Titlebook: It’s My Party; Tat Ming Pair and th Yiu Fai Chow,Jeroen de Kloet,Leonie Schmidt Book‘‘‘‘‘‘‘‘ 2024 The Editor(s) (if applicable) and The Aut

meditation

可行

發(fā)誓放棄

extinguish

Forbidden Love, Forgetting Gender,at when spoken, the Chinese language makes no distinction between “he” or “she,” thus allowing for more gender ambivalence. This ambivalence extents to sexuality; in their campy, extravagant performances, the duo exudes a queer aesthetics, without ever coming out as such—what Helen Leung calls Hong

STERN

outrage

,1?+?1?=??,itle is not only an admittedly self-indulgent twist of a title of Tat Ming’s song “1+4=14”; it necessitates thinking on how to discuss the legacy of music practitioners in general. Shelving the titular reference to 2+2=5, the Orwellian dystopian caution of brainwashing and thought control, we are wo

拋媚眼

Inferior

Documenting the Past, Sustaining the Present, Making the Future,n music? We will then expand our ideas of writing pop and politics in tandem with writing the past, the present and the future—interlaced with a colonial and post-colonial account of Hong Kong, a rally to resilience and activism, and a dialogue with hope and future, all very makeshift. After outlini

A精確的

frivolous