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来源:百科生活    发布时间:2019年07月24日 01:51:32    编辑:admin         

Twenty-one years ago last month, “Friends” made its debut on N, to almost instant acclaim and popularity, beginning a -year run that ushered into the culture various styles and mannerisms — Jennifer Aniston’s haircut, most notably — in a way that now rarely occurs, because the television landscape has become drastically more diffuse.1年前的上个月,《老友记(Friends)在全国广播公司(N)开播,几乎立刻就赢得赞誉,成为热门剧目,一连播出十季,为文化注入了各种时尚和习性,最有名的就是詹妮弗·安妮斯顿(Jennifer Aniston)的发型如今,这样的情况比较罕见了,因为几乎没有哪部电视剧能独领风骚On “Friends,” characters emphasized their adjectives (with “very” and “really” and “so”) to such an extent that the habit prompted a study by linguists at the University of Toronto. In , they published a paper asserting that the word “so” was the intensifier used 5 percent of the time on the show. In British English, researchers had found, it was used only a quarter as often. “So” was on the rise in the American vernacular, and the series was, theoretically, the cause.《老友记中的人物喜欢(用very、really和so)加强语气,多伦多大学(University of Toronto)的语言学家们甚至对这个习惯进行了研究年,他们发表了一篇论文,称该剧中用so加强语气的比例高达5%研究者们还发现,在英式英语中,so的使用频率只有该剧的四分之一从理论上讲,so在美式英语中使用频率的上升是这部美剧引起的If you are 3 or 50, there is a good chance that you are not currently occupying the world of “Friends,” which outlines a ’90s Manhattan circumscribed by a coffeehouse and a West Village apartment that, true to the period, conjures a Pottery Barn designer’s vacation in the lower-tier flea markets of Tuscany. If you are somewhere between and , however, and particularly if you live in New York, you may find yourself very much in the “Friends” zone. This is not because you landed on an episode, after coming home semi-wasted, on late-night television, where it is almost always on in syndication, but because you watch it methodically, on Netflix, in sequence, through its more than 30 shows.如果你现在3岁或50岁,你很可能不处在《老友记的世界里它描绘的是90年代的曼哈顿,主要讲述发生在一个咖啡馆和西村一个公寓里的故事;那个公寓给人的感觉是波特里巴恩家具连锁店(Pottery Barn)的设计师度假去了托斯卡纳那些廉价的跳蚤市场,不过倒是符合那个时代不过,如果你在岁至岁之间,尤其是如果你住在纽约,你可能会发现自己就生活在《老友记的世界里这不是因为你累得半死回到家,碰巧看到晚间剧场在播其中一集(不管什么时候总有一个台在播),而是在Netflix上顺序看完了那30多集On Facebook, more than 19 million people like “Friends,” nearly four times as many as like “Seinfeld.” (So gotten is “Mad About You,” another Manhattan-based totem of ’90s situation comedy, that when you enter the name into Facebook’s search function, you get “Mad Men.”) The currency that “Friends” has generated among young people was even the subject of a joke during the second and otherwise entirely humorless season of “True Detective.” Last spring, the “Friends” theme song was permed at a choral concert at the Bronx High School of Science; students at Brearley and Saint Ann’s are enthralled. All of this despite the fact that “Friends” is a laugh-tracked network enterprise predating the era of social media.Facebook上有1900多万人喜欢《老友记,几乎是喜欢《宋飞传(Seinfeld)的人的四倍(同样被遗忘的还有《我为卿狂[Mad About You],它也是一部以90年代曼哈顿为背景的情景喜剧,你要是在Facebook上搜《我为卿狂,你搜到的只会是《广告狂人[Mad Men])《老友记在年轻人中的流行甚至成为《真探(True Detective)第二季中的一个笑话,要是没有这个笑话,那一季就完全没有幽默可言今年春天,布朗克斯科学高级中学(Bronx High School of Science)的合唱音乐会甚至演唱了《老友记的主题曲;布里尔利高中(Brearley)和圣安妮高中(Saint Ann)的学生们也都被该剧迷住了——尽管《老友记只是社交媒体时代之前一部配有背景笑声的喜剧As a portrayal of post-collegiate life in New York, “Friends” offers neither the Cristal and Bergdorf’s rendering of “Sex and the City” nor the jolie-laide bohemianism of “Girls,” let alone the stoner chaos of “Broad City,” which makes its resurgent appeal additionally curious. Shot on a set in Los Angeles, “Friends” gives us a vision of New York that is ostentatiously fake but rarely makes use of fantasy.同样是描绘大学毕业后在纽约的生活,《老友记既不像《欲望都市(Sex and the City)那样光鲜奢华,也不像《都市女孩(Girls)那样玩世不恭,更不像《大城小妞(Broad City)那样是讲述瘾君子的混乱生活,所以你很难理解它为什么能重现魅力《老友记是在洛杉矶的摄影棚里拍摄的,它给我们呈现的纽约场景显然是假的,但并不是幻想出来的Having debuted during the first few months of the Giuliani administration, the show keeps things dingy and menacing way past the point at which the city itself had exfoliated its grimier layers. The seemingly genial neighborhood tailor is likely to grope his male clients bee altering their trousers. The guy you can see outside your apartment window is naked and creepy. Phoebe and Ross are mugged in a back alley seemingly borrowed from the set of “Rent” near their coffee bar, Central Perk, well into the first Bloomberg term. At another point, Phoebe and Rachel decide they need to learn self-defense to ward off predators.该剧开播之时,朱利亚尼(Giuliani)刚担任纽约市长几个月当时的纽约市已经焕然一新,但是该剧所展示的生活环境却还是肮脏、危险貌似友好的街坊男裁缝很会在改裤子之前揩男顾客的油住在对面公寓里的男人总是光着身子,让人感觉怪怪的菲比(Phoebe)和罗斯(Ross)在他们最爱的中央公园咖啡馆(Central Perk)附近的一条背街里被打劫,那条街似乎是借用《吉屋出租(Rent)的布景那时候,布隆伯格(Bloomberg)在纽约市长位置上的首任任期已经过了相当一段时间在另一集里,菲比和蕾切尔(Rachel)决定学习防身术来抵挡罪犯What’s novel about “Friends,” or what must seem so to a certain subset of New York teenagers of whom so much is expected, is the absence among the six central characters of any quality of corrosive ambition. The show refuses to take professional life or creative aspirations too seriously. What does Chandler Bing actually do? I was never entirely sure. In the series’ ninth season he is an advertising intern. On “Girls” you have writers who are trying to be Mary Karr; on “Friends” you have actors who want to be on “Days of Our Lives.”至少对一部分被寄予厚望的纽约青少年来说,《老友记的新奇之处在于,六位主人公没有任何有害的野心这部电视剧无意强调事业或创造性志向钱德勒·宾(Chandler Bing)到底是做什么工作的?我从来也没弄清在该剧的第九季里,他做过广告公司的实习生《都市女孩中的作家梦想有一天像玛丽·卡尔(Mary Karr)一样出名;而《老友记中的演员只是想出演《我们的日子(Days of Our Lives)The dreamscape dimension of “Friends” lies in the way schedules are freed up fun and shenanigans and talking and rehashing, always. “In the back of our minds we know it’s unrealistic,” Maggie Parham, a -year-old who lives on the Upper West Side, told me. The characters “have nice apartments and lots of free time but there is something about that perfect lifestyle that is fun to watch,” she said, adding, “They all work, but they seem to be able to get out of work easily.”《老友记的幻景在于主人公们总是有空玩乐,搞恶作剧,闲聊,翻旧账“从内心深处,我们知道这是不现实的,”住在上西区的岁的玛吉·帕勒姆(Maggie Parham)说她又补充,那些人“住着很好的公寓,有很多空闲时间,但是这种看起来很有趣的完美生活有个问题他们都工作,但他们似乎都可以随便离开工作岗位”Another high school girl I spoke to, a -year-old who lives in Brooklyn, told me she had watched every episode of “Friends” and half of them twice. “That’s true a lot of my friends,” she said. “We are really into categorizing each other as a Rachel or a Monica; it’s fun to play into that.” This girl asked that I not use her name because she was in the process of applying to colleges, and in the world as it is, a public statement about an entertainment produced not in the 18th century — a statement a college-admissions officer might find on the Internet and regard as frivolous — is considered perilous. “I think, people my age, it’s such a stressful time in terms of school and college applications, and ‘Friends’ is a funny show that you can watch bee bed and just chill out,” she said.另一位住在布鲁克林的岁高中女孩说,《老友记的每一集她都看了,有一半看了两遍“我的很多朋友也是这样,”她说,“我们非常喜欢讨论对方是蕾切尔型的还是莫妮卡(Monica)型的,很好玩”那个女孩让我不要透露她的名字,因为她正在申请大学在如今这个社会,公开一部非18世纪文娱作品被认为是危险的大学招生处的人可能在网上看到她的,认为她太过轻浮“我觉得,我这个年纪的人因为学业和大学申请都觉得很有压力,而《老友记很好玩,你可以在睡觉前看一下,放松心情,”她说It did not escape her attention that the characters are almost never stressed out about their jobs. “All they do is hang out in a coffee shop or a really nice apartment,” she said. “It’s the ideal situation.”她也注意到,剧中人物几乎从未为工作感到压力“他们成天在咖啡馆和一个很不错的公寓里闲聊消遣,”她说,“那是一种理想化的状态”。

The Museum of London recently debuted Sherlock Holmes: The Man Who Never Lived and Will Never Die, a major exhibition devoted the fictional detective and the real city he inhabited. The items on display include a rare manuscript of Edgar Allan Poe’s The Murders in Rue Morgue—a key influence on Holmes’s creator, Arthur Conan Doyle—and a portrait of Conan Doyle never bee seen in public. But alongside these one-of-a-kind historical treasures, visitors will find two curiously modern artifacts: the coat and dressing gown worn by Benedict Cumberbatch in Sherlock, the B’s 1st-century reboot of the Holmes stories.夏洛克·福尔斯:从未存在 永远流传(Sherlock Holmes: The Man Who Never Lived and Will Never Die)——这是英国伦敦物馆正在举行的首场大型福尔斯展的名称这场关于柯南·道尔(Arthur Conan Doyle)笔下虚构大侦探的展览,还向参观者还原了当时真实的伦敦城——福尔斯的伦敦城本次展出的展品包括埃德加·爱伦·坡(Edgar Allan Poe)小说《莫格街谋杀案的罕见手稿,该手稿对柯南·道尔创作出福尔斯这一人物起到了关键性作用此外,一幅之前从未公开的柯南·道尔的肖像也在展品之列而除了这些独一无二的历史宝藏,参观者们还将看到两件奇怪的现代展品:英国广播公司(B)出品的系列《神探夏洛克(Sherlock)中,夏洛克扮演者“卷福”本尼迪克特·康伯巴奇(Benedict Cumberbatch)在剧中所穿的大衣和睡袍While these costumes are obvious bait fanboys (and fangirls) who might not be clued into the Victorian literary sensation behind the modern-day television sensation, they also serve as a reminder that Holmes’s fashion choices, from page to screen, have always launched real-world trends. In Conan Doyle’s lifetime, Holmes’s name and likeness were used to advertise pipes and shirts as well as tea, toffee, and mouthwash. More recently, Esquire, FHM, and GQ have advised ers on how to get the Sherlock look. The exhibition provides a retrospective of Sherlockian style, investigating how it has evolved while retaining its instantly recognizable Victorian fashion DNA. The museum even commissioned a Scottish textile mill to create a signature tweed in Holmes’s honor, and a concurrent show features fashion photographer Kasia Wozniak’s prints made using a 1890 field camera.对那些痴迷“卷福”和《神探夏洛克却对其原著和维多利亚文学无感的少男少女们来说,这两件戏的诱惑无疑是巨大的然而,这也从另一个侧面提醒我们,从书本到荧幕,福尔斯一直引领着社会的时尚潮流柯南·道尔生活的那个时代,福尔斯的名字和肖像被用来宣传烟斗、衬衫、茶、太妃糖甚至是漱口水如今,《时尚先生( Esquire)、《男人装(FHM)、《绅士季刊(CQ)则给读者提供了夏洛克风格的绅士范穿搭指南本次展览回溯了夏洛克风格的发展历程,研究了夏洛克风格如何在其演变发展的过程中,依然保有鲜明的维多利亚时尚元素伦敦物馆还委托一家苏格兰纺织厂特制出一件福尔斯纪念款签名花呢大衣,并同时展出了时尚摄影师卡西亚·沃兹尼亚克(Kasia Wozniak)用1890年款便携式相机拍摄的作品This lasting fashion legacy is all the more extraordinary considering how stingy Conan Doyle was with descriptions of dress. Our image of Holmes comes almost entirely from his illustrator, Sidney Paget, whose elegant, angular prototype influenced every incarnation thereafter. Though he didn’t always share them with ers, however, Conan Doyle clearly had firm ideas about Holmes’s appearance; he once protested that a poster the 1899 play Sherlock Holmesmade the detective look “about five feet high” and “badly dressed.” And Timothy Long, the Museum of London’s fashion curator, points out that Conan Doyle used a “lost language” of fashion. “The modern audience ing these stories often overlooks clues that were very obvious to contemporary ers,” he says. “Putting Watson in a morning coat or a frock coat indicated the time of day, example.”夏洛克风格的时尚传奇源自柯南·道尔对饰细节近乎苛刻的描摹我们对福尔斯形象的认知几乎全都来自西德尼·佩吉特(Sidney Paget)的插图他画笔下的福尔斯原型优雅、消瘦,影响了此后每一个福尔斯形象的创作尽管柯南·道尔不常与读者交换意见,但他显然对福尔斯的形象有自己的理解他曾对1899年舞台剧《夏洛克·福尔斯海报中的夏克洛形象提出异议,称海报中的福尔斯看上去只有“约5英尺高”(1.5米),并且“衣着邋遢”伦敦物馆时尚策展人蒂莫西·朗(Timothy Long)指出,柯南·道尔在书中用了很多有关时尚的“暗语”“现代读者在读福尔斯时,常会忽略那些对作者同时代读者来说显而易见的线索比如,作者描写华生穿的是晨礼还是长礼,其实就已经暗示了时间”Long describes Holmes’s wardrobe as that of “a modern English gentleman. The greatcoat and the deerstalker were key components of any gentleman’s wardrobe in England at that time period.” Thanks to the popularity of the Holmes stories, plays, and films, they remain so in the popular imagination today. Holmes’s clothes in their various iterations are both timeless and very much of their times. The three most indelible Sherlocks—Paget’s original illustrations, Basil Rathbone in the 1930s, and Cumberbatch—all wear contemporary dress, yet they are all unmistakably the same character.柯南·道尔对福尔斯装的大篇幅描述向我们展示了“一个现代英国绅士的形象——在那个时代,大衣和猎鹿帽是英国绅士衣柜里不可缺少的元素”而因为福尔斯系列故事、戏剧和电影的普及,时至今日,大家想到福尔斯的样子,仍不感到陌生在各种各样的版本里,福尔斯的形象永恒而又兼具各个时期的时代特色佩吉特原始插图中的福尔斯,19世纪30年代巴兹尔·雷斯伯恩(Basil Rathbone)版的福尔斯,以及如今的“卷福”版福尔斯——这三个迄今为止最成功的福尔斯形象都穿着带有各自时代特点的饰,却又都准确无误地演绎了福尔斯永恒的经典One movie poster called Holmes “the original caped crusader.”曾有电影海报称福尔斯是“披风斗士原型”Take that coat, example. In the stories, Holmes was “enveloped” in an Ulster, a long, single-breasted coat with a small collar and an attached a hip-length cape. Conan Doyle also mentioned an “overcoat” (possibly the same one) and a “long grey travelling-cloak.” These have morphed over time into one stately, billowing garment, lending the character the mystery and panache of a superhero. (The poster the 1965 film A Study in Terror called Holmes “the original caped crusader.”) Rathbone’s iconic tartan coat was tailored the big screen, with a more mobile, elbow-length cape and a wide, face-framing collar. Cumberbatch’s coat—an off-the-rack number by British label Belstaff—was inspired not by the Victorian ulster but the 18th-century greatcoat, with its high, stiffened collar and wide lapels. Instead of a cape, its double-breasted front and pleated, belted back provide volume and movement.先说说福尔斯的大衣小说里,福尔斯裹着Ulster款大衣——小领单排扣长款外套外搭长及臀部的大斗篷柯南·道尔还提到了另一款“大衣”(也许就是同一件)以及一件“长长的灰色旅行斗篷”随着时间的推移,这些装束赋予福尔斯这一人物神秘而又气派十足的超级英雄形象——1965年电影《恐怖的研究( A Study in Terror )海报称福尔斯是“披风斗士的原型”(“the original caped crusader”)雷斯伯恩(Rathbone)版福尔斯标志性的格子呢大衣,拥有灵活的及肘斗篷和与下颚轮廓更相称的加宽衣领,专为大荧幕重新剪裁“卷福”的大衣则是英国品牌贝达弗(Belstaff)的成衣,其创作灵感并非源于维多利亚时代的Ulster款大衣,而是来自18世纪的大衣款式,衣领高而硬,双排扣前襟代替了斗篷,后背的收腰束带设计则使衣显得更加大气灵活With his Ulster, the literary Holmes wore a cravat. Rathbone’s colorful silk scarves look almost feminine today, but they harmonized with 1930s fashions (think Fred Astaire). In Guy Ritchie’s steampunk-inspired Sherlock Holmes movies, Robert Downey Jr.’s flashy ascots are the only recognizably Holmesian aspect of his costumes, even if they seem more appropriate to circa Brooklyn than Victorian London. Cumberbatch’s blue-gray scarf functions as an extension of his coat (and eyes).除Ulster款大衣外,书中的福尔斯还带着围巾雷斯伯恩版福尔斯的色丝绸围巾在今天看来显得近乎女性化,但它与19世纪30年代的时尚十分协调在盖·里奇(Guy Ritchie)的蒸汽朋克电影《夏洛克·福尔斯里,小罗伯特·唐尼(Robert Downey Jr)版福尔斯浮华的领巾是该角色唯一显示福尔斯身份的装束,尽管这似乎更适合年的布鲁克林,而非维多利亚时代的伦敦“卷福”的蓝灰色围巾则有衬托大衣和眼睛的效果It was Paget who introduced the deerstalker, mentioned nowhere in Conan Doyle’s writings. (Holmes never uttered “Elementary, my dear Watson!” either.) As its name implies, it was a hunting garment, suitable outdoor pursuits. Paget’s Holmes wore it in the country, never in London. However, Rathbone and subsequent Holmeses wore it everywhere, including indoors. As a trope, the deerstalker improved upon the generic “ear-flapped travelling-cap” Conan Doyle gave his hero. “Holmes never hunted,” exhibition curator Alex Werner reminds us. “But Conan Doyle used the metaphor of hunting to express Holmes’s pursuit of the truth.” Though the deerstalker is no longer a staple of the English gentleman’s wardrobe, it makes an ironic appearance in Sherlock; Cumberbatch impulsively dons one to hide his face from the paparazzi, only to have it become his trademark. (His humiliating nom de tabloid is “Hat Detective.”) Downey, however, wore a fedora, in keeping with his Brooklyn hipster interpretation.福尔斯的猎鹿帽是佩吉特在插画中首创的,柯南·道尔在书中从未提及,原著中只有“有耳遮的旅行帽”(“ear-flapped travelling cap”)的字句顾名思义,猎鹿帽属于狩猎装束,适合户外活动佩吉特画中的福尔斯只在乡村戴猎鹿帽,从不在伦敦戴而在雷斯伯恩和之后的各个版本中,福尔斯任何时候都戴着猎鹿帽,包括在室内展览策展人亚历克斯·沃纳(Alex Werner)提醒参观者:“福尔斯从不狩猎,柯南·道尔只是借狩猎这一隐喻来体现福尔斯对真相的追求”尽管猎鹿帽不再是英国绅士衣柜里的必备品,但它已是福尔斯的标志特征“卷福”为了躲避仔队而戴上猎鹿帽遮脸,结果使猎鹿帽变成了他的标志(他还被戏称为“帽子侦探”)唐尼戴的浅顶软呢帽,则保持着他的布鲁克林风格His gentlemanly dress often hid what Conan Doyle called Holmes’s “Bohemian soul.” The melancholy, violin-playing, cocaine-injecting insomniac was betrayed by his off-duty clothes, specifically his collection of dressing gowns, which ranged from “mouse-colored” to a dandyish purple. The camel version on display at the Museum of London is the most subdued of several Cumberbatch wears in the B series.在福尔斯的绅士范穿着之下,隐藏着柯南·道尔所说的“不羁的灵魂”( “Bohemian soul”)忧郁的小提琴演奏,注射可卡因引起的失眠症,都从他日常的穿着中显现出来,尤其是他的睡袍福尔斯的睡袍很多,从灰褐色到新潮的紫色,伦敦物馆目前展出的驼色睡袍是《神探夏洛克里“卷福”所穿的颜色最为黯淡的一款Holmes was well aware of the power of clothing to reveal as well as transm. Anthropometry—a legitimate scientific discipline in the Victorian era—held that physical characteristics corresponded to character traits; Holmes’s high ehead indicated the mighty brain behind it. Clothing, by extension, could do the same—a perfectly reasonable assumption at a time when -to-wear was in its infancy and those who could afd to still had their clothes custom-made. “Dress is a main character in the stories when it comes to providing clues Holmes,” Long says. No scuffed shoe or scratched pocketwatch escaped his notice; the smallest sartorial detail could be the key to solving a case. He once deduced an entire psychological history from the “very ordinary black hat” that led him to the famous blue carbuncle.福尔斯深知装的力量在维多利亚时代,人体测量学(Anthropometry)是一个合法的学科根据人体测量学,物理特征往往反映人的性格特点,比如福尔斯的高前额暗示了其强大的大脑,装也是一样时尚策展人朗说:“在福尔斯思考办案线索时,装扮演了重要角色”不管是磨损的鞋子,还是有划痕的怀表,都逃不开福尔斯的火眼,衣上最细微的细节都可能是破案的关键福尔斯曾仅靠一只“非常普通的黑色帽子”就推导出完整的作案心理过程,成就了著名的“蓝宝石案”Holmes’s methods—baffling to Watson—are well known to modern-day costume curators and conservators. “We are quite Sherlockian in our approach,” Long says. “We regularly look at wear marks, labels, and types of materials.” Inspired by the Holmes stories, Long and “an army of volunteers” scoured the museum’s archives historical garments with tell-tale clues to the wearer’s identity. A pair of men’s evening shoes on display has circular wear marks on the soles, suggestive of dancing; a woman’s blouse with ink-stained sleeves recalls the one that helped Holmes identify his client as a typist in A Case of Identity.福尔斯的这些方法对华生来说很费解,但是对于当代时尚策展人和管理员来说却是众所周知的朗说,“我们的方法和夏洛克很像我们会经常查看磨损痕迹、商标、用料类型”受福尔斯故事启发,朗和一群志愿者用一些能说明穿戴者身份的线索为物馆标记了历史装一双男式晚宴鞋有圆形的磨损痕迹,是跳舞的记号;一件袖子被墨水弄脏的女士衬衫让人想起了在《身份谜案中福尔斯也曾用同样的方法辨认出他的客户是一名打字员A master of disguise, Holmes had an arsenal of unlikely alter egos, from an old lady to a “simple-minded Nonconmist clergyman.” Long notes that although Holmes’s borrowed makeup and wardrobe techniques from the Victorian stage, his disguises were not particularly theatrical or exotic, but “the disguises of the everyday.” In Sherlock, Cumberbatch has convincingly posed as a French waiter, a Guardsman, a hoodie-clad heroin addict, and a Pakistani terrorist.福尔斯可以称得是一个伪装大师,他能完美演绎多种不同的个性,从老妇人到“头脑简单的新教牧师”朗表示,福尔斯所用的化妆和着装技术虽源自维多利亚时代,却从不显得夸张或奇异,相反,它们非常“符合日常生活”在《神探夏洛克里,“卷福”已经成功地伪装过法国侍者、英国卫兵、身着连帽衫的瘾君子以及巴基斯坦恐怖分子But Cumberbatch’s greatest disappearing act is his eftless embodiment of Conan Doyle’s archetypal character: the angular silhouette, the hawk-like profile, the cape-like coat. A distinct lack of physical resemblance may be why the other modern-day TV Holmes, Elementary’s Jonny Lee Miller, has struggled to connect with viewers. Miller (like Downey) is more of a Watson than a Sherlock—compact and muscular rather than tall and lanky. It follows, then, that his clothes also break the mold. A floppy coat would not just envelop but swamp him; instead, a double-breasted pea coat provides warmth in the New York winters, while a red tartan scarf provides what little sartorial panache he possesses. But his endless supply of rumpled vests and ill-fitting blazers convey his Englishness—especially next to Lucy Liu’s quintessentially chic New Yorker of a Watson—while his habit of buttoning his shirts up to the chin telegraphs the character’s OCD tendencies. In this case, however, there’s no mystery why it’s Liu’s Watson wardrobe that has inspired style bloggers.棱角分明的轮廓,鹰一样的侧脸,还有斗篷大衣——“卷福”几乎就是柯南·道尔原型人物的化身而其他版本的福尔斯缺少观众认同感,与演员本身形象与原著形象有差距分不开,比如《基本演绎法(Elementary)里的约翰尼·李·米勒(Jonny Lee Miller)米勒(有点像小罗伯特·唐尼)结实且肌肉发达,更符合华生的形象,而非高而瘦福尔斯形象此外,他的着装也有违人物原型尽管宽松的双排扣外套在纽约的冬天里让人感觉格外温暖,红格子围巾也更能体现他本身所具有的气质,但他那永远皱巴巴的衬衣和不合身的上衣却透出浓浓的英格兰风格,尤其当他与典型纽约时髦范的刘玉玲(Lucy Liu)版华生站在一起时,更是对比鲜明米勒的衬衫扣子总是一丝不苟地扣到下巴,体现了人物的强迫症倾向在这种情况下,刘玉玲版华生的穿着风格能引起时尚主们的注意,也就不足为奇 139。

It’s hard to imagine two people coming from worlds as different as those of Elton John and Darren Walker.很难想像再找到两个像埃尔顿·约翰(Elton John)与达伦·沃克(Darren Walker)这样,来自如此截然不同背景的人Mr. John, 67, emerged from a village outside London (where he was born as Reginald Dwight) to become one of the most successful recording artists of all time. Twenty-two years ago, he created the Elton John AIDS Foundation, which has raised more than 0 million to date. (He was knighted by Queen Elizabeth in 1998.)约翰先生,67岁,从出生于伦敦郊外的乡下孩子(本名雷金纳德·德怀特)变成史上最成功的发片艺人年前,他创办了埃尔顿·约翰艾滋病基金会,截至目前该基金会筹得3亿多美元(1998年获伊丽莎白女王封为爵士)Mr. Walker, 55, born in a charity hospital in Louisiana and raised by a single mother in rural Texas, became a white-shoe lawyer and investment banker, then a commy activist and philanthropist. Last year, he was named the president of the d Foundation, where he oversees about 0 million in annual grants, and recently played a critical role in saving Detroit’s pensions and art collection in the city’s bankruptcy proceedings. He lives in Manhattan with his partner, David Beitzel, a contemporary art dealer.沃克先生,55岁,出生于路易斯安那的一所慈善医院,在德克萨斯州的乡下由母亲一人抚养长大,后来成为了一名杰出的律师和投资家,接下来又成为社区活跃分子和慈善家去年,他被任命为福特基金会总裁,管理着每年约5亿美元的拨款,不久前,他在底特律破产程序中挽救该城的养老金和艺术收藏方面发挥了关键作用目前,他与伴侣、当代艺术交易商戴维·拜策尔居住在曼哈顿Still, the two found much in common when they met in the presidential suite of the Four Seasons Hotel in Washington, where Mr. John was staying. Surrounded by large photos of Mr. John’s two young sons, Zachary and Elijah, whom he is raising with his husband, David Furnish, the pair bonded over their childhood dreams and adult challenges; the way they came to grips with their sexual identity and outsider status; and their shared commitment to social justice and the elimination of H.I.V. and AIDS.不过,两人在约翰先生下榻的华盛顿四季酒店的总统套房里见面后,却发现他们之间其实有许多的共同之处在约翰先生的两名幼子扎沙里耶和伊莱贾的多幅大照片(由他和丈夫戴维·弗尼什[David Furnish]一起抚养)的环绕下,当两人谈及童年的梦想以及长大后面临的种种挑战、各自处理性认同和局外人身份的方式,以及纷纷投身于根除艾滋病病毒和艾滋病、实现社会正义的事业时,又令他们一见如故Philip Galanes: How we operate as adults so often boils down to how we feel about ourselves as kids.菲利普·加兰(以下简称加兰):从大看小,成年的很多方面都可以追溯到孩童时代的自我认知Elton John: Well, I was scared stiff all the time.埃尔顿·约翰(以下简称约翰):嗯,我小时候一直就很害怕PG: Always in trouble?加兰:是因为总闯祸吗?EJ: No, I was a good little boy, too scared to misbehave. But there was always tension in the house. My parents never should have gotten married, and I ded my father coming home. I knew there would be a fight, and it would be over me. My mother was more loving and lenient; my father was the real disciplinarian. He never wanted me to become a musician.约翰:那倒没有,我是一个听话的小孩,从来不敢调皮捣蛋但家里的气氛总是很紧张我爸妈他们完全是结错了婚,我很怕爸爸回家因为我知道他们一定会吵架,然后气就撒到我身上妈妈对我更好一些,也更慈爱一些;而爸爸真的是很严厉他一直都不赞成我搞音乐PG: I nearly fell off my chair during your husband’s documentary about you (“Elton John: Tantrums and Tiaras”), when your mother says: “I don’t think your father loved you very much.”加兰:在你丈夫拍摄的纪录片《埃尔顿·约翰的脾气与头冠(Elton John: Tantrums and Tiaras)里,我看到你妈妈说“我想你爸爸不是那么喜欢你”时,惊得我几乎从椅子上跌下来EJ: She was right. But it was more like he didn’t understand me. Still, he shaped the person I am today. My father’s been dead years, and I’m still trying to prove something to him. I’d love it to have been different, him to have said, “Well done.” But he never came to see me play. He never acknowledged my success. But I don’t hate him. He did the best he could.约翰:她说的没错但更准确的说法是,他不了解我不过,正是他塑造了今天的我虽然爸爸已经过世年了,但我还是想向他明什么我真心希望他不是这样的,希望他能够说一句“干得好”但是他从来不看我表演,也从来不承认我的成功但我并不恨他他已经尽力去做一个好父亲了 PG: Darren’s childhood sounds rough in a different way: Born in a charity hospital, raised by a single mom who worked as a nurse’s aide.加兰:达伦的童年听起来是另一种不幸:出生在一个慈善医院,由给护士当助手的妈妈一人养大Darren Walker: It was rough economically, but not emotionally. Listening to Elton made me realize: The last time I saw my father, I was 5 years old — and he’s still alive, still living in the same small town where I was born. But I wouldn’t know him if he walked through that door. But in some ways, it was liberating. My mother always told me she loved me. She affirmed my quirks and my differences, and that gave me confidence.达伦·沃克(以下简称沃克):在经济上是一种不幸,但在情感上不是听埃尔顿在谈他的童年时,我想起最后一次见到父亲,是在我5岁的时候——那个时候他还健在,还生活在我出生的那个小城但他若是进了我家门,我也不会认出他来从某种程度上说,这也是一种解脱妈妈总是跟我说她很爱我我的古怪与与众不同她都照单全收,这给我带来了信心 PG: And like Elton’s parents, she worked hard your education.加兰:而且跟埃尔顿的父母一样,为了让你能念书,她也是很辛苦地工作 DW: I remember standing on the front porch of this little shotgun house we lived in, and a lady walked up to my mother and said, “I’d like to enroll your son in a new program called Head Start.” It was the first year, and they were looking children who fit my profile: poor, African-American, rural. My mother said: “Of course! Sign him up.” And there began my love of books and ing.沃克:我记得有天我站在我家排房的前廊上,有一个女士走过来跟我妈妈说,“我想让你的儿子加入我们的‘拔得头筹’(Head Start)项目”那是该项目的第一年,他们要找的正是我这样的小孩:贫困、非裔美国人、住在乡下我妈妈说:“当然可以!给他把名报上”从那时起,我开始了对书与阅读的爱好 EJ: Same here. I didn’t grow up with much. We didn’t have much money. But the books and gramophone records I had, I loved them and kept them pristine.约翰:我也是这样的我的成长环境一般,家里也不是太有钱但我还是有自己的书和留声机唱片,我好爱惜这些东西,把它们保存得跟新的似的DW: My grandmother was a domestic a well-to-do family in Houston. And when we’d visit her, she would bring home things the family was giving away: a sweater with a Neiman Marcus label. Brooks Brothers, places I’d never heard of. But more importantly, she brought home all these books. I loved the art books. I’d get a brown paper bag from the Piggly Wiggly, and stuff it with books and clothes, and just luxuriate in them.沃克:我的祖母(或外祖母)在休斯顿的一户有钱人家当佣人我们去她那里玩的时候,她会把一些这家人不要的东西带回家:尼曼·马库斯的毛衣,还有布鲁克斯牌的衣,这些名字我都从来没听说过但最重要的是,她会把他们不要的书带回家我喜欢艺术类的书我用一个从连锁超市“小猪扭扭”拿的棕色纸袋,把这些书和衣装起来,觉得快活得不得了PG: It sounds as if these objects conjured up. ...加兰:听起来这些东西像是施了魔法一般……EJ: Another world! These objects I loved — the LPs, the singles, the books, the cowboy outfit — they took me out of where I was, and brought to a place I could only dream about. 约翰:它们构成了另一个世界!我爱的那些东西——密纹唱片、单曲唱片、书、牛仔用品什么的,把我从现实中带走,带到一个梦中的世界 PG: What were your first dreams yourselves?加兰:你们最早的梦想是什么?EJ: I played piano at a very early age. It got me attention, and I liked it. I like making people happy. But music wasn’t my dream until I discovered Elvis Presley in 1957. I was sitting in the little barbershop in our village, waiting to have my hair cut, and I saw this picture of Elvis. He looked like an alien — really weird but amazing. And by coincidence, my mom brought home a copy of “Heartbreak Hotel” that week. How weird is that? And after I saw Elvis and heard his music, there was no going back.约翰:我很小就开始弹钢琴它引起了我的注意,而且我也很喜欢它我喜欢逗人开心但直到我在1957年发现了猫王,音乐才成为我的梦想当时我坐在我们村的小理发店里,等着剪头发,然后我看见了猫王的照片他看起来就像是一个外星人——很怪也很棒巧的是,就在那周,我妈买回家他的唱片,那张《伤心旅馆你说神不神?在看到他的照片后又听到他的歌,然后就一发不可收拾DW: I was always dreaming of being someplace else, someplace that wasn’t a small town. I remember watching “Green Acres” on television. You know the part where Lisa sings that she loves Park Avenue, but she’s going to the farm? I used to scream at the TV, “Don’t do it!”沃克:小时候我总是梦想着生活在其他地方,我不要在小城市呆着记得在电视上看《绿色的田野(Green Acres)你还记得丽莎唱她喜欢公园大道,但准备去农场那一段吗?当时我冲着电视大喊:“别去呀!”EJ: I wanted to go to America. All the great music I listened to as a child came from here. I didn’t have any dreams of becoming a star. That’s just fate and life and God’s will.约翰:那会儿我好想去美国我小时候听到的所有好听的歌曲,都是美国歌我从来没想过当大明星这是命运和人生的安排,是上帝的意志DW: But when I got to the other world, I was petrified. My first days at the University of Texas at Austin, which was reserved Texas elite at the time, pushed me so far out of my element. The first time I was presented with a full place setting at dinner, I had no idea what to do.沃克:但是当有机会来到另一个世界的时候,我简直石化了刚到德州大学奥斯汀校区的时候——当时这还是一个属于德州精英的学校,一下子把我猛推到不得其所的境地第一次用全套餐具吃饭的时候,我完全傻眼EJ: You didn’t know which one to pick up first. I was never taught that, either. Did people give you a hard time?约翰:你不知道先拿哪一个也没有人教过我其他人欺负你了吗?DW: People often say: “You were in the South. It must have been racist. You must have felt so excluded.” But I was embraced. I was class president and chairman of the Texas Student Union. But it was also confounding. I was at a party students once at the governor’s mansion in Austin. And this lady walked towards me, and I extended my hand, and she said, “I’d like a gin and tonic, please.”沃克:人们总是说,“你生活在南部,一定有严重的种族歧视你一定感觉自己受到了排斥”但大家接纳了我我是班长和德州学生会的主席但也有尴尬的时候有次我在奥斯汀的州长宅邸参加为学生举行的一个派对有位女士冲我走过来,我伸出手,结果她说,“请给我来一杯金汤尼”PG: How did you cope when reality began to exceed your dreams?加兰:但现实开始超出你的想像时,你是怎么处理的?EJ: The first five years of my career, there was so much work and enjoyment. I was in America and successful, meeting people I never thought I’d meet — in art and entertainment and politics. I was a kid in a candy store. But I was very nave. I saw someone taking cocaine, and I asked my manager what it was. I had no idea what a drug was. And that was when my journey changed.约翰:我职业生涯的头五年时间,有好多工作也有很多乐子我在美国也非常成功,遇见各种我从未想过会遇到的人——艺术圈的也好,圈的也好,政坛的也好我就像是小孩进了糖果店但我太天真了我看见有人在使用可卡因,我就问我的经纪人,那是什么我对毒品完全没有概念也就是在那个时候,我的人生之旅发生了转变PG: What about the drugs appealed to you?加兰:你怎么会对毒品感兴趣的?EJ: At school, I was never quite in the gang. So, when I got to the point when I was and saw the cocaine, I thought, “Maybe I want to join the clique.” It was the worst decision I ever made. I thought, “I’ll join in, and they’ll accept me.” Remember, I hadn’t gotten my father’s acceptance, and that stays with you. It’s what drove me to work so hard and be so prolific. But cocaine got in the way.约翰:在学校的时候,我不是特别合群所以,一步步地,在岁的时候我看到了可卡因,我想,“也许我想加入这个小团体”那是我所做过的最为错误的决定我想的是,“我要加入,他们会接纳我的”还记得吧,我没有获得父亲的承认,这一直是我的心病这驱使我非常努力的工作,使劲创作但可卡因把我拦下了DW: I remember the first time someone offered me a joint. I said, “No, thank you!” I knew the implications a low-income African-American male who might be arrested. A friend got arrested smoking pot, and his father took care of it — like that! But I knew no one would take care of me. So I never took a puff.沃克:我还记得第一次有人给我大麻的情形我说,“不用了,谢谢你!”我知道这会让一个低收入的非裔美国男人去坐牢的我有个朋友就因为抽大麻被抓起来了,是他父亲把他给弄出来的——没费什么力气!但我知道,我要抓进去了,没人会把我捞出来所以,我从来没吸过毒PG: Do you ever stop noticing that you’re the only person of color, the only gay person sitting in the powerful conference room?加兰:在一些重要的场合,你是不是不用再去想自己是唯一的有色人种、唯一的同性恋? EJ: Did you still encounter barriers?约翰:你是否仍然遇到隔阂?DW: There were certainly barriers. But I have to be African-American, and I have to be gay. That’s what I am.沃克:当然还是有隔阂但我就是非裔美国人,我就是一个同志那就是真实的我EJ: Hooray!约翰:说得太好了!DW: At some of the tables I sit around, I have a lot of work to do, challenging stereotypes.沃克:在我呆过的一些场合,有很多工作要做,我要挑战类型化的刻板印象 EJ: Pushing dominoes over.约翰:把多米诺骨牌推倒DW: I was at a dinner party, and the person next to me was deriding all of the government’s poverty programs. And I said: “I benefited so much from the war on poverty. I was in Head Start. My college education was financed by Pell grants.” And his response sounded like, “Why can’t other black people be like you?” I had to remind him that even though talent is sp evenly across America, opporty is not. There are a lot of people who think their success is completely a function of their talent.沃克:有一次我参加一个晚宴,坐在我旁边的一个人嘲笑所有的政府扶贫计划于是,我说:“我以前就是从贫困战中获益的人我在‘拔得头筹’项目里面我的大学教育,是由佩尔助学金资助的”他的回答是,“为什么其他黑人不能学学你?”我不得不提醒他,在美国各地,哪里都有有才华的人,但机会却不是平均分配的有许多人认为自己之所以取得成功,完全是因为自身的才华EJ: It’s luck, and it’s following your instincts. Early on, I was playing in a band at this cabaret. And I’m thinking, “I don’t want to play to people who are eating fish and chips.” I was tubby and insecure, but something told me this was not going to be what I did. So, when I saw an advertisement Liberty Records, I rang up an appointment. I can’t think how I had the courage to do it. But I went in and said, “I can sing and write songs, but I can’t write lyrics.” And off the top of a pile, this guy pulls an envelope and says: “Well, this guy sent in lyrics. Take them home.” They were Bernie Taupin’s, and we’ve been writing together 8 years. All because I took that leap of faith that’s inside all of us.约翰:是运气,是对直觉的听从早年间,我曾加入过一个在卡巴莱(指在晚上提供歌舞表演的餐馆或夜总会)表演的乐队我想“我才不要给一群正在吃鱼和炸薯条的人表演”我又矮又胖,没什么生活保障,但冥冥之中我就觉得这不是我要做的所以,当我看见自由唱片公司(Liberty Records)的广告时,我就打电话去预约面试我也不知道当时怎么有这么大的勇气但我进去之后说,“我能唱歌也能写歌,但我不会写词”面试的人从一堆材料的上面抽出一个信封,说,“这人寄来了歌词你拿回家吧”那是贝尔尼·托潘(Bernie Taupin)创作的歌词,从那以后我们合作了8年所有这一切,都是因为我接受了存在于我们所有人心中的信心之跃(leap of faith)PG: But leaps of faith can be scary.加兰:但信心之跃有时候可能会把人给吓住EJ: Of course! Fear holds us all back. It’s the most derogatory thing in the human race. Take the crippling problem of H.I.V. in the American South — one of the places our foundation donates a lot of money. A gay African-American male in the South is often afraid to say he’s gay. Then he gets H.I.V., and he’s afraid to say that, too. It’s a double whammy. And it’s because we don’t have enough role models like Darren in this country. 约翰:当然!恐惧令我们退缩这是人类身上最具贬损意义的事情以艾滋病病毒在美国南部所带来的严重后果为例——那里也是我们的基金会捐了很多钱的地区之一一个南部的非裔美国人同性恋男性往往不敢公开自己是同性恋然后,他感染了艾滋病病毒,而且他也不敢跟人说这是双重的打击这也是因为在这个国家,像达伦这样的行为榜样还是太少了DW: Part of it is also the social construction of black masculinity: macho, low-riding pants. That’s one model — and not to knock it — but we need more. If your choice as a black man is to be an athlete or a rapper, what do you expect society is going to get?沃克:还有爷们样子、穿得很低的裤子这些黑人男子气概的社会建构在作祟那是一种样式,不是批评它,但我们需要更多的样式如果作为一名黑人男性你的选择不是去当运动员就是当说唱歌手,那你又能指望社会会怎么看?EJ: Well, I want to make a difference in that. We both do. But changing big problems in this country is hard.约翰:嗯,我想改变这个状况我们都在想这件事但改变这个国家的一些大问题,真的很难DW: This is what’s amazing about Elton — much more so than Elton the musician is Elton the humanitarian. He’s put his name on the line years though his AIDS foundation. And the path he chose is not the glamour path. He’s focused on the American South because that’s where the highest prevalence is, where the growth in new infections is — and sadly, in states with the frailest health systems. 沃克:这正是埃尔顿了不起的地方,比作为音乐家的埃尔顿更了不起的是那个作为人道主义者的埃尔顿通过他的艾滋病基金会,过去年里,他一直在出钱出力他选择的这条道路,并非迷人的坦途他的关注点放在美国南部,因为那里的流行程度最高,还有那里的新发感染增长率,而且,遗憾的是,那里也是健康系统最为薄弱的几个州EJ: And the poorest economies. If we leave people behind because of their circumstances, because they’re gay black men or incarcerated or intravenous users, then we give them no hope. And that’s the most evil thing I can think of.约翰:经济也最差如果我们仅仅因为人们所处的环境不好,仅仅因为他们是黑人同性恋或者是坐牢或者通过静脉注射毒品就抛弃他们,他们就会失去希望这是我所能想到的最为邪恶的事情PG: I was surprised to learn that it was Ryan White who opened your eyes about AIDS, Elton. Why not the thousands of gay men who were dying all around you?加兰:我很惊讶,居然是瑞安·怀特(Ryan White)引起了你对艾滋病的关注为什么不是那些在你身边死去的,成千上万的同性恋呢?EJ: I’m ashamed to say that when the AIDS epidemic started, I did nothing. I was taking a lot of drugs. It took this boy, Ryan White, who was being kept out of public school because he had AIDS, to open my eyes. He and his family moved me so much. They responded to their hardship with acceptance and giveness — with the same values as our current pope.约翰:很羞愧,在艾滋病爆发之初,我什么都没做我忙着吸毒是瑞安·怀特这个因为艾滋病而被公立学校拒绝的孩子,引发了我的关注我被他和他的家人深深打动了面对苦难,他们的态度是容忍、原谅——正是当今的教皇所信奉的价值观DW: Don’t we love the pope?沃克:我们怎么能不爱教皇?EJ: He’s my new hero.约翰:他是我心目中新的英雄DW: Mine, too.沃克:也是我的EJ: So, I was in Indianapolis in the last week of Ryan’s life. My life was crap, and I hated myself. I would complain about this, complain about that. And this beautiful boy never complained about getting AIDS. This may sound like a sweeping statement, but he seemed like Jesus to me — kind and giving and full of love. It took a child to die bee this country stood up and took any notice of AIDS.约翰:所以,在瑞安生命的最后一周,我在印第安纳波利斯我的生活跟屎一样,我恨我自己我抱怨这个,抱怨那个这个漂亮的孩子却从未抱怨自己感染了艾滋病这听起来像是一概而论,但在我看来他的确就像是耶稣一般——仁慈、宽容、充满了爱一个孩子以生命,换来了这个国家对艾滋病的关注与行动PG: And within two years of Ryan’s death, you’re clean and sober, and you started the Elton John AIDS Foundation? 加兰:在瑞安去世后的两年时间里,你戒毒戒酒,创办了埃尔顿约翰艾滋病基金会?EJ: Yes, in 199.约翰:对,那是在199年DW: And remember, Elton has a much harder job than I do at the d Foundation. Elton has to raise money every year to give away. We have a $ billion trust that generates a lot of money.沃克:别忘了,埃尔顿的工作可比我在福特基金会的工作要难多了埃尔顿每年都得筹钱我们有一个0亿美元的信托,它能生出不少钱来EJ: And 96 percent of what we raise goes out to the people. 约翰:我们募来的款项中96%都用了出去DW: That’s unprecedented. No other organization working on AIDS that has that record. 沃克:这是史无前例的还没有哪一个艾滋病组织创下过这样的记录EJ: I see so many charitable organizations go out of business because they spend ridiculously. We’ve always kept it lean and mean. If people are going to give me money, I want to spend it wisely.约翰:我看到许多慈善机构因为挥霍无度而关张我们总是节省再节省如果人们给我钱,我就想把它用在刀刃上DW: Where we at the d Foundation and Elton’s foundation intersect is in our shared belief in the right of every person on this planet to live with dignity. It would be easier Elton to focus on New York and San Francisco because that’s where the glamour is. But in rural Mississippi, in rural Georgia, there is very little support people living with AIDS.沃克:我们福特基金会和埃尔顿的基金会的相交之处,就是我们都相信这个星球上的每个人都有带着尊严生活的权利如果埃尔顿把注意力放在纽约和旧金山,事情要容易得多,因为那是些更体面的地方但正是在密西西比的乡下,乔治亚州的乡下,人们很难获得与艾滋病共处方面的持EJ: The people who are outcast are the ones who need support. We have to lift their spirits up, make sure they feel wanted. Because if you lose that, there’s nothing left.约翰:被抛弃的人正是需要帮助的人我们必须让他们振奋起来,确保他们觉得受到了关爱如果你失去了被人关爱的感觉,也就完蛋了PG: You see H.I.V.AIDS as an issue of social justice?加兰:你把艾滋病病毒和艾滋病视为一个关乎社会正义方面的议题吗?DW: When you look at the beginning of AIDS activism, it was galvanized by upper-middle-class white men in New York and San Francisco. But now that the faces are starting to look different — poor rural whites and blacks in Mississippi — continuing the momentum of that movement is hard.沃克:你看看艾滋病权利运动之初,它是由纽约和旧金山中上阶层的白人男性所激发的但现在,参与者的面孔出现了变化——密西西比州贫困的乡下白人和黑人——再继续维持该运动的势头就变得很难了EJ: We’re swimming faster, but we’re swimming against the tide sometimes. But I’m always optimistic. There’s much more good in this world than bad. You just hear about the bad. Remember: People were dying within six weeks of getting this disease in the ’80s!约翰:虽然我们游泳的速度更快了,但有时候我们面对的是滔天大浪不过我总是乐观的这个世界上好的东西总是比坏的东西多但你听到的,总是坏的东西别忘了:在八十年代,得了这种病的人不出六周就会死DW: I’m like Elton: radically optimistic. My own improbable journey from a small town in Texas to president of the d Foundation is a uniquely American story. And there are many stories like mine in America. 沃克:我跟埃尔顿一样,是理性的乐观我从德州的一个小城到今天福特基金会的总裁这段令人难以置信的路程,是一个独特的美国故事在美国,还有很多跟我类似的故事PG: You’re both bridge-builders: Elton talking to Rush Limbaugh about gay marriage; Darren building a private coalition to help save pensions and the Art Institute in bankrupt Detroit. Did you have to train yourself to work with people who aren’t natural allies?加兰:你们两个都是搭建桥梁的人埃尔顿跑去跟拉什·林堡(Rush Limbaugh,以保守出名的脱口秀主持人)聊同性婚姻;达伦建立了一个私人联盟,帮助破产的底特律挽救养老金计划和艺术学院你们是否有训练自己去如何跟天生不可能成为盟友的人共事呢?EJ: I’ve been sober years now, and one of the best lessons it taught me is to listen. When it comes to people like Rush Limbaugh, or people who might enrage you sometimes, dialogue is the only way. You have to reach out.约翰:我戒酒年了,它教会我的最重要的一课就是倾听对于像是拉什·林堡这样的人,或者那些有时候会让你大发脾气的人,对话是唯一的途径你必须去倾听他们的意见DW: And stop asserting ideology. That just lets us keep affirming our own beliefs.沃克:还有,不要在意识形态上纠结不休那只会让我们没完没了地申明自己的信仰EJ: Whether you make an impact in one year or 30 years, it doesn’t matter. You have to put your foot in the water and start the process.约翰:你的影响力究竟只能持续一年时间还是30年时间,并不重要你必须以身试水,迈出第一步DW: God knows, there have been times in my life when I was done an injustice, or had every right to respond with an expletive. But it’s better to hold back and keep trying to find common ground.沃克:老天爷知道,在我生命中有多少次遭遇不义之举时,我完全有理由骂回去但更好的做法是克制,努力寻找双方的共同点EJ: Better to build a bridge than a wall.约翰:搭建桥梁比砌墙要好 6757。

CCTV Spring Festival Gala May Remain the style of “Zero Advertising”年CCTV春晚将保持零广告插播形式Feng Xiaogang, a well-known Chinese film director, replaced Ha Wen to be the chief director of Chinese Central Television Spring Festival Gala. It is learned that the CCTV Spring Festival Gala may remain ;Zero Advertising;.冯小刚,以为著名的中国电影导演,取代哈文成为年央视春晚总导演据说今年春晚将仍保持零广告插播形式Feng Xiaogang participation makes people look ward to watching this brand new Spring Festival Gala. The public is curious about whether Feng Xiaogang, recognized as a director who can turn product placements into amazing box office, will keep the style of ;Zero Advertising;, which Ha Wen maintained in the previous galas.冯小刚的加入让很多人对新春晚的期待大增人们好奇的是总会把广告植入转化成奇异的票房收入的总导演冯小刚会否保持哈文在之前晚会中使用的“零广告”形式Ha Wen, who directed both and CCTV Spring Festival Galas, brought a new style of ;Zero Advertising; to the Spring Festival Gala. Back to three years ago, the CCTV Spring Festival Gala got its highest advertising revenue of about RMB 0.65 billion Yuan. After that, CCTV faced a storm of criticism and decided to carry out a plan of ;Zero Advertising; in the following CCTV Spring Festival Gala. Although it was not Ha Wen who first proposed the style of ;Zero Advertising;, it was she who best implemented the style. In and , Ha Wen clearly announced that CCTV Spring Festival Galas would not have any product placements. According to some media, the previous three CCTV Spring Festival Galas, which had no advertising, provided the public with ;pure; galas while making CCTV lose about RMB 1.75 billion Yuan.哈文,曾指导了和央视春晚,创造了“零广告”的春晚新形式回到三年前,年央视春晚创造了广告植入收入最高的记录,约6.5亿元在那之后,央视受到暴风一样的批评指责从而决定在接下来的年春晚发起“零广告”计划虽然不是哈文最先提出的“零广告”提案,但她却是落实的最好的那一个在年和年的春晚上,哈文明确宣布春晚不会有任何广告植入据一些媒体报道,之前三次“零广告”春晚虽然给大家带来了“纯净”的晚会却为央视带来了.5亿元损失According to the Peninsula Morning Post, CCTV Advertisement Department has recently held an inside meeting with its VIP advertisers, preparing the upcoming ;Prime-time Advertising Auction;. The department has aly promoted an advertising package CCTV Spring Festival Gala, which is only designed the advertising bee the Spring Festival Gala. The source emphasized that pre-advertising could not be understood as the advertising the Spring Festival Gala. ;Pre-advertising is bee the Spring Festival Gala. Every TV station has pre-advertising. We cannot associate pre-advertising with product placements in the Spring Festival Gala,; said the source. No product placement space has been promoted yet so far. There is reason to believe that CCTV Spring Festival Gala may remain the style of ;Zero Advertising;.据半岛晨报报道,央视广告部最近同它的VIP广告商们进行了内部会议,为即将到来的“黄金时段广告招标”做准备广告部已经筹划要加入一组在年央视春晚开始前播放的广告他们强调事先广告不会被理解为春晚广告“事先广告是在春晚开始前播放的广告每家电视台都有我们不能将实现广告同春晚广告植入联系到一起”直到目前为止还没有广告植入空间这是我们让我们相信年春晚将仍保持“零广告”形式的原因 63。

8-hour roller-coaster ride连坐8小时过山车Vic Kleman, 8, has recently marked the 95th ;birthday; of the Jack Rabbit roller-coaster at West Mifflin park in Pennsylvania, the US, by riding it more than eight hours straight, logging 95 spins around the wooden ride in a single day.为庆祝美国宾夕法尼亚州西米夫林公园木制过山车;杰克兔;的95岁;生日;,美国一名8岁老翁克莱曼一天内连续坐了95次过山车,整整8个小时里根本停不下来In , Kleman also said he felt ;great; after notching his 000th ride on the wooden coaster. He also rode it 80 times to mark his 80th birthday.克莱曼年已完成000次木制过山车之旅,并表示感觉良好他80岁生日那天则玩了80次 3776。

前言:身为国际巨星的成龙近日花亿元人民币买下巴西制造的商务喷射客机而在他的效应下,厂商已经在中国收到了张订单Sweet deal: Jackie Chan toasted his new jet during a news conference Feb.5th in Sao Paulo, Brazil.月5日,巴西,成龙正举杯庆祝新购得私人飞机Betting on his influence in the Chinese speaking world, Brazilian jet maker Embraer has hired Jackie Chan to promote its commercial jets in Asia and the deal comes with a customized plane.由于看好成龙在中国乃至国际上的影响力,巴西著名的飞机制造厂商Embraer邀请他成为代言人,希望以此拓展亚洲市场While Embraer said Chan ;bought; the plane in its press release, some media outlets suggested that the sales price had been heavily discounted.Embraer对记者表示成龙购买了这架飞机,但一些媒体认为,这是打了很大的折扣价格Embraer delivered the customized Legacy 650 to the Hong Kong-born actor on Saturday in Sao Paulo, Brazil.香港巨星成龙花了亿元人民币,买下了该厂生产的豪华私人飞机Legacy 650It had been painted in the colours of the Chinese flag.飞机上喷绘了红色和黄色的两条龙,而这也正是五星红旗上的两种颜色此外,机尾还漆上;龙;字,中间的英文就是成龙的英文名字Jackie,而机头则是缩写JC JET,打造;成龙号;专机The action star will fly out of Brazil on board his swanky seater plane which is said to be worth million.成龙将乘坐购得新机飞离巴西,据闻该私人飞机价值3千万美元(部分内容来自dailymail.co.uk)。