隨著氣溫逐漸下降，許多朋友回家後都會換上厚厚的睡衣，有些人甚至喜歡穿著棉睡衣入睡。可是，您知道嗎，睡覺時穿得越厚，反而會越冷。
這是因為，與薄睡衣相比，厚睡衣的柔軟度相對降低，對皮膚的壓迫和摩擦相對增加，人在睡眠狀態下，厚厚的睡衣裹在身上，往往會影響體表的血 液循環和皮膚的新陳代謝，使體表獲得的熱量減少，這時，即使是蓋著保暖性能很好的被子，也會覺得不暖和。此外，厚睡衣的透氣性較差，在一定程度上會妨礙皮 膚的正常呼吸和汗液的蒸發。長時間穿著它睡覺，會使睡衣內“小環境”的濕度相對增加，不僅不利于保暖，對人體的健康也有危害。
因此，睡衣的合適與否決定著睡眠的好壞。冬天睡覺時，最好穿一件輕薄柔軟的棉制睡衣，這種睡衣不但沒有任何束縛感，而且吸濕性和透氣性非常好，在睡眠狀態下，會使更多的熱量散發到體表，從而為睡眠營造溫暖的氛圍。
想保証良好的睡眠質量，除了睡衣的質地和厚薄外，款式也很重要。剛好合體或過小的睡衣會使腰、背部和胸部受約束，既影響人體的血液循環，也不利于保暖。因此，建議讀者選擇一件稍微肥大的睡衣，這樣才能讓您全身的肌肉都放鬆下來，輕鬆香甜地進入夢鄉。
記得曾有一位學者說過:「萬事能解決，惟有愛情。」
沒飯吃，可依靠親戚朋友一陣子。沒錢用，辛勤工作，甚至差極可問人借。但愛情出現問題，除非心中沒有感覺，否則沒人能幫得上忙。
娛樂圈頭條，其實大都離不開「情」字。
無怨不成夫婦，因此一對愛侶都會有意見不合的時候。但假如不懂收放自如地發洩情緒，美好姻緣可成泡影。
陳立教授說:「年齡、背景都不及真愛重要。要弄清楚究竟是喜歡還是愛情。」
他說得沒錯，兩人之間若是真愛，可以承受壓力和困難的能耐就很高。
我問:「怎麼分別喜歡和真愛？」
他回答:「喜歡一個人是會有條件的，你會計算你為他付出過多少，然後計較他為何對你不夠好。那麼，你只是喜歡他常在你身邊跟你玩，陪伴你，猶如親密的同學一樣。」
如果是真愛，你根本就不會去想你為他做了甚麼，希望得回甚麼只會不停地支持和愛護。
我非常佩服陳立教授能這麼清晰兼簡單的去分析兩者的分別，亦認同他的說法。但要能做到，卻很難。
通常愛情一開始，必定無條件去付出，但假如對方的行為與自己渴望得到的有別，計較和衡量的心就自然會產生。就連本人亦發現，照教授所講，原來根本就未真愛過。因為心中總會希望別人怎樣愛自己，亦由於結果非如意，才會吵架和分手。
愛，是藝術，但需要手段和自省。所指的並非害人、惡意那種，而是增加情趣的小計謀。反省，是要時刻想回自己是否做錯了而令對方難過。懂得反省，是最有用的解藥，亦是最難做得到的思想行為。
假如有真愛就不會分開。若果緣份未盡，亦不能了斷。
歐洲某些國家的公共交通系統的售票處是自助的，也就是你想到哪個地方，根據目的地自行買票，沒有檢票員，甚至連隨機性的抽查都非常少。一位中國留學
生發現了這個管理上的漏洞，或者說以他的思維方式看來是漏洞。他很樂意不用買票而坐車到處溜達，在留學的幾年期間，他一共因逃票被抓了三次。
他畢業後，試圖在當地尋找工作。他向許多跨國大公司投了自己的資料，因為他知道這些公司都在積極地開發亞太市場，可都被拒絕了，一次次
的失敗，使他憤怒。他認為一定是這些公司有種族歧視的傾向，排斥中國人。最後一次，他衝進了人力資源部經理的辦公室，要求經理對於不予錄用他給出一個合理
的理由。
下面的一段對話很令人玩味。
先生，我們並不是歧視你，相反，我們很重視你。因為我們公司一直在開發中國市場，我們需要一些優秀的本土人才來協助我們完成這個工作，所以
你一來求職的時候，我們對你的教育背景和學術水平很感興趣，老實說，從工作能力上，你就是我們所要找的人。那為什麼不收天下英才為貴公司所用？
因為我們查了你的信用記錄，發現你有三次乘公車逃票被處罰的記錄。
我不否認這個。但為了這點小事，你們就放棄了一個多次在學報上發表過論文的人才？小事？我們並不認為這是小事。我們注意到，第一次逃票是在你來我們國家後
的第一個星期，檢查人員相信了你的解釋，因為你說自己還不熟悉自助售票系統，只是給你補了票。但在這之後，你又兩次逃票。那時剛好我口袋中沒有零錢。
不、不，先生。我不同意你這種解釋，你在懷疑我的智商。我相信在被查獲前，你可能有數百次逃票的經歷。
那也罪不至死吧？幹嗎那麼較真？以後改還不行？
不、不，先生。此事證明了兩點：
所以我們沒有辦法雇傭你，可以確切地說，在這個國家甚至整個歐盟，你可能找不到雇傭你的公司。
道德是國力提升的基礎.
為什麼歐洲許多先進國家還是很富強?
From: "Trumpet 佬"
Newsgroups: newsgroup.music.WindBrassInstrument
http://www.resoundingpraise.com/grouppic.htm
CNN Interview / By Beth Nissen - CNN.com Senior Correspondent
He grew up in a Salvation Army
family, playing cornet on street corners and in church bands. His
father, a Salvation Army band soloist, was his only teacher. But Phil
Smith was a player gifted enough to make it into Juilliard with
noformal training -- then to the Chicago Symphony on his first
audition; andthen, while still in his 20s, to the New York Philharmonic
as principal trumpet.
He's an unfailingly humble man, a gentle soul whose strongest
curse word is"crumbs." But when he picks up the trumpet, he plays with
extraordinary powerand passion. Many of his colleagues in the New York
Philharmonic -- and inother major orchestras -- consider him one of the
best trumpet players in theworld. And he does it all on faith.
My dad was a cornet player -- he was the stand-up soloist with
the premiereSalvation Army band here in New York City. He had a very
sweet, mellow tone-- his heart came through his horn -- and I was
attracted to that. From a youngage, I watched him and had visions of
growing up to be like him. I startedon cornet -- when you're a little
kid, it's easy to hold a cornet.
At what point did you decide this might be your life's work
professionally?Like a lot of kids, you just go through life doing what
you like to do andwhat you're good at. Then when you get to 11th grade,
some guidance counselorsays, "So what are you gonna do?" Well, I liked
music, so that seemed a naturalchoice for me.
The safe bet was to do music education, because professional
musicians -- well,you can't make a living being a professional
musician, I thought. A young ladywho was a Salvationist and a
professional trumpet player at the time got theear of my dad and said,
"You know, he ought to audition for Juilliard." I wasaccepted, and I
got a bachelor's degree and a master's degree at Juilliard.
Oh, I was completely behind the eight ball. What I knew was cornet
and brassbanding -- I knew nothing about being a trumpet player.
For my audition at Juilliard, the orchestra person put up a
piece of musicand asked me to play. So I played what I saw -- which
trumpet players veryoften don't do. They look at the music, but play it
perhaps a major third higheror a perfect fourth higher -- they
transpose. I knew nothing about the techniqueof transposition. I played
what I saw, which is what happens in the brass band.The man stopped me
and said, "What are you doing? You should play it this way."And I
looked at him like he was crazy -- I didn't know what to do.
Great music is great music -- whether I'm playing hymn arrangements
in theArmy or playing the Tchaikovsky Fourth Symphony in the orchestra.
What washard about the transition was the language -- I didn't know the
orchestrallanguage. And I was a "feminine" cornet player, not a
"masculine" trumpet player-- they're two different instruments in terms
of style and approach.
The most difficult thing is to get the best tone. You can have
oodles of technique,but if you've got no tone, it's not going to be
attractive to the person hearingit. Tone comes from the inner ear --
you can't teach it. It comes from deepinside your brain -- and also
your heart.
That's exactly what it sounds like: You go to hit a note, and the
sound goes"SPLEE-aaaahhhhh." I wanted to get that as a license plate,
but I haven't beenable to. (Laughs.)
The trumpet is showcased, a lot -- there are many, many pieces
that have prominentmelodic parts for the trumpet. Most of the parts are
bravura -- they call forstrong playing. But you have to play some
little delicate things sometimes.There may just be two bars of
pianissimo (very soft) in a piece, but thoseare probably the toughest
two bars to play out of the whole piece. Playingsoftly takes more
control, and there's a higher risk of splee-ahs or air-balls-- nothing
but air comes out.
It can be so obvious when a brass instrument hits a wrong note.
Do you everenvy the violinist in the middle of the violin section,
whose slip might notbe so noticeable?Yeah, I'll be honest -- there are
times when I wish I was more anonymous. (Laughs.)But there's also the
part of being in the forefront that's exhilarating. Andthat's kinda why
you play trumpet, because you kinda like that.
Near the end of my time at Juilliard, I started taking auditions and
tryingto find my way into the workplace. Three announcements for
trumpet auditionscame up. One was in Calgary, Canada -- I sent a letter
of application and theydidn't even respond. The other was in Honolulu
-- I sent a letter and theywrote back and said I didn't have enough
experience on my resumé. Thethird one was in Miami. They
actually gave me an audition date, but it conflictedwith a date I had
playing with the New York Salvation Army Staff Band, so Icouldn't make
the audition date.
So my first audition, in November of '74, was for the Chicago
Symphony. I knewthere was no way I was going to win this -- I was this
kid, this greenhorn,"Phil Who?" Well, I ended up winning the audition.
I was shocked. I startedwith the Chicago Symphony in January of '75.
Total, I might have as many as 20. You have to understand that if
you startat middle C on the piano, and play up one octave, there's a
trumpet that'sbuilt on that key: There's a C trumpet, a D trumpet, an
E-flat, an E, an F,a G, an A, a high B-flat, and a low B-flat.
I have two primary trumpets: I have a primary C trumpet,
pitched in (the keyof ) C, which I use in the orchestra 98.9 percent of
the time. And I have aprimary B-flat trumpet, which I practice on, and
which is the standard trumpetof trumpet-players. I do a lot of solo
work on that -- a lot of solos are forB-flat and for C.
Depending on the music we play, we'll play on either a German
trumpet or anAmerican trumpet. Germans refer to our piston-valve
trumpets as "jazz trumpets."I play the piston-valve C and the
piston-valve B-flat. If your kid goes toschool and plays trumpet,
they're going to give him a piston-valve B-flat --that's the standard
trumpet. When your kid finally comes to Juilliard, andstarts to play
orchestral music, we say you need to think about a C trumpet.
When your kid gets halfway through Juilliard, we say you need
to start thinkingabout a German trumpet, either B-flat or C. The
playing mechanics are the same,in terms of what you do with your mouth
and with the fingerings. (But) thevalves are like French horn valves --
they're rotors, they're not pistons.
What's the history of the C trumpet you use for most of your
orchestral playing?I'm in a crisis right now. My C trumpet -- my baby
-- I bought in 1975; itwas one of the trumpets I got when I first went
to the Chicago Symphony. AndI know that baby, I know everything about
that horn. It's worn in. It's comfortable,like an old coat or a
favorite pair of shoes -- it bends in the right places.
In one sense, a horn gets better with age, because it loosens
up and beginsto vibrate. But like all things, it wears out. It can
almost be blown out.Some people will have the same instrument for a
lifetime -- and I was tryingto do that. But my trumpet, the valves got
loose; I had to have them tightenedup. The acids in my hand were eating
through the metal, so I had to have somepatches put on the instrument,
and have it re-plated.
When I got the horn back, the workmanship was fantastic - but
the quality ofplaying ... . That horn took a nosedive. It just didn't
resonate the way thatI was used to it resonating. And now I have got a
brand new trumpet that I'mbreaking in -- which is the first C trumpet
that I've broken in, in 25 years.
It's hard to change. If I pick up a new trumpet to play a
concert, it's like,"Oh man, that didn't feel right," or "Crumbs! That
was out of tune" -- I'mhaving conversations with myself that I don't
want to have.
Mine is off-the-shelf, from Dillon's Music Shop in Woodbridge, New
Jersey.They're upwards of 1,800 bucks -- somewhere in that range. I
don't have tomortgage my house or anything.
All trumpets are initially made of brass. The brass can have
different contentsof copper and different materials, and that changes
the sound. Some peoplelike to play an instrument that's made of raw
brass; that usually looks kindaugly -- they get green. You can lacquer
the trumpet, which is a clear coatthat goes over the raw brass, which
makes it look kind of golden. The troublewith that is that the lacquer
wears off quickly.
You can cover the brass with silver plate, which is what I
usually do. Andyou can gold-plate the instrument. Gold won't adhere to
brass, so you haveto put silver on it first, then gold; gold will only
adhere to the silver.I like to gold-plate my smaller trumpets because I
think it warms the sound:The smaller the trumpet, in general, the more
piercing the sound becomes.
Those, basically, are your choices: brass, raw brass, lacquered brass, silver-platedbrass, gold-plated brass.
What's required by way of daily or weekly maintenance on your
trumpets?Swabbing it out; keeping it clean. We have brushes, cloths
that we pull throughthe horn sometimes. And we also have spitballs. You
can make them yourself:You take a sponge slightly bigger than the bore
of the horn, and you just pokeit in, then blow it through. It swabs out
the inside.
The other thing you do is keep the slides -- all the moving
parts - greasedso they don't freeze, so you can control your pitch. And
you keep the pistons,or the rotors, lubricated with an oil, to keep
them moving. You'll see me indungarees in rehearsals, because I have
ruined so many pairs of pants withoil and grease.
I'll work out, sometimes, with a breathing bag: We blow up a 5- or
6-literbag, so we can get the feel of the air coming from our lungs, up
through ourthroat, keeping relaxed muscles all the way up.
Lip care is important. I just did a recording out in New
Mexico, where it'sincredibly dry. And I had the worst time out there --
I couldn't keep my lipsmoist enough. And I don't respond well to
creams, or waxy lip balms. I canfeel almost a muscle in my lip when I'm
in shape, and when I put cream on,I sometimes feel that that muscle
gets kind of jellied.
I can sit there and tell you to do this with your mouth, and
make sure youblow, and that doesn't translate into anything. First is
hearing it in yourhead; the other part is your heart -- having this
innate part of our soul thatneeds to express itself. Music is not just
the black dots on the white paper-- it's what happens when those black
dots on the white paper go into yourheart, and come out again.
How forgiving an instrument is the trumpet?A trumpet is a bold
instrument; a signal instrument. From days of old, thetrumpet was the
instrument that called people to battle; it called people togatherings.
But whether you're on a ram's horn or a legitimate trumpet, ifyou don't
hit the note right in the middle, that's going to be heard -- andit's
going to be brutal. There's a verse in the Bible that says, "If a
trumpetsounds an uncertain sound, who will prepare for battle?"
It's more unforgiving for the youngster than it is for the
professional. That'swhy I like to start kids on cornet, because the
cornet is a softer-soundinginstrument. So a kid's first honk, his first
blat on a cornet, is a mellowblat. If you start with the trumpet, the
initial blat is more brash.
Do even professional trumpet-players "blat" now and then? Hit
bad notes?(Laughs.) We call them "clams," or "cacks," or "splee-ahs" --
they're common.
Oh, you gotta take care of your teeth. When I was a kid, my two
front teethprotruded. My dentist said, "The best thing you could be
doing is playing trumpet,because that will naturally put them in line."
Poor gum health, chipping teeth-- all of that is a problem for brass
players.
Any kind of change in your teeth can be a problem. If you don't
like the wayyour teeth look, and some dentist says, "Oh, I'll just file
this down" -- youcan lose an octave, just like that. There are great
stories of prominent high-notejazz players who have a space between
their teeth. That space presents a turbulencewith the air stream, which
enables them to play up high. And some of theseplayers, not liking the
look of that space, had bonding done to make it lookgood -- and all of
a sudden, they can't play.
You work through it. The worst thing is to have a bad throat -- the
aggravationof the air going through there is terrible. If you've got a
thick cold, youcan't hear properly - you can't tell about (sound)
balance, about pitch; youcan't breathe. But I don't like babying
things: "Oh, this week I can't play-- I have a cold." Get real. Short
of being on my death bed, I will be herefor performance.
The average work week for you would be how many hours long,
divided in whatway?Basically, we do four rehearsals a week --
two-and-a-half hours each -- andfour concerts a week, most concerts
being 2 hours and 15 minutes. That's theminimum schedule. We're only
guaranteed a day off; we can be called for rehearsalsor concerts on six
other days.
Our annual season is mid-September through end of May. Then we
go on tour forthe month of June. Then there are two or three weeks of
summer concerts inthe parks of New York City, and special festival
events in the hall. We'reoff for nine weeks a year -- nine weeks when
the orchestra is technically shutdown.
I will usually take two, three weeks off, and put the horn away.
It's for mentalrelief, more than anything else. But there are times
when I'll take my hornon vacation with me, just because I feel odd not
having it there. I may noteven practice it, but it's kind of like it
had to be in the car, it had tocome along.
My wife and I celebrated our 25th anniversary last year, and I
surprised herwith a cruise. I took a week off of work, but the week I
was to get back, Ihad a fairly substantial piece (to play). So I took
my horn on the cruise ship-- and that was weird, wandering the bowels
of the cruise ship, trying to finda place to practice. Here it was our
25th anniversary, and I had to say toher, "I'll meet you later at the
pool; I've got to get some time in on thehorn." She's great about that
-- that's just life; that's what I gotta do.
How much do you normally practice?Usually every day, although
I'm not pharasitical about it. I'll miss a dayif I feel that physically
I need a day off; I'll miss a day for mental health-- if I just gotta
have one day to not do this.
When I practice, it could be anywhere from one to up to three
hours. I preferto do that piecemeal. If you're practicing for an
hour-and-a-half, and you'replaying 55 out of every 60 minutes, you can
get to the point where it becomescounterproductive -- you're working
against yourself. You start feeling tired,you start missing things. I
may "practice" for an hour and a half, meaningI'm in the room for that
time, but I'm not playing the whole time. I may play,then I may spend
10 minutes marking the score, or putting on a CD and listening-- "How's
that guy do that?"
I didn't used to spend as much time on warm-up or fundamentals
as I do now.I'd just toot a few notes, and then bam! I'd be practicing
solos. I'll spendmore time now doing a little bit of mouthpiece
buzzing; some scales and fingerstudies; some of what I call "bugle
slurs" -- wavering notes by using justembouchure (position of lips).
I'll do some lip bends, where you "bend" thetone down a half a tone, by
in essence flexing your mouth muscles. You're buildingstrength in the
corners of your mouth - that's where a (trumpet player's) strengthis,
right there in the corners and extending to the cheek, where a dimple
wouldbe. I probably spend more than 20, 30 minutes a day doing that
kind of stuff.
I'm more prone to practice now than when I was younger. When I
was younger,it came easier. Now, I just need to practice more. I don't
consider myselfold -- I'll be 49 in April. But there are physical
effects. I don't think myrecovery powers are as fast as they were when
I was younger. Then, I seemedto have endurance that went forever; now,
building up endurance is somethingI have to work on. And my fingers
just don't work as fast as they used to.It's not that they're arthritic
-- it's just wear, and the natural state ofdecay, unfortunately.
But -- we get wiser. In many ways, I don't think I'm as good a
player as Iwas 10 years ago -- but I hope I'm a wiser player. We learn
what we've gotto do to play our best - and that's my job: to play the
best I can.
'Arrogance stinks'
I consider myself a perfectionist, yes. That helps you as a young
player, becauseit helps you see your goal: You set a standard and say,
"I'm going to achievethat; I'm going to work hard to do that."
Where it can be a detriment, at any age, is when you strive for
perfectionand don't achieve it -- and then become hard on yourself, and
put yourselfdown. Or you allow fear to come in.
Last night I was practicing an offstage horn solo, from the
Mahler Third Symphony-- a beautiful melody that comes from offstage.
Last time we played that here-- '97, I think it was -- I struggled on
that solo. I "cacked" notes. Thiswas a featured moment -- and I
shouldn't have missed those notes.
To me, it was a big deal. It was substandard. No one goes to a
concert to hearit fall apart -- people want to hear it perfect. As I
saw it, I let down myself,I let down my team, and I let down the
conductor. And you can ask my wife:I was ready to hand in my
resignation. That's what happens to someone who isa perfectionist.
That (solo) has become a mental point of fear for me, and I
don't like that.The Mahler Third is now on the schedule for 2001 -- and
I saw that, and theinitial thing in my soul was, "Oh, crumbs, here it
comes." So I just decided:I'm not going to wait till 2001 to practice
it. I'm going to be much more methodicalabout playing this thing all
the time.
Your role as a principal player is to be an encourager to the other
membersof the section. You want to be an example. You want to be a good
colleague,interested in your colleagues -- not just from a musical
point of view, butfrom a personal point of view. I mean, we spend a
lifetime with each other,so you want to be a friend.
Above all else, as a principal player you want to be truthful,
when you passon to your section what comes your way from the conductor.
You want to be truthful-- but also temper what you say so it comes out
in a positive way, in a waythat uplifts somebody rather than bashes
them.
One leads by unification, not by power -- those that lead by
power eventuallyfall. I have been given the role of principal trumpet
in the New York Philharmonicfor a little slice of time. I need to be a
good steward of the position.
Your church, like others, stresses the importance of good
stewardship of one'sgifts. Is your trumpet playing a gift?My trumpet
playing is absolutely God's gift. In the beginning, this was a
lifechoice of mine -- but that was only because I was too dumb to know
that itwas a calling. I mean, it has to be, the way this has worked out
-- how I gotinto Juilliard when I really had no training; how on my
first audition, I becamea member of the Chicago Symphony; how on my
second audition, I became co-principaltrumpet in the New York
Philharmonic.
Each of us has specific gifts; each of us has specific roles to
play -- tolift people up, and to point to God Almighty. One of the
roles of being a Christianis to tell people about what Christ has done
for you, what Christ means toyou. Because of my role as principal
trumpet for the New York Philharmonic,I get a big opportunity to go out
and mix with young kids, to challenge them,to lift them up and say,
"Keep going; work harder."
It's politically incorrect to talk about one's faith -- but you
can't livea life without a faith in something. And our kids are being
told by the world,it seems, "don't worry about your faith." And I'm out
there saying, "No, yougotta think about what you believe, in whom you
believe, why you're here -are you just here by some quirk of your mom
and dad's unification? I don't think so."
Through example -- how youlive your life? Through your trumpet playing?All of the above. My faith is a relationship with Christ in my heart -- ifyou've got that song in your heart, it's got to come out. It's part of whoI am -- I can't help it, I have to talk about it.<br />
But it's going to come out in my living, too. The truth of what I
say, hopefully,is expressed in how I live -- with gentleness, peace,
joy, love, kindness,compassion. And as a musician, it is going to be
expressed in your music, inhow well you play. I don't believe God is
into giving high C's, per se -- Ithink you have to practice. But I do
think God can put down a sense of calmand a sense of peace, and allow
you to play at the best of your ability.
There's no greater place for missionary service than in the
arts. Art is expressionof the heart, of God's gift -- and the
missionary duty here is to say, "Doyou realize where your gift came
from?"
Are there as many opportunities as there used to be for young
musicians todevelop their musical gifts?You do see the effect of music
being knocked out of the public schools. Thereare so many elementary
schools now that don't have bands. When I was in elementaryschool, we
had an orchestra, we had a marching band, we had a concert band.And it
was probably the most horrific-sounding thing in the world, but
nonetheless,it existed. There are pockets where it still exists, and
thank God for that.But it's been decimated.
That's a problem for orchestras. Kids are coming out and not
having a musicalexperience in school -- why, when they become adults
and work in the world,are they gonna want to go to a concert? What does
Joe Average Citizen reallycare about orchestral music? Their whole
musical experience has been some rapperor some yeller-and-screamer
type. If you don't play an instrument, you don'thave an appreciation
for it.
I see that in the number of empty seats. That's a big question
for us (at thePhilharmonic) right now: What do we have to do to bring
more people in? Howcan we make what we do more attractive? And are we
compromising ourselves whenwe play pops, or do (concert performances
of) "Sweeney Todd?" Those are alltough questions that are seriously
discussed.
Many orchestras try to fill the seats by regularly playing the
most familiarsymphonies, by the best-known composers. After 25 years of
playing some ofthese Classical Greatest Hits, are you ever bored by
them?Absolutely! It's like, "Crumbs, another Beethoven Ninth." We play
such a smallpercentage of what's out there. There are symphonies by
major composers thatI've still not played. Sibelius symphonies, for
example -- I mean, Sibeliusused to be a household word, but we hardly
play Sibelius anymore. I have yetto play Mahler Eight -- but I've
played Mahler's Fifth ad nauseum. We repeata lot.
當鍋子冒白煙時，可能是麵條黏鍋所致。此時應馬上翻動，否則就會做出一堆「鍋貼」麵。
炒麵最好使用乾淨未帶鹹味的鍋子來炒，且不僅火要均勻，推鍋和翻炒也要均勻；可先煎香一面，再反轉煎另一面，就可以做出漂亮的炒麵。
要叉子沾點醋叉入肉裡，或在肉上塗抹芥末，約三十分鐘後，肉就會變軟。 或者在早上出門前，將冷凍肉取出，用四、五張報紙包好放入流理台；也可以將肉置於冰箱，逐漸解凍。這樣可以保持肉的原味。 切記不能用熱水解凍，否則會讓維生素流失。
煮羊肉，加入一個表面刺孔的蘿蔔、五六顆綠豆、二三顆核桃、幾顆山楂或少許橙皮，都能有效地去除味道。 如炒羊肉，可將洗淨的羊肉片放入開水鍋中，加入醋煮。等煮開撈出即可下鍋炒。 另外，將羊肉放進紅茶裡泡三小時味道會很特別。
應選購厚而柔軟的牛扒，若買到硬肉，就必須在熟醋和沙律油的混合液中浸兩三小時，使肉質變軟。 下鍋之前，先在砧板上鋪一塊布，再將牛肉放在布上，以空瓶子或刀背輕輕拍打，這樣牛扒就更易咀嚼。 火侯是決定煎好牛朳關鍵。必須把煎鍋燒熱，才放入牛扒。而且需將正面先下鍋，等到煎成焦黃才翻身。到三分鐘時可加入一點牛奶，使牛扒變嫩。 注意端鍋離火時，必須低於實際需要的熟度，利用餘熱把熟度補足。
a 炒肉絲或肉片，要加點蔥、薑、蒜或白酒，以增強味道。 a 醃牛肉之前，先放進冰箱再切。這樣一來好切，二來醃時牛肉會吸收水分變嫩。 a 牛肉質地較老、筋多，故切片時應使刀與肉纖維紋路成垂直橫切。 a 豬肉則應使刀與肉的紋路成斜角切，炒出的肉嫩度就剛好。
蒸蛋祕訣在材料的分量：蛋與水的比例是一比三。加入幾滴醋也可幫助凝固。更可以奶代水，使水蛋更滑、更有營養。 蒸前應將蛋液拌勻，用碟子蓋著放入鍋裡蒸七至八分鐘。火不能太大，以免蛋上出現小孔。
時間夠了，可用筷子插入蛋中，沒有水湧出就表示蒸好了。
From: "鬆糕"
先將潔淨的鍋置火上燒熱，放入少量油，撒一點麵粉，再打入一個蛋。 蛋的兩面煎至底層結皮後，加些熱水蓋上用小火煎至蛋黃熟即可。 另外，煎蛋時可放進少量奶油，可增加蛋的美味。
蛋放入鍋中，加入水蓋過蛋。放爐上加熱，水沸起計煮八分鐘。 然後，立刻將蛋放入浸有冰塊的冷水中，待冷郤後才去殼。
蒸魚前，將魚身水份抹乾，以免沖淡鮮味。待鍋裡水大滾方可放入魚。 不可加鹽，不然魚會失去鮮味。可在魚身下墊蔥，魚面塗些油，就可令魚肉鮮美滑溜。 時間方面，半斤魚需蒸八至十分鐘；增加一倍，則多蒸五分鐘。
魚翅有三種，各有不同的處理方法。
1. 泡發燉煮過的冷凍即食魚翅，只要連同雞、海參和蹄筋等燴煮一會就成。 2. 翅餅，可用高湯泡軟，等到要吃時再撈出來放入羹菜中即可，而不用煮。煮了反而會化掉。 3. 排翅，先要在滾水中煨煮一個小時，泡一個晚上。第二天，將已鬆軟之排翅上的魚肉刮去，然後鋪在以薄竹片製造的架上，用水煮沸再撈出。如此煮五、六次，直至排翅沒有腥味。這樣處理過後的翅，再要加上老母雞或豬腳煨湯十個小時才完成。
受損傷的菜葉易被細菌感染，所以應先摘去。把蔬菜水分擦乾，用報紙包好，再放入膠袋內紮緊或放保鮮袋內，然後保存在冰箱最底層，如此即可保存蔬菜的水分又不易腐爛。 包心菜切開後，剩下的一半應放在碗內加滿水，置放冰箱；紅蘿蔔可在使用前一兩天放在冷水中，露出葉子冷藏，才能保持原有鮮脆。
菠菜所含的草酸，確實會和豆腐中的成分一起變化，進而破壞豆腐內的鈣、鎂營養成份。
但只要在烹調前，把菠菜放到燒開的水中燙兩三分鐘，草酸即可溶入水中，菠菜的澀味也會完全去除。然後就可以放心烹調湯水。
a 把洋蔥放在冰箱裡冷凍一下才切 a 把洋蔥放在水裡切 a 在刀上沾些水，或是用水洗一洗洋蔥才切 a 可用冷凍的毛巾蓋眼片刻，等到不再流淚後；在口中含水，直到切完為止。
a 太鹹的小炒： 1. 打一個蛋下鍋；2. 加入一些白糖。 a 太鹹的湯水： 1. 把番茄剝皮切薄片放入湯煮十五分鐘；2. 用乾淨棉布包住米粒下鍋煮；3. 加入數片馬鈴薯片進鍋煮。 a 過量的醬油： 1. 加入少許牛奶或原湯。 a 太鹹的魚乾： 1. 把魚乾放進米酒和醋水的混合液中浸一會兒；2. 在淘米水中加鹼浸泡魚乾。 a 太鹹的醃菜： 1. 浸在水酒各半的溶液中半天；2. 榨菜和鹹菜用鹽水浸半小時再洗淨。
今天在「消費高手」節目中，聽到烹飪老師說... 炒蛋或蒸蛋時，不可先在蛋汁中加入鹽巴 因為鹽與蛋中的乳酸菌結合會產生『氯』。 有毒，所以.....蒸蛋就只要加醬油！
若加鹽蒸蛋會有一點綠綠的顏色(沒錯，我蒸蛋時亦有發現！) 那就是化學變化產生的氯...炒蛋時就等起鍋前再加鹽吧！
散光(Astigmatism)
散光成因是由於角膜或晶體的弧面出現不一致的彎度，而使遠或近的景物影像都不能正確地投於視網膜。
正常來說，垂直和水平面的景物會投射到同一的距離，這樣我們便會看得很清楚，但當眼睛有散光問題，兩者便會投射在不同的距離，以致影像呈現重影或散開的現象。
散光是可以透過戴眼鏡或角膜手術來矯正。原理是把不一致的光線，透過特製鏡片或改變角膜的弧面，統一地聚焦在視網膜上面。
散光又稱為亂視。一個正常人的眼球表面是圓形球體，但受到上下眼皮所造成的壓力，而會讓眼球呈現像橄籃球狀的橢圓形，使得水平驅力半徑會大於垂直的驅力半徑，驅力半徑不一致而造成光線進入眼睛時，不能聚焦成點，而形成一個散開的點，視野也就會出現模糊重疊影像甚至變形扭曲，這就是散光形成的原因。
散光成因大部分是天生的，只會因為眼皮壓力大小而形成不同的散光度數，這也稱為一般規則性的散光。另外還有後天性的不規則散光，例如角膜的發炎、配戴隱形眼鏡引起的感染，或是手術後做角膜縫合時的後遺症。不規則散光有時候無法用眼鏡來矯正，眼科醫師通常會視情況選用硬式隱形眼鏡，或是選擇以手術來矯正。大部分有高度散光症狀的人，眼睛會容易疲勞、乾澀，所看的目標物也會有模糊、影像重疊的現象。也因為天生眼皮壓力的因素，普遍來說，一般人幾乎都有五十度以下的散光，輕度散光的症狀在生活上並不會造成重大的影響，不那麼明顯。所以大部分人並不會特別去做治療矯正。
散光的手術有兩種方式：一是放射狀切割，也就是把驅力半徑短的部分做橫向切割，改變其驅力半徑；第二種方式就是準分子雷射，在黑眼珠表面做切割，讓眼球表面弧度變得圓一些。在這裡要特別說明的是，散光的手術矯正效果以及持久性都不會像近視手術的效果那樣顯著。
先天性的散光無法預防，但是可以提早發現提早矯正。六歲以下的孩子應該及早做檢查，視力篩檢過程中發現了散光的問題，就要及早戴上治療散光的眼鏡，兩百度以上的散光會引發弱視的症狀，如果過了六到九歲這段治療的黃金期，即使未來戴上眼鏡，也無法治療後來所衍生的弱視問題了。一般來說，成人配戴散光眼鏡的初期可能會有暈眩的感覺，因此醫師會建議度數比實際少一些，以減少暈眩感。不過以孩子來說，醫師建議配足該有的度數來做矯正。
From: 豬豬
Newsgroups: mnb.personal.pigpig
由於 JPEG 檔是破壞性的壓縮檔案格式，當我們對品質非常要求時( 例如，要將圖檔用在精緻的印刷時 )，我們便會考慮非破壞性的儲存格式，如 TIFF, RAW。
即使是消費級數位相機，也有許多機種提供 TIFF 的檔案格式記錄方式。
值得注意的是，在品質的考量下，我們通常是在 DC 的拍攝、後續的影像編輯，都持續保持使用 TIFF 格式進行。
若原本是用 JPEG 格式記錄，在後續才儲存為 TIFF 檔，那麼，對影像品質並沒有幫助。
使用 TIFF 檔可以得到幾個優勢，茲分析於下。
TIFF ( Tagged Image File Format )檔的特性
TIFF 檔是一種非破壞的檔案格式，一般而言，它會比 JPEG / RAW 檔都要來得大。
RAW 檔常需專用的軟體、Plug-ins 軟體來進行轉換，而 TIFF 檔則普偏為一般的影像軟體所支援。
在 TIFF 檔的檔頭，可以記載影像的解析度，由於 TIFF 的包容性甚佳，甚至可在檔案內放置多個影像( 例如包含一個較小的預視圖 )，因此，TIFF 檔也普偏地應用在排版軟體之中。
在 TIFF 檔之中，除了原本的 RGB 三個色頻外，還可以記載 α色頻，這個 α色頻基本上是一個遮罩，可以提供TIFF 檔在排版軟體( 例如 PageMaker ) 的去背功能，或者是做為在影像軟體之中的選取區。
From: "死體" Newsgroups: 3talk.joke
我諗如果你係197x-198x年出世既香港人,都應該聽過或講過d咁既野,冇?睇下先啦!!
----- Original Message -----
From: 豬扒
Newsgroups: mnb.personal.pigpig
Sent: Monday, 26 December, 2005 19:54
Subject: [食] 清蒸魚七大秘訣
清蒸魚七大秘訣
秘訣一：魚的重量控制在600克左右，這樣大小的體積，擺在魚盤中，看上
去美觀，而且生熟火候好把握；
秘訣二：收拾魚時，可將魚脊骨從腹內斬斷（用刀尾鋸斷），以防魚蒸
熟後由於魚骨收縮而使魚的整體變形，但如果您的手藝比較生疏，不斬也
行，免得還沒開始蒸，就把魚糟蹋變形。將魚收拾乾淨後，在魚體兩側抹勻
豬油（清油也湊合啦），再沾少許白酒（你也可以嘗試沾些洋酒，也許又開
創出新口味）；
秘訣三：將約50克肉餡拌入一點醬油、麻油、鹽、姜末、香菇末後放入
魚腹中，既可使魚味更鮮又可撐起魚腹，使蒸出的魚形體飽滿；
秘訣四：取大塊老薑，取最長段切成均勻漂亮的細長絲，將大蔥取中段
（不清不白處，與薑絲等長）切絲，（為了美觀，誘發食欲）鋪在魚盤上，
將魚入盤後再在魚身上撒些蔥薑絲；
秘訣五：一定要在蒸鍋水開後，再將魚入鍋（千萬別涼水將魚上鍋蒸，
那就砸鍋了。很多清蒸菜的秘訣都是水開後食物入鍋蒸）；
秘訣六：蒸6-7分鐘即關火（火候是頂級秘訣）；
秘訣七：關火後，別打開鍋蓋，魚不取出鍋，利用鍋內餘溫“虛蒸”
5-8分鐘後立即出鍋，再將預先備好的調料（醬油、醋、清油、很少的鹽或
不放鹽）淋遍魚身（不能放味精，以求清淡、鮮嫩），再隨意擺上幾根散香
菜後上桌開吃。
特色：此魚嫩如豆腐、香如蟹肉，清淡爽口。如果吃的時候有旁人在
座，您要將筷子儘快悄悄對準魚腹（最嫩最香的精華之處），先下手為強！
要點補充：
1、如果是清蒸蓮魚或草魚等稍大的魚（重量應控制在1000克左右），
蒸的時間還可以再延長2-3分鐘，但不要太長時間。別忘了“虛蒸”招數。
2、蒸稍大的魚時，可在魚身下架兩根筷子，使魚離開底盤架空，魚身
全面遇熱快熟，出鍋後，在廚房裏，悄悄把筷子撤出，別讓吃客發現你的竅
門。
3、蒸稍大的魚時，還可以將魚立起來（象魚在水裏游動的樣子）蒸。
這時，可用一節約5釐米長的大蔥撐開魚腹，使魚平穩立住，在魚身兩側扣
放兩個小陶瓷碗固定魚身（魚腹內不放肉餡）。此時，還可以在魚身兩邊各
側刨三刀，並在每個刀縫處夾入一片姜。魚蒸熟後，將小碗撤走再上桌。
4、也可以將調好的、準備最後淋在魚身上的（醬油、醋、油）汁放在
一個小碗裏，與魚一起上鍋蒸，待魚出鍋後，將此調料也從鍋中取出，澆在
魚身上，這樣的澆汁與前面的生汁相比，少了一些生澀，魚味更溫香柔和，
適合老年人和喜歡清淡者的口味。
怎麼樣，這可是我清蒸武昌魚的真傳秘籍大全，環環是秘訣！很多人只
對肉末等看得見的細節有所啟發，事後還忘了幾點要領，其實，火候、“虛
蒸”的招數可是真正的秘訣哦。有些環節你不可改變（火候秘訣），否則就
沒有高水準的味道了，但有些環節，你可以試著（根據自己的口味和當地調
料的優勢）進行改進。
來源: 新幻社區
RAW 檔的原始單位資料因此亦只需 8 Bits - 12 Bits 儲存，這會使得 RAW 檔的最後大小比 TIFF 小了許多。
RAW 檔較小的事實( 相對於 TIFF )，會有兩個明顯的效益：
From: 豬豬
Newsgroups: mnb.personal.pigpig
From: http://www.inmediahk.net/public/article?item_id=87258&group_id=144
--tsw
1.破壞公物論
圍欄、鐵馬都不是公物。
如果「公物」的定義是「給公眾使用的物品」，則圍欄、鐵馬其實都是由警方使用的物品，警方用它來攔阻公眾，限制公眾的行動。當人民以自己的方式去使用鐵馬或圍欄時，它才成為「公物」。
如果「公物」的定義是「由政府擁有（亦即由人民付錢）」，則我們於焉可以明白，看似中性服務機構的「政府」是一種如何激烈的介入——它可以將人民的資金用以限制人民的行動。
如果你要談公物，那恰恰是韓農在展現一種「將公物還諸公物」的激烈方式。輕柔一點的，是將遊行完將絲帶綁在政府總署的圍欄上。其理同一。
2.淺談肢體衝突
我必須承認，我是個靠咀皮子同渣枝欄筆搵食的人，對於肢體衝突（與朋友的除外），我實在不在行，也沒有讀過很多有關理論——但我讀的理論，基本都是pro肢體衝突的。以下是以韓農的表現去進一步理解肢體衝突。有關學術理論脈絡，敬請有識之士補充。
有段話（忘了是誰說的，請補充）說得很清楚：「暴力示威是製造最大混亂效果，以破壞社會秩序為主要目的，手段包括放火燒車、擲石攻擊商店、搶掠、以暴力對付警察，另一類是有明確訴求，希望將群眾的政治或政策訴求通過示威放在社會議程上，再通過傳媒報道，引發社會大眾參與討論，這時肢體衝突變成了群眾運動的『劇場演出』。」
我想韓農沒有破壞社會秩序、沒有放火燒車、沒有搶掠，也不用談了。這是肢體衝突，而非暴亂，我想一再重申。而我當然明白，這次的矛盾就在於肢體衝突必然包括了攻擊警員。為何要攻擊警員？因為警員在那個位置象徵了他們所對抗著的世貿勢力，必須以激烈行動去表達對抗，這和焚燒國旗是沒有分別的，都是具有象徵性的。
（不要再講警員也是人不該打，大佬人地都有受傷，而且一定傷過警員，因為裝備懸殊。我也不想再罵一次胡椒噴霧和催淚彈了。）
為何需要肢體衝突這樣激烈的形式？我的理解是，激烈的是對抗的理念、位置與利益關係，而肢體衝突必須表現這種激烈的程度，尤其這是全球千萬人的生計問題，我們的地球的環境問題，人類的經濟關係和意識形態如何決定的問題（大佬人個腦呀）。這是很激烈而嚴重的矛盾，人們必記住。——其實這點不難接受，你看看曾蔭權在124遊行後「已清楚聽到港人訴求」，卻仍然照舊，並一再以「大多數民意」反過來為政改護航。因為在所謂理性抗爭的平面化後，很容易便只是數字遊戲。而難道那些抗爭者數目不夠多，那種理念、位置和利益的對抗關係就不激烈而嚴重嗎？10萬人的訴求就不強嗎？韓國的gdp因為加入世貿而上升，韓農的犧牲就理所當然嗎？
而我希望強調：「劇場演出」這個形容，應該是指把矛盾和衝突最大化，而非「虛假的做戲做show」。我希望強調，肢體衝突背後是有真正堅實的支撐的，正類似演員往往在戲裡演繹自己在現實生活中壓抑了的真實情感。
覺得這種只表現理念、位置與利益的衝突的形式太過機械的朋友，且莫發難，請看下去。
3.韓農與港警的分別
肢體衝突是象徵性的，果然有很大程度上是理念、位置與利益的對決。我有很多很憎警察的行動者朋友，我始終不能像他們一樣狠罵警察。我總是忍不住說，其實他們也很慘的。他們都總是答我：是呀，若他們只把自己當作執行機器，100%服膺於建制的意識形態，我們也把他們當機器；但他們若離開自己的位置，作為一個人去反應、回應，我們也會把他們當人。
是的，「劃清建制位置以內的機器和建制以外的活生生的人」大概這就是行動者最大的妥協：既不向建制讓步，又尊重個人。
有報導指有警員指「韓農真係好識做戲」。他指的大概是韓農先幾日表現和平，但其實真係衝得好勁，打得好勁。我想，不少香港人也會這樣想。其實，我們從不應想像韓農會乖乖依照一條不義的示威區和示威路線前進、抗爭。依照他人編定的劇本，算什麼抗爭，尤其這路線和範圍是以保護世貿的人劃定的。禁區本就不義，而且現時的封鎖線還距離警方所劃的禁區範圍好幾百米。
韓農一定會衝突，一定會自選示威路線，一定會想嘗試向世貿推進，否則他們就背叛自己的理念、位置與利益、。於是一定會與我城的運作產生衝突，與警員產生衝突。這幾天韓農的友善表現，不是騙香港人讓香港人以為他們不會進行激烈抗爭，而是表現在抗爭以外，其實他們是怎樣的人，他們其實對香港多麼友善。
而很明顯，香港警察是沒有這種概念的，他們就是認為，那些攻擊他們的人，就是暴徒，就是壞人。〈一位前線警務人員的心聲〉中問的5個問題之中的三個：「1.我也反對WTO，我也同情示威者，但示威者的憤怒代表可以破壞我們的家園嗎?4. 示威者也是很可憐的，但都不是暴亂的理由，這是和平示威嗎?如此破壞香港不止，還強詞奪理是香港警方故意阻撓，他們可以這麼便宜不被起訴嗎?5. 香港人，懂得分辨是非對錯嗎? 」當中，認同這是「暴亂」（否則何來「破壞家園/香港」的想像，人家都沒有破壞些什麼）的想法，毋庸多言。簡單來說，因為沒有肢體衝突這種概念，他們分不清韓農攻擊的到底是什麼，他們以為韓農攻擊的就是自己，就是香港。事實上，這還可以推出一個更悲觀的結論：他們也沒有分開建制內的自己和建制外的自己，甚至以為建制就是自己。我們一向同時厭惡和同情軍人的單向和盲從，就是這個意思。
這種簡單的暴徒歸類可以是很可怕的，完全可以違犯人權。900名被拘捕的人士中，有很多在落案之前，就受到罪犯式的對待：脫剩內衣搜身，而許多條文上所規定應該要對拘留人士提供的東西，例如水、食物、毛氈，全都沒有。警方並利用許多小動作來顯示權力，包括打電話、喝水、去廁所、要廁紙，都要經過多番協商。這是一位文質彬彬的台灣朋友告訴我的，言語不通的朋友一定更慘。如果香港警方不是食懵了所以小家至此，就是因為把那些人當成暴徒，而覺得可以漠視、剝奪他們的權利。
我想說明的是，熟練的示威者懂得當警方是人，而我們的警方，無論多麼熟練，竟然好像不懂得當人是人。尤其是進了警局之後。天有不測之風雲，每一個良好市民都有機會被誤會為犯罪分子，而在誤會澄清之前，就會不擁有被規定的權利。這不可怕嗎？警權無限大，人權被出賣啊。
前線警員的勞累，我一直相當同情，我們中了水炮之後，也會叫「過度超時工作警員回家睡覺」。相比於經常被警察的小動作騷擾的許多朋友，我對警察的態度一直相當友善。除了那個用水炮射我們的警察。我帶口號，也是說「催淚彈」可恥。對於場面浩大的中環一帶，我並不多表示意見，因為我所得到的資料也是從大眾傳媒中得到，不能判斷施放催淚彈是否合理。只是，警務人員的識見和胸襟，實在需要擴展。我今日所見到的台灣朋友，17日夜晚12點幾已經很乖地接受了拘留，應是第一批被拘留的人（因而不存在資源問題），但仍然沒水沒食物沒衣物禦寒；到20日凌晨兩點，他們才被釋放。總共是50小時。如果香港警察，因為自己或同袍受勞累（值勤24小時）和攻擊，而這樣對待無法反抗他們的人，仍是可恥的。這就是我這次這麼強烈地覺得香港警察冇撚用的原因：所有的力量，彷彿都是建制給予的：精良裝備、拘留的待遇。而他們安於使用這些力量，一旦失去些就十分幼稚弱小（我得一件衫中完水炮由濕到乾而警察叔叔你同我講你唔夠衫？）。相比於韓農以低度裝備，運用智慧奪取盾牌，「人」的味道強太多了。4.想像．悲哀有位朋友寫得好，不了解韓國的民主抗爭之路是如何走出來，我們永遠無法了解韓國農民的行動。我們的零三七一那麼美好，終於它的陰暗浮出來了：有人就以七一為例，說我們香港不歡迎非和平的示威者。零三七一竟成為我們狹窄、不接受其他文化的理由。我本想徹底sentimental一下，但本文走理性路子，只講一點吧：韓農的抗爭模式，是孕生於由韓國本身的抗爭歷史（光州事件等等）所拓展的空間；03坎昆的世貿抗爭，其空間由99西雅圖10萬人反全球化示威拓展；05香港世貿的抗爭規模，則以坎昆的抗爭規模為座標——而相對過往歷史，它的規模相對地是多麼溫和，而警方的武力又是多麼不成比例。歷史是倒退著，我們的空間愈縮愈小，壓迫愈來愈大，抗爭愈來愈難。而我們缺乏想像力，是因為我們不了解歷史。(有人說我談太多自身的和平抗爭，是迴避了真正的矛盾點：所謂暴力，或激烈衝突。我這樣不但對香港的社運抗爭無益，也對被控暴力抗爭的14位朋友不公平。這話是對的。由是我寫。）
日期: 20 Dec 2005 12:26:58 +0800<br />寄件人: slow man <<a href="https://www.netnd.com/webmail/src/compose.php?send_to=coetzee%40southafrica.com">coetzee@southafrica.com</a>><br />News 討論群組: welcome.koonleeyuen<br /><br /><a href="http://www.inmediahk.net/public/article?item_id=84635&group_id=16" target="_blank">http://www.inmediahk.net/public/article?item_id=84635&group_id=16</a><br /><br />請廣傳並聯署: 致國際友人的感謝信<br />--webmaster<br /><br /><br /><br /><br /><br />(信件將於12月17日作新聞發佈,<br />並於12月18日的遊行裡以不同語言派給反WTO的遊行隊伍)<br /><br /><br />感謝您們遠道而來與我們分享您們的生命經歷，<br />讓我們意識到香港這個「購物天堂」是建基在貧困國家的農民和工人的血與汗之上。<br /><br />感謝您們以友善的目光和笑容迎向我們，<br />儘管這個城市的人經常只顧自己的生活，不理他人死活。<br /><br />感謝您們不厭其煩地向香港的市民和媒體解釋世貿所帶來的禍害，<br />儘管您們的聲音不斷地被扭曲和淹沒。<br /><br />感謝您們來到香港阻止世貿在這個城市達成協議，<br />阻止這個城市進一步成為殺害農民的幫兇。<br /><br />感謝您們以行動告訴我們,<br />人的生存尊嚴，比起經濟利益來得重要，<br />你們的到來，為這銅臭的城市，帶來一陣清新的氣息。<br /><br />感謝您們把貧富不均、環境、剝削、外債、農民和不公平貿易和發展等民間國際議<br />題，引進這個建基在官商勾結的城市，<br />使這個城市走向多元和草根的國際化。<br /><br />感謝您們以一致的步伐,<br />展示給我們看到團結的重要性，<br />使我們學會人民要團結一致，互相支持，長期抗爭，<br />才能爭取到民主。<br /><br />感謝您們以色彩、歌聲、舞蹈和肢體語言，帶來新的抗爭文化，<br />讓我們理解到，遊行並不是向在上位者的沉默請求，<br />而是要顯示人民的力量和創造性，是一種力量的表達。<br /><br />這一切一切，使我們感動和震撼,<br />希望在未來的歲月，<br />我們能再次加入你們的隊伍中，<br />肩並肩地爭取國際性的和平與公義！<br /><br />(聯署請寄 <a href="https://www.netnd.com/webmail/src/compose.php?send_to=inmediahk%40gmail.com">inmediahk@gmail.com</a> 或於 www.inmediahk.net<br />的回應欄上自行簽署)<br /><br />圖片來自heterotopias<br /><br /><br />一群香港市民<br />:<br /><br />林藹雲，梁寶山，葉蔭聰，鄭威鵬，林輝，周思中，陳浩倫，陶培康，朱凱迪，區佩芬，<br /><br />黎洛文，徐承恩，潘建文，張詠詩，袁敬皓，鄭晴翾，鄒蕙筠，葉宏謙，李育成，譚棨禧，<br /><br />黎健強，楊樹雄，甄拔濤，吳志齡，楊文友，黃宇軒，呂文珊，翁文鏗，徐英彪，鄭頌恩，<br /><br />周暉，馮民翔，張韻琪，蔡雪華，黃偉豪，何渭枝，江貴生，朱天韻，李卓倫，李泳萱，<br /><br />胡超川，鄧浩兒，許漢榮，潘國靈，鄺凱茵，陳曙峰，陳日東，劉嘉美，袁凱欣，煒煒，<br /><br />慶靈，何定偉，陳宇輝，歐陽靜心，許嘉暖，陳毅成，孔慈恩，伍嘉豪，謝錦昌，鄧小樺，<br /><br />劉文景，張煒靜，蔡淑芳，陳燕遐，周峻任，呂媛Yvonne Liu，Au Ka Yan，Chen Hwa Tung，Stargazer，Clara Cheung，Ryan<br />Cheung，Perspex，Liu Sau Fong，<br />
------- 原始郵件 -------
主題: 妳 的 男 人 是 不 是 該 換 了？
日期: 18 Dec 2005 19:22:44 +0800
寄件人: "我 係 PPK !" <ppkppk@lycos.com>
News 討論群組: welcome.koonleeyuen
什么男人該換？什么男人不該換？給女人看看﹐看你是不是該換個男人了。
1.祂每次犯的錯都一樣﹐而且祂犯的次數癒多﹐你的負面反應也癒強烈。
2.祂說謊的技巧很差﹐而你拆穿謊言的本領高強﹐而且這些謊言是有傷害性的。
3.祂是個好男人﹐但是不適合你﹐你跟祂在一起時﹐腦子里卻在想別人。
4.你很愛祂﹐什么缺點都無所謂﹐但是你的周遭親近的人好像都不喜歡祂。
5.祂無法解讀你的心事﹐而且當你需要祂傾聽時﹐祂總是心不在焉。
6.祂讓你感覺祂隨時會離開你﹐或一再要求你給祂多一點自由﹐但是你辦不到。
7.祂怕失去你﹐經常以死或傷害自己的方式﹐讓你覺得不該離開祂。
8.你愛祂﹐但是你跟祂在一起時﹐表現出的不是你自己的本質。
(以上8種情形符合達半數者以上﹐建議你換)
------- 原始郵件 -------
主題: Discovery-變樣的政治家--溫斯頓邱吉爾
日期: 9 Dec 2005 10:01:23 +0800
寄件人: Fatty Ken <肥佬肯尼夫@辦公室.com>
News 討論群組: welcome.koonleeyuen
參考: <4398962f@wonderspace.net>
Discovery(變樣的政治家) - 溫斯頓邱吉爾
http://discoverychannel.com.tw/altered_statesmen/winston_churchill/index.shtml
溫斯頓邱吉爾，生於 1874 年，歿於 1965 年。
「…我們要在海岸上戰鬥，要在登陸地點戰鬥，要在田野及街道戰鬥，要在丘陵戰
鬥；我們絕不會輕言投降…」
在第二次世界大戰英國最黑暗的時刻，是邱吉爾鼓舞全國人民為追求勝利向希特勒
宣戰。不過，當他帶領英國反抗納粹侵略的同時，自己也正與身體及心理上的敵人
對抗。邱吉爾從 1900 年踏入政壇開始，就不時會有憂鬱症發作的情形，他稱之為
他的「黑狗」(Black Dog)。但伴隨著憂鬱症的發生，他也同時經歷了充滿創造力
的「高昂」情緒，就類似精神科醫師所稱「躁鬱症」的狀況。當他情緒處於高昂狀
態時，邱吉爾就會展現偉大的領袖特質及活動力，但也有可能會做出過於天真樂觀
的計劃而出差錯，例如第一次世界大戰期間，決定支持海軍出兵攻打土耳其。
在第一次世界大戰剛開始的時候，邱吉爾顯得精力旺盛，一副躍躍欲試、期望展開
行動的模樣。他提出對達達尼爾海峽上的海上要塞發動軍艦攻擊的計劃，但狹窄又
有堅強防禦工事的船道使康士坦丁堡固若金湯。康士坦丁堡就是日耳曼帝國的盟友
奧圖曼帝國(即今日的土耳其) 的首都。可是整個行動先天計劃不夠周轉，後天指
揮又不恰當，造成數千人死亡，戰艦遭到摧毀。這次不幸事件完全歸咎於邱吉爾，
他也被迫辭去海軍大臣一職。由於這次事件的打擊，造成憂鬱症又再度復發。
身為十八世紀赫赫有名的馬伯羅公爵之後，及前任財政大臣之子，邱吉爾自小就在
終將成為人中之龍的自我崇拜信念下成長。邱吉爾的這個信念成真是在第二次世界
大戰開始的時候，當時他再次獲指派擔任大臣，但高昂的情緒再次讓他發生軍事行
動上的失誤。這次不幸的海軍攻擊行動發生在挪威，可是這次下台的卻是首相張伯
倫，而邱吉爾被拔擢出任首相。
從 1940 年 5 月開始，邱吉爾的雙重性格主宰戰事的進行。公開場合他以自己的
勇氣及令人難忘的演講鼓舞英國人民，而在戰情室，他卻因為自己想要主導軍事行
動而激怒指揮作戰的將軍，並且因為酒後大發雷霆而讓人擔憂不已。當時，邱吉爾
以前的同僚和他的孫子小邱吉爾都不認為這位戰爭領袖每天喝威士忌、香檳和白蘭
地會引起問題，但醫學專家卻相信這種行為可能使憂鬱症更加惡化。當他帶領英國
邁向勝利的同時，憂鬱症再次纏上邱吉爾，造成他下野交出首相職位。
1949 年，邱吉爾發生嚴重的中風，他的朋友全力封鎖不讓媒體獲知，才使得他能
夠繼續贏得 1951 年的大選。邱吉爾重掌權位之後，政策卻發生錯誤。由於他的心
思還活在第二次世界大戰時期榮耀的歲月，所以忽略了國內本身的問題。
1953 年，邱吉爾已經將近 80 歲，並且經歷兩次嚴重的中風。由於他拼命地想要
維持自己身為演說家及政治家的名聲，所以他請查爾斯摩藍醫生以苯甲胺，也就是
安非他命來幫助他。藉由服用這種有如仙丹的興奮劑支撐，1954 年邱吉爾還能在
保守黨大會發表演說。不過藥物還是無法阻止終究會發生的事，邱吉爾終於在
1955 年4 月退位。
一旦離開鎂光燈之後，邱吉爾又遭到憂鬱症的侵襲，他回顧一生，自覺非常失敗。
但對英國人民來說，他永遠都是那位在 1940 年夏天拒絕向希特勒屈服的英雄。他
受到大家的尊敬，不會因為他個人的問題而有差別，而且就是有這些問題才更顯他
的偉大不凡：因為沒有正常的人能夠做出相同的英勇抉擇。
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她攏著髮，仰起美麗的臉呈45 度仰角看著他說：『想要娶我的話就要有房子、車子，最重要的是事業有成！先說好，我可是不做家事的。』
他望著她可人的臉龐有興味的問道：『那--- 妳用什麼樣的條件來嫁給我呢？』
『我？』她沒料到他會有此一問，在錯愕了3 秒鐘之後很快的恢復了原來的神氣。
男子說：『是啊，我如果有車子有房子還有錢，那請問我值得娶怎樣條件的妻子？』
她紅著臉頰嬌聲回答：『我將獻給你我寶貴的第一次！』
他瞠大著雙眼回到：『就這樣？我只有得到一片處女膜？』
她挺起豐滿渾圓的胸部，噘著性感的唇媚視他說：『這年頭處女可是很稀有的不是嗎？更何況以我的美麗及完美的身材，讓天下多少的男人趨之若鶩。』
他放聲大笑：『親愛的，妳的美麗會隨時間的消逝凋零，身材也會鬆弛變形，更何況…… 』
看著她羞憤到變形的臉不禁莞爾，火上加油的補上最後一句：『處女膜一片不用3 千蚊，各大整型診所都有得買！』
後言：
常常聽到很多女生在說著她們未來對象應有的條件，可當我反問她們時卻答不出來，好像男人本來就是要具備這些條件才有資格取老婆，而女人只要打扮得美美的等嫁人就行了。
所以現在為什麼會有那麼多的女生嫁不出去，因為男人娶不起，只好轉向娶大陸、越南新娘去，幹嘛請一尊菩薩回家供著？妳想用什麼條件來嫁我呢？
最近我也在常想這問題：如果女人在男人一無所有嫁給他，那等到男人有了房子、車子及事業有成後讓老婆享受，這是理所當然。
因為老婆在你沒有一切時嫁給你跟著你受苦，當然要讓老婆享福。所以女人今後請記著，你是跟一個男人結婚而不是跟一塊麵包結婚呀！
