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sharp! the birthday of <Go Away> - [music]
2009年11月02日
birthday of <go away>:
06.11.2009
i'm still looking for a male singer who can handle this song and enrich it in live performance.
atm. i just got lyrics in cantonese. but richard hasn't hit me with his korean version which is announced it's done 2 weeks ago.
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Surprise!!! - [music]
2009年10月16日
推薦! 編曲好正! 一定要留意!!
薛凱琪 - 慕容雪
编曲 / 监制 : Edward Chan/Charles Lee
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20 tips on Songwriting from SoundOnSound - [music]
2009年10月14日
Every songwriter goes through times when the inspiration just seems to dry up, and the perspiration doesn't seem to be working. Debbie Poyser offers some guidance.
Songwriting is a skill that is rarely taught: musicians more often than not tend to write instinctively, absorbing their ideas about form and structure from the music that's around them, and relying on inspiration for their melodic and lyrical direction. For many this works perfectly well, but there's no harm at all in trying to make a good thing better. You can improve your craft as a songwriter relatively easily if you accept that your work isn't just the result of some mystical process over which you have no control: certainly you need some talent to begin with, but you can hone your songwriting skills just as you can work on your playing or mixing skills. Here are a handful of simple ideas to get you thinking about how you write, and, if you're stuck in a musical rut, perhaps to help get you out of it.
1. If you've already got a chord sequence you're happy with for part of a song but are struggling with where to go next, try reversing the chord order of the part you already have and using it for the new part. It often works, but if it doesn't, try reversing just a section of the chord sequence and repeating it. Also, try doubling the length of time for which each chord plays and see where that takes you. For a bit of variation, halving note values for a chorus creates the impression of an increase in tempo even if there isn't one.
2. If you always write with a keyboard, pick up a guitar for a change and see if that sets you off in a different direction. Get a capo and put it in a stupid place on the neck - really high up, for example - and see how different that makes chords sound. Even the most basic chords take on a new resonance and generate new harmonics which your ear can pick up, maybe giving you an idea for a melody. Conversely, if you always write with a guitar, make a point of sitting down at a keyboard with a piano sound and picking out interesting tunes that wouldn't normally occur to you. You could even consider writing the verse music at the keyboard and swapping to a guitar for the chorus.
3. Keep a list of prospective song titles on your wall. Whenever you hear a good word or an evocative phrase, add it to your list to use when you're trying to come up with new material.
4. Try a different time signature for a change. If you never use 3/4, for example, try and write a song in 3/4. To vary your rhythmic range, try strumming a guitar along to a selection of records, just trying to extract their rhythmic feel in a natural way.
5. Listen to as many of other peoples' songs as you can. Focus especially on those songwriters whose works are considered classics, and don't neglect the best of what's happening now. Always be thinking about what makes a classic song so good while you're listening to it. Try to pick up on arranging tricks and song structures, and remember them; even make a note of any you particularly like. This isn't stealing -- it's studying. Film makers have been doing it for years and make no secret of the fact.
6. Analyse your favourite songs and construct exercises around them -- writing a new set of lyrics for a favourite song, for example, or setting the existing lyrics to a new melody. Write a theme song for a film that doesn't have one, or an alternative theme for a film that does. Listen to a classic song in a genre you don't usually work in and try to write a song which copies its style (but not its content).
7. Always carry a notebook when you're out, so that you can jot down any song ideas that occur while you're going about your daily business.
8. If you usually write songs with a lot of chords in them, try restricting yourself to just three and see what you can squeeze out of a limited set of options. Conversely, if your songs never have more than three chords in them, try writing one with six.
9. Try 'free association' when you have something to write a song about but can't think how to start the lyrics: sit down with paper and pen (or a word processor) and write down every word and feeling that comes into your head about that subject: the process can give you a push in the right direction, and the resulting words are the ones that you'll need to work in if the song is to make a genuine impression on the listener.
10. Though some people find it hard to construct lyrics that rhyme, rhyming is important and is worth persevering with. As highly successful songwriter Janis Ian says in The Songwriters Workshop, "A rhyme scheme helps to hypnotise, to force its way into our listening selves." Others have observed that a good rhyme scheme gives the listener a pleasant feeling of resolution and security. Not every song has to rhyme, but so many of the good ones do that there must be something in it! Don't overdo it, though -- a bad or over-extended rhyme scheme can be irritating to the listener and can distract attention from what you're trying to say. If you have to make a line sound stupid in order for it to rhyme, throw it away and start again.
11. To help with the above, get a rhyming dictionary. This will save you from mentally running through the entire alphabet one letter at a time trying to find a rhyme for 'existential'. A thesaurus, which will give you a list of different words that mean the same thing, is also a good resource for a songwriter and could help you add more interest to your lyrics.
12. Add extra professionalism to a song with sophisticated background vocal ideas. Don't always slavishly imitate the lead vocal's phrasing and timing. Try extending the end of the odd line in a harmony, then pick up with the lead again when it feels natural and musical to do so. When your lead vocal is singing a long held note, look for something short and contrapuntal you can do with the harmony vocals -- with clever phrasing you can fit an entire line of a song as a harmony line under the last extended syllable of a lead melody. This is one area where arranging and songwriting are very closely linked.
13. Get some books to help you. There are several excellent ones around that will really make you think and tell you things you didn't know. Books I would certainly recommend include the following, which are all available from the SOS Bookshop (01954 789888): 88 Songwriting Wrongs and How to Right Them, by Pat & Pete Luboff (order code B254, £11.95); Beginning Songwriter's Answer Book, by Paul Zollo (B253, £10.95); The Songwriter's Workshop, edited by Harvey Rachlin and with an excellent chapter by Janis Ian and two cassettes (B260, £15.95); and if you really want an in-depth reading course on lyric-writing, leaning heavily on training your mind and knowing your own thinking patterns as a way to write more effective songs, check out The Songwriter's Idea Book, by Sheila Davis (B250, £12.99). If I was going to buy just one of the above, it would probably be 88 Songwriting Wrongs and How to Right Them, for its straightforward presentation and language. (All the above prices will need postage added to them, by the way -- check the SOS mail order pages on page 276 for details.)
14. Decide where you're going to keep your songwriting notes and keep them there. You don't want to blow a potential gem because you can't find the scrap of paper you wrote it down on. Use a notebook, which you always keep in the same place, or get a folder for loose notes. If you use a folder, keep a pen and some plain paper in it too, so you can always lay your hands on these as soon as inspiration strikes."You can improve your craft as a songwriter relatively easily if you accept that your work isn't just the result of some mystical process over which you have no control."15. If you compose with a sequencer, always have it in record mode while you're doodling at your keyboard. Don't assume that you'll automatically remember anything good that comes up, because you won't. As it happens, the latest versions of many popular MIDI sequencing programs actually have a buffer that captures your ideas for you -- if you find that you've just played something that you wish you'd recorded, press a key combination (Option Record in Cubase) places the buffer's contents in a track (incidentally, the next update of Cubase will provide a menu item for this feature).
16. Every songwriter should know that a commercial song has to have a hook. But did you know that it should ideally have several hooks? As well as your main lyrical/musical hook, the high point of the song, try to work in secondary hooks to maintain listener interest -- short guitar, bass or piano riffs between lines of the song, a catchy extra chord change when nothing is happening with the lead vocal or to lead from the verse into the chorus, or perhaps a vocal ad-lib that will stay in the mind of the listener. If you think about these things while you're actually writing the song, when you come to demo it you'll find you've already got a head start for its arrangement.
17. Try to introduce plenty of dynamic and metric interest into your songs, so that they peak and subside rather than plodding along on one level. If a song's verse has lots of short words in a choppy rhythm, try using long, sustained notes for the chorus, for example. Try to make sure that the verse and chorus are not the same length -- vary short and long sections if you can, so that the song's structure does not become too predictable to the listener.
18. Make sure your songs are not all in the same key. It may sound obvious, but it's very easy to just stick with what's easiest for you to write or sing in, and if you don't keep an eye on this your songs could all end up sounding similar to each other.
19. Consider co-writing. Someone else's strengths can fill in for your weaknesses and they can bring unusual melodic or lyrical perspectives that would never have occurred to you.
20. If you've really run out of musical ideas, use technology. Those with computers can try an algorithmic composition or auto-accompaniment software package -- or even an arpeggiator! David Zicarelli's M, the king of interactive composition software, has just been re-released (for the Mac only) and can treat your musical input to predictable or totally weird transformations (www.cycling74.com/products/m.html). PG Systems' Band In A Box is available for various computer platforms, and lets you apply a wide variety of preset styles to whatever chord sequence you input, taking a lot of the strain out of song construction. Even Steinberg's sophisticated Cubase family of sequencing software has a so-called Style Tracks module, and similar facilities are found on many a sequencer-equipped synth.
Published in SOS January 1999 -
我終于.我終于... 我終于放break啦! - [life]
2009年09月24日
... 終于放break啦..
呢個sem都依然讀4個subjects
ICOM203 International Public Relation
MUS203 Virtual Studio Music Technology
MUS204 Sound Exploration
MUS311 Djing and Ableton Live
3科都系讀音樂.. 其中兩科都比較多Practical嘅嘢..雖然好正.但係好累..好challenge..
宜傢放break.. Mus203已經交咗一首作品..
遲d翻學要交多首. 同埋Djing仲有兩個Live Performance..最后一個系19th/Nov
另外機票已定.. 22th/Nov/2009
放break前..
我地學校嘅fest有40年歷史...正...嗌到聲沙..跳到力疲..
163相冊有upload到相..
同埋悉尼歷練咗沙塵暴...好得人驚.. 相冊都有相..
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人到中年切莫在风里回顾,一天星斗对满地江湖
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合理化烟幕 鲶鱼效应概述 - [thin']
2009年08月29日
合理化烟幕 合理化烟幕一词来源一直备受争论，笔者也没有仔细研究过它的出处，不过其实合理化烟幕是一种很常见的营销手法。
合理化对于的是顾客，顾客觉得商品价格和质量的合理，而烟幕就是商家对消费者产生的烟幕
下面简单讲讲合理化烟幕的理论
本来100块的衣服，商家提升到200块，然后打出“7折大减价”的口号，然后令商品上架
而消费者一般没有足够经验去衡量该衣服的质量是否和销售价格成正比，但人普遍对商家的价钱都是处于合理的状态，而打出七折的口号更是令消费者觉得心动，所以消费者对商品价格的合理化就体现在这里。而商家本来100块的衣服能买到140（200块的七折后）这就是对消费者所产生的“烟幕”了，该烟幕就是用来模糊消费者对商品价格的合理性，所以，这就是合理化烟幕的使用
再举一个例子，餐厅20块3个菜，加2块能得一碟菜，其实20里面的3个菜里面已经是“偷工减料”了后面加2块能得一个菜的成本，而消费者觉得价格便宜，划算，而经营者又赞得多，双赢的一个做法。
鲶鱼效应概述
英文名称：Catfish Effect
鲶鱼效应即采取一种手段或措施，刺激一些企业活跃起来投入到市场中积极参与竞争，从而激活市场中的同行业企业。其实质是一种负激励,是激活员工队伍之奥秘。
鲶鱼，一种生性好动的鱼类，并没有什么十分特别的地方。然而自从有渔夫将它用作保证长途运输沙丁鱼成活的工具后，鲶鱼的作用便日益受到重视。 沙丁鱼，生性喜欢安静，追求平稳。对面临的危险没有清醒的认识，只是一味地安逸于现有的日子。 渔夫，聪明地运用鲶鱼好动的作用来保证沙丁鱼活着的人，在这个过程中，他也获得了最大的利益。
鲶鱼效应由来
挪威人喜欢吃沙丁鱼，尤其是活鱼。市场上活沙丁鱼的价格要比死鱼高许多。所以渔民总是千方百计地想法让沙丁鱼活着回到渔港。可是虽然经过种种努力，绝大部分沙丁鱼还是在中途因窒息而死亡。但却有一条渔船总能让大部分沙丁鱼活着回到渔港。船长严格保守着秘密。直到船长去世，谜底才揭开。原来是船长在装满沙丁鱼的鱼槽里放进了一条以鱼为主要食物的鲶鱼。鲶鱼进入鱼槽后，由于环境陌生，便四处游动。沙丁鱼见了鲶鱼十分紧张，左冲右突，四处躲避，加速游动。这样一来，一条条沙丁鱼欢蹦乱跳地回到了渔港。这就是著名的“鲶鱼效应”。 -
中国人必须知道的知识 - [thin']
2009年08月18日
【四大名绣】苏绣〖苏州〗、湘绣〖湖南〗、蜀绣〖四川〗、广绣〖广东〗
【四大名扇】檀香扇〖江苏〗、火画扇〖广东〗、竹丝扇〖四川〗、绫绢扇〖浙江〗
【四大名花】牡丹〖山东菏泽〗、水仙〖福建漳州〗、菊花〖浙江杭州〗、山茶〖云南昆明〗
【十大名茶】西湖龙井〖浙江杭州西湖区〗、碧螺春〖江苏吴县太湖的洞庭山碧螺峰〗、信阳毛尖〖河南信阳车云山〗、君山银针〖湖南岳阳君山〗、六安瓜片〖安徽六安和金寨两县的齐云山〗、黄山毛峰〖安徽歙县黄山〗、祁门红茶〖安徽祁门县〗、都匀毛尖〖贵州都匀县〗、铁观音〖福建安溪县〗、武夷岩茶〖福建崇安县〗
【扑克人物】
黑桃J：查尔斯一世的侍从，丹麦人霍克拉
红桃J：查尔斯七世的宫廷随从拉海亚
梅花J：亚瑟王的著名骑士兰斯洛特
方块J：查尔斯一世的侍从罗兰
黑桃Q：帕拉斯o阿西纳，古希腊神话中智慧与战争女神
红桃Q：朱尔斯，德国人，查尔斯一世的妻子
梅花Q：英国的兰开斯特王族的约克王后
方块Q：是《圣经o旧约》中的约瑟夫的妹妹，莱克尔皇后
黑桃K：戴维，公元前10世纪的以色列国王索洛蒙的父亲，擅长弹奏竖琴
红桃K：查尔斯一世，弗兰克国王沙勒曼
梅花K：马其顿国的亚历山大大帝，最早go-vern-ment世界
方块K：罗马名将和政治家朱亚斯o西泽，罗马统一后成为独裁统治者
【十二生肖】
〖中国〗子鼠、丑牛、寅虎、卯兔、辰龙、巳蛇、午马、未羊、申猴、酉鸡、戌狗、亥猪
〖埃及〗牝牛、山羊、狮子、驴、蟹、蛇犬、猫、鳄、红鹤、猿、鹰
〖法国〗摩羯、宝瓶、双鱼、白羊、金牛、双子、巨蟹、狮子、室女、天秤、天蝎、人马
〖印度〗招杜罗神的鼠、毗羯罗神的牛、宫毗罗神的狮、伐折罗神的兔、迷立罗神的龙、安底罗神的蛇、安弥罗神的马、珊底罗神的羊、因达罗神的猴、波夷罗神的金翅鸟、摩虎罗神的狗、和真达罗神的猪，
【年龄称谓】
襁褓：未满周岁的婴儿
孩提：指2——3岁的儿童
垂髫：指幼年儿童（又叫“总角”）
豆蔻：指女子十三岁
及笄：指女子十五岁
加冠：指男子二十岁（又“弱冠”）
而立之年：指三十岁
不惑之年：指四十岁
知命之年：指五十岁（又“知天命”、“半百”）
花甲之年：指六十岁
古稀之年：指七十岁
耄耋之年：指八、九十岁
期颐之年：一百岁
【古代主要节日】
元日：正月初一，一年开始。
人日：正月初七，主小孩。
上元：正月十五，张灯为戏，又叫“灯节”
社日：春分前后，祭祀祈祷农事。
寒食：清明前两日，禁火三日（吴子胥）
清明：四月初，扫墓、祭祀。
端午：五月初五，吃粽子，划龙（屈原）
七夕：七月初七，妇女乞巧（牛郎织女）
中元：七月十五，祭祀鬼神，又叫“鬼节”
中秋：八月十五，赏月，思乡
重阳：九月初九，登高，插茱萸免灾
冬至：又叫“至日”，节气的起点。
腊日：腊月初八，喝“腊八粥”
除夕：一年的最后一天的晚上，初旧迎新
【婚姻周年】第1年§纸婚、第2年§棉婚、第3年§皮革婚、第4年§水果婚、第5年§木婚、第6年§铁婚、第7年§铜婚、第8年§陶婚、第9年§柳婚、第10年§铝婚、第11年§钢婚、第12年§丝婚、第13年§丝带婚、第14年§象牙婚、第15年§水晶婚、第20年§瓷婚、第25年§银婚、第30年§珍珠婚、第35年§珊瑚婚、第40年§红宝石婚、第45年§蓝宝石婚、第50年§金婚、第55年§绿宝石婚、第60年§钻石婚、第70年§白金婚
【科举职官】〖乡试〗：录取者称为"举人"，第一名称为"解元"、〖会试〗：录取者称为"贡生"，第一名称为"会元"、〖殿试〗：录取者称为"进士"，第一名称为"状元"，第二名为"榜眼"，第三名为"探花"
【四书】《论语》、《中庸》、《大学》、《孟子》
【五经】《诗经》、《尚书》、《礼记》、《易经》、《春秋》
【八股文】破题、承题、起讲、入手、起股、中股、后股、束股
【六子全书】《老子》、《庄子》、《列子》、《荀子》、《扬子法言》、《文中子中说》
【汉字六书】象形、指事、形声、会意、转注、假借
【书法九势】落笔、转笔、藏峰、藏头、护尾、疾势、掠笔、涩势、横鳞竖勒
【竹林七贤】嵇康、刘伶、阮籍、山涛、阮咸、向秀、王戎
【饮中八仙】李白、贺知章、李适之、李琎、崔宗之、苏晋、张旭、焦遂
【蜀之八仙】容成公、李耳、董促舒、张道陵、严君平、李八百、范长生、尔朱先生
【扬州八怪】郑板桥、汪士慎、李鱓、黄慎、金农、高翔、李方鹰、罗聘
【北宋四大家】黄庭坚、欧阳修、苏轼、王安石
【唐宋古文八大家】韩愈、柳宗元、欧阳修、苏洵、苏轼、苏辙、王安石、曾巩
【十三经】《易经》、《诗经》、《尚书》、《礼记》、《仪礼》、《公羊传》、《榖梁传》、《左传》、《孝经》、《论语》、《尔雅》、《孟子》
【四大民间传说】《牛郎织女》、《孟姜女》、《梁山伯与祝英台》、《白蛇与许仙》
【四大文化遗产】《明清档案》、《殷墟甲骨》、《居延汉简》、《敦煌经卷》
【元代四大戏剧】关汉卿《窦娥冤》、王实甫《西厢记》、汤显祖《牡丹亭》、洪升《长生殿》
【晚清四大谴责小说】李宝嘉《官场现形记》、吴沃尧《二十年目睹之怪现状》、刘鹗《老残游记》、曾朴《孽海花》
【莎士比亚四大悲剧】《汉姆莱特》、《李尔王》、《麦克白》、《奥赛罗》
【五彩】青、黄、赤、白、黑
【五音】宫、商、角、徵、羽
【七宝】金、银、琉璃、珊瑚、砗磲、珍珠、玛瑙
【九宫】正宫、中吕宫、南吕宫、仙吕宫、黄钟宫、大面调、双调、商调、越调
【七大艺术】绘画、音乐、雕塑、戏剧、文学、建筑、电影
【四大名瓷窑】河北的瓷州窑、浙江的龙泉窑、江西的景德镇窑、福建的德化窑
【四大名旦】梅兰芳、程砚秋、尚小云、荀慧生
【六礼】冠、婚、丧、祭、乡饮酒、相见
【六艺】礼、乐、射、御、书、数
【六义】风、赋、比、兴、雅、颂
【八旗】镶黄、正黄、镶白、正白、镶红、正红、镶蓝、正蓝
【十恶】谋反、谋大逆、谋叛、谋恶逆、不道、大不敬、不孝、不睦、不义、内乱
【九流】儒家、道家、阴阳家、法家、名家、墨家、纵横家、杂家、农家
【三山】安徽黄山、江西庐山、浙江雁荡山
【五岭】越城岭、都庞岭、萌诸岭、骑田岭、大庾岭
【五岳】〖中岳〗河南嵩山、〖东岳〗山东泰山、〖西岳〗陕西华山、〖南岳〗湖南衡山、〖北岳〗山西恒山
【五湖】鄱阳湖〖江西〗、洞庭湖〖湖南〗、太湖〖江苏〗、洪泽湖〖江苏〗、巢湖〖安徽〗
【四海】渤海、黄海、东海、南海
【四大名桥】广济桥、赵州桥、洛阳桥、卢沟桥
【四大名园】颐和园〖北京〗、避暑山庄〖河北承德〗、拙政园〖江苏苏州〗、留园〖江苏苏州〗
【四大名刹】灵岩寺〖山东长清〗、国清寺〖浙江天台〗、玉泉寺〖湖北江陵〗、栖霞寺〖江苏南京〗
【四大名楼】岳阳楼〖湖南岳阳〗、黄鹤楼〖湖北武汉〗、滕王阁〖江西南昌〗、大观楼〖云南昆明〗
【四大名亭】醉翁亭〖安徽滁县〗、陶然亭〖北京先农坛〗、爱晚亭〖湖南长沙〗、湖心亭〖杭州西湖〗
【四大古镇】景德镇〖江西〗、佛山镇〖广东〗、汉口镇〖湖北〗、朱仙镇〖河南〗
【四大碑林】西安碑林〖陕西西安〗、孔庙碑林〖山东曲阜〗、地震碑林〖四川西昌〗、南门碑林〖台湾高雄〗
【四大名塔】嵩岳寺塔〖河南登封嵩岳寺〗、飞虹塔〖山西洪洞广胜寺〗、释迦塔〖山西应县佛宫寺〗、千寻塔〖云南大理崇圣寺〗
【四大石窟】莫高窟〖甘肃敦煌〗、云岗石窟〖山西大同〗、龙门石窟〖河南洛阳〗、麦积山石窟〖甘肃天水〗
【四大书院】白鹿洞书院〖江西庐山〗、岳麓书院〖湖南长沙〗、嵩阳书院〖河南嵩山〗、应天书院〖河南商丘〗
【四大佛教名山】浙江普陀山〖观音菩萨〗、山西五台山〖文殊菩萨〗、四川峨眉山〖普贤菩萨〗、安徽九华山〖地藏王菩萨〗
【四大道教名山】湖北武当山、江西龙虎山、安徽齐云山、四川青城山
【五行】金、木、水、火、土
【八卦】乾〖天〗、坤〖地〗、震〖雷〗、巽〖风〗、坎〖水〗、离〖火〗、艮〖山〗、兑〖沼〗
【三皇】伏羲、女娲、神农
【五帝】太皞、炎帝、黄帝、少皞、颛顼
【三教】儒教、道教、佛教
【三清】元始天尊〖清微天玉清境〗、灵宝天尊〖禹余天上清境〗、道德天尊〖大赤天太清境〗
【四御】昊天金阙无上至尊玉皇大帝、中天紫微北极大帝、勾陈上宫天后皇大帝、承天效法土皇地祗
【八仙】铁拐李、钟离权、张果老、吕洞宾、何仙姑、蓝采和、韩湘子、曹国舅
【十八罗汉】布袋罗汉、长眉罗汉、芭蕉罗汉、沉思罗汉、伏虎罗汉、过江罗汉、欢喜罗汉、降龙罗汉、静坐罗汉、举钵罗汉、开心罗汉、看门罗汉、骑象罗汉、探手罗汉、托塔罗汉、挖耳罗汉、笑狮罗汉、坐鹿罗汉
【十八层地狱】[第一层]泥犁地狱、[第二层]刀山地狱、[第三层]沸沙地狱、[第四层]沸屎地狱、[第五层]黑身地狱、[第六层]火车地狱、[第七层]镬汤地狱、[第八层]铁床地狱、[第九层]盖山地狱、[第十层]寒冰地狱、[第十一层]剥皮地狱、[第十二层]畜生地狱、[第十三层]刀兵地狱、[第十四层]铁磨地狱、[第十五层]寒冰地狱、[第十六层]铁册地狱、[第十七层]蛆虫地狱、[第十八层]烊铜地狱
【三姑】尼姑、道姑、卦姑
【六婆】牙婆、媒婆、师婆、虔婆、药婆、稳婆
【九属】玄孙、曾孙、孙、子、身、父、祖父、曾祖父、高祖父
【五谷】稻、黍、稷、麦、豆
【中国八大菜系】四川菜、湖南菜、山东菜、江苏菜、浙江菜、广东菜、福建菜、安徽菜
【五毒】石胆、丹砂、雄黄、矾石、慈石
【配药七方】大方、小方、缓方、急方、奇方、偶方、复方
【五脏】心、肝、脾、肺、肾
【六腑】胃、胆、三焦、膀胱、大肠、小肠
【七情】喜、怒、哀、乐、爱、恶、欲
【五常】仁、义、礼、智、信
【五伦】君臣、父子、兄弟、夫妇、朋友 -
鲁迅
《题三义塔》
“奔霆飞焰歼人子，败井颓垣剩饿鸠。偶值大心离火宅，终遗高塔念瀛洲。精禽梦觉仍衔石，斗士诚坚共抗流。度尽劫波兄弟在，相逢一笑泯恩仇。”度尽劫波兄弟在，相逢一笑泯恩仇
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呢個週末好忙...好累阿. - [life]
2009年08月10日
..禮拜5出city拿電影飛..<追影>.. 要幫雜誌寫影評.
跟住禮拜6又翻出city睇.. 同trista..
電影裡面出咗句金句.. 部戲真係痲痲....我都覺得吳鎮宇還是演翻戲好d.. 唔好做導演啦.
睇完又要趕翻eastwood...超累..但係到禮拜日8點都訓唔到...無原因!
然后禮拜日..
12點出門去UNSW..睇果個SMASH!動漫節.幫雜誌寫採訪..
然后又要趕翻Eastwood....然后當晚12點訓到今日禮拜1嘅下午1點... 13個鐘..
兩日嘅睡眠用一日搞掂... 救命阿!!
動漫節嘅相
http://photo.163.com/photo/tooney/?u=tooney#m=1&ai=59832191&p=1&n=24&cp=1
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滿江紅
岳飛
怒髮衝冠，憑闌處、瀟瀟雨歇。抬望眼、仰天長嘯，壯懷激烈。三十功名塵與土，八千里路雲和月。莫等閒、白了少年頭，空悲切！
靖康恥，猶未雪。臣子恨，何時滅？駕長車踏破，賀蘭山缺。壯志饑餐胡虜肉，笑談渴飲匈奴血。待重頭、收拾舊山河，朝天闕！(
SAndw!cH
Jesus is my lord
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