three mirrors reflect the way i learn english after i came back from the “21st century-ericsson cup”7th national english speaking competition with the award of the “most promising speaker”, people kept asking me the same question over and over again. “how did you learn english, especially as a non-english major?” actually i believe that a hundred people would have a hundred of ways to learn english well. however, i would like to share my personal experience of english learning with those who have the enthusiasm for improve their english. since i have set up three mirrors in my prepared speech in hoping that they would guide our young generation on the way to globalization, i would like to maintain three mirrors here to reflect how i learned english.

the first mirror, i assume, should reflect a steady foundation. this involves my first few years of english learning, which i consider as the key factor of all my achievements in the years to follow. at that time i entered the middle school attached to xi’an jiaoton university, i could only say my abcs while others in my class could at least communicate in simple english. all the tales about the frightfulness of learning english then popped up in my mind and made me feel scared. fortunately my first english teacher was very experienced in enlightening her students on english learning. she was a kind woman with a charming smile. but her homework assignments were not easy task: they required us to read after the tape for 20 times and recite the whole text. so it was quite natural that most of my classmates only recited the short essay within a short time and then went to play. but my fear of not being able to say a single word, made me sit down and immerse myself in what the teacher had asked me to do.

ted.演讲稿篇2

我是个说书之人。在这里，我想和大家分享一些我本人的故事。一些关于所谓的“单一故事的危险性”的经历。我成长在尼日利亚东部的一所大学校园里。我母亲常说我从两岁起就开始读书。不过我认为“四岁起”比较接近事实。所以我从小就开始读书，读的是英国和美国的儿童书籍。

我也是从小就开始写作，当我在七岁那年，开始强迫我可怜的母亲阅读我用铅笔写好的故事，外加上蜡笔描绘的插图时，我所写的故事正如我所读的故事那般，我故事里的人物们都是白皮肤、蓝眼睛的。常在雪中嬉戏，吃着苹果。而且他们经常讨论天气，讨论太阳出来时，一切都多么美好。我一直写着这样故事，虽然说我当时住在尼日利亚，并且从来没有出过国。虽然说我们从来没见过雪，虽然说我们实际上只能吃到芒果；虽然说我们从不讨论天气，因为根本没这个必要。

我故事里的人物们也常喝姜汁啤酒，因为我所读的那些英国书中的人物们常喝姜汁啤酒。虽然说我当时完全不知道姜汁啤酒是什么东西。时隔多年，我一直都怀揣着一个深切的渴望，想尝尝姜汁啤酒的味道。不过这要另当别论了。

这一切所表明的，正是在一个个的故事面前，我们是何等的脆弱，何等的易受影响，尤其当我们还是孩子的时候，因为我当时读的所有书中只有外国人物，我因而坚信：书要想被称为书，就必须有外国人在里面，就必须是关于我无法亲身体验的事情，而这一切都在我接触了非洲书籍之后发生了改变。当时非洲书并不多，而且他们也不像国外书籍那样好找。不过因为！和！之类的作家，我思维中对于文学的概念，产生了质的改变。我意识到像我这样的人---有着巧克力般的肤色和永远无法梳成马尾辫的卷曲头发的女孩们，也可以出现在文学作品中。

我开始撰写我所熟知的事物，但这并不是说我不喜爱那些美国和英国书籍，恰恰相反，那些书籍激发了我的想象力，为我开启了新的世界。但随之而来的后果就是，我不知道原来像我这样的人，也是可以存在于文学作品中的，而与非洲作家的结缘，则是将我从对于书籍的单一故事中拯救了出来。

我来自一个传统的尼日利亚中产家庭，我的父亲是一名教授，我的母亲是一名大学管理员。因此我们和很多其他家庭一样，都会从附近的村庄中雇佣一些帮手来打理家事。在我八岁那一年，我们家招来了一位新的男仆。他的名字叫做fide.我父亲只告诉我们说，他是来自一个非常穷苦的家庭，我母亲会时不时的将山芋、大米，还有我们穿旧的衣服送到他的家里。每当我剩下晚饭的时候，我的母亲就会说：吃净你的食物！难道你不知道吗？像fide家这样的人可是一无所有。因此我对他们家人充满了怜悯。

后来的一个星期六，我们去fide的村庄拜访，他的母亲向我们展示了一个精美别致的草篮----用fide的哥哥用染过色的酒椰叶编制的。我当时完全被震惊了。我从来没有想过fide的家人居然有亲手制造东西的才能。在那之前，我对fide家唯一的了解就是他们是何等的穷困，正因为如此，他们在我脑中的印象只是一个字------“穷”。他们的贫穷是我赐予他们的单一故事。

多年以后，在我离开尼日利亚前往美国读大学的时候，我又想到了这件事。我那时19岁，我的美国室友当时完全对我感到十分惊讶了。他问我是从哪里学的讲一口如此流利的英语，而当我告知她尼日利亚刚巧是以英语作为官方语言的时候，她的脸上则是写满了茫然。她问我是否可以给她听听她所谓的“部落音乐”，可想而知，当我拿出玛丽亚凯莉的'磁带时，她是何等的失望，她断定我不知道如何使用电炉。

我猛然意识到“在他见到我之前，她就已经对我充满了怜悯之心。她对我这个非洲人的预设心态是一种充满施恩与好意的怜悯之情。我那位室友的脑中有一个关于非洲的单一故事。一个充满了灾难的单一故事。在这个单一的故事中，非洲人是完全没有可能在任何方面和她有所相似的；没有可能接收到比怜悯更复杂的感情；没有可能以一个平等的人类的身份与她沟通。

我不得不强调，在我前往美国之前，我从来没有有意识的把自己当做个非洲人。但在美国的时候，每当人们提到”非洲“时，大家都会转向我，虽然我对之类的地方一无所知。但我渐渐的开始接受这个新的身份，现在很多时候我都是把自己当做一个非洲人来看待。不过当人们把非洲当做一个国家来讨论的时候，我还是觉得挺反感的。最近的一次例子就发生在两天前，我从拉各斯搭乘航班，旅程原本相当愉快，直到广播里开始介绍在”印度、非洲以及其他国家”所进行的慈善事业。

当我以一名非洲人的身份在美国读过几年之后，我开始理解我那位室友当时对我的反应。如果我不是在尼日利亚长大，如果我对非洲的一切认识都是来自于大众流行的影像，我相信我眼中的非洲也同样是充满了美丽的地貌、美丽的动物，以及一群难以理解的人们进行着毫无意义的战争、死于艾滋和贫穷、无法为自己辩护，并且等待着一位慈悲的、白种的外国人的救赎，我看待非洲的方式将会和我儿时看待fide一家的方式是一样的。

我认为关于非洲的这个单一故事从根本上来自于西方的文学。这是来自伦敦商人john locke的一段话。他在1561年的时候，曾游历非洲西部，并且为他的航行做了翻很有趣的记录。他先是把黑色的非洲人称为“没有房子的野兽”，随后又写道：“他们也是一群无头脑的人，他们的嘴和眼睛都长在了他们的胸口上。”

我每次读到这一段的时候，都不禁大笑起来。他的想象力真的是让人敬佩。但关于他的作品极其重要的一点是它昭示着西方社会讲述非洲故事的一个传统，在这个传统中，撒哈拉以南的非洲充满了消极、差异以及黑暗，是伟大的诗人rudyard kipling笔下所形容的“半恶魔、半孩童”的奇异人种。

正因为如此，我开始意识到我的那位美国室友一定在她的成长过程中，看到并且听过关于这个单一故事的不同版本，就如同之前一位曾经批判我的小说缺乏“真实的非洲感”的教授一样。话说我倒是甘愿承认我的小说有几处写的不好的地方，有几处败笔，但我很难想象我的小说既然会缺乏“真实的非洲感”。事实上，我甚至不知道真实的非洲感到底是个什么东西。那位教授跟我说我书中的人物都和他太相近了，都是受过教育的中产人物。我的人物会开车，他们没有受到饥饿的困扰。正因此，他们缺乏了真实的非洲感。

我在这里不得不指出，我本人也常常被单一的故事蒙蔽双眼。几年前，我从美国探访墨西哥，当时美国的政治气候比较紧张。关于移民的辩论一直在进行着。而在美国，“移民”和“墨西哥人”常常被当做同义词来使用。关于墨西哥人的故事是源源不绝，讲的都是欺诈医疗系统、偷渡边境、在边境被捕之类的事情。

我还记得当我到达瓜达拉哈拉的第一天，看着人们前往工作，在市集上吃着墨西哥卷、抽着烟、大笑着，我记得我刚看到这一切时是何等的惊讶，但随后我的心中便充满了羞耻感。我意识到我当时完全被沉浸在媒体上关于墨西哥人的报道，以致于他们在我的脑中幻化成一个单一的个体---卑贱的移民。我完全相信了关于墨西哥人的单一故事，对此我感到无比的羞愧。这就是创造单一故事的过程，将一群人一遍又一遍地呈现为一个事物，并且只是一个事物，时间久了，他们就变成了那个事物。

而说到单一的故事，就自然而然地要讲到权力这个问题。每当我想到这个世界的权力结构的时候，我都会想起一个伊傅语中的单词，叫做“nkali”,它是一个名词，可以在大意上被翻译成”比另一个人强大。”就如同我们的经济和政治界一样，我们所讲的故事也是建立在它的原则上的。这些故事是怎样被讲述的、由谁来讲述、何时被讲述、有多少故事被讲述，这一切都取决于权力。

ted.演讲稿篇3

学校最具有特色的冲锋号在凌晨6点10分准时响起，也不知学校怎么想的，会把冲锋号当做起床铃声。

我翻了身，把被子裹得更严实了，我在起床和不起床之间纠结，然后再告诉自己再睡一下下，等下一定要起床，整个宿舍楼在铃响的那刻显得格外嘈杂，我最终还是没能起床就在被窝里，然后暗自希望主任今天没来，虽然这机率与在游戏中打极品装备一样全靠人品，机率几乎为零。

有人说赖床是“拖延症”的初始症，“拖延症”，简单点说就是懒，懒到了一定的境界，而且心里有一个无比坚定的信念，不死的心，谁也不能阻止我拖稿，拖工资，拖后腿，至于拖后腿嘛，说得难听点，引用别人的一句话，班级又不是狗，分什么前腿后腿的。

最不爽的就是所到别人说我拖后腿了，虽然这是事实，“拖延症”的主要特征就是习惯把今年的事拖到明年，今天的事拖到明天这一刻的事拖到下一刻，这辈子的事拖到下辈子，有没有下辈子，这事儿就无从可知了，我同桌就是一位深受此症毒害的患者，他会花上一节晚自修的时间，给自己订下冠冕堂皇的大纲计划，下定了决心明天开始一定完成，哪怕教室倒了，哪怕校长办公室倒了，哪怕学校被堕天使，黑月铁骑给推了，也不能阻止，当天晚上同桌计划得心血来潮，满面红光，我在旁边打击他，让他别写什么计划大纲了，浪费时间又不实用，计划永远赶不上变化，他本着一个无比坚定的信念，不理我，第二天，他是坚持了一个上午，安分地得很，下午就开始症状出现了，然后他的“拖延症”又显露出来了，就这样，日复一日，估计现在那张被用来写大纲的纸在哪个角落也不知道了。

也就是这样，我们错过了很多，错过了读书的最好光阴，错过了自己喜欢的女孩儿。

问女生借书看，无一不是惊异地告诉我这是言情，我当时就特郁了，怎么，男生就不可以看言情么。

正是从言情中，我了解到不少苦逼的'情感故事，一对悲催的男女，互有好感，但是一直拖延下去，最终年华逝去，终成陌路，这一直是悲剧言情的主打剧情，如此剧情在电影界里也久经不衰，如《情书》再到最近的《那些年，我们一起追的女孩》，其中都是男女之间有种种莫名的情愫，最终因为种种原因而一拖再拖，错过，我也一直相信在沈佳宜心中，对柯景腾是有好感的，只是时间没有允许她说出来。

ted.演讲稿篇4

昨天，破天荒的拿出自己上次踏过泥洼坑的鞋子洗了起来。是那么的可怜，又是那么的罪有应得。

明明已经不是七八岁的孩子，却还是免不了不小心的时候。现在想想也觉得很气，所以当时回家，根本就没有想要洗。出门遇上台风，买了雨伞也没有什么用，回到家一身湿透就算了，还在离家不远的地方，因为天色有些黑，根本没注意，就不幸地踏入泥坑，论谁都会觉得倒霉吧。那天回家后，就脱了身上的衣服，洗了热水澡，还把白运动鞋，给收了起来。当然，当时已经不是白色运动鞋了，而是泥色运动鞋。

所以，一直都没有拿出来洗。今天，收拾床底的时候，忽然想起来。才发现自己已经忘了那么久。于是，终于把鞋子放入水里，拿起自己的小鞋刷，开始洗涮涮了。过程和往日一样，费力不讨好，消耗了不少的时间。不过，因为每次洗鞋都是这样讨厌，所以我也算有些习惯了。自然，也是没有什么抱怨的洗完了。

然而，没有放过我的是。在我收拾鞋盒子的时候，发现我的另一双白色球鞋，还没有洗。是前几天我出门弄脏的，因为刚下过雨，所以地面潮湿，在外表和朋友说说笑笑，所以回家就觉得明天再洗。结果，自然是说一时，忘记一阵子。于是，我又只好拿着这双鞋子去洗涮涮。因为已经洗过一双，所以洗第二双让我觉得更加不悦了。好在是球鞋，好洗。但是，喜欢白色的.我，鞋子也常常买白色，对于污渍总是过度计较。于是，就把自己吃力的劲给用上了，才收拾完毕。好在洗完之后就可以休息吃饭，不然，我又不知道要抱怨多久了。

可是现在想想，不都是自己太懒惰了，才会有这样的后果嘛。明明最开始的自己，就是把不喜欢的事情先做掉，然后再去做别的事情，结果现在，越来越会拖延了。不是玩手机，就是做些有的没的，根本就没有做什么正经事过。

的确，很多不想做的事情，越放只会变成，遗忘的事情。最后在一个不凑巧的时间，才会终于感到有些不好意思，不情不愿的去做。既然这样，何不像从前一样，小心一点，注意一点，尽量不要被其他的事情耽误，好好盘算天气和穿着，也不要拖延放置讨厌的事情，尽快去做。

有些事情，拖延还可以解决，可是有些时候，你一但有了这样的心思，就会变得麻烦了。从前看过一句话，“把今天的事情拖到明天去做，你的余生都不够用”。古话不是也说嘛“明日复明日，明日何其多，我生待明日，万事成蹉跎。”所以，不要给自己理由浪费时间。

ted.演讲稿篇5

this is tim ferriss circa 1979 a.d. age two. you can tell by the power squat, i was a very confident boy -- and not without reason. i had a very charming routine at the time, which was to wait until late in the evening when my parents were decompressing from a hard day's work, doing their crossword puzzles, watching television. i would run into the living room, jump up on the couch, rip the cushions off, throw them on the floor, scream at the top of my lungs and run out because i was the incredible hulk. (laughter) obviously, you see the resemblance. and this routine went on for some time.

when i was seven i went to summer camp. my parents found it necessary for peace of mind. and at noon each day the campers would go to a pond, where they had floating docks. you could jump off the end into the deep end. i was born premature. i was always very small. my left lung had collapsed when i was born. and i've always had buoyancy problems. so water was something that scared me to begin with. but i would go in on occasion. and on one particular day, the campers were jumping through inner tubes, they were diving through inner tubes. and i thought this would be great fun. so i dove through the inner tube, and the bully of the camp grabbed my ankles. and i tried to come up for air, and my lower back hit the bottom of the inner tube. and i went wild eyed and thought i was going to die. a camp counselor fortunately came over and separated us. from that point onward i was terrified of swimming. that is something that i did not get over. my inability to swim has been one of my greatest humiliations and embarrassments. that is when i realized that i was not the incredible hulk.

but there is a happy ending to this story. at age 31 -- that's my age now -- in august i took two weeks to re-examine swimming, and question all the of the obvious aspects of swimming. and went from swimming one lap -- so 20 yards -- like a drowning monkey, at about 200 beats per minute heart rate -- i measured it -- to going to montauk on long island, close to where i grew up, and jumping into the ocean and swimming one kilometer in open water, getting out and feeling better than when i went in. and i came out, in my speedos, european style, feeling like the incredible hulk.

and that's what i want everyone in here to feel like, the incredible hulk, at the end of this presentation. more specifically, i want you to feel like you're capable of becoming an excellent long-distance swimmer, a world-class language learner, and a tango champion. and i would like to share my art. if i have an art, it's deconstructing things that really scare the living hell out of me. so, moving onward.

swimming, first principles. first principles, this is very important. i find that the best results in life are often held back by false constructs and untested assumptions. and the turnaround in swimming came when a friend of mine said, "i will go a year without any stimulants" -- this is a six-double-espresso-per-day type of guy -- "if you can complete a one kilometer open water race." so the clock started ticking. i started seeking out triathletes because i found that lifelong swimmers often couldn't teach what they did. i tried kickboards. my feet would slice through the water like razors, i wouldn't even move. i would leave demoralized, staring at my feet. hand paddles, everything. even did lessons with olympians -- nothing helped. and then chris sacca, who is now a dear friend mine, had completed an iron man with 103 degree temperature, said, "i have the answer to your prayers." and he introduced me to the work of a man named terry laughlin who is the founder of total immersion swimming. that set me on the road to examining biomechanics.

so here are the new rules of swimming, if any of you are afraid of swimming, or not good at it. the first is, forget about kicking. very counterintuitive. so it turns out that propulsion isn't really the problem. kicking harder doesn't solve the problem because the average swimmer only transfers about three percent of their energy expenditure into forward motion. the problem is hydrodynamics. so what you want to focus on instead is allowing your lower body to draft behind your upper body, much like a small car behind a big car on the highway. and you do that by maintaining a horizontal body position. the only way you can do that is to not swim on top of the water. the body is denser than water. 95 percent of it would be, at least, submerged naturally.

so you end up, number three, not swimming, in the case of freestyle, on your stomach, as many people think, reaching on top of the water. but actually rotating from streamlined right to streamlined left, maintaining that fuselage position as long as possible. so let's look at some examples. this is terry. and you can see that he's extending his right arm below his head and far in front. and so his entire body really is underwater. the arm is extended below the head. the head is held in line with the spine, so that you use strategic water pressure to raise your legs up -- very important, especially for people with lower body fat. here is an example of the stroke. so you don't kick. but you do use a small flick. you can see this is the left extension. then you see his left leg. small flick, and the only purpose of that is to rotate his hips so he can get to the opposite side. and the entry point for his right hand -- notice this, he's not reaching in front and catching the water. rather, he is entering the water at a 45-degree angle with his forearm, and then propelling himself by streamlining -- very important. incorrect, above, which is what almost every swimming coach will teach you. not their fault, honestly. and i'll get to implicit versus explicit in a moment. below is what most swimmers will find enables them to do what i did, which is going from 21 strokes per 20-yard length to 11 strokes in two workouts with no coach, no video monitoring. and now i love swimming. i can't wait to go swimming. i'll be doing a swimming lesson later, for myself, if anyone wants to join me.

last thing, breathing. a problem a lot of us have, certainly, when you're swimming. in freestyle, easiest way to remedy this is to turn with body roll, and just to look at your recovery hand as it enters the water. and that will get you very far. that's it. that's really all you need to know.

languages. material versus method. i, like many people, came to the conclusion that i was terrible at languages. i suffered through spanish for junior high, first year of high school, and the sum total of my knowledge was pretty much, "donde esta el bano?" and i wouldn't even catch the response. a sad state of affairs. then i transferred to a different school sophomore year, and i had a choice of other languages. most of my friends were taking japanese. so i thought why not punish myself? i'll do japanese. six months later i had the chance to go to japan. my teachers assured me, they said, "don't worry. you'll have japanese language classes every day to help you cope. it will be an amazing experience." my first overseas experience in fact. so my parents encouraged me to do it. i left.

i arrived in tokyo. amazing. i couldn't believe i was on the other side of the world. i met my host family. things went quite well i think, all things considered. my first evening, before my first day of school, i said to my mother, very politely, "please wake me up at eight a.m." so, (japanese) but i didn't say (japanese). i said, (japanese). pretty close. but i said, "please rape me at eight a.m." (laughter) you've never seen a more confused japanese woman. (laughter)

i walked in to school. and a teacher came up to me and handed me a piece of paper. i couldn't read any of it -- hieroglyphics, it could have been -- because it was kanji, chinese characters adapted into the japanese language. asked him what this said. and he goes, "ahh, okay okay, eehto, world history, ehh, calculus, traditional japanese." and so on. and so it came to me in waves. there had been something lost in translation. the japanese classes were not japanese instruction classes, per se. they were the normal high school curriculum for japanese students -- the other 4,999 students in the school, who were japanese, besides the american. and that's pretty much my response. (laughter)

and that set me on this panic driven search for the perfect language method. i tried everything. i went to kinokuniya. i tried every possible book, every possible cd. nothing worked until i found this. this is the joyo kanji. this is a tablet rather, or a poster of the 1,945 common-use characters as determined by the ministry of education in 1981. many of the publications in japan limit themselves to these characters, to facilitate literacy -- some are required to. and this became my holy grail, my rosetta stone.

as soon as i focused on this material, i took off. i ended up being able to read asahi shinbu, asahi newspaper, about six months later -- so a total of 11 months later -- and went from japanese i to japanese vi. ended up doing translation work at age 16 when i returned to the u.s., and have continued to apply this material over method approach to close to a dozen languages now. someone who was terrible at languages, and at any given time, speak, read and write five or six. this brings us to the point, which is, it's oftentimes what you do, not how you do it, that is the determining factor. this is the difference between being effective -- doing the right things -- and being efficient -- doing things well whether or not they're important.

you can also do this with grammar. i came up with these six sentences after much experimentation. having a native speaker allow you to deconstruct their grammar, by translating these sentences into past, present, future, will show you subject, object, verb, placement of indirect, direct objects, gender and so forth. from that point, you can then, if you want to, acquire multiple languages, alternate them so there is no interference. we can talk about that if anyone in interested. and now i love languages.

so ballroom dancing, implicit versus explicit -- very important. you might look at me and say, "that guy must be a ballroom dancer." but no, you'd be wrong because my body is very poorly designed for most things -- pretty well designed for lifting heavy rocks perhaps. i used to be much bigger, much more muscular. and so i ended up walking like this. i looked a lot like an orangutan, our close cousins, or the incredible hulk. not very good for ballroom dancing.

i found myself in argentina in 2005, decided to watch a tango class -- had no intention of participating. went in, paid my ten pesos, walked up -- 10 women two guys, usually a good ratio. the instructor says, "you are participating." immediately: death sweat. (laughter) fight-or-flight fear sweat, because i tried ballroom dancing in college -- stepped on the girl's foot with my heel. she screamed. i was so concerned with her perception of what i was doing, that it exploded in my face, never to return to the ballroom dancing club. she comes up, and this was her approach, the teacher. "okay, come on, grab me." gorgeous assistant instructor. she was very pissed off that i had pulled her from her advanced practice. so i did my best. i didn't know where to put my hands. and she pulled back, threw down her arms, put them on her hips, turned around and yelled across the room, "this guy is built like a god-damned mountain of muscle, and he's grabbing me like a frenchman," (laughter) which i found encouraging. (laughter) everyone burst into laughter. i was humiliated. she came back. she goes, "come on. i don't have all day." as someone who wrestled since age eight, i proceeded to crush her, "of mice and men" style. and she looked up and said, "now that's better." so i bought a month's worth of classes. (laughter)

and proceeded to look at -- i wanted to set competition so i'd have a deadline -- parkinson's law, the perceived complexity of a task will expand to fill the time you allot it. so i had a very short deadline for a competition. i got a female instructor first, to teach me the female role, the follow, because i wanted to understand the sensitivities and abilities that the follow needed to develop, so i wouldn't have a repeat of college. and then i took an inventory of the characteristics, along with her, of the of the capabilities and elements of different dancers who'd won championships. i interviewed these people because they all taught in buenos aires. i compared the two lists, and what you find is that there is explicitly, expertise they recommended, certain training methods. then there were implicit commonalities that none of them seemed to be practicing. now the protectionism of argentine dance teachers aside, i found this very interesting. so i decided to focus on three of those commonalities. long steps. so a lot of milongueros -- the tango dancers will use very short steps. i found that longer steps were much more elegant. so you can have -- and you can do it in a very small space in fact. secondly, different types of pivots. thirdly, variation in tempo. these seemed to be the three areas that i could exploit to compete if i wanted to comptete against people who'd been practicing for 20 to 30 years.

that photo is of the semi-finals of the buenos aires championships, four months later. then one month later, went to the world championships, made it to the semi-final. and then set a world record, following that, two weeks later. i want you to see part of what i practiced. i'm going to jump forward here. this is the instructor that alicia and i chose for the male lead. his name is gabriel misse. one of the most elegant dancers of his generation, known for his long steps, and his tempo changes and his pivots. alicia, in her own right, very famous. so i think you'll agree, they look quite good together. now what i like about this video is it's actually a video of the first time they ever danced together because of his lead. he had a strong lead. he didn't lead with his chest, which requires you lean forward. i couldn't develop the attributes in my toes, the strength in my feet, to do that. so he uses a lead that focuses on his shoulder girdle and his arm. so he can lift the woman to break her, for example. that's just one benefit of that. so then we broke it down. this would be an example of one pivot. this is a back step pivot. there are many different types. i have hundreds of hours of footage -- all categorized, much like george carlin categorized his comedy. so using my arch-nemesis, spanish, no less, to learn tango.

so fear is your friend. fear is an indicator. sometimes it shows you what you shouldn't do. more often than not it shows you exactly what you should do. and the best results that i've had in life, the most enjoyable times, have all been from asking a simple question: what's the worst that can happen? especially with fears you gained when you were a child. take the analytical frameworks, the capabilities you have, apply them to old fears. apply them to very big dreams.

and when i think of what i fear now, it's very simple. when i imagine my life, what my life would have been like without the educational opportunities that i had, it makes me wonder. i've spent the last two years trying to deconstruct the american public school system, to either fix it or replace it. and have done experiments with about 50,000 students thus far -- built, i'd say, about a half dozen schools, my readers, at this point. and if any of you are interested in that, i would love to speak with you. i know nothing. i'm a beginner. but i ask a lot of questions, and i would love your advice. thank you very much. (applause)

ted.演讲稿篇6

亲爱的同学们：

大家好！

今天我国旗下演讲的题目是《健康饮食从我做起》。

每一家的健康与食品息息相关，随着经济社会不断进步，人们饮食文化日益多样化，食品卫生与安全成为备受关注的话题。

要健康饮食，就要做到以下几点：

1.不购买街边小吃或街边小店的垃圾食品，去一些正规超市购买食物。

2.买所需食品时，要注意生产日期、保质期、qs生产许可标志等等。

3.认准品牌购买，尽量买一些有品牌的食品。

4.少吃油炸食品及零食，多吃蔬菜水果等有营养的食品。

5.不买价格明显过低的食品，不要贪小失大。

注意以上几点，就大致能做到安全饮食了。俗话说：“民以食为天”。说得通俗一点就是人们每天要吃和喝，食物是人类赖以生存的物质。食品的质量决定了人类生命的质量。因此，食品必须是安全的并且有益健康的。