duminică, 29 septembrie 2019

배재혁 - 회색눈물 (2019 그리운 봄 콘서트)

Life on Mars

Am ajuns la episodul 11 din Life on Mars, serialul sud-coreean, și nu am reușit să înțeleg de ce serialul se numește așa. Am apelat din nou la prietenul meu cel mai bun, motorul de  căutare Google pentru a găsi originalul englez 


și am crezut că am aflat răspunsul când am auzit acolo cântecul ”Life on Mars”.

Dar nu m-am oprit aici... am căutat cântecul și când Google mi-a propus să caut sensul (înțelesul) versurilor l-am ascultat. Ca de fiecare dată când versurile unui cântec sunt mai criptice am fost uluită ce deștepți și culți în cap sunt unii și am citit cu atenție atât versurile (nu încerc să le traduc tocmai pentru că sunt criptice) cât și două lungi interpretări pe care le voi copia mai jos.

Așa, foarte pe scurt și simplificând mult este vorba de reacția unei fete plictisită de lumea în care trăiește (descrisă în refren și strofa doua) și care caută să scape de această realitate plictisitoare și dură mergând la un film unde însă regăsește aceeași realitate. 

Pentru  cei care nu au trăit în a doua jumătate a secolului XX versurile sunt mai greu de înțeles și pentru că David Bowie face referință la realitatea de atunci când realismul era un curent puternic în arta filmului iar clasa muncitoare avea mult mai multă putere de organizare și de influențare în Occident, poate și datorită industrializării necesare după război, decât are acum. 

Unul din comentatori susține că D.B. critică aici socialismul glorificat cumva de James Lennon (chiar și în excepționalul cântec ”Imagine”, zic eu) dar aș zice (ca și comentatorul) că nici capitalismul, cu încurajarea consumerismului nu e mai breaz, ba încă în secolul nostru consumerismul a ajuns, zic eu, să amenințe însăși ființa planetei noastre. 

It's a God-awful small affair
To the girl with the mousy hair
But her mummy is yelling, "no"
And her daddy has told her to go

But her friend is nowhere to be seen
Now she walks through her sunken dream
To the seat with the clearest view
And she's hooked to the silver screen

But the film is a saddening bore
For she's lived it ten times or more
She could spit in the eyes of fools
As they ask her to focus on

Sailors fighting in the dance hall
Oh man, look at those cavemen go
It's the freakiest show
Take a look at the lawman
Beating up the wrong guy
Oh man, wonder if he'll ever know
He's in the best selling show
Is there life on Mars?

It's on America's tortured brow
That Mickey Mouse has grown up a cow
Now the workers have struck for fame
'Cause Lennon's on sale again
See the mice in their million hordes
From Ibiza to the Norfolk Broads
Rule Britannia is out of bounds
To my mother, my dog, and clowns
But the film is a saddening bore
'Cause I wrote it ten times or more
It's about to be writ again
As I ask you to focus on

Sailors fighting in the dance hall
Oh man, look at those cavemen go
It's the freakiest show
Take a look at the lawman
Beating up the wrong guy
Oh man, wonder if he'll ever know
He's in the best selling show
Is there life on Mars?

”This song is all about how our entertainment, movies, music, TV, has become so all-encompassing and important that our very lives have begun to mimic it.

The first verse focuses on “the girl with the mousy hair.” She’s got drama, and it’s a big surprise with who; her parents. This song came out in ’71, so the whole baby-boomer rebellion thing was popular. Now, to deal with her drama, she seeks entertainment, escape. But it’s a “bore”. She rejects it, or should, thus setting up the youth as valiant, righteous rebels.

But wait. Is her rebellion original? (She’s lived it ten times or more) Is it what she truly thinks, what she feels deep down, or is this rebellion merely an expression of values that the media has taught her to value? Bowie deliberately chooses not to answer this.

The chorus again treats our theme. At the beginning, you think Bowie is describing entertainment in general, things actors do in movies, and cavemen, something that could only exist in a movie. But by the end of the chorus, one line throws us off completely: “Wonder if he’ll ever know he’s in the best selling show.” Why would an actor not know he or she was in a movie? By bestselling show, it seems he means the “movie” that is our life, the drama that takes up our daily lives. This is deliberately confusing. He chose to talk about two things at the same time on purpose.

The last line in the chorus, “Is there life on Mars,” can be seen as a very clever reference to Orson Welles’s broadcast of War of the Worlds. The show was made famous for causing an actual public panic because of its realistic newscasts describing an alien invasion. Although it was a radio show, people actually thought there was an alien invasion, fitting perfectly with our theme.

The next verse moves on to more general commentary but sticks with the theme. Mickey Mouse, a popular figure in children’s entertainment, is personified as having grown up, and it’s not pretty. He’s a “cow,” a decidedly negative adjective. Metaphors congruent with the main theme are boundless here, but I think Bowie meant to contrast the image (the entertainment ideal, the perfect actors with their perfect makeup, Mickey’s happy adventures) with the reality behind the image (our lives can mimic, but never achieve the perfection that the plot of a movie has) by personifying Mickey. The simile is genius because, in reality, people grow old, but Mickey looks the same every time you re-watch an episode of Mickey’s playhouse. If Mickey can grow old, then he is “real.” But that can’t be true, as he’s a cartoon. The lines between entertainment and reality are again blurred.
The next line is the clearest Bowie gets in the song. He says, “The workers have struck for fame because Lennon’s on sale again.” He obviously means to say that the working class is only invigorated in their struggle because the entertainment industry (John Lennon, but Lenin works just the same) has sold them entertainment telling them that they’ve been wronged, exploited, etc, which is ironic because they prop up the same system that exploits them by consuming its products. The next few lines go on to describe the extent of the problem: the whole of the westernized world (From America to Ibiza, an island off of Spain, to the Norfolk Broads, in England).

Bowie’s song is a post-modern critique of pop culture. He is saying that the westernized, capitalist democracies of the 20th century have produced entertainment and consumables that have eclipsed the very life they were spawned from, leading one to question whether it is entertainment that comes from reality or reality that mimics entertainment. Is there even a difference anymore?

And for the crowing piece of this metaphorical masterpiece: Where does this critique appear but in the very popular culture it is critiquing? Surely it is intentional -- it represents Bowie’s acknowledgment of the complete annexation of reality by entertainment. The irony is palpable, and we can answer the question posed it the end of the previous paragraph: No.

TheWildabeaston October 30, 2012

Throughout David Bowie’s song “Life On Mars?” Bowie looks down upon the idea of escapism through entertainment. Along with this idea, he also attempts to advise his listeners about the reality of this actual entertainment itself. As long as entertainment is involved, people want to experience things that they might not think is morally or ethically acceptable, based on their personal judgment and values. Bowie’s somewhat ambiguous lyrics allow the meaning of the song’s message to apply to anyone, and gives the song “Life On Mars?” an even deeper meaning to some of Bowie’s listeners.

The Song “Life On Mars?” was written by David Bowie and released in 1971 on his “Hunky Dory” album. The album title “Hunky Dory” has a sarcastic tone to it, since the song “Life On Mars?” is about people trying to escape from reality. If everything really was “Hunky Dory,” people would not be seeking escapism. As the song begins, a piano is softly playing a tune, while the lyrics go on to describe a girl who has gotten into an argument with her parents:

"It’s a God-awful small affair / to the girl with the mousy hair / but her mommy is yelling 'No' / and her daddy has told her to go."

After this girl has the argument with her parents, a friend she was supposed to meet at the movies is not present. This friend could possibly be a date, which means that the argument could have been about this girl having a relationship. As ambiguous as the lyrics are, a concrete meaning of these lyrics is unattainable. The girl in the song sulks through her sorrows and proceeds to see a movie, despite the absence of her friend, in hopes of escaping the real world, even if it is only for a short period of time. However, this girl begins to notice that the movies she watches are not so much a fantasy, but just a big screen representation of things that go on in real life, and also possibly even her own. In effect, the girl becomes bored of watching this movie about the real world. The music in the song accentuates the girl’s feeling of being sick of these “movies”, by creating a dreadful or worried type of sound when the lyrics describe her being bored with the films’ content.

"But her friend is nowhere to be seen / now she walks through her sunken dream / to the seat with the clearest view / and she’s hooked to the silver screen / but the film is a saddening bore / for she’s lived it ten times or more."

As this first verse is about to end, the music begins to introduce an orchestral piece, which is ongoing throughout the chorus.

The lyrics of the chorus describe a couple of films or shows that are provided as entertainment for the general public at the time, who wish to escape their lives momentarily, as the girl in this song does. The orchestral piece for the chorus, along with the appropriate lyrics, gives the listener a feel as if he or she were watching a show that would have been played in the past.

"Sailors fighting in the dance hall / oh man! Look at those cavemen go / it’s the freakiest show / take a look at the lawman beating up the wrong guy / oh man! Wonder if he’ll ever know / he’s in the best-selling show / is there life on Mars?"

As the chorus describes sailors fighting in a dance hall and a lawman, most likely either a police man or a lawyer, the listener can identify these events as something that are not so far-fetched from things that happen in real life routinely. Not only do these things happen frequently in real life, but these are also two examples of real life events that most people would think are morally and ethically wrong, yet would not wish to personally witness. Although most people look down on these real-world proceedings, the general public tends to cast their morals, values, and judgments aside when they have the desire to be entertained. As a result, people are ironically trying to escape the real world, through film productions that are based upon many real-world events. Bowie conveys this message when he describes the lawman.

"Take a look at the lawman beating up the wrong guy / oh man! Wonder if he’ll ever know / he’s in the best-selling show."

After the portrayal of this false sense of escaping, Bowie asks, “Is there life on Mars?” By doing so, David Bowie is using this question as an allusion, to basically ask a rhetorical question somewhere along the lines of “Is there really an escape of reality?” After this meaningful chorus, the music begins to fade to only the piano and drums as Bowie starts singing the second verse of the song.

The second verse of “Life On Mars?” immediately begins with a satirical portrayal of Walt Disney’s Mickey Mouse. “It’s on Amerika’s tortured brow / that Mickey Mouse has grown up a cow” (David Bowie Lyrics). These lyrics are symbolic of Walt Disney’s creation of Disneyland, so that he could create a family oriented place where people could escape to a world of magic. Bowie seems to negatively view Disney’s idea as one of capitalist ideals, comparing Mickey Mouse to a “cash cow,” meaning a “product or business unit that generates unusually high profit margins” (Cash Cow). Also, Walt Disney opened his “magic kingdom” in 1955, and had it strategically placed at the end of the first American freeway, Highway 110. When Bowie says “It’s on Amerika’s tortured brow,” he seems to be negatively referring to Disneyland in a way that America has to deal with people like Walt Disney, who are out to make large profits off of his fellow Americans who want to escape the real world. In contrast to that view, the next part of the lyrics claim that the workers, most likely blue-collar workers, “have struck for fame, ‘cause Lennon’s on sale again.” In 1970 the Beatles broke up, but almost immediately following, John Lennon began recording his first solo album, this album being yet another source of escapism through entertainment. As the second verse continues, Bowie begins to talk about people from all around the world in general.

Bowie uses his diction to give off a pessimistic attitude towards people who are in search of escape from reality, when he sings, “See the mice in their million hordes / from Ibiza to the Norfolk Broads.” Bowie uses metaphor to compare the people who yearn for escapism to pests, and uses the word horde much like a negative epithet. Also, Ibiza is an island, and the Norfolk Broads is a chain of lakes in Great Britain. Both locations are connected by water, so it seems that this is Bowie’s version of the phrase “from sea to shining sea.” The following lyrics then refer to Rule Britannia, which used to be Great Britain’s national anthem. “Rule Britannia is out of bounds / to my mother, my dog, and clowns.” These lyrics are pertaining to a national anthem that is “out of bounds” because Bowie is getting a point across about escapism, but this is a national anthem, and not a source of entertainment. The lyrics further go on to sarcastically say that his mother, his dog, and clowns are all uninterested in this escapism. This is much like saying that if one does not seek escapism that he or she must be either an animal, who has no knowledge of entertainment, his mother, who has no reason to escape real life because she is already content with her life, or a clown who embraces the real world. In Bowie’s mind, the real clowns are the people who do use entertainment as a source of escapism.
A closer look at the lyrics:

It's a god-awful small affair The manifestation appears increasingly empty
To the girl with the mousy hair to the ardent seeker (mousy hair = experienced 1st conscious shock)
But her mummy is yelling "No" Nature would eat/use/control her,
And her daddy has told her to go but the Conscious Circle of Humanity implants doubt.
But her friend is nowhere to be seen Metanoia occurs in wilderness
Now she walks through her sunken dream “Sunken”: the illusion is dropping
To the seat with the clearest view Consciousness arises!
And she's hooked to the silver screen Progressive re-engagement and
But the film is a saddening bore disillusionment
'Cause she's lived it ten times or more force her to confront emptiness,
She could spit in the eyes of fools gradually building her resistance
As they ask her to focus on to material and materialistic forces.

Sailors fighting in the dance hall She comes to see life
Oh man! Look at those cavemen go as a “tale told by an idiot,
It's the freakiest show full of sound and fury,
Take a look at the Lawman signifying
Beating up the wrong guy nothing.”
Oh man! Wonder if he'll ever know And she begins to see
He's in the best selling show the Sleep.
Is there life on Mars? She appeals for Salvation from its only possible source: beyond the World.

It's on America's tortured brow It’s in the very heart of materialism
That Mickey Mouse has grown up a cow that the Lie is most visible.
Now the workers have struck for fame The ego (“fame”) claims of her negative I’s (Nature’s “workers”) subside.
'Cause Lennon's on sale again Thanks to help from the Conscious Circle (“John Lennon”),
See the mice in their million hordes she comes to see the Sleep
From Ibiza to the Norfolk Broads in which humanity is immersed.
Rule Britannia is out of bounds Clarity (“Britannia”) can no longer be obscured by
To my mother, my dog, and clowns outer Nature (“mother”), nor inner Nature (“dog”), nor dogma (“clowns”).
But the film is a saddening bore She shifts to the Divine, subjective voice,
'Cause I wrote it ten times or more realizing that the manifestation is a reflection of noumenon,
It's about to be writ again a live, ongoing reflection,
As I ask you to focus on and I am That

But more...

In the second verse, Bowie expands on the idea of the crass marketing machine. For this, he combines two great icons: America (capitalism, wealth, consumerism, etc.) and Disney ("It's on America's tortured brow/That Mickey Mouse has grown up a cow"). In these first two lines, he shows how commercialism (i.e. America) has corrupted what was once innocent and good (i.e. Mickey Mouse). "Now the workers have struck for fame/'Cause Lennon's on sale again" could be representing how even the most average people (workers -- as in factory workers) are buying into the machine ("trying to get famous). As WolfTickets said, John Lennon had put out his first solo album shortly before Hunky Dory was released, so a "if he can do it, then I can too!" mentality was likely prevalent among the people. "See the mice in their million hordes/From Ibeza to the Northland Broads" is showing how much land these people (who are as bland and common as mice) cover. In the next two lines, Bowie conveys that England has remained untouched, and will not be tainted by these boring people ("Rule Britannia is out of bounds/To my mother, my dog, and clowns"). The next four lines seem to be Bowie saying that he's afraid that he's as boring as the "mice" ("But the film" -- song -- "is a saddening bore"). He asks us, however, to keep listening as he tries to make it better ("It's about to be writ again/As I ask you to focus on").
e: "Mickey Mouse": To many, Disney still symbolizes goodness, family values, innocence, etc., but that image is a a joke--"Mickey Mouse has grown up a cow" because its sparkling image of fairytale goodness is a deception; as a company, it treated its workers so poorly that they struck to get the share of attention they deserved. In a way, the tarnishing of Disney parallels the international view image of America going from world hero (after WWII) to an imperialistic, hedonistic, meddlesome country in decline--not saying I agree, but stating how the lyrics seem to me.
A lot of people here have got stuck on the lines 'The workers have struck for fame, cos lennons on sale again'
To undertand this I suspect you'd have had to live in the Britain of this songs period where the trade unions had become so powerful that virtual anarchy ruled, constant strikes as union leaders jockeyed for power ( fame ) . We had strikes over every cause imaginable that almost destroyed the economy. The workers were quite literally striking for 'fame' in placing their needs above all else leading to power cuts, dead bodies being piled up outside mortuaries and piles of uncollected garbage 15 feet high outside peoples houses. Bowie is probably being cynical about unions stroking over the release of a record - because thats how petty some of these strikes were in fact.

The 'Mice in their million hordes' are us - the people on the planet - seen by the aliens as not much more than vermin - although amusing the way your pet hamster is.
Militaries fighting in the world
Oh man! Look at those idiots, (undeveloped men) go
It’s the strangest thing
Watch the US (the lawman) beat up the wrong country/nation (beating up Korea and Vietnam… or Cuba… all communist/socialist countries…)
Oh man! Wonder if he’ll (the US or Britania) ever realize
That he’s in the best selling show (war… etc the huge world wide media extravaganza)
Is there life on Mars? (implying there isn’t life on earth… wanting to escape the repetitious violent behavior of men)
Communism/Socialism isn’t that big of a deal to her (McCarthyism being what it was in the 50’s)
To the girl with the mousy hair (the mice below are the socialists… so with socialist inclinations)
Her mother says no … hates socialism adamantly (that generation’s response to communism… the fear of it, etc)
Her father has told her to leave because she agrees with socialist ideas.
Socialism doesn’t exist in the US/Britania (her friend)… not to be seen (perhaps Bowie is saying that true socialism doesn’t exist yet, it hasn’t been realized fully)
Now she’s disenchanted with the world because socialism doesn’t exist (her sunken dream)
To the seat with the clearest view… (saying that she’s sitting in the right place, has the right view… understands how things actually are has the right view of capitalism and the worlds problems)
She watches the movie (the war… the patriotic sentiments, etc)
But the war is a saddening boring thing
Because she’s lived through the whole experience plenty of times before (she’s watching Vietnam? She saw what happened in Korea and Cuba?)
She could spit in the eyes (tell off) the idiots (the people for the war)
As they ask her to appreciate and pay attention to.

CapNemo on July 22, 2013”

Afișul serialului sud-coreean ”Life on Mars„

The worst trend

Unele persoane nu se pot opri din a fi malițioase, dar eu sunt o ființă iertătoare, cum bine se știe. Am primit pe messenger un meme care circulă într-o veselie pe net. Cică cel mai rău trend ar fi să faci poze cu mâncare (mai ales gătită de tine) și ca această critică să fie și mai usturătoare dă o lecție cu tablouri cu fructe de acum 500 de ani. 

M-am distrat căutând să identific autorii și numele tablourilor și bineînțeles că nu toate sunt din secolul XVI. Am văzut destule tablouri cu natură statică din acea perioadă și vă asigur că sunt mult mai frumoase decât ce s-a pus în acest meme. Deh, oamenii răi se distrează mințind cu nerușinare.

Acum tonul meu destul de agresiv nu se datorează faptului că îmi place să fac poze cu platourile mele de mâncare. și faptului că nu suport impostura și minciuna.

Puteți observa cu ochiul liber privind mai jos că e greu să crezi că Picasso sau Albert Anker au trăit acum 500 de ani. Nu mai vorbesc de Paul Foxton, care are blog și cont de fb unde dă lecții de desen și pictură.

0. The worst modern trend.
1. The Afternoon Meal (La Merienda),ca. 1772 by Luis Meléndez Spanish
2. Pablo Picasso Fruit bowl With fruits Reproduction
3. Pieter Claesz Oil Paintings Reproductions On Artclon
4. Breakfast with Ham by Pieter Claesz (1647)
5. Albert Anker,((20 Century, Swiss) Still Life with Two Glasses of Red Wine
6. Lemons and Bay by Paul Foxton, contemporary artist
7. Fede Galizia (Milan 1578 - 1630), A glass compote with peaches, jasmine flowers, quinces, and a grasshopper

Cum v-am spus mai sus am văzut multe picturi cu natură statică de maeștri vechi și o să vă arăt unele dintre ele culese de pe net. Nu sunt chiar de acum 500 de ani dar sunt sigură că o să vă placă.

8. Still Life, Breakfast with Glass of Champagne and Pipe, 1642 by Jan Davidsz de Heem
9. Still Life by Pieter Claesz, Painting Reproduction
10. Claesz, Pieter (c. 1597–1660)
11. Jan Davidsz de Heem, 1606 Utrecht – 1683 Antwerpen
12. Fruit Still Life, 1650 by Willem van Aelst
13. Juriaen van Streeck or Juriaan van Streek (29 February 1632, in Amsterdam – buried 12 June 1687, in Amsterdam)
14. Banquet Still Life (1667) by Abraham van Beyeren
15.  Banquet Still Life. Abraham van Beyeren (1653-1655)
16. Jan van Kessel d. J., 1654 - 1708
17. Arnoldus Bloemers (1792–1844)
18. Hildegard Schwammberger b. 1950

vineri, 20 septembrie 2019

Zodiacul Chinezesc ilustrat de James Tan

Ce zodie ești în Zodiacul Chinezesc. Ani Zodia Șobolanului
31 ian 1900 – 18 feb 1901
18 feb 1912 – 5 feb 1913
5 feb 1924 – 24 ian 1925
24 ian 1936 – 10 feb 1937
10 feb 1948 – 28 ian 1949
28 ian 1960 – 14 feb 1961
16 feb 1972 – 2 feb 1973
2 feb 1984 – 19 feb 1985
19 ian 1996 – 6 feb 1997
8 feb 2008 – 25 ian 2009

Ce zodie ești în Zodiacul Chinezesc. Ani zodia Bivolului
19 feb 1901 – 7 feb 1902
6 feb 1913 – 25 ian 1914
25 ian 1925 – 12 feb 1926
11 feb 1937 – 30 ian 1938
29 ian 1949 – 16 feb 1950
15 feb 1961 – 4 feb 1962
3 feb 1973 – 22 ian 1974
20 feb 1985 – 8 feb 1986
7 feb 1997 – 27 ian 1998
26 ian 2009 – 13 feb 2010

Ce zodie ești în Zodiacul Chinezesc. Ani zodia Tigrului
13 feb 1926 – 1 feb 1927
31 ian 1938 – 18 feb 1939
17 feb 1950 – 5 feb 1951
5 feb 1962 – 24 ian 1963
23 ian 1974 – 10 feb 1975
9 feb 1986 – 28 ian 1987
28 ian 1998 – 15 feb 1999
14 feb 2010 – 2 feb 2011

Ce zodie ești în Zodiacul Chinezesc. Ani zodia Iepurelui
2 feb 1927 – 22 ian 1928
19 feb 1939 – 7 feb 1940
6 feb 1951 – 26 ian 1952
25 ian 1963 – 12 feb 1964
11 feb 1975 – 30 ian 1976
29 ian 1987 – 16 feb 1988
16 feb 1999 – 4 feb 2000
3 feb 2011 – 22 ian 2012

Ce zodie ești în Zodiacul Chinezesc. Ani zodia Dragonului
23 ian 1928 – 9 feb 1929
8 feb 1940 – 26 ian 1941
27 ian 1952 – 13 feb 1953
13 feb 1964 – 20 feb 1965
31 ian 1976 – 17 feb 1977
17 feb 1988 – 5 feb 1989
5 feb 2000 – 24 ian 2001
23 ian 2012 – 9 feb 2013

Ce zodie ești în Zodiacul Chinezesc. Ani zodia Șarpelui
10 feb 1929 – 29 ian 1930
27 ian 1941 – 14 feb 1942
14 feb 1953 – 2 feb 1954
21 feb 1965 – 20 ian 1966
18 feb 1977 – 6 feb 1978
6 feb 1989 – 26 ian 1990
25 ian 2001 – 12 feb 2002
10 feb 2013 – 30 ian 2014

Ce zodie ești în Zodiacul Chinezesc. Ani zodia Calului
30 ian 1930 – 16 feb 1931
15 feb 1942 – 14 feb 1943
3 feb 1954 – 23 ian 1955
21 ian 1966 – 8 feb 1967
7 feb 1978 – 27 ian 1979
27 ian 1990 – 14 feb 1991
13 feb 2002 – 1 feb 2003
31 ian 2014 – 18 feb 2015

Ce zodie ești în Zodiacul Chinezesc. Ani zodia Caprei/Oii
17 feb 1931 – 5 feb 1932
5 feb 1943 – 24 ian 1944
24 ian 1955 – 11 feb 1956
9 feb 1967 – 29 ian 186
28 ian 1979 – 15 feb 1980
15 feb 1991 – 3 feb 1992
2 feb 2003 – 21 ian 2004
19 feb 2015 – 7 feb 2016

Ce zodie ești în Zodiacul Chinezesc. Ani zodia Maimuței
2 feb 1908 – 21 ian 1909
20 feb 1920 – 7 feb 1921
6 feb 1932 – 25 ian 1933
25 ian 1944 – 12 feb 1945
12 feb 1956 – 30 ian 1957
30 ian 1968 – 16 feb 1969
16 feb 1980 – 4 feb 1981
4 feb 1992 – 22 ian 1993
22 ian 2004 – 8 feb 2005
8 feb 2016 – 27 ian 2017

Ce zodie ești în Zodiacul Chinezesc. Ani zodia Cocoșului
22 ian 1909 – 9 feb 1910
8 feb 1921 – 27 ian 1922
26 ian 1933 – 13 feb 1934
13 feb 1945 – 1 feb 1946
31 ian 1957 – 17 feb 1958
17 feb 1969 – 5 feb 1970
5 feb 1981 – 24 ian 1982
23 ian 1993 – 9 feb 1994
9 feb 2005 – 29 ian 2006
28 ian 2017 – 15 feb 2018

Ce zodie ești în Zodiacul Chinezesc. Ani zodia Câinelui
10 feb 1910 – 29 ian 1911
28 ian 1922 – 15 feb 1923
14 feb 1934 – 3 feb 1935
2 feb 1946 – 21 ian 1947
18.03.1958 – 7 feb 1959
6 feb 1970 – 26 ian 1971
25 ian 1982 – 12 feb 1983
10 feb 1994 – 30 ian 1995
30 ian 2006 – 17 feb 2007
16 feb 2018 – 4 feb 2019

Ce zodie ești în Zodiacul Chinezesc. Ani zodia Porcului Mistreț
4 feb 1935 – 23 ian 1936
22 ian 1947 – 9 feb 1948
8 feb 1959 – 27 ian 1960
27 ian 1971 – 15 feb 1972
13 feb 1983 – 1 feb 1984
31 ian 1995 – 18 ian 1996
18 feb 2007 – 7 feb 2008
5 feb 2019 – 24 ian 2020

Tablouri de James Tan, Artist Canadian de origine chineză