2012年2月28日 星期二

Abraham Lincoln " The Shoemaker's Son "

Abraham Lincoln " The Shoemaker's Son "

Abraham Lincoln was the son of a shoemaker and he became the president of America. Naturally all the aristocrats were tremendously disturbed, annoyed, irritated.


On the first day, when he was going to give his inaugural address to the Senate, just as he was going to stand up, one ugly aristocrat stood up and he said "Mr. Lincoln although by some accident you have become the president of country, don't forget that you used to come with your father to my house to prepare shoes for our family. And there are many senators who are wearing the shoes made by your father"

He was thinking he can humiliate him.

Abraham Lincoln said something which should be remembered by everyone. He said
"I am very grateful to you for reminding me of my father just before I give my address to the Senate. My father was so beautiful, and such a creative artist-there was no other man who could make such beautiful shoes. I know perfectly well that whatever I do, I will never be such a great president as he was a great creator. I can not surpass him.

But by the ways, I want to remind all you aristocrats that if the shoes made by my father are pinching you, I have also learned the art with him. I am not great shoemaker, but at least I can correct your shoes. You just inform me, I will come to your house".


There was a great silence in the Senate, senator understood that it was impossible to humiliate this person. Only small people, suffering from inferiority, can be humiliated; the greatest of human beings are beyond humiliations.

在林肯當選總統時,整個參議院的議員都感到尷尬,因為林肯的父親是個鞋匠。

當時美國的參議員大部分出身 望族,自認為是上流、優越的人,從未料到要面對總統是一個卑微的鞋匠的兒子。

於是,林肯一次在參議院演說 之前,就有參議員計劃要羞辱他。

在林肯站在演講台的時候,有一位態度傲慢的參議員站起來說:「 林肯 先生,在你開始演講之前,我希望你記住,你是一個鞋匠的兒子。」!

所有議員都大笑了起來,為自己雖然不能打敗林肯而能羞辱他開懷不已。

林肯等到大家的笑聲歇止,坦 然地說:「我非常感激你使我想起我的父親,他已經過世了,我一定會永遠記住你的忠告,
我永遠是鞋匠的兒子,我知道我做總統永遠無法像我父親做鞋匠做得那麼好。」

參議院陷入一片靜默,林肯轉頭對那個傲慢的參議員說:「就我所知,我父親以前也為你的家人做鞋子,如果你的鞋不合腳,我可以幫你改正它,雖然我不是偉大的鞋匠,但是我從小就跟隨父親學到了做鞋子的藝術。」

然後他對所有的參議員說: 「對參議院裡的任何人都一樣,如果你們穿的那雙鞋是我父親做的,而它們需要修理或改善,我一定盡可能幫忙,但是有一件事是可以確定的,我無法像他那麼偉大,他的手藝是無人能比。」
說到這裡,林肯流下了眼淚,所有的嘲笑聲全部化為掌聲。

林肯沒有成為偉大的鞋匠,但成為偉大的總統,他最偉大的品質,正是他永遠不忘記自己是鞋匠的兒子,並引以為榮。

尊嚴是人類靈魂中不可蹧蹋的東西,只有在你能夠坦率、真誠地面對自己的時候,你才會真正尊重你自己,並且贏得別人的尊重。那些懂得尊重自己的人,才會去尊重別人。




沈斯淳/外交部的狗屁中文

〔記者范正祥/台北報導〕外交部昨宣布,駐日代表馮寄台請辭已准退職,特派外交部常次沈斯淳為駐日代表。外交部長楊進添形容,這是「精挑細選」的安排,未來將持續拓展及強化台灣與日本的密切友好關係。

請辭駐日代表的馮寄台昨接受中央社採訪指出,日本方面及日本交流協會對沈斯淳已表歡迎之意,他深信以沈斯淳的條件與對日本的了解必能勝任。

對於外界質疑沈斯淳「沒有特別日本的背景」,「不會說日文」,「日方會不會覺得派此人來好像不很重視日本?」楊進添反駁說,沈斯淳擔任常次時負責督導亞東 關係協會的業務,是直接督導台灣對日本關係的業務,也是外交部對日本的最高階官員,怎麼會是不重視與日本的關係?相反地,這還是「精挑細選」的人選。

楊進添透露,外界不知道,沈斯淳自修勤學日語多年,對日語有基礎,熟知日本國情,並對日本事務及台日關係的發展多所研究,「沈斯淳督導對日業務是歷年來成效最多的」。

不會說日文? 沈︰半年內用日文演講

針對外界質疑「不會說日文」,沈斯淳受訪時宣示說,「到任半年之內用日文做公開演講」,以具體行動消除外界質疑。

沈斯淳表示,就讀大學時期已開始研習日文,平日也經常閱讀日文報章雜誌,修過日文課程,推動對日工作,「會使用日文溝通」。

外交部的狗屁中文

關於馮寄台請辭及政府所作考量,外交部說,「馮代表階段性任務已完成,另由於渠侍母至孝,亟盼返國就近照顧,爰曾多次請辭,政府考量馮代表個人情形,同意予以退職。」楊進添稱許馮寄台駐日三年半期間,完成多項重要任務,全力推動台灣與日本「特別夥伴關係」。

沈斯淳畢業於台大政治系,現年五十八歲,投入外交工作超過卅二年,歷任駐溫哥華辦事處長、駐加拿大副代表、國組司長、亞西司長、駐捷克代表、外交部主秘等職,部內給予「外交經驗及歷練完整豐富」評語。

沈斯淳擔任國組司長任內,曾與當時的國貿局副局長梁國新率團前往北京,和第十三屆亞太經合會第一次資深官員會議主席、中國外交部副部長王光亞舉行雙邊會談,是台灣外交部官員中,與中國方面的外交官有過應對經驗者。

2012年2月19日 星期日

Whitney Houston, I WILL ALWAYS LOVE YOU.

Whitney Houston's Ten Most Memorable Songs
Rick Maiman / Sygma / Corbis
American pop singer Whitney Houston.

1. Whitney Houston's Ten Most Memorable Songs

By TIME Staff

Upon the death of the pop superstar, TIME looks at ten of her best tunes — from "Saving All My Love For You" to "I Will Always Love You."



The L.A. Times music blog

Whitney Houston: 6 performances from the legendary singer [Video]

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Whitney Houston, who died Saturday in Beverly Hills, burst on the scene with her debut album in February 1985.

There have been turbulent times in the last decade or so, but Houston's status as one of the top-selling female singers ever is not questioned.

As of 2010, Houston had won the most awards of any female artist ever--415--according to Guinness World Records, including two Emmys, six Grammys, 30 Billboard Music Awards and 22 American Music Awards.

PHOTOS: Whitney Houston | 1963-2012

Here are a few of the performances from the artist often nicknamed "The Voice."

"I Will Always Love You" (1994)

Houston brought down the house at the 1994 Grammys with her cover of “I Will Always Love You.” The hit song, made popular by the film “The Bodyguard,” also helped land her three Grammys that same year. She won for best female pop vocal performance for the song, as well as album and record of the year for the film’s soundtrack.

"Star-Spangled Banner" (1991)

One of the most popular versions ever sang, "The Star-Spangled Banner" was performed by Houston at Super Bowl XXV in 1991. The single was so touted that it was later released as a single and became the only version of the song to be certified platinum.

"Didn't We Almost Have It All" (1988)

In 1988, stars like Houston and Tracy Chapman traveled to London to celebrate Nelson Mandela’s 70th birthday with a tribute. With Mandela still in prison, the highly political concert was also known as Freedomfest. Before singing “Didn’t We Almost Have It All,” Houston told a reporter, “I think [this day] is important to me and a whole world of people. I think it makes them aware that one courageous individual has been in prison for so long and taken away from his family, the closeness of his family, you know, physically."

"That's What Friends Are For" (1987)

Houston took the stage with three fellow giants of popular music, Luther Vandross, Stevie Wonder and her cousin Dionne Warwick, at the 1987 Soul Train Music Awards. Together the makeshift group belted out Burt Bacharach and Carole Bayer Sager’s “That’s What Friends Are For” for the crowd.

"Saving All My Love" (1985)

One of Houston's earliest television performances was on David Letterman's show "Late Night," and she sang one of her biggest early hits from her debut album. The songstress had been on "The Merv Griffin Show," but this performance helped spread her early fame.

"I'm Every Woman" (1994 performance)

This hit remake of Chaka Khan's "I'm Every Woman" featured a pregnant Houston on the music video, and became something of a female anthem worldwide, as this performance later in Brazil illustrates. The song, written by songwriting duo Nickolas Ashford and Valerie Simpson, was another hit from "The Bodyguard" soundtrack.

RELATED:

Body moved to morgue

Determining cause to take time

Autopsy planned in next 24 hours

Obituary: Troubled pop titan is dead at 48

TIMELINE: Whitney Houston highs and lows

Medics performed CPR for about 20 minutes

Hotel guest describes scene at Beverly Hilton

VIDEO: Watch Houston's earliest TV appearances

PHOTOS: Stars, friends react to the stunning news

Whitney Houston spotted displaying erratic behavior

Appreciation: A voice for the ages tarnished by addictions

-- Emily Christianson and Jevon Phillips

Photo: Whitney Houston. Credit: Associated Press


2/19: 看末半小時

Whitney Houston funeral in New Jersey
牧師的好話和歌唱禱告(共4時 BBC/CNN竟全程轉播)

Friends and family are attending the funeral of Whitney Houston, who died last week aged 48.

Kevin Costner, her co-star in The Bodyguard, paid tribute to the star, at the New Hope Baptist Church in Newark, New Jersey.

Alicia Keys and Stevie Wonder were among those who sang during the service.

Officials are still waiting for the results of toxicology tests that will help them ascertain how Whitney Houston died.

 



2012年2月13日 星期一

鳳飛飛 (林秋鸞)

2012/2/13日起 台灣許多人說
鳳飛飛處理他的死訊 真不簡單.....
"13日,台灣樂壇急發重磅消息,影響一代人的“帽子歌后”鳳飛飛,于1月3日凌晨3點19分因肺癌在香港去世,享年60歲。她的骨灰已於2月12日安置在台灣大溪佛光山寶塔寺。
"
他是台灣巨星....



鳳飛飛- 维基百科,自由的百科全书


鳳飛飛(1953年8月20日-2012年1月3日),本名林秋鸞臺灣著名歌后級人物,在華人歌壇具有舉足輕重的地位,中華民國臺灣桃園縣大溪鎮人,臺灣歌星綜藝節目主持人,有「帽子歌后」美譽[1]1980年(27歲)時嫁給香港旅遊業者趙宏琦,於1989年生子。鳳飛飛於2012年1月3日凌晨3點19分因為肺癌在香港法國醫院過世,長眠於桃園大溪鎮佛光山寶塔寺。[2]
鳳飛飛
鳳飛飛.jpg
女歌手
本名 林秋鸞
羅馬拼音 Fong Fei-fei
暱稱 帽子歌后、鳳姐
別名 林茜
國籍 中華民國
出生 1953年8月20日
中華民國 台灣桃園縣大溪鎮
逝世 2012年1月3日 (58歲)
香港聖德肋撒醫院
職業 歌手女演員主持人
語言 國語台語日語
配偶 趙宏琦1939年2009年
(已歿,享年70歲)
兒女 一子趙彣霖 - 1989年2月(22–23歲)
活躍年代 1968年-2011年
唱片公司 海山唱片(1972-1976)
歌林公司音樂出版部(1976-1980)
東尼機構(1981)
歌林公司音樂出版部(1981-1983)
北聯唱片(1984-1985)
歌林公司音樂出版部(1986)
藍與白唱片(1987-1988)
真善美聲視(1990-1991)
科藝百代(1992-1997)
環球國際音樂(2003)
金牌大風音樂(2009)
網站 鳳飛飛歌唱之旅
獎項 參照獎項

2012年2月6日 星期一

董浩雲/ 張榮發

C. Y. TUNG,《董浩雲日記》與《董浩雲的世界》 提到 董要台灣政府繼續貸款支持他時
他發現張榮發已經布好人脈....

不過我們可以比較他倆的出書方式和水準
董浩雲知道學術
張榮發的書 這20多年來 不管是中英文的 都是採取平民路線



由張榮發口述的新書「鐵意志與柔軟心─張榮發的33個人生態度」,今年2月出版,書中暢談張榮發從當船員到白手起家,並且創立長榮集團的故事;書中更清楚紀錄張榮發經營的理念和對於公益的堅持,也描述他如何要求基金會訪查員幫忙窮苦人家。

2012年2月4日 星期六

Instant Noodles 泡麵團

Instant Noodles 泡麵團 部落格

Taiwanese America`s Best Dance Crew: Interview with Instant Noodles Crew
Just cause they`re the only Taiwanese American dance crew doesn`t mean that they can`t still legitimately be our favorite Taiwanese American dance crew. Right?


by Ada Tseng

Date Published: 01/31/2012

Instant Noodles. (Clockwise from left: Geo Lee, Chuck Maa, Mike Yang, Rob Tsai, Chris Kuo, Arthur Lien, Charles Lee). Photo by Rowena Aquino.

As soon as the b-boys of Instant Noodles showed up for our video interview, we were bombarded by a charming frenzy of infectious energy: seven energetic handshakes, seven bodies to somehow situate around three makeshift chairs, and seven friendly voices -- eager to answer questions, enthusiastically interrupting each other to add side comments, and of course, hyping each other up whenever they got a chance.

Featured on the sixth season of America's Best Dance Crew in 2011, Instant Noodles is a nine-member b-boy crew (the other two are Aya Lee and Tom Tsai) who most recently took home 3rd place at the 2011 Hip Hop International World Championship. According to their mission statement, the crew prides themselves on three things: 1) paying tribute to their roots, 2) aspiring to innovate, and 3) always remembering not to take life too seriously -- which might explain why they have named themselves after a precooked food product invented by Taiwan-born Momofuku Ando and adopted a hand sign where they throw imaginary noodles at their audiences.

We caught them in San Diego, in town to perform at the San Diego Asian Film Festival Gala Awards Dinner. The boys chatted about everything from dancing in Taipei American School, practicing late nights to prepare for America's Best Dance Crew, signing T-shirts (and body parts) for Instant Noodles fans, and dabbling in freestyle rapping.

What was that last part? According to Geo Lee, when they're stuck on long car rides between shows, they practice freestyle rapping. Lee, Arthur Lien, and Chris Kuo have started a new division of Instant Noodles Crew called Rap City Kings. ("Surprisingly, Arthur has gotten really good," Lee says. "He got to do a little bit of freestyle rap onstage at Hip Hop International. It was crazy.") They even started a Facebook page for Rap City Kings, which at the time of the interview had 35 "likes."

In our interview below, you'll see Kuo throw down the gauntlet: "Basically, when it reaches 50 [likes], we're going to make a rap video."

For the record, as of January 31, 2012, there are 54 "likes," seven freestyle rap posts, but so far 0 ridiculously awesome rap music videos. What's the deal?

Looks like they're busy dancing or something....

Interview with Instant Noodles
October 21, 2011
Interviewed by Ada Tseng
Camera and video edit by Brian Lam

APA: Can you start by telling us how Instant Noodles formed?

Chuck: Originally, it started as me, Geo, and Rob. We've actually been dancing for a really long time. We've known each other since 7th grade. [Geo and Rob] have known each other since kindergarten. We started dancing in high school just for fun, and when we moved over to America, we started Instant Noodles in '03. It was just us three, because we wanted to battle.

Geo came up with the name, [Instant Noodles,] after we were eating in a Chinese restaurant. We wanted a name, but we didn't want to make something too serious, like... Master Groundwork Control Team. [laughs]

Arthur: [laughing] That sounded really good!

Chuck: We decided to go with something really fun. A lot of the b-boys we looked up to had funny names, like Crumbs or Remind. They were names that didn't really mean anything, but because they were so good, we thought those names were the best names in the world. So we wanted the same for the name that we chose. [Pauses] Rob didnt' like it at first.

Rob: Yea. I thought it was a ridiculous name.

Chuck: But we made it so good that he likes it now! That's the whole point!

Later on, these cats joined in: Chris, then Mike and Charles. Arthur just joined a year and a half ago. We are all from the same high school [Taipei American School], so we have a good connection and the same type of background, and we get along really well. We started doing shows in '09, and then we were lucky enough to be on ABDC [America's Best Dance Crew]. And after ABDC, we did the HHI [Hip Hop International] World Finals, and we did really well there: 3rd place in the world.

Photo by Sylvia Gunde.

APA: Can you give me an image of what it was like dancing at Taipei American School?

Geo: We started outside of a gym. It was an outdoor kind of area, and there was red brick and tiles. Back then, we were really young, so we'd just dance on this really hard ground. No knee pads. We didn't really know what we were doing. We were just trying moves that we saw in videos, but it wasn't until we met one of our other crew members, Aya, who still lives in Taiwan now, that we were introduced to the b-boy scene and history. He introduced us to the fundamentals and culture of b-boying, and that's when we really grew to appreciate and love the b-boy style and b-boy culture. It all started at TAS. From there, after we graduated high school, we came to America.

We didn't meet [the rest of the crew] until we went back to TAS during our college summer vacations. We'd go back to Taiwan, and we realized there was a younger generation of Taipei American School [dancers], and it was really cool how we connected. After they graduated, they ended up in Southern California. So it's really awesome for us all being from Taiwan, all starting in Taipei American School, and now being out here and representing.

Rob: While we were in school, we actually had the first IB [International Baccalaureate] dance program which started in 2002. A lot of us knew that we liked breaking, but it was through IB dance that we learned about dance from a cultural standpoint. And because of that, we were able to appreciate other forms of dance.

APA: Did you guys [the younger "generation," Arthur, Charles, Mike, and Chris] grow up with a similar type of experience?

Charles: My dance experience at TAS was pretty much the same that Rob described. In middle school, they have all these elective classes, like Woodshop, and there was Movement. For all three years -- 6th, 7th, 8th grade -- I kept getting put in Movement class even though I wanted Workshop so bad. [laughs] By 9th grade, I realized I didn't mind taking another year of dance. It was a confidence booster. The teachers there know how to teach dance through passion -- not just "You need to point your toes. You need to do this and that." They said, "You need to love dance, and you will be really successful at it." That's what really matters, and that's what really stuck with me.

We also had our little group of breakers. The first reason for starting to break together was to show off and be cool -- you know, trying to get girls. [laughs] But after a while, you realize it's about more than impressing other people. After a while, you start losing yourself in it. Aya taught us that there is more to dance than just headspins, flares, and the gymnastics and athletic sparks. The feeling of dance, the creative process, there's so much to it, and he made me realize that dance is limitless, and you can go forever and ever with it.

Arthur: Before I started dancing at TAS, I was really, really chubby. [laughs] I didn't start dancing until my senior year of high school. I knew Mike and Charles, but I actually didn't meet Geo until I went to UCI [University of California, Irvine] with him. For me, it's really crazy that I became a part of this crew, because when I started dancing, I really looked up to them. I didn't know them, so I never thought I'd be a part of their crew.

Charles: Back in the day, when I would watch trailers of the Instant Noodles Crew, and there were only three people in it. [laughs] You don't really watch it because you want to be wow-ed by cool tricks. If you're in love with breaking, you want to watch people creating different things. Watching Instant Noodles, especially knowing that they're from Taiwan and they're my seniors, it was cool to see what kind of dance they prefer. And it was similar to what we were doing and what we liked. Knowing that these guys [Instant Noodles] were out in California, [Mike and I] were like, "Oh, when we get out there, we'll have a crew to battle with!" And Instant Noodles was like "Sick!"

Photo by Sylvia Gunde.


APA: How did you guys come up with your the Instant Noodles hand sign?

Geo: It was [Rob] and Tom.

Rob: This hand sign.... Some people see it and they're like, "God, it's so stupid. Come on." [laughs]

Basically, there was one time in a battle, where somebody did this [a derogatory hand gesture] to me. In the b-boy battling culture, it's a diss. So what happened was, I looked down, and [the hand gesture] was like a bowl, and then my other hand [making a peace sign] was like chopsticks, so I was like, "I'm throwing my noodles at you!"

[laughs] So much of it is spontaneous. The best things that happen come naturally. When we have to force things, we realize that's the worst thing ever.

Arthur: Geo would like to explain why our hand sign is the best sign ever.

Geo: Yes, the Instant Noodles hand sign is the best hand sign because it's interactive. A lot of times on the show, even from far away, they'll hold the bowl at you, and they can interact with you. They can throw the noodles at you, and people get really into it. Other hand signs are sometimes harder to do, or they're not as interactive, or it's stationary. Ours is interactive! People love interaction!

Arthur: Maybe people just like noodles.

APA: As a crew, do you guys each have your own specific roles and specialties?

Geo: What I really love about our crew is that it's often a group effort. A lot of dance crews will have one or a few choreographers that choreograph everything, but we really like to work together to develop our pieces because we want everyone's input. I always feel that our best work has been a collaboration of everyone's ideas. We'll find different parts of the music that will feel like certain people's styles, and certain people's artistic visions can create the best [moves] for the music. And whoever has an idea can head that idea, and everyone can chime in and improve that idea. We do go through arguments and opinions, but I feel like it's worth it, because the extra time we spend on it allows us to create something that we're all proud of. I think that's what produces a more unique style for us.

Mike: I feel like all of us realized who we were through our ABDC journey. Throughout the weeks, you get about two days to put on a show. You get the music on Thursday, and on Saturday, the executive producers have to see it. And that really forced us to work together and separate the songs into parts. From that, we learned that by working in pairs, it was easy for us to get everything together.Me and Arthur -- the way we think about things is similar. Rob and Charles focus a lot on movement quality, so that makes them a good pair. Geo and Chuck focus more on steps and musicality. So that's how everyone works together in our group.

Photo by Sylvia Gunde.

APA: What do you guys feel you bring from your Taiwanese background that's different than other dancers?

Rob: It's kind of hard to answer that question sometimes, because Taiwan itself is in such a gray area. Not just their identity as people, but political identity and social identity and global identity -- as well as whether Taiwan exists, in terms of being recognized by nations. So what is Taiwanese identity? Being thrust in the limelight the way we have has made me question that more because people ask a lot. And we can't really be like, "Well, salsa is the cultural dance that we have in Taiwan." You know what I mean?

It's hard to pinpoint an exact thing that is Taiwanese that we put into our dance. For me, the question of Taiwanese identity has always been in my head, even if I wasn't conscious of it, and I think for all of us, there's the idea of personal style, developing a personal way of dancing, knowing that when we move the way we want to move, that we're making a choice about our identity. And that is kind of driven by the thought: "What is Taiwan? What does that mean to me?" That's why dance means so much to us: it's something we know for sure we can call our own.

APA: You guys are kind of putting a face to Taiwanese dance.

Rob: That's crazy. It's funny, because on a flyer, somebody recently put "Featuring Instant Noodles Dance Crew, the best Taiwanese dance crew in America." And we were like, "I think we're the only Taiwanese dance crew in America." [laughs]



APA: How have your lives changed after America's Best Dance Crew?

Chuck: Being able to not audition for things is definitely nice. Having people want us to perform is really cool. We have some mediocre fame within the Asian community. When people come up to have us sign their caps of T-shirts -- or bodies -- it's always like "You want my signature? [laughs] You sure you want to ruin this shirt?" It's crazy to us that we have that type of impact on people. People coming up to us and saying we inspire them, makes it all worth it.

Geo: The kind of pressure changed. The difference is that after we did ABDC, it put us in the forefront of representing Taiwanese Americans or Asian Americans in the American dance culture, and I think that's a different kind of pressure. Now that we represent Taiwanese Americans, and we have so many Taiwanese fans or Asian fans in general that go "Yay, Go Instant Noodles!" -- there's a bigger picture.

When we went back to Taiwan, and we got to perform for people in our homeland, it was the craziest thing. They were so proud that we went to America, and we reached a point of success where we could represent Taiwanese Americans on such a big platform. I think it just gives us a responsibly to work harder, because we're representing a bigger cause. Whereas before, we were just doing it because we love to do it. And we still love to dance, but now we're a representation Taiwanese Americans who are pursuing dance and pursuing art.

Chris: I know a lot of Asian families have difficulties with their kids pursuing art, which is weird because a lot of Asian kids take piano classes and violin classes and are touched by art at a young age. My experience was opposite, because when I found dance, my parents were actually really supportive. I don't know why. I think it was because my parents grew up here [in the US] in the '70s, and they were kind of like hippies. [laughs] But my aunts and uncles questioned it more: "Why are you letting your kid dance?"

My dad was always like, "Why can't my son dance? The world has dancers. The world needs dancers. He could be one of them."


For more on Instant Noodles, go to their official website, Facebook page, YouTube site, or watch their most recent "Taipei-2-LA" dance video below.

2012年2月3日 星期五

張平宜和朋友們協助四川興學

他們其實是一群人 我幾年前聽一位攝影工作者說他們的故事


曾任職《中國時報》記者的張平宜,12年來全心幫助大陸西南山區麻瘋病村孩子,昨天脫穎而出當選「2011感動中國人物」,成為10年來首位得獎的台灣人。

張平宜- 维基百科,自由的百科全书

張平宜(1959年5月8日-),出生於台灣雲林斗六,國立臺灣師範大學社會教育系畢業,曾經擔任《中國時報》記者,喜歡歷史和偏愛弱勢議題。因採訪中國大陸偏遠地區 ...

2011-01-15公視晚間新聞(昔日採訪結緣張平宜助四川興學) - YouTube

www.youtube.com/watch?v=8g77xXZ1x5E2011年1月15日 - 2 分鐘 - 上傳者:pts
"在四川越西縣有一個「麻風村」,原本是一個與世隔絕的村落,村裡的孩子,沒有身分 證,也全都是文盲,十多年前一位台灣記者因為採訪而結緣, ...

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