J
冷血大老闆 The Stone Cold Boss｜方Q Cosmos Q
優秀職員 The Awesome Co-worker｜阿奎 Cosmos K

演員 Actor
小玉的夢想情人 The Dream Lover｜Ana
辣秘書 The Secretary｜傅昱 CORAL
同事 Colleagues｜蕭忠文 Sterling Hsiao、李維 Josh、吳真 Ruby、李淑芳 Rose Water、黃允劭 Huang YunShao
警衛 Security Guard｜吳秉華 Wu Bing Hua
緝毒犬 Detection Dog｜Chef

行李箱贊助 Suitcase Sponsor ｜Georg Jensen Travel 喬治傑生旅行精品
官方網站 請搜尋🔍 Georg Jensen Travel
官方 FACEBOOK 請搜尋🔍 Journey X
官方 INSTAGRAM 請搜尋🔍 journey_of_infinity

特別感謝 Special Thanks｜歐華酒店 The Riviera Hotel、久號|永壽文教基金會 ninenine、Vivienne、黃崑 祐 Jason Huang、傅家元、池宗翰 Tony Chih

額溫槍大軍｜盛子柔 Zoe Sheng、阿棟 Lobby Tsai、度品彙 Yabe、A White Room Studio、烏龜 烏龜 古着 商行 turtleturtlevintage、黃詩婷、許元哲、黃是豪、陳正洋 YangYang、鏡頭銀行


‥‥訂閱・相信‥‥‥‥‥‥‥‥
▶ 訂閱相信音樂YouTube官方頻道
– MV首播、新歌搶先聽、獨家花絮
http://bit.ly/YTBinMusic

按讚相信音樂官方FB Like on Facebook
– 官方訊息公佈、即時照片
https://www.facebook.com/ibinmusic

➩ 宇宙人OFFICIAL ➩
★ YouTube：https://www.youtube.com/user/cosmospeoplevideo
★ facebook：http://www.facebook.com/cosmospeople
★ instagram：https://www.instagram.com/cosmospeople_official/
★ Weibo：https://www.weibo.com/cosmospeople
★ iTunes：http://goo.gl/OtBHZv
★ Spotify：http://goo.gl/RtTFlM
★ KKBOX：http://goo.gl/jLO2x6
★ friDay音樂：http://goo.gl/PiAO2s
★ MyMusic：http://goo.gl/vt0VUc