They wear the latest fashions with the most up-to-date accessories(配饰). Yet these are girls in their teens or twenties but women in their sixties and seventies. A generation which would once only wear old-fashioned clothes is now favoring the same high street looks worn by those half their age.

    Professor Julia Twigg, a social policy expert , said ,“Women over 75 are now shopping for clothes more frequently than they did when they were young in the 1960s .In the 1960s buying a coat for a woman was a serious matter . It was an expensive item that they would purchase only every three or four years — now you can pick one up at the supermarket whosever you wish to .Fashion is a lot cheaper and people felt tired of things more quickly . ”

    Fashion designer Angela Barnard ,who runs own fashion business in London ,said older women were much more affected celebrity(名流) style than in previous years .

    She said, “When people see stars such as Judi Dench and Helen Mirren looking attractive and fashionable in their sixties ,they want to follow them . Older women are much more aware of celebrities .There's also the boom in TV programs showing people how they can change their look, and many of my older customers do yoga to stay in shape well in their fifties . When I started my business a fen years ago .my older customers wended to be very rich, but now they are what I would call ordinary women .My own mother is 61 and she wears the latest fashions in a way she would call ordinary women .My own mother is 61 and she wears the latest fashions in a way she would never have done ten years ago.”

    Our room was on the second floor but you could still hear the roar of the ocean and see the stars at night. I used to take long walks along the water. The food in town was wonderful and the people were very friendly. The area was very quiet and peaceful, and fairly deserted.

    The last evening of our vacation, however, we all heard strange footsteps following closely behind us as we were walking up to our room in the holiday centre. We turned around and noticed a fairly young man moving very rapidly across the beach and getting closer to us. He was tall and wore a baseball cap. We didn't have any cell phones on us. I never saw Dad as worried as he was then and knew that something was terribly wrong. The sense of fear started to overwhelm Mom and me. We had had such a good time in town. Now, the night was rapidly turning into a dangerous situation.

    We could hear the man's footsteps getting closer. Dad's face was almost pale. The so-called intruder (侵入者) had moved nearer and nearer when all of a sudden, the nearby vending (自动贩卖) machine started going crazy and spitting out cans of soda! The noise actually scared the intruder and he ran out of sight. My parents were shaking, but we all turned around to see who had put money into the vending machine downstairs, and actually saved us, but no one was around at all.Not a soul.

    It's one vacation I will never forget.

    When it comes to the Internet, people talk about the password most. Actually, it's been under fire for a long time. Research has shown that passwords are not a very good way to protect sensitive information.

    People would use some random characters, numbers and symbols. Furthermore, a unique password would be used for every site or application the user uses. Unfortunately, the longer and more complex passwords become, the more people are likely to forger them. Therefore, they use the same password for every service or application. These are all big no-noes and essentially defeat the purpose of a password.

    Google is trying to kill off passwords on Android devices by introducing the Trust API, which does what simple passwords cannot and gives developers a framework for securing their application using a number of security systems and metrics(衡量标准)on the device. A Trust Score will be generated based on a number of metrics including your device location, face scanning, fingerprints, and the things like your typing speed or the way you speak. Taken one at a time, these metrics are not secure. But taken together, these metrics will help recognize the real “you”.

    The good news is that Google has already been testing this on real world data. Google has proven the Trust API works. Next Google will run tests will some banks to see if the Trust API meets their needs before rolling out the system on Android phones later. It may take another year for apps and popular sites to start using the Trust API.

    This is a pretty exciting change. Passwords have been around for a lone time. Although the security of systems has been improved, the usability of systems hasn't been proved much. Google appears to have the best of them. Maybe that never-ending conflict between security and convenience will be able to take a break once the Trust system comes out.

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    This is my origin story: when I was a teenager I wrote terrible poetry. Like really bad. Worse than yours, I bet. A lot of it about how every little thing reminds me that we're all going to die one day. I wrote collections and collections of these poems, thinking one day I would have my moment. I named one collection, ironically, The Eternal Optimist.

    In 1996, I found an advert for the International Poetry Competition. I was 16 years old and ready for my poetry to be released on the world. Not only was it a competition with a cash prize, but it was poetry, which I wrote, and international. This was my ticket to becoming world-famous. I submitted a poem called Trail of Thought. If you ever wrote bad poetry as a teenager, you'll have written something like it. In the poem, I went for a walk and noticed small poignant(辛酸的) things in nature, and each one reminded me that we were all going to die one day.

    I filled out the form, printed off the poem and sent it off, fingers crossed. I waited to hear back I carried on writing, I probably finished another collection. Then I got a letter from the International Society of Poets. I opened the envelope carefully, just in case a prize-winning cheque fell out I hadn't won. But, they liked my poem enough to include it in their anthology(诗选), Awaken to a Dream. I closed my eyes, I wanted to scream with happiness. I was going to be a published poet.

    All I had to do in order to be published was accept the terms and pay £ 45（plus £ 5 p & p）for an anthology. If I didn't buy a copy of the anthology, my poem wouldn't be included. I had to convince my mum, who thought my writing a meaningless pastime, to part with £ 50. She even asked the question: “Why do you have to pay to be in this book?” Nevertheless, she wrote a cheque for £ 50 and I returned it with my letter of agreement.

    I was 16 and about to be a published poet. This was what it had all been about. This is what it had all been leading to. The months waiting for the anthology were a torture. I hit some sort of writer's block, I couldn't write anything. It was almost as if, now I was published, it mattered more what I committed to page and I didn't want to write anything down unless it was good enough to go into an anthology like Awaken to a Dream.

    The book arrived through the post. Here it was. The first thing I had ever been published in a book called Awaken to a Dream, featuring a blistering take on the mundanity(世俗) of mortality by yours truly. I opened the package to find a book, containing my work. The first thing that struck me about the book was that it was bigger than A4. And it was thick. And on each page was a poem, next to another poem, next to another. The type was small and the paper thin enough to trace with. With three or four poems per page and more than 700 pages, I had a sinking realization. This was a scam, an illegal trick for making money.

    If each poem had cost the author £ 45, they were sitting on a fortune. I felt ashamed. Everyone who had submitted something to the International Poetry Competition had fallen for the same hustle（忙碌）as me. I couldn't bring myself to show my mum. And she never asked to see it. Perhaps she thought if the price of me learning a lesson was £50 we didn't really have, then so be it.

    But that stayed with me, that moment of realization. Because I determined to keep writing and ensure that my precious words always found a home worthy of them. Or at least that's how, more than 20 years later, I justify falling for a scam. Because your first time being published should be special, and if I don't convince myself that there was a reason for my first poem being in a vanity(无价值) book, then what good was it in the first place? And, strangely, someone is selling this book on Amazon at the moment. I wonder how many other writers who went on to do more stuff are in there.

    OPENINGS AND PREVIEWS

    Antlia Pneumatica

    In a new play by Anne Washburn, directed by Ken Rus Schmoll, a group of estranged friends gather at a Texas farm house to bury one of their peers. (Peter Jay Sharp, 416 W. 42nd St. 212-279-4200. In previews.)

    Bright Star

    Steve Martin and Edie Brickell wrote this bluegrass-and-Americana musical, in which a magazine editor meets a soldier returning from the Second World War. Walter Bobbie directs. (Cort, 138 W. 48th St. 212-239-6200. In previews.)

    The Crucible

    Ivo van Hove directs Arthur Miller's classic drama about the Salem witch trials, starring Saoirse Ronan, Ben Whishaw, Ciaran Hinds, and Sophie Okonedo. (Walter Kerr, 219 W. 48th St. 212-239-6200. In previews.)

    Dry Powder

    John Krasinski, Claire Danes, and Hank Azaria star in Sarah Burgess's play, in which an executive at a private-equity firm (私人股本公司) tries to rebound from a P.R. disaster. Thomas Kail directs. (Public, 425 Lafayette St. 212-967-7555. In previews. Opens Oct. 28, 2017)

    The Father

    Frank Langella stars in a play by the French writer Florian Zeller, translated by Christopher Hampton and directed by Doug Hughes for Manhattan Theatre Club, about an eighty-year-old man who is losing his grip on his own life story. (Samuel J. Friedman, 261 W. 47th St. 212-239-6200. Previews begin Oct. 28, 2017)

    The year of 2017 marked the 100th birthday of the honoring Chinese-American architect Ieoh Ming Pei.

    From museums to business headquarters, Pei had designed many notable buildings around the world throughout his long professional career. According to the organizers of ''Rethinking Pei: A Centenary Symposium (百年纪念座谈会)" held that year, Pei remained one of the most celebrated architects of the 20th and early 21st centuries.

    The Hong Kong Bank of China Tower is one of his most famous works in Asia. As the bank itself also celebrated its centenary in 2017, it's worth examining the building's historical and architectural background to gain a deeper understanding of the architect who changed Hong Kong's skyline forever.

    The Bank of China Tower (BOC Tower) was completed in 1989, a year which the "New York Times" called, the year of I.M. Pei." For it was in this same year that Pei also completed the glass pyramid of the Louvre Museum in Paris, the Meyerson Symphony Center in Dallas, the Creative Artist Agency Headquarters in Los Angeles, and other marvellous architectures all around the world.

    Pei was commissioned (委托)in 1982 by the Beijing-based Bank of China to design it shead quarters in Hong Kong, but construction did not start until 1985.

    There were many reasons for the delay. One of the biggest was the huge challenges posed by the location. The land parcel had been the address of a Victorian building which served as a prison during Japanese occupation of Hong Kong between 1941 and 1945. This terrible heritage might be one of the reasons why it was dismantled in 1982.

    For I.M. Pei, the challenge of the site was not its past, but its present: the relatively small land parcel was surrounded on three sides by elevated roadways serving high-speed heavy traffic, meaning there was no possible public pedestrian access. Then there was its awkward trapezoidal (梯形)shape and the fact that the site also had a deep north-south height difference.

    Another challenge was the unavoidable comparison of the BOC Tower to the neighboring Hong Kong and Shanghai Bank Headquarters(HSBC), which was also under construction. A spectacular building generously funded, its architect Norman Foster was simply told to create "the best bank building in the world." At that time it was also the world's most expensive building, costing $668 million. The Bank of China Tower's budget was approximately one fifth of the budget allowed by HSBC.

    The Hong Kong government had promised HSBC that no tall buildings would ever be built in front of its headquarters. Besides, in between the site of the Bank of China and the harbor, there were already a few buildings over 70 meters tall blocking views.

    Recognizing that going tall was the only way to create a landmark at this site with his budget, Pei came up with an architectural tower design that was simple, expressive, innovative, and upon its completion, the tallest building outside of America and the fourth tallest in the world.

    After the Bank of China officially moved into the tower in 1991, noted architect and critic Peter Blake visited the building and declared it to be "probably the most innovative skyscraper structure built anywhere to date."

    Now 30 years after the building^'s construction, the Bank of China Tower continues to offer valuable lessons of architectural and structural creativity under the most demanding conditions. Most importantly, the tower has become one of the most important cultural icons for the city of Hong Kong.