
A. What do you most like to eat?
B. I like eating sweets the most


Ping Pong

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Hayley Hincks-Martinez and Susana Garcia 9th
Cookie Recipe 
成份
• 1/2杯子酥松
1/2杯子脆的花生酱
• 1/2杯子白糖
• 1/2杯子被包装的红糖
• 1个鸡蛋
• 1 1/4杯子多用途面粉
• 3/4茶匙发面苏打
• 1/2茶匙发酵粉
• 1/4茶匙盐 方向1. 一起奶油酥松油治 。 在鸡蛋的敲打。 结合面粉、发面苏打、发酵粉和盐; 逐渐搅动入花生酱混合物。 盖并且冷藏面团至少一个小时。
2. 预先加热烤箱对375华氏度(190摄氏度)。 做小球面团。 铺平与在面粉浸洗的叉子横向形成样式。
3. 烘烤在10-12分钟在被预先加热的烤箱,或者直到设置。 从烤板去除冷却在电线支架。
我们的曲奇饼是非常可口的。 他们是相当容易准备和烘烤的乐趣。 他们品尝象天堂。 他们有软的花生谄媚口味,并且他们在你的嘴熔化,并且你的感觉发喜悦。 这些清淡的曲奇饼有益于所有场合。
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Aviv Gilad 10th
在墙多图钉是发贴了。我数了十一可是有多。多数是黄色。或许有超过五十。都持纸。也有在墙壁上的一些橡胶镶嵌成花纹的蝾。他们是灰色。 图钉实际上不是大的这。我还需要三个句子。这是一。现在我做完。


| Not One Less | |
|---|---|
| Directed by | Zhang Yimou |
| Produced by | Zhang Yimou |
| Written by | Shi Xiangsheng |
| Starring | Wei Minzhi Zhang Huike |
| Music by | San Bao |
| Cinematography | Hou Yong |
| Editing by | Zhai Ru |
| Distributed by | Columbia Tristar |
| Release date(s) | Venice: September 7, 1999 United States: February 18, 2000 |
| Running time | 106 min. |
| Language | Mandarin |
Not One Less (simplified Chinese: 一个都不能少; traditional Chinese: 一個都不能少; pinyin: Yī gè dōu bù néng shǎo) is a 1999 film drama by Chinese director Zhang Yimou. Zhang himself refers to it as "one of my best films".
It centers on a 13 year-old substitute school teacher, Wei Minzhi (played by the actress of the same name), in the Chinese countryside who is placed in charge of the school after the previous teacher leaves temporarily for a month. Minzhi is told not to lose any students, and when one of the boys, Zhang Huike (played by Zhang Huike) takes off in search of work in the big city, she goes looking for him to bring him home.
The film depicts rural poverty and illiteracy and is filmed in a neorealist/documentary style using a troupe of non-professional actors; Zhang often uses the actors' real names as their character names, effectively blurring the boundaries between drama and life.
Rosemarie Howard | University Advancement | 24 April 2007

On a Saturday in 1998, a car pulled into the village of Shuiquan in the Heiben province of the People’s Republic of China. There was no school on Saturday, so 13 year-old Wei, Minzhi and her twin sister, Wei, Congzhi, were playing in the street with their friends.
The youngsters were curious to know what the people who got out of the car were doing. They soon found out. Although her twin was too nervous to sing, Minzhi sang and danced for the man behind the camera. When asked if she would like to be an actress in a movie, Minzhi said, “Yes,” and wrote her name on the women’s hand so it would not be forgotten.
Several weeks and six auditions later, Ioihinj, the assistant director for “Not One Less,” visited the Wei family and asked Minzhi’s parents, Wei, Yuqiing and Zhao, Jinhua, to allow her to be in a movie. “She will become a very famous person in China,” said Ioihinj.
“My parents didn’t believe her,” said Minzhi. But they gave their permission.
For two months Minzhi worked 8 hour days on the movie set. It was her first time away from home, and she missed her family, but had no communication with them.
“Ioihinj was a hard worker and very friendly,” said Minzhi. “She helped me feel comfortable.” After the shoot was over, Minzhi went back to her village.
“That movie changed my life,” said Minzhi. In the spring of 1999, the movie came out and Minzhi traveled for a month with the promotion team to 15 cities in China. Because of her role in “Not One Less,” Minzhi did indeed become a very famous person in China.
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| Star of "Not One Less," Wei, Minzhi, |
She was invited to study at Jingying Education Group, a high school in Shijiazhuang city. When she finished high school in 2004, she was offered a scholarship to Xi’an International Studies University.
During her first year there as a film student, she had many opportunities to talk with visitors from other countries. One of those visitors was Peter (Yeekong) Chan, a teacher in the Brigham Young University Hawaii School of Education.
He encouraged Minzhi to learn English, and to come to BYU-Hawaii to study. “I didn’t believe that could really happen,” said Minzhi. “I was 19 years old and had no money to study in another country.”
After studying English for four months with another BYU-Hawaii teacher working at Xi’an University, and encouraged again by Chan, she took the English test. She also met Napua Baker, BYU-Hawaii Vice President of University Advancement, and Duane Roberts, Director of Communications, during their Concert Choir pre-tour China visit in April 2006.
It was at that time that she decided she really wanted to study at BYU-Hawaii “At Xi’an University I learned how to become a director, how to create films,” said Minzhi. I had a lot of friends and teachers who were all very kind to me.” She also had a part-time job as a city news reporter for the Xi’an TV station. “I wanted to add to my Xi’an experience in film directing,” said Minzhi.
20 April 2006, Minzhi arrived on the BYU-Hawaii campus, where she has been taking classes and working in the campus media production studio with Lawrence Lau and Tom Griffiths doing editing and film production. She has also been improving her English skills.
“My goal is to be a movie director,” said Minzhi. “BYU-Hawaii is a wonderful school. The aloha spirit is here. The teachers and students are friendly and helpful.” Her plan is to graduate from BYU-Hawaii in 2010 with a degree in art. Because of her experiences at BYU-Hawaii she says, “Now I feel I can meet my goals.”

Chinese Rock (中国摇滚, pinyin: Zhōngguó yáogǔn; also 中国摇滚音乐, Zhōngguó yáogǔn yīnyuè, lit. "Chinese shaking and rolling music" or "Chinese rock and roll music") is a genre of music and lifestyle . Its instrumentation is typically modern and may be with or without traditional Chinese musical instruments.
Chinese Rock had its origins in Northwest Wind (西北风, xibeifeng) style of music, which emerged as a main genre in Mainland China[1]. The new style was triggered by two new songs, "Xintianyou" (信天游) and "Nothing To My Name" (一无所有), both of which drew heavily on the folk song traditions of northern Shaanxi Province in the northwest. They combined this with a western-style fast tempo, strong beat and extremely aggressive bass lines. In contrast to the mellow cantopop style, Northwest Wind songs were sung loudly and forcefully. It represented the musical branch of the large-scale Root-Seeking (寻根, xungen) cultural movement that also manifested itself in literature and in film.
Many Northwest Wind songs were highly idealistic and heavily political, parodying or alluding to the revolutionary songs of the Communist state, such as "Nanniwan" (南泥湾) and "The Internationale" (国际歌). It is, however, associated with the non-Communist national music side instead of the revolutionary side. The music reflected dissatisfaction among Chinese youth, as well as the influence of western ideas such as individuality and self-empowerment. Both music and lyrics articulated a sense of pride in the power of the northwest's peasantry. Songs such as "Sister Go Boldly Forward" (妹妹你大胆的往前走) came to represent an earthy, primordial masculine image of Mainland China, as opposed to the soft, sweet, polished urban gangtai style.
"Prison Songs" (囚歌) became popular in 1988 and early 1989, parallel to the Northwest Wind style. The fad was initiated by Chi Zhiqiang (迟志强), who wrote lyrics about his time in jail and set them to folk melodies from northeast China. In contrast to Northwest Wind songs, prison songs were slow, "weepy" and invoked negative role models, often using vulgar language and expressing despair and cynicism. Their non-conformist values are apparent in such songs as "Mother Is Very Muddle-Headed" and "There Is Not a Drop of Oil in the Dish". The popularity of these songs reflected the fact that many people in China during the 1980s became tired of official artistic representations and discourse. The patrons of prison songs were the urban youth, and private entrepreneurs, who at that time were mostly from marginal backgrounds.
The birthplace of Chinese rock was in Beijing[2]. As the nation's capital, the music was highly politicised and open to a range of foreign influences. It was marginal for most of the 80s, consisting of live performances in small bars and hotels. The music was almost exclusively for the domain of university students and "underground" bohemian circles. In late 1989 and early 1990 Chinese rock partially emerged into mainstream music as a combination of the Northwest Wind and prison song fads.
The first Chinese rock song was arguably the Northwest Wind anthem "Nothing To My Name", first performed in 1984 by Cui Jian, widely recognised as the father of Chinese rock. The song introduced into post-revolutionary China a whole new ethos that combined individualism, direct and bold expression. It soon came to symbolise the frustration harboured by a disillusioned generation of young intellectuals who grew cynical about Communism and critical of China's traditional and contemporary culture. It also expressed, even for older Chinese, a dissatisfaction with unrealized promises of the Chinese regime.
In the spring of 1989, "Nothing To My Name" became the de-facto anthem of the student protestors at Tiananmen Square. Additionally, in May and July of that year, three of China's famous rock bands were established: Breathing (Huxi, 呼吸), Cobra (眼镜蛇), and Zang Tianshuo's (臧天朔) 1989. Earlier rock music groups include "Infallible" (Budaoweng 不倒翁), formed by Zang Tianshuo and Tang Dynasty (Tang Chao, 唐朝) lead vocalist and rhythm guitarist Ding Wu (丁武), and probably the most famous of all Chinese rock bands: "Black Panther" (Hei Bao 黑豹), originally fronted by China's alternative music pioneer Dou Wei (窦唯).
After the Tian'anmen Square protests, rock became part of general urban youth culture in China. Its rise from marginality was celebrated on 17 and 18 February 1990, when Beijing's largest ever all-rock concert was held in the Capital Gymnasium, one of the city's largest halls. The concert featured six rock bands, among them Cui Jian's ADO and Tang Dynasty (唐朝). The criterion that the organisers set as qualification to participate was "originality", generally a Western artistic ethos.
Chinese rock reached a peak of creativity and popularity between 1990 and 1993. Dozens of rock bands were established and rock music was performed on a regular basis. Because they were excluded from state controlled media such as CCTV, the main venue remained to be informal, small-scale, underground rock parties. The core participants in rock subculture adopted characteristic nonconformist appearance and behaviour. These included long hair for males, jeans, silver metal ornaments, black leather coats, and carefree, hippie-style behaviour. The decline of Northwest Wind and simultaneous rise of the rock fad represented a shift in the attitude of many of China's intellectuals. Nostalgia changed into an unequivocally fierce negation, a sense of alienation from China's traditional and rural culture.
By 1994, Chinese rock slowly began to decline. This can only be attributed to strict censorship by the Communist party, such as the banning of rock from television and restrictions on performances[2]. More importantly, the decline of rock reflected the general lack of interest in politicised cultural products, thoughts, or behaviour. People became more interested in engaging with the market economy, making money and improving their living standard. Cross-border cultural exchange facilitated by increased economic openness, and the radical commercialisation of the music industry in the mid-90s both lead to the import of overseas music, particularly from Taiwan and Hong Kong. Cantopop singers such as Andy Lau were backed up by well-resourced record companies and could raise revenues from film-making and advertising, two sources usually rejected by Chinese rock musicians. Moreover, the level of censorship imposed on c-pop in less damaging, since gangtai culture have existed without the mainland.
Rock musicians such as Tian Zhen and Xu Wei have adapted their subject matter to the cantopop style and achieved commercial success. By western standard, it could even be classified as Eastern-style country rock music. Others, such as the self-styled punk He Yong have fiercely resisted cantopop culture and their imitators on the mainland. In 1995 a handful of younger punk bands (Brain Failure, Reflector, A Jerks, and 69) produced an album called "Wuliao Contingent," representing the boredom and frustration collectively felt within the urban landscape. At the forefront was Brain Failure, the most successful of these bands, who continue to tour the world with their ska/punk sound. English is used to both express what Chinese lyrics cannot and also in imitation of foreign musicians. One of the significant turning point for rock is Cui Jian playing with The Rolling Stones in 2003 at the age of 42. It opened the genre to the rest of the world for the first time.
From 2000-2004 post punk and extreme metal entered the underground scene and ascended among the fans, and some Visual kei & Gothic Lolita. In 2004-2005, Beijing's Joyside went on their first tour of China. American filmmaker Kevin Fritz followed them to make the film Wasted Orient. It was released on DVD in 2007 by Plexifilm[3]. The film is China's version of Decline Of Western Civilization. It depicts comically the pitfalls associated with trying to tour a country that has little taste for Rock n' Roll music. In this film the original line-up of Joyside including Bian Yuan, Liu Hao, Fan Bo, Yang Yang, & Xin Shuang shows these colorful characters drowning away in alcohol is both hilarious and depressing at the same time. The film also includes some of Joyside's early music, which brought them some recognition. The film Wasted Orient is non-political, and strays away from making any superficial social commentary. While Joyside is not particularly known for the talent, the film present Chinese rock music in the new millennium in the most authentic, raw, and genuine .
| “ | The film Wasted Orient is what it is pure and simple. It's honest. It is the true way of Chinese rock n' roll. It's not glamorous. It's filthy. It's filled with despair. It's very unwanted in that society and is shown in its citizens' apathetic response to it | ” |
Another important step in the development of Chinese rock music had been the Beijing Midi School of Music in Beijing. Established 1993 by Zhang Fan, it was the first school in China offering classes for jazz music and rock music. Started as a school festival in 1999, the Midi Modern Music Festival advanced to the largest rock music festival in China with up to 80000 visitors and over 100 bands. Both the school and the festival supported the underground scene in China and opened the door for over 18 foreign bands in 2006 to perform at the festival and throughout the country. (i.e. Alev, Monokino, Yokohama Music Association, The Wombats, etc.). 1
In addition to the Midi school, the Painkiller Heavy Music Magazine started efforts to bring bands such as Edguy, Lacrimosa and Hatesphere to China and organized China tours for them. Especially in the metal and gothic genre these tours are considered milestones in China.
A major drawback for the music scene in general was the cancellation of several events leading up to the 2008 Olympic Games, including the 2008 Sichuan Earthquake. The 2008 Midi Modern Music Festival was cancelled (cancellation note) and delayed to October 2008, the Soilwork gig (preannouncement) had to be cancelled, as the band did not receive their visas and the German Esplanade in Chongqing was stopped by the organizers (change note).
The Sichuan Earthquake in general shook the music scene and spawned dozens of "We are together" and "Think of Sichuan" gigs and charity events throughout Beijing and other cities.
| "Village Attacks City" | |
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| An aggressive rock song by Cui Jian that is quite different compared to gangtai style music | |
| "Persistence" | |
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| A country style Chinese rock song by Tian Zhen | |
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Beijing sounds, mostly language, through foreign ears.
Tao Laoshi (er shi yi sui) and
Wang Laoshi (jiu shi si sui)
Is a recent blog I learned about, really useful and very funny information that will improve your Mandarin, with a Beijing accent... ERRRRRRRRRRR!!!!
For your Learning Opportunity, find other interesting Blogs about Chinese language from around the world, and share with your classmates, so we can all become fluent faster!
Dashan (大山, pinyin: Dàshān, lit. "Big Mountain") is the Chinese stage name adopted by Canadian Mark Henry Rowswell CM (born 1965 in Ottawa, Ontario) who works as a freelance performer in China. Relatively unknown in the West, Dashan is perhaps the most famous Western performer in China, where he occupies a unique position as a foreign national who has become a bona fide domestic celebrity. BBC stated on June 14, 2008, that Rowswell "has been China's most famous foreigner since 1988. His fame is predicated on his ability to speak Mandarin Chinese better than many Chinese."[1] Rowswell attended high school at Nepean High School in Ottawa, Ontario. Rowswell began studying Chinese while attending the University of Toronto in 1984. His original Chinese name, as given by his Canadian Chinese-language teacher, was Lu Shiwei (路士伟). Upon graduation from the University of Toronto in 1988, Rowswell was awarded a full scholarship to continue Chinese language studies at Peking University
Following Rowswell's first appearance as "Dashan", he began formal study of xiangsheng (a traditional form of "crosstalk" comedy) with his mentor, China's foremost comedian Jiang Kun. In December 1989, Dashan became the first foreigner to be formally accepted into the strict xiangsheng hierarchy as a member of the "9th generation," a move that caused considerable controversy in Chinese performing arts circles at the time. Xiangsheng is often called "the art of comedic language", and as such is regarded in China as a highly skilled form of performing art beyond the reach of most native speakers, much less a foreigner.
Through the 1990s, Dashan appeared frequently on national and regional television programs across China to perform xiangsheng, including several appearances on CCTV's annual television program celebrating the Chinese New Year Gala Chunjie Wanhui (春节晚会) in 1998 and 1999. This program is easily the most influential annual television event in China, with an estimated audience of 900 million to 1 billion viewers. Appearances on this and other programs gained Dashan wide recognition throughout China.