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【天青色等煙雨，而我在等你】(English writing below)

我看著客人眼淚
滴滴答答的打在桌面上
筆記本
濕了
本子上的字
糊了

她的心酸
猶如洪泉遇到崩裂的堤壩
一波一浪的破牆而出

一個被愛情辜負的女子
看了真是心疼

我不由自覺的
想到了自己

你懂我的
像我這樣剛烈的女子
爲了愛情
我絕不退縮
祇是一個勇字
又豈能成事呢

童年
過得心驚膽顫
家裡常吵得
雞犬不寧

爸爸沒想要
把我生下
媽媽常說
要把我趕出去

我很努力讀書
我很努力做個乖孩子
我覺得我做得很好
人小小本事很大
但這些終究無法
讓我在美滿的家庭長大

多少個夜晚裡
我被媽媽打得
想奪門而出
永不再見
可是想到誰來照顧她
我又忍下來

我很恨
為何我命運不如人

第一次談戀愛時
我是多麼多麼的雀躍
內心裡的煙花
不斷地爆開
我終於等到了
不再是
沒人要的孩子了

我終於
值得有人愛了

初戀的絢麗
卻也如七彩美麗的煙花
一聲巨響後
就消失在漆黑的夜裡

他常常在我面前
提到他如何深愛著
他中學時的校花
她是如此的美好

有一次
這校花來我們的學校
他得知後
破課室的門而出
沒見到她
他哭了一整個星期

心中的不安
讓我常常與他吵架
三年零八個月裡
我不是一個好女友
服滿兵役後
他喜歡上大學迎新會
的一位混血兒

後來
我和一位校友打了幾次桌球
某夜
他在ICQ向我索吻
對他的印象
就一落千丈了
（你以為老娘在賤賣嗎？）
不久一位朋友告訴我
他約會的對象
不只我一個

我有一位
很好很好的朋友
我在新加坡時
他常陪我
深夜打桌球到清晨
聊佛法聊人生
一起上佛學班
一起學國標舞
從未有一個人
如此瞭解我的心
如此照顧著我

但無所不談的當兒
他也不斷告訴
這麼多年來
他如何愛念著
一個女孩
對她始終無法忘懷

我又輸給
活在記憶中的人了

我這一份單戀
長達兩年
很磨人很磨人很磨人
差一點走不出來

第二次談戀愛
他常在我面前提起
一個他追了半年追不到的女孩
他說
有一天一定要去問她
為什麼不選擇他

在家裡的毒打
並沒有隨著我成人
而停止

後來拜師學藝
卻因爲品德不良
被師父一句
「你不是我要找的人。」
斷然吃了閉門羹

那天我哭得痛徹心扉
覺得自己
好像是
個沒人要的孩子

方文山因爲
八百年前
宋徽宗皇帝御批的這句
「雨過天青雲破處」
而在周傑倫《青花瓷》裡
寫了『天青色等煙雨，而我在等你』

他說
愛情里最無力的無奈
就是「等待」
天青色得等待
不知何時會降的雨
雨停
積雲散去
朗朗晴空中
天青色才能顯現
如同我
只能被动而安静的
等待着
不知何时才会出现的妳。

慢慢的
我開始認為
我這輩子等不到了
月老應該沒幫我
綁上紅線

學佛多年後
忽然恍然大悟
一個道理
没有东西是必须拥有的
沒有它
也不代表自己的不足

愛情
是一個填不滿的慾望
所以愛情劇長紅

在2015年2月21日年初三，根本上師蓮生活佛在台灣中天綜合電視台的訪談中說：https://youtu.be/EPDxwSt6a5I （時間12:08）

「師尊本身的愛是這樣的。我既然愛她，就是要她幸福，不是要佔有她，這種愛不是佔有，其實愛不是佔有。如果愛是佔有的話，那就是屬於慾望。如果愛不是佔有，我是祝福她，雖然我愛她，她不愛我，她愛別人，我就祝福她。如果愛別人會比較幸福，我就祝福她。這種愛就不是佔有的愛。如果是佔有的愛，一定會產生痛苦。」

原來我真正在等的
是自己
自己的智慧開了
心變闊達時
才不會讓他人決定
自己幾時可以幸福
可以幸福多久
命運在我手中
怎麼走本來就是我說了算

我輕輕的拿起桌上的紙巾，遞給女客人。她一把鼻涕，一把眼淚的向我道謝。

借了師父慣用的笑話，我柔聲細語的說：「別哭，新加坡缺水，要哭要到蓄水池哭，這樣我們可以少看馬來西亞的臉色做人。」

她破涕而笑。

我再說：「我看了妳的八字，現在又看到妳真人，勸你跟我講話老實一點，要不然我幫不到妳。妳明明一直做人家的小三，還敢跟我哭沒有男人要和妳結婚？妳不也偷偷拿了他不少錢嗎？我看妳明明就是一張愛錢的臉。」

奉勸各位大俠，在我面前，若要用眼淚爲武器，請三思，因爲虛偽的，我必定拆你面具。

..........................

I looked at the teardrops of my client, pitter patter onto the table top. My client's notebook got wet. The words got muddled.

All the pains in her heart were like the angry river crushing through a broken dam, tearing down the walls as the tears flowed.

To see a lady being let down by love was indeed heart-breaking.

I couldn't help but thought of myself.

You know me. An unyielding character like mine will not shrink like a coward in the name of love. Alas, there are things in life that can't be accomplished solely with courage.

My childhood was filled with a lot of fear. There were often quarrels at home.

My dad didn't want me to be born. My mum often said she wanted to chase me out of the house.

I studied very hard. I did my utmost to be an obedient kid, and I thought I did very well as young child but I was already very capable. However, all these were not enough for me to grow up in a complete family.

So many nights, I got beaten up so badly by my mum that I wanted to just break out of the door and never to see her again. But the mere thought of nobody looking after her pulled me back.

I hated so much. Why wasn't my destiny comparable to other people?

When I first fell in love, I was so elated. The fireworks in my heart exploded non-stop. I finally found someone. I was no longer that child which nobody wanted. I was finally worthy of someone's love.

The splendour of first love, however, was as temporal as the rainbow-coloured fireworks. After a loud explosion, it vanished into the darkness of night.

He would often tell me in my face, how much he pined for and loved his secondary school crush, apparently the prettiest and most perfect girl in school.

Once, this campus belle came to our school. When he got wind of the news, he dashed out of the classroom. Failing to see her, he cried for one whole week.

My insecurity caused me to quarrel with him often. In those 3 years and 8 months, I wasn't a great girlfriend. After his NS, he got together with a girl of mixed blood at his university's Orientation camp.

I played pool with a uni mate a few times. One night over ICQ, he teased me for a kiss. My impression of him dropped like hot cakes. Did I look like I was lelong-ing myself? Later, a girl pal told me that he was dating several girls at the same time.

I had a very good friend. Whenever I was in Singapore, he would accompany me to play pool till wee hours. We talked about Dharma, life, and we attended Buddhism and ballroom dancing classes together. I had never met a person who understood me and took care of me so well.

But among our endless conversations of everything and anything, he always told me how he still loved a girl from his school. He couldn't forget her.

Again, I lost to someone who lived in the memory of the guy I liked.

This one-sided love of mine burned for two years. It was very, very, very excruciating. I almost didn't make it out alive.

In my second relationship, the boyfriend would always tell me about a pretty girl whom he pursued for half a year, but failed to win her heart. He told me firmly that if he had the chance, he wanted to ask her why she did not choose him.

The abusive beating at home did not stop even after I grew up.

Later on, when I wanted to become Shifu's disciple, he turned me down flat because he didn't think I had good morals and values. He was blunt, "You are not the person I am looking for."

That night, I cried painfully hard. Suddenly, I felt like I was the kid from my childhood whom nobody wanted.

800 years ago, Emperor Huizong of Song Dynasty wrote in an imperial decree "雨過天青雲破處". It was this that inspired Vincent Fang (方文山) to write the lyrics 『天青色等煙雨，而我在等你』in Jay Chou's song 青花瓷 (Blue and white porcelain).

Vincent Fang said, the most powerless kind of helplessness in love was waiting.

The sky green colour had to wait for the rain, which it had no idea when it would arrive. After the rain stopped, the thick clouds dissipated, in the clear skies, the sky green colour would then be able to appear. This was just like how he could only passively and quietly wait, for his lady whom he had no idea when she would appear.

Gradually, I started thinking that in this lifetime, I would not be able to wait for that person to appear. Perhaps Yue Lao (the elderly celestial under the moon) did not tie the red string on me.

After many years of learning the Dharma, one day, I suddenly came to the realisation that nothing is a must to own.

Secular love is a black hole of desires. That is why romantic shows are evergreen.

On 21 February 2015, the 3rd day of the Lunar New Year, my Root Guru Living Buddha Lian-Sheng spoke in an interview with the Taiwan CTI Television Inc.: https://youtu.be/EPDxwSt6a5I （timestamp 12:08）

"My personal take on love is this. Since I love her, I will want her to be blissful, and not to possess her. Such love isn't possession. Actually love isn't possession. If love is possession, that belongs to desire. If love isn't desire, I will wish her well. Although I love her, she doesn't love me, but loves another person, so I will give her my best wishes. If loving another person brings her more happiness, I will wish her well. Such love isn't possessive love. If it is possessive love, there will surely be pain."

Then I realised, the one that I had been waiting all along for is myself. Waiting for my wisdom to develop, waiting for my heart to be more open, so that I would not place my happiness in the hands of another person, and let the person decide for me when I should be happy, for how long I can stay happy...

My destiny is in my hands. How it pans out is up to me to say.

I gently picked up a serviette from the table and passed it to my lady client. In a mush of mucus and tears, she thanked me.

Borrowing an old joke from Shifu, I gently told her, "Don't cry. Singapore lacks water. If you want to cry, you should cry at a nearby reservoir. This way, we don't have to see the colours of Malaysia in order to get more water."

She broke into a smile among her tears.

I continued, "After looking at your Bazi, and now that I have seen you in person, I advise you to be more honest with me, or else I will not be able to help you. You have all along been a mistress to other men, and you dare to come crying to me that no man wanted to marry you? Didn't you also stole some money from them? The way I see you, you obviously have a money grubber face."

My advice to all swordsmen: If you wish to use your tears as a weapon in front of me, think thrice. Because if you are a hypocrite, I will definitely rip your mask apart.

【水世界】的前製設定與現場劇照

WATERWORLD (1995)
In celebration of today’s anniversary of this wet mess/epic. Let’s celebrate the hard work this crew put into bringing this world to life. Water movies are never easy but when it comes to this movie anytime you bring it up and a crew member from it is in earshot, the stories pour out. Not always bad, I know a AC that said he had a blast, he loved the boat rides out and all the camaraderie the crew had to have to get thru it. To all the crew that helped bring WATERWORLD to life, We salute you and thanks for the memories. I personally enjoy this hot mess of a movie, it’s one of the last ones of its kind...done practically...in a way.
let’s take a deepest of dives into WATERWORLD

The director, Kevin Reynolds, knew there would be problems before production had even started, “During pre-production. Because having never shot on water to that extent before, I didn’t really realise what I was in for. I talked to Spielberg about it because he’d gone to do Jaws, and I remember, he said to me, “Oh, I would never shoot another picture on water”.
“When we were doing the budget for the picture, and the head of the studio, Sid Sheinberg, we were talking about it and I said, “Steven told me that on Jaws the schedule for the picture was 55 days, and they ended up shooting a 155 days”. Because of the water. And he sat there for a moment and he said, “You know, I’m not sure about the days, but I do know they went a hundred percent over budget”. And so, Universal knew the potential problems of shooting on water. It’s monstrous.”
The film began with a projected budget of $100 million which had reportedly increased to $175 million by the end of production. The principle photography had overrun for at least thirty days more than originally planned due to one major decision.

Whereas today they would film in water tanks with partially built sets, employing green screens to fake the locations, back in 1995 they decided to build everything full size and shoot out on the ocean.

This causes extra logistical problems on top of those that already come with making a major action blockbuster. Cast and crew have to be transported to sets. The camera boats and sets float out of position and will have to be reset between takes taking up valuable production time.

The first draft of Waterworld was written by Peter Radar, a Harvard graduate who wanted to break into the film business. His contact in the film industry was Brad Kevoy, an assistant to the legendary director Roger Corman.

Roger Corman is best known for making films very quickly on a small budget. He also liked to give young talent a chance to direct and write their own films. Brad informed Peter that if he could write a Mad Max rip off, he would arrange to finance and let him direct the picture.

Radar came back and pitched the idea for what would become Waterworld. Kevoy took one look at him and said,

“Are you out of your mind? This would cost us three million dollars to make this movie!”
So Radar kept hold of the idea and decided to re-write the script but, this time, going wild. He wrote what he wanted to see on-screen, limited only by his imagination, not a real world production budget.

He managed to get the newly written script shown to a pair of producers with whom he had made contact with. They loved it and ironically they passed it onto Larry Gordon. He shared the enthusiasm saying it had the kind of cinematic possibilities he was looking for. A deal was signed on Christmas Eve of 1989.

As further script rewrites progressed, it became clear that Waterworld was too big for the Larry Gordon’s production company to undertake by themselves. In February 1992, a deal was signed with Universal Pictures to co-produce and co-finance the film. This was now six years after the first draft had been written.

Universal had signed director Kevin Reynolds to Waterworld. Whilst he was finishing his latest film, Rapa Nui, pre-production for Waterworld was already underway.

The decision was taken that the largest set for the film, known as the atoll, would be built full size. The atoll was the primary location for film and in the story served as the location for a small population of survivors.

The logic behind this decision was due to the high percentage of live action filming required in this location, as well as a huge action set piece. No sound stage would be big enough to incorporate this number of scenes and it was crucial that we see the mariner sail his boat into the atoll, turn around and set out again. A full-size construction was the only way to go as the use of miniature and special effects would be impractical.

The next problem was deciding where to build this huge set. After much research, Kawaihae Harbour in Hawaii was chosen as the location. The atoll could be constructed in the harbour and rotated when needed thus allowing for open sea in the background. Later towards the end of principle photography, the atoll could be towed out into the open sea for the filming of the big action sequences which would be impractical to shoot in an enclosed harbour.

Director Kevin Reynolds also discussed the possibility of using the same water tank as James Cameron’s The Abyss, which had filmed there around five years ago,

“We had even entertained the notion of shooting at that big nuclear reactor facility where they had shot The Abyss, to use it for our underwater tank. But we found it in such a state of disrepair that economically it just wasn’t feasible. We didn’t have as much underwater work as they did. Most of The Abyss is interiors and underwater and model work, ours is mostly surface exterior.”

The production company had originally envisioned building the atoll by linking approximately one hundred boats together and building upon this foundation, just like the characters in the film. The production crew set out to search Hawaii and get hold of as many boats as possible.

During this search, a unique boat in Honolulu caught their attention. Upon further investigation, they discovered it was built by Navitech, a subsidiary of the famous aircraft production company, Lockheed.

They approached Lockheed with the strange request of figuring out how they could build the foundations of the atoll. Lockheed found the request unusual but didn’t shy away from the challenging. They agreed to design the atoll foundation and Navitech would construct it.

Meanwhile, an 11ft miniature model of the atoll was sent out to a model ship testing facility in San Diego. Scaled wave tanks are used to determine the effects of the open sea on large scale miniature models of new untested ship designs. This would help determine what would happen with the unusual design of the atoll when it was out of the harbour.

The atoll, when finished, was approximately ¼ mile in circumference. It took three months to construct and is rumoured to cost around $22 million. As the atoll would be used out on the open sea, it required a seafaring license. Nothing like this had been done before and after much deliberation, it was eventually classed as an unmanned vessel. This meant that all cast and crew would have to vacate the set whilst it was towed into position. By the end of production, the atoll was towed out to sea a total of five times.

Shooting out on the open sea presented a series of logistical problem as Reynolds describes,

“We had an entire navy, basically – I mean, this atoll was positioned about a mile off-shore in Hawaii, it was anchored to the bottom of the ocean so it could rotate. What you don’t think about are things like, you’re shooting on this atoll to maintain this notion that there’s no dry land, you always have to shoot out to sea. Away from the land. So we chose a location where we had about a 180 degree view of open water. Nevertheless, any time when you’re shooting, there could be a ship appear in the background, or something like that, and you had to make a choice. Do I hold up the shot, wait for the ship to move out, or do we shoot and say we’re going to incur this additional cost in post-production of trying to remove the ship from the background.

And at that time, CGI was not at the point it is now, it was a bigger deal. And so, even though if you’re shooting across the atoll and you’re shooting out onto open water, when you turn around and do the reverses, for the action, you had to rotate the entire atoll, so that you’re still shooting out to open water. Those are the kinds of things that people don’t realise.

Or something as simple as – if you’re shooting a scene between two boats, and you’re trying to shoot The Mariner on his craft, another boat or whatever, you’ve got a camera boat shooting his boat, and then the other boat in the background. Well, when you’re on open water things tend to drift apart. So you have to send lines down from each of those boats to the bottom, to anchor them so that they somewhat stay in frame. When you’ve got a simple shot on land, you set up the camera position, you put people in front of the camera and then you put background in there. But when you’re on water, everything’s constantly moving apart, drifting apart, so you have to try to hold things down somewhat.

And these are simple things that you don’t really realise when you’re looking at it on film. But logistically, it’s crazy. And each day you shoot on the atoll with all those extras, we had to transport those people from dry land out to the location and so you’re getting hundreds of people through wardrobe and everything, and you’re putting them on boats, transporting them out to the atoll, and trying to get everybody in position to do a shot. And then when you break for lunch, you have to put everybody on boats and take them back in to feed them.”

The final size of the atoll was determined by the size of the Mariners boat, the trimaran. The dimensions for the trimaran were finalised very early on in pre-production, allowing all other vehicles and sets to be sized accordingly.

Production required two trimarans boats which are so called because they have three hulls. The first was based on the standard trimaran blueprint and built for speed but also had to accommodate a secret crew below decks.

During wide and aerial shots it would have to look like Costner himself was piloting the boat. In reality, a trained crew could monitor and perform the real sailing of the boat utilising specially built controls and television monitors below deck.

The second trimaran was the trawler boat which could transform into the racer through the use of special practical effects rigs. Both of these boats were constructed in France by Jeanneau. Normally this type of vessel requires a year to construct but production needed two boats in five months!

Normally once the boat had been constructed, Jeammeau would deliver it on the deck of a freighter, requiring a delivery time of around a month. This delay was unacceptable and so the trimarans were dismantled into sections and taken by a 747 air freighter to the dock Hawaii. Upon arrival, a further month was required to reassemble the boat and get them prepared for filming.

sets recreating the inside of the tanker were built using forced perspective in a huge 1000ft long warehouse which had an adjoining 2000ft field. In this field, they built the set of the oil tankers deck, again constructed using forced perspective. Using the forced perspective trick, the 500ft long set could be constructed to give the impression that it was really twice as long.

There’s more to a film than just it’s sets and filming locations. Over two thousand costumes had to be created with many of the lead actors costumes being replicated many times over due to wear and tear.

This is not an uncommon practice for film production, but due to the unique look of the people and the world they inhabit, it did create some headaches. One costume was created with so many fish scales the wardrobe department had to search the entire island of Hawaii looking for anyone who could supply in the huge quantity required.

Makeup had to use waterproof cosmetics, especially on the stunt players. As everyone had a sun burnt look, a three-sided tanning booth was setup. The extras numbering in their hundreds, with ages ranging from six to sixty-five, passed through the booth like a production line to receive their spray tan. The extras then moved onto costume before finally having their hair fixed and becoming ready for the day.

In some scenes, extras were actually painted plywood cutouts to help enhance the number of extras on the set. This can easily be seen in one particular shot on board the Deez super tanker.

Filming on the water is not only a difficult and time-consuming process but also very dangerous. It’s been reported that Jeanne Tripplehorn and Tina Majorino nearly drowned on their first day of filming.

Waterworld’s star Kevin Costner reported having a near-death experience when filming a scene in which the mariner ties himself to his catamaran to survive a storm. The pounding water caused him to black out and nearly drown.

Unbeknownst to most of the crew, Kevin Costner’s stunt double was riding his jet ski across 40 miles of open ocean between his home on Maui and the film’s set on the Big Island. When he didn’t show up for work one day, the production team phoned his wife, who informed them he had already left for work. The stunt double’s jet ski had run out of gas halfway through his “commute” and a storm had swept him farther out to sea. It took a helicopter most of the day to find him. The stunt doubles name was Laird Hamilton.

As well as the logistical problems of creating a film of this scale and on water, they also had to deal with the press who seemed intent on wanting the film to fail. Director Kevin Reynolds discusses the situation,

“It was huge, we were constantly fighting – people wanted to have bad press. That was more exciting to them than the good news. I guess the most egregious example of that that I recall was that the publicist told me that one day…we’d been out the day before and we were doing a shot where we sent two cameras up on a mast of the trimaran and we wanted to do a shot where they tilled down from the horizon down to the deck below. We’re out there, we’re anchored, we’re setting the shot up and a swell comes in, and I look over and the mast is sort of bending.

And I turned to the boatmaster and I said, “Bruno, is this safe?”. And he looks up the mast and he goes, “No”. So I said, “Okay, well, we have to get out as I can’t have two guys fall off from 40 feet up”. So, we had to break out of the set-up, and go back in a shoot something else and we lost another half-day.

Anyway, the next day the publicist is sitting in his office and he gets this call from some journalist in the States and he goes, “Okay. Don’t lie to me – I’ve had this confirmed from two different people. I want the facts, and I want to hear about the accident yesterday, we had two cameramen fall off the mast and were killed”.

And, he goes, “What are you talking about?”. And he goes, “Don’t lie to me, don’t cover this up, we know this has happened”. It didn’t happen! People were so hungry for bad news because it was much more exciting than…they just said it, and you know, it hurt us.”
Upon release, the press seemed to be disappointed that the film wasn’t the massive failure they were hoping it to be. Universal Studios told Kevin Reynolds that one critic came out of an early screening in New York and in a disappointed tone said,

“Well, it didn’t suck.”

It is true that during principle photography the slave colony set sank and had to be retrieved. However due to bad press, the rumour became much bigger and to this day when you mention the sinking set, most people assume it was the huge atoll.

During production, press nicknamed the film “Kevin’s Gate” and “Fishtar”, referring to 1980’s box office failures Heaven’s Gate and Ishtar. Heaven’s Gate failed so badly it led to the sale of United Artists Studio and has become synonymous with failure in Hollywood.

As well as the exaggerated set problems and other various production rumours, there were also difficulties with the script. In a risky move, the film was green lit and moved into production without a finalised script.

The final total is a reportedly thirty-six rewrites. One of the writers involved was Joss Whedon. Joss had worked on many scripts before becoming a director having being at the helm of both The Avengers and the sequel Avengers: Age Of Ultron. He described his experience on Waterworld as,

“Seven weeks of hell”
Everything came to a head just three weeks before the end of principle photography. Kevin Reynolds who was an old friend of Kevin Costner allegedly walked off set or was fired. There was no official statement on what happened.

When Reynolds left the production this event caused many changes to be made. Composer Mark Isham had already composed approximately two-thirds of the film’s score by the time Reynolds left and that event ultimately caused him to leave production. As Mark describes in this interview excerpt,

“Kevin Reynolds quit the film, which left me working for Kevin Costner, who listened to what I had written and wanted a completely different point of view. He basically made a completely different film — he re-cut the entire film, and in his meeting with me he expressed that he wanted a completely different approach to the score. And I said, “oh let me demonstrate that I can give that to you”, so I presented him with a demo of my approach to his approach, and he rejected that and fired me. What I find a lot in these big films, because the production schedules are so insane, that the directors have very little time to actually concentrate on the music.”
Rumours report that Costner took control of production. He directed the last few weeks of principle photography and edited the final cut of the film that was released in cinemas.

Reynolds discusses his surprise at discovering that one of the most famous scenes from what is known as the extended version, was left on the cutting room floor,

“…it would have differed from what you saw on the screen to some extent, and one of the things I’ve always been perplexed by in the version that was released, theatrically, although subsequently the longer version included it, and the reason that I did the film, was that at the very end of the picture, at the very end of the script, there’s a scene when they finally reach dry land and The Mariner’s sailing off and he leaves the two women behind, and in the script they’re standing up on this high point and they’re watching him sail away, and the little girl stumbles on something.
And they look down and clear the grass away and that’s this plaque. And it says, “Here, near this spot, 1953, Tenzing Norgay and Edmund Hillary first set foot on the summit of Everest”. And that was in script and I was like, “Oh, of course! Wow, the highest point on the planet! That would have been dry land!”. And we got it! We shot that. And they left it out of the picture. And I’m like, “Whaaat?!”. It’s like the Statue of Liberty moment in Planet of the Apes. And I was like, “Why would you leave that out?”

Written by John Abbitt | Follow John on twitter @UKFilmNerd

If any the crew cares to share any of their experiences on it please comment.
Thanks for reading
If you want more deep dives visit
https://www.facebook.com/groups/crewstories/?ref=share

現在是夏天，每個人都在瀑布裡游泳，我開始看到一連串的留言警告，警告人們不要在瀑布中形成隱藏的，看不見的水流下游泳。這是一個非常常見的留言，用來嚇唬沒有經驗的游泳者或不熟悉瀑布的人，以免他們掉入水中。它常出現在FB和YT的留言中，並在新聞文章中發表，甚至溯溪教練有時也會重複（即使他們知道這是錯誤的）。在每個深瀑布池中，水下的水流比表面的流得慢。
😣
這是深水池的物理屬性，沒有例外。頂部放快水，底部放慢水。發生這種情況是因為水在水池的頂部進入和流出，所以水流在整個表面上做移動，而且還因為更深的水與其他水分子和水池底部之間的摩擦更大，從而減慢了水的速度（動能為轉化為熱量）。告訴人們深水池中存在隱性水流，這不僅不準確，而且很危險。
😊
向人們提供有關安全的虛假信息是危險的。試圖通過散佈煽動性的恐懼心理來恐嚇某人遠離水域，這只會適得其反。如果您了解水流的工作原理，那麼您應該在教這些知識，而不是虛構知識。
💦
知道不是看不見的水下水流非常重要，原因有兩個：
🌊
1）當水流過大而您不能逆流游泳時，最好的措施是在水底下游泳。沒錯！您可以簡單地更深入地潛水並在水流底下游泳，而完全避開它。在下面的影片中，表面水流過強而無法游泳抵抗。在水底下游泳卻很容易。在1-2公尺深處，水幾乎沒有移動。 （觀看我們輕鬆逆流游泳）
☀
2）告訴人們水下存在看不見的水流，而忽略了表面上存在非常可見且可預測的水流這一事實。只要通過查看水池，我們就可以對水池的流體動力學有很多了解。通過視覺觀察，我們可以輕鬆地看到流動的速度和方向。如果要使水流方向更清晰，也可以拋出棍子或樹葉之類的物體。

因此，你無法看到水中有什麼時，請不要告訴別人那裡很危險。這不是事實。您只需看一下就可以看到發生了什麼。在您看到它之後，它不再是未知的危險。一旦知道了，您就可以進行研究並製定相應的計劃。水流可能會成為繞行的障礙，或者是幫助您到達目的地的工具。這不是一個令人恐懼的隱藏妖怪惡靈，而是河中自然而可預測的一部分。知道自己的極限，學習如何閱讀河流，並做好相應的準備。這樣，您每次都會安全。教育永遠比嚇阻來的有效！
🙏
EDIT:一些評論認為這對不懂游泳的人沒有幫助。 這是不正確的。 如果您不知道如何游泳，那麼此信息對您而言甚至更為重要。 因為您需要潛水才能在強流下游泳，所以這意味著，如果您穿著救生衣，將會被卡住而無法返回。 這意味著，如果您不會潛水或不會游泳，那麼在這種情況下您不應入水。 即使有救生衣。 知識總是使您更安全。Some comments suggest this is not helpful for people that don't know how to swim. This is incorrect. If you don't know how to swim, this information is even more important for you. Because you need to dive to swim against a strong current, it means that if you are wearing a life jacket, you will be stuck and unable to return. What this means is that if you can't dive, or can't swim, you should not go in the water in that situation. Even with a life jacket. Knowledge always makes you safer.
,🤙
Wutan Waterfal (Dongxi Waterfall)
Pingtung County, Taiwu Township
武潭瀑布 (東西瀑布)
屏東縣泰武鄉
Waterfall and Parking: 22.585093, 120.641308
💪
Now that it's summer and everyone is out swimming in waterfalls, I'm starting to see a string of comments warning people against hidden, unseen underwater currents that can form in waterfalls. It's a very common phrase which is used to scare away inexperienced swimmers or people unfamiliar with waterfalls, so that they don't go in the water. It shows up in comments all over FB and YT, it's published in news articles, and even river tracing coaches repeat it sometimes (even though they know it's false). In every single deep waterfall pool, the current is slower under the water than it is on the surface.

This is the physical property of a deep pool, there are no exceptions to it. Fast water on top, slow water on the bottom. This happens because water is entering and exiting at the top of the pool, so the flow is moving across the surface, and also because deeper water has more friction against other water molecules and the pool bottom, which slows down the water (kinetic energy is converted to heat). Telling people that there are hidden currents in deep pools is not only inaccurate, but it's also dangerous.

Giving people false information regarding safety is dangerous. Trying to scare someone into staying out of the water by spreading sensationalist fear-mongering is counter productive. If you have knowledge about how currents work, you should be teaching that knowledge instead of making stuff up.

It's so important to know that aren't invisible underwater currents for two reasons:

1) When the current is too strong, and you can't swim against it, the best action to take is to swim under it. That's right. You can simply dive deeper and swim under the current, avoiding it entirely. In the video below the surface current is too powerful to swim against. It's very easy to swim under. At 1-2 meters depth, the water is practically unmoving. (Watch Nicky swim directly against the current with ease)

2) Telling people that there are invisible currents underwater ignores the fact that there are very visible and predictable currents on the surface. We can understand a lot about the fluid dynamics of a pool just by looking at it. We can easily see the speed and direction of the flow by visual observation. Objects such as sticks or leaves can also be thrown if to make it more clear.

So stop telling people that there is a danger you can't see in the water. It's not true. You can see what happens just by looking at it. And after you see it, it's not an unknown danger anymore. Once it's known to you, you can study it and plan accordingly. The current can be an obstacle to get around, or a tool to help you get where you are going. It's not a hidden boogie man to be feared, but a natural and predictable part of the river. Know your limits and learn how to read the river, and prepare accordingly. Then you will be safe, every single time.

美人ライダー　HONDA CB400FOUR　Suzuki SV400　スズキ・ ボルティー　Suzuki Volty
日本初のダチョウ料理専門店、
ライダーズカフェMACHⅢ
大阪府堺市美原区北余部４６９－６
ＴＥＬ＆ＦＡＸ０７２－３６１ー３１７１
http://www.h4.dion.ne.jp/~maltuha/index.html

●絶版★改
ハイパフォーマンスマシンと化し、
今なお愛され続ける絶版車両を紹介するこのコーナー。
今週の車両はKAWASAKI 500SS MACH3 "H１"
モンスター２ストロークマシンの代名詞を紹介！！
番組のHPで、
http://www.likeawind.jp/index.html
http://jp.youtube.com/watch?v=xh6SSuO6J_I

The sea bass and SV (Esbi) are motorcycles of the sports type that the sea bass is doing the manufacturing sales. Numerical models are being produced as a series model now.
SV400/S

SV400 was put on the market in 1998. Two V type of water-cooled four stroke 90 degrees cylinder engine is installed, and there are two kinds of SV400 of a naked model to whom it gives priority to SV400S and the town youth who is the half caul model to emphasize sports.

At first, SV400 was changed to a double disk in 2002 in 2000 SV400S though the nose-wheel brake was a single disc. S of the fixed price was 90,000 yen or more higher. It is a catalog fall of both in September, the production end and 2007 in December, 2006.

Bolte (Volty) is a motorcycle to which the sea bass was doing the
manufacturing sales.
Outline

Bolte was put on the market in 1994. It was a naked type of 250cc with the outlook on ..retro-style.. Haz, and a curve part took charge and Every Good Boy Deserves Favour took charge of the body design with a lot of features that were.

It got into the news as "Price busting of the motorcycle" because of pricing that was under 300,000 yen that greatly fell below the market price of 250cc at that time. It is possible to visit production though the minor change is continued from release to 2004 for ten years, and suiting demand enough though it might be called an unpopular car.

This class was popular among the woman in a diminutive body and weight from the thing that the taking turning is easy. Bolte was used instead of Cab in the post office in the region part probably because of ..very good durability and fuel cost in addition... It often sees as a vehicle of delivery service by motorcycles now.

Motorcycle CB400FOUR (Shebe Foix) that Honda Motor Co., Ltd. put on the market in 1997.


Outline of edit

A big body that adopted the spoke wheel before and behind the putting out muffler four that gave the chrome plating appeared as new naked sports that followed the image of not the reprint of dream CB400FOUR that was a great car before but dream CB750FOUR.

The cooling fin is added based on four water-cooled series cylinders of CB400SF and the engine is installed in a vertical feeling. The setting was assumed an inside low-speed valuing on the assumption of the use in daily life while maintaining 53 horsepower of 400cc class upper bound. As for the color, three colors of candy ocean green, Italian red, and a pure black were prepared.

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美人ライダー　HONDA CB400FOUR　Suzuki SV400　スズキ・ ボルティー　Suzuki Volty
日本初のダチョウ料理専門店、
ライダーズカフェMACHⅢ
大阪府堺市美原区北余部４６９－６
ＴＥＬ＆ＦＡＸ０７２－３６１ー３１７１
http://www.h4.dion.ne.jp/~maltuha/index.html

●絶版★改
ハイパフォーマンスマシンと化し、
今なお愛され続ける絶版車両を紹介するこのコーナー。
今週の車両はKAWASAKI 500SS MACH3 "H１"
モンスター２ストロークマシンの代名詞を紹介！！
番組のHPで、
http://www.likeawind.jp/index.html
http://jp.youtube.com/watch?v=xh6SSuO6J_I

The sea bass and SV (Esbi) are motorcycles of the sports type that the sea bass is doing the manufacturing sales. Numerical models are being produced as a series model now.
SV400/S

SV400 was put on the market in 1998. Two V type of water-cooled four stroke 90 degrees cylinder engine is installed, and there are two kinds of SV400 of a naked model to whom it gives priority to SV400S and the town youth who is the half caul model to emphasize sports.

At first, SV400 was changed to a double disk in 2002 in 2000 SV400S though the nose-wheel brake was a single disc. S of the fixed price was 90,000 yen or more higher. It is a catalog fall of both in September, the production end and 2007 in December, 2006.

Bolte (Volty) is a motorcycle to which the sea bass was doing the
manufacturing sales.
Outline

Bolte was put on the market in 1994. It was a naked type of 250cc with the outlook on ..retro-style.. Haz, and a curve part took charge and Every Good Boy Deserves Favour took charge of the body design with a lot of features that were.

It got into the news as "Price busting of the motorcycle" because of pricing that was under 300,000 yen that greatly fell below the market price of 250cc at that time. It is possible to visit production though the minor change is continued from release to 2004 for ten years, and suiting demand enough though it might be called an unpopular car.

This class was popular among the woman in a diminutive body and weight from the thing that the taking turning is easy. Bolte was used instead of Cab in the post office in the region part probably because of ..very good durability and fuel cost in addition... It often sees as a vehicle of delivery service by motorcycles now.

Motorcycle CB400FOUR (Shebe Foix) that Honda Motor Co., Ltd. put on the market in 1997.


Outline of edit

A big body that adopted the spoke wheel before and behind the putting out muffler four that gave the chrome plating appeared as new naked sports that followed the image of not the reprint of dream CB400FOUR that was a great car before but dream CB750FOUR.

The cooling fin is added based on four water-cooled series cylinders of CB400SF and the engine is installed in a vertical feeling. The setting was assumed an inside low-speed valuing on the assumption of the use in daily life while maintaining 53 horsepower of 400cc class upper bound. As for the color, three colors of candy ocean green, Italian red, and a pure black were prepared.