兩個賣糖歌 「萬世流芳」(1943)

[@たまきはる-v3u]

顔立ちもエキゾチックで発音は完璧。 どう見ても日本人には見えませんよね。 歌も素晴らしくてほんとに凄い。 そしてホントにお綺麗✨✨

[@王王美]

李香蘭的京片子真是太好聽了無人能及。這首歌是代表是代表

[@marti-mar8974]

A beautiful song from another time and another place...

[@chuntin8217]

李香蘭唱得好好曲好填詞 警世人吸毒禍害

[@QRQR777]

電影未看過，歌曲這版本第一次聽！

[@РусланДядченко-г1п]

Прекрасно !

[@もっちりゴリラ]

中国の伝統的なメロディーと、西洋のオーケストラ音楽が見事に融合して、素晴らしい曲になってる。

[@kamolhengkiatisak1527]

So captivating. Must be the best of all her songs.

[@yskoh9022]

I’m hearing this lyrics version for the 1st time. But the tune is very soothing to the ears. It overshadows the 2 different lyrics.

[@Benjamin_Kao]

193X 194X的字幕,是從右到左~~~有趣的冷知識. 跟周璇,還有對岸愛國歌曲那高亢的歌聲,我更喜歡李香蘭這種比較渾厚聲線. 歌詞在說放下毒品改吃糖,有趣的是,糖也是另一種的毒呀.

[@stevenfast4432]

感谢上传，要是把戒烟歌也加进来做成李香兰此部电影三首歌大联唱就更好了。

[@MrAeneas]

Thanks. What a cool Christmas present.

[@ayato814]

Love this song, Candy Peddling Song from 1943, Li XiangLan appeared in the film "Eternity" 萬世流芳; (: Wàn Shì Liú Fāng) . The film was shot in Shanghai commemorating the centennial of the Opium War. A few top Chinese stars in Shanghai also appeared in the film and consequently endured the repercussions of controversy. Though the film, anti-British in nature, was a collaboration between Chinese and Japanese film companies, its anti-colonization undertone might also be interpreted as a satire of the Japanese expansion in east Asia. Despite all this, the film was a hit and Yoshiko became a national sensation. Her film theme songs with jazz/pop-like arrangements such as "Candy-Peddling Song" (賣糖歌) and "Quitting (Opium) Song" (戒煙歌) elevated her status to among the top singers in all Chinese-speaking regions in Asia overnight. Many songs recorded by Yoshiko during her Shanghai period became classics in Chinese popular music history. Other noteworthy hits include "Evening Primrose / Fragrance of the Night" (夜來香), "Ocean Bird" (海燕), "If Only" (恨不相逢未嫁時), and "Second Dream" (第二夢). By the 1940s, she had become one of the Seven great singing stars of Shanghai 七大歌星; ( )

[@all_we_need_is_Truth]

💯💯👍

[@loulok9093]

第二首歌是艺术版。

[@張大智-m2j]

（半部論語治天下；三首好歌喚漢魂！）人生既是要“活到老，學到老！”當然也同樣就是要“活到老，知到老！”了！今日筆者，於近八十歲的高齡，竟然會在網絡上，看到如今算她們的年齡，都已經是近百歲的俺“星初里眷村童年時代”的名歌星齊聚一堂大唱“賣相思”，這些“福壽全歸”的俺當年童年時代的名歌星依其齊聚一堂自左至右的座位順序，分別是韋秀嫻、姚莉、張露、潘秀瓊、張萊萊，和劉韻！韋秀嫻---唱紅“教我如何不想他”、姚莉---唱紅“賣相思”、張露---唱紅“迎春花”、潘秀瓊---唱紅“答里島”、張萊萊---唱紅“妳為什麼偷偷又摸摸”、劉韻---唱紅“妳為什麼偷偷又摸摸”、“知道不知道”！之所以在前文要説“活到老，知到老！”是因為在“星初里的童年時代”，這些名歌星，都是我們父母輩在電影銀幕上，或收音機的“國語流行歌曲”播放節目裡的“空中知己”，跟“影子情人”，您可不能説他們都素不相識，沒有情感，相反的，這個情感和記憶，確會隨父母輩年歲的增長，而思念之情，會與日俱增，甚至會把他們的影像與歌聲，一直帶到墳墓裡，甚且還會影響並召喚到他們在當年似知又非知的下一代啊！此堪稱是“半部論語治天下；三首好歌回漢魂！此些歌唱文化人，其對中華民族文化承傳的貢獻，是潛移於自然，默化於哼唱，而傳遞於永恆也！家庭在這些老流行歌，和老影片的“文化傳遞”功能上，當然深具潛移默化的大作用！隨然不一定會影響於子孫在其年少的當時，但一定會在子孫中老年時，掀起無限的澎湃思潮與行動力！在這個方面，俺就是一例！在七十一年前，我等才是七、八歲的童子，當年到煉油總廠和海軍“中山堂”看電影，村童們都會相互討論---“這部公佈的片子，有沒有鬥劍和開槍戰的？”如聽聞是“打kiss的愛情片”，就絕少會去看了！所以，當年我們的孩童一輩，對當年這些熠熠生輝、閃爍光芒的炎黃子孫、中華兒女影歌星，都是一知半解，非常陌生的，反倒對美國的槍戰影星，諸如賈里古柏、鮑伯霍伯、馬龍白蘭度、狄恩馬丁、威廉荷頓等影歌星，十分熟悉；同時，也十分沉迷於當時的什麼“三劍客”、“圓桌武士”、“日正當中”、“赤膽屠龍”等歐美影片！但是，事情確奧妙在此也，一個中國人，他會隨著年歲的增長，把異國的影歌與美國的西部槍戰文化，漸漸地淡忘，而會從童年時在父母從收音機裡播放出的“國語流行歌曲”、“國語藝術歌曲”，和“國語邊疆民謠”等等具有中華文化內涵的耳濡目染的些微記憶中，熱烈而持續地尋找其蛛絲馬跡和種種延伸性的線索！所以，這些當年熠熠生輝名歌星的美妙歌聲，和其不朽事績，是在我在四、五十歲以後“重溫舊夢”彌補起來！其以對“劉韻”此位當年閃爍生輝的名歌星來說，真的是直到我的七十七歲之年，才知道有這個人，為什麼會發現她呢？是因為在父母親留傳下來的一本“老歌本”裡，湊巧翻到了她的名字，當時我還不屑一顧的自言自語“劉韻這個人的名字，怎麼會第一次看到，一直沒聽過有這個人啊！”竟然沒想到，在以後的手機收視裡，一直碰到她，在“妳為什麼偷偷又摸摸“的影片裡，他演一位少女；在“落馬湖”影片裡，她端坐在一條筏子上，高唱著“知道不知道”，當到了土地廟，找到了“張揚”，向“張揚”説“今天好歌，就唱給您一人聽！”而我等父母親輩的“當年影歌星的粉絲”們，於近年，也在為這些“能給人類精神慰藉”的不平凡貢獻者，辦了多場聚會和演唱會，也都有劉韻女士的身影，所以，今會用“活到老，知到老”一語，來感嘆筆者能在此八十歲的老年，終於填補了自己在少年時代，在這一方面的空白啊！於此同時，也會讓人想到“所謂的人死留名，虎死留皮！”這些熠熠生輝的名影歌星，他們不但能為自己留下好名聲，還能讓自己的一生美麗身影和美妙歌聲，永垂不朽地活在一代又一代人的心目中啊！於此更會讓人體會到，美國逞勇鬥狠的“西部槍戰片”，其給人們孕育性的教育啟迪，還是遠遜於我中國敦厚人倫的溫良和順的影片與歌曲啊！我中華文化有其持久與孕育性！所以，英國哲學家李約瑟博士會説：“二十一世紀，是中國人的世紀！”（半部論語治天下；三首好歌喚漢魂！）...

[@khip175]

敦厚人倫 温良和顺 西风東渐 历史長流 时代巨輪 侵蚀国魂 後世不再 随风而逝 大智歸愚

[@holstnaumann]

信奉或不信服中国人民，当时担任中国电视台首席执行官的河北永正（Nagamasa Kawakita）消除了日本军方和政府的干预， 我拍了电影。 这个“ Manse Ryuho”也一样。 乍看之下，这似乎是一部反英电影，但可以放到这部电影中的英国人当时是日本的军事国家。 这部电影是抗日电影。

[@holstnaumann]

当时的日本被世界所误解，作为法西斯国家，其言论自由度超过德国或意大利。 （尽管它是相对的。） 西欧国家只有一些社会学家知道这一点。 我也看过这部电影中的周恩来和毛泽东。

[@070272kt]

Li Xiangran, who gained popularity among the Chinese people with the huge hit of `Eternity (1943 film)'', returned from Shanghai to live with her parents in Beijing and held a press conference at a Beijing hotel. She had planned to confess that she was Japanese at this press conference, but when she consulted with Lee, an acquaintance of her father's and the Chairman of the Press Invitation Committee, he said, ``If you confess that you are Japanese, the people will... "Don't do it because you'll be disappointed," he was advised, and he was discouraged from confessing his feelings. As the press conference drew to a close, a young Chinese newspaper reporter stood up and said, ``I want to know the real reason why you appeared in Japanese movies like ``White Lantern'' and ``China Night.'' "Not only did that movie not understand China, it was also insulting."

[@jackychan7260]

毒品為害人生,現代人為何重覆犯錯？

[@xuewang4551]

利润太高

[@KIM_HS_0228]

因為人生太苦 沒有毒品那種強烈的藥效就撐不住

[@yangmohsin2053]

I love her soprano voice and approach. Dimash Kedeibergen should try to perform this song.

[@fumin8]

I think so, too. ''Ikanaide'' Dimash sang was the theme song for the Japanese TV drama ''さよなら 李香蘭 Farewell, Ri Koran(Li Xianlan)''. Li Xianlan is this singer.

[@口頭内侍]

字幕が❓ 右から左だったw

[@茛苕葉]

对，中国古代一直这样

[@ChangShen]

Is it wrong that this makes me want to sit back and smoke some good opium?

[@banzairalf]

No i have the same feeling

[@rockpaper3041]

李香蘭の、天女の様な素晴らしい歌声に消されているが、歌詞は結構怖いね。

[@kokoroyamamoto7226]

阿片中毒って、こんな感じかぁ〜そりゃ戦争になるわな

[@茛苕葉]

1:24看了几遍字幕才看出“蝦”是虾。

[@loulok9093]

对，广东人叫:虾公咁样。

[@khip175]

繁简融合 时间可改变一切

[@61zulu77]

李香蘭 was Japanese and a Japanese saboteur during the War, was tried for war crime after the war but found not guilty

[@ayato814]

Yes, Li XiangLan was mostly Japanese by birth Yoshiko Yamaguchi, But emotionally, intellectually, and culturally, whether she was more Chinese, or rather Manchurian (a combination of 5 different races) is a legitimate historical question open to examination. As she herself indicated at the age of 84, if it had been possible she might well have considered herself a citizen of Manchuria when she went back to visit. So to refer to her simply as 'being Japanese' is intellectually lazy and inaccurate, which then makes it easy to accuse her of 'masquerading as a Chinese'. It also can be considered an attempt to limit her life accomplishments, including becoming part of everything she admired throughout the human race and was raised with the understanding that China was her "home country and Japan was her ancestral country", as she told the Washington Post in 1991. She would also say diplomatically that "China was her motherland and Japan was her fatherland", and she wanted no conflicts between them. More cryptically, XiangLan stated "she was a Chinese built by Japanese hands" Her grandfather was a was a Sinologist, greatly interested in China and studying Chinese so his father was also interested in all things Chinese and studied it in Peking. he was teaching Chinese language and culture to employees (and to his kindergarten-aged daughter). She went to Japanese girls school until 2nd grade, then transferred to a Chinese girl's school." Also, Growing up she was raised by 2 great Chinese families, Blood Brothers of her father, who Chinese custom adopted her.

[@ayato814]

Li XiangLan was never accused of being a saboteur but a Chinese traitor for making pro-Japanese films as a innocent naive teen who later apologized to Chinese reporters and spent many sleepless nights from guilt. Also she hardly looks Japanese, She clearly reveals some genetic influence other than traditional Japanese. She has a natural curl in her hair, her nose is western, and her eyes are big and round . I think anyone would agree that there are probably Russian or French. So she didn't look like her parents who both looked typical Japanese with round face and tight eyes. Growing up she was raised by 2 great Chinese families, Blood Brothers of her father, who Chinese custom adopted her. old General Li Jichun 李际春 is enjoying his senior years following a violent past fighting in north-eastern China, and he treats Yoshiko as though she were his own daughter. With her father blessing and in an elaborate formal ceremony, the Li family adopts Yoshiko and gives her the Chinese name 李香蘭 : Lǐ Xiāng Lán 李香蘭 the family name of Li and Xiang Lan (meaning fragrant orchid).These were not the only families from different cultures coming together, adopting, inter-marrying, and taking steps to try and ensure their future. There seems to have been more of a 'camaraderie' between peoples than you see in today's society; it was normal to 'adopt' and accept other people once the relationship became close enough to formalize. many Japanese and Chinese at this time functioned in a cultural mix encompassing business, education, politics, military, etc. Prominent Chinese at the time went to complete their studies in Japan, while many Japanese intellectuals looked to China for ancient wisdom. It's a sad commentary on modernity and all it's technological wonders, that one of it's effects is the insularity and rigidity between nation-states that we observe today. in 1932 was also the first year that the young XiangLan began to understand the tensions beneath the surface in her new nation. A fire at a nearby open-pit coal mine resulted in an excessively brutal reprisal by the Japanese military police against locals suspected of being members of the Chinese resistance, witnessed first-hand by the young girl from her bedroom window, with the poplar-lined streets “…changing from green to red, the red of gunfire, the color of the conflagration that night, the color of the earth at the interrogation square, and the color of blood gushing from the head coolie’s forehead.”, After her father was arrested by Japanese secret police for collaboration, the Yamaguchi family moves into a large 3-story house inside the Li family compound for protection. In return, the family cares for the second wife of Li (she has bound-feet in accord with the old practice in China). XiangLan has a great affection for this hobbling lady "whose spoken Mandarin sounded like singing" and she "learns Mandarin from her from morning till night". XiangLan would also help madame Li to massage her sore feet and they would go watch Chinese movies giving XiangLan her 1st taste in live Chinese music. The General took XiangLan out to bbq pork lunch often. XiangLan recalls her May 1934 train-trip from Mukden to Beijing; her father bought her a ticket at the Mukden Station and says "You'll be living as a Chinese person from now on, so get used to it." Of course, she thought he would be travelling with her, but due to some business foul-up of some kind, she found herself travelling alone to her 2nd adopted Chinese family! She recounts the harrowing night-journey by train from Fengtian to Beijing, a distance of 470 miles: a lone 14yr old girl sat not in the soft-seat section reserved for foreigners and members of the upper class, but in the 'hard-seats' (the common-folk section), pretending to be Chinese due to the anti-Japanese sentiment, in the midst of pouring rain, lightning, howling wind, and worries about being robbed or attacked by bandits or guerrillas plus she had hidden a large amount of money for her Chinese family and was totally terrified! of it being confiscated or robbed. She tells about a harrowing slow crossing over a long railroad bridge barely higher than the flooded river below. No Japanese would take such a long trip through bandit territory unless they were military men, and here was this little sparrow of a girl, at one point hiding in the train's bathroom from the Conductor. The 'hard seat' section of the train was filled with Chinese farmer people, chickens, other animals, and the stench of urine was thick in the air. Talk about having to grow up fast and think on your feet ! The second influential 'blood-brother' (who will become her sponsor and guardian in Peking) is named Pan Yugui (潘毓桂) Mayor of Tianjin . The Pan family adopts Yoshiko in 1934 and names her Pan Shuhua (the name she uses while attending Peking Yijiao Girls School 北京 一角 中学 ) and is forced to totally immerse herself in Mandarin. She is befriended by two of her adoptive sisters, and they all attend school and take various lessons together. Mr. Pan, born Chinese, is another 'cross-cultural' person, having attended Japan's Waseda University, and he is by no means the only example of such people who due to circumstance, traveled easily between and understood both cultures. In the case of Pan Yugui, he was skillful enough to rise to very powerful positions in Northeastern China while working (some would say collaborating) with the Japanese (and was able to avoid execution after the war because of various 'good-works' he accomplished for Chinese people as well). Along with Pan Shuhua's duties as Mr. Pan's helper/secretary, she had other chores to perform, one of which was preparing opium for Mr. Pan and his guests. This involved heating a portion of thick brownish syrup in a small ivory bowl, congealing it on a long needle, and then reheating it to create a nice 'smoke' which was then inhaled from a long opium pipe. When Yoshiko grew older and "looked back on her Beijing years", she was "surprised that such important people like Pan had turned into habitual abusers of opium." I'm sure she made use of such experiences when it came time to make her famous "Eternity" film whose plotline revolves around the pernicious effects of opium, and indeed, one of her most famous songs is called the "Quitting Opium Song." While with the Pan family, Yoshiko conveys an interesting exchange with her adoptive mother concerning her 'Japanese habits'. One day Madame Pan takes her aside and gives her some advice: "First, stop smiling so much when there is nothing to smile about! (the Japanese custom is for a woman to smile constantly in order to be polite and 'charming'). The Chinese call this "selling one's smile" and it is looked upon with contempt. Second, stop bowing so much! "it's all right to nod your head slightly, but stop making such deep bows as the Japanese do. We regard that as servile behavior." Yoshiko takes this advice to heart, and says that her later experiences in Europe and the United States confirmed people's mannerisms were similar to those of China. The interesting thing about the above is that it shows how Madame Pan takes genuine care of her adopted daughter, and it gives us an insight into a very human situation.

[@ayato814]

This is yet another example of how Yoshiko came to prefer Chinese over Japanese social mores; the Japanese were constricting, filled with various duties which had to be honored, whereas the Chinese were more free and easy. Take the example of simply laughing at something one finds funny: the Japanese girl will 'politely' cover her mouth, whereas the Chinese will more often laugh out loud as western people do. However, this did cause some problems when Yoshiko would return home to visit her parents and her natural mother Aiko would bemoan how "the big city life had corrupted" her Japanese etiquette. It's here we get some insight into how difficult a task it was for Yoshiko to actually 'become Chinese', because it meant 'losing her Japanese character'. This would not have been any great problem if both her "parents" (ie, Japan and China) had not been at war with one another. So she Became more Chinese then Japanese. She was living with the Pan family in Peking as a Chinese girl and attending what we would now call prep 'high school' (but in terms of rigorous study our college level) in Peking. She was "eating, sleeping, and dreaming in Chinese" according to her memoir, and she specifically says "she was in the process of transforming herself into a person of indeterminate ethnic background" as a matter of choice and also survival. While in this school, Yoshiko's Mandarin is so perfect that her classmates have no idea about her Japanese up-bringing and assume she is 'a Peking home girl'. And Yoshiko does not reveal anything to them either because "well, in that era, there was a vigorous anti-Japanese movement and so I tried to avoid being identified as Japanese completely". Actually, this is such an understatement of Peking social conditions at this time! It would've been absolutely dangerous to be revealed as Japanese, to the extent of being stoned or beaten to death since the prevailing anti-Japanese feelings were running so high! It is not accurate to say about her above controversial films (as some detractors have) that she was 'masquerading as a Chinese woman' and 'hiding her true nationality'. An actress who speaks both Chinese and Japanese perfectly in the same movie is not hiding anything to astute observers. Her memoir makes clear she enjoyed becoming Chinese in spirit, loved the culture, and wore the qipao dress (or cheongsam) as a Chinese woman would. To those who can hear, her reality was much more complex; she was a true "born and bred in Manchuria" young woman, who did not hide her love of both Japan and China. In a certain sense, she was not hiding, but revealing herself in those 'continental trilogy' films. I believe a historical perspective will be kinder to her than current critics are. going to japan for the 1st time , she got yelled at by the Japanese custom agent for wearing the qipao dress (or cheongsam) and talking Japanese with a Chinese accent after seeing her Japanese passport. The officer inspecting the passports of the new arrivals gave her a humiliating tongue-lashing for being dressed in a Chankoro dress and speaking in Chinese language. "Don't you know that we Japanese are the superior people? Aren't you ashamed to be wearing third-rate Chink clothes and speaking Chinese as you do? implying she was a traitor to Japan. In the US I'm still treated as a foreigner cuz of my yellow face.

[@rommelunser6019]

@@ayato814　I agree with it totally. It is not good to judge her just as traitor for both countries. she just had two countries as her 'origin', there was no choice. if she were just traitor, she never became member of parliament nor tried to strive to establish friendly relations between two countries. I am happy to read this article, which seems to understand who she was. By the way, about 2 years ago, Sankei News Papers article taught, she told her ４generations ancestor on the mother's side was French.

[@micheltessier1114]

@@ayato814 Are you the auhtor of this excellent blog about her ...if not you might have had a deep look in it. You don't have to answer and I'm totally by your side... she was a great person, far above border and nationality.

[@jadel9967]

歌是好歌，可惜出自一部崇尚日本皇军的电影。

[@a75567556]

哪有????你真的有看過嗎

[@jadel9967]

@@a75567556 看过，画质真的很渣，很早以前看的了，不记得在哪里找到的。

[@a75567556]

你從哪個段落看出他崇尚日本皇軍?

[@a75567556]

我想您應該把春江遺恨和萬世流芳弄混了吧…

[@jadel9967]

@@a75567556 对东亚共荣圈的肯定，可能比较隐晦。

[@荒川春美-t6o]

当時、日本が戦禍状態にあるなか、阿片が手に入るなんて､当時の中国も快楽的な国だったんですね。ビックリです…

[@momomo3482]

中国は阿片で亡国の危機に陥ったわけですから、こんなコメントは慎むべきです。 日本（満州国、関東軍）も阿片専売制で莫大な利益を上げていました。 もちろん、他の列強（英国、フランス、オランダ等）も各植民地で同じように麻薬による支配と搾取を行っていました。中国にとっては屈辱的な歴史です。

[@kazutakakuji1596]

これは阿片戦争の時代を描いた映画ですよ。

[@張大智-m2j]

（半部論語治天下；三首好歌喚漢魂！）人生既是要“活到老，學到老！”當然也同樣就是要“活到老，知到老！”了！今日筆者，於近八十歲的高齡，竟然會在網絡上，看到如今算她們的年齡，都已經是近百歲的俺“星初里眷村童年時代”的名歌星齊聚一堂大唱“賣相思”，這些“福壽全歸”的俺當年童年時代的名歌星依其齊聚一堂自左至右的座位順序，分別是韋秀嫻、姚莉、張露、潘秀瓊、張萊萊，和劉韻！韋秀嫻---唱紅“教我如何不想他”、姚莉---唱紅“賣相思”、張露---唱紅“迎春花”、潘秀瓊---唱紅“答里島”、張萊萊---唱紅“妳為什麼偷偷又摸摸”、劉韻---唱紅“妳為什麼偷偷又摸摸”、“知道不知道”！之所以在前文要説“活到老，知到老！”是因為在“星初里的童年時代”，這些名歌星，都是我們父母輩在電影銀幕上，或收音機的“國語流行歌曲”播放節目裡的“空中知己”，跟“影子情人”，您可不能説他們都素不相識，沒有情感，相反的，這個情感和記憶，確會隨父母輩年歲的增長，而思念之情，會與日俱增，甚至會把他們的影像與歌聲，一直帶到墳墓裡，甚且還會影響並召喚到他們在當年似知又非知的下一代啊！此堪稱是“半部論語治天下；三首好歌回漢魂！此些歌唱文化人，其對中華民族文化承傳的貢獻，是潛移於自然，默化於哼唱，而傳遞於永恆也！家庭在這些老流行歌，和老影片的“文化傳遞”功能上，當然深具潛移默化的大作用！隨然不一定會影響於子孫在其年少的當時，但一定會在子孫中老年時，掀起無限的澎湃思潮與行動力！在這個方面，俺就是一例！在七十一年前，我等才是七、八歲的童子，當年到煉油總廠和海軍“中山堂”看電影，村童們都會相互討論---“這部公佈的片子，有沒有鬥劍和開槍戰的？”如聽聞是“打kiss的愛情片”，就絕少會去看了！所以，當年我們的孩童一輩，對當年這些熠熠生輝、閃爍光芒的炎黃子孫、中華兒女影歌星，都是一知半解，非常陌生的，反倒對美國的槍戰影星，諸如賈里古柏、鮑伯霍伯、馬龍白蘭度、狄恩馬丁、威廉荷頓等影歌星，十分熟悉；同時，也十分沉迷於當時的什麼“三劍客”、“圓桌武士”、“日正當中”、“赤膽屠龍”等歐美影片！但是，事情確奧妙在此也，一個中國人，他會隨著年歲的增長，把異國的影歌與美國的西部槍戰文化，漸漸地淡忘，而會從童年時在父母從收音機裡播放出的“國語流行歌曲”、“國語藝術歌曲”，和“國語邊疆民謠”等等具有中華文化內涵的耳濡目染的些微記憶中，熱烈而持續地尋找其蛛絲馬跡和種種延伸性的線索！所以，這些當年熠熠生輝名歌星的美妙歌聲，和其不朽事績，是在我在四、五十歲以後“重溫舊夢”彌補起來！其以對“劉韻”此位當年閃爍生輝的名歌星來說，真的是直到我的七十七歲之年，才知道有這個人，為什麼會發現她呢？是因為在父母親留傳下來的一本“老歌本”裡，湊巧翻到了她的名字，當時我還不屑一顧的自言自語“劉韻這個人的名字，怎麼會第一次看到，一直沒聽過有這個人啊！”竟然沒想到，在以後的手機收視裡，一直碰到她，在“妳為什麼偷偷又摸摸“的影片裡，他演一位少女；在“落馬湖”影片裡，她端坐在一條筏子上，高唱著“知道不知道”，當到了土地廟，找到了“張揚”，向“張揚”説“今天好歌，就唱給您一人聽！”而我等父母親輩的“當年影歌星的粉絲”們，於近年，也在為這些“能給人類精神慰藉”的不平凡貢獻者，辦了多場聚會和演唱會，也都有劉韻女士的身影，所以，今會用“活到老，知到老”一語，來感嘆筆者能在此八十歲的老年，終於填補了自己在少年時代，在這一方面的空白啊！於此同時，也會讓人想到“所謂的人死留名，虎死留皮！”這些熠熠生輝的名影歌星，他們不但能為自己留下好名聲，還能讓自己的一生美麗身影和美妙歌聲，永垂不朽地活在一代又一代人的心目中啊！於此更會讓人體會到，美國逞勇鬥狠的“西部槍戰片”，其給人們孕育性的教育啟迪，還是遠遜於我中國敦厚人倫的溫良和順的影片與歌曲啊！我中華文化有其持久與孕育性！所以，英國哲學家李約瑟博士會説：“二十一世紀，是中國人的世紀！”（半部論語治天下；三首好歌喚漢魂！）...

[@ctlau4518]

很好的文章🙏