關於 first impression example ，我們在網路上蒐集到這些相關的討論、資訊與評價

【玳瑚師父客人見證】《玳瑚師父好厲害》
The Great Power of Master Dai Hu

文 / 吳女士
Written by: Ms Goh

非常感恩菩薩的慈悲，明明之中通過姐姐的介紹，讓我有機會認識師父。 姐姐介紹我看師父的臉書視頻，也跟我說有機會一定要撥電話給師父。

起初，我第一次看見師父的視頻， 沒有想到師父是那麼的年輕、英俊的師父😍。 心想這位師父這麼年輕，會厲害嗎？

在慢慢的繼續看視頻，讓我越來越想要撥電話給師父，希望師父能幫我改善我的生活。

將近15年來，我的胃因為工作的原因而出現了問題。 這問題看了好幾位醫生都沒法解決，可說是無藥可救。 我的身體就好比住了一隻活貓。 不能控制的，時不時就會發出貓叫聲，不騙你。 有時就像小貓肚子餓找食物的聲音，有時就像大貓要打架的聲音。同事聽了都會開玩笑，還給我取小名為貓貓 ＂Kitty＂。在去年，新上司一聽到就皺眉頭，今年，年頭也因為這怪聲而被罵，哭到我眼睛腫到幾乎不能打開。工作的壓力、身體的問題，讓心情、心靈越來越不好。有時就想拿把刀切開肚子，把那只貓給抓出來。每當想起被罵的那一次，眼淚就不受控制的留下。😭

幾次試著撥電話給師父都打不通。天天在想， 天天心裡祈求，師父幫我。

在8月4日那天，感謝菩薩慈悲，感謝師父給我機會，電話的另一端不是電話錄音，而是師父的慈祥的聲音！我非常的開心，開心到一直在流眼淚，這是極度歡喜的眼淚。❤️

我非常的贊嘆師父的厲害！對於玄學、看八字非常的厲害。 他比我更瞭解我自己。

我對師父說，師父好像裝了閉路電視在我家。 師父所說的句句都對。百發百中！🎯
為師父掌聲鼓勵鼓勵！！👏🏻👏🏻👏🏻👏🏻👏🏻

師父說我適合吃西餐、日本餐，什麼餐都好就是不能吃麵條。因為面不適合我的五行。師父怎麼知道😲？我真的幾乎是餐餐都是麵條！因為胃不好，所以我喜歡吃面湯。

自從我聽了師父的話，不再吃麵條，也聽了師父的話，把我20多年的長髮給剪了，還做了一些有益我五行的改變，還有通過念經。

我看到了改變！ 最讓我開心的是不用吃藥，跟隨我多年的＂貓＂病，這兩個多月都沒出現了。😄

就連我的同事也發覺了，說好久沒聽見貓的聲音。似乎已經跑掉了！工作上也比以前順利。心情也比以前平靜了好多💖

真的非常非常感恩師父❤️🙏🏻玳瑚師父988波道給我機會和力量向善向上。❤️

師父真的很棒！真的好厲害！💕👏🏻👏🏻👏🏻👏🏻👏🏻

南無阿彌陀佛🙏🏻

———————

I'm very grateful for Bodhisattva's Great Compassion for playing the role of a middleman. Through my Elder Sister, I got to know Master Dai Hu. My Sis encouraged me to look at Master Dai Hu's Facebook’s posts and told me that I should try to make a call to Master Dai Hu.

When I first saw Master Dai Hu's Facebook video, my first impression of Master Dai Hu was, he was so young and handsome-looking. I was thinking in the back of my mind, what great power will he have, for him being so young?

Gradually, after watching many Master Dai Hu's videos, my craving to want to look for Master Dai Hu's help grew greater. I wish that he could help me.

For the past 15 years, I developed gastric issue due to the nature of my work. I had sought help from many doctors but they couldn't seem to cure me. There was literally no cure to my condition. My stomach often involuntary made cat meowing sounds. It wasn't a joke. Even my doctors was puzzled by my sounds. But no treatment and medication could totally cured it. I often laugh and tell people that I swallow a cat alive. And this "cat" is living inside me. The involuntary sounds I made can seem like a small kitten looking for food from its mother. Sometime, it will sound like angry big cats going to engage into a fight. I often got teased by my colleagues. They even gave me a nickname "Kitty".

Things started to get worse this year, after I got transferred to a new department. Although I had explained to my "cat" issue to my new manager, she didn't seem to empathise with my condition. She would frown whenever she heard my meowing sounds. I felt so alien.

In the beginning of this year, there was an incident that happened, I was scolded by a senior for the sound I made. I felt so sad that I cried so bad. Both my eyes swelled until I couldn't even open them the next day. The stress from work and worsening health condition put me on the verge of depression. I was so angry, negative and frustrated with myself. I would often think of taking a knife to cut open my stomach to take that "cat" out of my body. Even till now, whenever I think of the scolding incident that happened, my eyes will well with tears.

After failing to call through Master Dai Hu a couple of times . I pray daily, prayed that one day Master Dai Hu will answer my call for help.

I want to thank Bodhisattva & Master Dai Hu for my wish comes true. On 4th August, the phone call didn't end in voicemail. It was Master Dai Hu's calming voice coming from the other end of the phone. I was so rejoiced! Tears of happiness kept flowing down my cheeks during my conversation with Master Dai Hu.

I am very impressed by the great power of Master Dai Hu. His accuracy in Chinese Metaphysics and Bazi is more than superb! He knows more about me than I know myself. I laughed telling Master Dai Hu, he must have installed CCTV at every corner of my house. Whatever he said, was so right! He deserves more than a round of applause 👏🏻👏🏻👏🏻👏🏻

Master Dai Hu told me that I'm suitable to eat any types of food, for example western food, Japanese food. All types of food except noodles. Noodles doesn't suit my five elements. I didn't even tell him that due to my stomach issue, I consumed noodle soup almost daily, as it is warm and light to my problematic stomach.

Ever since I adhered to Master Dai Hu's advice, I had stopped eating noodle, cut away my 20+years of long hair and did some changes that suited my five elements, and began reciting the name of Bodhisattva.

I saw changes! Without taking any medication, the "Cat" that lives within me seem to vanish! For more than 2 months! Even my colleagues notice. They said they had not heard my cat cries. I finally behaves normal, Good normal. My work is smoother. My mood seems calmer, peaceful. Life is more positive. I'm really happy. ❤️😇

I'm really very grateful for Master Dai Hu. ❤️
Thank you Master Dai Hu for creating Master Dai Hu Channel 988; for giving me a chance to learn.

【水世界】的前製設定與現場劇照

WATERWORLD (1995)
In celebration of today’s anniversary of this wet mess/epic. Let’s celebrate the hard work this crew put into bringing this world to life. Water movies are never easy but when it comes to this movie anytime you bring it up and a crew member from it is in earshot, the stories pour out. Not always bad, I know a AC that said he had a blast, he loved the boat rides out and all the camaraderie the crew had to have to get thru it. To all the crew that helped bring WATERWORLD to life, We salute you and thanks for the memories. I personally enjoy this hot mess of a movie, it’s one of the last ones of its kind...done practically...in a way.
let’s take a deepest of dives into WATERWORLD

The director, Kevin Reynolds, knew there would be problems before production had even started, “During pre-production. Because having never shot on water to that extent before, I didn’t really realise what I was in for. I talked to Spielberg about it because he’d gone to do Jaws, and I remember, he said to me, “Oh, I would never shoot another picture on water”.
“When we were doing the budget for the picture, and the head of the studio, Sid Sheinberg, we were talking about it and I said, “Steven told me that on Jaws the schedule for the picture was 55 days, and they ended up shooting a 155 days”. Because of the water. And he sat there for a moment and he said, “You know, I’m not sure about the days, but I do know they went a hundred percent over budget”. And so, Universal knew the potential problems of shooting on water. It’s monstrous.”
The film began with a projected budget of $100 million which had reportedly increased to $175 million by the end of production. The principle photography had overrun for at least thirty days more than originally planned due to one major decision.

Whereas today they would film in water tanks with partially built sets, employing green screens to fake the locations, back in 1995 they decided to build everything full size and shoot out on the ocean.

This causes extra logistical problems on top of those that already come with making a major action blockbuster. Cast and crew have to be transported to sets. The camera boats and sets float out of position and will have to be reset between takes taking up valuable production time.

The first draft of Waterworld was written by Peter Radar, a Harvard graduate who wanted to break into the film business. His contact in the film industry was Brad Kevoy, an assistant to the legendary director Roger Corman.

Roger Corman is best known for making films very quickly on a small budget. He also liked to give young talent a chance to direct and write their own films. Brad informed Peter that if he could write a Mad Max rip off, he would arrange to finance and let him direct the picture.

Radar came back and pitched the idea for what would become Waterworld. Kevoy took one look at him and said,

“Are you out of your mind? This would cost us three million dollars to make this movie!”
So Radar kept hold of the idea and decided to re-write the script but, this time, going wild. He wrote what he wanted to see on-screen, limited only by his imagination, not a real world production budget.

He managed to get the newly written script shown to a pair of producers with whom he had made contact with. They loved it and ironically they passed it onto Larry Gordon. He shared the enthusiasm saying it had the kind of cinematic possibilities he was looking for. A deal was signed on Christmas Eve of 1989.

As further script rewrites progressed, it became clear that Waterworld was too big for the Larry Gordon’s production company to undertake by themselves. In February 1992, a deal was signed with Universal Pictures to co-produce and co-finance the film. This was now six years after the first draft had been written.

Universal had signed director Kevin Reynolds to Waterworld. Whilst he was finishing his latest film, Rapa Nui, pre-production for Waterworld was already underway.

The decision was taken that the largest set for the film, known as the atoll, would be built full size. The atoll was the primary location for film and in the story served as the location for a small population of survivors.

The logic behind this decision was due to the high percentage of live action filming required in this location, as well as a huge action set piece. No sound stage would be big enough to incorporate this number of scenes and it was crucial that we see the mariner sail his boat into the atoll, turn around and set out again. A full-size construction was the only way to go as the use of miniature and special effects would be impractical.

The next problem was deciding where to build this huge set. After much research, Kawaihae Harbour in Hawaii was chosen as the location. The atoll could be constructed in the harbour and rotated when needed thus allowing for open sea in the background. Later towards the end of principle photography, the atoll could be towed out into the open sea for the filming of the big action sequences which would be impractical to shoot in an enclosed harbour.

Director Kevin Reynolds also discussed the possibility of using the same water tank as James Cameron’s The Abyss, which had filmed there around five years ago,

“We had even entertained the notion of shooting at that big nuclear reactor facility where they had shot The Abyss, to use it for our underwater tank. But we found it in such a state of disrepair that economically it just wasn’t feasible. We didn’t have as much underwater work as they did. Most of The Abyss is interiors and underwater and model work, ours is mostly surface exterior.”

The production company had originally envisioned building the atoll by linking approximately one hundred boats together and building upon this foundation, just like the characters in the film. The production crew set out to search Hawaii and get hold of as many boats as possible.

During this search, a unique boat in Honolulu caught their attention. Upon further investigation, they discovered it was built by Navitech, a subsidiary of the famous aircraft production company, Lockheed.

They approached Lockheed with the strange request of figuring out how they could build the foundations of the atoll. Lockheed found the request unusual but didn’t shy away from the challenging. They agreed to design the atoll foundation and Navitech would construct it.

Meanwhile, an 11ft miniature model of the atoll was sent out to a model ship testing facility in San Diego. Scaled wave tanks are used to determine the effects of the open sea on large scale miniature models of new untested ship designs. This would help determine what would happen with the unusual design of the atoll when it was out of the harbour.

The atoll, when finished, was approximately ¼ mile in circumference. It took three months to construct and is rumoured to cost around $22 million. As the atoll would be used out on the open sea, it required a seafaring license. Nothing like this had been done before and after much deliberation, it was eventually classed as an unmanned vessel. This meant that all cast and crew would have to vacate the set whilst it was towed into position. By the end of production, the atoll was towed out to sea a total of five times.

Shooting out on the open sea presented a series of logistical problem as Reynolds describes,

“We had an entire navy, basically – I mean, this atoll was positioned about a mile off-shore in Hawaii, it was anchored to the bottom of the ocean so it could rotate. What you don’t think about are things like, you’re shooting on this atoll to maintain this notion that there’s no dry land, you always have to shoot out to sea. Away from the land. So we chose a location where we had about a 180 degree view of open water. Nevertheless, any time when you’re shooting, there could be a ship appear in the background, or something like that, and you had to make a choice. Do I hold up the shot, wait for the ship to move out, or do we shoot and say we’re going to incur this additional cost in post-production of trying to remove the ship from the background.

And at that time, CGI was not at the point it is now, it was a bigger deal. And so, even though if you’re shooting across the atoll and you’re shooting out onto open water, when you turn around and do the reverses, for the action, you had to rotate the entire atoll, so that you’re still shooting out to open water. Those are the kinds of things that people don’t realise.

Or something as simple as – if you’re shooting a scene between two boats, and you’re trying to shoot The Mariner on his craft, another boat or whatever, you’ve got a camera boat shooting his boat, and then the other boat in the background. Well, when you’re on open water things tend to drift apart. So you have to send lines down from each of those boats to the bottom, to anchor them so that they somewhat stay in frame. When you’ve got a simple shot on land, you set up the camera position, you put people in front of the camera and then you put background in there. But when you’re on water, everything’s constantly moving apart, drifting apart, so you have to try to hold things down somewhat.

And these are simple things that you don’t really realise when you’re looking at it on film. But logistically, it’s crazy. And each day you shoot on the atoll with all those extras, we had to transport those people from dry land out to the location and so you’re getting hundreds of people through wardrobe and everything, and you’re putting them on boats, transporting them out to the atoll, and trying to get everybody in position to do a shot. And then when you break for lunch, you have to put everybody on boats and take them back in to feed them.”

The final size of the atoll was determined by the size of the Mariners boat, the trimaran. The dimensions for the trimaran were finalised very early on in pre-production, allowing all other vehicles and sets to be sized accordingly.

Production required two trimarans boats which are so called because they have three hulls. The first was based on the standard trimaran blueprint and built for speed but also had to accommodate a secret crew below decks.

During wide and aerial shots it would have to look like Costner himself was piloting the boat. In reality, a trained crew could monitor and perform the real sailing of the boat utilising specially built controls and television monitors below deck.

The second trimaran was the trawler boat which could transform into the racer through the use of special practical effects rigs. Both of these boats were constructed in France by Jeanneau. Normally this type of vessel requires a year to construct but production needed two boats in five months!

Normally once the boat had been constructed, Jeammeau would deliver it on the deck of a freighter, requiring a delivery time of around a month. This delay was unacceptable and so the trimarans were dismantled into sections and taken by a 747 air freighter to the dock Hawaii. Upon arrival, a further month was required to reassemble the boat and get them prepared for filming.

sets recreating the inside of the tanker were built using forced perspective in a huge 1000ft long warehouse which had an adjoining 2000ft field. In this field, they built the set of the oil tankers deck, again constructed using forced perspective. Using the forced perspective trick, the 500ft long set could be constructed to give the impression that it was really twice as long.

There’s more to a film than just it’s sets and filming locations. Over two thousand costumes had to be created with many of the lead actors costumes being replicated many times over due to wear and tear.

This is not an uncommon practice for film production, but due to the unique look of the people and the world they inhabit, it did create some headaches. One costume was created with so many fish scales the wardrobe department had to search the entire island of Hawaii looking for anyone who could supply in the huge quantity required.

Makeup had to use waterproof cosmetics, especially on the stunt players. As everyone had a sun burnt look, a three-sided tanning booth was setup. The extras numbering in their hundreds, with ages ranging from six to sixty-five, passed through the booth like a production line to receive their spray tan. The extras then moved onto costume before finally having their hair fixed and becoming ready for the day.

In some scenes, extras were actually painted plywood cutouts to help enhance the number of extras on the set. This can easily be seen in one particular shot on board the Deez super tanker.

Filming on the water is not only a difficult and time-consuming process but also very dangerous. It’s been reported that Jeanne Tripplehorn and Tina Majorino nearly drowned on their first day of filming.

Waterworld’s star Kevin Costner reported having a near-death experience when filming a scene in which the mariner ties himself to his catamaran to survive a storm. The pounding water caused him to black out and nearly drown.

Unbeknownst to most of the crew, Kevin Costner’s stunt double was riding his jet ski across 40 miles of open ocean between his home on Maui and the film’s set on the Big Island. When he didn’t show up for work one day, the production team phoned his wife, who informed them he had already left for work. The stunt double’s jet ski had run out of gas halfway through his “commute” and a storm had swept him farther out to sea. It took a helicopter most of the day to find him. The stunt doubles name was Laird Hamilton.

As well as the logistical problems of creating a film of this scale and on water, they also had to deal with the press who seemed intent on wanting the film to fail. Director Kevin Reynolds discusses the situation,

“It was huge, we were constantly fighting – people wanted to have bad press. That was more exciting to them than the good news. I guess the most egregious example of that that I recall was that the publicist told me that one day…we’d been out the day before and we were doing a shot where we sent two cameras up on a mast of the trimaran and we wanted to do a shot where they tilled down from the horizon down to the deck below. We’re out there, we’re anchored, we’re setting the shot up and a swell comes in, and I look over and the mast is sort of bending.

And I turned to the boatmaster and I said, “Bruno, is this safe?”. And he looks up the mast and he goes, “No”. So I said, “Okay, well, we have to get out as I can’t have two guys fall off from 40 feet up”. So, we had to break out of the set-up, and go back in a shoot something else and we lost another half-day.

Anyway, the next day the publicist is sitting in his office and he gets this call from some journalist in the States and he goes, “Okay. Don’t lie to me – I’ve had this confirmed from two different people. I want the facts, and I want to hear about the accident yesterday, we had two cameramen fall off the mast and were killed”.

And, he goes, “What are you talking about?”. And he goes, “Don’t lie to me, don’t cover this up, we know this has happened”. It didn’t happen! People were so hungry for bad news because it was much more exciting than…they just said it, and you know, it hurt us.”
Upon release, the press seemed to be disappointed that the film wasn’t the massive failure they were hoping it to be. Universal Studios told Kevin Reynolds that one critic came out of an early screening in New York and in a disappointed tone said,

“Well, it didn’t suck.”

It is true that during principle photography the slave colony set sank and had to be retrieved. However due to bad press, the rumour became much bigger and to this day when you mention the sinking set, most people assume it was the huge atoll.

During production, press nicknamed the film “Kevin’s Gate” and “Fishtar”, referring to 1980’s box office failures Heaven’s Gate and Ishtar. Heaven’s Gate failed so badly it led to the sale of United Artists Studio and has become synonymous with failure in Hollywood.

As well as the exaggerated set problems and other various production rumours, there were also difficulties with the script. In a risky move, the film was green lit and moved into production without a finalised script.

The final total is a reportedly thirty-six rewrites. One of the writers involved was Joss Whedon. Joss had worked on many scripts before becoming a director having being at the helm of both The Avengers and the sequel Avengers: Age Of Ultron. He described his experience on Waterworld as,

“Seven weeks of hell”
Everything came to a head just three weeks before the end of principle photography. Kevin Reynolds who was an old friend of Kevin Costner allegedly walked off set or was fired. There was no official statement on what happened.

When Reynolds left the production this event caused many changes to be made. Composer Mark Isham had already composed approximately two-thirds of the film’s score by the time Reynolds left and that event ultimately caused him to leave production. As Mark describes in this interview excerpt,

“Kevin Reynolds quit the film, which left me working for Kevin Costner, who listened to what I had written and wanted a completely different point of view. He basically made a completely different film — he re-cut the entire film, and in his meeting with me he expressed that he wanted a completely different approach to the score. And I said, “oh let me demonstrate that I can give that to you”, so I presented him with a demo of my approach to his approach, and he rejected that and fired me. What I find a lot in these big films, because the production schedules are so insane, that the directors have very little time to actually concentrate on the music.”
Rumours report that Costner took control of production. He directed the last few weeks of principle photography and edited the final cut of the film that was released in cinemas.

Reynolds discusses his surprise at discovering that one of the most famous scenes from what is known as the extended version, was left on the cutting room floor,

“…it would have differed from what you saw on the screen to some extent, and one of the things I’ve always been perplexed by in the version that was released, theatrically, although subsequently the longer version included it, and the reason that I did the film, was that at the very end of the picture, at the very end of the script, there’s a scene when they finally reach dry land and The Mariner’s sailing off and he leaves the two women behind, and in the script they’re standing up on this high point and they’re watching him sail away, and the little girl stumbles on something.
And they look down and clear the grass away and that’s this plaque. And it says, “Here, near this spot, 1953, Tenzing Norgay and Edmund Hillary first set foot on the summit of Everest”. And that was in script and I was like, “Oh, of course! Wow, the highest point on the planet! That would have been dry land!”. And we got it! We shot that. And they left it out of the picture. And I’m like, “Whaaat?!”. It’s like the Statue of Liberty moment in Planet of the Apes. And I was like, “Why would you leave that out?”

Written by John Abbitt | Follow John on twitter @UKFilmNerd

If any the crew cares to share any of their experiences on it please comment.
Thanks for reading
If you want more deep dives visit
https://www.facebook.com/groups/crewstories/?ref=share

【哈瓦那·古巴】English after Mandarin

義大利藝術評論家Philippe Daverio說「真正藝術包括不同方位的解讀」，需要具有「模擬兩可性或是不可捉摸性」。我覺得哈瓦那就是這樣一個獨特的城市。作為一個真正的藝術城市，哈瓦那真實體現了那種不可捉摸的面向。
Philippe Daverio, an Italian art critic, says real art includes interpretations from different perspectives and should be ambiguous or unpredictable. I think Havana, as a true city of art, genuinely reflects that unpredictability.

對於古巴的第一印象來自於社會主義風格的哈瓦那機場。外觀有棱有角，活像是隨時會翻身戰鬥的變形金剛。這點又跟注重建築與環境與人文呼應的新未來主義建築不謀而合，就像Zaha Hadid在廣州建造的那兩隻蟾蜍劇院一樣。這麽多的想像與那種所謂的藝術的模擬兩可性恰恰重合。
My first impression of Cuba came from the Havana airport with that strong socialistic flavor. The angular exterior of the terminal looks exactly like one of those Transformer robots who might spring to life and battle at any second. This coincides with the concept of neo-futurism buildings which stresses the link between buildings and their surroundings. A great example is the angular toad-like Guangzhou Opera House. All that imagination accords with the so-called ambiguity of art.

內部紅色的證照查驗關讓人感覺熱情卻又搭配共產主義的不協調。飛機上座位旁邊的古巴先生嘴裡不時哼著歌曲，機場接駁車和接機計程車上也有動感音樂。我感到困惑。
Inside the terminal is the red immigration cubicles with that yellow tint, which gives a sense of incongruity combining passion with seemingly cold communism. That reminds me of the Cuban guy next to me on the plane who was humming songs all the time. Music can also be found on the boarding gate shuttle as well as the taxi I rode to downtown Havana. I was perplexed.

我問接機的司機英文哪學來的。他說學校裡的外來語文教育中有英文的選項，但不是很受重視。司機又說歐巴馬時代古巴開始轉型經濟準備起飛。可惜目前川普打壓古巴，連房地產都低迷。從路上年輕一代的新潮穿著，我感覺到古巴已不再是舊時代的古巴了。對於古巴一切都還在摸索中。
I asked the cab driver where he learned his English. He replied that English was one of the foreign language options in school, but English was not considered important. He then started to talked about how Obama helped boost Cuba’s economy with the loosened US-Cuban tension. It was unfortunate since Trump swore in and everything had been beaten down including the travel and real estate industries. I could still spot the change from young people’s fashionable outfits. It felt like Cuba was not the old Cuba that I learned from the travel guide. Everything about Cuba was yet to be explored.

哈瓦那絕不是說英文天堂。從找住宿開始，我那卑微的西班牙文就被迫徹徹底底地運轉起來。還好事先下載了估狗翻譯裡的西文選項，加上我確實請過家教老師學習基礎西文發音，這樣勉強能與當地人溝通一下。我也懷疑憑我這樣三腳貓的西文能有什麼本事去解讀這樣一個謎一般的國度？
By all means, Havana is no heaven for English speakers. From the moment I decided to find a casa/guest house on my own, my puny Spanish vocabulary was forced to work hard. (Yeah, I only know about a couple of hundred words. Shame on me!) The good thing is that I downloaded Spanish on my Google Translate in advance. Plus I hired a private tutor to learn Spanish phonics. I somehow managed to communicate with the locals. Sometimes, I doubted how I was going to open up this mysterious nation with my lousy Spanish.

入住後第一件事情就是憑著以往旅行經驗慣例出門找超市。哪知那樣的作法在這特立獨行的國度完全不適用。在哈瓦那舊城區(Habana Vieja)的民宅區裡沒有所謂的招牌。這意味著一個社區中大多數人彼此相互認識，才能知道誰家在哪裡提供什麼樣的服務。可憐如我，為了找瓶裝水，在附近用破爛的西文「Donde esta el agua」問路。經過三個人指了不同的方向後，終於找到一位熱心的先生直接帶我去一個不起眼的窗口買水。饒是這樣我也花了將近30分鐘才順利取得珍貴的飲用水資源。
The first thing I did after I checked into a casa was to follow my routine as a traveler and find a supermarket. Who would have known that this idea completely did not work here. In some residential areas of Old Havana, shop signs simply do not exist. This probably means most people in the community know each other, and thus are aware of where to go to find services they need without shop signs. That translated into my predicament as I tried to find some bottled water in the neighborhood. I literally asked for directions with my broken Spanish, Donde esta el agua? Following three kind passersby’s help in three different directions, I found a nice guy who took me to an inconspicuous window where I finally obtained two very precious bottles of water, which took me 30 minutes for this entire water-getting process.

在找水的途中我看到了麵包店只批量生產吐司和小圓麵包、窄門裡只賣菸和酒的店家、有簡單桌椅的餐廳，以及一目了然的理髮店。這一切都沒有資本主義的招牌來包裝社區的基本運作。也因為對於這裡的無知，我將注意力集中在斑駁街道與頹傾樓房之間發出的聲響上。鍋裡油炸的聲音、收音機裡的音樂、雞啼、車子裡的動感貝斯、路人跟我說hola、先生親吻太太臉頰打波的聲響、吉娃娃的嗷叫，以及路人在街頭講公共電話的聲音—我走在街道的中央聆聽哈瓦那的脈動。當然我所在的這條街絕對不會是觀光客川流不息的Obispo步行街。總之，這裡的許多事物顛覆了我對一個城市的認知。
En route to finding water, I saw a bakery producing only toast and rolls in batch, a shop selling only cigarettes and liquors, a restaurant with simple tables and chairs, and a barbershop that you can see it all at a glance. Everything here ran basically without the packaging of capitalistic shop signs. Because of my ignorance of Cuba, I started to shift my attention to the sounds made between the mottled streets and faded buildings. Deep frying noises from a pan, music from the radio, a rooster’s crowing, pounding bass from a car stereo, hola from a passerby, smackers from a husband to his wife, a chihuahua’s barking, and someone talking on a public phone—I was walking in the middle of a small street listening to the heart beats of Old Havana. Where I was standing is surely not the tourist-flooded Obispo pedestrian zone. Regardless, my perception about what a city ought to be was totally overthrown by the things I experienced initially.

對於古巴的第一印象是新奇且難以用一般邏輯去理解的。我覺得接下來的旅程我應該放下對於一個國家既定的預期。也許這樣才能領會只屬於古巴的不可捉摸的藝術。
My first impression about Cuba was novel yet hard to understand with the common sense. I felt I needed to let go of my expectations for the country. Perhaps, that way I could grasp a touch of the unpredictable art that only belongs to Cuba.

下一篇：
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#Cuba #Havana #travel #photo #古巴 #哈瓦那 #旅行 #照片

Knowing How To Introduce Yourself And Others Will Help You Secure More Relationships, Deals, And Opportunities… Discover Dan’s 13 Biggest Business Secrets To Reach Success Much Faster In His New Book, Unlock It: http://howtointroduce.danlok.link

You only get one shot at making a first impression. And that one shot could turn out to be worth a lot. Shockingly, most people don’t know how to introduce themselves and others for success. So in this video, Dan gives you simple strategies to properly introduce and others. Watch this video to discover them now.

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This video is about How To Introduce Yourself And Others
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ใหม่ All-New Nissan Almera / Versa 2019 - 2020 นิสสัน อัลเมร่า เวอร์ซ่า โฉมใหม่ล่าสุด อวดโฉมตัวจริง พร้อมฟีเจอร์สำคัญ

FORT LAUDERDALE, FL – Surrounded by beach loving concert-goers on the shores of the Atlantic Ocean, Nissan, partnered with Live Nation to unveil its all-new 2020 Versa in the middle of a pop-up performance from popular country music star Kane Brown.

The unique introduction, at Rock the Ocean's Tortuga Music Festival, was fitting for the completely redesigned subcompact car poised to redefine the segment. Already the sales-leading nameplate of the subcompact sedan category1, the 2020 Nissan Versa which goes on sale summer 2019, offers a new level of refinement with a dramatic design and is loaded with technology and safety features not usually found in the segment – all for a price fitting buyers in the segment.

"First impressions are exceptionally important, which is why we are thrilled to introduce the all-new 2020 Versa directly to our customers in such a memorable way," said Claudia Marquez, vice president of sales operations, Nissan North America, Inc. "The Versa is our first impression into the Nissan family. I believe that when customers see this beautiful new car and all the amazing technology that comes with it for the price, they will be part of the Nissan family for life."

The third of four popular Nissan cars to be redesigned in the past seven months, the all-new Versa – with a clear design expression of the Nissan brand – will serve the more than five million customers who buy sedans each year in the U.S. Sedans remain a popular choice for Gen X, Millennials and multicultural customers.

"As other nameplates exit the field, we see a real opportunity to build our segment-leading market share and nurture this crucial group of new-car buyers. More importantly, the new dramatic Nissan Versa design and jam packed list of features will ensure that customers feel confident they made no compromises in that first purchase," said Marquez.

Technology is a top priority in the all-new Nissan Versa, featuring available Nissan Safety Shield 360, a prime example of Nissan Intelligent Mobility that helps provide front, side and rear safety monitoring and intervention technologies. Standard safety features include Automatic Emergency Braking with Pedestrian Detection, Rear Automatic Braking, Lane Departure Warning and High Beam Assist. Available equipment includes Blind Spot Warning, Rear Cross Traffic Alert, Intelligent Driver Alertness and Intelligent Cruise Control.