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姜华
回复 :This show is quite possibly the biggest waste of videotape, electricity, and RF bandwidth in the 70+ year history of television. It's nothing but 60 minutes of some of the worst bile that can come out of human beings, male or female. Basically, it's nothing but pure bitchy, catty, c*nty, vile harpiness among the contestants, judges, and the fashionistas (or should I say fashionazis). Typically a lot of insulting, backbiting, and bitchy, unnecessarily anal-retentive criticism.The thing that gets me about the show is how much the judges and fashionazis (and the pretentious & shallow fashion industry in general) nit-pick against the equally bitchy contestants about little, petty, trivial, frivolous, anal-retentive things about their appearance, personality, etc. Things that the *REAL* people in this world (which the fashion industry lacks, thankfully) wouldn't give rat's ass number 1 about. (Myself included.)Crap like: "Oh, your left eyebrow is a yoctometer off center. That isn't gonna fly, and nobody will take you seriously in this industry because of it!" Or, "You're breathing wrong. Good luck with winning this competition." I'm just kidding here, but they usually end up saying things almost exactly like this on this show.If getting into the fashion industry is this hard, painful, bitchy, insulting, nit-picky, catty, backstabbing, and anal-retentive as this show tries to portray, than thank the good Lord that He made me all fat, balding, hairy, and dumpy-frumpy-dowdy-frowsy-geeky-lookin', because I would never want to be required to have the caustic bitchiness and anal, pretentious attitude of any model or fashionazi (or any fashion industry worker), namely the people on this show.And Janice Dickinson, mercy, do not get me started on her...This show needs to die. It's this show (and many other "reality" shows like it) that proves that competitiveness (and the fashion industry) is truly the devil's tool...
金建模
回复 :2gether 4ever最相爱演唱会S.H.E出道12年第四次巡迴演唱会华丽出辑，Ella陈嘉桦的热情、田馥甄的深情、Selina的真情、S.H.E的温柔自信勇气全收录，全长210分钟超时完整重现，重返2013年最欢乐最感动最私密最相爱的夜晚！你与S.H.E万人齐聚大声笑大声哭大声唱破小巨蛋的演出，S.H.E 2gether 4ever世界巡迴演唱会2013台北旗舰场，献给一起相爱的你，亲爱的 你入镜了吗?!
李玮
回复 :"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.