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Only The Young

'Only The Young' se estrenó el 8 de enero de 1985 . Este tema está incluido dentro del disco Time 3

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Another night in any town You can hear the thunder of their cry Ahead of their time They wonder why

Shadows of a golden age A generation waits for dawn Brave carry on Bold and the strong

Only the young can say They're free to fly away Sharing the same desire Burnin' like wildfire

They're seein' through the promises And all the lies they dare to tell Is it heaven or hell? They know very well

Only the young can say Only the young can say Only the young can say Only the young can say Young can say

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ONLY THE YOUNG Journey Written by: S. Perry/N. Schon/J. Cain

Another night in any town You can hear the thunder of their cry Ahead of their time They wonder why

In the shadows of a golden age A generation waits for dawn Brave carry on Bold and the strong

*Only the young can say They're free to fly away Sharing the same desires Burnin' like wildfire*

They're seein' through the promises And all the lies they dare to tell Is it heaven or hell? They know very well

Only the young can say Only the young can say Only the young can say Only the young can say

Mais tocadas

• Don't Stop Believin'
• Of A Lifetime
• Stay Awhile
• After The Fall
• Separate Ways
• Any Way You Want It
• When You Love a Woman
• Wheel In The Sky
• Send Her My Love
• Who's Cryin Now
• Positive Touch
• Stone In Love
• You're On Your Own
• Good Morning Girl
• Edge Of The Blade

"Only The Young" lyrics

• Journey Lyrics

Only the Young - Journey

INFORMACIÓN DEL SENCILLO:

" Only the Young " es una canción interpretada por ​Journey, publicada en el álbum Frontiers . 

Fecha de lanzamiento: 08 de enero del año 1985. 

Lyrics Only the Young - Journey

Another night in any town

You can hear the thunder of their cry

Ahead of their time

They wonder why

In the shadows of a golden age

A generation waits for dawn

Brave carry on

Bold and the strong

Only the young can say

They're free to fly away

Sharing the same desires

Burning like wildfire

They are seeing through the promises

And all the lies they dare to tell

Is it heaven or hell?

They know very well

Only the young can say (Young can say)

Only the Young lyrics

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Artista: Journey Cancion: Only the Young Visitas: 32 Favoritos: 0 Genero: Rock Álbum: Frontiers

Only the Young

Another night in any town You can hear the thunder of their cry Ahead of their time They wonder why Shadows of a golden age A generation waits for dawn Brave carry on Bold and the strong Only the young can say They're free to fly away Sharing the same desire Burnin' like wildfire They're seein' through the promises And all the lies they dare to tell Is it heaven or hell? They know very well Only the young can say They're free to fly away Sharing the same desire Burnin' like wildfire Only the young can say They're free to fly away Sharing the same desire Burnin' like wildfire Only the young can say Only the young can say Only the young can say Only the young can say Young can say

Autor(es): N. Schon / S. Perry / J. Cain

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Only The Young

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When the lights go down in the city And the sun shines on the bay I want to be there in my city Ooh, ooh

So you think you’re lonely Well my friend i’m lonely too I want to get back to my city by the bay Ooh, ooh

It’s sad, oh there’s been mornings out on the road without you, Without your charms, Ooh, my, my, my

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• Don't Stop Believin'
• Separate Ways (Worlds Apart)
• When You Love A Woman
• Any Way You Want It
• Send Her My Love
• Wheel In The Sky
• After All These Years
• Only The Young
• Lovin', Touchin', Squeezin'
• Who's Cryin' Now
• Who's Crying Now
• Stone In Love
• Mother, Father
• I'll Be Alright Without You
• Ask The Lonely
• Higher Place
• Remember Me
• A Better Life
• A Place In Your heart
• After The Fall
• All Day And All Night
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• All That Really Matters
• All The Things
• All The Way
• Anything Is Possible
• Baby I'm Leaving You
• Be Good To Yourself
• Beautiful As You Are
• Better Together
• Beyond the Clouds
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• Castles Burning
• Chain Of Love
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• Change For The Better
• City By The Bay
• City Of Hope
• City Of The Angels
• Colors Of The Spirit
• Come Away With Me
• Conversations
• Dead Or Alive
• Dixie Highway
• Do You Recall
• Don't Be Down On Me Baby
• Don't Give Up On Us
• Don't Go
• Easy To Fall
• Edge Of The Blade
• Edge Of The Moment
• Every Generation
• Faith In The Heartland
• Feeling That Way
• Foolish Heart
• Forever In Blue
• Girl Can't Help It
• Good Morning Girl
• Happy To Give
• Here We Are
• Holdin' On
• Homemade Love
• I Can Breath
• I Can See It In Your Eyes
• I Got A Reason
• I Would Find You
• I'm Cryin'
• I'm Gonna Leave You
• I'm Not That Way
• If He Should Break Your Heart
• In My Lonely Feeling
• In Self-Defense
• In The Morning Day
• It Could Have Been You
• It's All Too Much
• It's Just The Rain
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• Just The Same Way
• Keep On Runnin'
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DAY6 Open Up About Their Long-Awaited Comeback and What Fourever Means to Them: 'It's Our Time' (Exclusive)

"I think the last three years was a period of self-care and self-love," Sungjin says of the 4-piece band's hiatus

After a long break, returning to the stage again might feel a little intimidating. Just like with any activity, time spent away might make anyone feel hesitant — like trying to re-learn how to bike, or going through the motions of swimming again. 

However, when the K-pop boy band DAY6 pulls back the curtain with a flourish, it’s clear that their three-year-long hiatus hasn’t stopped them in their tracks. For the boys — Sungjin, 31, Young K, 30, Wonpil, 29, and Dowoon, 28 — the stage is their natural element. 

From the way they passionately sing as the spotlights fall on their faces, they couldn’t be happier to be together again. And as the chorus of their latest album’s first track builds up, they have one message for those who have anticipated their comeback: “Welcome to the Show.”  

JYP Entertainment

Their eighth mini-album name, Fourever , hits the nail on the head with its overall theme, composed of seven tracks about love, nostalgia and what happiness really is. As the boys gather one late evening to talk about the comeback, they can’t help but reflect on their pop rock journey together since their debut back in 2015. While dressed warmly in long sleeves and quarter zips, the energy they exude together is just as heartwarmingly bright. 

“It’s our time,” Young K says to PEOPLE. “Being able to put out this album would be our biggest joy, really coming back altogether and being able to present ourselves in front of My Days because they have been waiting for this moment as much as us, hopefully.” 

Indeed, being together in front of their fans, dubbed “My Days,” has been a long time coming. Through all the trials and tribulations, their unity is what stands out as they speak, and especially in their lyrics. 

“I’m so moved by the stage / That I won’t be alone any longer,” Young K sings in the first track, surrounded by his fellow bandmates. 

However, with any comeback from a break, a bundle of mixed emotions is to be expected. 

“If you listen to our song, ‘I Smile,’ there’s a lyric that says ‘half-nervous and half-excited,’” Dowoon says of the track, released in 2017. “That’s exactly how I feel.” 

For the past three years, the DAY6 members completed their required military enlistment in South Korea. While they underwent basic training, they also could reflect on what meant most to them. 

“I think the last three years was a period of self-care and self-love,” Sungjin says. “I have come to realize that in order for this band to exist, I have to exist first, so I really try to teach myself how to take care of myself well.” 

For Sungjin, self-care might be as simple as buying a small gift for himself, or meeting with loved ones. And even though all the boys were completing their service, that didn’t mean they were restricted from seeing one another. In fact, Dowoon recalls a humorous moment when he was in a TV program, and Wonpil and Young K joined him to perform. 

“They insisted that they come into my room and share my bed while we were training, while we were practicing together — so that’s one memory that I have,” Dowoon shares. 

“That’s how glad we were to see him,” Young K adds with a laugh. 

When asked how large the bed was, Wonpil doesn’t beat around the bush with his response: “Yeah, it was very small.” 

The boys also had ample free time outside of training to engage in hobbies, and Dowoon’s was especially productive. The drummer, and the band’s youngest member, says he taught himself how to play the bass drums and pushed himself to continually “relearn.” Mastering the instrument became the challenge he set out to accomplish for the album. 

Dowoon is far from the only member who plays an instrument. In fact, what makes the boy band especially unique is how every member excels at their own instrument. While Sungjin rocks it as the rhythm guitarist, Wonpil effortlessly works the keyboard and synthesizer. Young K has always been the bassist of the group, but surprisingly, has never played a bass instrument before becoming a trainee. However, you wouldn’t be able to tell because of how much he practices for upcoming albums. 

“That becomes the best way of practice for me,” he says of his practicing regimen. “Of course, doing the chromatics, slowing down and then going at the right pace — that would be a great practice session.” 

“That’s why I don’t call myself the best bassist, but that’s what I do,” he simply adds. 

Regardless of how they practice, their instrumental mastery shines through in each of the tracks. They serve to highlight the deep meanings associated with each song, like Sungjin’s favorite — “Happy.”  

The second track revolves around one question: “Why am I gradually sinking when I want to be happy?” For Sungjin, the melancholic song is one that he can especially relate to. 

“I empathize with it the most because it talks about the question that I had for myself for a long time, which is how I had this obscure thought that happiness will come along one day,” he says. 

As the boys begin to contemplate about what the songs mean, it’s apparent that they draw on a lot of memories and feelings from the past. Indeed, nostalgia ( a feeling “relatable to everyone,” says Sungjin) is a core tenant in tracks such as “Get the Hell Out,” which address lingering, and often tormenting memories. 

Embarrassing memories might often fall under the same vein, and Young K can recall an especially funny memory. When he was still a trainee, he appeared on a TV show and said he was “from Toronto.” However, he chose not to say the Canadian city’s name in a Korean accent, and that’s what people will “still make fun” of him for to the present day. 

“I don’t even have to think back on it — people make me think back on it,” he says of the inescapable memory. “People bring it up, and I’m still that guy from Toronto.” 

Perhaps just as recurring in all the boys’ lives is the motif of love, which many of their tracks explore. Yet, even with tracks like “The Power of Love” and “Let Me Love You,” the boys still agree that much is still unknown about the power of the emotion. 

“I’m not 100% certain if I know what love is, but I think for now, sacrifice takes a big part of it,” Wonpil says. 

“And consideration,” Sungjin chimes in, before diving deeper. 

“The definition of love is still unclear to me, but I feel it,” he continues. “I really feel from my parents what real love is, and it’s something that I didn’t realize before. Now, I really realize what my parents gave me was real love.” 

Dowoon says he can feel a special kind of love between him and the fans. 

“When I look into the eyes of My Days, I can feel their love for us,” he says. “I learned a lot about love from My Days, and I constantly think about how we can return that love and I think I’m still in the learning process of the definition of love. But for now, I can say that the love that My Days gives us — we feel that a lot.” 

Young K, too, also has much to contemplate about when thinking about love. For him, the idea of love is “very interesting” in many ways. 

“Love has been existing ever since human beings existed, or ever since language existed, and people are still asking what the definition of love is,” he explains. “It still hasn’t been defined. I can say whatever we say is not the definition for everyone, but I feel like I can certainly say love exists everywhere.” 

Later on, the group also demonstrates how love isn’t only between them or their fans, but even for their past selves. That’s something they don’t forget to mention as they grow into their late twenties and early thirties, as Dowoon proves with a message to his younger self. 

“Just be there and stay there, and it will brighten up one day,” he says after a thoughtful moment. “Learn to love yourself as soon as possible in order to help others.” 

Despite their more mature outlook on things, it’s clear that the DAY6 members haven’t lost their charismatic and youthful energy. Since they’ve united together again, the band has shared countless memories, full of ab-forming laughs. 

“When we were practicing, I asked Wonpil: ‘How much longer are you going to practice?’” Dowoon recalls. “He said, ‘I can practice as long as I want, what’s wrong with it?’” 

As the members begin to smile, Dowoon adds: “And he shouted, ‘Just leave me alone, let me practice in peace!’” 

Wonpil also adds his two cents as well about what, or in this case, who , makes him laugh the most. 

“I always get a laugh from Young K,” he says. “He always makes me laugh. I can’t exactly point out what it was recently, but I remember laughing really, really hard because of Young K.” 

In response, Young K shrugs humorously in confusion, just as Dowoon brings up his Toronto motif again. 

Now, with their comeback, the DAY6 members are ready for what’s ahead, no matter how rocky, smooth or unpredictable the waves may be. In fact, unpredictability is already something that they’re used to, Young K says. 

“When we first came out, there were no numbers, or very small numbers compared to now,” he reflects. “For example, ‘You Were Beautiful’ went in the charts years later after it was released. So, you never know what’s going to happen in the future. All we got to do is just make good music and work hard.” 

As for any upcoming plans? Besides a concert in mid-April, they can’t make any guarantees about anything else. However, they have their hopes set in stone. 

“I don’t know if anything is set yet, but we’re hoping to go around the world,” Young K teases. “I promise you, and this is a promise — nothing is set yet.” 

Fourever is now available to stream. 

Top shows to see during Art Basel Hong Kong

Our pick of what's on around the city.

Train (2001), an example of Xiyadie’s vibrant paper-cut work, is on show at the Blindspot Gallery in Wong Chuk Hang Courtesy of the artist and Blindspot Gallery

Xiyadie: Butterfly Dream

Blindspot Gallery, 15/F, Po Chai Industrial Building, 28 Wong Chuk Hang Road, Wong Chuk Hang, Hong Kong, until 11 May

Two men entwined in an amorous embrace, a steamy encounter on a train and a debaucherous orgy in a bathhouse—you might not expect these scenes to be portrayed in any traditional art form, let alone in an ancient Chinese paper-cutting technique dating back to the second century. But the self-taught paper-cut artist Xiyadie playfully defies established norms: his signature works blend fantasy and real life as he charts his experiences as a gay man and migrant worker in China.

Hoping (2001) Courtesy of the artist and Blindspot Gallery

“His status as an outsider artist is rare in China,” says Mimi Chun, the founder of Blindspot Gallery in Hong Kong, which is presenting Xiyadie’s largest exhibition to date. “When asked, he describes himself as a man from the ‘yellow soil land’, alluding to his identity as a farmer.” The show, titled Butterfly Dream , features more than 30 paper-cut works, including ones that have never been exhibited before.

Intricate and colourful, the pieces chronicle real incidents and challenges in the artist’s life. Train (1986) was inspired by Xiyadie’s first gay encounter and depicts the artist and a train attendant having sex in the latter’s cabin. The two figures are surrounded by passengers dining as well as various animals and decorative floral motifs typical of the northern Shaanxi paper-cutting technique that Xiyadie employs. Double Happiness (1982) puts a funny, queer twist on the fortuitous Chinese character that means “double joy” and is often used as a celebration symbol for weddings; here, it’s transformed it into a face and pair of penises.

Sewn (1999) Courtesy of the artist and Blindspot Gallery

Sewn (1999) evokes a more visceral reaction, as the artist depicts himself sewing his genitals with a needle that is pushing through the roof of a traditional structure he seems to be trapped within. In Hoping (2000), Xiyadie imagines his son, who had cerebral palsy, taking flight from his wheelchair and turning into a butterfly, free from his condition.

Like his pseudonym, which means Siberian butterfly, Xiyadie’s practice has transformed over time. The artist compares the evolution of his artistic practice to a child learning how to walk. “Now, I’ve metamorphosed into an adult who can feel the outside world and inject these real-life experiences into my work,” he says. Art-making has been a therapeutic process for Xiyadie, offering a release of suppressed desires and a point of projection for his fantasies.

His artistic achievements blossomed as he embraced his sexuality, even while his domestic life appeared conventional. Born in a rural area of Shaanxi province, he moved to Beijing in 2005 as a migrant worker to earn more money for his son’s medical treatment. While the artist found a supportive and accepting LGBTQ community there, his son’s health deteriorated. Eventually, the boy passed away.

Missing , created in 2007, a traditional work on coloured Xuan paper Courtesy of the artist and Blindspot Gallery

Xiyadie had learned traditional paper-cutting techniques from his mother and female relatives when he was a teenager. Now, he crafts scenes in a singular style that infuses the popular folk art with his own lived experiences. “It takes months, years, or even longer, for me to experience life and contemplate life, in order to create an initial piece,” he says of the painstaking process.

Butterfly Dream builds on the artist’s successful solo exhibition Queer Cut Utopias , held last year at New York’s Drawing Center, and anticipates his participation in Foreigners Everywhere , the main exhibition of the forthcoming Venice Biennale, curated by Adriano Pedrosa. It promises to be a milestone moment for Xiyadie’s novel take on an age-old medium, highlighting a distinctive portrayal of gay intimacy in China that has been kept private for decades and can, at last, find a receptive audience.

Green Snake: women-centred ecologies

Tai Kwun, 10 Hollywood Road, Central, Hong Kong, until 1 April

Jaffa Lam’s Tin Hau is coming for a piece of water 2.0 (2023) Photo: Kwan Sheung Chi; courtesy of Tai Kwun

“We seem to be a land where animals, trees, women—everything is worshipped, and nothing is sacred,” the Indian writer and Times of India columnist Twinkle Khanna wrote on International Women’s Day, highlighting the paradox in not practising what you preach. While Khanna was referring to events in India, her statement seems to be applicable on a global level. This is the feeling one gets when visiting Green Snake: women-centred ecologies , an exhibition on view at Tai Kwun.

Curated by Xue Tan and Kathryn Weir, Green Snake features around 60 works spread across three rooms in Tai Kwun’s JC Contemporary galleries. It is a conceptually dense yet visually light presentation that draws on mythological practices and Indigenous traditions. A topical show, it fuses ecological and feminist issues, aiming to strike a chord with both the art world crowd and mainstream visitors.

Dima Srouji’s The Red River (2023) Photo: Kwan Sheung Chi; courtesy of Tai Kwun

Bringing together approximately 30 artists and collectives from 20 countries—including many from South America and other parts of Asia—the curators conceived the exhibition with local audiences in mind. “It’s about time we look outside of Hong Kong and try to think about and understand similar struggles and how [others] cope with these issues,” Tan says. “But it’s necessary to find a point of connection that will link these similarities with local audiences.”

To this end, the exhibition’s name draws on a well-known eighth-century Chinese folktale, Legend of the White Snake or Madame White Snake , which features two spirit sisters, one of whom has come to represent the idea of transformation and feminine power.

One of the works included in the show, Tin Hau is coming for a piece of water 2.0 (2023), is a sculptural installation by the Hong Kong artist Jaffa Lam which strongly reflects the show’s theme. Combining two familiar local references—land reclamation and the goddess of the sea Tin Hau—Lam suspends a piece of volcanic rock in a narrow staircase corridor connecting two rooms in the space’s main gallery. The rock symbolises a floating version of the deity, which the artist conceived after seeing multiple temples dedicated to Tin Hau being demolished due to land reclamation (Tin Hau’s temples are typically on or near bodies of water).

Pejerreina (2023), by the Argentinian artist Adriana Bustos Photo: Kwan Sheung Chi; courtesy of Tai Kwun

The interplay between strength and fragility, meanwhile, is a theme in the Palestinian artist and architect Dima Srouji’s The Red River (2023), an installation made up of small, red, hand-blown glass sculptures, suspended in the shape of a bending river. Their colour is symbolic of the pollution-induced changes in the river known to the Romans as the Belus, which is in north-western Israel. The stream was reportedly also the source of the sand first used for producing glass objects. The work carries a personal dimension for the artist, relating to her grandmother’s displacement, as well as an historical memory linked to the glass figure of the Canaanite goddess Astarte found at the site. Like Tin Hau, Astarte endures despite modern societal changes and disruptions.

“We wanted to build on the notion of care and the role that women play in facilitating that care, whether it’s [for] their families or communities,” Tan says. “It’s also about placing women as the vessel or link to the environment. Different worldviews place women at the centre and acknowledge the interdependency and interconnectivity we have with each other and nature. It’s only through this connected way that we can move forward and cope with ecological crises.”

The show provides a range of cultural perspectives on ecofeminism, highlighting the traditions and customs that were once considered to be sacred. At the same time, it proposes that a healing and re-learning process needs to take place before we can move forward and reimagine a greener future. Aaina Bhargava

Another Day in Hong Kong

Asia Art Archive, 11/F Hollywood Centre, 233 Hollywood Road, Sheung Wan, until 31 August

A self-portrait of Holly Lee, one of the participating artists in the Asia Art Archive exhibition Courtesy of the artist

Much of history is made up of mundane and unromantic moments, suggests Asia Art Archive’s (AAA) latest exhibition, Another Day in Hong Kong . The project attempts to reconstruct memories of a single day in the city: 19 October 1996, chosen because it represents the median date of works in AAA’s Hong Kong collections. In dialogue with materials from the archives, interviews, sound and video fragments will be new works created by six local artists and groups: KK Cheung, Florence Lam, Lee Ka Sing and Holly Lee, the duo To & Ling Are Covering Their Ears (To Yeuk and Lai Chun Ling), Siu King Chung and Ocean Leung.

The concept alludes to the artist and curator Oscar Ho’s 1990 exhibition A Day in Hong Kong , which presented photographs taken by Hong Kongers of their everyday experiences on 7 September that year. Inspiration also came from the Soviet-era phrase, “the future is certain; it is the past which is unpredictable,” says AAA’s senior researcher Anthony Yung, who co-organised the show with Hazel Kwok. Memory itself is the subject: more than simply recalling events that happened in the past, Yung says, hindsight means having a nuanced understanding of “how people at that time imagined their future”.

Apichatpong Weerasethakul: Primitive

The Studio, M+, West Kowloon Cultural District, 38 Museum Drive, Kowloon, until 14 July

Apichatpong Weerasethakul’s Ghost Teen (detail, 2009), from the artist’s Primitive project, which focuses on the lives of young people in a village in a troubled area of northern Thailand © the artist, image courtesy of the artist

The Thai artist and filmmaker Apichatpong Weerasethakul will take over M+’s Studio gallery for a new presentation of Primitive (2009), an intimate view into the lives and dreams of teenagers in the village of Nabua in northern Thailand, where the Mekong river demarcates the border with Laos.

Nabua has a harrowing past: the Thai military occupied the area from the 1960s to the early 80s to purge Communists—a label applied to many local farmers even though they did not necessarily know what the word meant. Weerasethakul layers that history of violence over an ancient legend, still believed by some in the countryside, of a widow ghost who abducts local men.

Presenting two video works on multiple screens as well as an artist’s book, Primitive is a project that draws out long-forgotten memories of turmoil and hints at the hope that the sons and grandsons of the persecuted farmers can build a new world.

Glenn Ligon

Hauser & Wirth Hong Kong, G/F, 8 Queen’s Road Central, Central, until 11 May

Untitled #41 , one of Glenn Ligon’s new works that references the American writer James Baldwin’s essay Stranger in the Village Photo: Thomas Barratt; © the artist, courtesy of the artist and Hauser & Wirth

Glenn Ligon’s first solo show in greater China presents several new works in the Stranger series, which transforms excerpts of text by the Black author and civil rights activist James Baldwin into monumental paintings. Since its inception in 1997, the series has become one of Ligon’s most celebrated bodies of work, an ongoing tribute to Baldwin’s seminal 1953 essay Stranger in the Village . Written during the writer’s stay in a remote spa resort in Switzerland, the text draws parallels between his feelings of alienation in the village and as a Black man in America. In Ligon’s powerful compositions, Baldwin’s words are stencilled on the canvas and blurred together under layers of black coal dust. Hauser & Wirth Hong Kong will also show new abstract paintings and drawings by the artist that similarly mine fragments of Baldwin’s essay.

Aki Sasamoto: Sounding Lines

Para Site, 22/F, Wing Wah Industrial Building, 677 King’s Road, Quarry Bay, until 28 July

Delicate Cycle (2016) by Aki Sasamoto, in her show Sounding Lines at Para Site Courtesy of Take Ninagawa, Tokyo

Whether she is squeezing her body into a washing machine or bouncing on a trampoline inside a waste bin, the New York-based Japanese artist Aki Sasamoto is known for her absurdist, often comical performances reflecting on everyday life. For her first major show in Hong Kong, Sasamoto takes over Para Site with a room-sized installation where she will perform live. The exhibition’s title, Sounding Lines , alludes to a method of measuring the depth of the ocean using a weighted rope, which Sasamoto uses as a point of departure to explore the literal and figurative distances that exist between people. She has created a web of coiled metal springs and hung everyday objects, mimicking fishing lures, around the gallery space. A motorised mechanism activates these items, creating a choreography of sudden movements. Within this strange setting, Sasamoto confronts viewers with a raw performance on intimacy, separation and the dilemmas of human relationships.

Wong Kit Yi: +852 GHOST-JPG

Property Holdings Development Group (PHD Group), Goose Neck Bridge, Wan Chai, Hong Kong, until 4 May

Wong Kit Yi’s video work Dial 432 to See the Light (2022-24) is part of her first solo show at PHD Group, which is running until early May Courtesy the artist, The Chinati Foundation and PHD Group

The Hong Kong-born artist Wong Kit Yi creates speculative video works with subtitles that light up like sing-along karaoke lyrics. Her process often begins with site-specific research from which she weaves a complex web of associations. At the heart of this solo show is 2022’s Dial 432 to See the Light , a poetic piece inspired by her residency at The Chinati Foundation in Marfa, Texas. The work begins with musings about the Chinese railroad labourers who worked in the area in the 19th century, but soon takes viewers down a rabbit hole exploring tangential topics such as bagpipe funeral music and the spiritual potential of sound frequencies. Wong will perform several “karaoke lectures” with various artists and curators who will read out the video’s subtitles. A living room-like installation of sand-coated sofas and ghost images (a screen malfunction where a faint image remains stuck) acts as a physical extension of the video and an eerily evocative set for the performances.

Tsai Ming-liang: The Monk from Tang Dynasty

Tai Kwun, 10 Hollywood Road, Central, Hong Kong, 29 March-1 April

Director Tsai Ming-liang’s play The Monk from Tang Dynasty , based on the classic folk tale Journey to the West , is at Tai Kwun for three nights only Courtesy of Tai Kwun

Xuanzang, a seventh-century Buddhist monk and scholar, is best known through the dramatisation of his deeds in Journey to the West , the classic Ming dynasty novel that entangles his epic pilgrimage to India with mythology and folklore. The Taiwan-based Malaysian filmmaker Tsai Ming-liang regards Xuanzang as a “rebel” and has made him the lone character of his experimental play, The Monk from Tang Dynasty . The production has been adapted for its Hong Kong premiere at Tai Kwun’s semi-outdoor space, Laundry Steps, where it is being staged for three nights. The Taiwanese actor Lee Kang-sheng, Tsai’s longtime collaborator, will play Xuanzang in distressed red robes. His slow and silent movements will blend theatrical performance with installation art. The audience is encouraged to leave their seats and amble around the set as the performance unfolds, which forces them to slow down and absorb the monk’s concentrated energy. Think of it as a chance to detox from the frenetic pace of Asia’s largest art fair.

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Only the Young

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Journey is an American rock band formed in 1973 in San Francisco by former members of Santana and Frumious Bandersnatch. The band has gone through several phases; its strongest commercial success occurred between 1978 and 1987, after which it temporarily disbanded. During that period, the band released a series of hit songs, including 1981's "Don't Stop Believin'", which became in 2009 the top-selling catalog track in iTunes history. Its parent studio album, Escape, the band's eighth and most successful, reached No. 1 on the Billboard 200 and yielded another of their most popular singles, "Open Arms". Its 1983 follow-up, Frontiers, was almost as successful in the United States, reaching No. 2 and spawning several successful singles; it broadened the band's ap… more »

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• #8 Who's Crying Now
• #9 Separate Ways (Worlds Apart)
• #11 Lovin', Touchin', Squeezin'
• #12 Open Arms
• #13 Girl Can't Help It
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• #15 Be Good to Yourself

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• Vision Quest   1985

Shakira’s Las Mujeres Ya No Lloran Is a Musical Journey Through Grief

The Colombian icon sings openly about her heartbreak on her newly released 12th studio album

The 16-track album is a return to the Colombian singer’s roots—the lyrics are all in Spanish, and she has brought back the iconic guttural voice predominant in her early work. Most notably, Las Mujeres —whose title translates in English to Women No Longer Cry — details Shakira’s entire journey through grief after losing the man she thought was the love of her life, father of her children Gerard Piqué .

Eight of its songs were already out when the album dropped, but the other half are brand new and show different sides of Shakira’s experience leading up to where she is today: a world-famous artist still releasing hits 30 years into a phenomenal career, juggling her new life as a single mother.

Ahead, we break down everything Shakira says about her ex on her new album.

“La Fuerte” (“The Strong One”)

On the second track of the new album, Shakira admits to missing the person who broke her heart, saying that although she doesn’t reach out to him because of her pride, she still thinks of him, and his absence still hurts. Translated from Spanish, the first verse goes:

If I had known it would be the last time I would have enjoyed you more But I didn’t take advantage of you And for believing that you had no expiration date I saved kisses for later, I was left with the desire I would be lying to you if I said that seeing my photos with you doesn't hurt me Because they hurt If I don't look for you it’s because I also have my pride Don’t think that I don’t miss you

Then, the chorus: “Another night I spend without seeing you / Another night that I act strong / I deleted your number, and for what? Yes, I already know / I don’t forget you no matter how much I pretend.”

“(Entre Parentésis)” (“Inside Parentheses”)

This heart-wrenching song is about how it feels to your partner in a relationship fall out of love over time. Shakira sings:

Tell me what happened to you, why do I feel you cold? Your kisses no longer taste like they used to You still sleep in my bed, but it feels empty Tell me what happened, you’re not the same as before It seems this isn’t important to you anymore There are things in life so obvious there’s no need to say them

“Última” (“Last One”)

In the heartbreaking final song of the first half of the album, Shakira sings about coming to terms with the end of a relationship that was meant to last. “I lost my love halfway / How come you got tired of something so genuine? / Don’t try to convince me, I ask you / It’s already decided, we have what we learned,” the lyrics read in Spanish.

She recalls the moments, toward the end of the relationship, when they no longer had anything in common: “You wanted to go out and I wanted to stay with you at home / You take on the world and I just wanted to have you / Not even your friends matched mine anymore / It was easier to mix the water and oil.”

In the chorus, Shakira sings that maybe one day both of them will come to regret not fighting for one another, but for now, she “must learn to be alone.”

“Te Felicito” (“I Congratulate You”)

In this angry (but very dancy) track from her early days of singlehood, following her very public breakup from Piqué, Shakira sings about all the sacrifices she made for the person who left her, and accuses him of being dishonest about his love for her.

“For completing you I broke myself into pieces / They warned me, but I didn’t pay attention / I realized that your love is false / It was the straw that broke the camel’s back,” she sings in Spanish.

While she doesn’t technically name any names in this song, Shakira has spoken openly about how she put her music career on hold for years to support Piqué in his soccer career. She has said she moved to Spain for him and dedicated herself to raising their two boys, despite knowing it would have been better for her to stay in the United States for her music. (She has since moved back to Miami with their sons, Milan, 11, and Sasha, 9.)

“Don't tell me you're sorry / Seems sincere, but I know you well and I know you lie,” she sings. “Congratulations, you act so well.”

The song is also Shakira’s first collaboration with the king of modern reggaeton, singer-songwriter Rauw Alejandro. The two later recorded “Cohéte” together as well.

• “Bzrp Music Sessions, Vol. 53”

In perhaps her most vicious track yet, Shakira sings about being betrayed by a partner, who left her for someone less intimidating.

“Sorry, baby, I should have thrown you out a while ago / A she-wolf like me is not for rookies / A she-wolf like me is not for guys like you / For guys like you / I’m too good for you and that’s why you're with someone just like you,” she sings in Spanish.

In the self-evidently autobiographical bop, Shakira sings about Piqué leaving her in a house next to her estranged in-laws and even addresses her tax evasion battle with the Spanish government. She seems to suggest that the soccer star left her amid all these troubles, so now she’s making music about her heartbreak and getting her money’s worth:

I’m not getting back with you, don’t cry for me, nor beg me I understood that it’s not my fault that they criticize you I only make music, sorry that it bothers you You left me the in-laws as my neighbors Media outlets at my door and in debt with the government You thought you hurt me, but you made me stronger Women don’t cry anymore, they cash in

In the original Spanish, Shakira even subtly mentions her ex’s name: “ Entendí que no es culpa mía que te critiquen / Yo solo hago música, perdón que te (sal)pique .” Then she not-so-subtly drops the name of his new girlfriend, Clara Chia Marti .

One verse in the original Spanish version goes: “ Tiene nombre de persona buena / Claramente no es como suena / Tiene nombre de persona buena / Claramente es igualita que tú.” Claramente means clearly , but Clara is also the name of the soccer player’s new love.

“TGQ” (“It Was Big on You”)

The title of the track comes from the phrase Te quedó grande , or “It was big on you,” translated more accurately in this case: “I was out of your league.” Shakira—with Karol G —sings about a man who left her and immediately found a new girlfriend, only to come back looking for her soon after, while still with the other woman.

“Baby, what happened? / Thought you were very in love? / What are you doing looking for me, honey / If you know that I don’t repeat mistakes / Tell your new babe that I don’t compete for men,” she sings.

Shakira adds that now, she is the one that has moved on, as it’s clear he is with the person he deserves, and she was much too good for him.

The rest of the songs don’t seem to reference Piqué, but rather address other romantic and life experiences. In “Cohéte” (“Rocket”) and “Nassau,” Shakira sings about the thrill of a budding relationship; and in “Copa Vacía” (“Empty Glass”), she and Manuel Turizo sing about wanting someone who doesn’t always want them back. “Puntería” (“Aim”), featuring Cardi B , is about the fiery sexual tension in a relationship.

In “Cómo Dónde y Cúando” (“How Where and When”), Shakira sings about enjoying life with the people you love and seeing the light despite the bad. Similarly, “Acróstico” (“Acrostic”), which she sings with her two young sons, is about wanting to shield her boys from pain, finding joy in their smiles, and learning from them that true, unconditional love does exist.

In the kind of welcome change of genre that Shakira has learned to perfect, her ranchera track “El Jefe” (“The Boss”) with Mexican-American band Fuerza Regida talks about living a working-class life and wanting to be rich and free, only to be held down by a boss who doesn’t appreciate then.

See the full Las Mujeres Ya No Lloran track list below:

• “La Fuerte”
• “Tiempo Sin Verte”
• “(Entre Parentésis)”
• “Cómo Dónde y Cúando”
• “Te Felicito”
• “Acróstico”
• “Copa Vacía”
• “Bzrp Music Sessions, Vol. 53 (Tiësto Remix)”

Rosa Sanchez is the senior news editor at Harper's Bazaar, working on news as it relates to entertainment, fashion, and culture. Previously, she was a news editor at ABC News and, prior to that, a managing editor of celebrity news at American Media. She has also written features for Rolling Stone, Teen Vogue, Forbes, and The Hollywood Reporter, among other outlets. 

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Dr. Dre, a Defiant One, Goes From Compton Streets to Receiving His Hollywood Walk of Fame Star

By A.D. Amorosi

A.D. Amorosi

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• Dr. Dre, a Defiant One, Goes From Compton Streets to Receiving His Hollywood Walk of Fame Star 7 days ago

From the distinction of becoming hip-hop’s first billionaire to being honored with a Hollywood Walk of Fame star this week, the accomplishments and confidence of the man born Andre Young — aka legendary producer-rapper-entrepreneur Dr. Dre — could best be summed up with the lyrics from his debut solo hit, 1992’s “Nuthin’ but a ‘G’ Thang”:

“You never been on a ride like this before / With a producer who can rap and control the micstro / At the same time with the dope rhyme that I kick / You know and I know, I flow some old funky shit.”

But his determination has overcome trauma. Music has always entranced the 59-year-old Compton native, ever since his mother placed her son in front of her stereo’s speakers for the first time. Following high school, Young became “ Dr. Dre ” for the DJ-heavy rap ensemble World Class Wrecking Cru, and fashioned its biggest track, “Surgery.” Befriending Ruthless Records founder Eric “Eazy-E” Wright in 1986, then O’Shea “Ice Cube” Jackson and the rest of the men that made up N.W.A, was game-changing for the young Dre, who was the musical mastermind of the group’s success.

“Eazy-E is the godfather of gangster rap,” Ice Cube said in “The Defiant Ones,” “but you don’t have Eazy-E without Dr. Dre.”

“Money and business got involved and separated the friendship,” Dre told Kevin Hart for his “Hart to Heart” program. “I knew I had this talent and had been developing these skills.”

Dre peeled off from his N.W.A cohort and embarked on a solo venture, creating another musical masterpiece that reshaped the sound of California hip-hop. This time, the change came with the laid-back, George Clinton-inspired groove of G-funk and his debut solo album “The Chronic.” Along with introducing dozy rapper Snoop Dogg to the world (Dre also produced Snoop’s “Doggystyle” debut in 1993), “The Chronic” became a hip-hop cornerstone, ushering in an entirely new sound and era for the genre and serving as a massive breakthrough for the multi-hyphenate artist.

On “The Chronic,” Dre took the bassy, gunshot rhythms and dense musicality he invented for N.W.A albums and made them lower and slower. And though Dre co-founded the notorious and enormously successful Death Row Records with the now-incarcerated Suge Knight in 1991, he left it all behind — at considerable personal expense — in March 1996 due to internal squabbles and escalating violence: Death Row artist Tupac Shakur was shot and killed just months later while riding in a vehicle with Knight. Dre started all over with his Aftermath label: “I have no problem betting on myself,” Dre told Hart of founding the imprint. “And I’m gonna win.

Distributed through Interscope, Aftermath’s first major victory came before the end of the ’90s and signaled Dre’s next great collab as a producer and tastemaker, signing controversial rapper Eminem and overseeing his breakthrough album “The Slim Shady LP.” Four years later, he struck platinum again with 50 Cent. To say that Dre had the Midas touch would be an understatement.

Yet Dre’s next move — and his next collaboration with Interscope co-founder Jimmy Iovine — would both encompass and stretch beyond the music industry. The two co-founded Beats Electronics in 2006 and launched its Beats by Dre headphones two years later. Within a year of launch, they had sold nearly 2 million headsets, and after teaming with Apple for Beats Music’s streaming service in 2014, they sold the Beats brand to the tech giant for $3.2 billion. Around this time, the dynamic duo created a multimillion endowment to USC for the USC Iovine and Young Academy dedicated to nurturing their students’ talents in music and business. (On his own, Dre committed $10 million to a performing arts center for the new Compton High School in his old stomping grounds.)

“Iovine is the levitator and Dre is the innovator,” Eminem said in “The Defiant Ones.” “Dre and Jimmy produce each other.”

Still, it is Dr. Dre who clearly started the deep beat revolution of West Coast hip-hop with N.W.A to accompany Los Angeles’ gangsta car culture (“I wanted to make sure those subwoofers were working,” he told Hughes), and continued that uprising with the low, slow drive of “The Chronic.”

However, his personal life has not been without controversy — several women have accused him of domestic violence and assault (television host Dee Barnes, ex-wife Nicole Young, two of the mothers of three of his children). He has apologized for these incidents several times, at length in a statement to the New York Times after the 2015 release of “Straight Outta Compton.”

“Twenty-five years ago, I was a young man drinking too much and in over my head with no real structure in my life. However, none of this is an excuse for what I did,” the statement read. “I’ve been married for 19 years and every day I’m working to be a better man for my family, seeking guidance along the way. I’m doing everything I can, so I never resemble that man again,” adding “I apologize to the women I’ve hurt. I deeply regret what I did and know that it has forever impacted all of our lives.” (The marriage he referenced in the statement, to Nicole Young, ended in divorce — and a $100 million settlement — in 2021.)

But just weeks after the divorce settlement, he was on music’s biggest stage at Los Angeles’ SoFi Stadium in 2022, orchestrating one of the greatest Super Bowl halftime shows in history: an all-star ensemble with Snoop, Eminem, 50 Cent, Mary J. Blige and Kendrick Lamar. It was clear that Dre was the focus of the big event — the one man with whom each of the performers had worked, and likely the only person who could bring them all to the same stage. Together, Dre and his collaborators represented the whole of hip-hop when it came to mainstream America and its viewership of the Super Bowl. “I would’ve never thought that this moment would be happening right now,” Dre told The Guardian , awed by the center stage that he and hip-hop would take within pop culture.

Call it a victory lap, or a culmination, but the performance summed up what makes Dre such an enduring figure. Even today in hip-hop and its vast, ever-growing subgenres, Dre’s influence is still felt, from Lamar’s string of boundary-pushing albums to the countless classics he helmed along the way. For a man whose influence has touched all aspects of music — what we listen to, how we listen to it, from dancefloors to sporting events — the Hollywood Walk of Fame star is yet another accolade for one of music’s most seminal icons.

+++++++++++++++++++++

Dr. Dre’s Greatest Hits

N.W.A “Express Yourself” (1988)

The gangster rap mob’s debut, “Straight Outta Compton,” was notorious for its full-frontal, socio-political attacks on cops and breathtaking ghetto travelogues such as “Fuck tha Police” and the album’s title track — both featuring the fierce vocals of Ice Cube, MC Ren and Eazy-E and Dre’s pioneering production. But “Express Yourself” is Dre’s big solo rap moment on “Straight Outta Compton.” It’s a winner as his cocksure voice rides the brassy contours of Charles Wright & the Watts 103rd Street Rhythm Band’s “Express Yourself” and lyrics such as “My technique is very necessary.”

N.W.A, “Niggaz 4 Life” (1991)

With Ice Cube out of N.W.A before its sophomore album, Dre became a stronger force as part of MC Ren and Eazy-E’s inner circle and fashioned a Moebius strip of historic samples to tell the title track’s tale of misogynistic, machismo-driven unity. To that end, Dre’s deep voice sticks out amidst the tapestry of clips of the Last Poets, Kool & the Gang, the Meters, Little Feet, Curtis Mayfield and Parliament’s rump-shaking classic “Flashlight.”

Dr. Dre featuring Snoop Dogg, “Nuthin’ but a ‘G’ Thang” (1992)

There are several “Chronic” classics and its West Coast-defining G-funk sound. Still, no track defines that sound more than Dre and Snoop Dogg joining forces for the syrupy smooth “Nuthin’.” Hearing the rumble of Dre’s flow — then-fresh to a solo career after leaving N.W.A — paired with Snoop’s new school slither for the first time was breathtaking.

Dr. Dre & Ice Cube, “Natural Born Killaz” (1994)

Listen to the instrumental tone of Dre’s dense, ominous intro — a mean growl. This is the not-so-laidback flipside of “The Chronic” and its mellow vibe. Cube’s pointed rap and Dre’s menacing rhymes showed that the chemistry hadn’t been lost on their first collaboration since their time in N.W.A.

2Pac featuring Dr. Dre and Roger Troutman, “California Love” (1995)

There were only two Dre-produced songs on Tupac Shakur’s 1996 set “All Eyez on Me,” but not only is “California Love” the best cut on the album, but it also may be Shakur’s shining moment … and possibly Dre’s, too. “California Love” sees a plinking piano laying down the rhythm while its ascending brass and Troutman’s signature talk box create a melodic counterpoint. Dre’s rap introduction to 2Pac sets a haunting mood at a time of continued unrest in L.A. “Let me welcome everybody to the wild, wild west, a state that’s untouchable like Eliot Ness / The track hits your eardrum like a slug in the chest.”

This rare Dre-only song appears on “Dr. Dre Presents: The Aftermath,” the first album for his Aftermath label. This compilation of Dre-related artists finds the Dr. himself taking a poke at his old gangster rap image, making light of hard-talking gun-toters at a time when rap was under fire for violent lyrics and influence on the youth. Initially criticized for walking away from his past street cred, “Been There,” in retrospect, is a handsome, even startling new approach to the next phase of Dre-dom.

Eminem featuring Dr. Dre, “Guilty Conscience” (1999)

On the cusp of the 2000s, Dre hitched his wagon to the comically violent Eminem and created another sonic revolution, similar to what he did with Snoop a decade earlier. Only this time, Dre’s production sensibilities (to say nothing of his raps) were more dramatic, theatrical and even humorous to align with Em’s nasal raps and cutting punctuation. In the extended video, Dre even plays Eminem’s “conscience,” rapping the part with gusto.

Dr. Dre featuring Eminem and Hittman, “Forgot About Dre” (2000)

A plinking guitar sampled from No Doubt and a puckering sequencer line borrowed from his heroes in Kraftwerk introduce this response to diss tracks that filled “Suge Knight Represents: Chronic 2000” compilation. Rarely has Dre sounded as aggressive as when he raps, “Who you think brought you the oldies, Eazy-E’s, Ice Cube’s, and DOC’s, the Snoop D.O. Double G’s, and the group that said ‘motherfuck the police?’” Dre is so pissed off, he sneers, “Y’all are gonna keep fucking around with me, and turn me back to the old me.”

Dr. Dre featuring Kendrick Lamar, Marsha Ambrosius and Candice Pillay, “Genocide” (2015)

Updating his West Coast vibe for the 21 st century on his “Compton” solo album meant replacing its more laid-back elements with steely, industrial noise, some house music breaks, more caustic lyricism and the lilt of dancehall. Welcome South African singer-songwriter Pilay, Liverpool’s soulful Ambrosius (a songwriting collaborator with whom Dre recorded the still-unreleased “Casablanco” album) and Dre’s spiritual son and fellow Compton-ian, Lamar, for a bracing track that pushes the producer-rapper into the future.

Dr. Dre with Snoop Dogg, Busta Rhymes & Anderson.Paak, “ETA” (2022)

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A Terrorist Attack in Russia

The tragedy in a moscow suburb is a blow to vladimir v. putin, coming only days after his stage-managed election victory..

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Hosted by Sabrina Tavernise

Featuring Anton Troianovski

Produced by Will Reid and Rachelle Bonja

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Warning: this episode contains descriptions of violence.

More than a hundred people died and scores more were wounded on Friday night in a terrorist attack on a concert hall near Moscow — the deadliest such attack in Russia in decades.

Anton Troianovski, the Moscow bureau chief for The Times, discusses the uncomfortable question the assault raises for Russia’s president, Vladimir V. Putin: Has his focus on the war in Ukraine left his country more vulnerable to other threats?

On today’s episode

Anton Troianovski , the Moscow bureau chief for The New York Times.

Background reading

In Russia, fingers point anywhere but at ISIS for the concert hall attack.

The attack shatters Mr. Putin’s security promise to Russians.

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The Daily is made by Rachel Quester, Lynsea Garrison, Clare Toeniskoetter, Paige Cowett, Michael Simon Johnson, Brad Fisher, Chris Wood, Jessica Cheung, Stella Tan, Alexandra Leigh Young, Lisa Chow, Eric Krupke, Marc Georges, Luke Vander Ploeg, M.J. Davis Lin, Dan Powell, Sydney Harper, Mike Benoist, Liz O. Baylen, Asthaa Chaturvedi, Rachelle Bonja, Diana Nguyen, Marion Lozano, Corey Schreppel, Rob Szypko, Elisheba Ittoop, Mooj Zadie, Patricia Willens, Rowan Niemisto, Jody Becker, Rikki Novetsky, John Ketchum, Nina Feldman, Will Reid, Carlos Prieto, Ben Calhoun, Susan Lee, Lexie Diao, Mary Wilson, Alex Stern, Dan Farrell, Sophia Lanman, Shannon Lin, Diane Wong, Devon Taylor, Alyssa Moxley, Summer Thomad, Olivia Natt, Daniel Ramirez and Brendan Klinkenberg.

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Anton Troianovski is the Moscow bureau chief for The Times. He writes about Russia, Eastern Europe, the Caucasus and Central Asia. More about Anton Troianovski

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