Last Updated on October 25, 2025 by stlplace
Sara Blakely intentionally embarrass self: this reminds me of I may want to do this to my kids occasionally. Both my kids are quite shy now.
Public Appearance on Internet, and social media in general
Something related to this, partially due to pandemic, we are seeing the booming of live broadcasting on social media, such as TikTok, Douyin or Youtube.
Something interesting, or obervations from Jamie Zhong, she said on DY, people usually come to listen to her songs, while at WeChat, some people come to listen to her talk. I guess it goes both ways, for people who are freelancers, or no longer go to office, there are very little real human to human interactions nowadays, and broadcasting gives a meaningful way for people to interact, or talk.
Also 在M记等一个不会来的人 and I am quoting the album description below (it’s written by Ayen何璟昕, btw）。
深夜的M记霓虹灯管下，漂浮着无数个都市失踪者的剪影。我们恍然惊觉，在这个24小时营业的现代驿站里，等待早已成为一场集体无意识的自我放逐。
那些被手机蓝光反复切割的夜晚，充电线维持着岌岌可危的情感电量，续杯咖啡在玻璃窗上拓印出无数个昨日倒影。歌词中”失踪的人”是极具现代性的精神切片——当约克郡的雾气被替换成快餐店冷气，当承诺像汽水泡沫般迅速消散，在第七次擦拭手机屏幕时突然顿悟：原来被等待的幽灵正是自己出走的那部分灵魂。这份荒诞的清醒，让”辞职信在口袋里融化”的意象成为当代人精神困局的绝佳隐喻。
不断坍缩的”No one’s coming”像反复撕开的伤口。”咬住吸管练习不颤抖的呼吸”的细节，暴露出当代情感关系中荒诞的仪式感——我们甚至在练习如何得体地吞咽孤独。当晨光擦亮沾着番茄酱的餐盘，结账的不仅是某个具体的失落夜晚，更是整个速食时代的情感困境：在即时满足的消费主义幻境里，我们终究无法购买到隽永的慰藉。
这首歌以M记的塑料座椅为解剖台，剖开了现代人最隐秘的生存状态：在永远明亮的快餐店里，我们都是被自己遗弃在自动点餐机前的失踪人口，对抗着整个世界的恍惚。
Last but not least, step out my own comfort zone
I did Toast Master in 1998. I led Math Fact Scholars between 2019 and 2023 (including a break during pandemic), Spode Passport Night (twice), taught at Webster University for a year, St. Louis high schools catalyst program (once). Presented at work including when work as graduate research assistant (since 1998 ).
Fraternity (1998 to 1999): main goal was to learn English
Most recently I drove for Uber (288 trips total in about a year).