豬扒包 凍檸茶~
世界進擊首站:香港,滅火器來了!
(聽說早鳥票完售了!!!)
暌違五年我們要再次前進香港~
期待跟香港的朋友相見(雖然一直想到吃的.....)
--
2017 滅火器 世界進擊- Hong Kong 香港站
日期:2017年5月13日(六)
時間:晚上8:15
地點:西灣河蒲吧
地址:香港西灣河聖十字徑2號
演出:滅火器 Fire EX.、小紅帽 Silhungmo
票價(全場企位):
HK$200(早鳥,限時限量,售完即止!)**
HK$280(預售)
HK$320(即場)
※早鳥門票只在 thepointofsale.hk 發售,限時限量,售完即止!
※預售門票在觸STUDIO 好景店、節奏生活 各分店、Drummer’s Ark、thepointofsale.hk有售,https://thepointofsale.hk/tickets/fireex
#世界進擊
#香港
#進擊下半場
🚨🚨🚨滅火器 Begin The Second half 巡迴演唱會 - 香港站🚨🚨🚨
來自台南高雄,台灣最具代表性的龐克樂團 滅火器 Fire EX.
成立於2000年,滅火器以龐克搖滾為基調,歌詞真實的反應時代與生活,貼近大眾,引發許多共鳴,傳唱度極高"晚安台灣","海上的人",島嶼天光"等歌曲,讓滅火器成為這個時代的代表性樂團,更獲得台灣人民樂團的名號。
近年來除了每年不同主題的Live house tour 與國內外各大音樂季之外,滅火器更從2013年開始舉辦年度大型的專場演唱會,並與來自日本的"MONOEYES"共籌辦Far east union 台日韓三國巡迴,通過音樂的凝聚,串起亞洲的文化交流。
從一兩百人的Live House 唱起,沒有主流媒體的包裝,憑着誠懇直率的演出一步一步唱遍全台灣,甚至向世界邁進。
2015年滅火器已太陽花學運主題曲"島嶼天光"拿下台灣指標性音樂奬項[金曲奬最佳年度歌曲]
2016年滅火器於日本發行專輯,並與細美武士,磯部正文等傳奇音樂人共同創作,迅速的在日本累積人氣,再度登上日本最大音樂季 Summer Sonic。
隔年發行專輯"REBORN",舉辦了專輯巡迴共15場,門票皆迅速售罄。
[2016 On Fire Day] 成為台灣史上第一場在棒球場舉辦的演唱會,一萬張的票房,更創下了台灣獨立音樂史上的最高紀錄。
立下里程碑後,滅火器繼續前進,於2017年發行成軍十七年來的首張"新歌+精選輯" 並籌備年度世界巡迴,當然不少得香港站!
滅火器將空降蒲吧, 為樂迷送上熱血及煽動性的演出!
日期: 2017年5月13日 (星期六)
時間: 晚上8:15
地點: 西灣河蒲吧
地址: 香港西灣河聖十字徑2號
暖場嘉賓: 小紅帽 Silhungmo
票價 (全場企位):
$200 (早鳥,限時限量,售完即止!)**
$280 (預售)
$320 (即場)
**早鳥門票只在 thepointofsale.hk 發售,限時限量,售完即止!
預售門票將於4月16日中午12時起在觸STUDIO 好景店, 節奏生活 各分店 , Drummer’s Ark及 thepointofsale.hk有售,
或於本專頁上"Buy Tickets"購買 (https://thepointofsale.hk/tickets/fireex)
==================
Fire EX., iconic Punk Rock band from Kaohsiung, Taiwan, was formed in 2000. Their songs are full of enthusiasm and dreams. The band is well known for political activism and their lyrics reflect the current society. Popular tracks such as ‘Good Night! Formosa!’, ‘A Man on the Sea’, and ‘Island’s Sunrise’ made Fire EX. the representative Punk Rock band of the modern times, which they also earned the name of ‘Band of the Taiwanese folks’.
Apart than participating in various tours and major domestic and international music festivals, Fire EX. puts up concerts annually since 2013. The band toured with MONOEYES, a Japanese Punk Rock band for the Far East Union Tour, spanning Taiwan, Japan and Korea, promoting cultural exchange within Asia through the uniting effects of music.
The band started performing at live houses with around one to two hundred people in the audience, with no mainstream media attention and gaudy performance attires, Fire EX. worked their way up, towards the success they have today among Taiwan. Next, they are moving on to take on the world.
In 2015, Fire EX.’s ‘Island’s Sunrise’ was chosen as the theme song for the Sunflower Movement, bagging the much-coveted ‘Golden Melody Awards – Best Song of the Year’ award.
In 2016, Fire EX. released their album in Japan. They collaborated with legendary musicians such as Takeshi Hosomi and Masafumi Isobe, and quickly increased their fame and popularity in Japan. In the same year, they once again performed in Summer Sonic, largest music festival in Japan.
Next year, they released their album ‘REBORN’, and put up a total of 15 domestic tours. Tickets sold out fast, which Fire EX.decided to put up a outdoor concert ‘2016 On Fire Day’ at a baseball arena that holds ten thousand people. All tickets were sold, which they made a successful history that no other independent music bands have ever done before and created a whole new chapter. After achieving this significant milestone, Fire EX. has decided to move forward. After being around for 17 years, they are going to release their first ‘new songs + best collection album’. At the same time, they are getting ready for their annual world tour. Stay tuned for their tour in Hong Kong!
Date: 13 May 2017 (Saturday)
Time: 20:15
Venue: The Hangout Sai Wan Ho
Address: 2 Holy Cross Path, Sai Wan Ho, Hong Kong
Opening Act: Silhungmo
Ticket (All Standing):
$200 (Early Bird, Available while Tickets last!)**
$280 (Advance)
$320 (Door)
**Early Bird tickets only available at thepointofsale.hk (Internet Ticketing). Available while Tickets last!
Advance Tickets available from 12:00pm on 16 April at Zuk Studio Ho King Branch, My Rhythm Journey and Drummer’s Ark, thepointofsale.hk or "Buy Tickets" button on our Facebook page. (Link: https://thepointofsale.hk/tickets/fireex)
同時也有1部Youtube影片,追蹤數超過9萬的網紅Hak Me,也在其Youtube影片中提到,Hope you enjoy this #vlogmas2017 so far. For December, I am uploading videos every single day, so if you are interested, please subscribe and come ba...
golden songs collection 在 Handerson_yau Photography Facebook 的最佳貼文
滅火器 Fire EX. 將空降蒲吧, 為樂迷送上熱血及煽動性的演出!香港朋友敬請期待!
日期: 2017年5月13日 (星期六)
時間: 晚上8:15
地點: 西灣河蒲吧
地址: 香港西灣河聖十字徑2號
暖場嘉賓: 小紅帽 Silhungmo
票價 (全場企位):
$200 (早鳥,限時限量,售完即止!)**
$280 (預售)
$320 (即場)
🚨🚨🚨滅火器 Begin The Second half 巡迴演唱會 - 香港站🚨🚨🚨
來自台南高雄,台灣最具代表性的龐克樂團 滅火器 Fire EX.
成立於2000年,滅火器以龐克搖滾為基調,歌詞真實的反應時代與生活,貼近大眾,引發許多共鳴,傳唱度極高"晚安台灣","海上的人",島嶼天光"等歌曲,讓滅火器成為這個時代的代表性樂團,更獲得台灣人民樂團的名號。
近年來除了每年不同主題的Live house tour 與國內外各大音樂季之外,滅火器更從2013年開始舉辦年度大型的專場演唱會,並與來自日本的"MONOEYES"共籌辦Far east union 台日韓三國巡迴,通過音樂的凝聚,串起亞洲的文化交流。
從一兩百人的Live House 唱起,沒有主流媒體的包裝,憑着誠懇直率的演出一步一步唱遍全台灣,甚至向世界邁進。
2015年滅火器已太陽花學運主題曲"島嶼天光"拿下台灣指標性音樂奬項[金曲奬最佳年度歌曲]
2016年滅火器於日本發行專輯,並與細美武士,磯部正文等傳奇音樂人共同創作,迅速的在日本累積人氣,再度登上日本最大音樂季 Summer Sonic。
隔年發行專輯"REBORN",舉辦了專輯巡迴共15場,門票皆迅速售罄。
[2016 On Fire Day] 成為台灣史上第一場在棒球場舉辦的演唱會,一萬張的票房,更創下了台灣獨立音樂史上的最高紀錄。
立下里程碑後,滅火器繼續前進,於2017年發行成軍十七年來的首張"新歌+精選輯" 並籌備年度世界巡迴,當然不少得香港站!
滅火器將空降蒲吧, 為樂迷送上熱血及煽動性的演出!
日期: 2017年5月13日 (星期六)
時間: 晚上8:15
地點: 西灣河蒲吧
地址: 香港西灣河聖十字徑2號
暖場嘉賓: 小紅帽 Silhungmo
票價 (全場企位):
$200 (早鳥,限時限量,售完即止!)**
$280 (預售)
$320 (即場)
**早鳥門票只在 thepointofsale.hk 發售,限時限量,售完即止!
預售門票將於4月16日中午12時起在觸STUDIO 好景店, 節奏生活 各分店 , Drummer’s Ark及 thepointofsale.hk有售,
或於本專頁上"Buy Tickets"購買 (https://thepointofsale.hk/tickets/fireex)
==================
Fire EX., iconic Punk Rock band from Kaohsiung, Taiwan, was formed in 2000. Their songs are full of enthusiasm and dreams. The band is well known for political activism and their lyrics reflect the current society. Popular tracks such as ‘Good Night! Formosa!’, ‘A Man on the Sea’, and ‘Island’s Sunrise’ made Fire EX. the representative Punk Rock band of the modern times, which they also earned the name of ‘Band of the Taiwanese folks’.
Apart than participating in various tours and major domestic and international music festivals, Fire EX. puts up concerts annually since 2013. The band toured with MONOEYES, a Japanese Punk Rock band for the Far East Union Tour, spanning Taiwan, Japan and Korea, promoting cultural exchange within Asia through the uniting effects of music.
The band started performing at live houses with around one to two hundred people in the audience, with no mainstream media attention and gaudy performance attires, Fire EX. worked their way up, towards the success they have today among Taiwan. Next, they are moving on to take on the world.
In 2015, Fire EX.’s ‘Island’s Sunrise’ was chosen as the theme song for the Sunflower Movement, bagging the much-coveted ‘Golden Melody Awards – Best Song of the Year’ award.
In 2016, Fire EX. released their album in Japan. They collaborated with legendary musicians such as Takeshi Hosomi and Masafumi Isobe, and quickly increased their fame and popularity in Japan. In the same year, they once again performed in Summer Sonic, largest music festival in Japan.
Next year, they released their album ‘REBORN’, and put up a total of 15 domestic tours. Tickets sold out fast, which Fire EX.decided to put up a outdoor concert ‘2016 On Fire Day’ at a baseball arena that holds ten thousand people. All tickets were sold, which they made a successful history that no other independent music bands have ever done before and created a whole new chapter. After achieving this significant milestone, Fire EX. has decided to move forward. After being around for 17 years, they are going to release their first ‘new songs + best collection album’. At the same time, they are getting ready for their annual world tour. Stay tuned for their tour in Hong Kong!
Date: 13 May 2017 (Saturday)
Time: 20:15
Venue: The Hangout Sai Wan Ho
Address: 2 Holy Cross Path, Sai Wan Ho, Hong Kong
Opening Act: Silhungmo
Ticket (All Standing):
$200 (Early Bird, Available while Tickets last!)**
$280 (Advance)
$320 (Door)
**Early Bird tickets only available at thepointofsale.hk (Internet Ticketing). Available while Tickets last!
Advance Tickets available from 12:00pm on 16 April at Zuk Studio Ho King Branch, My Rhythm Journey and Drummer’s Ark, thepointofsale.hk or "Buy Tickets" button on our Facebook page. (Link: https://thepointofsale.hk/tickets/fireex)
golden songs collection 在 YOSHITOMO NARA Facebook 的最讚貼文
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….
golden songs collection 在 Hak Me Youtube 的最佳貼文
Hope you enjoy this #vlogmas2017 so far. For December, I am uploading videos every single day, so if you are interested, please subscribe and come back for more!
Songs mentioned:-
The Greatest Showman Soundtrack
^This is Me
^A Million Dreams
It’s My Life by Bon Jovi
Hymn by Kesha
Praying by Kesha
Learn to Let Go by Kesha
Masterpiece by Jessie J
Roar by Katy Perry
Born This Way by Lady Gaga
Million Reasons by Lady Gaga
Angel Down by Lady Gaga
Griogio Girls by Lady Gaga
What Am I Wearing:-
Foundation: Sampure Loose Mineral Foundation
Blush: Chanel Powder Blush in Golden Sun
Top: Zara
Accessories: Apple Watch + Dinh Van Bracelet + Cartier Love Bracelet SM (Blog: http://tinyurl.com/mgs7o2c) + DPT Endless Diamonds Bracelet (Link: http://bit.ly/2BQz11h) + Missoma Dendritic Chalcedony Mini Shield Necklace (Link: http://tinyurl.com/yba68pjg)
♡黑咪店地址: http://www.hakmebeauty.com/store-locations
♡黑咪店Online: http://www.hakmebeauty.com/shop
♡黑咪店Instagram: @hakmebeauty
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Where To Find Me:-
♥ Blog: www.hakmebeauty.com
♥ Facebook: www.facebook.com/hakmebeauty
♥ Instagram: @iamhakme
♥ Snapchat: iamhakme
♥ Shop My Collection at Carousell: @iamhakme
♥ Twitter: twitter.com/iamhakme
♥ Weibo: www.weibo.com/iamhakme
Disclaimer: This video is created and edited by me. All the content are my own thoughts. As always, all opinions are based on my experience and honest. Products are either purchased by me or for those which are sent by PR are marked with an “*”. For any collaboration with brands which involves monetary payment, “#Ad” will be in the title of the video so that you are aware of the collaboration. Some of the links used above might be affiliate links and please be aware that I will earn a % of commission if you decide to buy through the affiliate links.