2017年7月1日 星期六

黃之鋒 - Beijing has shown it will do anything to suppress Hong Kong democracy. Teenager vs Superpower:美國應為香港民主發聲。林榮基、彭定康、李柱銘、; Chuck Berry (1926-2017)



【陈破空:中共自己承认不再遵守一国两制承诺】 6/30 #焦点对话 #精彩点评
陈破空:“外交部发言人陆慷的说法泄露了两个重大信息。第一个相当于承认中共已经不再遵守在过去二十年已经逐渐不再遵守的中英联合声明,不遵守一国两制的承诺;这次中共是现实地承认了这个,说这一历史文件已经没有现实意义而且没有约束力。另外一个重大信号是中共准备对香港加强控制,准备进一步破坏一国两制;我想这个信号非常重大且强硬,继续下去会加剧中港两地的对立,同时也会促进台湾的独立走向。”
节目文字版:https://goo.gl/ERGJr8⋯⋯
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Opinion: In an op-ed for HKFP, activist 黃之鋒 Joshua Wong says he expects 100,000 Hongkongers to hit the streets today.
"China has become the biggest authoritarian power in the world, and continues to attack our autonomy, putting off universal suffrage and flooding the Hong Kong economic landscape with Chinese capital. Self-censorship has become dominant in the media, and Hong Kong is degrading into One Country, One System."



Meet the young man fighting for democracy in Hong Kong http://cnn.it/2qApu8t





對大陸異見者而言,香港的社會運動一直是希望所在。維護這種希望是符合華盛頓利益的,尤其是當美國人希望看到一個自由民主的中國。
(本文發表於時報觀點與評論版面,作者是黃之鋒和敖卓軒。)

維護香港民主符合華盛頓利益。儘管香港面臨各種困難,它仍是中國控制下最自由的地區,香港的社會運動也一直是大陸異見者的希望所在。
CN.NYTIMES.COM


“港独”黄之锋在美诋毁“一国两制”,求美关注,被骂汉奸!_国内新闻_环球网
china.huanqiu.com › 国内新闻 › 直通港澳

17 hours ago - 据香港《大公报》3日报道,黄之锋和民主党创党主席李柱铭定于美东时间3日在华盛顿出席美国国会就香港回归20周年举行的“听证会”。在此之前, ...
A Ta Kung Pao 大公報 commentary called 黃之鋒 Joshua Wong "ignorant and ugly." It said: "It is obvious that Americans are using Wong to attack the One Country, Two Systems policy and the central government, but he is happy about his role as a political clown manipulated by others."
Global Times called him a "race traitor" begging for attention from the US.






LIVE: Former colonial Hong Kong governor Chris Patten, democracy icon and barrister Martin Lee, activist and Demosisto Secretary-General 黃之鋒 Joshua Wong, bookseller Lam Wing-kee and writer Ellen Bork will be speaking to the US Congressional-Executive Commission on China.



銅鑼灣書店店長林榮基與彭定康李柱銘黃之鋒出席美國會聽證會
作者 香港特約記者甄樹基發表時間03-05-2017 更改時間03-05-2017 發表時間10:21
圖為香港銅鑼灣書店店長林榮基路透社照片


香港銅鑼灣書店5人被失踪案中唯一敢於公開揭露中共擄人情節的前書店店長林榮基,將於美國時間週三早上9時半,與前港督彭定康、民主黨創黨主席李柱銘、香港眾志秘書長黃之鋒等同場,出席美國國會“主權移交20年,香港模式能否持續?”聽證會。


美國共和黨聯邦參議員魯比奧早前重提香港人權與民主法案,提出對壓製香港公民基本自由權、以及涉銅鑼灣書店事件的中港官員實施制裁,包括凍結在美資產及禁止入美,而今次美國國會就香港主權移交20年聽證會,將對重提香港人權與民主法案有著重要的影響。

以出售中共內部權力鬥爭書籍為主的銅鑼灣書店,一共有5人先後神秘失踪,目前唯一已知遭到中共扣押的是擁有瑞典護照的書店投資人兼出版商桂民海,而書店老闆李波雖然擁有英國護照,但據傳卻在香港境內被大陸有關人員綁架返回大陸,儘管李波堅持他是以“自己的方法”,避過香港出入境辦事人員而自行北上大陸的。

銅鑼灣書店一事曝露了大陸人員涉嫌違反一國兩制越境執法,以及香港言論自由等令到國際關注的議題。

林榮基早前在台灣接受自由亞洲電台專訪,對今年3月前往中國訪友時,遭中共以涉嫌危害國家安全活動為由拘禁失踪的台灣民進黨前黨工李明哲表示關注,很遺憾未能和李明哲妻子李淨瑜見面,稱讚李淨瑜高調尋夫的做法,他希望告訴李淨瑜不用擔心李明哲會受傷害,因傷害他對中共沒好處,只會招來更多抗議和示威。林批評台政府至今對事件太小心,認為台灣當局應以人權角度,向中共爭取釋放李明哲。


而人已身在美國的黃之鋒,2日在美國智庫傳統基金會發表演說,會後接受美國之音訪問時指,香港一國兩制已不存在,“已變成一國1.5制,所以我們非常擔心最後會變成一國一制,就是中國大陸跟香港是沒有分別”。





2017.3.19 一早,在YouTube聽近1小時 Chuck Berry (1926-2017)的歌。

搖滾之父Chuck Berry與世長辭。
"If you tried to give rock and roll another name, you might call it Chuck Berry." - John Lennon
RIP to a legendary musician.



Musician whose guitar licks helped lay the foundations of rock music.
BBC.CO.UK|作者:BBC NEWS














Photo
Chuck Berry performing in 1986 in St. Louis. CreditJames A. Finley/Associated Press

John Lennon said, “If you tried to give rock ’n’ roll another name, you might call it ‘Chuck Berry.’” Bob Dylan once called the musician, who died Saturday at 90, “the Shakespeare of rock ’n’ roll.” His songs staked out the territory, in both sonics and lyrics, for a new art form, and in the decade from 1955 to 1965, he created a body of work filled with dozens of perfectly crafted masterpieces. The 15 songs below are just some of Mr. Berry’s greatest compositions and recordings.








“Maybellene” (1955)

Mr. Berry’s first single sounded like nothing that came before, and the key ingredients are all in place — revved-up guitar, clever language (“as I was motorvatin’ over the hill”), girls and cars. Based on “Ida Red,” a 1938 Western Swing hit for Bob Wills and His Texas Playboys, the new title and beefed-up rhythm section were the ideas of producer and co-owner of the Chess Records label, Leonard Chess.

“Too Much Monkey Business” (1956)

No one before Mr. Berry thought to write a pop song about the headaches of paying bills or losing your change in a pay phone. In his 1987 autobiography, he wrote that the lyrics were “meant to describe most of the kinds of hassles a person encounters in everyday life.” The chugging, rapid-fire vocal delivery would inspire Mr. Dylan’s breakthrough word salad “Subterranean Homesick Blues,” and when Mr. Berry won the first PEN New England Song Lyrics of Literary Excellence Award in 2012, Mr. Dylan sent a congratulatory note saying, “That’s what too much monkey business will get ya.”

“Brown Eyed Handsome Man” (1956)

Mr. Berry said that this song — a sly and daring commentary on race relations — was written after an episode he witnessed outside a concert he was playing in California. (A Hispanic man was being handcuffed by the police when a woman ran up, screaming to let him go.) In typically masterful manner, Mr. Berry was able to draw effortlessly on the worlds of art (the Venus de Milo) and baseball to convey the wide-ranging allure of “brown-eyed” — barely encoded to mean “nonwhite” — men.
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“Roll Over Beethoven” (1956)

A declaration of musical independence for a new generation, “Beethoven” was initially aimed at Mr. Berry’s younger sister, who monopolized the family piano practicing classical music. The rest, he said, came “out of my sometimes unbelievably imaginative mind.” Famous covers of the song include versions by the Beatles, Jerry Lee Lewis and Electric Light Orchestra. Leonard Cohen once compared the song to Walt Whitman’s “barbaric yawp,” adding that “if Beethoven hadn’t rolled over, there’d be no room for any of us.”

“Havana Moon” (1956)

The Latin rhythm was based on Nat King Cole’s “Calypso Blues,” while the setting was picked up from Mr. Berry’s exposure to New York City’s Cuban population while he was performing at the Paramount in Brooklyn and at the Apollo Theater. But the exotic feel was matched to a universal narrative, straight out of an O. Henry story.

“School Day” (1957)

By 1957, rock ’n’ roll’s teenage takeover was complete, and Mr. Berry responded with a song that directly targeted these new consumers — set in the focal point of their daily life, regardless of race or class. He wrote that the stop-and-start rhythm was meant to reflect the “jumps and changes” he experienced in high school, compared with the one room/one teacher structure of elementary school. The final verse gave Mr. Berry’s genre its greatest rallying cry (and became the title of his 1988 concert film): “Hail! Hail! Rock ’n’ roll!”

“Rock and Roll Music” (1957)

The music itself was Mr. Berry’s greatest subject, and greatest muse. Laying out the merits of rock ’n’ roll against modern jazz, tango and symphonies, the popping rumba rhythm proved its own argument — “It’s got a backbeat, you can’t lose it.” The Beatles recorded a raucous version, and the Beach Boys had a Top 10 hit of this song that Mr. Berry intended to “hit the spot without question” and “define every aspect of [rock’s] being.”

“Johnny B. Goode” (1958)

If rock ’n’ roll has a national anthem, this would be it. The stinging introduction (pinched from the jump-blues star, and Mr. Berry’s greatest influence, Louis Jordan’s “Ain’t That Just Like a Woman”) set a standard that every rock guitarist still chases. The story, a semi-autobiographical rags-to-riches tale, is a classic articulation of the American Dream, though Mr. Berry was savvy enough to change the original lyric about a “colored boy” to “country boy” for a shot at radio play. The song has been covered countless times, with a memorable appearance in the movie “Back to the Future,” but its reach may go much further — Mr. Berry’s recording was one of four American songs included on the gold discs shot into the cosmos in 1977 on the Voyager I and II spacecraft.







Marty McFly performing “Johnny B. Goode” in the 1985 movie “Back to the Future.” Video by Movieclips

“Carol” (1958)

This is one of the few songs recorded by both the Beatles and the Rolling Stones. A simple story about a boy who needs to learn to dance to hold on to his girl, the description of the club they go to is so vivid you can practically smell it (“A little cutie takes your hat and you can thank her, ma’am/Every time you make the scene you find the joint is jammed”). The syncopated string bending of the intro led to an unforgettable argument between Mr. Berry and Keith Richards in the “Hail! Hail! Rock ’n’ Roll” documentary.

“Memphis” (1959)

Mr. Berry’s most tender and arguably most literary lyric had its roots in Muddy Waters’s classic blues “Long Distance Call.” He worked for more than a month on the words, though other than some of his wife’s relatives, he claimed to have no specific connection to Memphis itself. The song is a one-sided conversation between the narrator and a telephone operator, expressing that he misses a girl named Marie, and that they are being kept apart by Marie’s mother. The final verse reveals that Marie is, in fact, the narrator’s 6-year-old daughter and that her mother left their home and took Marie with her; in a remarkable phrase, he recalls the girl’s cheeks covered in “hurry-home drops.”

“Back in the USA” (1959)

A dream vision of ’50s America, unmarred by racial tension, that was reportedly inspired by Mr. Berry’s return to the United States after a brief tour of Australia. Once again, he found poetry in the everyday details of middle-class life (“Looking hard for a drive-in, searching for a corner cafe/Where hamburgers sizzle on an open grill night and day”). Linda Ronstadt had a hit with a 1978 cover, and the title was spoofed by the Beatles for “Back in the U.S.S.R.”

“Let It Rock” (1960)

Less than two minutes long, with no chorus (and no actual use of the title phrase), “Let It Rock” is one of Mr. Berry’s most hard-charging songs, with one of his more cryptic lyrics. Rather than assuming a teenage perspective, the song is delivered by a railroad worker in Alabama trying to “get some money to buy some brand-new shoes.” At the end of the workday, the laborers are playing dice on the tracks when the foreman warns them that a train is approaching and they have to scramble to safety. The Grateful Dead, Motörhead and Bob Seger were among those who later cut the song, but it was the Rolling Stones who gave this one its finest reading.

“Come On” (1961)

A hard-luck story of a guy who’s watched everything go wrong since he broke up with his girlfriend, “Come On” is full of seemingly throwaway lines that tell full stories. While he’s trying to persuade her to come back (and Mr. Berry’s own sister Martha provides a slightly dissonant background vocal), he wishes somebody would wreck the car that he can’t afford; every time the phone rings, it’s “some stupid jerk trying to reach another number.” A toned-down cover by the Rolling Stones was the band’s debut single.

“Nadine” (1964)

The first single released after Mr. Berry served a 20-month prison term for violation of the Mann Act, “Nadine” was practically a sequel to his debut recording, “Maybellene.” But while the story of pursuing a girl through the bustle of the city (not in a car this time, but on a bus, in a taxi and on foot) told the same tale, the language and imagery had grown even more complex. Mr. Berry describes himself “campaign shoutin’ like a Southern diplomat” and “moving through the traffic like a mounted cavalier.” This writing would prove a huge influence on the crop of songwriters who were concurrently discovering the Beatles. Bruce Springsteen paid tribute to the song’s famous line “I saw her from the corner when she turned and doubled back/Started walking toward a coffee-colored Cadillac” — “I’ve never seen a coffee-colored Cadillac,” he said, “but I know exactly what one looks like.”

“Promised Land” (1964)

The story of a poor boy who “straddles a Greyhound” out of Norfolk, Va., with California on his mind. At full sprint (no time to stop for a chorus), he makes it from coast to coast by bus, train and airplane, though things “turned into a struggle” in some of the Southern cities where the Freedom Riders had recently faced violence and resistance.
Mr. Berry wrote the song while behind bars — despite, as he wryly noted, the difficulty of getting his hands on an atlas: “The penal institutions then were not so generous as to offer a map of any kind, for fear of providing the route for an escape.” That fact made his lighthearted rendering of the road trip — with its resilient love for a country whose justice system had so recently made him suffer — all the more incredible.
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