關於 law icon ，我們在網路上蒐集到這些相關的討論、資訊與評價

When Ruth Bader Ginsburg enrolled at Harvard Law School in the fall of 1956, she was one of only nine women in a class of about 500 men. She, along with all the other 8 female students was reportedly asked by the Dean of Harvard Law at the time to explain, “Why are you at Harvard Law School, taking the place of a man?"

This incredible woman went on to become an icon for women’s rights and a fierce advocate against gender discrimination until her last breath. Thank you for blazing the way for the rest of us to follow in your footsteps. You will continue to inspire generations to come.

“Fight for the things you care about, but do it in a way that will lead others to join you. “ - RBG 👑

#rip #ruthbaderginsburg #notoriousrbg #daylightillustrations

Farewell. Ida – Ida Haendel 192?-2020

So Ida has left us – a legend has departed. What a violinist! What a woman! Magnificent, unique, incorrigible – she was a law unto herself.

First, the playing: a film about her was aptly entitled: ‘I AM the Violin.’ And she was! The violin was her life; she mastered it, devoted so much of her existence to it, cared so much about it. Every performance was an event, which she took absolutely seriously, giving each concert her all. She spoke through her violin, proved herself through it, lived within the music she made. She was a marvel, an icon; each note she played was the result of total conviction – and as a consequence was totally convincing. She had been groomed from the beginning to be a star – and a star she was.

But she was also an adorable person. I had heard of her, of course, from my childhood onwards – hadn’t everybody? But I didn’t meet her until - I think - 2000, when I attended a memorable recital she gave at the Wigmore Hall (apparently her debut there!), concluding with a magisterial performance of Enescu’s 3rd sonata. I’d heard, to my delight, that she’d heard me somewhere, and had liked it, so I dared to go backstage afterwards. Having enthused about her playing, I rather uncertainly told her that I was Steven. She looked at me disbelievingly. ‘You’re NOT’ she announced, in her wonderful deep voice. I assured her that I certainly had been last time I looked in the mirror. She accepted this, and proposed that we play the Brahms Double together. It was such an honour; but alas, I just couldn’t do the dates she suggested.

I came across her shortly thereafter, however, at the Verbier Festival. I’d seen that she was giving masterclasses there, so when I saw her, I asked how they were going. She looked at me severely. ‘Steven,’ she boomed, wagging her finger. ‘I don’t teach.’ I was puzzled; she was, after all, advertised as the teacher of the violin class. ‘So you like teaching?’ I said, provoking her. The finger wagged again. ‘Steven,’ she repeated with equal seriousness, ‘I don’t teach.’ ‘So how’s the teaching going?’ I asked. Her finger was on its way in my direction, and she’d started to say my name in the same tone of voice – when suddenly her face broke into a big smile. ‘Oh – so you’re a tease,’ she said. After that, we got on famously. My other main memory of that Verbier encounter was of her examining something – I couldn’t see what - in the hotel lobby, and then calling me over. It turned out that the object in her hands was an album of recent photos of her. ‘Look, Steven,’ she commanded urgently. ‘Don’t I look gorgeous?’

Later, we took her to dinner near her flat in London. Tottering through the streets in her high heels, she suddenly came to a stop in front of a (closed) clothes shop, where either a pair of gold shoes or a gold dress (I can’t remember which) had caught her eye. It was impossible to budge her, late though we were for the restaurant. ‘Wouldn’t I look wonderful in that?’ she asked us challengingly. We agreed that she would. ‘I’m coming back here tomorrow morning,’ she assured us. She spoke that night about her appearance. ‘You think I dress like this just to go out?’ she asked. ‘No! Catch me at breakfast – I’ll look just the same.’ Her pride in her appearance was never-changing. Perhaps in someone else it could have been too much – but with Ida, it was wonderful, admirable; life-affirming, in fact, like her pride in her playing.

It is funny that already I’ve seen two obituaries giving her age five years apart. She’d certainly have preferred the younger estimate… It was impossible to get the truth out of her. I remember asking another glorious violinist-character, Lorand Fenyves, whether he knew Ida. ‘Oh yes, of course!’ he replied. ‘I knew her when I was 16 and she was 15.’ He paused. ‘And now I’m 80 and’ his eyes twinkled, ‘she’s 55!’

Although we never got to play the Brahms Double together, we did perform the Beethoven Triple concerto with Martha Argerich and the Rotterdam Philharmonic under the then little-known Yannick Nezet-Seguin in (I think) 2006. Now THAT was an experience – to put it rather mildly… Playing with those two way-larger-than-life ladies was something not to be forgotten; the two adored each other, and it was great fun to witness their interaction. Ida had only played the piece once before, as I remember; but she played it with utter conviction. And Martha was – well, Martha. And Yannick kept the whole thing together, somehow. So – it was special…

It was supposed to happen again, in Miami (where Ida lived); but alas, it didn’t. Still, I kept in touch with Ida and on one memorable occasion got to interview her at the Wigmore Hall (there’s a recording of that occasion on Youtube). She also came down to Prussia Cove once for three days, her visit culminating in a breathtaking account of the Bach Chaconne (she sported an almost equally breathtaking dress to match!) at the Hall for Cornwall. We also played and taught/didn’t teach together in 2010 at the Summit Music Festival, just outside New York. That was another unforgettable experience. At the concert that concluded the festival, Ida played virtuoso pieces with the orchestra that would have been impressive in someone thirty years younger – even younger – than she was. But equally Ida-ish was the post-concert experience. For some reason, it got very late, and it was well after midnight when we were taken in search of food. Not surprisingly, there were few options in the countryside at that time of night; but eventually we found a 24-hour diner. We went in and occupied a table. Looking around at the bikers and other rather unpredictable-looking types, I was a tad nervous; not Ida. I fortified myself with a margarita; she had tea. At one point, the conversation turned to Schumann, and his 2nd violin sonata (which at that time I didn’t know very well). I asked a question about it. ‘You want to hear how it goes?’ Ida demanded to know. She strode over to her violin-case, pulled out the violin, and to the astonishment (and then, luckily the delight) of the assembled company, began to play it. A photo taken at the time (below) shows me a little less than comfortable – and her absolutely in her element.

Oh, Ida. By the last time I spoke to her – too long ago, but not that long ago – I’d heard that she’d become very forgetful, so wasn’t quite sure whether to call her or not. But I dialled anyway, and the phone was answered. ‘Hello, Ida?” ‘Who is it?’ ‘It’s Steven – Steven Isserlis.” Silence – then the phone went dead. Oh dear. I tried again. This time I was able to hold her attention long enough to remind her who I was. We started to talk, and as the conversation progressed, she evidently remembered more and more about our friendship. It was true that she repeated herself a lot; but still – she was very much Ida, the same wonderful voice, the same love of life.

And now she’s gone. Farewell, Ida the legend; we humanoids will miss you – but thank you, thank you for giving us so much. Everything, in fact.

📌📍《5月35日》「庚子版」 眾籌活動
集結力量 網上演出 六四前夕 全球直播
"May 35th" Gengzi Edition - Crowd Funding
Join Forces for Global Live Online Performance on the night before June 4th.

🔇🔇「以現在的社會狀況，我們的政治氣候，我擔心這個戲未必有機會再上演﹗」導演陳曙曦說。
🔊🔊"With the forecast of the political climate now, I am very worried that this play will not be any chance to put on stage again" said Chan Chu-hei, the director.

🚨🕯️我們希望集結公民力量，
令全球所有人都可以在「六四」免費網上觀賞《5月35日》，
讓這個故事遍地開花，
讓更多人了解真相、追求公義。
🚨🕯️We target to join the force of citizen
to let us share this Online LIVE theatre production
“May 35th”globally, make this story worldwide,
and let the truth speak for itself, justice be sought after.

‼️➡️眾籌支持方法 Way of Crowdfunding：

1) 請即登入網上平台：https://goget.fund/2Wz5kO9
（暫不能用PayPal 戶口，請用"Visa/ Master" 捐款
Please DO NOT use PayPal Account, but click the icon "Visa / Master")

2) 支票捐款- 抬頭寫「六四舞台」，郵寄到
九龍旺角彌敦道618號好望角大廈8字樓（六四舞台）
By Cheque - Please make the cheque payable to "Stage 64", and mail to 8/F, Good Hope Building, 618 Nathan Road, KLN. (Stage 64)

************************************************
2019年六月，是「六四」的三十周年，六四舞台邀請了著名編劇莊梅岩創作《5月35日》。首演5場及加開的6場門票均全部售罄，一致好評，更獲本屆舞台劇獎六大提名，包括最佳劇本！經歷了大半年的社會運動，面對過暴政與暴力，「六四」對香港人多了另一重意義，在謊言與假新聞氾濫的社會，《5月35日》為悼念亦為警世！

🧐🧐為了蒐集資料，編劇莊梅岩曾到訪內地訪問當年「難屬」，亦因此被神秘人「探訪」和「關注」，令她質疑香港的創作自由可能已經岌岌可危。

🤐🤐眼下的暴政和警暴，「廿三條立法」如箭在弦，六四舞台在香港再有生存的空間嗎？

🤬🤬當網絡上充斥假新聞，官方又不斷篡改歷史事件，究竟「六四屠城」和「反送中運動」在不久的將來會變成什麼樣的故事呢？

我們不知道答案，但只要有機會，我們仍然要演下去﹗因此當社會運動仍在激烈抗爭之際，六四舞台就馬上籌組了《5月35日》（庚子版）。

📆根據中國歷法，2020年是庚子年；翻開中國歷史，庚子年往往是浩劫之年。香港經歷多個月的社會運動，「六四」對步入庚子年的香港人有何意義？六四舞台今年誠邀著名導演陳曙曦，連同全新班底，重新創作《5月35日》 的「庚子版」。

😷😷鑑於疫情持續，政府下令關閉全港劇院，令原訂5月在香港藝術中心的舞台演出被迫取消，劇團為堅守信念，破天荒決定把這個震撼人心的六四故事以網上直播形式，於2020年六四前夕向全球人士同步免費播放（粵語演出，附中英文字幕），並於6月4日全日24小時在網上分享。其錄像版本亦將會製作成電影影片，把演出搬上大銀幕，讓更多人了解真相、追求公義。🖐️🖐️🖐️🖐️🖐️

June 2019 marked the 30th anniversary of the “June Fourth Incident”. Local art group Stage 64 joined hands with renowned playwright Candace Chong Mui-ngam to create May 35th. The first 5 premieres as well as the 6 additional shows were all sold out with great acclaims, followed by 6 nominations in the subsequent Hong Kong Drama Awards, including Best Script!

The social movement in the past 6 months has made Hong Kongers no strangers to tyranny and brutality, and has transcended the meaning of "June Fourth" within us. Especially when we are living in a world full of lies and fake news, the play "May 35th" is for mourning and also a warning!

🧐🧐Candance Chong Mui-ngam has visited the Mainland for screenplay research. There she met up with some interviewees, whose family members were June Fourth Massacre victims. It turned out some mysterious figures paid her a "visit" in return with "unexpected concern". She couldn't help but worrying: Is the creative freedom deprived even in Hong Kong?

🤐🤐Witnessing the escalating brutality against protestors, the eagerness of enacting Basic Law Article 23, how much longer can a play like "May 35th" be staged in Hong Kong?

🤬🤬Worse still are the tremendous fake news on the Internet and the tampering with history. Can you imagine how "June Fourth Incident" and "Anti-Extradition Bill Protest" will be interpreted in the near future?

We have no clue, but! As long as we have this opportunity to express, we will go on. Even when the protest across the city was still intense, Stage 64 started to plan for another "May 35th" , the Gengzi Edition.

📆In the Lunar calender, 2020 is called the year of the Gengzi. Historically speaking, the year of the Gengzi were always catastrophic. After months of social unrest, Stage 64 invited prominent director Chan Chu-hei, to re-create "May 35th" into Gengzi Edition with new cast and crew.

😷😷Then comes the Coronavirus pandemic and the compulsory closure of theatres by the Government. That left us no choice but to cancel the "May 35th" performance, which was originally scheduled to stage at Arts Centre in May. But what if we adhere to our beliefs? Here comes the bold decision-\-\to live stream this astonishing show, globally and for free on the night before June 4th, 2020 (Presented in Cantonese, with Chinese and English subtitles). The live version will then be shared online throughout the day on June 4th. What’s more? The performance will be filmed separately and released in cinemas. Let the truth speak for itself, justice be sought after. 🖐️🖐️🖐️🖐️✋

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

💰籌款目標💰
35萬，但50萬能讓我們做得更多
Crowding Funding Goal
HK$350,000, but we can go further if we get HK$500,000.

🆘製作一齣舞台劇的基本成本相當高，一般要靠數千張數百元的門票收入才能維持收支平衡。在疫情下失去劇院，沒有門票收入，加上題材敏感，《5月35日》要獲得商業贊助機會是「零」。因此，我們只能靠公民發揮力量，解囊相助，協助我們把舞台劇作全球網上直播及製成影片，把故事帶到更遠。

🆘A stage production costs a lot. Generally we need to sell several thousands of tickets to break-even. Considering the circumstances of coronavirus pandemic, we can no longer perform in theatres and therefore no income from box office. In addition, due to the sensitivity of the theme / topic, in spite of our best endeavours, it is impossible for May 35th (Gengzi Edition) to receive any commercial sponsorship. What we need now is everyone exert their power and generosity, elevating May 35th (Gengzi Edition) to online streaming platform and even to cinemas, bringing the story to the rest of the world.

#JANGReacts
The different regal style of #SitiNurhaliza
just wow! She released the music video of #SiapaTakMahu
Watch it here https://www.youtube.com/watch?v=WNLEg_hfD-4

NASSER MUSIC under CURVE ENTERTAINMENT
Now available on Spotify, Apple Music, Deezer, Amazon Music

DON' T FORGET TO ENJOY WHILE WATCHING.
HIT LIKE and don't forget to SUBSCRIBE! KUDOS!

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God bless everyone!

【让那些不安的涟漪 平静成与自己和好的旋律】

在无法停下来的忙碌步伐中，全世界忽然拥有了暂停的空间。
然而换来的，却不是平静，而是不安。
也许，我们需要的不是停下来，而是与自己和好。

这些歌，有些会唤起你的回忆，有些会开始住进你的心扉。
他们不会占去你心里原来就拥挤的空间，反倒用一种洗涤心灵的平静，安抚着不安。
也许是因为生活里惯有节奏不一样了，也许是人与人的关系再也不相同。
平静的水面泛起的涟漪、沉在河里的泥泞忽然被翻起、飘在空中的浮云开始下雨，
仿佛打乱了我们的节奏，其实却在提醒着生命根源的原貌。

《河.云.泥》，用音乐最原始的原貌，声音最纯粹的样子，勾勒出我们心里需要的平静。
何芸妮用她的声音，与自己对话，
将她在生活里得到的领悟，再次用音乐提供安抚——唯有与自己和好，才能与世界相处。

——————————————————————————————————————

出品 Published By : Shekinah Production & Ka Wah Record Co Ltd
统筹 Executive Producer : Winnie 何芸妮 & Enor Chan

制作人 Music Producer : Winnie 何芸妮 & Billy Ong 王诗豪
制作协力 Production Coordinator : William Ang 洪稳定
录音师 Recording Engineer : Billy Ong王诗豪 @ Bosh Production Studio
: Ng Wei Keat 吴伟杰 @ Bosh Production Studio
: Alex Tan @ Star Mount Studio
录音师助理 Assistant Recording Engineer : Aaron Ho Kah Chun @ Star Mount Studio
混音师 Mixing Engineer : Billy Ong王诗豪 @ Bosh Production Studio
录音室 Recording Studio : Bosh Production Studio & Star Mount Studio
母带后期处理录音师 Mastering Engineer : Keith Yip 叶建华 @ Rock In Music
母带后期处理录音室 Mastering Studio : Rock In Studio

企宣统筹 Marketing & Promotion Director : Zoel Ng 伍玥莹 & William Ang 洪稳定
媒体宣传 Media & Promotion : More Entertainment 摩尔娱乐
平面摄影 Photographer : Eric Chow @ Blink Studio
美术总监 Art Director : Alvin Abram Tan
化妆 Makeup : Sharman Yee @ Plika Makeup
髮型 Hair Stylist ：Alvin Abram Tan / Ckay Liow (MV)
美术设计 Art Design : Agnes Foo
文案 Copywriting : 彪民
音乐录影带导演 Music Video Director : 《河云泥》Plastic 塑膠銹 @ULTRABLACK NEGATIVE 超黑映畫
音乐录影带服装提供 Music Video Wardrobe : Vaughn Tan @ Joo Chiat Place Singapore
MV場地配合 MV Venue ：一圓生命禮儀公司 Yi Yuan Life Care
艺人经纪 Artist Management : Shekinah Production

出版日期 Release Date : September 2020

Facebook (Prefer use icon): WinnieHO 何芸妮 change to monotone icon
Instagram (Prefer use icon): winniehomusic change to monotone icon

Distributed by
SHEKINAH PRODUCTION (MY)
Address: A-2-6, Pusat Perdagangan Pelangi, Persiaran Surian, PJU 6, 47800 Petaling Jaya, Selangor, Malaysia
KA WAH RECORD CO LTD. | WIN WIN SHOP (HK)
Address: 49 Tung Choi Street, Mongkok Kowloon, Hong Kong
Tel: (852) 2782 2848
WhatsApp: (852) 9448 6673
Fax: (852) 2782 3744
Email: winwinshop@yahoo.com

Manufacture & Printed in Hong Kong
WHO2020007MY
P&C Manufacture in HK P & C 2020 SHEKINAH PRODUCTION & KA WAH RECORD CO LTD. All Rights reserved, unauthorized duplication is a violation of applicable law
____________________________________________________________________________

1. 飘扬过海来看你 Cross the sea
2. 河云泥 HE YUN NI
3. 涟漪 Ripple
4. 原谅 Forgiven
5. 伤痕 Scar
6. 月半弯 Crescent Moon
7. 天冷就回来 If there are seasons
8. 至理名言 Bitter truths
9. 独一无二 Like no other
10. 当爱已成往事 Bygone Love

【让那些不安的涟漪 平静成与自己和好的旋律】

在无法停下来的忙碌步伐中，全世界忽然拥有了暂停的空间。
然而换来的，却不是平静，而是不安。
也许，我们需要的不是停下来，而是与自己和好。

这些歌，有些会唤起你的回忆，有些会开始住进你的心扉。
他们不会占去你心里原来就拥挤的空间，反倒用一种洗涤心灵的平静，安抚着不安。
也许是因为生活里惯有节奏不一样了，也许是人与人的关系再也不相同。
平静的水面泛起的涟漪、沉在河里的泥泞忽然被翻起、飘在空中的浮云开始下雨，
仿佛打乱了我们的节奏，其实却在提醒着生命根源的原貌。

《河.云.泥》，用音乐最原始的原貌，声音最纯粹的样子，勾勒出我们心里需要的平静。
何芸妮用她的声音，与自己对话，
将她在生活里得到的领悟，再次用音乐提供安抚——唯有与自己和好，才能与世界相处。

——————————————————————————————————————

出品 Published By : Shekinah Production & Ka Wah Record Co Ltd
统筹 Executive Producer : Winnie 何芸妮 & Enor Chan

制作人 Music Producer : Winnie 何芸妮 & Billy Ong 王诗豪
制作协力 Production Coordinator : William Ang 洪稳定
录音师 Recording Engineer : Billy Ong王诗豪 @ Bosh Production Studio
: Ng Wei Keat 吴伟杰 @ Bosh Production Studio
: Alex Tan @ Star Mount Studio
录音师助理 Assistant Recording Engineer : Aaron Ho Kah Chun @ Star Mount Studio
混音师 Mixing Engineer : Billy Ong王诗豪 @ Bosh Production Studio
录音室 Recording Studio : Bosh Production Studio & Star Mount Studio
母带后期处理录音师 Mastering Engineer : Keith Yip 叶建华 @ Rock In Music
母带后期处理录音室 Mastering Studio : Rock In Studio

企宣统筹 Marketing & Promotion Director : Zoel Ng 伍玥莹 & William Ang 洪稳定
媒体宣传 Media & Promotion : More Entertainment 摩尔娱乐
平面摄影 Photographer : Eric Chow @ Blink Studio
美术总监 Art Director : Alvin Abram Tan
化妆 Makeup : Sharman Yee @ Plika Makeup
髮型 Hair Stylist ：Alvin Abram Tan / Ckay Liow (MV)
美术设计 Art Design : Agnes Foo
文案 Copywriting : 彪民
音乐录影带导演 Music Video Director : 《河云泥》Plastic 塑膠銹 @ULTRABLACK NEGATIVE 超黑映畫
音乐录影带服装提供 Music Video Wardrobe : Vaughn Tan @ Joo Chiat Place Singapore
MV場地配合 MV Venue ：一圓生命禮儀公司 Yi Yuan Life Care
艺人经纪 Artist Management : Shekinah Production

出版日期 Release Date : September 2020

Facebook (Prefer use icon): WinnieHO 何芸妮 change to monotone icon
Instagram (Prefer use icon): winniehomusic change to monotone icon

Distributed by
SHEKINAH PRODUCTION (MY)
Address: A-2-6, Pusat Perdagangan Pelangi, Persiaran Surian, PJU 6, 47800 Petaling Jaya, Selangor, Malaysia
KA WAH RECORD CO LTD. | WIN WIN SHOP (HK)
Address: 49 Tung Choi Street, Mongkok Kowloon, Hong Kong
Tel: (852) 2782 2848
WhatsApp: (852) 9448 6673
Fax: (852) 2782 3744
Email: winwinshop@yahoo.com

Manufacture & Printed in Hong Kong
WHO2020007MY
P&C Manufacture in HK P & C 2020 SHEKINAH PRODUCTION & KA WAH RECORD CO LTD. All Rights reserved, unauthorized duplication is a violation of applicable law
____________________________________________________________________________

1. 飘扬过海来看你 Cross the sea
2. 河云泥 HE YUN NI
3. 涟漪 Ripple
4. 原谅 Forgiven
5. 伤痕 Scar
6. 月半弯 Crescent Moon
7. 天冷就回来 If there are seasons
8. 至理名言 Bitter truths
9. 独一无二 Like no other
10. 当爱已成往事 Bygone Love