Surprised by her look! She's such a good-looking seiyuu.

I never knew that she first became an opera singer with 黒木瞳 around the same time and later on switched to the voice acting scene, leaving her classic manly audio fingerprints as 緋村剣心 in the <るろうに剣心 -明治剣客浪漫譚>.

Instruments (especially the guitars):

• fattened
• spread across the stereo field
• reverbed
• compressed

Vocal:

• dry (no reverb)
• panned to the center
• high-pass filtered

Catchy interaction between the dry and localized vocal and the wet and spatial instruments.

If anger is a completely normal and natural human emotion, it is however important to learn and understand how to release anger the right way because you don't want it to turn hurtful or, even worse, deadly. Anger can be felt in the form of tension or pain in your jaws, forehead, temples, cheeks, hands, arms and in the center of your back.

How to Release Anger the Right Way

You can release anger the right or the wrong way. Regardless of whether you have an anger problem yourself or not, it is important for everyone to understand what the right ways of releasing anger are. One of the best ways to release anger is to give yourself the permission to express anger.

In other words, just because you are taught or raised to suppress your anger doesn't mean that this is necessary the way you should go. In fact, it is quite healthy to express your anger as long as you do it correctly. There's nothing wrong with expressing fear, rage, anger or sadness although many people are taught otherwise when they grow up.

Remember that anger management relies both on mental and physical effort. Although mental therapy alone will helpful you tremendously for releasing your anger, it can only take you so far. The same applies for exercise too. However, if you combine both mental therapy and exercising, you will then have access to an incredible positive and life-altering solution. How to apply both? Do a particular physical activity along with the mental intention of releasing your anger.

It might be obvious but the most important things of all to remember is to never hurt others when you release your anger. Make sure you give yourself the opportunity to express safely your anger, without hurting anyone else in the process. Your main goal here is to express your negative emotion without someone receiving the backlash of the anger itself.

Finally, if you feel the need to express yourself in any of these ways, make sure that you are either totally alone so that you don't feel uncomfortable or otherwise inhibited , or that you are surrounded with people who are supportive of this type of activity and of you as a whole.

Anger can destroy your life. Don't let it happen. Visit our web site on Anger Management to get tips and solutions to your problem.

How to Release Your Anger the Right Way

Stuff like <乱馬1/2> and <X-Files> have explored physiological gender switching extensively; psychologically, a man is just a more independent woman; in turn, a woman is pretty much just a man with security deficiency.

いろいろ..... Now I got why some people have to use bullets for journals.

1. I had conversations with all my cousins and 2nd cousins in depth. People all have their problems.
2. I love Tasha even more.
3. Slept with a cat and a dog, respectively.
4. I cooked for Tasha's entire family (11 people).
5. Never marry an audit. Audit makes iron maiden.
6. Visited one of my best friends from China; good to find out that we both are who we were.
7. Had sushi with Simon at the best Japanese restaurant in T; met his gf; sweet couple; "He's too nice."; He gave me an orientation of U of T; I may help him with mixing his old works.
8. Read an excellent book about mixing; another 朝闻道夕死 book; I found a new way of listening: mixing-based listening; it's extreme energy consuming but truly addictive once getting into it.
9. Carpool never disappointed me. Met three interesting girls on the back trip; the half-Chinese, half-Canadian actress was extremely nice to talk with; I learned a lot about film and theatre business.
10. I got a new computer and a new external harddrive on boxing day.
11. I took no pictures for no reasons. Just got tired of it.

つつく

Usually I took quiz like this as spam. But his request has to be warmly treated (sincerely).

========================
游戏规则：
　　１、被点到名字的要在自己的博客里写下自己的答案，然后去掉第一个问题，再加上一个问题，仍然组成５个问题传给其他１０个人。列出１０个需要回答问题的人的名字，还要到这１０个人的博客里留言通知对方－－你被点名了。被点名者不得拒绝回答问题。完成游戏的人将会永远得到大家的祝福。
　　２、这１０个人要在自己的博客里注明是从哪里接到题的，并且再想一个题目传给其他１０个人，让游戏继续传下去。不得回传。被点到名字的人将得到大家的祝福，并且所有的美丽愿望都会在不久的以后实现......

1、你心目中的完美异性是什么样子的。

ONE DAY I'M GONNA BUILD ONE MYSELF!!!

The following is a quick-N-dirty reference. (K, J, L,.... are non-negative real coefficient matrices)

• Personality:    K * [濑名Robin, 前田松]
• Natural Voice: J * [川澄綾子, ゆかな, 能登麻美子, 高本めぐみ, 渡辺明乃, 南央美]
• Singing Voice: L * [Karen Carpenter, 孟庭苇, 水樹奈奈, AKKO, Julie London, Suzanne Perry, Kokia, Sonya Aurora Madan]
• Instruments: M * [Piano, Flute, Acoustic Plucked-string Instruments, Electric Guitar/Bass]
• Writing Style: P * [红唇发成霜, 兔八爱, Rose Melberg, Some Japanese friends of mine]
• Handwriting: Neat and feminine
• Sports: Jogging, Yoga
• Preferred Music: Anything interesting to her that she could explain why.
• Preferred Motion Pictures: Anything unrealistically realistic to her.
• Cooking: Knows how to cook, explores new recipes, and enjoys collaborations.
• Hair Color: Dark
• Look: Q * [...(use your imagination)...]

2、喜欢一个人喜欢到什么程度算是爱？

• Myself as a "sender", I always feel the urgency to share everything with her throughout my life.
• Myself as a "receiver", I find no problem exposing every single piece of myself to her anytime, anywhere.

3、世界末日是哪一天？

Not until I finish everything I'd like to try...

4、如果可以重来，你最想改变的是什么？

In that case, everything changes anyway....

6、请写出你心目中下列数字各是什么颜色的 0 1 2 3 4 5 6 7 8 9

你妈贵姓?

7、你觉得星座准吗？

In terms of the solar-sign horoscope, the improved temporal resolution of 48 areas works pretty well.

去掉: 6、请写出你心目中下列数字各是什么颜色的 0 1 2 3 4 5 6 7 8 9

替换: 6. 你还能活一个月, 打算干嘛?

点名：

All porn stars around the world (for Question 1, 2, and 6 only).

P.S.

I guess people show this list partly for ass-kissing the group of friends that may read their blogs; however, I figured my friends would be totally pissed and consider me idiot if I threw these to them (after filling out other similar quiz); therefore, my list does not include my real friends.

Technical Debt

The term "technical debt" was coined by Ward Cunningham to describe the obligation that a software organization incurs when it chooses a design or construction approach that's expedient in the short term but that increases complexity and is more costly in the long term.

Ward didn't develop the metaphor in very much depth. The few other people who have discussed technical debt seem to use the metaphor mainly to communicate the concept to technical staff. I agree that it's a useful metaphor for communicating with technical staff, but I'm more interested in the metaphor's incredibly rich ability to explain a critical technical concept to non-technical project stakeholders.

What is Technical Debt? Two Basic Kinds

The first kind of technical debt is the kind that is incurred unintentionally. For example, a design approach just turns out to be error-prone or a junior programmer just writes bad code. This technical debt is the non-strategic result of doing a poor job. In some cases, this kind of debt can be incurred unknowingly, for example, your company might acquire a company that has accumulated significant technical debt that you don't identify until after the acquisition. Sometimes, ironically, this debt can be created when a team stumbles in its efforts to rewrite a debt-laden platform and inadvertently creates more debt. We'll call this general category of debt Type I.

The second kind of technical debt is the kind that is incurred intentionally. This commonly occurs when an organization makes a conscious decision to optimize for the present rather than for the future. "If we don't get this release done on time, there won't be a next release" is a common refrain—and often a compelling one. This leads to decisions like, "We don't have time to reconcile these two databases, so we'll write some glue code that keeps them synchronized for now and reconcile them after we ship." Or "We have some code written by a contractor that doesn't follow our coding standards; we'll clean that up later." Or "We didn't have time to write all the unit tests for the code we wrote the last 2 months of the project. We'll right those tests after the release." (We'll call this Type II.)

The rest of my comments focus on the kind of technical debt that's incurred for strategic reasons (Type II).

Short-Term vs. Long-Term Debt

With real debt, a company will maintain both short-term and long-term debt. You use short-term debt to cover things like gaps between your receivables (payments from customers) and expenses (payroll). You take on short term debt when you have the money, you just don't have it now. Short-term debt is expected to be paid off frequently. The technical equivalent seems straightforward. Short-term debt is the debt that's taken on tactically and reactively, usually as a late-stage measure to get a specific release out the door. (We'll call this Type II.A.)

Long term debt is the debt a company takes on strategically and proactively--investing in new capital equipment, like a new factory, or a new corporate campus. Again, the technical equivalent seems straightforward: "We don't think we're going to need to support a second platform for at least five years, so this release can be built on the assumption that we're supporting only one platform." (We'll call this Type II.B.)

The implication is that short-term debt should be paid off quickly, perhaps as the first part of the next release cycle, whereas long-term debt can be carried for a few years or longer.

10x Software Development

在我们这块土地上，由于我们的生存结构性，常常是政治的问题误作学术的问题，学术的问题误作法律的问题，法律的问题却又常常当作政治的问题，真个是：扯不断，理还乱。加上个人的动机不同、感受不同、个体选择不同，所操持的规则与话语则更是不同，悲喜剧也罢，闹剧也好，荒诞剧可能更准确，轮流上演，反复不断，却又基本在一个平面上重复，确实没有新鲜感可言。官司赢了也罢，输了也好，我们仍然不会有多少进步。 ( http://www.tecn.cn )
    法律也是一种规则，而且是一种大规则；学术也是一种规则，可能是小规则；“潜规则”也是一种规则，而且可能是我们本土意义上的更有普遍意义的规则。那么，我们究竟应该遵循哪样的规则？在我看来，这就是我们本土意义上的“规则之魅”，如何解魅？

...

尽管大家都清楚，不管是哪种规则都是经过商谈和博弈的结果，即便是法律规则，道理一样，但是，我们并不清楚，我们如何应该让一种更为合理的更理想的规则有效地去战胜和代替那种极不合理的甚至是愚昧的规则。无他，制度而已。 ( http://www.tecn.cn )
    除了独立的学术制度，还必须是独立的司法制度——否则，就公说公有理、婆说婆有理，尽管所操持的话语规则完全不同，但照样可以各说各话，而且都可以“理直气壮”、荒诞不经…… ( http://www.tecn.cn )
    如果说我们有独立的教授委员会或者独立的学术仲裁机构，原本双方的学术争端，只能交由他们仲裁；如对仲裁机构的仲裁不满，再交由司法机构仲裁；司法机构仲裁肯定要尊重专家意见：一是出于专家的专业知识，二是出于相关学术判例的积累——同例同判，之后作出的独立判决才可能具有权威性。我们需要呼唤的就应该是这样的司法权威性。说到底，终究还是我们学术制度本身的严重缺陷所致。 ( http://www.tecn.cn )
    悲哉，我们权威的学术仲裁机构究竟在哪？

吴励生：悲哉，不能承受的“中国规则”者———天益：学习型社会领航者

“你这是完整版吗？”

带三个表 @ 2007年12月21日4:05

前天陪同事去音像店里买碟，我的耳畔总有一种声音在回荡：“你这是完整版吗？”显然，这句话指的是刚刚出版的盗版《色戒》完整版，人们总是用狐疑的口吻问道。在此之前，也有很多朋友告诉我，《色戒》出了完整版，问我要不要。

我至今还没看《色戒》，在电影宣传之初，我还挺感兴趣，我那时候还在网上到处寻找，想看看《色戒》究竟是一部怎样的电影，毕竟李安是一个值得期待的导演。可是，随着宣传攻势的升级，人们对那几分钟的做爱情节的渲染和描述，我开始有点抵触了，我不喜欢在被暗示的前提下选择一件事，并且被暗示干扰。尤其是当人们对性爱津津乐道得有点让人恶心的时候，我决定不看了。

“你这是完整版吗？”却让我觉得它比电影本身还让人值得回味，虽然它仅仅指的是一张塑料片，但让我看得出，人们被欺骗害的有点不相信自己的眼睛了，真像十八岁时给你一个姑娘。不过也可以理解，我们面对不完整的东西时候太多了，比如不完整的历史，不完整的事实。当我们知道真相，会问自己，这是真的吗？如果这是真的，你会有种被上天恩赐的感觉，其实你本来就该知道一个完整的版本，但是你没有得到。而《色戒》完整版的出现恰恰满足了人们对某种东西的希望，我们不可能去了解到一段完整的历史，不可能去看透一个人完整的心思，不可能去拥有属于自己的完整的权利，我们一生当中，所有该属于自己的都会打上一个“七折优惠”的字样。哲学家告诉我们，绝对的东西是不存在的，一切都是相对的，相对真实，相对完整……但此时，我们拥有了一个完整版的电影。

我们早就习惯了这种相对，甚至连人们说话都是相对真实的，一个绝对真实的人，该也没有办法生存。当这种“相对论”有一天因为一部电影被打破时，人们的这种天赐的满足感和不信任感油然而生——它是那么让人矛盾。

假如，李安在最初没有公开说明这里面有性爱镜头，大家也不会抱有如此“性致”期待着部电影，人们只会有兴致。而当“性致”因为审查制度被阉割掉之后，他反而会让人变得“性致勃勃”，这种逆反心理让人对完整版充满更多渴望。这大概是中国电影史上第一部让人如此以“性致”原因感兴趣的电影，应该谢谢电影局的同志们，你们在某种意义上用禁止的方式开放了尺度。

是的，任何东西都是相对的，当有更多完整版出现之后，人们也就不足为奇了，因为那是人们应该拥有的，是不该被剥夺的，只是从来都有人怕这个怕那个，视为洪水猛兽，才会遮遮掩掩。《色戒》的完整也仅仅是艺术层面的完整，其实不用在捍卫艺术的完整去过度指责有关部门的保守，全世界的审查制度都一样无聊。如果没有《色戒》，我们还会意识到平时应该享受到各种完整版么？不会的，有些东西在我们还没有意识到就放弃或被剥夺了。

我不相信人们都是本着欣赏完整艺术的心态去看《色戒》，很多人大概是因为好奇，好奇心用弗洛伊德的理论可以解释为性本能，如果你不管干什么都能以本能的冲动去面对，就会慢慢练就一种“色戒意识”，你会有种疑问：你这是完整版吗？

不许联想 » Blog Archive » “你这是完整版吗？”

I never watch fresh movies. The delay parameter I adopt is 1-3 (years), bearing the same motive that 三表哥 had, in addition to my laziness. Now I realized several things:

1. An announced judgement is supposed to interface with other opinions. It is a challenge to remain spectrally flat when receiving superposition of too many resonant signals.
2. Under #1, a good judgement on art (your filter output) can only be made based on statistically large data set (peer comments), which minimizes the chances of generating local maxima. This way your sound would be spectrally more interesting, as opposed to a high&dry sine tone.
3. Being judgmental is a natural consequence of involvement mixed with narcissism.

私が採用する遅れパラメタは1-3(何年も)です、三表哥が持っていたのと同じ動機を持っていて、私の不精に加えて。私は新鮮な映画を決して見ません。今、私は数個のものがわかりました:

1. 発表された判断は他の意見に連結するべきです。それはあまりに多くの共鳴な信号の重ね合わせを受けるときスペクトルに平坦なままで残る挑戦です。
2. #1の下では、地方の最大あなたの音がスペクトルによりおもしろいこのようを発生させるという可能性を最小にする統計的に大きいデータセット(同輩コメント)に基づくように芸術(あなたのフィルタ出力)における良い判断をすることができるだけです、高くて乾いた正弦トーンと対照的に。
3. 判断上は、自己愛に混ぜられたかかわり合いの自然な結果です。

According to J, a professional Drum 'N' bass DJ is supposed to make 8~9 tracks per month regularly (including remixes and original compositions), which is why he gave up on this career path. All year long, this kind of pace tends to rip off the joyful creative process (full of magical encounters and bit-by-bit implementations as the audience may imagine).  To achieve this productiveness, one has to be reduced to an efficient machine, with an extremely disciplined top-down approach to the acoustic end products.

However, all the above is actually not far from the truth in every other professional area. A pro is supposed to be well organized in what he/she does and knows better than an amateur the nuances in ways of handling details. Speaking the professional language while thinking in the language of the audience/users could be a preferred balance.

'Jに従って、プロのDrum 'N' Bass DJは定期的に1カ月あたり8~9つの道を作るべきです(彼がこのキャリアパスに見切りをつけた理由です)(リミックスと独創的な作品を含んでいて)。 一年中、この種類のペースは楽しい創造的な過程(不思議な遭遇とビットごとに聴衆としての実現が想像するかもしれないいっぱいの)を盗む傾向があります。 この多産性を達成するために、1つは効率的な機械に変えられなければなりません、音の最終生産物への非常に規律があるトップダウンアプローチで。

しかしながら、すべての上記が実際に他のあらゆるプロの領域の真実から遠いというわけではありません。 プロは詳細を扱うその人が何で方法でニュアンスをして、アマチュアよりよく知っているかで組織化された井戸であるべきです。 聴衆/ユーザの言葉を借りて言えば思っている間、プロの言語を話すのは、都合のよいバランスであるかもしれません。

True classic is sth that makes you shiver whenever you make contact with it.

本当のクラシックはあなたがそれに接触するときはいつも、あなたを身震いさせるのものです。

Variations in onomatopoeia between languages

Onomatopoeic words exist in every language, although they are different in each. For example:

• In Ancient Greek, brekekekex koax koax: a frog croaking.
• In Chinese, miāo (喵): the sound a cat makes.
• In Dutch, kukeleku: a rooster crowing.
• In French, pan: a gun or cannon firing.
• in Finnish hau hau: a dog barking
• In German, peng or päng: a pistol shot.
• In Haitian Creole, bip: the sound of a collision (ex. a car crash).
• In Hindi dhadak and Urdu dhakdhak (pronounced /ˈd̪əɖək/): a person's heartbeat, indicative of the sound of one beat.
• In Icelandic, "tikk, takk" is the sound of a clock ticking, and "búmm!" or "bamm!" is the sound of an explosion. Atsjú! is also the onomatopoeia for when a person sneezes.
• In Japanese, doki doki (ドキドキ):e the (speeding up of the) beating of a heart (and thus excitement).
• In Korean, meong meong (멍멍): a dog barking.
• In Latin, tuxtax was the equivalent of bam or whack and was meant to imitate the sound of blows landing.
• In Proto-Indo-European language, k^wk^wlos = "wheel", from the noise that it makes when rolling^{[citation needed]}: from which English "wheel", Greek κυκλος, etc.
• In Russian, gaf gaf: a dog barking.
• In Turkish, hapşırmak (the verb for to sneeze): is based on the sound hapshoo made by a person who sneezes.
• In Vietnamese, vi vu: the sound of a gentle breeze, and vù vù: the sound of strong wind.
• In Malayalam, "umma": the sound of a kiss

Sometimes onomatopoeic words can seem to have a tenuous relationship with the object they describe. Native speakers of a given language may never question the relationship, but because words for the same basic sound can differ considerably between languages, non-native speakers might be confused by the idiomatic words of another language. For example, the sound a dog makes (help·info) is bow-wow (or woof-woof) in English, wau-wau in German, uau-uau in Interlingua, ouah-ouah in French, gaf-gaf in Russian, hav-hav in Hebrew, wan-wan, bau-bau, or wan-wan in Japanese, au-au in Portuguese, guau-guau in Spanish, bau-bau in Italian, vov-vov in Danish, woef woef [as English woof] or waf waf in Dutch, wou wou in Cantonese, voff-voff in Icelandic, hau-hau in Finnish and Polish, haf-haf in Czech, hav-hav (pronounced like English how-how) in Slovak, guk guk in Indonesian, bub bub in Catalan, ghav-ghav in Modern Greek, wou wou in Teso, gâu gâu in Vietnamese and meong meong in Korean.

In the case of frog croaking, the spelling can vary because species of frog found in another area may make another noise: Ancient Greek brekekekex koax koax for probably Rana ridibunda; English ribbit for species of frog found in North America; English verb "croak" for Rana temporaria.

Onomatopoeia - Wikipedia, the free encyclopedia

Other than onomatopoeia, and certain sound for confusion or exclamation, the sounds of crying / laughing do not seem to vary a lot across ethnic groups, which is amazing.

没钱的时候,养猪
有钱的时候，养狗。
没钱的时候,在家里吃野菜
有钱的时候,在酒店吃野菜。
没钱的时候,在马路上骑自行车
有钱的时候，在客厅里骑自行车。
没钱的时候想结婚，
有钱的时候想离婚
没钱的时候老婆兼秘书,
有钱的时候秘书兼老婆
没钱的时候假装有钱,
有钱的时候假装没钱
人啊，都不讲实话：
说股票是毒品，都在玩；
说金钱是罪恶，都在捞；
说美女是祸水，都想要；
说高处不胜寒，都在爬；
说烟酒伤身体，就不戒；
说天堂最美好，都不去!!!
当今社会，穷吃肉，富吃虾，领导干部吃王八；
男想高，女想瘦，
狗穿衣裳人露肉；
过去把第一次留给丈夫
现在把第一胎留给丈夫；
乡下早晨鸡叫人，
城里晚上人叫鸡；
旧社会戏子卖艺不卖身，
新社会演员卖身不卖艺
工资真的要涨了
心里更加爱党了
能给孩子奖赏了
见到老婆敢嚷了
敢尝海鲜鹅掌了
闲时能逛商场了
遇见美女心痒了
结果物价又涨了一切都白想了

转送一篇有趣的文章（１２月１２号） - 毎分、毎秒都快楽！＾０＾ - Yahoo!ブログ

The thing in the background pic is the Montreal's biggest ghetto blaster (fake) in the Vinyl bar. I had a great fun that night at Vinyl with all visual/audio objects shaped into the 80's.

1. It's kinda hard to find another Beyond piece with better recording/mixing than this one, probably the only song I like from the 3-piece Beyond.
2. Snow storm is coming up and strangely the melody stuck in mind has been this one, which I first came across in the snowy Wuhan 1X years ago.
3. Like them even better than Pulp. "Named after French painter Jean Debuffet's definition of outsider art -- art by prisoners, loners, the mentally ill, and other marginalized people, and made without thought to imitation or presentation -- South London's Art Brut make brilliantly simple, cleverly stupid art-punk." -- AMG.
4. Really was a random delivery from last.fm.
5. Love this New-Zealand duo better than their Swedish peer Roxette, mainly due to the talented vocal. Just found out that their producer was Michael Cretu...To be honest, the production is good.
6. Dream is the only Japanese teen-pop girl group I've loved ever. It is not so much the look, performance, or anything but really their taste. <Dream Meets Best Hits Avex> is their re-interpretation of a list of j-rock classics from people like 相川七瀬 and B'z. Honestly, their voices are not bad, above the level of the consumer-favored Japanese groups.
7. Among the few artists that can kill my weariness in a sec.
8. I consider this one of the best ending songs I've heard from Electronica albums, both the lyrical side and the musical side.

バックグラウンド映画におけるものはモントリオールのVinylバーで最も大きい大型ポータブルラジカセ(にせの)です。 私はその夜、すべての視覚の、または、オーディオの物が80年代に形成されているVinylにすばらしい楽しみを持っていました。
　

1. この、たぶん私が3断片から好きである唯一の歌より良い録音/混入Beyondと共に別のBeyond断片をちょっと見つけにくいです。
2. 吹雪は来ています、そして、奇妙に、念頭で張り付けられたメロディーはこのものです。(私は1X数年前に最初に、雪の多い武漢でそのものに出くわしました)。
3. それらはPulpよりさえ好きにしてください。 「囚人によってフランス人の画家ジーンDebuffetのアウトサイダーアート--芸術の定義にちなんで名付けられました、自立的な人、精神的に病気の、そして、他の取り残された人々、そして、南部で考えなしでイミテーションかプレゼンテーションに作られていて、ロンドンのアールブリュは鮮やかに簡単で、賢く愚かなart-punk。」 -- AMG。
4. 本当に、無作為の配送はlast.fmから来ていましたか
5. 声で主に有能によるそれらのスウェーデンの同輩Roxetteより良いこのニュージーランドのデュオを愛してください。 彼らのプロデューサーがマイケルCretuであったのをちょっと調べてください…正直なところ、生産は良いです。
6. 夢は私が決して非常に好きであった唯一の日本の十代に大衆的な少女グループです。 それは本当に外観、性能、または何かよりそれらの味です。 <Dream Meets Best Hits Avex>は彼らの相川七瀬とB'zのような人々からの邦楽ロック古典のリストの再解釈です。 正直なところ、彼らの声は消費者が好評な日本のグループのレベルを超えてひどくはありません。
7. 1秒のときに私の疲れを殺すことができるわずかな芸術家の中で
8. 私は、最も良いことのこれが決して(ビデオにあるのが意図されたなら)歌を終わらせるリリカル側と音楽側の両方であると考えます。

听了这么久的孟庭苇, 再看看last.fm上的scrobbling记录, 感觉都是我的, 估计我是加拿大孟庭苇后援会光杆司令....汗, 而且艺人介绍始终空缺, 每次听的时候看着last.fm界面就是 "care to help?". 今天终于醒悟了, 自己动笔写咯. 刚刚完成.

last.fm的孟庭苇页面链接:

http://www.last.fm/music/%E5%AD%9F%E5%BA%AD%E8%8B%87

我写的传记wiki页面:

http://www.last.fm/music/%E5%AD%9F%E5%BA%AD%E8%8B%87/+wiki

基本遵照last.fm的音乐中心原则, 没有过多的八卦 (last.fm上所有的亚洲艺人介绍写得都很八卦), 集中在音乐特征上.

其实5年前曾经试着给AMG空缺的JPop艺人写过碟评, 那个时候AMG还有用户投稿界面 (现在好像已经没了), 结果我的投稿全部泥牛入海. 现在都是Wiki了, 各位国内的写手们, 可以给亚洲音乐的世界推广作点贡献了, 如果有亚亚的铁杆也欢迎去修改我写得不对的地方, 呵呵.

全文刊登如下: Meng, Tingwei (孟庭苇), born on 22 December 1969 in Zhanghua (彰化), Taiwan, China, is one of the most important female singers in the early 90's Mandarin pop scene. With her constant high register, crisp-clear articulation, and the subtle support from the easy-listening arrangements and productions, her unique singing style has often been commented as being "ethereal", "spacey", "immaculate", "untarnished", and rather difficult to reproduce till today. She had received an unofficial nickname "Moon Princess" for her hit single "Look! Look! The Face of the Moon"("你看你看月亮的脸").

Originally named Chen, Xiumei (陈秀玫), Meng received her artist name from her initial record label Shangge(上格) through fortune-telling, with an idyllic touch in the chosen Chinese characters (庭苇 means "the flower in the courtyard"). Her hardcore fans often prefer using her nickname Yaya (亚亚).

Her first two albums <I Actually Still Kinda Care>(<其实我还是有些在乎>), <Growing> (<成长>), released in May and November, 1990, fell into the typical 80's Soft-Rock routines and failed to draw much attention.

Her third album <Look! Look! The Face of the Moon>(<你看你看月亮的脸>), released September, 1991, introduced to the audience in the region a refreshing style characterized by her high-pitched and minor-key-dominant vocal melody-line, well articulated and emotionally rich vocal narratives, in contrast with the slow tempo and the relaxed analog synths and acoustic guitars in the background, all of which are wrapped into strong artificial reverbs, creating a gradually built-up atmosphere around the lyrics that frequently refer to natural phenomena as a kind of metaphors for loss of love. This style was distinct compared to the Disco and New-Wave oriented Mandarin/Cantonese pop tradition in Hongkong, Taiwan, and Mainland China from the late 80's till early 90's. The album sold 500,000 copies in Taiwan and 5,000,000 throughout Asia, which established her fame as one of the most popular Taiwanese female singers at the time.

The following three albums <Coming to Taipei in Winter to See the Rain>(<冬季到台北来看雨>, released May, 1992), <Whose Tears are Flying> (<谁的眼泪在飞>, February, 1993), <There is a Cloud Made by Rain in the Wind> (<风中有朵雨做的云>, November, 1993) were essentially the continuations of the same style and achieved consistent commercial successes in Asia. Many of these songs were well fitted into the aesthetics of the Taiwanese romantic TV dramas from the early 90's (she did perform a couple of such themes). Around the releasing time of her sixth album, she was rated as the best "Dream Lover in the Military" ("军中情人") in Taiwan. On the other hand, her success in the Mainland Chinese market also gained her a lot of invited professional appearances in both commercial and governmental events in Mainland China, which was rarely seen among all the Taiwanese artists at that time considering the well-known political tension between the two entities.

<The Age of Innocence> (<纯真年代>, August, 1994) saw Meng and her production group’s attempts to exploit more traditional Chinese folk flavors, lusher arrangements and productions, marked by richer analog synth overdubs and a little digital ones, more ethnic instruments, and more foreground-oriented instrument mixing. These were further emphasized in the next two albums <True or False> (<真的还是假的>, March, 1995) and <Heart Talks and Hands Speak> (<心言手语>, March, 1996), with the immediately standing-out pieces such as "Telepathy" ("心电感应"), "My Heart is Broken for Breaking Yours" ("伤了你的心的我伤心"), "Placed into Heart" ("放在心里面").

Entering the mid-90’s, influenced by the trendy Alternative Pop/Rock and Electronica scene at the time, along with the flourishing digital production technology, Meng's next few albums were a complete departure from her most-remembered style. Lots of dynamic elements such as Bossanova were adopted, resulting in songs that are faster and rhythmically more complex; her voice was heavily compressed and the reverbs over her voice were considerably reduced for an enhanced presence; the bass and mid-range of her voice became more emphasized with EQ, creating a “whispering” quality; digital effects such as delay, flanger, and chorus, and stereo imaging were piled upon her originally natural performances; the old analog reverbs and synths were replaced with the fuller and broader digital ones. These albums are <The Second Rainbow> (<第二道彩虹>, March, 1997), <Lover> (<恋人>, November, 1997), and the Fujian-dialect album <In Love with Shiyanwen> (<爱到史艳文>, October, 2000); the latter two albums were made under her new label the Friendly Dog (友善的狗). Two months after the releasing of <In Love with Shiyanwen>, Meng announced the end of her professional singing career for the first time.  

According to some other artists in the circle and herself, Meng realized that her straightforward personality and her exclusive focus on music were incompatible with the climate of the circle, which much contributed to her leaving.

Before her leave, she had become obsessed with Buddhist music. Soon, she released a Buddhist music album <E Mi To Fo> (<阿弥陀佛>, November, 2001) and also appeared in a number of charity concerts in Mainland China. Another Buddhist album <Heart Script> (<心经>) was released in January, 2003.

Five months after her marriage with her high-school classmate, Meng finally decided to return to her career and signed to her current record label Jingwen (京文). The first album after her return was <Red Flower> (<红花>, January, 2005), which consists of mostly the remastering of her early classics. In this and her latest album <Sense of Happiness> (<幸福感>, September, 2006, released after her first pregnancy), not only the Electronica-dominant arrangements and refined productions, but her singing (such as the staccato feel) showed certain influences from another super star in the 90-00's Mandarin/Cantonese pop scene, Wang, Faye (王菲).

One of the unique features of Meng's singing style compared to the contemporary Chinese female pop singers is her zero usage of falsetto even at rather high registers.

こんなに長い孟庭葦を聞いて、 更にlast.を見てみますfmの上のscrobbling記録、 感じはすべて私のです....汗、 その上芸人は紹介してずっと空いて、 毎回聞く時last.を見ていますfmインターフェースは "care to help?". 今日ついに目が覚めて、 自分で筆を執って書いて吐き出します. ちょうど完成します.

last.fmの孟庭葦のページのリンク:

http://www.last.fm/music/%E5%AD%9F%E5%BA%AD%E8%8B%87

私の書いた伝記wikiページ:

http://www.last.fm/music/%E5%AD%9F%E5%BA%AD%E8%8B%87/+wiki

基本はlast.によってfmの音楽センターの原則、 多すぎる八卦がありません (last.fmの上ですべてのアジアの芸人の紹介はとても八卦の)をすべて書いて、 集中は音楽の特徴の上にあります.

実は5年前にかつてAMGの空くJPop芸人に小皿を書いたことがあって評論・評定することを試みて、 その時にAMGはユーザーの投稿するインターフェースがまだあります (今すでにないようです)、 結果の私のは投稿してすべて再び帰りません. 今すべてWikiで、 各位の国内のは手達を書いて、 アジアの音楽の世界に行って貢献したことを広めることができて、 も歓迎して私の書くのが間違いの地方を改正するもしとても亜鉄の棒があるならば、 ほほほ.

次の通り全文を載せます:

>3.6m: strangers

1.2~3.6m: acquaints

0.4~1.2m: friends

<0.4m : family (parents, kids, spouse)

３．６ｍ以上の距離　　知らない人　　　　理解を求める間柄
１．２ｍ～３．６ｍ　　知人
０．４ｍ～１．２ｍ　　友人　　　　　　　誤解を避けなければならない間柄
０．４ｍ以内　　　　　夫婦　親子

http://blogs.yahoo.co.jp/weiyin128/52524082.html

黒猫でも白猫でも鼠を取る猫が一番

いい猫を選んで鼠をとる

我又在拖延睡觉, 并且决定用汉语写下临睡前的最后一篇.

• 我越来越不想使用汉语但又越来越喜欢教汉语.
• 新闻说韩国人在着手申请汉字文化遗产并谋求汉字/汉语的中日韩大一统, 实则是小人物的文化霸权梦.
• 三分钟前, 一个以强大毅力学习汉语且写汉语博客的日本朋友宣布停止学习汉语了.

C是一个日本女孩, 我不想用任何形容词来形容她, 今年的好事很多, 但与她相识是今年最令我开心和对我影响最大的事件之一. 她学习汉语的终止始于她的汉语老师, 一个中国人, 流露出的对日本汉字的歧视. 如今人的强项就是物化, 量化和财产化, 当到了连语言文字也要加入私有化纵队的时候, 精神层次就可想而知了. 我在想当教汉语的时候中国到底还剩下多少近代文化可以传授, 我可以做一个合格的汉语教师么, 我能使用形式上优美, "政治上正确", 思想上有生命力的汉语么. C阅愤青无数; C也告诉我每年918的时候她和许多日本人即使人不在日本也会自发地启动私人仪式; 但C也很理性的懂得, 所谓的国际友好只是美好的愿望. 但, 至少我们可以拥有交谈的语言, 共同的感动, 和相互启发的差异. "语言的意义仅仅在于交流", C一直在身体力行她的这个信念, 学习语言也是她私我存在的空间, 无论曾经的我和继续涌现的其他大汉语主义者们如何去修改她仍时而透着和风的陈述, 那种源源不断的交流和明镜非台的语言创造力会是强大的存在.

任何语言学习者都会通过或者自底向上或者自顶向下的过程逐渐穿透符号的肌理, 从了解语言和民族浅表的特征, 或喜爱或痛恨, 到进入更色彩纷呈的阵列, 这种低分辨率到高分辨率的过程的必然结果就是认识到人无完人, 各有千秋.

汉语应该是世界的汉语, 不应该是哪个国家私有财产的汉语, 汉语应该是开源的, 应该和中华美食一样能令任何人享用, 任何人都可以参与发展, 汉语的流行不能描写强大/强势, 汉语和其它所有语言一样有它的基因, 哲学, 方法, 网络, 实践... 汉语天生具有交流中的长项和弱项, 汉语和其它语言互补互通, 协议就是我们自己, 从地球不同角落的狩猎, 畜牧, 耕种中直立起来的人类, 正如程序语言中的任何一个种族, 汉语的生存, 发展和传播要有持续的有创造力凝聚力的基于汉语的文化产出, 对其他语言的热情相待和自由通婚, 只有这样的定位才能宣告一个有未来的汉语.

好在, C说"后会有期", 那么, 回头见!

Observers as we are, we have been and will be reading the world with certain resolutions. It is really a paradox to assert whether a child or an adult is viewing his/her own world at a higher sampling-rate. We probably all felt that the summer vacation is long once in our childhood. Maybe that is because we were only able to be slowly time-sampling our calendars, and sparsely space-sampling our physical reaches, while the gaps between the samples were still flowing through our cells, reminding us of the advancing metronome; the other way of looking at this would be that we were over-sampling our tiny little range of concerns: first our toys and Animes, our family, relatives, and close classmates, then certain charming males/females, our relationships and degrees. The full-sized banquet of life has always been around us since our births, yet the choice of over-sampling our own perspectives and down-sampling all the others keeps us occupied and/or  satisfied.

We didn't necessarily know what we were doing or what we really wanted to do. We just knew how to stick to it at an infinite sampling-rate.

As the calendars were torn down one by one, the accumulated mental data along with all the physical scratches/scars suggest certain patterns that we started to summarize, contemplate, and predict. This process requires over-sampling in various dimensions of the world, because we have seen it through all these years of observations at low sampling-rates. First, looking from the dark side to the bright one, at the failures that we didn't expect, the bloodily painful failures that required zero distractions, our sampling-rate jumped from the kindergarten low to an infinitely high that are destined to dwell on our most private areas of spirits; these torturing impulses forced the soul to prevent such pains from their recurrences (you can't lose 1-million $ to the gambling twice), thus an above-average sampling-rate was initialized; if we look in the opposite direction, the constant surprises at the enchanting wonders in a kid's eye either frequently received more objective explanations from those once-being-children, or wore away through our own repetitive over-sampling of enthusiasm, e.g., when did you stop screaming at the annual first snow? Later on, this learning manner has to be gradually extended to all aspects of our life until we have to over-sampling everything to obtain a cookbook for each to secure our organized balance and protect our own family. In this phase, everything becomes engineering while we are murmuring that "I've never expected so much detail in this!". We nevertheless have down-sampled the saturated regions that once held considerable portions of our lives.

There are eventually times when we truly know how to do it all and are never able to down-sampling it for a bit.... for at least a period of time.

Such a mindset couldn't sustain. We were worn away by putting so much efforts into the dynamic programming. It is soon realized that slowing down again at certain points, i.e., using a variable sampling-rate might be a good idea, which requires all the accumulated data and the analyses that we had along the road.

This time, we lay back to our couch, start watching a group of people down-sampling their little cradles and another troop of people over-sampling their constructions, think, and smile.

観察者ですが、私たちは、いて、ある解決で世界を読むでしょう。 子供か大人が、より高い標本抽出率でその人の自身の世界を見ているか否かに関係なく、それは本当に断言するパラドックスです。 私たちは皆、夏休みがかつて子供のときに長いとたぶん感じました。 多分それは私たちがゆっくり私たちのカレンダーを時間抽出して、まばらに物理的な範囲をスペースで抽出することができただけであるからです、サンプルのギャップが私たちの細胞を通してまだ流れていた間、前進メトロノームについて私たちに思い出させて; それが私たちであったならオーバサンプリングが私たちの小さい小さい範囲の関心であったならこれを見るもう片方の方法: 最初に、私たちの私たちのおもちゃ、Animes、私たちの家族、親類、近い級友、当時の確信しているチャーミングな男性/女性、関係、および学位。 人生の完全サイズの宴会には、私たちを専念させておく、そして/または、満たされたすべての私たち自身の見解と標本抽出で私たちの周りでいるしかし、私たちの出生、オーバサンプリングの選択以来他のものがいつもいます。

私たちは、私たちが私たちが何をしたくていたか、そして、または本当に何をしたいかを必ず知っていたというわけではありません。 私たちはただ無限の標本抽出率でがんばる方法を知っていました。

カレンダーをひとつずつ取りこわしたとき、すべての物理的なかすり傷/傷跡に伴う蓄積された精神的なデータは私たちがまとめて、熟考して、予測し始めたあるパターンを示します。 この過程は世界の様々な広さにおけるオーバサンプリングを必要とします、私たちが低標本抽出率でこれらのすべての年の観測でそれを見たので。 暗闇から見て、最初に私たちの標本抽出率が幼稚園安値から私たちが予想しなかった失敗、ゼロ注意散漫を必要とした無惨に苦痛な失敗でジャンプした明るい方に面があってください、無限に高く、それは私たちのスピリッツの最も個人的な領域に住むために運命づけられています; 精神がこれらの拷問衝動によって彼らの再発からそのような苦心をやむを得ず防いだので(あなたは二度ギャンブルに100万ドルに負けることができません)、その結果、平均以上の標本抽出率は初期化されました; 私たちが逆方向の中を見て、子供の目の魅惑的な驚きにおける一定の驚きがいったん子供であるとそれらから、より客観的な説明を頻繁に受け取ったか、または私たち自身の熱意の反復性のオーバサンプリングで摩滅したなら、あなたは、年に一度の最初の雪に金切り声を出すのをいつ例えば、止めましたか? 後で、この学習方法は、それぞれが私たちの組織化された残額を保証して、私たち自身の家族を保護するように料理の本を得るために徐々に私たちの私たちがオーバサンプリングにすべてを持つまでの人生の全面に広げられなければなりません。 このフェーズでは、「私はそのようにこれで多くの詳細を一度も予想したことがありません!」と、私たちがつぶやいている間、すべてが工学になります。 それにもかかわらず、私たちは一度私たちの人生のかなりの部分を保持した飽和した領域を下に抽出しました。

結局、私たちが本当に、それを皆、する方法を知って、しばらくそれを下に抽出するように決してできない回があります… 少なくとも期間の間。

考え方が支えることができなかったそのようなもの。 私たちは、動的計画法にとても多くの努力をそそぐことによって、摩滅しました。 すぐ、すなわち、再びある一定のポイントで可変標本抽出率を使用することで減速するのが、名案であるかもしれないと実感されます。(それは、すべての蓄積されたデータと私たちが道路に沿って持っていた分析を必要とします)。

今回、私たちは、私たちの寝椅子、人々のグループが彼らの小さい揺りかごを下に抽出しているのを見る始め、および人々オーバサンプリングの別の軍に彼らの構造を後ろの位置に保って、思って、微笑みます。

--kakyo