關於 make an excuse中文 ，我們在網路上蒐集到這些相關的討論、資訊與評價

用 #英文 講 #下台階: #an #out
#a #climbdown
—————
可有聽過這句話？「人生在世不外處理三面：人面、場面及情面」。一句過，也就是面子問題。
於是，見到有人困於尷尬處境，要幫他挽回面子，可以給他一個下台階，讓他脫困。

下台階，英文怎麼說呢？有人會直譯 bottom bench、或 down the steps，當然都不對。也有意譯：
•Try to make the situation less embarrassing. 嘗試令情况沒那麼尷尬。
但這樣形容不夠完善，因為可以純粹是打個哈哈打圓場，缺乏下台階包含的實質意思。

另有一句：
•With diplomatic skill, the man sitting opposite had offered him a way out. 坐在他對面的男子，以外交手腕給他一個下台階。
A way out 出路，亦即我們常說的 exit strategy 離場策略。

To offer A WAY OUT，有更簡單的講法，是 to give AN OUT，就直接等於「給人一個下台階」。

不要以為 an out 只不過是 a way out 的縮短版，事實是 an out 本身就有清晰的字典解釋：
An excuse or reason for avoiding an unpleasant situation. 避免不快場面的藉口，或理由。

•We must arrange the negotiations so we have an out if we need it. 我們必須搞好談判安排，以備有需要時體面地離場。也就是下台階。
•I honestly don't want to go to that gathering, I wish I have an out. 我真的不想去那個聚會。我希望我有個好的藉口。
•Our suggestion gave her an out, if she was willing to take it. 我們的建議給了她下台階，還看她是否願意接受。

也有對話作例：
•甲：Thanks much for your help just now. 謝謝你剛才幫忙。
乙：Glad to give an out. 樂意提供一個下台階。
也即是說，既可向人提供 give an out；亦可以自給 have an out，自找出路。

要留意的是，英文的 an out 多純粹指避開尷尬不快的場面，回看中文下台階牽涉的「面子」成分，就重許多了。

或問，可否亦用 offer a climb-down？也可以。Climb-down 指往下爬，意境更見清晰。最大的分別，是一般指已見敗局，自行鳴金收兵：a retreat，as from an indefensible opinion or position 一己之見站不住腳而退場。

看這句英國新聞標題：
Coronavirus laws may not go ahead — as PM mulls a climbdown. 防疫法例或未能通過——首相（Prime Minister）考慮自找下台階。//

我老婆在台北市新樂園藝術空間辦個展！這部影片內容是她給大家看些作品和介紹展覽的主題。開幕茶會時我要表演！歡迎大家來跟我們玩！My wife is having a solo exhibition in Taipei at SLY art space next November. In this video she is talking in Chinese about some of her paintings and introducing the theme of the exhibition. I'll be playing at the opening! You are all welcome to come and join us! ;)

風夜狂想曲 Rhapsody on a Windy Night
Marina Burana solo exhibition 明蓮花個展
2018.11.03 － 2018.11.25
Opening 開幕茶會：11.03 (六) 17:00
Venue 展覽地點：新樂園藝術空間 SLY art space
Address 地址：台北市中山區中山北路二段11巷15-2號
No. 15-2, Lane 11, Section 2, Zhong Shan N. Rd., Zhongshan District, Taipei, Taiwan.

https://www.facebook.com/marinaburana/videos/266696694051263/

聽得懂中文：看影片！
This video is in Chinese. For English: read below! :)
Este video está en chino. Si de verdad es muy "chino básico": acá más abajo pueden leer en español! ;)
*
Hello everyone! This little video is in Chinese. It's an invitation to my exhibition next November. In it, I talk a little bit about the paintings and this exhibition in particular. “Rhapsody on a Windy Night” is the title of a poem by T.S. Eliot. I chose this title as the name of my exhibition because I was inspired by this piece to paint this series of paintings. The poem talks about a person wandering through the night, lost in thought, a mere witness and also part of the world around him. It describes a struggle between the most transient of things, memory, and the physicality of existence, the material world. I translated this struggle into this series of paintings all dealing with being underwater as an analogy of being trapped in our memories. Their common thread is the flow of changing color, the intermingling of shapes and movement, just like memory, which "throws up high and dry a crowd of twisted things". This exhibition is very dear to me. The opening will be special since my husband, who is a musician, will perform for us and this is the third exhibition my baby boy will be attending (he attended the first one when in the womb). Also, I will make chocolate chip cookies! For me, every exhibition is a communal activity, an excuse to be together, to create bonds...so please come join us and let's have fun together!
*
Hola a todos! Este video está en chino. Es una invitación a mi exhibición de noviembre. En él hablo un poco de las pinturas y de la exhibición en sí. "Rapsodia de una noche de viento" es el título de un poema de T.S. Eliot que fue la fuente de inspiración para hacer estas pinturas. En el poema se presenta a una persona que deambula por la noche, perdida en sus pensamientos, un mero testigo de lo que ocurre a su alrededor y, a la vez, parte fundamental del entramado del mundo. El poema describe una lucha entre la memoria -condenada a escurrirse, transformarse, desaparecer- y lo físico de la existencia, el mundo material. Mi trabajo personal fue traducir esa lucha en esta serie de pinturas que tratan el tema de la vida, el movimiento bajo el agua como una analogía de estar atrapado en la memoria. El denominador común es el fluir del color, el entrelazado de formas y de movimiento, como la memoria, que "arroja y deja en seco una multitud de cosas retorcidas". Esta es una exhibición muy querida para mí. Mi marido va a tocar el piano en la apertura y mi bebito de 9 meses estará allí (esta es su tercera exhibición, a la primera asistió desde la panza). Va a ser algo muy familiar, muy cálido; hasta haré galletitas con chips de chocolate para todos! Para mí, cada exhibición es una forma de crear comunidad, una excusa para generar lazos humanos, así que los que estén en Taipei, bienvenidísimos a jugar un rato con nosotros!
-\-\-\-\-
風夜狂想曲 Rhapsody on a Windy Night
Marina Burana solo exhibition 明蓮花個展
2018.11.03 － 2018.11.25
Opening 茶會：11.03 (六) 17:00
Venue 展覽地點：新樂園藝術空間 SLY art space
Address 地址：台北市中山區中山北路二段11巷15-2號
No. 15-2, Lane 11, Section 2, Zhong Shan N. Rd., Zhongshan District, Taipei, Taiwan.

我哥之前因為陪朋友去考街頭藝人證照看到一些評審對街頭藝人的態度發聲 而上了新聞。我覺得他很勇敢的去做了一件對的事。

希望政府不會時間過了就不關心這些事情。希望我們都可以更客觀的去看藝術，尊重不一樣藝術和藝術家。我覺得以下我哥說的非常好，想跟大家分享。

想知道之前的事可看新聞連結：
http://www.storm.mg/article/270611

親愛的大家：


我想感謝所有支持我、以及給予我鼓勵意見的每個人；同時也要感謝熱情關注此事、協助揭露街頭表演者們應試處境問題的許多媒體與記者們。我很抱歉這些日子我保持著沉默—僅有一個原因：我並不希望這件事情，在台北市文化局正式給予溝通管道之前就發展到無法控制的程度；我很抱歉遲至今日我才發表這篇文章，但我確實需要一些時間來沉澱彙整我心中的感受和想法，而我也需要時間及一些協助使這篇文章能夠以中文來呈現。

在我採取更進一步的行動之前，我其實未曾預料到這件事情在媒體與社交媒體上的感染力如此龐大；我受寵若驚的感動能夠聽見發自你們每個人內心的聲音，而我也著實感到抱歉，面對著如潮水般湧來的各種訊息，似乎超過我所能負荷。請原諒我未能夠逐ㄧ去回應每個人的訊息，但我真的想讓你們知道，你們每ㄧ個人都讓我感到不可思議、帶給我深深的感動及感謝。

我不認為自己是一個勇敢的人，我也自知自己並非街頭藝人的代表或者發言人。但我是一個藝術創作者，一個表演藝術家，一個教育者，而最重要的，我身為一個 "人"。我的家人、朋友及師長們，總是教導我應該為正確的事情挺身而出。

我明白事情有時候總是不像我們所期待的永遠是非分明。但發生在5月21日星期天的街頭藝人評審事件，是對藝術群體的一種「極不尊重」。不論反面評論者所提出的藉口、理由或是文化差異等緣由，這些應試的表演者們，很顯然是被視為次等公民，或者（經驗與技能不夠成熟？）的學生等級。而與此同時，同樣非常清晰的是，街頭藝人評審制度或許是立意良善，但其審查過程的執行層面，卻是嚴重缺失連連。

藝術並非一種特權的這件事情如今已完全被遺忘。台北市文化局本應提倡所有具有文化及藝術可能性的事情，但它並未做到這ㄧ點。很顯然的，一個「對表演者的基本尊重」並不存在 — 許多表演者都如此感覺，有些人則深感受傷。

就算是得到全世界所有理應被如此對待的原因及理由，他們仍然感受到自己的不被尊重；因為這就是事實。

再一次的我想強調我並不是認定台北市文化局與該評審是一個「壞人」，我想強調的只是這個評審街頭藝人表演的執行環節，究竟有多麼的不妥當與糟糕。

我試著回應一個反面評論者所提到的觀點：若街頭藝人證照是ㄧ場「考試」、考試就會有考試的規則。評審無需與應試者惺惺相惜，掉頭就走是因為模擬街頭現場環境以及時間到了。再一次的，在我描述現場狀況的前ㄧ篇文章中，大家或許還記憶猶新：許多表演者根本沒有完整的短至一分半鐘的時間可以好好表演，遑論是超過2-5分鐘的時間限制了。

而這樣的回應是否也指出了另一個值得我們去思考的問題： 為什麼我們會將它視為一種「考試」，而不是ㄧ個表演者的「試鏡」呢？

首先，這些表演者們並不是學生。事實上，許多人更可能是一個專業的音樂家、舞者、或者正從事著表演藝術的人。當然，我不否認也可能會有些正在學習中的族群。但，最重要的是，當他們「在屬於他們應得的演出時間與機會裡 (而且還是付費才有的），他們就是ㄧ個真正的表演者。」

他們不應該被看待成一個不成熟的學生或者次等的公民。而就算一個人擁有著學生的身分，這個身分也不應該影響或侷限他或她，作為一個藝術創作者的身分及所有可能性。「藝術家」並非是透過一個人的職業身分或者社會地位來定義的。

所謂「考試」的這個字眼指涉著ㄧ個學術教育機構，而我們都知道台北市文化局所應該扮演的角色與作用，並非一個學術性的教育機構，也並非是用來教育藝術創作者們該知道些什麼？該怎麼表現？藝術教育及審美的養成也從來不是在追求填鴨式教育裡的ㄧ個標準答案。將街頭藝人的徵選視為「考試」的視角，或許本身就有待商榷。

評審的場所是在一個公共場合，許多居民與遊客都會圍觀欣賞著表演，其中有些人或許不了解藝術；因而這些人也許會將在場的評審們，視做為某種藝術的衡量標準；試問，當這些人看到評審對待表演藝術家的行為與態度，當他們看到評審總是任意打斷演出，並且掉頭就走不帶ㄧ句回應時，人們日後還能懂得尊重街頭表演藝術家嗎？

沒錯，我們都知道這是一場「考試」，我們也很清楚這些手上拿著計分表的人們就是評審；因此，事實上評審們根本無需「模擬」街頭現場那些會隨時走掉的陌生人們。

這些評審以及相關單位的人員，理應提倡藝術，並且作為ㄧ種示範與典範，讓普羅大眾都能夠看到該如何去欣賞ㄧ場演出。一個表演者並不會因為他選擇在街頭表演，就因此比不上一個在大舞台演出的藝術家。我自己就曾在世界各地超過百個不同的絢麗舞台演出過，但我仍然汗顏自己可能也不比這些街頭藝術家們來的優秀。

我曾擔任過ㄧ些國際比賽的評審，我也曾舉辦過專業的試鏡；我從來沒有聽過關於尊敬一個人的這件簡單事情，會需要在時間充裕的前提下才能夠發生。

如果一點表情會洩漏出評審成績的好惡，其實也真的可以不用笑或是無需在表演結束時說一聲謝謝。而評審也真的「不需要」與考證照的街頭藝人感覺惺惺相惜，因為這些都不是我想討論的重點。

我在意的是，表演者所需要的，只不過就是一個對人與對一個演出者的「基本尊重」而已。這樣的尊重存在與否，如人飲水冷暖自知，在人與人的接觸中就能直接感受的到，著實無需仰賴規則或語言的贅述。

我作為一個藝術創作者和教育者，穿梭各地工作超過15年的職業生涯經驗，或許會因此被視為一個外國人，但我的身分就是一個台灣公民。身為一個39歲的成年人，我可以分辨何謂尊重，而表達尊重甚至不需要浪費到任何一秒鐘。如果一個人會需要至少五分鐘以上的充足時間才有可能表達出對另外一個個體的尊重的話，那他可能需要重新再思考一下，尊重對他而言意謂著什麼？


再度回應一位也曾擔任過街頭藝人評審的老師所提出來「中途要求更換曲目或要求表演者改唱另ㄧ種語言的歌」的理由，是因為評審們不會希望一個街頭藝人一整年下來只會唱同一種語言、甚至是只唱同ㄧ首歌。

我所思考的是當一個街頭藝人遵守規定，付費且努力準備去應試時，他ㄧ定會準備了符合完整時間長度的、同時也是自己最擅長、最喜歡或者是最期待能被看見的那些內容；表演一首歌曲或者ㄧ種風格並不代表他就只會唱那ㄧ首歌；而且就算是當做他只會唱ㄧ種語言、ㄧ首歌，如果他能把這首歌反覆演繹的淋漓盡致時, 又有什麼不好呢？

難道我們不曾注意到百老匯的音樂劇就是同樣的那幾部，而獅子王也已經在舞台上展演了20年了嗎？許多同樣內容重複的音樂劇票房始終歷久不衰，持續帶給觀眾們心靈的滿足。而人氣歌手愛黛兒從頭到尾也只會用英文唱歌，而且幾乎都是類似的曲風，我們可曾在乎過她有沒有能力去唱中文歌呢？

ㄧ部舞蹈作品光在荷蘭本土就能有至少五十場大大小小的演出機會。但在台灣，ㄧ部作品如果能有五個場次的演出，可能已經算是很長壽了。這樣的環境迫使藝術創作者們必須不斷快速的「生產新作」，而將舊有積累的作品與經驗拋在腦後。就所有對於藝術的挹注與投資（不僅僅是金錢）來說，這樣的情況對藝術的生產是ㄧ種過度消耗與浪費，也並未真正教育到民眾如何去看待藝術的價值。

而最終，這樣的評審過程與態度並不僅僅是對街頭表演藝術者的不尊重，同時也是對於藝術的不尊重。

台北市文化局星期ㄧ曾經聯絡過我，親切向我表示將與我進一步聯絡並討論這件事情；他們要求我先將評審的照片拿掉—我答應取下照片，但前提是他們必須確實誠意的允諾一個面對面的溝通。這幾天我也暫時迴避了一些報導媒體的詢問（還請大家見諒）只因我衷心希望能先與台北市文化局及該評審當面談一談。我ㄧ直等待，但我也持續的看到了相關機構或人員回應給媒體的諸多理由與藉口； 自從將照片從網路上取下之後，直到今日都沒有人再跟我連繫過。慢慢的我突然明白星期一的那通電話，或許純粹只是ㄧ個希望我能將照片取下的操作手法，而並非真的試圖去了解整個經過以及解決問題。我對這個本應提倡藝術與文化的機構感到無比失望。

我知道我並非一個公眾人物，而我也不能代表所有想要考取街頭藝人執照的表演者們；自從我的臉書網頁訊息爆炸之後，我就不斷的在思考這件事情，我反覆思考自己是否該繼續爭執此事，這似乎並非與我切身相關的事情，然而，身為一個藝術教育者，我卻又感受到深切的責任。

經過反覆的思考以及與朋友們的討論，我意識到不論我們的展演形式如何不同，我們同樣都是表演藝術群體中的一分子。台北市文化局最後很可能將持續充耳不聞，而這位被我所抱怨的評審也可能繼續做他這些年來ㄧ直在做的事—用他ㄧ貫的態度。除非他們願意傾聽與改變，否則我無法改變任何人。

我真心相信有些事情值得改善，也可以改善。我必須強調我並不是想要攻擊或羞辱任何人。我只希望能有機會去討論如何讓審查的過程變的更適當。我看到台灣有許多優秀的藝術家，但環境對藝術和藝術家的不尊重不但打擊同時也限制了他們的發展；更遺憾的是，這一切可能是在許多疏忽之中造就出來的環境。

許多評審過程如果能夠在尊重藝術的前提之下思考和進行，事情或許會截然不同。
只要有一點點可能去拋開面子的問題，或許也就有機會明嘹我們所期待的結果其實是一樣的。

事實上我之所以說了這麼冗長的話語，並非是要不尊敬所謂的評審或師長，而正是因為我對藝術的尊敬，使我更深切的關注身為一個教育者所代表的意義。今天我看到了街頭表演藝術家是如何被不當的對待，而很顯然的我也不會是唯一的目擊者。某個程度上我的聲音似乎被放大了，但我也知道我的聲音並不是唯一的一個，我是許許多多的聲音中的ㄧ份子。

William

---------

Dear All,

I would like to thank you for all the encouraging messages and supportive comments. I would also like to thank all the journalists and reporters who are passionate about this issue and are so willing to expose the problem that was faced by these street performers. I am sorry that I have been quiet but with a reason: I don’t want it to get much bigger than it already was until I talked to the Taipei Cultural Affair. I apologize that it took me a while, but I needed some time to gather my thoughts and help to translate my writing into Chinese.

Before I go on any further, I never expected my story would go viral on the media and the social media. I am humbled and touched to hear from many of you. All the messages I’ve received have been overwhelming. I am not able to reply to all of them, but I’d like you to know that I am honored, thankful, and touched by every single one of them.

I do not consider myself as a brave person, nor do I consider myself a representative for the street performers. BUT I am an artist, a performer, educator, and most of all I am a human being.I have always been taught to stand for what’s right by my family, friends and mentors.

I understand things are not as black and white as we all wish sometimes. However, what happened on Sunday 21st of May was a disgrace to the art community. Regardless of all the excuses that were given or cultural differences, it was very obvious these performers were treated like lower-class citizens; if not, students. It was also very clear that the intention might be well, but the execution of the busker’s exam was done horribly.

Somehow the idea that ART is NOT a privilege had been forgotten. Taipei Cultural Affair is supposed to be advocating for all things cultural and artistic but it was not conveyed that day. It was very clear the respect was not there. Many felt it and some got their feelings hurt. Even with all the excuses there are in the world, many experienced the disrespect. That was the truth. Again I have to emphasize that I believe Taipei Department of Cultural Affair and its adjudicators are good people, but the execution of the exam was poor.

It brings to the question…. why is it called an exam? Shouldn’t it be an audition?

These performers were not students when they took the exam. Some of them were actually professional musicians, dancers, or performers. Just because one is a student, it doesn’t make him or her less of an artist. Artists are not defined by their social status or occupation.

The term exam suggests an educational institution, but we know Taipei Department of Cultural Affair is not an educational institution. They do not decide what these artists need to know. These performers were not given any materials to study, thus the term exam is very misleading.

The exam took place in a public space. Many tourists and residents were there to enjoy the event. Many do not understand arts. So they may look up to these adjudicators as role models who are experienced in the arts. When they saw how this exam was being done, do you think they would have any respect for these performers afterwards? They saw these adjudicators interrupting the performers and left without saying a “thank you.” We all knew it was an exam, we all knew these people were adjudicators. They did not need to pretend to be street spectators who just walk away. They all carried their score boards in their hands.

Just because a performer performs on the street, it doesn’t make that performer any less of a performer than someone who is performing on big stages. I myself have performed over hundreds of stages around the world and I do not dare to think myself better than these performers.

I have judged a handful of international competitions. I have also held professional auditions. I have never heard an excuse that respect can’t be shown when time is limited. You do not need to smile to simply say “thank you.” Since when, a smile means “I favor you.” What a performer need is respect. Over the 15 year span of my professional career as an educator and artist, and 39 years of being a human being, I know what respect looks like. It doesn’t take more than a second to show it. If it takes longer than 5 minutes to show what respect is, I think you may need to rethink what respect means to you.

Another excuse that was presented was that they don’t want a street artist performs only one kind of songs or genre throughout the year. Don’t they know broadway musicals? Lion King has been performed over 20 years. They’ve been doing the same musical numbers for years to sold out audiences. Adele has been singing the same genre of music and always in English. Does it matter that she doesn’t sing in other genre or sing in Chinese?

One dance production in the Netherlands can be performed up to 50 performances within the Netherlands itself. In Taiwan, a dance work only performed 5 times the most. They are forced to constantly create new works and leave the old works behind. That is a waste of arts funding and it doesn’t educate the public on the value of the arts. These performers is old enough to decide what they want to show these judges with their limited time.

In the end it wasn’t just disrespectful to the performers, but also to the arts.

I was contacted by the Taipei Cultural Affair on Monday, the representative spoke nicely promising that they would discuss further with me. He asked me to take the adjudicator’s picture down, I agreed with the condition of meeting in person to further discuss what could be done better. I have refused to talk to reporters for the last few days. I have been waiting but I then heard the excuses given to the media. Since I’ve taken down the picture of the head adjudicator, they haven’t made any attempt to contact me. I came into a realization that when they made the call, it wasn’t to address the problem but simply to manipulate me to take down his picture. I’m disappointed at this institution that was supposed to promote the arts and culture.

I realized I am not a public figure, nor am I responsible for the well being of all artists who want to get a busker license. After my Facebook post went viral, I’ve been thinking so much about this issue. I kept going back and forth questioning whether I should keep fighting for this. It doesn’t feel like my fight, but at the same time I feel responsible as an art educator.

I truly believe this can be fixed. I need to emphasize, I am not attacking anyone. And I don’t want to shame anyone. I want to start a discussion how to make it better. Taipei has some of the best performers I’ve seen, yet the lack of respect for the arts and artists has suppressed their ability to excel. And ironically, it’s often done unintentionally.

If the exam is done based on respect for the arts itself, things might have come out differently. And just maybe if we all let go the “face” culture, we could possibly see further to realize that we are all wanting the same thing.

I saw mistreatments towards performers that day. It was very obvious I wasn’t the only one witnessing it. It was not that I don’t respect these adjudicators/teachers, but because I respect the arts and the meaning of a teacher that is why I had to speak up. Somehow my voice had been amplified this week. But my voice wasn’t and isn’t singular. I am simply a voice amongst many.

Sincerely,
William Lü

Taipei National University of the Arts 國立台北藝術大學
寶藏巖國際藝術村 Treasure Hill Artist Village
Taipei National University of the Arts
臺北表演藝術中心 Taipei Performing Arts Center
National Theater and Concert Hall, Taipei
中正紀念堂 Chiang Kai-shek Memorial Hall
National Taiwan University of Arts
Department of Cultural Affairs, Taipei City Government

九粒Jolie 首支單曲!!! 親自作詞作曲饒舌到舌頭都打結的ABCD。
從開始教英文之後就一直想要做一首台灣的英文國歌來洗腦大家。
想要把我們從小耳熟能詳的ABCD 歌改編成我們都能一起唱又勵志的饒舌歌。
（ps:如果唱得太快可以開啟中文字幕看翻譯哦！）
這首ABCD 希望讓九粉們能夠跟著我一起唱出來，
以後出去就可以跟別人說：" 欸我英文很屌哦！ 我會英文饒舌欸嘿嘿！”
哈哈哈 沒有啦！開玩笑。
ABCD其實是我想寫出我們學英文的痛苦還有人生真的是個struggle，
我們想要不當muggle就必須認真打拼才能拼出自己的一遍天下。
希望能夠讓大家更有信心的唱英文以及療癒到每一個你。

這首歌也在Spotify & Apple Music 上架囉！
想要無限循環的趕快點起來吧！

Spotify:
https://spoti.fi/3n3plsn
Apple:
https://apple.co/2JTQ249

想跟九粒邊起笑邊學道地英文，千萬不要錯過12月限時優惠哦！
九粒Jolie的生活口說入門課已經在VoiceTube開賣囉！
連結點起來，優惠搶起來！👉🏻 https://bit.ly/3q4ZW39 

此頻道驚喜連連 除了讓你開心偶英文以外 還會不定期的出一些讓你下巴掉下來的影片 還不趕快訂起來😏
👉🏻  https://www.youtube.com/joliechi

ABCD
詞 Lyricist：九粒 Jolie 
曲 Composer：九粒 Jolie 
編曲 Arranger：MTC Beatz 
錄音師 Recording Artist：林清智 Zachary Lin
混音師 Mixing Engineers：Josh & Rob

It’s Jolie b your TBT
ABCDE

Who? What? Why? When? Where? 
Do you really care? 
Come and sit your ass down over here
Open your mouth and ears 
It won’t be your nightmare. You’ll get it I swear I swear 
321 let go

A is for Apple 
B is for Ball
C is for Candy 
D is for Door
Apple Ball Candy Door 
Apple Ball Candy Door 
Say it with me! Apple Ball Candy Door 

Seriously Jolie? Are you for real? 
I’m kidding.
I know these vocabs be too easy.  You are never gonna use it. 
Are you ready? Life’s a party. Let’s get crazy. 

A is your Ass. want you to shake dat ass. 
B is that Bitch you hate. That bitch your hot ex dates.
C for Can D for Do 
Yes you can do this too (I see you)
E for Excuse. Excuse me, can I get some water, please? 


Life’s a struggle 
Don’t want to be a muggle 
想出國 雅思托福要先通過
出國後hustle 獨立自主要double 
Life’s a puzzle 
要努力拼湊 才能chuckle 
Life’s a struggle 
don’t want to be a muggle 

Be humble. 以後的hustle gonna double 
In this jungle, you’ll be in a lot of troubles
Life’s a puzzle 要努力拼湊才能chuckle 

I know English grammars so not fair 
Their explanation be not clear 
We spent so many years 
had so many tears, been living in fear, I need this for my career 
Come on, I don’t want to be like Britney Spears.

Life’s a struggle 
Don’t want to be a muggle 
想出國 雅思托福要先通過
出國後hustle 獨立自主要double 
Life’s a puzzle 
要努力拼湊 才能chuckle 

I’m tired of it I’m done with it 
Please tell me how to make a change 
Fucking hate sounding so strange 
Getting minimum wage 
Spending life in a cage 
For real it’s time to make a change 

跌倒失敗又怎樣 we are still so fucking young 
想在社會闖蕩有狀況麥給我慌 
當你唱完這首歌希望你不要在迷惘
女大當自強想要狂 just sing this bomb ass song
Life’s a struggle. Don’t want to be a muggle 
想出國 雅思托福要先通過
出國後hustle 獨立自主要double 
Life’s a puzzle 努力拼湊才能chuckle 

Life’s a struggle. Don’t want to be a muggle 
Be humble. 以後的hustle gonna double 
In this jungle, you’ll get in a lot of troubles
Life’s a puzzle 要努力拼湊才能chuckle

製作 Production：創造影像工作室
導演 Director： 蔡佳穎 Charlie Tsai 
製片 Producer：書華 Shu Hua
導演助理 2nd AD： 王安宜 An Yi Wang
製片助理 PA：Fish Hsu 許庭瑜
攝影師 DP：Roux Chen 陳希如
二機攝影師 B Cam DP：小光 Light
攝影大助 1st AC： 鍾喬程 Calvin Chung 
燈光師 Gaffer：Ben Lau 劉本淵
燈光助理 Best Boy：施晴蓁 Helena Shih
美術 Art Director：游蕎豫 Qiao Yu You
美術助理 Assistants Art Director： 程凱揚 Kai Young Cheng, 、莊雁婷 Yan Ting Zhuang
造型師Makeup & Hair Artists：Erica 詹于慧 、Sini Tong 湯湯
服裝造型 Stylist：Jolie Chi 九粒
剪接師 Editor：Charlie Tsai 蔡佳穎
調光師 Colorist：Roux Chen 陳希如
字幕師 Title Design: Jason Xiao 蕭董 

攝影器材：旋轉牧馬
燈光器材：貞寶企業有限公司
攝影棚：七號盒子攝影棚

特別感謝：我的神母親大人、Yayun Hsu、AJ Li 、 Joanne Lin、 米鹿、好運道具、吉利貨車出租、銘傳大學環管督導、李亮辰、林力誠、彭楷翔、李品萱、張詠琳、魏采綾、陳柏臻、酷炫阿唐、詹舒涵、辜郁綺、張朔豪、Amy Liu、Rachel、Grace

#ABCD #英文國歌 #唱出你的心聲