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涂紫凝
回复 :欢迎大家加入全美超模小站！！！http://site.douban.com/165095/本季作为特邀嘉宾出席的来自高级时尚圈的业内评审有：国际知名时装设计师Lana Marks、身兼模特及造型师二职的Erin Wasson、造型师Rachel Zoe、苏丹模特∕女演员Alek Wek、造型师∕创意顾问Lori Goldstein、意大利摄影师Frances co Carrozzini、时尚超模Sonia Dara、IMG模特公司的执行官Ivan Bart、意大利版《Vogue》杂志主编Franca Sozzani、巴西设计师Daniella Issa Helayel、服装及配饰设计师∕造型师Eric Daman (《绯闻女孩》的时装造型师)。14名种子选手将要角逐最终开启她们事业之门的‘金钥匙’：一份与IMG--世界顶尖模特经济公司的合同；一次拍摄意大利版《Vogue》时尚内页的机会，一次额外的内页拍摄以及登上《Beauty in Vogue》杂志封面的机会；还有一份与CoverGirl化妆品公司签订的价值十万美金的合约。Tyra Banks 将一直带领评审团，其中成员还包括非常具有影响力的时尚主编André Leon Talley和摄影师Nigel Barker。另外，继J Alexander小姐重返T台指导之后，由Jay Manuel担当起了专业摄影的创意总监一职。
秦伟
回复 :《超级装备》规划分三季制作和播出，第一季由“独立装备、基础装备、核心装备和智能装备”四大模块组成。独立装备可视作装备“本尊”，是指在某个领域独当一面的尖端装备；基础装备是装备的“母机”，是用来研发和制造装备的装备；核心装备则是装备的“心脏”，用来驱动装备；而智能装备可视作装备的“大脑”，是用来控制装备的装备。
陈百祥
回复 :"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.
