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来源:妙手卫生    发布时间:2019年08月21日 00:06:16    编辑:admin         

A British friend recently offered me a prized contact from her Manhattan address book – no, not her heavily-in-demand colourist but, instead, her milliner. Trust a Brit to brandish that kind of number, I thought. Hat-wearing is a quintessentially British affair, hence the creations of master British milliners such as Philip Treacy and Stephen Jones.近日,一位英国朋友把她曼哈顿通信簿中的某重要电话无偿给了我——不,对方并非她那位异常抢手的染发师,而是她的女帽设计师。我觉得英国人显摆那类电话号码大可放心。喜欢戴帽子是英国人的典型特色,所以英国能诞生菲利普#8226;崔西(Philip Treacy)和斯蒂芬#8226;琼斯(Stephen Jones)这等著名女帽设计师也就不足为奇了。As the sporting summer gets under way – from England’s Royal Ascot to polo in the Hamptons – a growing number of international customers, particularly from the US, are approaching British hatters.随着当前夏天运动季紧锣密鼓地进行——从英格兰的皇家爱斯科赛马会(Royal Ascot)到汉普顿斯(Hamptons)的马球运动——越来越多的国际客户(尤其是美国客户)不断接洽英国帽子设计师。“Americans are especially interested in hats since the Duke and Duchess of Cambridge’s wedding in 2011, and since seeing the younger royals wear hats so frequently,” says Gina Foster, a London-based milliner who designed the red pillbox hat worn by the duchess during their recent state visit to New Zealand. “I don’t think hats ever went out of fashion, but the audience is much broader now.”“自从威廉王子与凯特王妃(Duke and Duchess of Cambridge)2011年大婚以及亲眼目睹英王室的年轻一代频繁戴帽子以来,美国人对帽子的兴趣尤为浓厚,”伦敦女帽设计师吉娜#8226;福斯特(Gina Foste)说,她为凯特王妃设计了红色礼帽,近日,凯特王妃就戴着这顶帽子对新西兰进行了国事访问。“我认为女帽永远不会过时,只不过如今关注者更多了。”Foster, 38, who studied under Philip Treacy, has been making hats for 12 years. Her international clients come from the US, Mexico, Brazil and Australia. She has also designed a collection of five hats for the 2014 racing season that were inspired by the interior of London’s Goring Hotel.今年38岁的福斯特曾受教于菲利普#8226;崔西门下,迄今从事女帽设计已有12年。她的国际客户来自美国、墨西哥、巴西以及澳大利亚。她还为2014年的赛马季设计了五顶女帽,它们的设计灵感就源自伦敦戈林酒店(Goring Hotel)的室内装修。“Hats are part of English dress and culture, but we have an international audience that is seduced by glamour – and there is nothing more glamorous than a hat,” says Foster’s mentor Philip Treacy, whose numerous customers have included the late style-setter Isabella Blow, Lady Gaga and Madonna. (He also designed the much mocked hat worn by Princess Beatrice at the Duke and Duchess of Cambridge’s wedding; her sister Eugenie sported a less controversial Treacy design.)“女帽是英国装及文化的组成部分,但有些国际客户痴迷于我们英国美不胜收的时装————而且魅力最大的莫过于女帽,”福斯特的恩师菲利普#8226;崔西说,崔西名下的大腕客户数不胜数,其中就包括了已故时尚达人伊莎贝拉#8226;布罗(Isabella Blow)、Lady Gaga以及麦当娜(Madonna)。(他还为比特莱斯公主(Princess Beatrice)设计了那顶在威廉王子大婚时穿戴、受尽冷嘲热讽的帽子;比特莱斯公主的欧仁尼(Eugenie)则是戴了其设计的另一顶帽子(引发的争议要少一些)参加威廉的大婚。“When I started at the Royal College of Art, they thought hats were for old ladies, but I thought that was completely insane,” says Treacy. Now he points to a worldwide audience that is “open to seeing hats in a new way”.“我刚考入英国皇家艺术学院(Royal College of Art)时,时尚界认为帽子只适用于老年女士戴,我当时就认为纯属荒唐之极,”崔西说。如今他认为全球的客户都“以全新的方式看待女帽”。Kelly Christy is an American milliner whose work has been exhibited at the Smithsonian Cooper-Hewitt National Design Museum in New York and has designed for Diane von Furstenberg and Cynthia Rowley. Christy says hats – both classic, such as the fedora, as well as more whimsical headpieces – are back as a chic and affordable accessory after the recent downturn. “Now everyone wears them – actors, musicians, models; they complete a fashion look and are more mainstream than ever.”凯莉#8226;克里斯蒂(Kelly Christy)是美国设计师,她的作品已在纽约史密森#8226;库珀-休伊特国家设计物馆(Smithsonian Cooper-Hewitt National Design Museum)成功展出,还曾为黛安#8226;冯芙丝汀宝(Diane Von Furstenberg)与辛西娅#8226;罗利(Cynthia Rowley)设计过帽子。克里斯蒂说:近几年经济低迷后,各种帽子(既包括软呢帽等经典款式,也包括奇形怪状的帽子)作为既时髦又实惠的配饰卷土重来。“如今所有人都在穿戴它——演员、音乐家、模特,不一而足;它们让时尚行头成为完美的整体,如今更成了时尚主流。”Ellen Goldstein, a professor at the Fashion Institute of Technology in New York, would agree: “Hats are a way of easing into a fashion statement.” She notes that more Americans are wearing hats to the races and to weddings, as well as in everyday wear, with men in particular routinely wearing baseball caps and short-brimmed fedoras.艾伦#8226;戈尔茨坦(Seth Goldstein)是纽约美国时装技术学院(Fashion Institute of Technology)教授,他赞同克里斯蒂的观点:“帽子慢慢成了展示时尚风格的方式。”她如今注意到越来越多的美国人日常戴帽外,还戴着它们去参加赛事及婚礼,其中尤以男士为甚,他们经常戴着棒球帽以及窄边软呢帽。Gabriela Ligenza, another London-based hat designer (see “Boffin tops” below), says Britain’s image as a hat-wearing nation had remained strong, thanks to the influence of figures such as Isabella Blow. “British milliners are slightly quirkier and more daring, but without becoming ridiculous,” she notes.另一位伦敦帽子设计师加布丽埃拉#8226;利津察(Gabriela Ligenza,参看下图中的“Boffin”帽)说:归功于伊莎贝拉#8226;布罗等时尚达人的影响力,英国作为喜欢戴帽的国家形象依然非常坚不可摧。“英国的帽子设计师稍微有些离经叛道,而且更加敢于创新,但还没有到荒谬绝伦的地步,”她说。The message, reinforced by such style icons and prolific hat-wearers as Daphne Guinness, Anna Dello Russo and Paloma Faith, who has worn Ligenza’s hats, is that “your outfit really isn’t quite finished without a hat”.因此,在达芙妮#8226;吉尼斯(Daphne Guinness)、安娜#8226;戴洛#8226;罗素(Anna Dello Russo)以及帕洛玛#8226;费丝(Paloma Faith)等众多喜爱帽子的时尚名媛推波助澜下,如今传达出的时尚信息是:“没有帽子的点缀,您的行头真是美中不足”。What’s more, as Ligenza points out, fascinators are no longer allowed in the Royal Enclosure at Ascot, which has stimulated demand for contemporary designs.而且更重要的是,正如利津察所言,如今皇家阿斯科特赛马场已禁止戴着头巾进入,此举大大刺激了当代风格的帽子需求量。Piers Atkinson, also based in London designs fun, arty hats in the shape of cream slices and cherries for customers in Melbourne, Dubai and Britain. He believes there has never been a better time for talented young designers, and points to the British Fashion Council’s “Headonism” showcase, an initiative to promote young milliners that runs during London Fashion Week in September.另一伦敦女帽设计师皮尔斯#8226;阿特金森(Piers Atkinson)参照奶油蛋糕与樱桃形状,为墨尔本、迪拜以及本国的客户设计了妙趣横生、附庸风雅的帽子。他认为如今这个时代是才华横溢设计师的黄金时代,并以英国英国时装协会(British Fashion Council)设立的“Headonism”展览室项目为例明。该项目旨在提携年轻的帽子设计师参加今年九月举办的伦敦时装周(London Fashion Week)。Also showing at Headonism will be Awon Golding, who grew up in England, Hong Kong and India. This year her designs include eye-catching pieces for Ascot such as one in the shape of an ice-cream cone, complete with scoops of soft ostrich feather pom-poms.Headonism展览室还展出了阿翁#8226;戈尔丁(Awon Golding)设计的帽子,戈尔丁分别在英国、香港以及印度生活过。今年,她设计的作品包括了阿斯科特赛马会上那顶引人注目的蛋卷冰淇淋外形帽子,连同勺子状的软鸵鸟羽毛绒球帽。 /201407/311483。

1. Blueberries1.蓝莓Although tiny, blueberries pack a huge anti-aging health punch. Rich in polyphenols, research suggests that a blueberry-rich diet not only improves your motor skills, but also can help fight diseases such as cancer, heart disease and diabetes.尽管果实小,蓝莓却有强大的抗衰老功能。研究表明,蓝莓富含多酚,食用蓝莓不仅能发展运动技能,还有助于对抗癌症、心脏病和糖尿病。Indeed one recent study published in Circulation: Journal of the American Heart Association showed that women who ate the most blueberries -- as well as their superfood cousin, strawberries -- enjoyed a 32 percent lower heart attack risk than women who only ate these berries once a month (or not at all).近日发表在美国心脏学会期刊《循环》(Circulation: Journal of the American Heart Association)上的一项研究指出,大量食用蓝莓和草莓的女性,比每月只吃一次或不吃的女性,患心脏病的几率要少32%。 /201404/285932。

An Iowa mother who weighs 765lb is trying to get on a reality TV show because she believes it is the only way to save her life.美国爱荷华州有一位妈妈体重达765磅(约694斤),如今她正努力登上一个电视真人秀节目,因为她认为这是拯救自己的唯一方法。Charity Pierce, 38, finds moving around so difficult that she is almost house bound, but doctors near her Cedar Rapids home say she must slim down to 500lb before they can give her a gastric band.38岁的夏里蒂·皮尔斯住在美国锡达拉皮兹市。她胖胖的身体行动非常不便、所以呆在家里几乎不出来;但家附近的医生都说,只有皮尔斯减到500磅以下才能给她做束胃带治疗。Ms Pierce, who is the fattest woman in the world, has developed a medical condition called lymphedema, which has caused a huge swelling on her left leg, she no longer fits easily into a regular car.皮尔斯女士是世界上最胖的女人,她患了淋巴水肿症、导致腿部大面积浮肿。因而,普通的车子是装不下皮尔斯的身体的。She hopes to be able to lose enough weight to be able to watch her daughter grow up, and also so she can have a dream wedding to her 22-year-old boyfriend, Tony Sauer.她希望自己能够减肥成功,看着女儿长大;同时她也能和自己22岁的男朋友托尼·萨奥尔举办一场梦寐以求的婚礼了。#39;I#39;m determined not to have to get married at home. I want to be able to walk up the aisle,#39; Ms Pierce told Best magazine.“我下定决心不在自己家房子里结婚,我想亲自走上婚礼的红毯。”皮尔斯女士对Best杂志记者说道。#39;I plan to wear a wedding dress, cowboy boots and a cowgirl hat ... I want to dance all night.#39;“婚纱礼、牛仔靴、牛仔帽……我想把自己打扮得漂漂亮亮的,我要尽情跳舞彻夜狂欢。”Ms Pierce says she has always been on the larger size, but her weight problem became worse after developing lymphedema, which blocks the lymphatic system and causes swelling.皮尔斯女士说自己的体型一直是“大号”的,但患上淋巴性水肿之后肥胖问题愈发严重了,致使她的淋巴系统阻塞、身体浮肿。Ms Pierce is trying to lose weight and is on a limited 1,200-calorie a day diet and does physical therapy twice a day.皮尔斯女士正努力减肥,她每天吃的食物热量控制在1200卡路里以内,同时每日进行两次物理疗法治疗。#39;It#39;s a very long road, but I#39;m going to get there,#39; Ms Pierce said.“漫漫减肥之路任重而道远,但我依然会勇敢前行!” 皮尔斯女士说道。 /201404/293807。

This is the pet for you if you want to get a head.如果你想引人注意的话,大白菜就是你的宠物。Photo agency Europics claimed last week that teenagers photographed at Beijing#39;s Midi Music Festival ;walking; cabbages on leashes were doing so as a means to cope with loneliness and depression. However, according to That#39;s Mag, the cabbage-walking was merely a performance art piece.上周摄影机构Europics称,中国青年在北京迷笛音乐节“遛白菜”是为了缓解孤单、释放压力。但是据网站That#39;s Mag称,“遛白菜”仅仅是行为艺术表演。The performance was based on the work of Chinese artist Han Bing, whose photo series, ;Walking the Cabbage,; depicted him dragging a leashed cabbage in various locations.这场行为艺术是由中国艺术家韩冰的作品衍生出来的,韩冰的系列摄影“遛白菜”记录了他在不同地点“遛白菜”的场景。According to Europics, the teens in the photographs at the Midi festival told reporters that walking cabbages helped them cope with emotional problems.据Europics 称,迷笛音乐节上的青年告诉记者“遛白菜”能帮助他们处理情感上的问题。;I feel I can transfer my negative thoughts about myself to the cabbage, go for a walk with it and come home feeling better about myself,; 17-year-old Lui Ja Chen was ed as saying.17岁的陈璐佳(音译)这样说道:“我觉得自己的负面情绪可以转移到白菜上,遛着白菜走一圈再回家让我感觉好多了。”It#39;s unclear whether the teens really saw some therapeutic benefit to the cabbage-walking, or they were just messing with reporters.目前尚不清楚这些青年是否真得认为“遛白菜”有治疗作用,还是只是应付记者随便说说。Another 17-year-old, Da-Xia Sung, reportedly said ;I have more interest for my cabbage than I do my parents. I feel it understands me.;另一位17岁的少年孙达夏(音译)说:“白菜比父母更能让我感兴趣,我觉得白菜懂我。” /201405/297071。

WHEN CHEF ENRIQUE OLVERA OPENED his restaurant, Pujol, 13 years ago, his only goal was to serve #39;solid, tasty food#39; and be #39;the best restaurant in the neighborhood,#39; he says. But that neighborhood was Mexico City#39;s Polanco, the dining epicenter for a city of 8.5 million, and Olvera#39;s budget was so small that his wife had to paint the walls. Since then, Pujol has far surpassed its initial aims: It#39;s now widely thought of as Mexico#39;s finest restaurant-and the 36th best in the world, according to the much-scrutinized S. Pellegrino rankings; and Olvera, who trained at New York#39;s Culinary Institute of America before returning home, is the country#39;s most well-known chef. He reached his position by making his cuisine #39;fancier and fancier, and more complex#39; over time. Pujol now serves a tasting of innovative, sophisticated food that wouldn#39;t look out of place at England#39;s Fat Duck or New York#39;s Momofuku Ko. Olvera is also one of the leading exponents of Mexico#39;s new gastronomy, which combines elaborate, cutting-edge technique with a strong emphasis on local ingredients to create a cosmopolitan cuisine that#39;s at once international yet unmistakably Mexican-paralleling the direction of Mexico City itself. 墨西哥名厨恩里克#12539;奥尔韦拉(Enrique Olvera)于13年前开办了自己的餐厅――Pujol,他说他当时唯一的目标就是做出“货真价实、美味可口的食物”,打造“全社区最棒的餐厅”。不过,这个社区可是墨西哥城的波兰科(Polanco),它是这个拥有850万人口的城市的餐饮中心,而奥尔韦拉的预算又非常少,他的妻子都不得不亲自上阵刷 。自那以后,奥尔韦拉取得的成绩已远超他最初的目标,如今Pujol已被普遍认为是墨西哥最好的餐厅,而且还在备受关注的 培露(S. Pellegrino)评级中位列全球最佳餐厅的第三十六位。在回国之前,奥尔韦拉曾在纽约的美国烹饪学院(Culinary Institute of America)接受培训,现在他是墨西哥最负盛名的大厨。他通过逐步使他的菜式“越来越新奇、越来越复杂”坐上了今日的位置。现在Pujol推出了一系列有创新性、精细复杂的菜品,把它们放在英格兰的Fat Duck餐厅或纽约的MomofukuKo餐厅也不会显得上不了台面。奥尔韦拉还是墨西哥新烹饪法的主要代表人物之一,该烹饪法将精妙前沿的技术与对本地食材的注重结合在一起,以此创造出既国际化同时又无疑具有墨西哥特色的世界性的菜肴,这一点与墨西哥城自身的发展方向不谋而合。 A visit to the 48-seat Pujol reveals a space-age kitchen containing 27 cooks, including a number of stagiaires who have flown thousands of miles to work for free-one spends hours picking cilantro flowers with tweezers; another is making his fifth attempt to perfect an apparently simple dish. As Pujol has become a place that attracts free labor (#39;if you want to stage here now, you have to wait until 2014,#39; says Olvera), the chef has begun to think more about bringing Mexican cooks home from the U.S. He#39;d like them to move past the glass ceiling that exists in America (despite the number of Mexicans working in U.S. restaurants, #39;you rarely see a Mexican head chef in a New York kitchen,#39; Olvera points out) and advance their careers on their home turf. As Olvera guides his cooks through lunchtime service-#39;Hey, make that blob of sauce more the size of a walnut#39;; #39;You: pull your hat down#39;-he talks about coming home, tradition and innovation, and how a Disney movie changed one of the world#39;s best restaurants. Pujol餐厅共有48个座位,它的超现代的厨房中现在有27名厨师,包括一群从数千英里之外飞来免费干活的实习厨师。其中一名实习厨师要花数个小时用镊子挑选香菜花,另一人则在第五次尝试使一道表面上简单的菜品变得完美。由于Pujol已成为一个能吸引免费劳力的地方(奥尔韦拉称:“如果你想在这儿实习,那得等到2014年了。”),奥尔韦拉已经开始考虑要将墨西哥厨师从美国吸引回国。他希望他们能绕过存在于美国的“玻璃天花板”(尽管有大量墨西哥厨师在美国的餐厅工作,但奥尔韦拉指出“你在纽约的餐厅很少能看到一位墨西哥主厨”),回到自己的国家发展他们的事业。他一边指导厨师们准备午餐――“喂,把那团酱弄成一个核桃的大小”;“你,把帽子拉低些”――一边谈论著有关回国、传统与创新的问题,以及一部迪斯尼(Disney)的影片如何改变了这家位列全球最佳的餐厅。 ENRIQUE OLVERA: #39;Mexico City is changing quickly, and restaurants are in a really good spot. There#39;s more attention from the rest of the world on Mexican food. Fifteen years ago, I wouldn#39;t have thought it would be considered a high-level cuisine and valued the same as Italian or Spanish food-especially in Mexico. Foreigners have always liked our food, but they thought of it as very causal, almost like street food. Now they#39;re realizing there#39;s sophistication to it, and there#39;s potential to make not just tasty food but also food of a very high quality. 墨西哥城在迅速改变,餐饮处于一个非常有利的位置,世界其他地方更关注墨西哥美食了。放在15年前,我不会想到它会被人视为高端菜系,会和意大利菜和西班牙菜受到同样的重视――尤其是在墨西哥。外国人一直都喜欢我们的食物,但以前他们认为它是非常简便随意的,几乎就像街边小吃一样。现在他们意识到它也有精妙复杂之处,它不仅能够提供美味的食物,也能够提供品质非常高的食物。 This is a cosmopolitan city with influences from Europe, the local culture and the U.S. It#39;s a very nice mix of the three components, and Mexicans are starting to fall in love with that mix. If you look at Pujol, with the decoration and the food, it#39;s Mexican-you feel like you are in Polanco; you don#39;t feel like you#39;re in New York-but it#39;s not all pink with mariachis and crap like that, because that#39;s not Mexico City. 这是一个国际化都市,受到欧洲、本土文化及美国的影响。它是这三个要素的绝佳融合体,如今墨西哥人开始喜欢上了这种融合。看看Pujol,它的这些装饰和食物,你会发现它是墨西哥风格的,你会感觉自己身在波兰科,不会觉得自己在纽约。但是,它一点也不低俗,没有像墨西哥流浪乐队那样的低俗表演,因为这不是墨西哥城的风格。 At the restaurant we used to do a lot of reinterpretations of traditional Mexican dishes, but then we got tired of it and started trying to create new dishes with a very strong Mexican base. Until two or three years ago, all the ingredients had to be Mexican and they also had to be authentic, so, for example, we wouldn#39;t use parsnip. But you know that movie Ratatouille? In the beginning, the head chef, Gusteau, is on TV and he says, #39;You cannot limit your creativity because of the place that you were born,#39; and I remembered that later and figured it was true. So we started incorporating ingredients that are originally from other parts of the world. We said, #39;If it grows in Mexico, fine, we use it.#39; For example, now a lot of Mexicans eat broccoli. It#39;s the second-largest crop in the center of the country, so why shouldn#39;t we do broccoli? We brought in a little more of our own vision. That was the first year we got on the list of #39;The World#39;s 50 Best Restaurants.#39; 以前我们的餐厅常常做很多重新诠释传统墨西哥菜肴的菜品,后来我们感到厌烦,开始尝试创造拥有非常厚重的墨西哥传统根基的新菜品。直到两三年前,所有的食材还都必须是墨西哥的,而且必须是正宗的,比如说我们就不会采用欧洲萝卜。你知道《美食总动员》(Ratatouille)这部电影吗?影片一开始,厨师长古斯多(Gusteau)就在电视上讲道,‘你不能让你出生的地方限制了你的创造力’,后来我想起了这句话,明白了事实确实如此。因此,我们开始混入源自世界其他地区的食材。我们说:“如果它生长在墨西哥,那好,我们就用它。’比如说,现在很多墨西哥人都吃西兰花了。它是我们国家中部地区的第二大作物,所以我们为什么不用西兰花做菜呢?我们加入了更多一些我们自己的想象。那是我们登上“全球50大最佳餐厅”榜单的第一年。 Most people think they have to choose between tradition and doing modern food. We do both-they can coexist nicely in a dish and definitely on a . You always cherish where you come from, but I also have the need for new sensations, and to improve on those old traditions. It#39;s not just about innovation for its own sake-it#39;s to get to a better dish. For example, when you nixtamalize corn to make tortillas, the traditional recipe is to boil the corn with limestone, let it sit overnight outside, then grind it at the mill. But perhaps you can get to a better masa if you sous-vide the corn at 65 degrees, without the huge temperature shock. You might, so why not do it? You try it, and if it#39;s better, you change it; if it#39;s not, you keep doing the traditional style. If you were an architect, it would be really stupid to be building houses like you were 50 years ago. The kitchen#39;s the same thing. If you want tradition to be alive, you have to keep doing things with it. Time will tell who#39;s doing good stuff. 大多数人都认为他们必须在传统菜与现代菜之间做出选择。我们两样都做,它们能很好地共存于一道菜中,当然也能在同一份菜单上共存。人总是珍视自己的传统,但我也需要新感觉,也需要改进那些旧传统。这不只是为了创新而创新,而是为了做出一盘更美味的菜。例如,如果你想用 性溶液处理玉米去做玉米粉圆饼,传统方法是煮玉米时加入石灰石,接下来把玉米放在外面凉一晚,然后再去磨坊将它磨成粉。然而,假如你在华氏65度的温度下用真空低温烹饪法对它进行处理,没有了剧烈的温度变化,磨出来的粉或许会更好。你能这么做,那么为什么不去做呢?你可以去试试,如果效果更好,你就改变方法;如果效果并没有更好,那你就继续按传统方式做。假如你是位建筑师,如果你还像50年前一样建房子是非常愚蠢的行为。厨房之事也是一样,如果你想让传统延续下去,你就得不断地对它进行改进,时间会告诉大家谁做的是好事。 The Mexican cooks in the U.S. didn#39;t go there to cook; it#39;s just poor people that have no opportunities, that don#39;t see a future in Mexico, so they go to the U.S. Once they arrive, they have very few options for work. My dream-and I think it#39;s the dream of a lot of people here-is that they don#39;t need to go there and feel unwanted. If they go, it#39;s fine, but they should be hired. People should call you and say, #39;I want you to come and work at my restaurant,#39; like they do with other nationalities. It#39;s the nature of how it works and I understand that. But if we can change that a little it#39;d be nice. 在美国的墨西哥厨师当初去那儿并不是为了做厨师的,他们只是没有机会、在墨西哥又看不到未来的穷人,所以他们去了美国。到了那儿之后,他们可选择的工作非常少。我的梦想是――而且我认为这也是很多人的梦想――有一天他们不需要跑去那儿感觉自己是多余的。如果他们去了,没问题,但是他们应该有就业机会。应当有人打电话给他们说,‘我希望你来我的餐厅工作’,就像他们对待其他族裔的人一样。当然,事情的发展原本就是这样的,我也理解这一点,但是如果我们能对它做一点点改变,那也是不错的。 I don#39;t think cooks abroad realize Mexico has changed cuisinewise. And when they come back they see there#39;s this huge potential. I think we should sp the word that there are good restaurants here in Mexico. If you compare the amount of money you make and the quality of life, it#39;s almost the same. Yes, in New York you might earn ,000 as a pastry chef, and here you might earn ,000, but the rent is much cheaper, you don#39;t have to be sending money home and you#39;re with your own people. Most of the cooks here have worked in Europe or the States, and when they come back they appreciate the ingredients more and they see the possibilities of working with Mexican products. I also like the idea of Mexicans leaving Mexico and coming back because I did it myself. You realize what you like about your own country when you#39;re outside it.#39; 我觉得在国外的厨师没有意识到墨西哥在烹饪方面发生了变化。他们回来时就会发现这儿原来有这么巨大的潜力,我认为我们应当向世界传播墨西哥也有好餐厅的消息。如果你对收入的数量与生活的质量进行比较,在墨西哥和在国外几乎都是一样的。是的,在纽约做糕点厨师你或许能挣60,000美元,在这儿也许你只能挣3,000美元,但是这儿的房租要便宜得多,你不必把钱寄回家,而且你能和自己的家人呆在一起。我们这儿的大多数厨师都曾在欧洲或美国工作过,他们回来后对于食材有了更多的理解和认识,能看到利用墨西哥食材进行烹饪的种种可能。我也喜欢墨西哥人离开自己国家然后再回来,因为我自己就是这么做的。当你身处异国时,你会明白你喜欢自己国家的哪些方面。 /201310/261401。