也许我上辈子是个护士或者嗑药的，因为我发现自己对注射器有着特殊喜好～ 当然我可不想用它扎谁或者扎自己，就是单纯的欣赏它的结构：针头、针筒、推注器，多么完美的创造物啊。我喜欢细支的，蓝色或者橘红色的注射器，它们一般会在《Fallout》这样的游戏中出现，特别科学，特别未来。我不喜欢打针，但是喜欢看医生或者护士用一支注射器在花花绿绿的小药瓶里捣腾，把药水推进去再抽出来，最后在空中浪费几滴，挤出针筒里的空气。整个过程太美了～ 除了最后自己挨的那一针。。。

上图：右边那支注射器里边装的是缝纫机油，我只需要几滴，卖油的师傅都没好意思收我钱。用它给我的电脑风扇打一针，风扇腰不酸了腿不疼了就不会唧哇乱叫了。左边那支是0.5克装的含银硅脂(真的含银10%吗？我很怀疑。。)，将它涂抹在CPU和散热片之间，可以增强热量传导的效率。

夜里的热浪终于让我昏昏的却睡不着。

毕业典礼是无聊的，我讨厌套话，领导们，你们能像正常人那样通过语言向我们表达你的情感和心智吗？你的帽子是真的吗？你的法师袍是在裁缝店定做的吗？这个过程的每一处在慌乱、仓促中滑过。学院精神在这些年后终于在这个奇怪的地方只剩下这个壳。

不过，也许我该让扮成大法师的院长把我的帽子上的辫子从右边移到左边。我承认这很无聊，但也许这样做了，回忆中的院长会变为一个慈祥的老人。

好吧，这学校“培育着可能与不可能”的四年时光我是回不去了。它会在我的脑中占据一块空间，越来越模糊，但这块空间会一直占着。当它越来越模糊，留下真空，我会难过和心慌。我当然知道“永远向前挪动不要回头看”，可是，你总能做到吗。

听歌听歌！（其实只能看）

克洛里小分队
           哪吒

任务会失败吗”他问
会像昨天那样被发现吗
世界森林谁更危险

“要谨慎的避开”他说
又一轮的新浪潮革命
警惕随时可以微笑的人

过去没有想象中的可惜
最后会像翼龙翅膀一样烂掉

去克洛里了，就要去克洛里了
谁都不用怕再失去谁了
去克洛里了，就要去克洛里了
去见早就消失不见的人吧

“带上我好吗”他说
我在有风的夜里舞蹈
在通往最北方的路上

过去没有想象中的可惜
最后会像翼龙翅膀一样烂掉

去克洛里了，就要去克洛里了
带上熊猫和面包炉吧
去克洛里了，就要去克洛里了
终于谁都不用怕再失去谁了

这个软件，可以帮你离线编辑Space条目并发布，这样比较稳妥，不会发丢了。
http://get.live.com/betas/writer_betas

测试二：嗯。。不错不错，还能修改已发布的条目~

测试三：笨微软模仿Google开发的插入地图的功能（基本没用）

某些细胞像纽约的北京 和 它的新生代小孩儿

Underground rising
By Ben Davey
Updated: 2007-04-05 06:58

There was an empty beer keg on the stage. Nothing strange for a drab bar near a major university filled with thirsty students, you'd think. Still, the keg was covered in slogan stickers and resting on its rim was a pair of drumsticks. A tattooed, pigtailed young girl was fussing around with a range of instruments including a drum kit and an organ but it was the keg that piqued my interest.

It was the first "rock" show I had attended in Beijing and I was drawn by the name of one of the acts on the bill. "You'll like these guys," a friend said. "They're called Car Sick Cars, they're shoe-gazers."

To me, "shoe-gazers" translated as earnest Chinese kids aping The Smashing Pumpkins. I had ignorantly assumed that Beijing bands played the kind of music that the West had moved on from. We walked in when Car Sick Cars had already started their set and to my relief these weren't whining grunge wannabes with predictable hang-ups. The three-piece were playing a cerebral brand of punk that demands a closer listen in the half-filled bar those on the dance floor were swaying, not jumping pogo style. In the songs you could hear Sonic Youth, The Velvet Underground and The Pixies; borrowed sounds spat out by kids hungry for something new.

But it was the next act featuring the ink-armed girl with her empty keg that did the damage. The guitarist from Car Sick Cars was the other member of the two-piece, known as White, and they proceeded to make the kind of gloomy experimental racket that confuses as many as it captivates. Half of the already sparse crowd evacuated the club.

A few days later I returned to the venue, D-22, to talk with the former New Yorker and part-owner Michael Pettis and English expat bar manager Charles Saliba. It was only early but tracks by Interpol, Soft Cell, Buddy Holly and Pavement were already booming from the speakers. I read somewhere that Pettis had declared 2007 to be the year Beijing "breaks".

"This (year) will be big because a lot of bands came into their own in 2006, and a few of them are starting to get international attention."

Pettis believes that China's bands can go toe-to-toe with anyone in the world. And he is comparing what is happening in Beijing to some of rock'n'roll's most important periods.

"Part of what's happening in Beijing, and this is a little bit similar to London in 1977, 1978 and New York around that time, is that the categories are falling apart because you've got guys that are not doing straight punk, straight metal or straight this or that, but they've got various projects and they're really messing it up."

The late-1970s in London and New York produced a bunch of acts that many current artists call major influences. The Sex Pistols, Joy Division, Television, The Ramones, The Clash, The Stooges, Blondie and the New York Dolls were just a few of the groups to emerge from the two key scenes. Not all of these bands enjoyed commercial success but nonetheless created an enviable legacy.

Part of the reason Pettis believes that Beijing may one day be listed beside these two scenes in terms of ground-breaking music is that some bands in China's capital work together to avoid being pigeon-holed.

"Ultimately, the most interesting music tends to be category busting. You look at a band like the Car Sick Cars and their leader is also part of White. The other two members of Car Sick Cars are in a band called Snapline which is completely different."

Pettis said that the Beijing acts he promotes are not positioning themselves to threaten the domestic commercial dominance of Mandopop. In fact, he says there is no point comparing mainstream crooners to what's being played at his club.

"The most interesting stuff happening in Beijing is in the same ballpark as the most interesting stuff anywhere and it has no more to do with commercial music as Sonic Youth has to do with Britney Spears."

Impact isn't measured in dollars and cents alone. Increased international press coverage is raising hopes that local bands may be able to find larger audiences than those who rotate within the local club circuit.

And it seems that ears around the globe are already beginning to prick up. German avant garde luminary Blixa Bargeld has already worked with White; meanwhile electronic pioneer Brian Eno played keyboards on the debut EP of local post-punk outfit Retros, who are currently touring the United States. The latter is being touted as having huge overseas potential by their record company, Modern Sky,

"Retros are going to be the first ones to break the international stage, I have gotten a lot of great feedback from the international press and music lovers," said Modern Sky's label manager Jin Huimeng.

Jin added that another group on Modern Sky's roster, Beijing rock stalwarts Joyside, are about to begin a European tour. Also, Wuhan punks, SMZB, are also set to play dates across Germany, Austria, Sweden and Norway.

"The scene here compared with five years ago is a lot different, you can find bands that are playing a lot more different music and the quality of the bands can stand on an international stage."

With overseas interest comes big label interest and money. At the moment, the fledgling underground scene seems comprised of young artists willing to collaborate with each other rather than compete for the keys to major record company coffers.

Still, Charles Saliba says that the local scene is a long way off surrendering its artistic integrity to the demon dollar. If anything, he says a drizzle of cash could have a positive effect.

"Financially there is nothing in it so these artists have to love their art or their craft," he said.

"The only problem I see is if labels sign bands to restrictive deals where they can no longer play whatever they want. But I think we're far away from that, the attention may come but I don't think that will immediately bring money."

Certainly, Modern Sky says that its CDs aren't exactly flying off the shelves. In order to support local artists from a variety of genres, the label has pursued alternative avenues for revenue.

"In 2003, we almost closed down but after that we learned how to survive in this market. Now we make money from working with other brands such as iPod or Levis that kind of sponsorship," Jin said.

Credibility, it seems, is currency for Modern Sky and while domestic radio stations might prefer safe pop to the Beijing underground, youth-orientated marketers are looking to be associated with edgier brands that offer something different.

"That money that we get from those relationships can allow us to invest in the artists but in the end we just break even," Jin said.

Indeed, Pettis argues that while Beijing bands may not sell out stadiums in the foreseeable future, some of the music being created here now may later be widely regarded as important work. So, even if half of the bar walks out of a performance it may be a small sacrifice in the pursuit of originality.

"When I was running a club in the early 80s in New York, the people we were working with, people like Sonic Youth and John Zorn and Elliot Sharpe and Swans, I knew that 20 years from then they were going to be legendary figures and the people we're working with now in Beijing I am as certain that what they are doing will be remembered in 20 years' time."

(China Daily 04/05/2007 page18)

推荐你看的理由：
1.金陵文脉，这个名字不错。
2.解说词写的挺好。
3.短，随时可以看。
4....

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