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2017年10月22日 03:41:26 | 作者:百度资讯 | 来源:新华社
European Space Agency (ESA) cut potatoes into thin sticks and then deep fried them in extra-virgin olive oil, one side at a time, in a spinning centrifuge - creating conditions of up to nine times Earth#39;s gravity. They found that the higher gravity levels significantly upped the heat transfer between the hot oil and the potato, which shortened frying time and resulted in thick, crispy crusts.为研究不同重力条件下的油炸薯条味道,改善未来宇航员的太空食物,欧洲的研究人员花近百万英镑进行研究,最终得出结论:木星上炸薯条最好吃。被网友称为“史上最无聊研究”,研究费用由欧洲宇航局出资赞助。In fact, the scientists may have found ideal gravitational condition for making fries: The crust reached its max thickness when potatoes were fried at three times the Earth#39;s gravity.研究人员将土豆切成条,在橄榄油中油炸,同时用离心机创造不同的重力条件,以研究重力加速度对土豆条口感的影响。However, the fries#39; bottoms remained insulated from the oil by a layer of water vapor rushing out of its pores, which resulted in a soggy-bottomed fry. The study is set to be published in Food Research International.最终研究人员发现,在地心吸引力为地球3倍的地方炸薯条最好吃,而木星正好符合这一条件。 /201401/271988If you have ever travelled to the US and Egypt and forgotten to tip the hotel staff, the chances are you experienced a rather awkward reaction.如果你去美国和埃及旅游而忘记给酒店工作人员小费,那你很有可能会得到一个尴尬的回应。Similarly, if you slipped table staff a few extra euros following a meal in France or Japan, then you probably received a similar response.类似的,如果你在法国或者日本给工作人员小费,也同样会得到类似的反应。Do the same in Argentina and you may even find yourself in trouble with the police – it#39;s illegal.如果你在阿根廷给小费的话,警察可能会找你麻烦,因为这在那里是非法的。Knowing where and who to tip in different countries can be something of a social minefield.在世界不同的国家,什么时候给谁小费是一门学问。But travel search site Wego has now constructed an easy-to-follow infographic revealing where and when to tip when travelling abroad.最近旅行搜寻网站Wego给出了一个简单的信息图标,让你知道去国外旅行时什么时候给小费以及哪些地方可以给小费。According to the infographic, no tipping should ever happen in Argentina, Japan, Oman, Yemen and France.根据这张信息图表的说法,在阿根廷,日本,阿曼,也门和法国这些地方是千万不能给小费的。In Austria, Brazil, Netherlands, Russia, Chile, South Africa, Ireland and Turkey, tipping is expected after eating in a restaurant, unless service charge is included.在奥地利,巴西,荷兰,俄罗斯,智利,南非,爱尔兰,土耳其等地方,在餐馆吃完饭后是需要给小费的,除非务费已经包含在价格内。Tipping is left up to the customer in countries including the UK, Norway, Spain, Denmark and Germany.而在英国,挪威,西班牙,丹麦和德国,给不给小费由客人说了算。Deciding whether to leave a tip in these countries depends on the quality of service or experience.在这些国家,给不给小费要看所提供的务质量好不好以及你的体验好不好。#39;In the US, low wage earners in the service industry are reliant on tipping to balance out their income, yet in Romania, tips are often declined and in Japan, tipping is considered offensive,#39; explains Joachim Holte, Chief Marketing Officer for Wego.“在美国,务行业的低薪工人靠小费来增加收入,而在罗马尼亚,工作人员通常会拒绝客人给的小费,在日本,给小费被看成是一种无礼的行为,”Wego网站的首席市场官Joachim Holte解释说。#39;In Argentina for example, tipping is actually illegal, however, waiters often expect to be tipped by foreigners so if you were to tip, discretion is advised.“在阿根廷,给小费是违法的,然而,务员通常希望外国人能给他们点小费,所以你要给他们小费的话,就要慎重考虑了。”#39;For instance, in the UK, tipping for food in restaurants is OK, although unexpected as service charges are generally included. Yet, tipping for drinks at a bar is just not cricket!#39;“在英国,因为餐馆里的食物好吃而给小费是可以的,尽管务费一般已经包含在就餐价格里了。不建议在酒吧喝酒时给小费。”In general, it#39;s not uncommon to give a small tip to your porter as he drops off your luggage in your hotel room in most places.在大多数地方给行李员小费是可以接受的。Rounding up your fare for taxi drivers is common in most countries, apart from New Zealand and Chile, where it#39;s not expected at all.在大多数国家,在坐出租车时给司机整数的费用是很普遍的,除了新西兰和智利。#39;It seems that tipping traditions are evolving throughout the world as more people travel.“随着越来越多人旅行,全世界的给小费习惯似乎也在不断的演变。”#39;Australia and New Zealand don#39;t have a history of tipping, yet travellers who are unaware of this fact have heightened some expectations from service staff,#39; Holte added.“澳洲和新西兰没有给小费的历史,而那些不知道这个事实的旅游者培养了这两个地方的给小费习惯,”他说。#39;If you haven#39;t done your homework before you go, remember you can always ask what the custom is from hotel staff.“如果你在出发旅行前没有做好准备工作,那你可以询问酒店的工作人员来了解当地的风俗习惯。”#39;Most people will appreciate you taking the time to find out, and it#39;s a good way to avoid some very sticky situations.#39;“大多数人都会欣赏那些愿意花时间去学习他国风俗习惯的人,通过这种方式还可以避免一些不必要的尴尬。” /201411/341668Woman Marries Herself After Six Years OfBeing Single. Here#39;s Why...经过6年的单身生活,英女子决定嫁给自己It#39;s not your typical wedding scenario,marrying yourself.这不会是你心目中典型的婚礼场景,因为新娘将自己嫁给了自己。However it#39;s not unheard of either, asproven by Grace Gelder who is now happily married to...Grace Gelder.不过这种情况也不是前所未有,GraceGelder就幸福地将自己嫁给了自己。The reason? After a long spell of beingsingle, Grace decided that enough was enough.她为何要这么做呢?在长期单身之后,Grace确定自己已经受够了这样的日子。She#39;d built up a ;brilliant relationship; with herself and was y to commit toan ;adventurous period of self discovery; while also looking forwardto a new phase in her life.她同自己建立了“绝妙的关系”并准备投入“自我发现的冒险阶段”,同时也期望人生开启新篇章。The obvious answer following thisreflection was, of course, marriage.经过认真的思考,不言自明,当然,她需要步入婚姻殿堂。So, Grace paid a visit to Parliament Hillin London lastNovember and proposed to herself on a park bench.于是,Grace于去年11月份去了伦敦的国会山,她在一个公园的长椅上向自己求婚。After announcing her news, Grace wasslightly anxious that people would see it as a bit self-absorbed.在公布了消息之后,Grace有点担心人们会认为她有点自恋。She told The Guardian: ;Obviously, if you#39;ve just announcedyou#39;re marrying yourself, it is plainly a statement of self-love, and I wasunder no illusion how self-indulgent that might appear.;她对《卫报》说:“如果你公布要同自己结婚的话,那显然就是自恋的表现,”;But I was completely comfortable withmy motivations.;“但是我完全没有因自己的动机感到不自在”。The day itself was a humble affair, with 50guests in an ;idyllic farmhouse in rural Devon.;婚礼当天一切都很低调,50名宾客来到了位于“德文郡田园诗般的乡下农家”。The dress was vintage (snapped up a coupleof days before the ceremony) .婚纱是老式的(在举办婚礼的前几天抢购的)。Since the wedding, Grace has been told byher female friends that she#39;s an example to women. Her response?自从举办了婚礼之后,Grace的女性朋友们都说她是女性的榜样。那她对此作何反应呢?;Why not an example to men too? I reallydon#39;t see it as any kind of feminist statement, but creating a wedding of thiskind on my own terms felt incredibly empowering.;“为什么不会也是男性的榜样呢?我的确没把这看作是任何女权主义的宣言,但按照我自己的意愿举办一场这样的婚礼让我感到自己的不可思议”。Although it#39;s an unusual event, Grace isnot the first woman to marry herself.虽然这样的事情非同寻常,但Grace并不是第一个与自己结婚的女性。In 2012, Huffington Post reported that Nadine Schweigert from North Dakota had marriedherself following a painful divorce.据《赫芬顿邮报》报道,2012年,美国北达科他州的Nadine Schweigert在经历痛苦的离婚之后,自己独自举办了婚礼。Nadine told Inforum: ;I was waitingfor someone to come along and make me happy. At some point, a friend said, ;Why do you need someone to marry you to be happy? Marry yourself.;Nadine对Inforum 说:“我等待那个能让我幸福的人出现。某日一个朋友提到,;为何要嫁给别人以获得幸福?何不嫁给自己;。Additionally, 30-year-old Taiwanese woman,Chen Wei-yih married herself back in 2010.此外,30岁的台湾女子Chen Wei-yih于2010年嫁给了自己。 /201410/334629

It is hard to overstate the impact Ming Cho Lee has had on the world of theater design.你怎么称赞李名觉对戏剧设计界的影响都不为过。Michael Yeargan, a student of Mr. Lee#39;s at the Yale School of Drama in 1969 and now co-chairman of the drama school#39;s design department, recognized that at the 2005 Tony Awards ceremonies, where Mr. Yeargan was honored for set design.迈克尔·耶尔根(Michael Yeargan)2005年参加托尼奖颁奖典礼领取舞台设计奖时意识到了这一点。1969年耶尔根在耶鲁大学戏剧学院就读时师从李名觉,现在是该戏剧学院设计系的联合系主任。;When I went backstage and looked around me,; he recalled, he noticed that five of the six Tony winners standing there had studied with Mr. Lee. ;I suddenly realized what an influence he had on all of us.;他回忆说,“我走到后台,看着周围的人”,注意到站在那里的六位托尼奖获得者中有五位曾师从李名觉,“我突然意识到他对我们所有人的影响有多大”。The schools of drama and architecture at Yale are staging a retrospective exhibition honoring Mr. Lee, who has been a member of the drama school faculty for more than four decades.耶鲁大学戏剧学院和建筑学院正在举办李名觉回顾展。李名觉已在戏剧学院任教40多年。;Stage Designs by Ming Cho Lee,; on display at the Yale School of Architecture in New Haven through Feb. 1, features more than 90 models, sketches and photographic reproductions for more than 60 theater, dance and opera productions by Mr. Lee, who received a special Tony Award for lifetime achievement last year and a National Medal of Arts in 2002.“李名觉舞台设计展”(Stage Designs by Ming Cho Lee)在纽黑文市的耶鲁大学建筑学院举行,持续到2月1日,展出李名觉为60多部戏剧、舞蹈剧和歌剧设计的90多件作品,包括模型、草图和逼真的复制品。李名觉去年获得了托尼奖终身成就奖,2002年获得了国家艺术奖章。Arnold Aronson, a professor of theater at Columbia University who wrote the introductory wall text and publication for the Yale exhibition and who is writing a book on Mr. Lee that will be published this year, said Mr. Lee had trained more set designers than anyone else.展览简介墙和出版物上的文字是由哥伦比亚大学戏剧教授阿诺德·亚伦森(Arnold Aronson)撰写的。他正在写一本关于李名觉的书,该书将于今年出版。他说李名觉培养的舞台设计师比其他任何人都多。;And his influence goes beyond set design,; Dr. Aronson said. ;Costume and lighting designers, playwrights, directors, architects, artists have taken his classes. His aesthetic and ideology have seeped into the very fabric of American theater.;“他的影响力超越了舞台设计,”亚伦森士说,“装和灯光设计师、剧作家、导演、建筑师和艺术家都上过他的课。他的审美观和思想方式已经渗入了美国戏剧的构造中。”Mr. Lee, who has also taught at New York University and has held classes and workshops around the world, is not passing along a particular style of design, Dr. Aronson added. Instead he offers ;an approach, a commitment to the idea that art has the possibility of changing the world, that art must make a statement.;李名觉也在纽约大学教书,还在世界各地开过讲习班。亚伦森士补充说,他不是传授某一种设计风格,而是提供“一种方法,传递一种信念——艺术具有改变世界的可能,艺术应该表达立场”。Born in Shanghai in 1930, Mr. Lee studied landscape painting as a teenager, which, he said in a recent interview, had taught him ;not to use much color; and ;gave me a real foundation for watercolor.; These studies, he added, also showed him how to be ;real without being realistic.;李名觉1930年出生在上海,十几岁的时候学过风景画。他在最近的一次采访中说,学习风景画让他明白“不要使用太多色”,“为我学水画奠定了扎实的基础。”他补充说,这也让他知道如何“具有真实感而不照搬现实”。When he entered Occidental College in Los Angeles in 1949 with little command of English, he could not understand his first lecture, and decided, he said, ;to take every drawing class I could get my hands on.; In them, he said, ;I would get A#39;s, which balanced the D#39;s I got in freshman English. They saved my life.;1949年他进入洛杉矶西方学院学习时,几乎不会说英语,第一节课完全听不懂,所以他决定“去上能上的所有绘画课”。他说,这些课“我能得到A,它们能平衡我在大一英语课上得的D。它们救了我的命。”Mr. Lee moved to New York in 1954 and worked for Jo Mielziner, the designer of sets for plays including ;The Glass Menagerie,; ;Death of a Salesman; and ;Carousel.;1954年,李名觉搬到纽约,为乔·梅尔齐纳(Jo Mielziner)工作。梅尔齐纳是很多戏剧的舞台设计师,包括《玻璃动物园》(The Glass Menagerie)、《推销员之死》(Death of a Salesman)和《旋转木马》(Carousel)。Mr. Lee also worked with the set designer Boris Aronson (no relation to Arnold Aronson), who Dr. Aronson said introduced nonobjective art movements into the American theater, providing ;an important counterpoint to the poetic realism of Mielziner.;李名觉还跟舞台设计师鲍里斯·亚伦森(Boris Aronson,与阿诺德·亚伦森没有关系)合作过。亚伦森士说鲍里斯·亚伦森把抽象艺术运动带入了美国戏剧界,提供了“一种与梅尔齐纳的诗意现实主义相反的重要方法”。;For Boris, Lee has said, designing for the theater was not just a question of design but of the play#39;s relationship to history, society, politics, religion — to life itself,; Dr. Aronson said.“李名觉曾说过,对鲍里斯来说,戏剧设计不只是设计的问题,而是这部戏剧与历史、社会、政治、宗教以及生活本身的关系,”亚伦森士说。The Yale exhibition, which was organized by the New York Public Library for the Performing Arts and based on three earlier exhibitions, traces these influences and experiences, largely through some 65 models made by Mr. Lee for sets.耶鲁大学的展览是纽约公共图书馆为表演艺术组织的展览,它以之前的三次展览为基础,主要通过李明觉为布景创作的约65个模型来追踪这些影响力和经历。From 1962 to 1973, Mr. Lee was the principal designer for what is today the Public Theater#39;s Shakespeare in the Park program at Central Park#39;s Delacorte Theater. He also designed sets for the Metropolitan Opera, Royal Opera House at Covent Garden, Martha Graham Dance Company, regional theaters like the Arena Stage in Washington and the Mark Taper Forum in Los Angeles, and many others.从1962年到1973年,李名觉是如今的公共剧团在中央公园戴拉寇特剧院举办的“公园中的莎士比亚”(Shakespeare in the Park)项目的主要设计师。他还为其他很多剧院设计过布景,比如大都会剧院、科文特花园的皇家歌剧院、玛莎·葛兰姆现代舞团,以及一些地方剧院,比如华盛顿的阿瑞娜剧场和洛杉矶的马克·塔佩剧场。The models are mostly one-eighth-inch-scale and one-quarter-inch-scale and some half-inch-scale models of sets, in full color, not only containing scenery, but often lights, actors and audiences.这些模型大多是1/8英寸或1/4英寸,有些是1/2英寸,全色,不仅包括布景,还包括灯光、演员和观众。Among the most important, Mr. Lee said, is the model for ;Electra,; a 1964 Public Theater production at the Delacorte Theater. The model has three stone sculptural pieces on a metal framework that represent the walls of a courtyard.李名觉说,其中最重要的一个是为《厄勒克特拉》(Electra)制作的模型。该剧是公共剧团1964年在戴拉寇特剧院上演的戏剧。这个模型有三个石雕,镶嵌在一个代表院墙的金属框架上。This set was the first with ;a completely nonliteral abstract design, though at the same time it was real, an emblem, an icon,; Mr. Lee said. ;It wasn#39;t an illustration of a place, it was the pure expression of the play.;李名觉说,这个布景是第一个“完全非写实的抽象设计,虽然它同时也具有真实感,但它是一个象征,一个标志”,“它不是对一个地方的描绘,而纯粹是对这出戏的表达。”Similarly, his designs for two sets from the Metropolitan Opera#39;s 1973 production of ;Boris Godunov; feature multiple religious icons as well as what he called ;fairly real sculptural pieces; that represent a cathedral wall and a stone wall.同样的,他为大都会歌剧院1973年的《鲍里斯·戈都诺夫》(Boris Godunov)设计的两个布景也含有很多宗教标志以及他称之为“非常真实的雕塑”,这些雕塑代表大教堂的一面墙和一面石头墙。Mr. Lee said more recent models for the two parts of ;Angels in America,; produced at the Dallas Theater Center in 1996, ;are very different from ‘Electra.#39; I#39;m no longer interested in making things abstract, I#39;m using super-realism.;李名觉说为1996年在达拉斯戏剧中心上演的分两部分的“《美国天使》(Angels in America)设计的模型”与“《厄勒克特拉》很不一样”。“我对制作抽象的东西不再有兴趣了,我用的是超现实主义风格。”In Part 1, the rear wall of the set#39;s great hall contains light switches and various medical controls, representing a hospital, while it is also painted with a blue sky and white clouds; this design thus combines multiple locations and images into one. The set for Part 2 is what Mr. Lee described as a ;pretty abstract; East Village tenement, painted a ;dirty blue; that could represent heaven.在第一部分中,布景中大厅的后围墙上有电灯开关和各种医疗控制装置,代表一个医院,不过上面还画着蓝天白云,这样的设计能把多个地点和场景融合在一起。为第二部分设计的布景是李明觉所说的“非常抽象的”东村住宅,它是“深蓝色”的,可以代表天堂。The exhibition also brings Mr. Lee#39;s career full circle: Beside theatrical models, it also contains 24 of his watercolors, painted from 1949 to 2007; none has been shown before. These include 1950s scenes of Los Angeles and New York and lyrical, almost abstract seascapes of Bar Harbor, Me., from 2007.此次展览还全面展示了李名觉的艺术生涯:除了戏剧模型,还包括24幅他从1949年到2007年绘制的水画,这些水画之前从未展示过。其中包括20世纪50年代洛杉矶和纽约的场景以及2007年缅因州巴尔港的抽象海景。;I#39;ve devoted a good part of my life to teaching at Yale, and when they said, ‘Let#39;s do a retrospective at Yale,#39; I welcomed it,; he said, adding he hoped the exhibition would help visitors better understand set design, which he called ;neither fish nor fowl.;他说,“我大半生都在耶鲁大学任教,所以当他们说‘我们在耶鲁办个回顾展吧#39;时,我欣然同意。”他又补充道,希望这次展览能帮助观众更好地理解“不伦不类的”舞台设计。 /201409/331677

Sushi is no longer the sole preserve of the adventurous diner. These days, grabbing a pack for lunch is almost as common as picking up a cheese and pickle sandwich.寿司不再是美食冒险家的专利了。如今,买一盒寿司作午餐几乎就像买奶酪泡菜三明治一样稀松平常。The Japanese dish can be bought from every major supermarket (where sales have risen a staggering 88 percent in the past two years).在每个大型超市都可以买到这一日本料理(在过去两年内寿司销售量猛增了88%)。Indeed, the British sushi industry — of which Tesco has a 60 percent market share — is worth more than #163;56#8201;million annually.事实上,英国的寿司产业(其中乐购公司占了60%的市场份额)每年收益超过了5600万英镑。The main reason for its surge in popularity is its reputation as a healthy meal. Japanese women are among the healthiest in the world, while slender celebrities such as Victoria Beckham, Cheryl Cole and Keira Knightley are all fans of the raw fish dish.寿司变得如此受欢迎,主要原因是它被誉为健康食品。日本女性是全世界最健康的,而像维多利亚#8226;贝克汉姆、谢丽尔#8226;科尔和凯拉#8226;奈特莉这些拥有苗条身材的名人都是这种生鱼料理的粉丝。But do sushi’s nutrition credentials — especially the Western version — stack up? Not always, according to dietitian Rachel Beller. In her book Eat To Lose, Eat To Win, she says a ‘light lunch’ of sushi may mean you overdose on calories and carbohydrates.但是寿司(尤其是西方版寿司)确实有营养学明吗?营养学家瑞秋#8226;贝勒表示,并非总是如此。她在自己的书《瘦在饮食,赢在饮食》中说,一份“简单的”寿司午餐可能意味着你摄入了过量卡路里和碳水化合物。‘A typical sushi roll contains 290 to 350 calories and has the carbohydrate equivalent of two-and-a-half to four slices of b,’ says Ms Beller.贝勒女士说:“一个典型的寿司卷含有290至350卡路里,其碳水化合物含量相当于两片半到四片面包所含的碳水化合物。”‘So a California roll (round rolled sushi, containing a small piece of fish and avocado plus fatty mayonnaise) equals two sandwiches filled with crab sticks (processed fish that is flavoured and coloured to look and taste like crab), a sliver of avocado and a tiny bit of veg.’“因此一个加州卷(圆形的卷状寿司,含有一小片鱼、鳄梨和含油脂的蛋黄酱)相当于两个夹有蟹肉棒的三明治(蟹肉棒是经过调味和上色、使其具有蟹肉的外观和口感的一种鱼类加工产品)、一片鳄梨和一点蔬菜。”Bear in mind a sushi lunch contains two or three of these rolls, a total of up to 1,050 calories, and it’s easy to see how we’re conning ourselves that we’re enjoying a low-calorie, healthy lunch.别忘了一顿寿司午餐包含两到三个这种寿司卷,总热量达到1050卡路里,这样很容易可以看出,我们以为吃寿司午餐是在享用低热量健康饮食,其实是在自欺欺人。Many of us believe eating sushi is a good way to get the Government’s recommended two portions of fish each week, but here’s the problem: most sushi contains very little protein, despite its expense.许多人认为吃寿司是达到政府建议的每周两份鱼的饮食标准的好方法,但是问题是:尽管寿司价格不菲,但大部分寿司所含的蛋白质很少。Health experts say a portion of fish should weigh 140g, but on average, the fish in a California roll or piece of nigiri (rice with fish balanced on the top) weighs just 5g.健康专家称,一份鱼的重量应为140克,但是平均来看,一个加州卷或一个生鱼片寿司(把鱼片均匀地放在米饭上的料理)中的鱼肉重量只达到5克。You’d need to eat 28 pieces of sushi to reach your 140g portion — or more, if you choose a mixed sushi box containing vegetarian varieties.你将需要吃28个寿司才能达到140克的鱼肉摄入标准,或需要吃更多——如果你选择的是含有多种蔬菜的混搭寿司盒。Even ‘fish’ sushi boxes don’t contain much. Marks amp; Spencer Fish Sushi Selection (191g, #163;4.68) has just 36g of fish, meaning you would have to eat four boxes and consume 1,184 calories to get one of your recommended fish portions.即使“全鱼”寿司盒所含的鱼肉也不多。玛莎百货的精选鱼片寿司(191克,4.68英镑)只含有36克鱼,这意味着你将必须吃掉四盒这样的寿司,摄入1184卡路里才能达到建议的鱼肉摄入量。 /201403/280681

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