1111進修網

 

1) 計畫發起人與主筆：郭佩怜

台中人，台大經濟系畢業後在英國待過一段時間，現為自由工作者、行銷企劃、外語製片與各式專案管理，曾任職台北市文化基金會、掌生穀粒、寶藏巖國際藝術村與Allrover。

　

2) 各領域專家如：

線上訂房平台資深市場經理介紹飯店、前誠品音樂館資深員工介紹音樂空間與唱片行等。

 

 

1) 文字編輯：林容年　前《藝術家》編輯

2) 編輯顧問：陳敬淳　前行人出版社編輯

3) 內容顧問：李育萱　智邦藝術策展人

4) 翻譯：培根翻譯　合作對象包含《NOT TODAY》等雜誌。

5) 翻譯（其中兩條路線）：Neil Swanson 　喜愛茶的加拿大譯者。

 

1) Evan Lin　有家攝影負責人，長期與《蘑菇》、《鄉間小路》等雜誌合作。

2) 登曼波（Manbo Key）　攝影與影像美術，擔任林宥嘉、劉以豪等寫真書攝影師。

3) 卓芳瑜　自由攝影師，曾任《PPAPER雜誌》接案攝影師。

 

1) 插畫：陳宛昀　現為自由設計師與插畫家，曾任職東喜工作室以及王艾莉設計公司。

2) 封面排版：田修銓　希望用平面設計改變台灣的設計師。

 

　　近幾年每到一個新城市，安頓好後的第一件事，便是立刻前往當地書店挖寶，尋找在地的旅遊書與獨立刊物，往往能夠發現主流旅遊書或是網路上找不到的資訊。無論為了什麼原因來到台北，我都相當推薦去書店逛逛，因為不管是書店風景或是出版風向，都是了解台北的最佳管道之一。

 

　　匆忙來不及查資料的旅人們，不如前往24小時營業、中英日文旅遊書都齊全的「誠品書店」（敦南店），它同時也集結了眾多台灣設計與在地農產；然而我最喜歡的仍是個性鮮明、有各自選書理念的獨立書店們如「下北沢世代」、「Mangasick」與「朋丁」等。這幾家書店除了引進國外出版品外，也非常支持台灣創作，能在這裡一睹許多本土獨立刊物的風采。

 

　　近幾年獨立書店的經營與存在掀起了許多討論，文化單位也開始投入資源，獨立出版社與書店各自成立相關協會，更有拍攝計畫《書店裡的影像詩》誕生，第一季記錄了台灣40家獨立書店，有興趣可以上網欣賞。

 

 

In recent years, whenever I travel to a new city, the first thing I do after settling in is visit local bookstores. There I hunt for local travel guides and independent publications that oftentimes contain information that cannot be found in mainstream travel books or on the Internet. No matter what brings you to Taipei, I highly recommend that you visit its bookstores. Looking at the landscape of the publication business through visiting these stores is one of the best ways to understand the city.

 

For travelers too busy to research specific bookstores to visit, I suggest the Eslite 24-Hour Bookstore (Dunnan branch). There, one can find comprehensive travel books in Chinese, Japanese, and English as well as Taiwanese design merchandise and local produce and goods. Still, my personal favorites are independent bookstores — such as Shimokitazawa Generations, Mangasick, and Pon Ding — who have vibrant characteristics and unique ideals in their curation of books. These bookstores are also very supportive of Taiwanese creators and here, one will be able to see the greatness of Taiwan’s independent publishing.

 

Lately, the operation and existence of independent bookstores have spurred widespread discussion. Also, cultural institutions have started to invest in the businesses. Certain independent publishers and bookstores have taken the initiative of establishing associations. There’s even a film project, “Poetries from the BookstoresImagery Poems in Bookstores,” whose first season documents 40 independent Taiwanese bookstores. Go check it out at https://goo.gl/pknlrH (only available in Chinese). 

 

本文邀請獨立樂團「拍謝少年」的貝斯手薑薑，為大家簡介台灣獨立音樂場景發展：

 

1994～：從一首自創曲開始

 

　　台灣的獨立音樂（indie Music）場景大約可以追朔至1994年展演空間SCUM的開業，場地要求登台樂團至少要有一首自己的創作曲，唱片廠牌如真言社、友善的狗、魔岩等陸續推出創作型音樂人林強、伍佰…的專輯，樂團也有糯米團、五月天、脫拉庫、濁水溪公社、閃靈、1976…的百花齊放，幾個代表性的展演空間Vibe、女巫店、地下社會、河岸留言、The Wall等也漸漸為人所知。

 

2000～：海洋音樂祭X樂團新浪潮

 

　　下一個較大的躍進來自於2000年所舉辦的「貢寮海洋音樂祭」，相較於當時已多人參與的「春天吶喊」與「野台開唱」，海洋音樂祭有公部門資源挹注，夾帶了更多的宣傳能量，將當時逐漸嶄露頭角的音樂人如陳綺貞、Tizzy Bac、旺福、88顆芭樂籽、蘇打綠、圖騰、盧廣仲等，一舉帶上媒體版面，帶起另一波樂團浪潮。成立於2006的線上音樂平台Street Voice與2007年的Indievox，更透過網路傳遞將這股創作能量廣為發散。

 

2014～：音樂介入社會，佔領生活

 

　　一直以來台灣的獨立音樂創作者對於政治與社會都抱持高度的關心與參與。2014年3月18號，臺灣的大學生與公民團體共同發起佔領立法院的社會運動，抗議對於人民生活有巨大影響的《海峽兩岸服務貿易協議》，其草率的審查簽訂程序，引發約50萬人民走上街頭抗議，龐克樂團滅火器一曲為活動寫下的「島嶼天光」成為活動代表性的歌曲。隔年樂團閃靈主唱Freddy林昶佐與其他人士共同成立政黨時代力量，並於同年當選立法委員，期間所有高度參與社會運動的樂團們，將大眾對於台灣獨立音樂的認識拉到一個前所未有的高度，形成一種十分特殊的音樂介入社會現象。接下來台灣的音樂場景會如何變化，讓我們一起拭目以待。

 

 

For this special edition we have Jiang-jiang, bass player for Sorry Youth, to shed light on the development of Taiwan’s indie music.

 

1994～: It started from writing a song

 

Taiwan’s indie music harkens back to 1994, when performance space SCUM was established. SCUM required that every band who performed on the their stage have at least one song written by them. Record labels such as Truth Society Records, Friendly Dog Records, and Magic Stone Records released albums from singer-songwriters such as Lim Giong and Wu Bai. Bands like Sticky Rice, MayDay, TOLAKU, LTK Commune, Chthonic, and 1976 also flourished during this time. Consequently, performance spaces such as Vibe, Witch House, Underground Society, Riverside Live House, and The Wall became popular and even symbolic.

 

2000～: Music festivals and a new wave of bands

 

Compared to the already-popular music festivals Like Spring Scream and Formoz Festival, Ho-hai-yan Music Festival, founded in 2000, had more publicity as it was largely funded by the government. Therefore, it was able to catapult the then up-and-coming musicians — such as Cheer Chen, Tizzy Bac, Won Fu, 88 balaz, Sodagreen, Totem, and Crowd Lu — into the center of media attention; in turn, inspiring an insurgence of bands. Online music platforms Street Voice and Indievox, founded respectively in 2006 and 2007, also helped propagate this creative energy via the Internet.  

 

2014～: When music becomes poitically involved, occupying society

 

Taiwan’s indie musicians have always been deeply concerned about politics and active participants of society. On the 18th of March, 2014, university students and civilian organizations launched a social movement to occupy the Legislative Yuan (Legislative Bureau) in protest against the negligent fashion in which it passed the Cross-Strait Service Trade Agreement, which would greatly impact Taiwanese people’s livelihood. Around half a million outraged people marched the streets in demonstration. Punk band Fire Ex. wrote “Island Sunrise” as the theme song  of this movement — known as the Sunflower Student Movement. The following year, lead vocalist of Chthonic, Freddy Lim, along with other key figures of the Sunflower Student Movement, founded the political party — New Power Party; that same year, Lim was also elected member of the Legislative Yuan. Musicians and bands who were active participants of the student movement heightened the public’s knowledge of Taiwan’s indie music, creating a unique phenomenon in which music becomes involved in society. Now, let us wait and see how Taiwan’s music scene will evolve.    

 

 

　　黃小黛，台灣散文作家，著有《在大稻埕遇見東南亞香料》、《大稻埕廚房》、《地方回憶錄》、《散步阮台南》、《家族記憶》、《七種民宿的旅行》等書。本文她將帶領讀者從烏魚子品嚐大稻埕風情。其他文章散見：islife2013.blogspot.tw。

 

Huang Xiao Dai is a Taiwanese essayist and author whose works include, . In this essay she guides the readers on a journey of appreciating Dadaocheng through savoring mullet roe. 

 

 

民以食為天。

 

以這句話做為起頭，約莫您就可了解台灣人是多麼重視吃這件事。

 

來我們大稻埕，我首推必要嚐上「烏魚子」這道佳餚。

 

　　烏魚子是一種以已孕雌性的烏魚卵巢及魚卵鹽漬後乾燥的魚卵加工食品。就是將捕獲的雌性烏魚開肚後取出其卵巢，漂洗乾淨後以食鹽餣漬脫水去腥，然後經過曝曬、陰乾程序即成。

 

　　以前，人在台灣要吃到烏魚子，得是婚壽喜慶的辦桌或是過中國春節時，家人團聚時才吃得上的冷盤大菜。

 

　　烏魚子為金黃色澤，多半以切片呈現，沿著圓盤子中心像花辦般擺盤，佐上斜切青蒜或辛辣生白蘿蔔，也有人性喜搭配水梨與蘋果。烏魚子的口感內軟潤、外酥香，有種濃郁細滑感，搭配蘿蔔水梨們的清脆多汁，多重滋味，堪稱一絕。

 

　　料理的方法也很簡便，就是一把火、一瓶酒，火烤它。其本以鹽巴醃製，充滿海味，再添其它則顯多餘。

 

　　烏魚子專家李日勝商號老闆王麗蘋指出：「將烏魚子表面的卵膜剝除，取瓷盤，倒入高粱酒，點火引燃紙捲，把火苗導入瓷盤上的酒，燃出整盤湛藍火光，以鐵夾鉗住烏魚子，上下烘烤翻面，待表面轉為金黃色，烤出香氣後，放涼，以立面方式切成大小薄片。」她說，「因為有人愛吃，但不好意思一次拿兩片，所以整盤需要有厚有薄，才不會怠慢來客。」切片後的烏魚子佐以白蘿蔔片、青蒜、水梨或蘋果共食，風味絕佳。

 

　　有些老人家愛食烏魚子，但牙齒經不起堅硬口感，便可採酒煮方式料理使之解饞：先將高粱酒與水各半放入平底鍋內，開爐火滾後，放入烏魚子，水酒淹置一半的厚度，以中火煎煮，不時的翻面，使兩面均勻受熱。直至水酒蒸發，香味溢出時關火。烏魚子盛起，待涼後，切片食用。這樣的烹調方式使烏魚子的口感較為柔軟易咬，亦不乾扁，能讓老人家滿足口腹之欲，滿足心中的渴望。

 

　　烹飪是文明的傳承，烏魚子的烹調手法亦是大稻埕重要的歷史脈絡，也是讓您光臨台北品嚐風土滋味的必經食物。

 

 

“Food is God for the people.”

 

Perhaps this ancient saying can serve as an introduction to the importance of food for Taiwanese people.

 

When one visits Dadaocheng, I must recommend that they try the delicacy that is “mullet roe.”

 

Mullet roe is a dish made of salted and dried mullet roe pouch — after a female mullet is caught, the ovary is removed, cleaned, washed, and salted to rid it of odor and left to dry under the sun and then in the shade.

 

In the past, mullet roe was reserved for auspicious occasions such as weddings, birthday celebrations, and festivities or served cold during Chinese New Year family reunions.

 

Mullet roe, burnished and golden in color, is served in slices piled up into a blossoming flower on a round plate, accompanied by sliced garlic shoots and peppery raw daikon.   

 

Preparing mullet roe is a simple task, one simply douses it in liquor and lights a fire. The salty taste of mullet roe echos that of the sea and requires no additional seasoning.

 

The owner of the mullet roe specialty store Li Ri Sheng Trading Company, Wang Li Ping, said to “Remove the membrane, place the roe on a porcelain plate, and pour kaoliang (sorghum liquor) over it. Light a roll of paper to introduce the fire to the liquor, allow the plate to be engulfed in blue flame and turn the roe over so that both sides are evenly roasted to a golden color. Once you are met with the fragrance of the roe, let it cool and slice it width-wise into pieces in varying thickness.” She explained that, “Some people love mullet roe but feel embarrassed to take two pieces at once. So it is important to serve the roe in large and small slices.” Roe accompanied by sliced daikon, garlic shoots, pear, and apple is even more delectable.

 

Some elderly people are fond of mullet roe but cannot afford to chew it, in which case cooking the roe in liquor is a good solution. Add equal parts sorghum liquor and water into a frying pan, wait till the liquid bubbles up and place the roe in the pan; the liquid should come halfway up to the roe. Cook the roe on medium heat and flip the roe over regularly to ensure that both side are evenly cooked. Turn off the heat when the liquid has evaporated and the fragrance is released. Once the roe is cooled, slice it to serve. Roe cooked in this fashion is soft, moist, and perfect for an elderly person who craves it.

 

Cooking is a cultural heritage and the techniques of cooking mullet roe is certainly part of the historical context of Dadaocheng. One simply has to try this authentic Taipei delicacy.