While the U.S. is still debating about getting rid of the penny, Sweden is rapidly moving towards abolishing currency altogether. Though this may sound radical(过激的), it is a natural evolution in this digital society.

    Sweden, which was the first European country to introduce banknotes in 1661, has just been working harder to convince its residents that digital payments are a safer alternative to carrying cash.

Over the years, the idea has gained popularity with residents, especially the younger generation that is much more comfortable with technology. Today many banks don't even have ATMs and some have stopped handling cash altogether!

    Tickets to ride public buses in most Swedish cities can only be purchased via cell phones. Numerous businesses are also moving towards accepting only digital payments. Even the homeless that sell street paper to make ends meet have to start accepting this mode of payment!

But despite its growing popularity, some people don't like this radical idea. They include the homeless, elderly people as well as those living in rural areas who are still uncomfortable with mobile phones and computers. But the officials are confident that in the very near future, they will be able to convince everyone to move this safe and more cost-effective payment system.

    Sweden is not the only country trying to abolish paper currency and coins. The movement is rapidly gaining ground in Denmark and Finland as well. In 2014, Israel announced a three-step plan to go cashless and just last week the vendors(小贩)of a popular street in Sydney declared they would stop accepting currency from customers. Whether this phenomenon spreads remains to be seen. But one thing is for sure—With increasingly advanced payment systems being introduced every day, pulling out cash is rapidly becoming “uncool”.

    Tourism probably started in Roman times. Rich Romans visited friends and family who were working in another part of the Roman empire. But when the empire broke down, this kind of tourism stopped.

    In the early 17th century, the idea of the “Grand Tour” was born. Rich young English people sailed across the English Channel（英吉利海峡）. They visited the most beautiful and important European cities of the time, including Paris in France, and Rome and Venice（威尼斯）in Italy. Their tours lasted for two to four years, and the tourists stayed a few weeks or months in each city. The “Grand Tour” was an important part of young people's education—but only for the rich.

    In the 18th century, tourism began to change. For example, people in the UK started to visit some towns, such as Bath to “take the waters”. They believed that the water there was good for their health. So large and expensive hotels were built in these towns.

    In the 19th century, travel became much more popular and faster. When the first railways were built in the 1820s, it was easier for people to travel between towns, so they started to go for holidays by the sea. And some started to have holidays in the countryside as cities became larger, noisier and dirtier.

    Traveling by sea also became faster and safer when the first steamships were built. People began to travel more to far-away countries.

    The 20th century saw cars become more and more popular among ordinary people. Planes were made larger, so ticket prices dropped and more people used them.

    Thus tourism grew. In 1949, Russian journalist Vladimir Raitz started a company called Horizon Holidays. The company organizes everything—plane tickets, hotel rooms, even food—and tourists pay for it all before they leave home. The package tour and modern tourist industry was born.

    The first travel agency in China was set up as early as 1949. But tourism did not take off until 1978. In 2002, the industry was worth 500 billion Yuan and became an important part of China's social development.

    Miles was born in Alton, a city on the Mississippi River in Illinois on May 26, 1926. Miles's father was a dentist, while his mother was a music teacher. Miles had a good childhood, catching fish and riding horses with his older sister and younger brother. He was known as a naughty boy in school.

    He recalls his story, “By the age of 12, music had become the most important thing in my life.” His mother, a violinist herself, dearly wanted her son to play the violin. But brass (铜管) was Miles's calling, and he remembers arguments between their parents as his dad overruled her to fight his son's corner. He received his first trumpet (喇叭) in 1935 and began weekly music lessons with his father's friend Mr. Elwood, his life-long teacher.

    Talking about his school days, Miles said that Mr. Buchanan was the biggest influence on his life. He was the person who took Miles all the way into music at that time. He wanted to be a musician that he had dreamed.

    When he was 16, Miles met his girlfriend, Irene Birth. Although she was a beautiful young woman in many ways, it was her easy-going character that attracted Miles. At the weekends, Miles and Irene would take the bus over the Mississippi River to St Louis to watch movies and go dancing. Although Miles was too shy to really enjoy dancing, he always felt confident when he danced with Irene.

    When he turned 17, she persuaded him to ask for a job in his band—Eddie Handle's Blue Devils. It worked. Joining the band was a breakthrough for Miles, and marked the time when he first began to write and arrange music.

    One of my neighbors used to have a beautiful tree in her front yard. Her dad had planted it for her when it was nothing more than a twig(树枝) and several years later it started to shoot towards the sky with amazing speed. Soon it blessed her with cooling shade in the summer and glorious, golden leaves in the fall.

    When the two-day snowstorm struck our town, heavy snow fell on the tree's branches that were still full of leaves. The weight split that lovely tree down the middle. It was so sad seeing half of it laying on the ground after the storm. When I talked to my neighbor later, she said that the damage had been too much and that the entire tree would have to be cut down. Thankfully she had saved a few saplings(树苗) from it that she hoped to replant in the future.

    Still, it was a shock to drive by her house the other day and see nothing but a stump in her front yard. I missed that tree. I missed its beauty, its leaves shinning in the afternoon sun. I missed seeing its limbs reach towards the heavens. I thought that the stump would be a sad reminder of its loss for a long time to come. My wonderful neighbor, though, had another plan. When I drove by her home today I saw a tiny bird feeder sitting on that stump and a colorful songbird having its dinner. It was such an affirmation of life. It was such a joy to see. I could feel my heart smile.

    Life by its very nature is a mixed bag. It hands us beauty and tragedy, love and loss, pleasure and pain. What we do with it, however, is up to us. We can let it split us in two, or we can use even its hardest times to make our souls stronger and our hearts more loving. We can spend it complaining or we can use it to help others.

    Author Norman Mailer published an essay in which he declared the graffiti(涂鸦) of the New York subway to be "The Great Art of the 70s". But what happened to the artists and why is there no subway graffiti any more?

    "It started with someone just writing their name — someone saw that, and added on to it," recalls New York graffiti artist Nicer, born Hector Nazario. "Letters going in front of letters, coming back through a letter, behind a letter, going across a letter... the subways became our playground," adds Riff170.

    New York in 1974 was a city in crisis. The Mayor, Abe Beame, slashed the city's budget in a bid to stave off bankruptcy(破产), which meant laying off school teachers, police officers and subway staff.

    "They were taking the money from the schools, there was a lot of corruption here, in this community, and so they took the after-school programmes away, and there was no outlets for this. So the outlet became our city," says Bronx-born designer Eric Orr.

    "It was like an explosion. The graffiti explosion. All of a sudden it took over the whole city. I don't know what happened, but overnight in the early 70s it was from no graffiti to all graffiti," says another former artist, Flint Gennari.

    Eric Felisbret, author and former graffiti artist, says graffiti culture was in a way a product of the civil rights movement. "It was never political," he says, "but many people were brought up with that, and to express yourself by breaking the law became a natural process for them."

    The graffiti pioneers came from all races, however. "There were writers that were African American, Latino - Puerto Rico, Dominican, Cuban - Jewish, Asian, and it became one unit — one family," says another graffiti pioneer, Roberto Gualtieri.

    Prof Gregory Snyder, sociologist and author of Graffiti Lives, says: "For lots of people, graffiti is ugly, vandalistic, and I'm not denying that. It's vandalism... now, oftentimes it's very clever vandalism. It can be written on a dumpster, like a garbage bin, and if someone's attempting to make a garbage bin look a little prettier maybe that's not the worst thing in the world." Although Mailer was not alone in welcoming the flowering of creativity, the authorities hated it, as did many passengers.

    So when Mayor Ed Koch took office, he was determined to clean up the city and set about targeting graffiti.

    "I remember in 1982 he brought everyone out to a train yard and there was a single train painted white," says former New York Daily News reporter Salvatore Arena. Trains were taken out of service and cleaned as soon as graffiti was spotted. Carriages were protected at night and the city agreed to ban the sale of spray cans.

    If in 1984 80% of subway carriages contained graffiti by May 1989 the network was graffiti-free. “Graffiti has gone through an evolution, and it will continue to evolve. It's now socially accepted in places where 20-30 years ago that would have been impossible. It's now showcased(展示) in certain museums —and let's say in another 30 years from now it may be hanging in the White House,” says Nicer.

    Nowadays painted graffiti is largely gone from the New York subway trains themselves and is seen instead on the walls and tunnels of the city. It has been replaced by scratchiti(刮擦艺术) created onto carriage windows using keys, knives. Unlike the vivid images of 40 years ago, these ghostly patterns are somehow easy to ignore. After all, graffiti has faded quietly into the background.