1. 动物园郊游
2.小和山寻宝
3.金图门大吃大喝烤鸡翅烤羊肉串喝啤酒操话交流感情玩三国杀
Wednesday, April 21, 2010
Tuesday, April 13, 2010
重温Olivia
最新一集的康熙来了,
重见Olivia.
大概还是高中的时候某段时间超喜欢她的声音.
只知道她是新加坡人.
今天看到她演唱driving这首歌的时候才确定就是她!
节目里她还唱了"我愿意为你,我愿意为你..." 超级好听!
很激动
不过怎么这么好的歌手到现在才被引进台湾...
重见Olivia.
大概还是高中的时候某段时间超喜欢她的声音.
只知道她是新加坡人.
今天看到她演唱driving这首歌的时候才确定就是她!
节目里她还唱了"我愿意为你,我愿意为你..." 超级好听!
很激动
不过怎么这么好的歌手到现在才被引进台湾...
Monday, April 12, 2010
Manning & Napier面试记
从周五面试到现在,也过了好多天了.
挺想写篇面试记的,结果拖到现在.
原因也不全在拖延症,更多在于懒惰+自我放纵.
现在回想起来,每做完一件大事儿,就会堕落个好多天.
还自以为是地找理由,说是要好好放松休息下.
面试完后也是如此,整个周末,虽然参加了其他很多活动,但是除此之外,也是浑浑噩噩地过了一个周末,导致今天(周一)3pm才起床,翘了两节课...
至于面试,
大体还是在我的预想之内的.
manning是家rochester-based的investment management公司,
之前就猜想到,它不会像纽约那些疯狂的投行一样高压面试弄到各个崩溃流泪.
不过妈妈还是有告诫我不要掉以轻心,于是我也是谨慎地准备着了.
其实在邮箱里看到manning打头的邮件时,我也都没期望什么,当又是什么拒信一类的礼节性邮件,因为之前boston一家公司就来过这么一套.
点开的时候都不敢相信里面的interview字眼.
当下当然是无比激动的,超想打电话给妈妈.可惜他们深更半夜的....没打
等到北京时间天亮后,我已经完全换了一种心情了.
在欣喜地发了几条短信之后,兴奋很快转为了焦虑.
极其复杂的情绪转变...而大部分都是欲望在作怪.
在投出无数封简历石沉大海后,我几乎连"给我一个面试"的希望都放弃了.
当这个unexpected的面试出现,在心情平复之后,我竟然不知所措起来.
此刻才意识到,我那所谓"给我一个面试"的期望是多么immature和vague.
"机会总会降临在有准备的人身上"这句话在那一刻深深地struck了我.
我感到无助,懊悔....感到无法把握人生...惧怕失去这一次的机会.....
这样的心态,甚至让我无法静下心来好好准备面试.
面试前一天,特别想跟妈妈skype.
其实也就是跟她多说几句话,缓解下发虚的心情吧.
Iowa来的电话也激励了我,教会了我很多面试技巧.
当然,我也清除地明白,不论有多少鼓励/帮助,这将是一场一个人的战斗,一切都只能靠我自己去克服.
也算是尽全力准备了如何应对各种behavioral questions.
至于technical questions,也只能够差不多回忆下学过的micro, macro,和accounting的内容.
stock market方面,我知道在如此短的时间内我是无法抱任何佛脚了.于是基本就是放弃了这块.心想,若是面试因此而失败,也算是给自己一个"无准备"的教训了.
面试当天,因为是搭别人车去,心里难免要紧张怕迟到,因为别人没那个incentive么..
(所以身在美国,没驾照/没车还真是见难搞的事儿阿)
不过还是提前5分钟赶到了.
公司在3层楼的建筑里,里面是挺老式的风格,一切都还蛮温馨/蛮让人放松的.
receptionist也挺和蔼,于是我就坐着等Julie(我的面试者之一)了.
刚好有技术工在修空调,倒是刚好distract我,以防胡思乱想变紧张.
大约5-10分钟,Julie过来了.握手介绍后,她领我下楼到一个会议室去.
Julie之前在学校的career fair上见过,这次再见面,她更显得有亲和力了.
虽然别人出发点可能仅仅是出于礼貌,不过还是让我觉得挺comfortable的.
接着就碰到了会议室里等着我的另外两个面试者(当然这些都是预料之中的).
握手问好.(发现他们的handshake都很firm+坚定,我将来得好好注意了)
先是Julie简单介绍了下这个summer position的responsibilities一类,
接着就开始问我问题了.
他们人手有一份我的简历和一份问题.
我因为更新了简历,就又发给他们一人一份.
然后就是我说一句,他们在问题纸上记下点什么.
问题大多都是behavorial questions.
现在记得的大致有:
1. why did you choose u of r?
2. what is your weakest/strongest asset?
3. what kind of impression would you want to leave with manning?
4. what is your future career goal?
5. tell us one thing that you were above and beyond what was asked for.
6. tell us one experience of you that you worked under critics.
另外有些不记得了.大部分是围绕resume的有关个人经历的问题,我自然也由个人经历绕回到自己具有的个人能力,从而告诉对方我是有能力胜任这分工作的.
最开始稍微有些结巴.不过整个气氛挺轻松的,我也可以说是发挥地越来越好的.
总体来说,我还是挺满意的.因为大部分的问题都事先想到过,做过准备,也都把自己想说的都表达了.
之后是另外两个分管不同部门的supervisor,分别介绍他们部门的职务.
因为之前也差不多了解了这两个部门的分管,也没太confused,也及时提了问和作了互动.这大概能证明我反应还不慢吧...
大体上,对这次面试,我是挺高兴的.我不愿去想,到底从客观上来看,我的应答水准到底如何.但是仅从我已准备的和我已经历的来说,我觉得是发挥到最好了.当然,我心里很清除的是,这样的低要求只能用于第一次,将来就不能这么随随便便的.其实最后的时候,他们有问我是否follow the market,这个问题不是在问题纸上是他们即时想出来的.我只能说"honostly, I tried to follow. But..." 希望在下一次不会重复这样的情况.
虽然outcome还不错,但是还需大量的努力.
要保持:好心态,幽默感,笑容.
要努力:专业的面试技巧培训,tons of study for the financial markets.
挺想写篇面试记的,结果拖到现在.
原因也不全在拖延症,更多在于懒惰+自我放纵.
现在回想起来,每做完一件大事儿,就会堕落个好多天.
还自以为是地找理由,说是要好好放松休息下.
面试完后也是如此,整个周末,虽然参加了其他很多活动,但是除此之外,也是浑浑噩噩地过了一个周末,导致今天(周一)3pm才起床,翘了两节课...
至于面试,
大体还是在我的预想之内的.
manning是家rochester-based的investment management公司,
之前就猜想到,它不会像纽约那些疯狂的投行一样高压面试弄到各个崩溃流泪.
不过妈妈还是有告诫我不要掉以轻心,于是我也是谨慎地准备着了.
其实在邮箱里看到manning打头的邮件时,我也都没期望什么,当又是什么拒信一类的礼节性邮件,因为之前boston一家公司就来过这么一套.
点开的时候都不敢相信里面的interview字眼.
当下当然是无比激动的,超想打电话给妈妈.可惜他们深更半夜的....没打
等到北京时间天亮后,我已经完全换了一种心情了.
在欣喜地发了几条短信之后,兴奋很快转为了焦虑.
极其复杂的情绪转变...而大部分都是欲望在作怪.
在投出无数封简历石沉大海后,我几乎连"给我一个面试"的希望都放弃了.
当这个unexpected的面试出现,在心情平复之后,我竟然不知所措起来.
此刻才意识到,我那所谓"给我一个面试"的期望是多么immature和vague.
"机会总会降临在有准备的人身上"这句话在那一刻深深地struck了我.
我感到无助,懊悔....感到无法把握人生...惧怕失去这一次的机会.....
这样的心态,甚至让我无法静下心来好好准备面试.
面试前一天,特别想跟妈妈skype.
其实也就是跟她多说几句话,缓解下发虚的心情吧.
Iowa来的电话也激励了我,教会了我很多面试技巧.
当然,我也清除地明白,不论有多少鼓励/帮助,这将是一场一个人的战斗,一切都只能靠我自己去克服.
也算是尽全力准备了如何应对各种behavioral questions.
至于technical questions,也只能够差不多回忆下学过的micro, macro,和accounting的内容.
stock market方面,我知道在如此短的时间内我是无法抱任何佛脚了.于是基本就是放弃了这块.心想,若是面试因此而失败,也算是给自己一个"无准备"的教训了.
面试当天,因为是搭别人车去,心里难免要紧张怕迟到,因为别人没那个incentive么..
(所以身在美国,没驾照/没车还真是见难搞的事儿阿)
不过还是提前5分钟赶到了.
公司在3层楼的建筑里,里面是挺老式的风格,一切都还蛮温馨/蛮让人放松的.
receptionist也挺和蔼,于是我就坐着等Julie(我的面试者之一)了.
刚好有技术工在修空调,倒是刚好distract我,以防胡思乱想变紧张.
大约5-10分钟,Julie过来了.握手介绍后,她领我下楼到一个会议室去.
Julie之前在学校的career fair上见过,这次再见面,她更显得有亲和力了.
虽然别人出发点可能仅仅是出于礼貌,不过还是让我觉得挺comfortable的.
接着就碰到了会议室里等着我的另外两个面试者(当然这些都是预料之中的).
握手问好.(发现他们的handshake都很firm+坚定,我将来得好好注意了)
先是Julie简单介绍了下这个summer position的responsibilities一类,
接着就开始问我问题了.
他们人手有一份我的简历和一份问题.
我因为更新了简历,就又发给他们一人一份.
然后就是我说一句,他们在问题纸上记下点什么.
问题大多都是behavorial questions.
现在记得的大致有:
1. why did you choose u of r?
2. what is your weakest/strongest asset?
3. what kind of impression would you want to leave with manning?
4. what is your future career goal?
5. tell us one thing that you were above and beyond what was asked for.
6. tell us one experience of you that you worked under critics.
另外有些不记得了.大部分是围绕resume的有关个人经历的问题,我自然也由个人经历绕回到自己具有的个人能力,从而告诉对方我是有能力胜任这分工作的.
最开始稍微有些结巴.不过整个气氛挺轻松的,我也可以说是发挥地越来越好的.
总体来说,我还是挺满意的.因为大部分的问题都事先想到过,做过准备,也都把自己想说的都表达了.
之后是另外两个分管不同部门的supervisor,分别介绍他们部门的职务.
因为之前也差不多了解了这两个部门的分管,也没太confused,也及时提了问和作了互动.这大概能证明我反应还不慢吧...
大体上,对这次面试,我是挺高兴的.我不愿去想,到底从客观上来看,我的应答水准到底如何.但是仅从我已准备的和我已经历的来说,我觉得是发挥到最好了.当然,我心里很清除的是,这样的低要求只能用于第一次,将来就不能这么随随便便的.其实最后的时候,他们有问我是否follow the market,这个问题不是在问题纸上是他们即时想出来的.我只能说"honostly, I tried to follow. But..." 希望在下一次不会重复这样的情况.
虽然outcome还不错,但是还需大量的努力.
要保持:好心态,幽默感,笑容.
要努力:专业的面试技巧培训,tons of study for the financial markets.
Friday, April 9, 2010
Monday, April 5, 2010
Sunday, April 4, 2010
Saturday, April 3, 2010
Carrie Bradshaw: Icons of the decade
http://www.guardian.co.uk/world/2009/dec/22/carrie-bradshaw-icons-of-decade
Carrie Bradshaw: Icons of the decade
How Sex and the City's Carrie Bradshaw did as much to shift the culture around certain women's issues as real-life female groundbreakers
- Naomi Wolf
She's not a brass-knuckled political figure, a Birkenstock-wearing Amazon or a breaker of corporate glass ceilings; she's just a sassy single girl in New York City. So why am I so sure that Carrie Bradshaw – the charming, ever-hopeful star of the longrunning HBO series and hit film, all based on Candace Bushnell's New York Observer column – is an icon and did as much to shift the culture around certain women's issues as real-life feminist groundbreakers?
I have written before about how radical it was that the narrative of Sex and the City centred not around a couple – let alone the traditional formula of hero-plus-beautiful-secondary-love-interest. Rather, the core of the tale was always the life-sustaining friendship among four women, as the men in their lives came and went. This break from narrative norms was remarkable not just because Bushnell was insisting that four women – no longer in their first youth – were renewably compelling on their own terms; it was also radical because, in a very un-PC but admirable flouting of feminist norms, Bushnell was brave enough to lay bare the secret – that for many women the search for love is the same urgent, central, archetypal quest story that for men is played out in war narratives and adventure tales. Bushnell was gutsy enough to disclose that even we serious, accomplished, feminist women spend a lot of time, when we are alone with our female friends, telling stories centred on the men with whom we are romantically entangled, exploring the quality of the love and attraction, the romance and the sex. And we are often just that graphic and hopeful and vulnerable and slutty as those four characters.
This was so startlingly un-sayable that when women watched Sex and the City, it was like seeing a secret set of their own dramas spring into art. Now they are the stalest of cliches, but when, in the first 1998 episode, in the midst of all that big hair and weird brown lipstick, you hear Carrie first describe the allure and disappointment of "toxic bachelors", when Samantha first says frankly that she likes to have sex without emotion, to "fuck like a man", it was bitingly fresh for women to speak these aphorisms out loud, in public, and in fabulous heels.
But there are other reasons that the characters of Sex and the City endured as icons throughout the first decade of the 21st century, and other reasons that Carrie will continue to resonate. She was a writer who arrived in the big city to test her mettle and realise her voice. Male writers have structured stories around exactly this character from F Scott Fitzgerald to JD Salinger to Philip Roth; but Carrie showed audiences week after week that a lively female consciousness was as interesting as female sexuality or motherhood or martyrdom – the tradition role model options.
Carrie is a writer, and her adventures aren't just love escapades as they would be for a Fanny, or even an Elizabeth Bennet: they are material filtered though one woman's distinctive point of view and crafted into text in her unique voice. After the shallow or deeper sagas of hot sex or social slights, of hungover breakfasts with the girls or Cosmopolitans and hookups at night, every episode saw the letters unscrolling – often forming quite existential questions – across Carrie's computer screen. Teenage girls watching each episode were taking in a clear message. Not only can I dress up and flirt, seduce and consume, overcome challenges, yield to temptations, take risks, fail, try again – I can think about it all, and what I think will matter.
It may seem ironic that the first female thinker in pop culture (not in books – books have had them since Doris Lessing) came to us with corkscrew curls and wacky cloth flowers in her hair, teetering on Manolos worn over Japanese-schoolgirl socks. But really, can you name a TV show or film prior to this that centred around a woman reflecting about her life and the world? Carrie, for better or worse, was our first pop-culture philosopher.
What about other firsts from Sex and the City that made a big difference in women's lives, and probably, by extension, men's lives too? Let's just take a look at Samantha. The history of English – and one might say western – culture, when it comes to female sexuality, is the history of sluts getting punished for their lust.
From the teenage non-virgins stoned to death in the Bible, to Hester Prynne and Madame Bovary, sluts always, but always, get some terrible disfiguring disease – or die. They are always object lessons to women reading or watching that they can't get away with it – if it is sexual autonomy and self-expression. Erica Jong will always be a personal heroine of mine because her alter ego, Isadora Wing in Fear of Flying, broke that convention so decisively. But again, books are not enough. In TV or film, do you get to be a slut without comeuppance? Never. Yet there is Samantha, bawdy as the Wife of Bath, always cheerfully horny and materialistic, utterly without Calvinic redeeming qualities, living at last with her devoted younger boy toy in LA in the Sex and the City movie – finally leaving him because she is just not cut out to mix her driving, unmediated sexual energy with commitment. Did not thousands of young women eager to explore their sexuality, but scared of being labeled sluts by their peers, breathe a sigh of relief or even liberation watching Samantha down another tequila, unrepentantly ogle the sex god at the end of the bar, and get richer and more beautiful with age, with no STDs or furies pursuing her? Charlotte and Miranda are fine, as they go – stereotypes of the good girl and the restless corporate achiever. But Carrie, and then Samantha? A revolution.
Oddly enough, as I was getting ready to write this, I stepped into a restaurant in New York – and in brushed a woman in big sunglasses and crazy boots, who warmly greeted the staff in a manner so familiar to me I smiled instinctively. I thought it must be a friend of mine. Well, I wasn't completely wrong. Actually, it was Sarah Jessica Parker, a stranger. Yet every woman in the room reacted with a similar happy, gut familiarity.
Why? Not because of the actor – because of the character.
Because we had all heard Carrie's stories from our own girlfriends, and recognised in her something of our best selves. Hey girlfriend!
Carrie Bradshaw: Icons of the decade
How Sex and the City's Carrie Bradshaw did as much to shift the culture around certain women's issues as real-life female groundbreakers
- Naomi Wolf
She's not a brass-knuckled political figure, a Birkenstock-wearing Amazon or a breaker of corporate glass ceilings; she's just a sassy single girl in New York City. So why am I so sure that Carrie Bradshaw – the charming, ever-hopeful star of the longrunning HBO series and hit film, all based on Candace Bushnell's New York Observer column – is an icon and did as much to shift the culture around certain women's issues as real-life feminist groundbreakers?
I have written before about how radical it was that the narrative of Sex and the City centred not around a couple – let alone the traditional formula of hero-plus-beautiful-secondary-love-interest. Rather, the core of the tale was always the life-sustaining friendship among four women, as the men in their lives came and went. This break from narrative norms was remarkable not just because Bushnell was insisting that four women – no longer in their first youth – were renewably compelling on their own terms; it was also radical because, in a very un-PC but admirable flouting of feminist norms, Bushnell was brave enough to lay bare the secret – that for many women the search for love is the same urgent, central, archetypal quest story that for men is played out in war narratives and adventure tales. Bushnell was gutsy enough to disclose that even we serious, accomplished, feminist women spend a lot of time, when we are alone with our female friends, telling stories centred on the men with whom we are romantically entangled, exploring the quality of the love and attraction, the romance and the sex. And we are often just that graphic and hopeful and vulnerable and slutty as those four characters.
This was so startlingly un-sayable that when women watched Sex and the City, it was like seeing a secret set of their own dramas spring into art. Now they are the stalest of cliches, but when, in the first 1998 episode, in the midst of all that big hair and weird brown lipstick, you hear Carrie first describe the allure and disappointment of "toxic bachelors", when Samantha first says frankly that she likes to have sex without emotion, to "fuck like a man", it was bitingly fresh for women to speak these aphorisms out loud, in public, and in fabulous heels.
But there are other reasons that the characters of Sex and the City endured as icons throughout the first decade of the 21st century, and other reasons that Carrie will continue to resonate. She was a writer who arrived in the big city to test her mettle and realise her voice. Male writers have structured stories around exactly this character from F Scott Fitzgerald to JD Salinger to Philip Roth; but Carrie showed audiences week after week that a lively female consciousness was as interesting as female sexuality or motherhood or martyrdom – the tradition role model options.
Carrie is a writer, and her adventures aren't just love escapades as they would be for a Fanny, or even an Elizabeth Bennet: they are material filtered though one woman's distinctive point of view and crafted into text in her unique voice. After the shallow or deeper sagas of hot sex or social slights, of hungover breakfasts with the girls or Cosmopolitans and hookups at night, every episode saw the letters unscrolling – often forming quite existential questions – across Carrie's computer screen. Teenage girls watching each episode were taking in a clear message. Not only can I dress up and flirt, seduce and consume, overcome challenges, yield to temptations, take risks, fail, try again – I can think about it all, and what I think will matter.
It may seem ironic that the first female thinker in pop culture (not in books – books have had them since Doris Lessing) came to us with corkscrew curls and wacky cloth flowers in her hair, teetering on Manolos worn over Japanese-schoolgirl socks. But really, can you name a TV show or film prior to this that centred around a woman reflecting about her life and the world? Carrie, for better or worse, was our first pop-culture philosopher.
What about other firsts from Sex and the City that made a big difference in women's lives, and probably, by extension, men's lives too? Let's just take a look at Samantha. The history of English – and one might say western – culture, when it comes to female sexuality, is the history of sluts getting punished for their lust.
From the teenage non-virgins stoned to death in the Bible, to Hester Prynne and Madame Bovary, sluts always, but always, get some terrible disfiguring disease – or die. They are always object lessons to women reading or watching that they can't get away with it – if it is sexual autonomy and self-expression. Erica Jong will always be a personal heroine of mine because her alter ego, Isadora Wing in Fear of Flying, broke that convention so decisively. But again, books are not enough. In TV or film, do you get to be a slut without comeuppance? Never. Yet there is Samantha, bawdy as the Wife of Bath, always cheerfully horny and materialistic, utterly without Calvinic redeeming qualities, living at last with her devoted younger boy toy in LA in the Sex and the City movie – finally leaving him because she is just not cut out to mix her driving, unmediated sexual energy with commitment. Did not thousands of young women eager to explore their sexuality, but scared of being labeled sluts by their peers, breathe a sigh of relief or even liberation watching Samantha down another tequila, unrepentantly ogle the sex god at the end of the bar, and get richer and more beautiful with age, with no STDs or furies pursuing her? Charlotte and Miranda are fine, as they go – stereotypes of the good girl and the restless corporate achiever. But Carrie, and then Samantha? A revolution.
Oddly enough, as I was getting ready to write this, I stepped into a restaurant in New York – and in brushed a woman in big sunglasses and crazy boots, who warmly greeted the staff in a manner so familiar to me I smiled instinctively. I thought it must be a friend of mine. Well, I wasn't completely wrong. Actually, it was Sarah Jessica Parker, a stranger. Yet every woman in the room reacted with a similar happy, gut familiarity.
Why? Not because of the actor – because of the character.
Because we had all heard Carrie's stories from our own girlfriends, and recognised in her something of our best selves. Hey girlfriend!
80 degrees + a porn
I watched a porn
when Rochester gets too hot
innocent no more
解释下,porn是学校公映的,annual event.
没有情节没有镜头, all about sex... and it was gross!
when Rochester gets too hot
innocent no more
解释下,porn是学校公映的,annual event.
没有情节没有镜头, all about sex... and it was gross!
新玩意儿 Haiku
从来不知道英文也能写俳句
http://www.toyomasu.com/haiku/#howtowritehaiku
大概格式是第一句第三句5个音节,第二句7个音节
要包含和季节有关的词语
其中要有一个小转折(cut)
我也试了下 挺有趣
My dear friend Miss Owl
Why are you staring at me?
Because I am you
http://www.toyomasu.com/haiku/#howtowritehaiku
大概格式是第一句第三句5个音节,第二句7个音节
要包含和季节有关的词语
其中要有一个小转折(cut)
我也试了下 挺有趣
My dear friend Miss Owl
Why are you staring at me?
Because I am you
Thursday, April 1, 2010
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