Exploit your parking space

    An unused parking space or garage can make money. If you live near a city center or an airport, you could make anything up to￡200 or￡300 a week. Put an advertisement for free on Letpark or Atmyhousepark

Rent a room

    Spare room? Not only will a lodger（房客）earn you an income, but also, thank to the government-backed "rent a room" program, you won't have to pay any tax on the first￡4500 you make per year. Try advertising your room on Roomspare or Roommateeasy.

Make money during special events

    Don't want a full-time lodger? Then rent on a short-term basis. If you live in the capital, renting a room out during the Olympics or other big events could bring in money. Grashpadder can advertise your space.

Live on set

    Renting your home out as a "film set" could earn you hundreds of pounds a day, depending on the film production company and how long your home is needed. A quick search on the Internet will bring up dozens of online companies that allow you to register your home for free—but you will be charged if your home gets picked.

Use your roof

    You need the right kind of roof, but some energy companies pay the cost of fixing solar equipment (around￡14,000),and let you use the energy produced for nothing. In return, they get paid for unused energy fed back into the National Grid. However, you have to sign a 25-year agreement with the supplier, which could prevent you from changing the roof.

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    The wedding tradition of “something old, something new, something borrowed and something blue” has been around for hundreds of years. The tradition of carrying or wearing one of each item is said to bring luck and fortune to the newly married couple. Have you ever stopped to think what the saying really means? What is its origin and what does each item represent?

    The original saying dates back to the Victoria times and states, “something old, something new, something borrowed, something blue and a silver sixpence in your shoe.”

    Something old   A bride may wear or carry something old to represent her continued ties to her family and her old life. Many brides wear a piece of family jewelry as their old item. Some brides wear the wedding dress worn by their mother or grandmother. In many cases, something old may also be something borrowed.

    Something new   Wearing something new is supposed to represent success and hope in the bride's new life and in her marriage. If the bride purchased her wedding dress new, it may represent her new item, but any item that is new may be used. Something “new” is usually the easiest kind to fill.

    Something borrowed   The borrowed item should be something borrowed from a friend that is happily married. It is said that their happiness will rub off on you and bring lasting happiness to your marriage. Some brides borrow an item of clothing, a piece of jewelry, a handkerchief or perhaps a beaded(带珠子的) purse.

    Something blue Wearing something blue dates back to ancient times when a blue wedding dress was worn to represent purity, fidelity and love.

    Silver sixpence   Placing a silver sixpence in the bride's left shoe is said to be a symbol of wealth. This not only refers to financial wealth, but also a wealth of happiness and joy throughout her married life. Since most brides probably don't even know what a sixpence is, this part of the tradition is not used very often in modern times. However, if a bride would like to include it in her wedding, she can purchase a silver sixpence from many companies that sell bridal supplies such as garters(袜带) and invitations.

    Jersey Boys

    Jersey Boys is a Broadway musical that dramatizes the rise and fall of Frankie Valli and the 1960s rock 'n' roll group Four Seasons. According to Selladoor Worldwide, the group's Beijing tour will see a brand-new production of the musical, which features Luke Sheppard as director, Mark Crossland as music director and Cressida Carre as choreographer（编舞）. Since its 2005 premiere（首演）in New York, the musical has won 57 major awards worldwide.

    2:30 p.m. and 7:30 p.m., Jan 5 to Jan 13.Tianqiao Performing Arts Center, 9 Tianqiao Nandajie, Xicheng district. 400-635-3355.

    Ticket: 199-1,299 yuan ($30-200)

    Large-scale immersive show

    The large-scale immersive show Memory 5D +, directed by Ulan Xuerong, is ongoing in Beijing from Jan 4 to 7.

    The show follows the emotional entanglement between black and white spirits, representing yin and yang, and the flora girl. As a demonstration of traditional Chinese art, the show centers on cultural inheritance and includes live performance of guqin, a plucked seven-string Chinese musical instrument, guzheng, a Chinese plucked zither, konghou, an ancient plucked stringed instrument and horse-head fiddle, as well as acrobatics, Khoomei, shadow play and Mongolian folk song, even chants from The Book of Songs.

    7:30 p.m, Jan 5; 2:30 p.m./ 7:30 p. m., Jan 6; 7:30 p.m.., Jan 7. Beijing Exhibition Theater, 135 Xizhimenwai Dajie (Street), Xicheng district.

    Ticket: 180-1,080 yuan

    London Philharmonic Orchestra set to thrill Beijing

    The London Phiharmonic Orchestra will wrap up its China tour with two recitals in Being on Jan 5 and 6.

    Under the baton of Russian conductor Vasily Petrenko, the orchestra will perform H. Berlioz's overture to Beatrice et Benedict and P. I. Tchaikovsky's Fantasia on Romeo and Juliet and Variations on a Rococo Theme op.33, featuring Swedish-Danish cellist Andreas Brantelid, along with other pieces.

    7p.m., Jan 5-6. Concert Hall, National Center for the Performing Arts, 2 West Chang' an Avenue, Xicheng district. 010-6655-0000.

    Ticket: 380-1,680 yuan

    Russian army's troupe to return after restart

    The Russian army's official dance and choir troupe, the Alexandrov Ensemble, is staging five shows in Beijing from Jan 4 to 7, with a variety of songs, dances and instrumental performances.

The ensemble, also known as the Red Army Choir, was founded in 1928 and has toured the globe performing Russian folk tunes and patriotic songs using Western classical music and traditional Russian instruments.

    The repertoire on Saturday comprises 24 songs and dance pieces, including Song of the Soviet Army, The Sacred War, Moscow Nights and Festival March.

    7 p.m., Jan 5-7; 2:30 p.m., Jan 6. Opera House, National Center for the Performing Arts, 2 West Chang' an Avenue, Xicheng district. 010-6655-0000.

    Ticket: 180-1000 yuan

    Whenever we see a button on a doorbell or on a remote, we may press it. This is true in most cases. But some buttons are actually fake(假的), like the "close" button on an elevator.

    Many people are in the habit of pressing the "close" button because they don't have the patience to wait for the elevator doors to shut. But according to experts, the buttons are a complete trick—the doors will not close any faster however hard you press.

    It started in the 1990s when the Americans with Disabilities Act was passed, making sure that all elevators stayed open long enough so that people with disabilities could enter. Only firefighters and maintenance workers(维修工) can use the buttons to speed up the door-closing process if they have a code or special keys. But to normal elevator riders, the buttons aren't completely useless.

    According to psychologists, fake buttons can actually make you feel better by offering you a sense of control. Experts have showed that a lot of buttons that don't do anything exist in our lives for this same purpose. For example, pedestrian crosswalk buttons don't live up to their names. Pressing them used to help make the traffic signals change faster, but that was before computer-controlled traffic signals were introduced.

    But psychologists found it interesting that even when people are aware of these little "white lies". They still continue to push fake buttons because as long as the doors eventually close, it is considered to be worth the effort.

    That habit is here to stay, John Kounios, a psychology professor at Drexel University in the US, told The New York Times. "After all, I've got nothing else to do while waiting. So why not try the chance?"

Teaching Poetry

    No poem should ever be discussed or "analyzed", until it has been read aloud by someone, teacher or student. Better still, perhaps, is the practice of reading it twice, once at the beginning of the discussion and once at the end, so the sound of the poem is the last thing one hears of it.

    All discussions of poetry are, in fact, preparations for reading it aloud, and the reading of the poem is, finally, the most telling "interpretation" of it, suggesting tone, rhythm, and meaning all at once. Hearing a poet read the work in his or her own voice, on records or on film, is obviously a special reward. But even those aids to teaching can not replace the student and teacher reading it or, best of all, reciting it.

    I have come to think, in fact, that time spent reading a poem aloud is much more important than "analysing" it, if there isn't time for both. I think one of our goals as teachers of English is to have students love poetry. Poetry is "a criticism of life", and "a heightening of lief". It is "an approach to the truth of feeling", and it "can save your life". It also deserves a place in the teaching of language and literature more central than it presently occupies.

    I am not saying that every English teacher must teach poetry. Those who don't like it should not be forced to communicate this to anyone else. But those who do teach poetry must keep in mind a few things about its essential nature, about its sound as well as its sense, and they must make room in the classroom for hearing poetry as well as thinking about it.

    Many people criticize today's newspapers as sensationalist, satisfying the public's abnormal curiosity. But journalism a century ago was just as notorious (臭名昭著). Publishers at that time routinely competed with each other for wild stories that could draw in the most readers. Meanwhile, it was an ideal atmosphere for a courageous reporter like Nellie Bly to spring into fame.

    Bly, whose name was Elizabeth Corcoran, had to work to make her way in the world. Different from many women of the time, however, she refused to let the working world scare her away. Her first big opportunity as a reporter came in 1885 after she wrote an angry letter denouncing the Pittsburgh Dispatch for an article it had run criticizing women forced to work outside the home. The interested and excited editor hired Bly for her "spirit," and soon she was investigating the situations of female factory workers. Bly cared less about their jobs than their lives after work  - their amusements, their motivations, their fears and ambitions. She produced an article totally different from what other reporters of the time were writing: personal, thoughtful, meaningful.

    By 1887 Bly had a job with the New York World, one of the leader papers of the day. She quickly became famous for undercover stories about women in a mental hospital. Soon she had investigated life as a maid, a chorus girl, and even a street girl. In her best - known brave deeds, in 1890, Bly beat the famous "around the world in 80 days" trip Jules Verne had described in his novel. Traveling by steamship, train, even ricksha, Bly reported from each stop. A spellbound nation hung on every word. Only 25, Bly had become internationally famous.