砂之椅子

南僑集團會長陳飛龍大手筆砸下1.2億元，企圖重現20年前獨領風騷的潮州料理風潮。

　　「想啊想，就想著20年前東王漢宮『金島餐廳』的味道，不光是料理與服務，還有那股氣勢與魅力，所以找來內外場的舊班底進駐『潮江燕』，大家一起來恢復潮州菜的榮景。」眼睛笑到瞇成一條線的南僑集團會長陳飛龍開心表示。

　　與其說陳飛龍又開了一家新餐廳，不如說他在尋找舊愛，20年前陳飛龍每個禮拜都要去金島吃飯，雖然自己陸續開了幾家餐廳，但仍念念不忘金島的味道。

　　■活海鮮區 現撈現烹
　　尋尋覓覓遇到了金島的港籍主廚袁偉洪（人稱黑仔），又找到昔日的外場經理林勝美，耗資1.2億元的潮江燕將在下周一（11月22日）於慶城街一號3樓正式開幕。

　　占地300坪共有280個座位的潮江燕，裝潢走紅豔路線，腳下踩著潮州市花木棉的花樣地毯，牆壁不是駿馬山水畫便是圓形古幣圖，還有兩面牆擺滿了壺與杯，展現潮州功夫茶的特色，但最驚人的是以35個水族箱堆砌起來的活海鮮區。

　　魚王專門管理的活海鮮區有15坪大，按照水的鹹淡、溫度高低、鹽分比重等做成7個系統、35個水族箱，供應62種魚蟹貝鱉蝦蚌等活水海鮮，種類多樣，現撈現烹，強調潮州海鮮生猛活跳的主軸。

　　此外該區還為兒童設計一個及腰的觀賞魚缸，內有魟魚、海星、珊瑚等上百種海底生物，寓教於樂。

　　■凍蟹凍魚 醃鹽蒸熟
　　潮江燕的料理有黑仔在金島時代膾炙人口的老菜，但大半經過改良，是他這20年來在台灣餐飲界跳來跳去所累積的經驗。滷水大拼盤是經典頭盤，黑仔承認，滷水不夠老，現在是香料突出於主料，最少要等3個月，兩者才能融合平衡。話雖如此，鵝肉、豆腐、鵝胗、鵝翅等都極為入味而濕潤，突出的草果、桂皮等香料味，反而獨具個性。

　　潮州著名漁夫料理凍蟹與凍魚經過黑仔改良，從濃鹽水浸煮變成醃鹽蒸熟，黑仔認為清蒸比水煮更容易留住鮮味，而凍魚的種類除了傳統的烏魚以外，還多了肉細油豐的午仔、加魶鯛等選擇。

　　■普寧醬焗雞 切塊上桌
　　陳飛龍最愛滑而不黏、軟而不爛、入味而不鹹的鮑汁炆鵝掌，鵝掌皺皮用吸的就能完全脫乾淨，既嫩且爽。普寧醬焗雞是黑仔的私房料理，使用廣東普寧特產的黃豆醬，加入蠔油與冰糖燜煮3斤重的全雞，黑仔說傳統的口感很酥爛，整隻雞用筷子即可剔肉，但他則切塊上桌，客人可挑選自己喜愛的部位。

　　功力深厚的黑仔，自誇什麼菜都會做，但追問他什麼最拿手，回答的全是潮州小菜，例如：潮州小炒、欖菜四季豆、水瓜煎與潮州粉果等，所以潮州燕有賣價很貴的參翅鮑肚、蘇眉星斑，也有110元起的廣式點心，320元起的熱炒，400元起的燒味拼，420元起的煲仔，或是680元起的套餐。
　　INDEX
　　★潮江燕／台北市慶城街1號3樓（近南京東路口，捷運南京東路站）／02-87123535／11:00～21:30／下周一開幕，收1成服務費

"Hello ,First of all mmm anyway l'm ....please let me say ,l really don't like
to talk that much ,l really don't hehe ,l prefer to perform than talk, you
know let me say this ,the tradition of great performers from Sammy davis
jr ,James brown ,to Jackie Willson ,to Fred Astaire ,Gene Kelly ,the story is
usually says the same though,these guys worked really hard ,and they're
crabbed ,but the story ends the same ,they usually are broken ,torn ,and
usually just sad and the story is very sad in the end ,because the
companies take advantages of them ,they really do.

And being the artist that I am, at Sony I've generated several billion dollars for Sony, several billon. They really thought that my mind is always on music and dancing. It usually is, but they never thought that this performer - myself - would out think them.
So, we can't let them get away with what they're trying to do, because now I'm a free agent. I just owe Sony one more album. It's just a box set, really, with two new songs, which I've written ages ago. Because for every album that I record, I write - literally, I'm telling you the truth - I write at least 120 songs every album I do. So I can do the box set, just giving them any two songs.
So I'm leaving Sony, a free agent, owning half of Sony. I own half of Sony's Publishing. I'm leaving them, and they're very angry at me, because I just did good business, you know. So the way they get revenge is to try and destroy my album. But I've always said, you know, art - good art - never dies. Thank you.
And Tommy Mottola is a devil! I'm not supposed to say what I'm going to say right now, but I have let you know this. (Points to crowd). Please don't videotape what I am going to say, ok? Turn it off, please. Do it, do it, I don't mind! Tape it!
Mariah Carey, after divorcing Tommy, came to me crying. Crying. She was crying so badly I had to hold her. She said to me, "This is an evil man, and Michael, this man follows me." He taps her phones, and he's very, very evil. She doesn't trust him. We have to continue our drive until he is terminated. We can't allow him to do this to great artists, we just can't.
I just wanted to let you know, I appreciate everything you've done, you've been amazing. You're so loyal! (Scanning the audience). Diana, everybody, Waldo, all the people here! I love you all. You've been amazing, I love you!
But still, but still, I promise you, the best is yet to come!"

當大臣很容易，只要記住兩句話：「不能就個別案件回答」，及「正在依據法律妥善處理」，就可以暢行無阻？日本法務大臣柳田稔今天因為這個發言，遭到在野各黨派追擊。

日本菅直人政權的支持率每況愈下，在政權支持率跌破三成，被認為已接近危險海域，內閣法務大臣的這席話，更重創了菅直人內閣，今天一整天在日本國會的質詢中，柳田大臣的「失言」，成了在野黨最佳箭靶。

柳田稔於今年九月首次入閣擔任大臣。他14日於廣島市舉行的國政報告會上致詞時，一時得意忘形，提到在國會答詢最佳「摸魚」方式，就是只要記得「我避免就個別案件作出回答」、及「正在依據法律和證據妥善處理」兩句話，就可無往不利。

這兩句搪塞之詞，柳田真的在國會殿堂上用過好幾次，他這項發言讓在野黨相當憤怒，認為他藐視國會，應受到處分。在野最大黨派的自民黨國會對策委員長逢澤一郎說，柳田沒資格擔任大臣，要提出眾院不信任案和參院問責決議案。

日本內閣官房長官仙谷由人立刻召見柳田下達嚴重警告。柳田則表示，會誠懇接受。

【2010/11/18 聯合報】

Hold My Hand (Duet with Akon)
Written by Aliaune Thiam, Giorgio Tuinfort, Claude Kelly / Published by Byefall Productions, Inc./Sony ATV Harmony (ASCAP), Piano Music/Sony ATV Tunes (BMI), Talpa Music Publishing (BUMA), Studio Beast Music/Warner Tamerlane Music Corp (BMI) / Produced by Akon for Upfront/Konvict, Giorgio Tuinfort for Piano Music / Co-Produced by Michael Jackson for MJJ Productions, Inc. / Akon appears courtesy of SRC/Universal Records, a Division of UMG Recordings, Inc. / Recorded by Mark 'Exit' Goodchild for Milk Money Consulting at Palms Studio's Las Vegas, US, Solitaire Studio's Atlanta, US, Metropolis Studio's London, UK, Wisseloord Studio's Hilversum, Netherlands and FC Walvisch Studio's Amsterdam, Netherlands / Recording Assistants: Mack Woodward, Justin Pintar, Matt Paul, Miguel Scott, Kory Aaron, Eelco Bakker and Ryan Wiese / Orchestra Recorded by Wessel Oltheten / Orchestra Recording Assistant: Dennis Krijnen / Mixed by Serban Ghenea / String Arrangement: Franck van der Heijden / All Instruments and Programming: Akon and Giorgio Tuinfort

Hollywood Tonight
Written by Michael Jackson, Brad Buxer / Spoken Bridge Written by Teddy Riley / Published by Mijac Music, Adida Music Inc. / Produced by Teddy Riley, Michael Jackson / Co-Produced by Theron “Neff-U” Feemster / Mixed by Jean-Marie Horvat, Teddy Riley, Scott Elgin / Programming and Finisher: Teddy Riley / Vocals Recorded by Michael Durham Prince and Mischke / Additional Background Vocals: Mischke / Spoken Bridge by Taryll Jackson / Whistling: Danny Ray McDonald, Jr., Michael Durham Prince / Engineered by Scott Elgin, James Murray, Michael Durham Prince, Jon Nettlesbey / Assistant Engineer: Quentinn Gilkey / Keyboard: Theron “Neff-U” Feemster, Edward Brown / Guitar: Erick Donell Walls, Eric Jackson / Horns: The Regiment

Keep Your Head Up
Written by Michael Jackson, Eddie Cascio, James Porte / Published by
Mijac Music, Jab Me Music / Produced by C “Tricky” Stewart for Red Zone Entertainment, Inc., Angelikson, Michael Jackson for MJJ Productions, Inc. / Mixed by Jaycen Joshua for the Penua Project / Mix Assisted by Jesus Garnica / Background Vocals: Michael Jackson, James Porte / Additional Backing Vocals: Duawne Starling / Engineered by Brian “B-Luv” Thomas, Andrew Wuepper / Engineering Assisted by Jason Sherwood, Steven Dennis, Travis Harrington Stuart Brawley, Joe Corcoran, Drew Harris / Musicians: Jamie Wollam, Rudy Bird, Sean Hurley, Stuart Brawley, Joe Corcoran, Eddie Cascio, James Porte, Lamont “Monty” Neuble, Cameron Stone, Nicole Garcia / Drum Programming: Joe Corcoran and James Porte

(I Like) The Way You Love Me
Written by Michael Jackson / Published by Mijac Music / Produced by Theron “Neff-U” Feemster, Michael Jackson / Mixed by Serban Ghenea / Engineer for Mix: John Hanes / Assisted by Tim Roberts / Vocals Recorded by Michael Durham Prince / Engineered by James Murray / Piano: William C. Champlin / Guitar: Erick Donell Walls / Bass: Thomas Drayton / Percussion: Paulinho da Costa / Keyboards and Drum Programming: Theron “Neff-U” Feemster

Monster (Featuring 50 Cent)
Written by Michael Jackson, Eddie Cascio, James Porte / Rap Lyrics Written by Curtis Jackson / Published by Mijac Music, Jab Me Music, Curtis Jackson 50 Cent Music Publishing (admin by Universal Music Publishing) (ASCAP) / Produced by Teddy Riley, Angelikson, Michael Jackson / Mixed by Jean-Marie Horvat, Teddy Riley / Programming and Finisher: Teddy Riley / Background Vocals: Michael Jackson, James Porte / Kids’ Scream: Nigel and Naiden Maynard / Recording Engineer: Scott Elgin, Khaliq Glover AKA Khaliq-O-Vision, Quenton Gilkey (Assistant Engineer), Luis Navarro, Zachariah Redding (Assistants Engineer on the Rap) (Recorded at Boom Boom Room), Stuart Brawley, Glen Marchese, Joe Corcoran, Drew Harris / Rap Performed by 50 Cent courtesy of Shady/Aftermath/Interscope Records / Musicians: Rudy Bird, Joe Corcoran, Eddie Cascio, Stuart Brawley, Cameron Stone, Sharon Jackson, Orianthi courtesy of Geffen Records

Best Of Joy
Written by Michael Jackson / Published by Mijac Music / Produced by Theron “Neff-U” Feemster, Michael Jackson / Co-Produced by Brad Buxer / Mixed by Serban Ghenea / Engineer for Mix John Hanes / Assisted by Tim Roberts / Vocals Recorded by Michael Durham Prince and Mischke / Additional Background Vocals: Mischke / Engineered by James Murray / Guitar: Erick Donell Walls / All Other Instruments: Theron “Neff-U” Feemster

Breaking News
Written by Michael Jackson, Eddie Cascio, James Porte / Published by Mijac Music, Jab Me Music / Produced by Teddy Riley, Angelikson, Michael Jackson / Mixed by Jean-Marie Horvat, Teddy Riley / Programming and Finisher: Teddy Riley / Recording Engineer: Scott Elgin, Khaliq Glover AKA Khaliq-O-Vision, Stuart Brawley, Glen Marchese, Joe Corcoran, Drew Harris / Assistant Engineer: Quenton Gilkey / String Session Recording Engineer: Reggie Dozer / String Session Assistant Engineer: Brandon Datoli / Voiceover Engineers: Myron Chandler And Dave Hampton / String Session: The Benjamin Wright Orchestra / Arranged and Conducted By Benjamin Wright / Musicians: James Porte, Stuart Brawley, Eddie Cascio, Joe Corcoran / Voice Talents: Stuart Brawley, Sandy Orkin, Stacey Michaels, Michael Lefevre, Lisa Orkin / Voiceover Producer: Michael Lefevre

(I Can’t Make It) Another Day
(Featuring Lenny Kravitz)
Written by Lenny Kravitz / Published by Lenny Kravitz/Miss Bessie Music / Produced by Lenny Kravitz / Co-Pproduced by Michael Jackson / Mixed by Lenny Kravitz / Lead and Background Vocals: Michael Jackson / Background Vocals: Lenny Kravitz / Michael Jackson’s Vocals Recorded at Marvin’s Room by Henry Hirsch / Electric Guitar: Lenny Kravitz / Bass: Lenny Kravitz / Mini Moog: Lenny Kravitz / String and Horn samples: Lenny Kravitz / Timpani: Lenny Kravitz / Gong: Lenny Kravitz / 12-String Electric Guitar: Craig Ross / Drums: Dave Grohl / Drum Programming and Noise: Dave Barron and Lenny Kravitz / Synthesizer Programming: Dave Baron / Studio Technician and Additional Programming: Alex Alvarez

Behind The Mask
Written by Michael Jackson, Chris Mosdell, Ryuichi Sakamoto / Published by Mijac Music (BMI) All rights administered by Warner-Tamerlane Publishing Corp. (BMI) & by Alfa Music, Inc. (JASRAC) All Rights Administered by Sony/ATV Tunes LLC (ASCAP) / Produced by Michael Jackson, John McClain & Jon Nettlesbey / 'Behind The Mask' contains a sample of the recording "Behind The Mask" as performed by Yellow Magic Orchestra. (P) 1979 Alfa Music, Inc. Licensed by Alfa Music, Inc. All Rights Reserved. / Mixed by Jon Nettlesbey, Khaliq Glover / Lead & Background Vocals: Michael Jackson / Additional Background Vocals: Shanice Wilson, Alphonso Jones / Background Vocals Arranged by Leon F. Sylvers III / Engineered by Jon Nettlesbey, Allen Sides, Khaliq Glover / Saxophone and Saxophonic Percussion: Mike Phillips courtesy of Hidden Beach Recordings / Keyboards & Drum Programming: Big Jim Wright / Additional Keyboards: Greg Phillinganes / Bass: Alex Al / Percussion: Paulino Da Costa / Additional Keyboards, Drum Programming, Sequencing & Digital Editing: Jon Nettlesbey

Much Too Soon
Written by Michael Jackson / Published by Mijac Music / Produced by Michael Jackson, John McClain / Mixed by Allen Sides / Guitar: Tommy Emmanuel / Khora: Dean Parks / Harmonica: Tommy Morgan / Accordion: Suzie Katayama / Arranger & Conductor: David Campbell / Contractor: Suzie Katayama / Concertmaster: Charlie Bisharat 

http://www.megaupload.com/?d=UAYJWXDS

She was there just sitting at the table
Thinking now that things won't be the same
And would you like to go with me
And she answered no to me
I guess I learned my lesson much too soon

I never thought she'd leave me here forever
But who knows just what the future brings
And would you like to go with me
And she answered no to me
I guess I learned my lesson much too soon

Take away this never ending sorrow
Take this lonely feeling from my soul
If only I knew what things bring tomorrow
She'd be sitting here beside me
And my heart would fill with gold

I hope to make a change now for the better
Never letting fate control my soul
And hoping that my prayers will see
The day that you'll come back to me
But I guess I learned my lesson much too soon
Yes, I guess I learned my lesson much too soon

網友大學生私人留言，公開作答：

您好，我是一名大學生，請問依您看來，「學界」有沒有義務因應「業界」的需要而改變學習課程的內容，甚或大到學術方向? 這麼問，是因為有不少業界人士跑到學界來(是誤人子弟?還是傳授經驗?)，業界或許有一些值得學習的實際經驗，但那常跟理論搭不上邊，畢竟不管有沒有學術背景都可以進入業界。例如：本校文學院開了一系列「創意產業學程」，(http://gogo.tku.edu.tw/cci/index.html)，裡面來自業界的老師，常常利用上課或作業來為自己的事業宣傳；另一方面，又可以在外的工作經歷上大膽地寫「大學教授」，儘管這些來自業界的教授參差不齊。 像這是一篇任教於淡江大學的業界人士的演講，(http://blog.yam.com/oakacorn/article/27775632)，我完全聽不懂他在講什麼。基本上，我也聽不懂他上課在上什麼。請問能為我解釋他的意思嗎?

答曰：光是看到貴校「文創產業中心」的「五大主修領域」裡有「創意漢學」，我就想向你致哀了。除了向你致哀，我還能作甚麼呢？

我仔細觀看並分析了貴校設立文創中心的一切說明和宣傳網頁（也建議我部落格的瀏覽客人都去看一眼），發現這這個中心就是建築在臺灣集體幻覺上的一個單位。這不只是貴校的問題，而要從整體臺灣的社會去理解。

我是一個寫作的人，我根本不承認有文創這回事，就好像我是一個正常的細胞，我不承認惡性腫瘤是我的一部份一樣。

文創產業的來歷是一群寄生蟲般的人物，在既沒有創作能力、也沒有研究能力的前提之下，逞其虛矯夸飾的浮詞，闖入原本的出版、表演、戲劇、影視、廣告、藝術展覽和交易等等傳統領域。進入了這些行業之後，他們與上述各領域的專業技術、教養和知識亦無關，他們的興趣和職責就是媒合政商資源，看起來充其量不過就是一種兼領經紀人和營銷者身份的幫閒份子。創作者拉不下臉來談生意，就需要他們。他們生意談大了，就回過頭來指導創作者。創作者要是沒出息一點，就等著被這種人掌控、消費或淘汰；創作者要是不要臉一點，就自己出面說：「我也是搞文創產業的！」可是憑藉著在業內幫閒的資歷，他們可以演講、寫專欄、出書，成為意見領袖，還彼此串合，虛構出「文化創意產業」這樣的語詞。還反過頭來告訴創作者：你們所幹的活兒，其實是我這個產業的一個環節、一個零件、一個「區塊」。

你也許還想問：文創的內容是甚麼？答案可以像這些寄生蟲一樣多變──他們自己反正也是騎驢找馬，連哄帶騙不需要準主意，條列整齊的綱領從1到9、從A到Z，拐人相信它有一套正式的演繹或分析架構就好，他們最高明的技倆就是把一堆行政、管理、財經、統計等科目中可以用常識化語言描述出來的訊息整編成一套冠以「產業」之名的雞零狗碎，摸著石頭過河。

詐騙集團要鍛鍊到極高明的境界，才能夠立足為文創產業；加入他們成為追隨者、學習者則只要夠愚蠢就行了。

親愛的大學生：從你的信裡我會看到良知與品行，如果你不希望浪費時間、浪費生命、浪費智能，建議你遠離這一套課程，因為共犯結構就是這樣的一種東西，正常細胞會死去，而惡性腫瘤一如蒙德羅梭的短篇經典所形容的那樣：「當他剛剛醒來時，恐龍還在那裡。」

Do You Know (Where Your Children Are).flv
http://www.megaupload.com/?d=8UBWR8K2

Father comes home from work and he’s scared to death
Mother cries and [the kid?] now she read
Father runs to the table, he said “What’s going on?”
Mother cries in disbelief “Our little baby is gone!”

Do you know where your children are,
Because it's now 12 o'clock.
If they're somewhere out on the street,
Just imagine how scared they are.

Do you know where your children are,
Because it's now 12 o'clock.
If they're somewhere out on the street,
Just imagine how scared they are.

She wrote that she is tired of step-daddy using her
Saying that he'll buy her things, while sexually abusing her
Just think that she's alone somewhere out on the street
How will this girl survive? She ain't got nothing to eat!

Do you know where your children are,
Because it's now 12 o'clock.
If they're somewhere out on the street,
Just imagine how scared they are.

Do you know where your children are,
Because it's now 12 o'clock.
If they're somewhere out on the street,
Just imagine how scared they are.

Now she’s in the mood, she’s off to Hollywood
She says she wanna be a star, she heard the money’s good
She gets off from train station, the man is waiting there
“I’ll show you what the money is, girl, just let down your hair”
He’s taking her on the streets of Sunset Boulevard
She’s selling her body, girl that will [take a ???]
The police come around the corner, [“Somebody’s there too old”??]
He’s arresting her little girl, she’s only 12 years old!

柔らかくクタッとした白菜の葉がおいしいスープ煮です。味のポイントは、たっぷりの水分を含ませたフワフワの肉だんご。

(2～3人分）
・白菜（葉の部分） 200g
・豚ひき肉 200g
・木綿豆腐 1丁（300g）
----------
【A】
・ねぎ（みじん切り） 大さじ1
・しょうが（みじん切り） 小さじ1/2
・紹興酒 大さじ1
・塩 小さじ1/2
・ごま油 少々
----------
・チキンスープ＊ カップ3弱
・水溶きかたくり粉＊＊ 大さじ1

（こしょう・塩）

＊チキンスープのもと（中国風）を表示どおりの割合で溶いたもの。
＊＊かたくり粉2：水1の割合で溶いたもの。
＊＊＊肉ダネを休ませる時間は除く。

1. ひき肉は包丁でたたいてボウルに入れ、【A】を加えて手でよく混ぜる（なめらかにし、調味料などを加えて練り混ぜる）。チキンスープ（または水）カップ 1/2弱を3回に分けて加え、そのつど粘りが出るまでしっかり混ぜる（スープは一度に加えると肉となじみにくいので、3回に分ける。持ち上げるとボタッと 落ちるくらい柔らかく練る）。水溶きかたくり粉、こしょう少々を加えて混ぜ、ラップをかけて冷蔵庫で30分～1時間休ませる。

2. 白菜は手で大きめにちぎる（白菜は葉の柔らかい部分だけを使う）。豆腐は縦半分に切ってから横に6等分に切る。

3. 土鍋に残りのチキンスープを入れて煮立て、味をみて塩適量で調える。1をスプーンですくって落とし（親指と人さし指でつくった輪から肉ダネを直径2㎝くら い絞り出し、スプーンでとって、スープに落とす）、肉だんごが浮き上がってきて、アクが出たら除く。白菜、豆腐を加えて煮る。

タルタルサラダ

沒有真正的工作經驗，相關的科系不敢用；跨科系的公司寧願找本科出身還不需要額外訓練
而學歷又說高不高說低不低，所以別人也不敢招你進基層怕你作幾個月就跑掉
偏偏性格又是屬於服從型的，所以搞創業恐怕沒指望
家裡跟學校還有朋友的關係又不夠硬，只能靠自己





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簡單說就是間不上不下的公司?

別說百大搞不好進不了千大，
更別說只是在這小小島上，
公司沒有國際經驗，
相關的科系不敢加入；
跨科系還會被酸
而薪資又說高不高說低不低，
所以別人也不敢進基層怕作幾個月就倒掉
偏偏性格又是屬於本土型的，
所以未來恐怕沒指望
商界跟政府還有名流的關係又不夠硬，只能靠自己


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