關於 what is key visual ，我們在網路上蒐集到這些相關的討論、資訊與評價

🔎第一階段: 準備作品集、履歷​
🔺Part 2.景觀設計師準備作品集的5個小建議​
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求職的作品集最重要的，不是呈現你的設計有多偉大，而是展現你"可被雇用的"能力。簡言之"不是你想表現什麼，而是要從你的雇主"希望看到什麼"來安排。​
特別是應屆畢業生， 如果一個作品集裡，透過各種不同的設計案，展現你能操從大到小的尺度、規劃、設計到 細部大樣、符合英國法規與環境的景觀工程與植栽設計，甚至是環境影響評估報告。即使能呈現的環節深淺不一，但已顯示出你完整的景觀專業訓練。​
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1️⃣ ’’表達你的想法’’和’’圖面漂不漂亮’’一樣重要​
在各種酷炫的表現法之餘，身為景觀設計師你的想法是什麼?畢竟不是3D繪圖師或是平面設計師，追求圖面美的背後，景觀設計師的職責、企圖心在哪?案子的起源和故事發展你能用扼要的文字、有邏輯的圖面講清楚嗎?​
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2️⃣可以準備不只一份作品集​
有時候會因為投履歷的策略不同，而需要不同的作品集，像如果是需要海投公司，廣泛性的呈現各種尺度、技能的作品技能會比較吃香; 但如果是投特定領域的公司，作品都呼應某個領域就是很好的策略(他們會覺得你就是那個對的人)。​
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3️⃣作品順序有玄機​
最好吸引人的案子一定都放前面，在英國投履歷的話也可以把英國的案子放前面一點 ，或是由你自己想講的''故事''脈絡決定順序。​
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4️⃣分門別類，種類多​
除了案子的屬性分類外，若是學校作業，建議加上”academic work”，以和真實工作經 驗的案子有區隔。另外整份作品集裡要兼顧全面性，展現自己能操作的各種尺度、工 作階段和嫻熟的軟體與手繪技巧等。​
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5️⃣檔案大小、版面尺寸​
很多公司在徵才廣告上都會敘明作品集的檔案大小(常見為10-15mb)或頁數限制，用意也是希望大家''挑重點''放，不要''落落長''看完也沒有印象。​
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🔎 STAGE 1: Preparation of Portfolio, CV​

🔺Part 2​- 5 tips for preparing your design portfolio​
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The most crucial aspect that needs to be displayed in your portfolio isn’t about showing how great your design is, but to showcase your diverse range of skills and abilities to be employed. In short, your portfolio isn’t about what you want to show, but what your employer wants to see.

In particular, fresh graduates should demonstrate competency through exhibiting design projects that display a broad spectrum of skills and thinking such as: Scale (large to small), project stages (planning to detailed design), proficiency to design and plan in line with British regulations, environmental engineering, planting design and even environmental impact assessment reports. Even if the depths of each project presented is different, it should adequately show your good grasp on the landscape professional training you have had.

1️⃣ Content and Visual Aesthetics are equally important!

Apart from all forms of graphical expressions, what are your thoughts as a landscape architect? After all, landscape architects are neither 3D renderers nor graphic designers/illustrators. What are the responsibilities and ambitions of a landscape architect? Is it just about the diagram looking nice? Can the diagram and simple concise text explain your project’s context, ethos, purpose and storyline logically? Remember, every diagram and word has to earn its worth on the page.

2️⃣ Tailoring your Portfolio to suit different needs.

If your objective is to mass apply for a job, a portfolio that presents a wide range of work, depths, skillset would suit better. However, if you are applying for a specific company or a job with a specific skillset, tailoring your portfolio to respond to the needs of the employer would be a better strategy (They will think that you are the right person for the job)

3️⃣ Strategizing the display order of your works.

Organize the most attractive projects to the front of your portfolio. If you are applying a job in the UK, you can put projects that are based in the UK at the front OR you can organize the flow of the works according to the narrative you wish to express.

4️⃣ Diversify & categorize your portfolio.

Other than diversifying your selection of works, it is recommended that you tag school work as “academic work” to distinguish between professional practice and university work.
Also, your portfolio should be comprehensive and showcase the competency of your abilities such as proficiency in handling different project stages, software and sketching skills or even photography!

5️⃣ Portfolio’s File & Layout size

Most companies will state the maximum file size (commonly 10-15mb) or limit the number of pages of the portfolio. The intention is for applicants to objectively focus and effectively present key points that will allow your application to be memorable. Having a portfolio that is an archive of your work history will leave no impression.

Join the crew https://www.facebook.com/groups/2366734596727746/?ref=share

The Fifth Element(1997)
Director:Luc Besson
Cinematographer:Thierry Arbogast
2nd unit DOP:Nick Tebbet
Production Designer:Dan Weil
Key grip:Joe Celeste
Camera grip:Jean Pierre Mas
Stunt coordinator:Marc Boyle
Costume Designer:Jean-Paul Gaultier
Visual Effects supervisor:Mark Stetson
Creature Effects supervisor:Nick Dudman
Miniature Effects supervisor:Niels Nielsen
Visual Effects DOP:Bill Neil
Special Effects supervisor:Neil Corbould
Pyrotechnics supervisor:Thaine Morris

Luc Besson said he started writing the screenplay when he was 16, creating the vivid fantasy universes to combat the boredom he experienced living in rural France. But it didn't reach the screen until he was 38 years old; by that time, he felt he was old enough to actually have something to say about life.

According to costume designer Jean Paul Gaultier, the enfant terrible of the fashion world who once gave Madonna conical breasts, designed the futuristic costumes for The Fifth Element—more than 1000 of them. He didn't just design them, either For crowd scenes, where there might be hundreds of extras wearing his costume designs, he'd go around making adjustments to ensure everyone looked right before the cameras rolled.

According to Gaultier, Besson had lined up Mel Gibson, Julia Roberts, and Prince to play the leads in 1992, before financial problems delayed the project. (It's not clear whether any of them had officially signed on or were merely considering it.) Besson arranged for Gaultier to meet with Prince when the singer was in Paris so he could show him sketches of his designs. The meeting proved awkward (as one assumes many meetings with Prince are), and The Purple One later told Besson that he found the costumes "a bit too effeminate." It's entirely possible that the production delays would have prevented Prince from committing anyway, but it's fun to think about what Ruby Rhod would have been like in different hands. Gaultier had also unwittingly offended Prince with his description of one proposed outfit, a mesh suit with a padded, fringe-bedecked rear. Gaultier kept referring to this part of the suit as a "faux cul" ("fake ass"), but because of his thick accent, he said Prince misheard him as saying, "F-\-\- you!" Tucker has said he took inspiration from both Prince and Michael Jackson in crafting his performance as Ruby Rhod.

When filming began, the production decided to dye Milla Jovovich's hair from its natural brown color to her character's signature orange color. However, due to the fact that her hair had to be re-dyed regularly to maintain the bright color, Milla's hair quickly became too damaged and broken to withstand the dye. Eventually a wig was created to match the color and style of Leeloo's hair, and was used for the remainder of the production.

Luc Besson, an admitted comic book fan, had two famous French comic book artists in mind for this movie's visual style when he started writing the movie in high school, Jean Giraud (Moebius) and Jean-Claude Mézières. Both artists have long-standing comic book series in France. Moebius is best known for "Blueberry" and the (French) Magazine and (U.S.) movie Heavy Metal (1981). Mézières is best known for the "Valerian" series. Both series are still in production today. Moebius and Mezieres, who attended art school together but had never collaborated on a project until this movie, started renderings for this movie in the early 1990s and are responsible for the majority of the overall look of the movie, including the vehicles, spacecrafts, buildings, human characters, and aliens. However, only Giraud is credited, and even then, he wasn't even granted a premium when the movie was eventually produced.

Some of the most memorable moments from the film are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. The New York scenes were created using a combination of CGI (for the flying cars), live action (the people), and scale models (the buildings). A crew of 80 on the production design team spent five months building dozens of city blocks at 1/24th scale.The visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. The flying traffic created by the visual Effects team allowed artists to create personalized license plates. Though never visible in the movie, the state slogan printed on all license plates reads "New York, The F***-You State."The people populating the roofs, decks, and windows during the visual effects sequences in New York City are the artists and employees at Digital Domain.
The text scrolling across a Times Square theater marquee as Korben dives down through traffic is actually an excerpt from an e-mail dispute between several artists at Digital Domain. Other signs on digital and practical, miniature buildings contain similar in-jokes and references and the large cylindrical tanker truck that Korben's cab almost hits at the end of his descent is decorated with the logo of a Venice, California, pizza parlor that was a favorite of Digital Domain artists.

‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.

This was Mark Stetson’s first visual effects supervisor role, this is what he had to say about it in a VFX blog article

Mark Stetson: I wasn’t afraid of the size of it. I didn’t think it was huge at the time. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. And I was very supported by Digital Domain. It was Digital Domain 1.0 back then, and they really gave me a great team. It was a great experience all around.

During the prep period, cinematographer Thierry Arbogast worked extensively with production designer Dan Weil to integrate various lighting units — primarily fluorescent and occasionally ultraviolet fixtures — within the sets themselves. More often than not, the futuristic spaces dictated the types of fixtures that could be used.
Arbogast had some challenges on the film he said this about the opera scene.
“Most of the lights you see in the opera house were already there. The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. Therefore, we used a lot of flags to focus our lighting precisely on the people.”

Gary Oldman played Zorg as a cross between then-Presidential candidate Ross Perot and Bugs Bunny.

In most shots of Gary Oldman, there is a circle around his head. In fact, a circle in the middle of the frame is a nearly constant motif in this movie. Bruce Willis, on the other hand, is more often framed by a rectangle or doorway behind him.

In keeping with the hands-on approach Besson established on Le Dernier Combat and has practiced on all of his successive films — Subway (1985), The Big Blue (1988), Atlantis (1990), La Femme Nikita (1991) and The Professional (1994) — the filmmaker operated the camera himself throughout the entire shoot. While such a working situation is rare for directors working within the Hollywood system, Besson prefers it because he can maintain better control of the onscreen action. "I create the frame and the movement within it," he explains. "Why lose time explaining everything to someone else? He's going to be slightly off, and then I'm going to freak out and say, 'No, this is not what we discussed. I want the camera here!' So it's better for everyone involved if I just do it myself.

"I write each action scene as if it is a ballet; the movements fit with the music. Generally, I'll shoot a fight sequence for 10 days using just one or two cameras and a very small crew. I've already written out the fight scene in my head, shot by shot. I do this for each and every sequence so that we can just shoot it, and then put the scene together in the editing room. At the same time, when you're on the set, you can have an idea at the last moment; you realize that from a different angle the light might be better, so you change the perspective [of the shot]. But I'll always write down and block out this [new] progression."

The explosion in the Fhloston main hall was the largest indoor explosion ever filmed. The resulting fire almost went beyond control. It took twenty-five minutes to put out.

At the time, it was the most expensive movie ever produced outside of Hollywood, most expensive French production history, and at $80 million USD, the visual effects budget of the movie was the highest of its time.

The wonder on Bruce Willis' face when the Diva sings is real. That was the first time he'd heard it and seen the actress in full make-up.

Bruce Willis, Milla Jovovich, Chris Tucker and Gary Oldman are all left-handed.

The director had been married to Maïwenn Le Besco, who plays the Diva Plavalaguna, since 1992 (when she was 16 and he was 33, but that's another story). She didn't want to be in the film, adhering to the old adage that married people shouldn't work together and co-workers shouldn't marry each other. But when the actress Besson had cast as the Diva dropped out, Le Besco took the part got painted blue and gave a memorable performance. Alas, Besson didn't share his wife's policy of not mixing work with relationships. He left her during the production for Milla Jovovich, whom he married at the end of 1997 and divorced two years later... then that happened

From Mental floss,vfx blog,ASCmag article,IMDb,YouTube visual element doc.

[Tasting / #法式甜點鑑賞] 巴黎 Pâtisserie Gilles Marchal 檸檬塔 / Lemon tart of Pâtisserie Gilles Marchal, Paris (for English, please click "see more")

你今天吃甜點了嗎？

讀完 #為什麼法式甜點需要鑑賞，就有正當理由吃甜點訓練品味了😉 今天就讓我們用實際案例一起來看看究竟該怎麼鑑賞一個法式甜點！

📌 鑑賞重點：

🚩 1. #知道自己在吃什麼：這句話聽起來像句廢話，但是其實很多人並不知道自己現在正在品嚐的東西到底是什麼。舉例來說，巧克力塔和巧克力慕斯蛋糕是完全不同的東西、費南雪與瑪德蓮也不一樣，如果將兩者混為一談，不清楚該有的外型、元素、組成，自然也就不會有正確的期待與評判標準，也不知道除了「好不好吃」、「甜不甜」之外還能怎麼欣賞。

🚩 2. #好吃又好看「c'est bon et c'est beau!」：

#外型：先觀察作品的外觀，欣賞其美感、細節和特殊之處。很多甜點（尤其是元素越簡單的甜點）光看外表，從其基礎元素完成的細緻程度，就可以預測它到底好不好吃。而甜點美麗與否，是否讓人想更進一步一親芳澤、讚嘆甜點人的巧思，又是另外一個層次。

#味道與口感：首先掌握甜點本身的組成元素，吃一口看看味道是否均衡細緻、口感是否兼顧軟硬、柔滑、酥脆的對比、是否有風味組合搭配上的驚喜，都是鑑賞的重點。接著可以分開品味不同元素的表現。請注意，「#甜或不甜」#並不是品評的必要標準。既然是吃甜點，請不要再說「這個看起來好甜」、「給我最不甜的」、「我喜歡，因為它不是很甜」！

🚩 3. #其他：諸如該甜點的歷史掌故、創意來源、主題、甜點主廚的背景、風格、創作哲學、如何對經典重新詮釋、使用元素等，都是值得品味之處。

🍋 前言結束，讓我們從最經典、元素最單純的 #檸檬塔（tart au citron）開始，一起欣賞有趣的作品！

檸檬塔的基礎元素是 #塔皮（pâte sucrée）、#檸檬奶餡（crème au citron）、#蛋白霜（meringue），有的檸檬塔更單純，只有前面兩個元素。巴黎甜點店 Pâtisserie Gilles Marchal 的檸檬塔三個元素都具備、又在經典上有所變化，正好適合拿來當作範例解說。點開照片看詳細說明！

🔖 延伸閱讀：

為什麼法式甜點需要鑑賞？https://tinyurl.com/y54dacbu

「重新詮釋」——法式甜點經典重生、歷久彌新的秘訣：https://tinyurl.com/y5xenfqz

從類型與組成元素徹底解析法式甜點：https://tinyurl.com/y5c9nbeb

了解關鍵概念、解析基礎元素：看懂、吃懂法式甜點的入門課：https://tinyurl.com/y4w9sxxs

*****

Have you all read the article “Why tasting is important when we enjoy French pastries”? Shall we take an example today to practice how exactly tasting should be like?

📌 Key points:

🚩 1. Knowing exactly what we are tasting before making any comments. This sounds like nonsense, but it’s pretty much true because many people do give comments even when they don’t have a clear on what they’re eating. For example, a chocolate tart is different from a chocolate mousse cake, a financier is not the same as a madeleine. If you mix them up and don’t know the basic components and classic look of the pastries, you wouldn’t have correct expectations and criteria to judge whether this cake is good or not besides having comments like “oh this tastes good/bad”, “this is (not) too sweet”, etc.

🚩 2. It’s delicious AND pretty. (In French, we say, “c’est bon et c’est beau!”)

#Look: Have a thorough look on the presentation of the pastry and appreciate its beauty, details, and characteristics. In fact, the presentation tells a lot about the taste if you know how it's made. The more delicate the details are, the more likely it would taste good. Besides, visual appeal also makes customers feel like tasting and admiring the ideas of the creators.

#Taste and #textures: First, you have to know what are the components of the cake, then have a bite and see if different flavours match each other well and are balanced, if there’s enough contrast between different textures such as soft vs. hard, smooth vs. crunchy, etc., and if there’s any surprise with regard to the taste combinations. After that, you could have a further taste on each of the components to get to know them further. Attention: since we are tasting a pastry/cake which is sweet, don’t judge it according to its sweetness only.

🚩 3. Others: If you know more about the history, the origin, the inspirations, background, styles and philosophy of the chef, how he/she reinterprets the classics and what ingredients he/she uses, tasting would become even more interesting.

🍋 Now let’s take the classic lemon tart (tarte au citron) as an example. The basic components are sweet shortcrust pastry (pâte sucrée), lemon curd (crème au citron), and meringue. Some lemon tarts are even more simple, leaving the latter out. We’re having a closer look on the lemon tart of the Pâtisserie Gilles Marchal in Paris today. It has the all three components and is made with a little twist of the classic, which serves as a perfect example. Click on the photos and discover more!

🔖 To read more on the topic:

Why “tasting” is important when having French pastries: https://tinyurl.com/y54dacbu

Revisiting classics, the fountain of youth secret of French pastries: https://tinyurl.com/y5xenfqz

Decomposing French pastries by categories and basic components: https://tinyurl.com/y5c9nbeb

Your first class in French pastries, getting to know basic ingredients and key concepts: https://tinyurl.com/y4w9sxxs

#yingspastryguide #frenchpastrytasting #dégustation #tarteaucitron #lemontart #gillesmarchal

🖤觀秀注意事項🖤
1. 強烈建議您配戴耳機觀賞，享受旅程
2. 若網路順暢，請將畫質調至2160p，以利最佳看秀畫質

🖤PLEASE NOTICE🖤
1. Strongly suggest! Enjoy the trip with your earphones.
2. Please watch the video with 2160p to get the best quality.

—

JENN LEE 22春夏- 家人
「大人不過是長大的小孩」- 華特迪士尼

以實驗性概念延續21秋冬系列耐人尋味的「宇宙恆變」、「活在當下」之理念，以觸動人心的創作帶領觀眾進入充滿『家人之愛』的虛擬世界，探索生命與成長的根源！

一同窺探歷經懷胎十月、初為人母的設計師Jenn在不同身份、心境與情緒轉變下，如何深刻演繹情感的波動與感觸，展示母愛光輝與溫柔無限的蛻變之作！

再次攜手全球最大華語電影獎項─金馬獎特效得主「再現影像」挑戰觀眾的視覺感官，延續JENN LEE 21秋冬的虛擬星球，以第一人稱視角的遊戲感帶領觀眾走進異次元的繽紛叢林，一窺星球上的人們與家人間關於「愛」與「情感」的故事。3D方式呈現2D充滿兒童插畫感的自然世界，再將視覺藝術家JUN YAO ZOIE LIAO設計出的童趣服裝印花3D化，成為虛擬視界裡各種獵奇可愛的生物，鮮豔細緻的畫面營造強烈的視覺效果。

音樂方面與享譽國際獲獎無數的台灣實驗電子音樂創作者Meuko! Meuko!合作，以充滿愛與希望的輕快節奏營造童趣氛圍，特別收錄Marz23狂野嘶吼、白癡公主對女兒阿甜的告白、黃宣神秘低喃以及設計師Jenn與老公Dennis對於愛的詮釋，更能聽見寶寶純真的笑聲，宛如徜徉於恆變宇宙中的呢喃奏樂。

JENN LEE 22 SS- Families
“Adults are only kids grown up”- Walt Disney

This collection is a deeply personal one as it reflects the changes in designer Jenn’s own life as she starts her new life as a mother and what this new journey means to her. This is shown not only through her collection, but also through the bold yet childlike visual motifs through the film.

Award winning production company Renovatio Pictures has returned this season to create a vibrant world filled with color and life as it explores the different forms of love. JENN LEE invited local celebrities, friends and family to take part in this fashion film as it transports the audiences to a world of its own. The unique first person gaming perspective further draws the viewer into this immersive experience as you dive into each unique storyline.
Jenn Lee has worked with talented Taiwanese illustrator JUN YAO ZOIE LIA to create key symbols that reflect the inspiration of this collection. One of the key images that stands out throughout this is the drawing of the umbilical cord, a direct reference to Jenn Lee’s new journey as a mother and a physical representation of the connection between loved ones.These illustrations are animated in the film to help tell the story of the impact that connections and memories have on our lives.

As the global pandemic continues to shape the way we interact with people and we embark on new journeys, Jenn Lee has expressed herself through this collection and hopes to encourage others to not be afraid to express themselves and appreciate the connections we have around us.

Meuko! Meuko! provides the soundtrack to this film and is mixed with different voices from the characters in the film.

--

🖤JENN LEE Team 🖤

李維錚 Wei Chen Lee
劉芸庭 Yun Ting Liu
林昕穎 Xin Ying Lin
吳霈萱 Pei Xuan Wu
毛紫函 Tzu Han Mao
周采丰 Tsai Feng Chou
盧蘊睿 Yun Rui Lu
楊詠茹 Yung Ju Yang
葉重佑 Chung Yu Yeh
何絜霓 Chieh Ni Ho
葉芮妤 Rui Yu Yeh
任宸漢 Chen Han Jen
李俐穎 Li Ying Lee

—

🖤視覺特效製作🖤

再現影像製作股份有限公司
Visual Effects By Renovatio Pictures

視覺特效總監 郭憲聰
Visual Effects Supervisor Tomi Kuo

特效製片 黃棨雋
VFX Producer Peter Huang

CG 數位視覺設計師 吳怡萱
CG Digital Artist Ella Wu

去背遮罩師 陳姵均
Roto Artist Hulk Chen

概念美術設計師 吳怡萱
Concept Design Ella Wu

行政企劃 呂旻穎
Administration Moira Lu

--

🖤Families🖤

黃宣 YELLOW
黃榮勇 Pawan
陳艾美 Amy Chen
阿夜 Marz23
阿娥姐 Monica
白癡公主 87 Princess
阿甜 A Tian
百勒絲 Fairy Pai
雷門 Raven
呀比 Yabi
張維宸 Way Mask
張䕒尹 Mini
李繼堯 Yolanda
王淑緞 Shu Duan Wang
程琪 Kare Chen
樂高 Lego
程舒唯 Edie 艾迪
費俊偉 Dennis Fei
李維錚 Wei Chen Lee
費維 Wei Baby
臭咪 Stinkymimimi

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🖤Illustration Design and graphic design🖤
廖俊堯 JUN YAO ZOIE LIAO

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🖤Photographer 🖤
費俊偉 Dennis Fei

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🖤Sponsors 🖤
文化部
KCC 墾青集團
DENNIS FEI

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🖤Music 🖤
Meuko! Meuko!

🖤Intro music🖤
庫巧兔 Cloudy Ku - Hermitage Bliss


© all rights reserved

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JENN LEE Facebook：https://www.facebook.com/official.JENNLEE/

JENN LEE Instagram： https://www.instagram.com/jennlee_off...

JENN LEE Website：http://www.jennleestudio.com

PR Contact (Taiwan)： ellenliujennlee@gmail.com

PR Contact (UK) ：roxannechen@dyelog.co.uk

Strim ‘Kuey Teow’ di semua platform digital: https://defjammy.lnk.to/KUEYTEOW
#SonaOne #KiddSanthe #KueyTeowKuBasah
Kuey Teow (Official Music Video) - SonaOne featuring Kidd Santhe
Muat turun nada dering Kuey Teow:
Maxis – Taip *131*666441#
DiGi – Taip *233*1529373#
Celcom – Taip *323*734009#
Music credits:
Written by SonaOne and Kidd Santhe
Produced And Mixed by SonaOne
Mastered by Chris Athens
Video credits:
Directed by Adriana Tunku and SonaOne
Produced by Razlan Saharudin
Starring: SonaOne, Kidd Santhe and Peot
Visual FX by Always Saturday
DOP: Praveen Kumar
Stylist: Zulvanny
1st AD: Al Adam
Production Manager: Alya Marissa
Production Assistant: Farit Zainan
Stylist Assistant: Victor Lim
1st AC: Ezat Emir
Gaffer: Faisal bin Rahman
Key Grip: Rusman Bahari
Concept by Denhouse Productions
Lyrics
(Chorus – SonaOne)
Aku memang tak boleh buat salah
Semalam lepak tapi hari ni buat macam gua tak kenal pulak
Whats up? Tanya kau whussup, aku tak jawab
Sah, satu KL kering tapi Kuey Teow ku basah
Panas, macam dalam kuali, macam dalam Kuala
Lumpur, keranda Gucci kalau aku dalam kubur
Cool bro, Aku jumpa Boss pakai Hugo
Harga naik sampai gunung
Celek sikit dengan burung
(Verse – SonaOne)
Kasut Nike, belum keluar lagi
Lagi dua Hari, tapi ku dah pakai di kaki
Tak perlu test, kalau tu Tesla, tak perlu car key
Miyazaki masak Teppanyaki, bakar Cookie warna edamame
Everything ‘round me lookin’ like lukisan Salvador Dali
Aku nak pergi Bali, Omnia VIP
‘Pastu tu pergi JKT, Pagi-Sore ori
Nak pergi Shibuya beli White Tee
Shopping kat Pavi dah boring
Aku malas layan wartawan,
I put “This Is The Way” on a white gold ring
I’m at The Ranch kat Clarke Quay
Dua perumpuan ‘cam Archie
Pakai topeng bila naik MRT
Kalau ku party, confirm lu RT
(Party kat rumah je)
Tak baru, It’s what I do
Look at you, Tak padu
Kenapa tu? Takpe dude
Takda mood nak berbual
Nothin new, it’s what I do
Look at you, tak malu
Siapa tu? I’m the dude, EH!
(Verse – Kidd Santhe)
AKU MEMANG JENIS SUKA BERSALAH
FLEX AKU LAIN SUP TULANG PUN PATAH
KU SUKA LANGGAR I DONT GIVE FAKTA
AWEK LU DEKAT KATIL ANAKKU SEPAH DI BANTAL
Rapper cam
Asal nak sensitif
Sajat pun kalah skali
Olabola cuti
Tak ya nak gigit jari
Salam darah macam G
Semua nak family
aKu pisah macam joe ngan malique
Aweklu
Haritu
Cariku
Gerak lu
Rogerku
Namaku
Abah you
Salam lu
Salahku
Layanlu
Tolongmu
Wat lagu
Macam ku
Tapi tu
Tak laku
Siapa tu
Ku tak perlu label label aku
3 tangan sentuh gaji
Dompet cari kamu
Ku tak perlu label label aku
3 tangan sentuh gaji
Dompet cari kamu
Jangan pandang belakang
bila sebut nama aku
Jangan pandang belakang
aku tukar nama kamu
Jangan pandang belakang
bila sebut nama aku
Aku silap tanam
Hidup dia jadi hantu
(Chorus – SonaOne)
Aku memang tak boleh buat salah
Semalam lepak tapi hari ni buat macam gua tak kenal pulak
Whats up? Tanya kau whussup, aku tak jawab
Sah, satu KL kering tapi Kuey Teow ku basah
Panas, macam dalam kuali, macam dalam Kuala
Lumpur, keranda Gucci kalau aku dalam kubur
Cool bro, Aku jumpa Boss pakai Hugo
Harga naik sampai gunung
Celek sikit dengan burung
Follow SonaOne
https://www.instagram.com/ItsSonaOne
https://www.facebook.com/ItsSonaOne
https://www.twitter.com/ItsSonaOne
Follow Kidd Santhe
https://www.instagram.com/kiddsanthe/
https://www.facebook.com/kiddsanthe
https://twitter.com/kiddsanthe
Follow Def Jam South East Asia
https://www.instagram.com/defjamsea
https://www.twitter.com/defjamsea
https://www.facebook.com/defjamsea
© 2020 Def Jam Malaysia, a Division of Universal Music Sdn. Bhd. All rights reserved. Unauthorized reproduction is a violation of applicable laws.

Harajuku Street Fashion SNAPS 2014/10
By Cathy Cat

Keep up with the latest Harajuku trends!

カワイイ原宿ファッションスナップ

More snaps available on the Kawaii♥Pateen facebook page
https://www.facebook.com/Tokyo.Street.Fashion.KAWAII.PATEEN

Tokyo Street Fashion KAWAII♥PATEEN
☆ KAWAII & FASHION ☆
EVERYTHING KAWAII !
Japanese Street Fashion, Shops and Events from Tokyo, Harajuku, Shibuya, Akihabara...
---------------------------------

Why did you come to HARAJUKU?
Shopping.
I had some clothes I wanted.
Yes.
When did you get interested in Harajuku fashion?
Umm..
Winter last year.
yes.
There is a famous guy named Kemio-kun, and I admire him so much I started this fashion.
Which part of the fashion do you like?
It gets you really excited, so I like it.
yes.
What is today's theme?
A pop HENTAI (pervert), and Cool Japan.
Moga Mogami of Denpa Gumi.
I've loved flashy fashion since sophmore of high school, and Anime.
Me, too. Since high school.
Misty Sky of Angelic Pretty, with flower crown.
Have been in to it since junior high.
Today's fashion point is Angelic Pretty of Misty Sky and the clouds and
stary skies on it, and the flower crown on my head which I made by myself.
I started becoming interested in junior high, but I started wearing it since 2years ago.
I became interested in Sailor Moon on its 20th anniversary.
The key to today's fashion is Sailor Moon.
I had Sailor Moon painted on my cheek a while ago.
All in blue.
I came to Harajuku 6years ago, and started around then.
I come here every Sundays.
Well, I just come here to interact with everyone.
Taking pictures together, and like I said, giving out goods, and having fun with everyone.
The key today is the mask, like always.
I usually come with Gloomy or Pink, but I came today with Black Cat since while.
I came to Tokyo this April, and since then I have wanted cute clothes and stuff.
My favorite Anime character is this boy.
Image? A little nutty boy.
When wearing these clothes, maybe not here, but it really stands out in daily life
and it gets ne excited and fun.
I came to Harajuku for group activity.
Why Harajuku fashion?
Influence of the band.
What's the key today?
Today, is the hairpin.
I came here today to cut and dye my hair.
I came to Tokyo this spring, and I've loved Harajuku since high school.
I came often though I was limited to few times a year.
Adding some bizarra touch to Decola style.
I used to do Lolita a while back.
Decora itself for me has been... maybe not even a year yet.
I was 23 when I was into Harajuku fashion.
The fashion key is Sixh all over and got my hair cut. What's up?
I came to collect many goods.
Right?
Came for shopping.
What's the key point here?
The hair band.
The fluffy skirt.
The girly look.
This is a sailor look uniform from Dempa Gumi.
When did you get interested in such a fsshion?
Since I became fan of Dempa Gumi.
I decided to wear this because of it.