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还记得money一提到钱钟书就会说的那句超经典的话么？
“年轻人常把创作冲动误以为是创作才华”
《围城——序》
好了，我发觉最近没有什么创作冲动，那是不是意味着，以下我写的文字，都透露出我的创作才华呢？
亦或者，我不仅仅丢失了创作冲动，连才华也根本没存在过呢？
关于这一周，不详。
那个摄影协会的学长，王xx,是个好同志。
原因是这样的。
我还在絮絮叨叨念念不忘参观摄制组的事情，不断抱怨会长的不负责任，当然这些抱怨并没有被他本人听到。前天他的不负责任再次得到了体现。
他发消息说：“愿意接手摄影协会么？”
我说：“好啊，求之不得。”
我也不知道为什么会加上那个充满低俗野心的成语“求之不得”，发消息发太快是会把未经思考的文字用最形象的方式表达出来。
于是他说：“有时间打个电话过来。”
晚上，我并没把这件是给忘了，但他打电话给我了。
我们在餐厅见面，2号餐厅，就是卖很多面的那个地方。用他的话说是“很俗的地方”用我的话说是“很正常的地方”。
这个男人话很多，滔滔不绝开始偏题，讲了一些他工作的事情，这里我也不方便多说了。不过，大二能够找到一份体面的临时工，还是很令我佩服以及羡慕的。
之后我去了他的寝室。男生寝室往往比女生寝室干净得多。没有一团一团的头发，没有一堆堆的垃圾袋。他们上厕所用的东西也比我们少不是么。
然后我们就看照片，看他拍的mv,ps过的艺术照片等等。没觉得有多么出色，但也很不容易。
再然后我就给他看我拍的照 。
不知道是恭维还是（他好像没必要恭维我吧哈哈）发自内心，他说我的照片拍得非常好，还说……这些事情还不确定，就不先透露了。总之给于我高度赞扬。money自信心一覆水难收之势膨胀得愈发强烈。
完。
以下是由部分我们的谈话引发出的感想。
他说他寝室里的哥们整天只知道打魔兽，一天干的事就是“吃饭”“上课”“打魔兽”“睡觉”。他认为这样的生活毫无意义犹如行尸走肉一般。
嗯。貌似我们这种文艺小青年始终不屑于其他人的生活方式。
我室友有过这样一句话：“活得开心就好了嘛！”
我想说的是，
室友，如果你看到这里，请不要看下去了。要不就平和地把整篇东西看完。
对于猪来说，吃饱睡饱活着就很开心。
当然我们人类是不屑于这种生活的。
因此，许多人的生活在部分人的眼里就好像是猪的生活在人的眼里一样。
同样，很多人的生活在我眼里是体现不出什么价值的。他们的安于现状更加让我恶心。他们活着其实对于我来说是没什么价值的。
但对于暴雪公司来说，他们（整天忘我茶饭不思打魔兽的人）超级有价值！
所以。我再也不会对他们的生活产生什么关于变化的幻想。因为我们生活的价值就是体现在部分人生活价值之上的。
又是混乱的一周。 好啊
linkin park的演唱会我没去成
这个我拚了老命也要去了！ 
Nightwish夜愿+Skylark云雀2008上海音乐会票务信息（请务必仔细阅读每1条款）：
演出日期：2008年1月23日晚 20：00 Date:Jan.23,2008 Time:20:00
演出地点：虹口体育馆 （演出地址：上海市虹口区东体育会路715号） Venue:Hongkou Gymnasium,Shanghai[/color]
VIP票价：780元（赠送Nightwish绝对私秘多媒体CD+超大印刷海报+A区，限量80张，签名机会以现场协调为准，无合影）
A区：680元
B区：480元
C区：380元
D区：280元
垂询电话：021-62110897
订票地址:上海市长宁区定西路1232号315室
为了保证演出质量与演出的顺利进行，请入场后务必遵循以下要求（将写在票的后面，购买门票即表示接受以下约定）：
1、请慎重选择票位，一旦售出，恕不退换，提前1小时开始验票，请接受安全检查；
2、请尊重你的票位区域选择，演出时严禁穿越栏杆，如有穿越栏杆、跨区等行为，立即劝退出场，并不退还门票及严禁购票入场；
3、严禁携带任何摄象，所有相关设备将被限制入场，严禁任何录象行为，一经发现将请离现场；
4、严禁携带任何数码相机设备，严禁拍照和使用闪光灯，一经发现将请离现场；
5、为确保场内安全，严禁携带烟火、易燃易爆物品，场内严禁吸烟，不得抛丢任何物品；
6、现场不设存包处，所以[size=3]如被发现自带数码相机、DV等电子设备请自行安排保管（如不能保管不能入场概不负责）；[/size]
7、谢绝带玻璃类饮料以及其他瓶装饮品；
8、观众需手持当场票券入场，一票一人，票面不完整将作废；
9、请在指定购票渠道购买门票，否则出现不良后果（如购得假票等情况）由购票者自行承担；
10、您购买了本门票，就表示您已经接受了以上约定，感谢您对本场音乐会的支持，Enjoy Music!
特别说明：
音乐会A区、B区、C区大小会在演出前根据出票量做适当调整，但非常重要的1点，严禁任何跨越栏杆、穿越栏杆行为，这次的栏杆是双层的，并在栏杆中间有多名保安，对于任何跨越、穿越行为都将严厉清除出场。您既然选择了您所买的区域的票，就请尊重您自己的选择，谢谢。
再次感谢您对Nightwish与Skylark的首次北京演出的支持与尊重，也再次感谢您对音乐会主办方的理解，所有的规章都是为了保障音乐会顺利、完美的举行，让我们以真诚的、欣赏的心态一起来度过一个祈祷心愿之夜！
那天小强是先到的，我们四个（小高，头套，我，小强）在苦苦等待，这两个男人早已经饥肠辘辘。为了一碗馄饨开始展开了一场持久的小规模争夺战。有视频。 
人总算来齐了，大家开始等上菜，没有想到我们运气那么好，电炉是坏的……群众都愤怒了，周一斌喊：老板换机器！ 
开始瞻仰起我们的高数书……面露一丝淫笑…… 
对镜头很热情，这傻孩子 
一股米道…… 
有了他，绝对不会浪费 
菜来了，省去两大盆肥牛，和五大盆肥羊…… 
中方现在成熟许多 
头套音狂飘~~ 
哈刚~~ 
借位的拉~~ 
早上在我们餐厅吃早饭~~表把我饭卡里的钱不当钱啊~~ 
清晨，学海路上 写到这里忘记我们没有合影了……有点小小的遗憾。 真是多事的一周。凭我现在的大脑cpu使用率，写这样一篇周记最好是列个提纲。否则不知道多少故事会被我遗漏。
对于自己做节目其实并不是一直燃烧着那种无法被熄灭的创作之火。这周我没什么准备就去台里录了一档节目。个人认为当时的表现简直糟糕透顶。但rica和kt还是一如既往地给于我鼓励，我倒希望他们能笑着对我说：“你录得真不怎么样……”，说我录得不错反而使我愧疚万分。仔细分析一下当时的心情其实紧张倒不是主要因素，而是想说的东西，想表达的观点太多，但是中间有没有一个令人满意或可以引起听者兴趣的过度段。急躁以及能力不足才是这次录音效果差强人意的主要原因。
星期四下午四点二十分左右，我穿的很单薄，挎着沉甸甸的包准备去图书馆复习。在路上听到了一首nu-metal风格的歌曲，马上被吸引住了，就在一个陈旧的扩音喇叭旁驻足聆听。歌曲听罢，喇叭里传出了我已经熟悉了无数遍的声音，尽管熟悉但依旧觉得奇怪。那是我的声音。于是我依旧在冷风拂面的情况下仔细审查用耳朵收录每一个字。过了好一会儿，一个似曾相识的身影从辆自行车上跳下来，蹦到我身旁，他习惯性地晃动着身体和我打招呼（好像很冷的样子）问我今天是否回家，我说不，明天还要期中考试呢，你听，这是我录的节目哦。他一怔，打了一个冷战，说嘿嘿我要回家咯，来叫声好听的。“老爸~”我很嗲地叫了一声，和他说了拜拜。
接着 Hey there Delilah喇叭中悠扬地传出，和来往的风一样的波动，旋律包裹住风让我也不觉得冷。发了条短信给kt表示谢意，这种音乐下就适合做一些温情的事儿。
还有就是，Danny发疯了！！！
在口语课上Danny为我们演出了一幕飞机失事坠入大海，机上乘客（当然就是我们）在驾驶员Danny的带领下孤岛求生惊世骇俗的历险记。上演了电力版LOST,表演期间danny夸张的肢体动作和丰富的表情生动的表演简直可以面试好莱坞去拍电影了。嗯~~danny非常有当演员的潜质，也相当敬业。那天他貌似感冒了，嗓音沙哑的很，但依旧卖力演出，让事后huger不禁对我感叹：“唉这年头赚点钱不容易啊~~！”不过外教似乎都很敬业，想当年我们谎称自己永远38岁的高龄外教Jack,也是大冬天穿着单薄的毛利服装英语周上表演土著人，活跃的形象早就让我们忽略了他的年龄。
很困了，昨天通宵早上只睡了2小时。明天贴照片，讲聚会趣闻~ Plain White T's are a pop-punk band formed in 1997(OMG! It has been 10 years! But i just knew them resently) in Villa Park, Illinois. They are best known for "Hey There Delilah"(the song is fuckin awesome! soft and warm, like, it has gone through the deepest of my mind, the bottom of my heart ), an acoustic song performed solely by singer Tom Higgenson originally released in 2005 and later hit #1 in the US in 2007.
For almost a decade, Plain White T's have been playing to packed audiences craving for that perfect pop-punk punch. Their journey, which began in a small suburban basement playing covers, has taken the band to Warped Tour three times, and landed them opening slots for bands like Jimmy Eat World and AFI(both r my fav band). Plain White T's are road warriors in the truest sense and with their first major label album, Every Second Counts, the band is ready to rock in a big way.
PWT's story started back in high school(they all start rocking very early,but for me,[sighs]), when frontman Tom Higgenson first stepped into Chicago's famed rock club the Metro and saw his future on the stage ( where is my future?). With the local music scene exploding nationally courtesy of bands like Smashing Pumpkins ( this week I played their song very often, they r great, especially the "ZERO") and Veruca Salt, he decided the time was ripe for his own dreams to be realized. Armed with paper, pen, and guitar, Tom went to task, experimenting with lyrics and melodies on a four-track in his parents' Villa Park, Illinois home. Once he'd reached a level of comfort with his songwriting, he worked up the courage to hand off a tape to Christian Lane, singer of 90's buzz band Loud Lucy, and to his surprise, Christian actually listened to it.
Once he'd recruited a group of school pals, including guitarist Dave Tirio, it was only a matter of a couple years before Plain White T's, who'd attracted a loyal following thanks to Tom's ridiculously melodic tales of teen angst and loveless nights, were playing the Metro themselves.
The music industry took notice of that success and after selling thousands of copies of their self-released 2002 debut, Stop, PWT's were picked up by Fearless Records who re-issued the album along with 2005's All That We Needed. But it was their heartfelt, acoustic-tinged "Hey There Delilah" that cemented their status as potential hitmakers.
Tom's songwriting evolved after the success of the romantically frank "Delilah," which really was a departure for a band known for their energetic powerpop. On Hollywood Records debut, Every Second Counts, Tom, along with bandmates Mike Retondo (bass and vocals), De'Mar Hamilton (drums), and Tim Lopez (guitar, vocals)( His teeth caught my eyes first :-D ), continues to turn the personal into the universal. Throughout the album, he sings of hook-ups and break-ups and the emotional rollercoaster in between. A prime example is lead single "Hate (I Really Don't Like You)." (the MV of this song is not good enough, neither is the song.:-( )In a similar vein, the lyrics for "Friends Don't Let Friends Dial Drunk" also showcases Tom's offbeat take on love and life, while its melody sucks you in with every turn of phrase. Delving slightly deeper into emotional territory are upbeat tracks like "Our Time Now" and "Come Back to Me" as well as one of the album's quieter numbers, "Write You a Song."
But don't cry for Plain White T's. Like their album title says, this band is making every second count and thoroughly enjoying the ride.
Radiohead
In Rainbows
Like many music lovers of a certain age, I have a lot of warm memories tied up with release days. I miss the simple ritual of making time to buy a record. I also miss listening to something special for the first time and imagining, against reason, the rest of the world holed up in their respective bedrooms, having the same experience. Before last Wednesday, I can't remember the last time I had that feeling. I also can't remember the last time I woke up voluntarily at 6 a.m. either, but like hundreds of thousands of other people around the world, there I was, sat at my computer, headphones on, groggy, but awake, and hitting play.
Such a return to communal exchange isn't something you'd expect to be orchestrated by a band who's wrung beauty from alienation for more than a decade. But if the past few weeks have taught us anything, it's that Radiohead revel, above all else, in playing against type. It's written in their discography; excluding the conjoined twins that were Kid A and Amnesiac, each of their albums constitutes a heroic effort to debunk those that came before it. Although 2003's Hail to the Thief was overlong and scattershot, it was important insofar as it represented the full band's full-circle digestion and synthesis of the sounds and methods they first toyed with on OK Computer. So, after a decade of progression, where do we go from here?
If the 2006 live renditions of their new material were anything to go by, not much further. With few exceptions, the roughly 15 songs introduced during last year's tour gave the impression that after five searching records, Radiohead had grown tired of trying to outrun themselves. Taken as a whole, the guitar-centric compositions offered a portrait of a band who, whether subconsciously or not, looked conciliatory for the first time in its career. Although a wonderful surprise, their early October album announcement only lent further credence to the theory. Where they'd previously had the confidence to precede albums like OK Computer and Kid A with marketing fanfare worthy of a classic-in-making, this sneak attack felt like a canny strategy to prepare fans for an inevitable downshift.
The brilliant In Rainbows represents no such thing. Nonetheless, it's a very different kind of Radiohead record. Liberated from their self-imposed pressure to innovate, they sound-- for the first time in ages-- user-friendly; the glacial distance that characterized their previous records melted away by dollops of reverb, strings, and melody. From the inclusion and faithful rendering of longtime fan favorite "Nude" to the classic pop string accents on "Faust Arp" to the uncharacteristically relaxed "House of Cards", Radiohead's sudden willingness to embrace their capacity for uncomplicated beauty might be In Rainbows' most distinguishing quality, and one of the primary reasons it's an improvement on Hail to the Thief.
Now that singer Thom Yorke has kickstarted a solo career-- providing a separate venue for the solo electronic material he used to shoehorn onto Radiohead albums-- Radiohead also sound like a full band again. Opener "15 Step"'s mulched-up drum intro represents the album's only dip into Kid A-style electronics; from the moment Jonny Greenwood's zestful guitar line takes over about 40 seconds in, In Rainbows becomes resolutely a five-man show. (For all of Yorke's lonely experimental pieces, it's easy to forget how remarkably the band play off each other; the rhythm section of Phil Selway and Colin Greenwood are especially incredible, supplying between them for a goldmine of one-off fills, accents, and runs over the course of the record.) A cut-up in the spirit of "Airbag"-- albeit with a jazzier, more fluid guitar line-- "15 Step" gives way to "Bodysnatchers", which, like much of In Rainbows, eschews verse/chorus/verse structure in favor of a gradual build. Structured around a sludgy riff, it skronks along noisily until about the two-minute mark, when the band veers left with a sudden acoustic interlude. By now, Radiohead are experts at tearing into the fabric of their own songs for added effect, and In Rainbows is awash in those moments.
The band's big-hearted resurrection of "Nude" follows. The subject of fervent speculation for more than a decade, its keening melodies and immutable prettiness had left it languishing behind Kid A's front door. Despite seeming ambivalent about the song even after resurrecting it for last year's tour, this album version finds Yorke wrenching as much sweetness out of it as he possibly can, in turn giving us our first indication that he's in generous spirits. Another fan favorite, "Weird Fishes/Arpeggi" brandishes new drums behind its drain-circling arpeggios, but sounds every bit as massive in crescendoing as its live renditions suggested it might. "All I Need", meanwhile, concludes the album's first side by dressing up what begins as a skeletal rhythm section in cavernous swaths of glockenspiel, synths, pianos, and white noise.
With its fingerpicked acoustic guitars and syrupy strings, "Faust Arp" begs comparisons to some of the Beatles' sweetest two-minute interludes, while the stunning "Reckoner" takes care of any lingering doubt about Radiohead's softer frame of mind: Once a violent rocker worthy of its title, this version finds Yorke's slinky, elongated falsetto backed by frosty, clanging percussion and a meandering guitar line, onto which the band pile a chorus of backing harmonies, pianos, and-- again-- swooping strings. It may not be the most immediate track on the album, but over the course of several listens, it reveals itself to be among the most woozily beautiful things the band has ever recorded.
With its lethargic, chipped-at guitar chords, "House of Cards" is a slow, R.E.M.-shaped ballad pulled under by waves of reverbed feedback. While it's arguably the one weak link in the album's chain, it provides a perfect lead-in to the spry guitar workout of "Jigsaw Falling Into Place". Like "Bodysnatchers" and "Weird Fishes/Arpeggi" before it, "Jigsaw" begins briskly and builds into a breakneck conclusion, this time with Yorke upshifting from low to high register to supply a breathless closing rant.
Finally, the closer. Another fan favorite, Yorke's solo versions of "Videotape" suggested another "Pyramid Song" in the making. Given the spirit of In Rainbows, you'd be forgiven for assuming its studio counterpart might comprise some sort of epic finale, but to the disappointment of fans, it wasn't to be. Instead, we get a circling piano coda and a bassline that seems to promise a climax that never comes. "This is one for the good days/ And I have it all here on red, blue, green," Yorke sings. It's an affecting sentiment that conjures up images of the lead singer, now a father of two, home filming his kids. A rickety drum beat and shuddering percussions work against the melody, trying clumsily to throw it off, but Yorke sings against it: "You are my center when I spin away/ Out of control on videotape."
As the real life drums give way to a barely distinguishable electronic counterpart, Yorke trails off, his piano gently uncoils, and the song ends with a whimper. The whole thing is an extended metaphor, of course, and, this being Radiohead, it's heavy-handed in its way, but it's also a fitting close to such a human album. In the end, that which we feared came true: In Rainbows represents the sound of Radiohead coming back to earth. Luckily, as it turns out, that's nothing to be afraid of at all.
-Mark Pytlik, October 15, 2007
The Fall of Troy is a three-piece experimental post-hardcore band from Mukilteo, Washington. The band consists of Thomas Erak (lead vocals, guitar), Timothy Ward (bass, backup vocals), and Andrew Forsman (drums).
The band is characterized by the alternating vocals of Thomas Erak and bassist Tim Ward, multiple effects, and Erak's vocal extremes (soothing singing voice to a harsh, shrill scream). All three members came from the band The 30 Years War, which they were in when they were all about 17 years old, which consisted of the three as well as another guitarist who left to pursue higher education (education against rock?!). During this time, the trio recorded their first full-length; a self-titled album in which the entire recording was completed in only five days.
The Fall of Troy draws from the progressive roots of bands like Rush (a stated influence) and King Crimson, while also combining it with the modern experimental sound influenced by bands like At the Drive-In and The Blood Brothers.
MACHINE HEART 刚刚写下这个标题，突然就想到了machine head （重金属已经充斥在我每一个脑细胞）, 然而我不仅仅是只有一个金属头，我的心脏也是金属做的。  不知道已经有多少次因为电脑而心情糟糕，我想你也有这样的经历和感想。电脑早已经成为我生活的一部分，是很重要的一部分。我的心情也总随之波动：如果他死机了，某个程序无响应了，或者鼠标不灵活了，上网总是卡机，我整个人就会开始躁动不安，好像更年期提早来了。接着，电脑开始不断发抽，向中风了一样，而你除了注销重启却无计可施，我就觉得这日子简直没法过了，更年期来了就不走了。如果更惨的事发生，比如系统崩溃了，你的硬盘坏了，下载的东西全没了，那么心就好似被淘空魂灵头也不知道跑哪儿去了，和老伴死了差不多。
我的儿子已经7岁，在电脑的社会里也算是过了不惑之年。最近我又给他安装了很多程序软件，有的是给他强身健体的有的是给他折腾身体的，于是，我儿子不高兴了，口吐白沫四肢抽搐是常事，动不动就不理我翻白眼。我知道错了，space也用离线编辑器写了，儿子，你行行好，原谅妈一次，ok? 亲一记。 谁说计算机只能识别机器语言的？！我要用我的母爱感化他！ 就在十几分钟前，我的电脑死机了，死的义无反顾，屏幕还总是错位，面目及其狰狞，到现在，开始菜单还是不正常，我也不知道为什么，儿子好像再次中毒了。必定是他外公偷偷上了什么黄色网站（我就知道！）下了什么黄色小片子。哎……叫我这个当妈的怎么和他外公讲，这个事情复杂啦。一直都认为火狐是很强悍的，么有想到也抵挡不住**的诱惑，我用的是firefox 2.0 和 firefox plus, 大家弃暗投明快去用遨游吧！ 除了电脑，那一切让你虚度生命熬日子的机器，譬如ＭＰ３，ＭＰ４，ＭＰ５(-_-') 譬如PSP,PS2,Wii,X-Box..．no matter it is 水货 or not, no matter it is big or small, 一旦离开得你的生活，就好像一部现代电影变成了默片，默片变成了皮影戏……心脏开始生锈，beating slowly ,大脑也是，大脑散发出的脑电波总是间断性跳跃，眼里发射出的激光也没办法集中在一点上……你说，我的心脏是不是机器做的？ 也许某一天，就好像《咫尺天涯》那部动画片里一样，你天生头上长着个手机，我生来头上就长着个扩音器。人们再也不会用“人心都是肉长的”这句谚语。 最近真的超级背，具体事情不方便细说我一个人默默承受就够了。总之日常生活中 wtf 成为了我的口头禅, 如果说话也能区分大小写的话就好了。 WHAT A FUCK !!!!!! WHAT THE HELL IS GOING ON ABOUT MY LIFE ?! DAMN IT ! IT'S BEEN ALL MESSED UP !!!!!! WHAT THE FFFFUUUUCCCCKKKK !!!!!!! eh啊，爽多了。 椅木弟弟学会了黑嗓。其实我高三的时候就开始学了并且略有小成（新成语），但是音量不够，还得继续练习阿呵呵，让我想起了Flyleaf的女主唱，她的黑嗓也不错，配上她甜蜜娇弱的嗓音，就像甘甜却浓烈的酒。美丽性感狂野娇媚的我亲爱Amy Lee姐姐也偶尔会来两句，在Ternique当中的那一次：I WANT TO DIE !! 直冲我的心脏深处，猛烈回荡。我也想和她一样把内心的绝望吼叫出来，咆哮出来，可惜听到的是自己怯懦萎缩的声音。至于Tarjia ( Nightwish)和 Sharon( Within temptation )阿姨，她们的美声如此动听，黑嗓也一样具有摄人心魄的爆发力。都是Money我的榜样，偶要好好学习。 最后贴几张美少年聊以自慰。 
 the fav pic....
重复 ● 时间 
model :Joyce
 model :Money
怀旧一下
外婆家 取景
 锁
 过去
 三五牌台钟 几乎每家人都有的
弥勒佛
 外婆 这世界上最爱我的人
钱博士在过去的几年中，对十几只长期生活在上海某食堂的仓鼠作了一系列试验。
这是几只仓鼠大部分为雄性，并且在实验之前主要的食物来源为：包子，米粥，大饼和油条。钱博士这次试验的目的是观察仓鼠是否具有接受
新鲜事物的能力。
在实验中，钱博士分发给每只仓鼠一个蛋塔（超好吃的那种葡式蛋塔，钱博士也常常会忍不住吃几个）。并且观察仓鼠们的反应。
在05~06年的实验中，实验对象为6只雄性仓鼠，1只雌性仓鼠，仓鼠能够接受蛋塔，并且渐渐放弃了包子米粥大饼和油条，专门吃蛋塔，并对其
他西点产生食欲。
随后钱博士认为，仓鼠的性别可能是其会否接受蛋塔的一项重要因素。
于是在07年的实验中，钱博士找来二十只雌性仓鼠（也是只吃过包子米粥大饼和油条的仓鼠），试验结束后因为拒绝食用，或拒绝使用完毕蛋
塔而全部死亡。
以下为这二十只仓鼠对于蛋塔所表现出的两种反应：
第一类仓鼠：
表现出对于蛋塔的好奇，嗅闻了一番后没有进食，直至饿死。期间钱博士发现，这类仓鼠有长期固定的主食，包子米粥大饼和油条其中一种。
第二类仓鼠:
并未表现出对于蛋塔的好奇，不过嗅闻了一番后开始进食，但进食了几小口便停止进食，直至饿死。其间钱博士发现，这类仓鼠没有长期固定的主食，包子米粥大饼和油条都吃。
最后钱博士得出结论，国内仓鼠是否能接受蛋塔与性别关系不大，而是与其进食习性有关。
年轻是一种心理状态，与生理无关。
我这几天应该是忙碌并且充实的吧。广播台的任务很多，其实不是拉，是广播台占用的时间很多。我最近一直被别人占用时间，曾经一度非常气愤情绪很不好。感谢Hana哥哥帮我“洗脑”，让我感觉好很多，心里也不再那么浮躁了。我发消息的那几个人里面，Hana是对我帮助最大的。
Hana其实并不一定那么阳光，但至少，他和我说道理的时候，总是能够让我看到事情的光明面，而我呢，一向都是脾气暴躁眼里只有阴暗面的。所以在这点上，我也很敬佩他，他说：黑暗也有他的美，但不要让黑暗吞噬了自己。
还有一件事情，我想用英文写会比较好，最近英文退步了……
一个真實的訃告：
Wednesday night, my mum called me, and told me a news which really shocked me. She said the girl was died.
The girl, who I saw her grow up. I saw her grow up from a little pretty girl to a young adorable lady.
She died for the heart disease, after a long time curing, she still can't escape from the death, so quick, too young.
When I heard the news, I felt definitely faint. The still atmosphere around me was just silence and darkness.
But I didn't cry.
I should cry, i should feel sad, but i didn't, tomorrow i still laugh with my friends like nothing has happened.
I dont know why.
Maybe this is the real me, a cold and evil person, only can feel the pain of myself.
I know one day I will die also,
like her,
suddenly disapear,
and surprise my friends.
:-)
We all can't escape from our destiny.
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