#Artist: 怀归

[stardust-medium5]

【Stardust Original】 《回声空间站/Echoic Space Station No. 13》

────────────── ⋆⋅ ⋅⋆ ──────────────

Planning : 金蓝

Music：怀归

Composing/Tuning：海格p

Mixing：磷元素

Illustration：YUXI

PV：面包烤过才好吃了

Guitar：Exi-Ted

Bass：空想

Drum：celest天狗

Vocals : Stardust Infinity

[nakareiiii]

Wang Chuan Feng Hua Lu (忘川风华录) Masterpost

Wang Chuan Feng Hua Lu (忘川风华录) is a Vocal synth (Vocaloid and SynthV) music project. It consists of songs themed around different figures throughout Chinese history. The project is a collaboration between different artists and creatives, with music and videos featuring prominent traditional Chinese elements. The project's title translates to "The Records of Magnificence of the Wangchuan" - In Chinese mythology, "Wangchuan" (or River of Forgetting) is a river in the Underworld that can rid one of their past life's memories, similar to the river Lethe.

A mobile game adaptation has also been developed by NetEast. Unfortunately, I haven't played it so I can't give much insight on it. However, I assume that its premise is similar to that of the idea behind the project as a whole: all these historical figures meeting each other in the Underworld after they died. Maybe.

You can find all the songs on Bilibili. The official Weibo can be found here. The game's website, which includes all characters appearing so far in the game, can be found here, and its Weibo can be found here.

(If you prefer YouTube, I've also put together a handy playlist. Please know that most of these videos are reposts though, so please watch the original Bilibili MVs if you can!)

This blog is where I will be posting everything I feel like I need to say about the songs in this project. A lot of it is lifted from my Twitter account but will be in much more detail. Note that I probably won't touch collab songs, or songs that don't focus solely on the project's own characters.

Disclaimer: I do not speak Chinese, nor am I an expert on Chinese history. Therefore, I cannot reliably translate the lyrics to these songs, nor my words should be taken as gospel. I am merely a nerd gushing about my hyperfixation.

Playlist

多情岸 【Duo Qing An】 ➼ B link

洛阳怀 【Luo Yang Huai】 ➼ B link

易水诀 【Yi Shui Jue】 ➼ B link

山河令 【Shan He Ling】 ➼ B link

簪花人间 【Zhan Hua Ren Jian】 ➼ B link

栖凰 【Qi Huang】 ➼ B link

心上秋 【Xin Shang Qiu】 ➼ B link

祖龙吟 【Zu Long Yin】 ➼ B link

如见青山 【Ru Jian Qing Shan】 ➼ B link

竹林间 【Zhu Lin Jian】 ➼ B link

天下局 【Tian Xia Ju】 ➼ B link

青鸟衔风 【Qing Niao Xian Feng】 ➼ B link

木兰行 【Mu Lan Xing】 ➼ B link

好字唯之 【Hao Zi Wei Zhi】 ➼ B link

不可道 【Bu Ke Dao】 ➼ B link

水叙湖风 【Shui Xu Hu Feng】 (collab) ➼ B link

是非 【Shi Fei】 ➼ B link

风起甘露 【Feng Qi Gan Lu】 (collab) ➼ B link

谓剑 【Wei Jian】 ➼ B link

万象霜天 【Wan Xiang Shuang Tian】 (New Year event song) ➼ B link

千秋梦 【Qian Qiu Meng】 ➼ B link

易安难安 【Yi An Nan An】 ➼ B link

惊鹊 【Jing Que】 ➼ B link

高歌破阵 【Gao Ge Po Zhen】 (collab) ➼ B link

不赴 【Bu Fu】 ➼ B link

西行 【Xi Xing】 ➼ B link

大航海家 【Da Hang Hai Jia】 ➼ B link

牡丹乱 【Mu Dan Luan】 (collab) ➼ B link

倾国 【Qing Guo】 (collab) ➼ B link

相虎 【Xiang Hu】 ➼ B link

补天裂 【Bu Tian Lie】 ➼ B link

此期盈期 【Ci Qi Ying Qi】 (1st anniversary song) ➼ B link

破云来 【Po Yun Lai】 ➼ B link

归钓吟 【Gui Diao Yin】 ➼ B link

始见千秋 【Shi Jian Qian Qiu】 ➼ B link

临川浮梦 【Lin Chuan Fu Meng】 ➼ B link

将军行 【Jiang Jun Xing】 ➼ B link

妄语人间 【Wang Yu Ren Jian】 ➼ B link

数风流 【Shu Feng Liu】 (2nd anniversary song) ➼ B link

问剑春秋 【Wen Jian Chun Qiu】 ➼ B link

起战令 【Qi Zhan Ling】 ➼ B link

人间应又雪 【Ren Jian Ying You Xue】 ➼ B link

旷古回响 【Kuang Gu Hui Xiang】 ➼ B link

墨隐侠声 【Mo Yin Xia Sheng】 ➼ B link

桃源故人 【Tao Yuan Gu Ren】 (3rd anniversary song) ➼ B link

燕双归 【Yan Shuang Gui】 ➼ B link

拜云台 【Bai Yun Tai】 ➼ B link

思华年 【Si Hua Nian】 ➼ B link

承天 【Cheng Tian】 ➼ B link

*Note: The anniversary songs are probably for the game's anniversaries, as the project itself is more than 5 years old.

Albums

Vol 1: 溯洄 【Su Hui】 Includes character songs from Duo Qing An to Zhu Lin Jian. Features human vocals.

Vol 2: 踏浪 【Ta Lang】 Includes character songs from Tian Xia Ju to Yi An Nan An + Shui Xu Hu Feng.

Vol 3: 数风流 【Shu Feng Liu】 Includes character songs from Bu Fu to Yan Shuang Gui, and the two anniversary songs.

Visual character guide:

PRE-QIN | QIN | WESTERN CHU | HAN | THREE KINGDOMS | JIN | NORTH & SOUTHERN DYNASTIES | TANG | FIVE DYNASTIES & TEN KINGDOMS | SONG | YUAN | MING | QING | DREAM

[astiniar925]

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◉ 🎬 在线观看 :|✮☛ https://t.co/k4uBGsx5AJ?amp=1

神奇女侠1984的剧情简介 · · · · · · 故事背景设定在五光十色、充满诱惑的80年代，神奇女侠戴安娜在华盛顿的自然历史博物馆过着与普通人无异的生活，然而在阻止了一场看似平常的劫案后，身边的一切都发生了变化。在强大的神力诱惑下，两位全新劲敌悄然出现 — — 与神奇女侠“相爱相杀”的顶级掠食者豹女， 以及掌控着能改变世界力量的麦克斯·洛德，一场惊天大战在所难免。另外一边，旧爱史蒂夫突然“死而复生”，与戴安娜再续前缘，然而浪漫感动之余，史蒂夫的回归也疑窦丛生。 新时代大幕开启，面对两位强大的邪恶反派和神秘归来的史蒂夫，神奇女侠要如何才能再次拯救世界？

导演: 派蒂·杰金斯 编剧: 戴夫·卡拉汉姆 / 派蒂·杰金斯 / 乔夫·琼斯 主演: 盖尔·加朵 / 克里斯·派恩 / 康妮·尼尔森 / 罗宾·怀特 / 佩德罗·帕斯卡 / 更多… 类型: 动作 / 奇幻 / 冒险 制片国家/地区: 美国 语言: 英语 上映日期: 2020–12–18(中国大陆) / 2020–12–25(美国) 片长: 151分钟 又名: 神力女超人1984(台) / 神奇女侠2 / Wonder Woman 2 / WW84 IMDb链接: tt7126948

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Being the eldest of five children, the girl was brought up in a comfortable and quiet environment of the small town. Her parents, a supervisor in an insurance company and an amateur painter sent her to Girl’s High school. However, at the age of 15 Hannah had to quit studying for the long six years to take care of her newborn sister. Only in 1912 she continued her education with Harold Bengen in School of Applied Arts, mastering glass design. As the World War I broke up Hannah returned to the native town to work in the Red Cross. The first years after war the young woman recommenced her studying, getting to know graphic arts. 1915 was highlighted by an acquaintance with an Austrian artist Raoul Hausmann, which grew into the long-lasting romantic relationship and involvement in Berlin Dada movement. For ten years till 1926 Hoch worked in Berlin’s major publisher of newspapers and magazines. Her task was to design embroidering, knitting and crocheting patterns for the booklets. Being on vacation with her beloved in 1918, Hannah discovered ‘the principle of photomontage in cut-and-paste images that soldiers sent to their families’ (National gallery of Art). This find affected greatly on her artistic production, and she created mass-media photographs comprising the elements of photomontage and handwork patterns, thus combining traditional and modern culture. Her prior preoccupation was to represent the ‘new woman’ of the Weimar Republic with new social role and given freedoms. Hoch was the only woman in Berlin Dada, who took part in all kinds of events and exhibitions showcasing her socially critical works of art. Till 1931 she participated in exhibitions but with the rise of National Social regime was forbidden to present her creative work. Till her last breath in 1978 Hannah Hoch lived and worked in the outskirts of Berlin-Heiligensee. The piece of art which is going to be analyzed in this research is ‘The beautiful girl’ designed in 1919–1920. It combines the elements of technology and females. In the middle of the picture one can clearly see a woman dressed in a modern bathing suit with a light bulb on her head which probably serves as a sun umbrella. In the background a large advertisement with a woman’s hair-do on top is presented. Maud Lavin describes strange human as ‘she is part human, part machine, part commodity’ (Lavin). The woman is surrounded by the images of industrialization as tires, gears, signals and BMW logos. A woman’s profile with the cat eyes, untrusting and skeptical, in the upper right corner is eye-catching as well. This unusually large eye symbolizes DADA movement — a monocle, which is present in almost every Hoch’s work. The colour scheme does not offer rich palette of tints, including mostly black, white, orange and red pieces. The photo is surrounded by the BMW circles which add the spots of blue. An apt description of the piece is given in the book ‘Cut with the Kitchen Knife’ and states that it is ‘a portrait of a modern woman defined by signs of femininity, technology, media and advertising’ (Lavin). In other words Hannah Hoch focused on the woman of the new age, free and keeping up with the fast-moving world. The artist promoted feministic ideas and from her point of view urbanization and modern technologies were meant to give hope to woman to gain equality of genders. With this photomontage she commented on how the woman was expected to combine the role of a wife and mother with the role of a worker in the industrialized world. The light bulb instead of a face shows that women were perceived as unthinking machines which do not question their position and can be turned on or off at any time at man’s will. But at the same time they were to remain attractive to satisfy men’s needs. The watch is viewed as the representation of how quickly women are to adapt to the changes. In a nutshell, Hoch concentrated on two opposite visions of the modern woman: the one from the television screens — smoking, working, wearing sexy clothes, voting and the real one who remained being a housewife. The beautiful girl’ is an example of the art within the DADA movement. An artistic and literal current began in 1916 as the reaction to World War I and spread throughout Northern America and Europe. Every single convention was challenged and bourgeois society was scandalized. The Dadaists stated that over-valuing conformity, classism and nationalism among modern cultures led to horrors of the World War I. In other words, they rejected logic and reason and turned to irrationality, chaos and nonsense. The first DADA international Fair was organized in Berlin in 1920 exposing a shocking discontentment with military and German nationalism (Dada. A five minute history). Hannah Hoch was introduced to the world of DADA by Raoul Hausman who together with Kurt Schwitters, Piet Mondrian and Hans Richter was one of the influential artists in the movement. Hoch became the only German woman who referred to DADA. She managed to follow the general Dadaist aesthetic, but at the same time she surely and steadily incorporated a feminist philosophy. Her aim was to submit female equality within the canvass of other DADA’s conceptions. Though Hannah Hoch officially was a member of the movement, she never became the true one, because men saw her only as ‘a charming and gifted amateur artist’ (Lavin). Hans Richter, an unofficial spokesperson shared his opinion about the only woman in their community in the following words: ‘the girl who produced sandwiches, beer and coffee on a limited budget’ forgetting that she was among the few members with stable income. In spite of the gender oppressions, Hannah’s desire to convey her idea was never weakened. Difficulties only strengthened her and made her an outstanding artist. A note with these return words was found among her possessions: ‘None of these men were satisfied with just an ordinary woman. But neither were they included to abandon the (conventional) male/masculine morality toward the woman. Enlightened by Freud, in protest against the older generation. . . they all desired this ‘New Woman’ and her groundbreaking will to freedom. But — they more or less brutally rejected the notion that they, too, had to adopt new attitudes. . . This led to these truly Strinbergian dramas that typified the private lives of these men’ (Maloney). Hoch’s technique was characterized by fusing male and female parts of the body or bodies of females from different epochs — a ‘traditional’ woman and ‘modern’, liberated and free of sexual stereotypes one. What’s more, combining male and female parts, the female ones were always more distinctive and vibrant, while the male ones took their place in the background. Hannah created unique works of art experimenting with paintings, collages, graphic and photography. Her women were made from bits and pieces from dolls, mannequins of brides or children as these members of the society were not considered as valuable. Today Hannah Hoch is most associated with her famous photomontage ‘Cut with the kitchen knife DADA through the last Weimer Beer-Belly Cultural epoch of Germany’ (1919–1920). This piece of art highlights social confusion during the era of Weimar Republic, oppositionists and government radicals (Grabner). In spite of never being truly accepted by the rest of her society, this woman with a quiet voice managed to speak out loud her feministic message. Looking at Hannah Hoch’s art for the first time I found it confusing, because couldn’t comprehend the meaning. It was quite obvious that every single piece and structure is a symbol of the era, its ideas and beliefs. However, after having learned about her life and constant endeavors to declare about female’s right, little by little I started to realize what’s what. As an object for research I chose ‘The beautiful girl’ as, to my mind, its theme and message intersects with the modern tendency: a successful, clever, beautiful and free woman has to become one in no time, cause the world is moving faster and faster. I enjoyed working with this artist as her example is inspiring and is worth following

[secretliz001]

翻译：Paul McCartney: One for the Road

原链接：https://www.rollingstone.com/music/music-news/paul-mccartney-one-for-the-road-43295/ He blew it. Not that anybody spotted it. The audience at the Rosemont Horizon, outside Chicago, was too busy swooning in the ersatzcandlelight of a few thousand cigarette lighters and luxuriating in the warmbalm of nostalgia as a real, live Beatle reprised one of the band’s biggesthits onstage. Nobody appeared to notice — or care — that Paul McCartney had completely botched the words to his enduringturn-of-the-Seventies hymn “Let It Be.”

他搞砸了，虽然倒也没人发现。在芝加哥外的好事达体育馆，千千万万观众们都忙于举起打火机，在虚假烛光中陶醉，沉浸在温暖怀旧气息里，因为舞台上，一位真实的披头正在重演披头士乐队最受欢迎的歌曲之一。没有人发现（或者说，没有人在意）McCartney完全把Let It Be的歌词唱错了，这首发行于七世纪年代头上，经久不衰的歌。

 “I condensed that little one very nicely — it took on a newmeaning,” McCartney confesses later with an embarrassed laugh. “All I did was,I forgot the second half of the first verse and put in the second verse. And Ithought, ‘God what am I going to do? I’ll just do the second verse and probablyno one will ever notice that I’ve done it twice.’ But I was so thrown off thatI ended up getting it wrong in the last verse as well.” Not that it was all hisfault anyway, he insists with a disarming smile. “I spend most of my timewatching these little cameos in the audience. It’s like all human life isthere, a big sea of it. And it’s a bit distracting. If I get off on the wrongfoot, it’s because I’m hung up on the audience.”

“这首歌我提炼得不错，给了它些新内涵。”McCartney尬笑着坦白，“我就，把下半首歌的第一段给忘了，唱成了第二段，想着天哪咋办，要不我就直接唱第二段得了，大概也没人会发现我唱了两遍。然而我脑筋整个被搞乱，结果最后一节也弄错了。”他毫无防备地笑着，坚持说这并不都是他自己的错，“大部分时间我都在观察观众席。看着人山人海，人类生活都浓缩在那儿，有点让人分心。心思都在观众身上，把我的步骤都弄乱了。”

 And because, he might have added, that audience always was, still is and forever will be hung up on the Beatles. Currently in the midst of hisfirst major concert tour since his splashy 1976 American jaunt with the lateWings, Paul McCartney is digging deep into his half of the Beatles’ song bagafter spending most of the past twenty years pretending — in concert,anyway — that he had never been Fab in the first place. He is nowrediscovering to his eternal surprise, night after night, the enduring impactand resonance of the act he had effectively denied for all those years.

他可能还会补充说，这也是因为披头士乐队依然永远吸引着观众。McCartney正在进行一场大规模巡演，是自Wings乐队在1976年的那场高调美国巡演以来的第一次巡演。在过去的20年中，他一直在假装自己从来不是披头士乐队的一员（至少在演唱会上是这样表现的）。而为了这次巡演，他则深挖了自己创作的，占据披头士曲库一半的作品。如今每一晚他都能重新体验那份惊喜，那份他曾经故意拒绝面对，但是对观众有着经久不衰的影响和共鸣的惊喜。

 It’s not all hot tears and wet seats, of course, like it was in’64. At the Rosemont Horizon, where McCartney and his five-piece band holdcourt for three sold-out nights, it’s more like bright shrieks of astonishmentand deep sighs of contentment, spiced with moments of poignant intimacy anddroll hilarity:

Two teenage girls in the front row gently sobbing during“Yesterday,” a song written nearly ten years before they were born.

A middle-aged couple slow-dancing in the balcony to “Hey Jude.”

A family of three, including a little girl of kindergarten age,holding up signs that read, “We ♥ Paul,” except the little girl is holding the “We” upside down.

The thirtysomething fella in the tenth row holding a cellularphone over his head, apparently phoning in the gig to a ticketless yuppie palat home.

在好事达体育馆，McCartney和他的五人乐队举办了三场售罄演唱会。现在不是1964年，观众席已经没有粉丝们的滚滚热泪和湿哒哒的椅子。取而代之的是快乐的惊声尖叫和愿望满足的大叹，点缀着各种亲情与搞笑时刻：

前排的两个少女听着 "Yesterday "轻轻啜泣，这首歌是在她们出生前10年写就的。

一对中年夫妇缓缓地伴着“Hey Jude”在看台上跳舞。

一家三口，举着“We ♥ Paul”的牌子，不过那个看着才在上幼儿园的小姑娘把“We”的牌子举倒了。

第十排的三十多岁的小伙子高举着移动电话过头顶，显然在给一个没买着票只能家里蹲的雅痞朋友打电话。

 “I’m touching a lot of different nerves out there,” saysMcCartney, quite rightly. “Young couples and not-so-young couples who wereyoung when ‘Hey Jude’ came out. You see lots of guys doing high fives to eachother, a lot of communication, a lot of warmth.

“不同的人对我的表演都有感触。”McCartney说。他没说错。“不管是对年轻的情侣，还是对“Hey Jude”刚出时很年轻但现在已经不年轻的情侣。你可以看着好多人互相击掌，看到各种交流各种温暖。“

 “It’s not so much déjà vu for me. I’ve come back asanother person. I have different sensibilities now. I have kids, all that.Let’s face it, the first tours the Beatles did, the main essential thing wasscoring chicks. I’m a different person now, because that’s not allowed” Hegrins.

“但其实我对这场景并不熟悉，因为我回归时已经成长为另外一个人了，带着更多感情更多见解，有了孩子什么的。老实和你说，披头士第一次巡演最重要的目标就是找妹子而已。现在我不一样了，可不允许我这么干。”他笑笑。

 “And what I find now is, I get really touched by the audience,” hesays. “I keep telling Dick Lester [the director of A Hard Day’s Night and Help!, whois making a film of the tour] to capture all the little things we see from thestage. Nobody in the audience really sees it. But we do, because we’re lookingat them. And that’s the real show.”

“我发现自己倒是被观众感动着。我一直和Dick Lester说要捕捉到从台上向下看的各种细节。（Dick Lester是A Hard Day’s Night and Help!的导演，也在为此次巡演进行拍摄。）我们能看到观众在席内看不见的细节，因为我们才是面对观众的人。观众的反映才是真正的演出。”

 That’s also the crux of Paul McCartney’s continuing dilemma as anex-Beatle. McCartney, 47, has been a solo artist for nineteen years, nearlydouble his tenure as a Beatle. In 1988 he made a welcome return to his Fiftiesrock & roll roots with the Russian-only “covers” album Snova v SSSR, a.k.a. Back in theU.S.S.R. Last spring he released his most critically acclaimed(although commercially disappointing) album in years, Flowers in theDirt. In addition, his recent songwriting partnership withElvis Costello has yielded two Top Forty hits, his own version of “My BraveFace” and Costello’s recording of “Veronica.” He capped 1989 by debuting afine, new touring band featuring top-drawer studio and road guys who couldoutplay Wings blindfolded — guitarist Robbie McIntosh (the Pretenders),singer-guitarist Hamish Stuart (Average White Band), keyboardist Paul “Wix”Wickens (Paul Young, the The) and drummer Chris Whitten (the Waterboys, JulianCope), plus McCartney’s wife, Wings vet Linda, on keys and harmonies.

这也是McCartney作为一位前披头士一直进退两难的症结所在。47岁的他已经单飞19年，几乎是他披头士生涯的两倍。1988年，他推出了一张只在俄罗斯发行的翻唱专辑Snova v SSSR（又名Back in the U.S.S.R.），令人欣喜地追溯回（影响到他的）五十年代的摇滚乐根源。去年春天，他发行了多年来最受好评的专辑Flower in the Dirt，虽然商业成绩不理想。此外，他最近与Elvis Costello的合作了两首歌曲，McCartney版本的My Brave Face 和Costello的 Veronica��都打到了排行榜前四十名。1989年，他首次组建了一支优秀的新巡演乐队，都是优秀的录音室和巡演音乐人，蒙着眼睛弹也能超过Wings乐队--吉他手Robbie McIntosh (Pretenders)，主唱吉他手Hamish Stuart (Average White Band)，键盘手Paul “Wix” Wickens (PaulYoung, the The)和鼓手Chris Whitten (Waterboys, Julian Cope)，再加上他的妻子，Wings乐队常驻成员Linda，负责键盘和和声。

 Yet it has hardly escaped McCartney’s attention that many of thepeople packing arenas and, later this spring, stadiums on his 1989-90 worldtour are not coming to see him play obscure album tracks from Flowers in theDirt. They are coming to see the Beatles-by-proxy. They arecoming to have their emotional buttons pushed by the songs that defined andtransformed their youth — “The Long and Winding Road,” “Can’t Buy MeLove,” “Sgt. Pepper’s Lonely Hearts Club Band,” “Good Day Sunshine,” “Things WeSaid Today,” “Back in the U.S.S.R.,” “I Saw Her Standing There,” the climactic“Golden Slumbers/Carry That Weight/The End” medley from Abbey Road. Theyare coming to see many of these songs performed live for the first time (thebulk of the Beatles oldies in McCartney’s show postdate their 1966 retirementfrom the stage) and, quite possibly, the last.

然而，McCartney当然不会假装无视，其实铺满场馆的人们并不��来听他演出Flowers in the Dirt中稍显晦涩的曲目。他们是来食用披头士代餐的。他们希望听到那些定义并改变了他们青春的歌曲，去触动自己的情感开关— “The Long and Winding Road,” “Can’t Buy Me Love,” “Sgt.Pepper’s Lonely Hearts Club Band,” “Good Day Sunshine,” “Things We Said Today,”“Back in the U.S.S.R.,” “I Saw Her Standing There,” Abbey Road中高潮迭起的 “Golden Slumbers/Carry That Weight/The End” 组曲。他们的目的，是来欣赏史上头次（也有可能是最后一次）现场演出的披头士老歌，大量1966年披头士离开舞台以后创作的曲目。

 At the Rosemont Horizon and later that week at the Skydome inToronto and at the Forum in Montreal, you could feel the audience buzz take apalpable dip every time McCartney went into an unfamiliar number from Flowers in theDirt, like the reggaefied shuffle “Rough Ride” or “We GotMarried,” a Flowers highlight recalling the hard-rock melodrama ofmid-Seventies Wings. The pressure drop was particularly noticeable at thebeginning of the two-and-a-half-hour show, as the crowd cheered the soundtrackof Beatles, Wings and solo McCartney hits that accompanied Richard Lester’sopening rockumentary-film montage with its kinetic blasts of Beatlemania,flower power, Vietnam, et cetera. After which McCartney and his band hit thestage and stepped right into … his new single, the appealing butcomparatively low-key “Figure of Eight.”

在他巡演的各个场地都能感觉到，每次McCartney表演一首Flowers in the Dirt中的新曲目，观众的热情会陡然下降，比如雷鬼风的“Rough Ride”或者 “We Got Married”，令人眼前一亮回想起七十年代中期Wings的硬摇旋律的“Flower”。这在开场尤其明显。观众们欢呼着披头士，Wings, McCartney的solo作品，伴着导演制作的记录着摇滚年代开场，屏幕上展现了披头士狂热，花之力，越战等等。之后，McCartney和乐队上台直接演出新单曲，是吸引人但相对低调的 "Figure of Eight"。

 “We did thaton purpose — we had to do that,” McCartney argues over aveggie burger (the McCartneys are devout vegetarians) during a preshowdinner break backstage in Toronto. “Originally, we were going to open with ‘ISaw Her Standing There.’ But I really got upset by the idea. I was going homeone night and I thought, ‘That’s really betraying our new material, sending itright down the line.’ Like saying, ‘Hey, I haven’t been around for thirteenyears and I haven’t done anything worthwhile. Here’s the Beatles stuff.’

“我是故意的。“McCartney吃着素汉堡解释道（McCartney一家都是坚定的素食主义者）。”本来我们想拿I Saw Her Standing There开场，但我真的不支持这个想法。一天晚上回家的时候我想着，‘这简直在背叛我们的新作品，整个把格调拉低了’。这个安排就好像在说，‘嘿，我神隐了13年，啥有价值的事都没干。喏，给你们听听披头士的歌得了。‘“

 “It’s the obvious thing. Boom, bang, Beatles, Beatles. Then yousay, ‘Now we’d like to do some new material.’ Boo! Hiss! I’ve seen the Stonestry and do it, and it doesn’t go down that great. That’s a fact of life. Evenwith the Beatles, new material didn’t always go down that well. It was theolder tunes. ‘Baby’s in Black’ never went down nearly as well as ‘I Feel Fine’or ‘She Loves You.’ That’s just the nature of the beast.

“真的很明显。如果上来就砰砰唱披头士的歌，然后说‘现在我们想演一些新作品。’嘘声就来了。我见过滚石他们这么做，效果不太好。这就是人生嘛，就算是披头士，新作品落地激起的浪花也不会大，老歌才更能带动人们。唱‘Baby’s in Black‘的效果就没有唱‘I Feel Fine’ 或 ‘She Loves You’好。这行就是这样。”

 “It is hard to follow my own act,” he admits. “But the only answerto that would be to give up after the Beatles. I only had two alternatives.Give up, or carry on. And having elected to carry on, I couldn’t stop.”

McCartney has been consistently productive as an ex-Beatle. He hasnot, however, been consistently successful. His Eighties chart duds include Pipes of Peace,Give My Regards to Broad Street (the soundtrack to hisdisastrous feature film of the same name), Press to Play and thesolo/Wings “greatest hits” package, All the Best. Notably, McCartneyincludes only one song from the first three albums in his current show: “SaySay Say,” his Number One duet with Michael Jackson, from Pipes of Peace, isfeatured in Richard Lester’s opening film.

他承认，“追上先前的成就很难，唯一的答案是在披头士之后就放弃。只有两个选择：放弃，或者继续。既然选择了继续，我就停不下来。"

McCartney作为前披头士一直都很高产，但也没有持续成功。他80年代排行榜上的哑弹包括Pipes of Peace、Give My Regards to Broad Street（超灾难的同名电影原声带）、Press to Play和Wings的精选集All the Best。值得注意的是他本次演出只收录了前三张专辑中的一首歌：Say Say Say，是他与迈克尔-杰克逊合作曲，打上了榜单第一，也在演唱会片头影片出现了。

 Flowers in the Dirt has done reasonably well saleswise — 600,000 copies inthe United States, 1 million in continental Europe by year’s end — but hasnot been the chartbuster either McCartney or his manager, Richard Ogden,certainly hoped for.

Flowers in the Dirt的销量相当不错--在美国发行了60万张，到年底在欧洲发行了100万张--但还没有达到McCartney与他的经纪人Richard Ogden希望的畅销程度。

 “It was as if it didn’t exist,” Ogden says ruefully. “I sat with aradio program director from Chicago, very nice, very up about the show. And hesaid, ‘What’s the next single?’ And I said, ‘We’re just starting with “Figureof Eight” ‘ And he said, ‘What about “This One”? That’s really good.’ And Isaid, ‘That came out in August, mate.’ That really drives me crazy.”

“打单结果就好像消失了一样，”Ogden怅然若失地说，"我和一个芝加哥的电台节目总监坐着，他人很好，对这个节目很上心。他说，'下一张单曲是什么？’我说：" Figure of Eight " 他说"那This One呢？这首很好听。”我说, ‘这首8月份就发行了啊，老哥。’真的好抓狂。"

 McCartney’s response, says Ogden, is a bit stoic. “Paul’s beendoing this for a long time, and he’s going, ‘I don’t want to think about thisanymore. You guys sort it out.'” In fact, McCartney’s response to his ongoingEighties commercial and, until recently, critical slump has been to get out andplay, something he had done infrequently (Live Aid, the 1986 Prince’s Trustconcert) since Wings broke up following his arrest in Japan in 1980 forpossession of marijuana. In 1987, with Ogden’s active encouragement andorganization, McCartney initiated a series of Friday-night jam sessions at asuburban-London studio with an eye toward eventually finding enough new,inspiring players to start a formal band. He also liked the idea, he says, ofhaving a rockers’ equivalent of cafe society.

McCartney的反应倒是挺淡定，他在这一行太久了。他说，“我不想考虑这个了，你们搞定吧”。实际上对于自己八十年代作品商业上的低迷，和最近才上升的风评，他的对应方式一直是出去演出（Live Aid，1986年Prince的Trust演唱会），虽然自1980年在日本因持有大麻被捕后Wings解散以来，他很少这样做了。1987年，在Ogden的积极鼓励和组织下，McCartney在伦敦郊区的一间录音室发起了一系列周五晚上的即兴演奏会，目的是找到足够多新人、有灵感的乐手来组建一支正式的乐队。拥有一个像咖啡公社一样的rocker团体，这个想法他很喜欢。

 “The Beatles nearly did that once,” says McCartney. “We were goingto open an Apple tea room, where we could all go and be intellectual, talk artor Stockhausen. So I thought, ‘We’ll do a similar thing with the jam. Maybe theword will get out that there’s a jam every Friday night, see who shows up.’ Butin fact, because it’s done by your office, and they just ring specific people,it didn’t work out like that. Whoever they rang, showed. Whoever they didn’t ring,didn’t show.”

McCartney 说，“披头士差点就这么干了，本来我们想用Apple的一个茶室，大家都进去开拓思路，聊聊艺术或者Stockhausen。我想着我们的即兴排练也学样，每周五的活动的话传开了，看看谁会参加。但其实因为是办公室组织的，而他们只会给一些特定的人打电话，效果不好。接到电话的人会参加，没接到的就不参加。”

 When asked why he stayed off the road for so long, McCartney saysvery casually: “I just couldn’t be bothered. Until Live Aid came along, Ididn’t think of doing anything live. I don’t know why. Maybe because nobodyasked me. Nobody asked me personally, anyway. I’d hear little things here andthere; I heard that Elton John was quoted as saying, ‘What he needs is to getback on the road.’ But it never seemed that vital for me; I was alreadyenjoying myself.”

问他为什么这么久没有巡演，McCartney反应很随意，“我就不是很care嘛，在Live Aid之前都没想过现场演出，我也不知道为什么。大概因为没人问过我吧，至少没人当面问过我。小道消息确实听说了点，我听人说Elton John说过“McCartney他现在需要的是回去巡演”。但这对我来说也不太关键，我已经很享受自己的生活了。”

 McCartney was never really much of a road hog. Wings’ first andonly American tour came ten years after the Beatles said sayonara to the roadat Candlestick Park. And it’s easy to tell how much time has elapsed by watchingMcCartney’s current show. The production is heavy on Seventies arena kitsch:lasers galore, levitating keyboards. McCartney’s between-song patter alsoprobably seems quaint (“We’re going to go back through the mists of time, to atime known as the Sixties”) to veteran Eighties concertgoers used to thenarrative command of Springsteen or Bono’s spiritual cheerleading.

McCartney从来都不痴迷巡演，披头士在Candlestick Park演出和观众彻底说byebye十年后Wings才在美国巡演。这是第一次也是最后一次。而看McCartney现在的演出，马上就能知道时间过去了多久。这场演出充满了七十年代舞台上的奇特风格：激光灯效，键盘悬浮着，对于八十年代资深演唱会观众，他们已经习惯了Springsteen 的narrative command【？】或者Bono的精神鼓励的，McCartney演出间歇的唠嗑风格古早，“我们将穿过时间的迷雾，回到一个被称为六十年代的时代”。

 One distinctly Eighties aspect of McCartney’s tour is hiscontroversial tour-sponsorship deal with Visa for the 1990 American shows. TheVisa arrangement — reportedly worth $8.5 million, which McCartney saysbasically covers the cost of transport for the tour — represents a new,potentially troublesome twist in pop-music sponsorship: rock & rollsponsored (some will say co-opted) not simply by a merchandiser butby a credit-card company, with close ties to banks and their complex networksof possibly questionable investments. McCartney says he vetted Visa asthoroughly as possible before saying, “I do.” “It may be true that they are agigantic money corporation,” he says, “but I can’t see what’s wrong with that,unless you can prove to me South African links.”

本次巡演的一个明显80年代特征是他与Visa公司就1990年美国演出达成的赞助协议，这个协议其实有点争议。据报道，Visa公司赞助达850万美元，McCartney说，这笔钱基本上包括了巡演的交通费。它代表了流行音乐赞助中一个新的、潜在的麻烦：摇滚乐的赞助（合作）不是简单地由一个商人赞助，而是一家信用卡公司，与银行及其可能会出问题的复杂投资网络关系密切。McCartney在说 "我同意 "之前，他尽可能彻底地审查了Visa。"他们可能确实是一家巨大的财团，"他说，"但我不觉得有什么问题，除非你能向我证明他们和南非之间有关系。"

 McCartney also insists he is not betraying any kind of political,social or emotional trust represented by the Beatles or the songs of theirsthat he’s performing on tour. “Whether you like it or not,” he says, “no matterwhat people thought was going on in the Sixties, every single band that didanything got paid for it. You look back at the early Beatles concert programs,there were Coke ads. We always got paid for everything we did, and when we madea deal, we always wanted the best.

McCartney坚持认为他并没有背叛任何一种披头士乐队代表的政治、社会或情感寄托，也没有与他在巡演中歌相左的行动。“实话实说不怕你惊讶，"他说，"不管你觉得六十年代是什么风气，每个乐队做的任何举动都是有报酬的。你回头看看披头士早期的演唱会，有可乐做的广告。我们做任何事情都会得到报酬，做交易总是希望得到最好的。“

 “Somebody said to me, ‘But the Beatles were anti-materialistic.’That’s a huge myth. John and I literally used to sit down and say, ‘Now let’swrite a swimming pool.’ We said it out of innocence. Out of normal, fuckingworking-class glee that we were able to write a ‘swimming pool.’ For the firsttime in our lives, we could actually do something and earn money.

“有人和我说，‘可是披头士是反物质主义的呀。’这只是个传说罢了。John和我以前真的会坐下来写歌，说“咱们写个游泳池出来”，这些都是无意识说出来的。这种普通的，tmd工人阶级的志趣使我们通过写歌赚到了一个“游泳池”。这是我们人生第一次，确确实实可以种瓜得瓜挣大钱。

 “You get any act around the table with their record company, theytell their manager, ‘Go in and kill.’ They don’t say, ‘Oh, let the punters inat half price.’ We’ve actually done a lot of that — the free program, thatwasn’t necessary.

“你和唱片公司打交道，他们都会和经纪人说，‘去吧，大��一场’。他们不会说，‘欧我们票价打对折吧’。事实上我们也做过免费的项目，不过也没必要罢了。

 “And I think it’s just going to be tough if people don’t like it,”he says coolly. “Stick the finger up and say, ‘Sorry, boys, it’s tough. You maynot like me because of it. Tough darts. I know I’m not doing it for whateverperception you put on it. It doesn’t alter me.’ I’ve taken money off of EMI.The Beatles took money off of United Artists.

“而且我认为如果人们不喜欢，他们就得忍着。”他酷酷说，“我会举个中指说，‘Sorry咯，这事就这样了，你可能不喜欢，但你也只能忍着。我做这个并不是为了你对我的看法，你怎么想都不会改变我’。我拿的是EMI的钱，披头士拿的是联美公司的钱。”

 “I wish we’d taken a little more actually,” he says, suddenlylaughing, taking some of the chill out of the air. “The accountants on A Hard Day’s Night gotthree percent. We got a fee.”

他突然笑着说，“我倒是希望当时多薅点，A Hard Day’s Night的会计都拿了百分之三，我们只拿了一笔固定的钱。” 气氛突然放松了起来。

 “I‘m actually getting tired of Paul interviews,” Linda McCartneyremarks with a shrug while her husband is being trailed by a television-newscrew backstage in Chicago. “People always ask him about the same things. WhatJohn said about this, or what such and such Beatles song meant? Why don’t theyask him about other things, about the important things going on in theworld?”

当他电视新闻人在跟着McCartney在芝加哥场后台采访时，Linda McCartney耸耸肩说，“Paul的采访我都已经疲了。人们总是问他同样的问题：John说了什么，或者这个那个披头士歌曲是什么意思？他们为什么不问其他的，问问世上真正发生的重要事件？"

 For many of the press hounds, radio DJs and TV interviewers following this tour, not to mention the fans who are paying for the privilege, the Beatles are still one of the most important things in the world. In a world still reeling from their original sound and remarkable creative vision, the Beatles’ significance as a cultural touchstone and spiritual anchor cannot be overestimated. In the Sixties the group was the embodiment of youthful ambition and utopian desire amid the graphic realities of war in Southeast Asia and at home in the urban ghettos. Now, with the world plagued by crack, wracked with racial hatred and poised on the edge of ecological apocalypse, talking about the Beatles is like a form of therapy.

对于关注这场巡演的许多狗仔，电台DJ，和电视记者，更不用说付钱来看的观众，披头士乐队依然是世上最重要的事情之一。他们的原创���响和非凡的创作理念仍在影响着这个世界，作为文化试金石和精神支柱的意义是不可低估的。在六十年代，这支乐队在斗争纷飞的东南亚和城市贫民窟，体现了青年们的志向和对乌托邦的向往。而现在，在这蔓延着毒品，种族仇恨和生态灾难的世界，谈论披头士乐队更像一种疗愈手段。

 That seems to be just as true for McCartney as it is for any fan. During rehearsals for the tour, the band would take an occasional tea break, at which point, Paul Wickens recalls, “anecdotes would come out about the old days, little stories about him and John.”

对McCartney来说似乎也是如此。在巡演排练期间，乐队偶尔会进行茶歇，Paul Wickens回忆道，“他会说一些旧日轶事，关于他和John的小故事"。

 But the usual aura of Beatlemania that accompanies McCartney wherever he goes has increased tenfold, at least, with the inclusion of so many Beatles songs in his set. The recent settlement of the band members’ lawsuits with their record company, Capitol-EMI, and among themselves has also brought the tiresome issue of a Beatles reunion back to the fore. McCartney himself fanned that flame at the start of the American tour in November when he suggested during a Los Angeles press conference that with their legal differences settled, maybe he and George Harrison might write songs together for the first time. (He didn’t say anything about writing with Ringo Starr.) Harrison quickly put the kibosh on a possible reunion, issuing a terse press statement: “As far as I’m concerned, there won’t be a Beatles reunion as long as John Lennon remains dead.”

但无论McCartney走到哪里，平时就伴随着他的披头士狂热至少成十倍地增长，毕竟他的演出中加入了这么多披头士的歌曲。最近，乐队成员结束了与Capitol-EMI唱片公司的诉讼，这也重新聚焦了披头士重聚这个老大难问题。McCartney在11月的洛杉矶巡演的新闻发布会上表示，随着他们解决法律分歧，也许他和George会第一次一起写歌。(他没有说任何关于与Ringo一起写作的事情。)George很快就打消了这个念头，发表了一份简短的新声明：“就我所知，只要John没活回来，披头士是无法重聚的。"

 Indeed, John Lennon is an extremely conspicuous presence on McCartney’s tour, by his very absence. His name, his music and his celebrated differences with McCartney during and after the Beatles’ lifetime repeatedly come up in both interviews and idle conversation. Lennon figures prominently in the autobiographical passages that constitute the bulk of the 100-page concert program McCartney is distributing gratis at his shows. But in discussing Lennon in the context of his own contributions to the Beatles’ legacy, without Lennon to answer back, McCartney runs the risk of looking like he’s grabbing all the glory.

事实上，John的缺席反倒在本次巡演中成为了一个极其显眼的存在。采访和闲谈中人们都反复提及他的名字、音乐以及他与McCartney在披头士解散前后的著名纠纷。巡演中免费【免费!!!!!!!!】发放的【多达!!!!!!!!】100页场刊大段的自传段落中，John的身影占重要地位。但在讨论Lennon对披头士作品的贡献时，此时没有Lennon回击，McCartney看着像抢走了所有风头。

 For example, a portion of the program’s interview section is devoted to McCartney’s adventures in the nascent London underground of the mid-Sixties: hanging out with art scenesters like gallery owner Robert Fraser, attending avant-garde music concerts, helping to set up the pioneering Indica Bookshop and Gallery, funding the seminal underground newspaper IT (International Times). “I’m not trying to say it was all me,” McCartney points out in the program, “but I do think John’s avant-garde period later, was really to give himself a go at what he’d seen me having a go at.”

例如，场刊访谈有一部分是关于McCartney在伦敦六十年代中期新生地下艺术中的穿梭：与画廊老板Robert Fraser等艺术界人士混在一起，参加前卫音乐会，帮着打造先锋书店画廊Indica，资助开创性的地下报纸IT（International Times）。"我并不想说这都是我的功劳，" McCartney在场刊中指出，"但我确实认为John后期对先锋艺术的探索，是为了给自己一个新生活的机会，因为他看到了我经历的新生活。"

 “Because I talk about this so much, people go around saying, ‘Oh, he’s trying to reclaim the Beatles for himself, to take it away from John,'” says McCartney while relaxing on the chartered jet ferrying him, his family and the band between Toronto and Montreal. “I’m not doing anything of the kind! I’m not trying to claim the history and achievements of the Beatles for myself. I’m just trying to reclaim my part of it.

"因为我经常谈这件事，所以人们到处说，'哦，他想把披头士据为己有，从John那里夺走它'，" McCartney乘着包机轻松谈到（这包机在多伦多和蒙特利尔之间接送他自己、家人和乐队成员）。"完全没有的事! 我不想把披头士的历史和成就据为己有。我只是想找回属于自己的那部分。”

 “It’s not sour grapes. It’s true. I was there in the mid-Sixties when all these things started to happen in London. The Indica Gallery, art people like Robert Fraser. I was living in London, and I was the only bachelor of the four. The others were married and living in the suburbs. I was just there when it all started to happen.

“真不是酸葡萄心理，六十年代中期伦敦百花齐放的时代，我就在那旋涡中心，在Indica画廊，与Robert Fraser这类艺术人士在一起。我就住在伦敦，也是乐队里唯一一个单身的。另外三个都结婚了住在郊区，我只是正巧那时在那地而已。”

 “The difference is that once John got interested in it, he did it like everything else — to extremes. He did it with great energy and enthusiasm. He dove into it headfirst with Yoko. So it looked like he had been the one doing all the avant-garde stuff.

“It’s the ultimate conundrum,” he admits rather helplessly. “If I don’t say anything, I go on being the so-called wimp of the group. If I do open my mouth, it looks like I’m sullying John.

"不同的是，约翰一对它产生兴趣，他就开始走极端，就像他做别的事情那样。他以极大的精力和热情去投入，和洋子一起，一头扎进去。所以看起来他才一直在做各种先锋前卫的活动。”

"这是终极难题。"他颇为无奈地承认。"如果我什么都不说，我就一直是所谓的群体中的懦夫。但如果我真的开了口，看着就像是我在diss约翰。”

 “And this has only become an issue because he’s dead. Because of the mythologizing that inevitably comes with someone as special as that. And he never wanted that for himself. I remember driving in a car, listening to an interview with John on the radio on the day he died in which he said, ‘I don’t want to be a martyr.’ He didn’t want that responsibility, to be larger than life, to be some kind of god.”

No one brings it up, but this discussion, ironically enough, is taking place on the evening of the ninth anniversary of John Lennon’s murder.

"而正是因为他去世了，这才成了一个问题。因为他地位如此特殊，不可避免会被捧上神坛，可他从来都不想这样。我开车时，听过约翰去世那天的电台采访，他说，'我不想成为烈士'。他不想要那种责任，大于生命，要成为某种神什么的。"

虽然无人提及，但讽刺的是，这场访谈是在John Lennon遇害九周年的晚上进行的。

 “The fact is, we were a team,” McCartney states firmly as the plane begins its descent, “despite everything that went on between us and around us. And I was the only songwriter he ever chose to work with. Nuff said.”

"但其实我们是一个团队，"他在飞机开始下降时坚定表示，"尽管我们之间以及周围环境发生了各种事情，但我依然是唯一一个他自己选择合作写歌的人，就是这样。"

 A day in the touring life, McCartney style, is a nonstop series of interviews, photo opportunities, press conferences, sound checks and meals grabbed quickly by a band on the run. And, of course, the nights are busy, too.

McCartney的巡演生活每天充斥着持续的采访、拍照、新闻发布会、试音，在奔波中随意扒几口饭。当然，晚上也很忙。

 This evening’s performance at Toronto’s Skydome includes McCartney’s nightly plug for Friends of the Earth, the international ecological lobbying group that he is promoting throughout the tour. As the final notes of the closing Abbey Road medley reverberate around the cavernous Skydome, McCartney and the band jump into a fleet of golf carts, which zoom through the hallways to a waiting tour bus. With all aboard, the bus pulls out of the Skydome Starsky and Hutch-style before most of the fans have even left their seats. Back at the hotel at 1:00 a.m., McCartney hosts a small bash for the tour entourage in his suite. The food is vegetarian Chinese. The main attraction is a video of the evening’s Sugar Ray Leonard-Roberto Duran fight. At 2:30 a.m., as the party breaks up, McCartney, wearing a bathrobe, dances alone in the living room to the new Quincy Jones album.

今晚在多伦多Skydome的演出，包括McCartney每晚为Friends of the Earth做的宣传，一个国际生态游说组织。当空旷的Skydome回荡着Abbey Road组曲最后一个音符，McCartney和就乐队跳上高尔夫球车，穿过走廊驶向一辆等着的巡演大巴。大多数歌迷都还没来得及离开座位呢，大家就都上了车，飞速驶出了Skydome，像在演警界双雄似的。凌晨1点回到酒店，他会在套间里为随行人员举办一场小型派对，吃的中式素食，电视里放着当晚Sugar Ray Leonard-Roberto Duran的比赛录像。凌晨2点半派对散场，他会穿着浴袍，听着Quincy Jones的新专独自，在客厅里独自跳舞。

 Sedate in tone, organized with stunning military efficiency, the 1989-90 Paul McCartney World Tour is strictly business — the business of putting on a good show, promoting the latest record, getting maximum publicity and attempting to satisfy the constant public hunger for all things Beatle.

“This is more like a Beatles tour, strangely enough,” says McCartney. “In doing this tour, I’ve taken hints. If someone comes up and says, ‘How should we do this?’ my mind goes back to the best tours I’ve been on. And those were the first Beatles tours of America. They were highly organized, very efficient.

基调沉稳，组织高效，1989-90年Paul McCartney世界巡回演唱会是一场严格的商业活动—是为了举办一场优秀演出，推广最新唱片，获得最大宣传，并试图满足公众对披头士相关的持续渴望。

"挺奇怪的，这倒更像是一场披头士巡演，"McCartney说。"巡演中，我有一些自我暗示。如果有人过说，'我们应该怎么做？'脑海里就回想起我参加过的最好的巡演：披头士的第一次美国巡演，组织得很好，很有效率。

 Where there was once the hysteria of four wild boys with the world at their feet, however, now there is the calm of a middle-aged man who spends nearly all of his offstage hours meeting with assorted advisers, attending to his family (he and Linda are accompanied on this series of shows by two of their four children, Stella and James) and in turn being attended to by personal staff and security, the most prominent of the latter being three muscular, well-dressed men who look as if they had graduated with honors from Secret Service finishing school. Hell raising, needless to say, is at a premium on this tour.

曾经的，是四个狂野男孩带动的歇斯底里，站在世界之巅，现在的，是一个冷静的中年男子，几乎把所有台下时间都用在会见各种顾问、照顾家人（四个孩子中Stella和James这次陪他和Linda巡演），并反过来又受助理们和安保的照顾，其中最突出的是三个肌肉发达、衣着光鲜的男人，看着像特工学校毕业的优等生。Hell raising【？】在此次巡演中很重要。

 “I’m not used to that,” Robbie McIntosh says of the tour’s emphasis on organization. “When I was with the Pretenders, we would do a sound check and then we would go to a pub or something. Now with this, I get a feeling I can’t do that. It’s a lot more regimented, basically because the security is a lot heavier, because of who Paul is. And I guess because of what happened to John, although nobody directly mentions that.”

"我不习惯这样。" Robbie McIntosh提到这次巡演很强调组织性。"当我和Pretenders乐队在一起时，做完音响检查，我们就回去酒吧或者别的地方。现在我感觉自己不能这样做了。一方面因为Paul的身份，安保工作更加严密。另一方面我猜也是因为John的原因。虽然并没有人直截了当提出来。"

 McIntosh observes that the band “is sort of sacred” to McCartney, wholly separate from business. “He never talks business. Never, ever. He’s never mentioned money or anything like that to me. If he’s got something to say, then he’ll say it to the manager, and you will get it from him.

McIntosh发现乐队对McCartney几乎有些“神圣”，是完全与商业活动分开的。“他从来不说商业上的事情，从来都没有。他对我从来不提钱啊什么的。如果他想说，他会和经纪人沟通，经纪人再来和你沟通。”

 “And he’s got a very young approach as far as the band,” says McIntosh “You’d think this is his first band the way he goes on. You see him at sound checks, going around in circles and doing those silly little jumps. It’s a real novelty to him to have a band again — and he treats it like that.”

"搞乐队这方面，他的各种行为都显得相当年轻，" McIntosh说，"他的做法会让你以为这是他待的第一个乐队。试音时你会看到他绕圈圈，傻傻在蹦跶。对他来说，再度拥有乐队是一件很新奇的事情--他也是这样应对的。"

 The sound checks are shows in themselves. McCartney doesn’t run through any of the songs in the regular production; instead, he leads the band through a batch of oldies (Carl Perkins’s “Matchbox,” an old Beatles cover, and tracks from the Russian album, like “Just Because” and “Don’t Get Around Much Anymore”), the Wings B side “C Moon,” the jaunty British music-hall number “Me Father Upon the Stage” and a Latin-hustle medley of Beatles songs.

试音本身就是一场演出。通常人们会过一遍歌单，但McCartney不这样。他会带着乐队演一些老歌(Carl Perkins的“Matchbox,” 翻唱披头士的歌，俄罗斯独家专辑里的歌, 类似 “Just Because” and “Don’t Get Around Much Anymore”这种。)Wings的B面单曲“C Moon”，英式音乐厅的欢快曲目 "Me Father Upon the Stage "和披头士曲目的拉丁风串烧。

 “He’s a real clown,” Wix says quite admiringly. “He loves to show off, and he loves to be there doing it, making people laugh.”

And sure enough, onstage you can see by the light of his beaming, vintage Beatle Paul smile and the way he throws himself into the sixteen Beatles songs featured in the show that no one is enjoying this forward-into-the-past expedition more than McCartney himself.

“It’s twenty years, man,” McCartney says a bit wearily in response to the questions that have dogged him the whole length of the tour — why Beatles songs, and why so many?

"他真的是个小丑式人物。"Wix相当佩服地说。"他喜欢炫技，喜欢在台上搞笑让观众快乐。"

在舞台上，你可以从他那笑容满面、复古的披头士Paul的笑容，以及他投入演出中的十六首披头士歌曲中的方式看出来，没有人比他本人更享受这种向着曾经去探索的征途。

麦卡特尼有些疲惫地回答了困扰他整个巡演的问题--为什么是披头士的歌，为什么这么多？

 “You can’t keep angry forever, twenty years after an event that hurt,” he says, referring to the band’s acrimonious breakup. “Time is a great healer.”

谈起披头士乐队的激烈解散，他说道，"已经二十年了，老兄，二十年前的事我再心痛，也不可能永远生着气。时间很能疗伤。"

 McCartney explains that in preparation for the tour he actually sat down with pen and paper and drew up a list of his favorite Paul McCartney songs, Beatles and otherwise. He came up with so many of them that at one point there was talk, briefly anyway, of doing two completely different shows in each city. “I’d said to myself, ‘You’re a composer,'” he says. “‘There’s no shame in doing these songs.'”

他解释说，“准备巡演时自己真的拿着纸和笔，坐下来，写了一份他心中的Paul McCartney最佳曲目，其中包括披头士乐队和其他时期写的。单子太长了，甚至一度提到要在每个城市做两场完全不同的演出。"我对自己说，'你是作曲人'，"他说，"'演这些歌并不丢人'。"

 The songs of late partner John Lennon were a different matter. “In fact, I considered doing a major tribute to John,” says McCartney. “But it suddenly felt too precious, too showbiz. I was going to have a whacking great picture of John and just say, ‘He was my friend.’ Which was true. I’m totally proud to have worked with him.

演出已故搭档John Lennon的作品则含义不同。“我其实考虑过加一个John的致敬环节，但这回忆对我来说太珍贵，这环节也太作秀了。我本想挥着一张John的照片说，‘他是我的朋友’，这是真的，能与他合作我真的很骄傲。”

 “But then people started saying, ‘Why don’t you do “Imagine”?’ And I thought, ‘Fucking hell, Diana Ross does “Imagine.” They all do “Imagine.”‘ That’s when I backed off the whole thing. You go on tour, you sing your songs, arrange ’em nice, do it, and if you do it well enough, that’s what people will remember.”

“但人们又要说了，‘为啥不唱Imagine?’我就觉得，‘草了，Diana Ross也唱过Imagine，所有人都唱Imagine’。于是我退却了。我就想着去巡演，唱着自己的歌好好编排，如果做得够好，大家是会记住的。”

 Paul McCartney was rather late out of the starting gate for the 1989 Dinosaurs on the Road Sweepstakes, eating the dust already kicked up during the summer and early fall by the Who, the Rolling Stones and even Ringo Starr. But he’s not bugged either about his membership in the club — “I’m another dinosaur,” he says frankly — or by the implicit pressure to prove his viability as a contemporary artist to an audience obsessed by his past, if necessary at the expense of his peers.

【这段的典故没咋看懂，也没查到，有无老师解答？】

 “It’s never stopped,” says McCartney, sitting on a bench in the Montreal Canadiens’ locker room while a sold-out house awaits him inside the Forum next door. “I will never stop competing with every other artist in this business. Pet Sounds kicked me to make Pepper. It was direct competition with the Beach Boys. So what? That’s what everyone’s doing. Although when Brian Wilson heard Pepper, he went the other way.

“竞争从来没有停止过，”他说，在更衣室里坐在板凳上，隔壁漫长的人都在期待着他演出。“我永远不会放弃和这行艺术家们竞争的。Pet Sounds促使我推动Sgt. Pepper项目，这是和the Beach Boys直接竞争，但又怎样呢？大家都这么做。虽然Brian Wilson听完Sgt. Pepper，他就调转枪头啦。”

 “But, yeah, it’s competition. If you put ten children in a room, after an hour or so, they’ll sort themselves out. The smart one. The big, tough one. The cowardly one. The funny one who’s the friend of the smart one and the big, tough one. They will establish a pecking order.”

And where does McCartney place himself in rock’s pecking order?

“I’d put me at the top. Just because I’m a competitor, man. You don’t have Ed Moses going around saying, ‘Sure, I’m the third-best hurdler in the world.’ You don’t find Mike Tyson saying, ‘Sure, there’s lots of guys who could beat me.’ You’ve got to slog, man. I’ve slogged my way up from the suburbs of Liverpool, and I am not about to put all that down.”

“但竞争就是这样。你让10个孩子在一个屋子里，过一两个小时，他们就分出区别了。聪明孩子，壮硕孩子，强悍孩子，怂孩子，以及和聪明孩子壮硕孩子强悍孩子关系都很好的搞笑孩子。他们自己就会分等级。”那McCartney认为自己在哪一级呢？

“我觉得自己是最高一级，因为我确实很有竞争力。你看不到Ed Moses到处说：‘我是世上第三好的跨栏选手哈。’也不会发现Mike Tyson说，"很多人都能打倒我啊。”人必须要努力啊，伙计。从利物浦的郊区一路打拼上来，我不会放弃这一切的。"

 Nor is he about to let all that go forgotten. With the key Beatles lawsuits settled, he’s keen to go ahead with the long-discussed authorized Beatles film biography, The Long and Winding Road, although the project hit an early snag in terms of finding a director. McCartney mistakenly attempted to solicit interest from top screen talent by sending form letters outlining the project to the likes of Steven Spielberg, Ridley Scott and Michael Apted. “George [Harrison], who’s in the film business, went, ‘Major no-no, man, we shouldn’t have done that.’ And he should have stopped me. It was a mistake.”

他也不打算让这一切消失于记忆深处。随着披头士乐队关键官司解决了，他开始积极推进讨论已久的乐队授权电影传记The Long and Winding Road，虽然在找导演时就早早遇到了阻碍。他错了，他试图征求顶级大导的兴趣，他向Steven Spielberg, Ridley Scott 和Michael Apted等人发送了邀约。"涉足电影行业的乔治说，'可千万别，咱不能这么干。’他确实该阻止我，这决定是错误的。"

 Yet having willingly reawakened the Beatlemania beast with his current show, Paul McCartney enters the Nineties with a new variation on his old Seventies dilemma: How do you follow an act like the Beatles — again? He talks of making a new album with his touring band, and he’s halfway through a major orchestral and choral piece, written with British conductor Carl Davis, to be debuted during the 150th-anniversary celebrations of the Royal Liverpool Philharmonic next year. More important, though, he’s come to realize that you don’t follow an act like the Beatles. You learn to live with it, and learn from it.

Paul McCartney通过他目前的巡演，有意唤醒了人们对披头士的狂热。进入九十年代后，他对这七十年代的老难题态度又有了变化：如何重现披头士的行事作风？他说自己会和巡演乐队一起制作一张新专辑，和英国指挥家Carl Davis共同创作的大型管弦乐和合唱作品也已经完成了一半，将在明年皇家利物浦爱乐乐团150周年庆祝活动中首次亮相。但更重要的是，他已经意识到，自己不能重现披头士的作风了，而是要学会与之共存，并从中学习。

 “I’ve already done the thing where you go out and shun the Beatles,” says McCartney. “That was Wings. Now I’ve done this whole thing. I recognize that I’m a composer and that those Beatles songs are a part of my material.

“出门演出，假装自己不是个披头，这事我已经干过了，就是Wings。我现在想要的，是意识到自己是一位作曲人，而披头士的歌曲是我作品的一部分。”

 “The only alternative is that I turn my back on it forever, never do ‘Hey Jude’ again — and I think it’s a damn good song,” he says before heading out onstage, where he’ll play it again for a grateful crowd. “It would really be a pity if I don’t do it. Because someone else will.” 

“另一个选项是，我得永远无视披头生涯，永远不能唱Hey Jude。可这真tm是首好歌。”他上台演出前说着，“如果我永远不唱那就太可惜了，因为会被别人唱掉的。”

[angrycollectordaze-me-blog]

Essay代写：Chopin's piano art

下面为大家整理一篇优秀的essay代写范文- Chopin's piano art，供大家参考学习，这篇论文讨论了肖邦的钢琴艺术。肖邦的音乐作品是肖邦对自己以及他人人生经历、生活环境在艺术上的反馈，肖邦是钢琴艺术史上一个不可磨灭的印记，他的爱国主义情怀，他的浪漫主义风格，无论是从体裁、风格还是演奏技巧都有深刻的体现。而且从这三方面也可以很明显地看出，肖邦善于继承和发展，不偏离主流却又不拘束于主流，有着自己的创新和看法，以及对钢琴艺术的理解。

Born in Poland in 1810, Chopin began composing at the age of seven, performed on stage at the age of eight and toured Europe at the age of 19. Although he died at the age of 39, he left more than 200 works. Chopin is a representative romantic poet in the 19th century. His works are based on polish folk songs and dances, together with Bach's influence, forming his own style. "Born in Warsaw, the soul belongs to Poland, the talent to the world." This is perhaps the most pertinent assessment of the great man.

From the point of view of genre, Chopin's piano music is of complete length, both large and small are famous representative works. In small piano music, etudes are different from the previous ones. The most intuitive one is that they are more difficult and targeted, with higher requirements on the players' level and clear teaching purpose. As an etude, it attaches great importance to emotional catharsis under the condition of guaranteeing the teaching purpose. It not only attaches great importance to practicability, but also attaches great importance to its artistic function as a music work itself. The etude in C minor is Chopin's indignant work when he learned of the Warsaw uprising. The prelude is very similar to the etude, but the prelude is more focused on simple and concise content. Each capital of Chopin's prelude is unique, expressing the ups and downs of emotions with superb music and performance skills. In addition, Chopin's greatest contribution to the prelude was to make it an independent piano genre and continue to shine. The genre of nocturne was first used by John field in his works, and Chopin inherited and developed the style of John field. There were traces of John field in his early works, and Chopin later created image contrast and long poems, which expanded nocturne. At the same time, nocturne is one of the most outstanding parts of Chopin's works, which focuses on the creation characteristics of Chopin's romanticism. Chopin's waltz originated from traditional is higher than that of traditional, embodies the artist machining and grinding of secular culture, for piano waltz gives a new definition, his waltz momentum high rhythm sonorous, expressed the polish people's confidence, the polish people's national story, this is also the embodiment of patriotism of Chopin's art. Scherzo in large piano music originally existed as a diverge in large instrumental music. Chopin processed and refined it independently and finally formed a new genre close to himself. Ballade is large in length, complex in content and rich in plot. It integrates literature, history and other aspects, and is innovative in expression form, content and emotion.

From the perspective of artistic style, Chopin's most typical style is his romantic style. Chopin interprets the true meaning of romanticism with his own personal charm. He has his own inspirations, he is obsessed with his own ideas, and his subjective color is obvious. Like most romantic artists, they share their feelings in poetry far away from reality, or in their deep emotions, reflecting the pain of the weaker classes in the society. The second is his patriotism. Chopin was always an artist who cared about his motherland. He used his works to show his inner thoughts and express his strong patriotism. The last point is that as an individual, he interprets and thinks about himself by using piano music that he is familiar with and good at. In addition, Chopin's works also greatly absorb the essence of folk music, good at Chopin belongs to folk music, known as carry on the processing and transformation, like China's song dynasty writer su shi, the song ci, lives, customs without reduce the style of art itself to broaden the scope of art spread. This music attribute of Chopin has a great relationship with his national consciousness, which he cultivated in his early years by following teachers and associating with cultural personages. Chopin was not only a pianist, but also had a deep understanding of history, literature and drama. He creatively integrated dramatic conflicts into piano music, making the plot ups and downs and fascinating. Chopin was also good at creating new rhythms, unfettered by tradition. Delicate tone, he broke through the old classical style, good at using his imagination, new, this is more obvious in Chopin nocturne performance. In the form structure, Chopin's structure is "trilogy structure", he does not have a fixed format for the structure, sometimes is the calm after the chaos, sometimes is the recurrence of the climax. Be good at using repetition, replace contrast with repetition, grasp the appropriate scale, give a person with profound dripping enjoyment. Chopin also managed to overcome the limitation of the piano, that is, the inability to play sustained notes for a long time, by pedaling broad chords in the bass section to make the music transition naturally.

From the perspective of performance skills, in general, Chopin paid attention to the use of pedals, and pursued the use of pedals to the extreme. In terms of music score, the use of pedals was also accurate to the details, which was not only an emphasis on pedals, but also an emphasis on art. For example, when teaching students, he asked them not to step on the pedal when they were not proficient in it. When practicing the weak tone, they could not use the left pedal until they were proficient in the weak tone. For the grasp of speed, Chopin paid attention to the speed of freedom. On the one hand, he complied with the intention of the work itself, and on the other hand, he could add some ideas on the basis of freedom to make the work more deeply rooted. From the perspective of specific works, Chopin's nocturne makes good use of semi-tone and isotone, and attaches equal importance to the combination of vocal music and instrumental music. The integration of arias with sentences and grace notes, as well as the integration of exquisite rhythm and brilliant style. Chopin's etudes focus on the traditional harmonic expression. Although Chopin made some innovations in classical harmony, he improved it on the basis of tradition. You also need to use your fingers to control the tone. Chopin's waltz, with gorgeous big waltz in e-flat major "as an example, to touch the keys have requirements, speed, strength, touch the key to grasp the continuity, grasp the rhythm, fingers to be flexible, and grasp the rhythm, strength of enforcement is mainly the strength of the accused, pay attention to the strength change, beware ramp signals, for the emotional expression of speed according to the music, the music have light have grave, speed control and emotional expression. Chopin's scherzo, taking the fourth scherzo in E major as an example, has a relatively gentle rhythm and a relatively long length. Structurally, the most striking thing is his musical structure, which is the conversion of the main and minor parts, the main tone and the dominant tone. The material combines the trilogy of variations. Generally speaking, Chopin's scherzo no. 4 in E major inherited the traditional sonata and was not satisfied with the old format. On this basis, many changes were made to broaden the framework of scherzo. Chopin's ballade, the piano ballade in g minor, for example, color of grief is very strong, start from the beginning of the slow rhythm, laying the main tone, and then start the plot of the ups and downs, after began to use the same melody structure and farcicality, plus the soprano, alto voice stimulus to the person, ending in buoyant, intense melody expression of Chopin's patriotism and the love of the people. The theme of the work expresses the sympathy for the motherland and the people. Therefore, music has to show a romantic lyric color on the basis of sadness. It USES the chromatic and reverse playing to make the rhythm more vivid and rich.

Chopin's music works are his feedback on his own life experience and living environment as well as that of others. Chopin is an indelible mark in the history of piano art. His patriotism and romantic style are deeply reflected in the genre, style and playing skills. It is also obvious from these three aspects that Chopin is good at inheritance and development, not deviating from the mainstream but not confined to the mainstream. He has his own innovation and views, as well as his understanding of piano art.

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[scuinfo]

某同学(女)：转自六层楼 「月（约）抛（炮）」已经成了敏感词，虽然接地气，却带着一丝原始粗鲁的意味……取而代之的是更加理性的「社交性同房」，其实，本质上意义差不多，只不过关于这件事情的讨论似乎停在了几年前。 是「社交性同房」的人少了吗？ 还是人们逐渐接受了这种行为呢？ 其实，无论从几家大型陌生人社交app的发展和市值的提升来看，还是参与「社交性同房」的人数和认同度来看，「社交性同房」似乎正在逐渐变成一种常态。就像几十年前，我们还在争论电视是否对身体有害，现在已经没什么人讨论了，但它早已是家家户户的标配了（虽然有的人几乎不看电视）。 一份2016年的研究对16635名成年女性进行问卷调查，调查结果显示27.3%的被试对象有过「社交性同房」的行为，38.5%的被试对象有过这样的念头，但是还未真正执行。这是仅限于成年女性的调查，可想而知在男性群体当中就更加普遍了。 但是，我们会面临哪些问题呢？ 这就回归到同房本身有可能产生的问题了，比如性传播疾病、意外怀孕、信息泄露、欺骗敲诈、偷窃绑架等。虽然听上去很吓人，但也的确发生在我们身边。 既然这件事情普遍存在，而且交友这种刚需拦也拦不住，那为何不让这件事安全地进行呢？ 这可能才是所谓「温馨指南」的意义吧！ 性传播疾病 任何时候的同房都面临这个问题，不限于「社交性同房」。关于性传播疾病的问题我们单独用一章来讨论都不为过。只是，从防护角度来讲，安全套的确只能算是最后一道防线了。在聊天软件上和陌生人你侬我侬的时候，很容易用情至深、情不自禁，往往容易忽略了自身健康的问题。如果这个时候有人主动聊起自身健康的问题，也许就可以更加深入地了解双方发生性关系的风险。 要约，就好好约嘛！ 虽然现在这么说可能会有些奇怪，但我还是希望在不远的将来，双方在发生之前，能一同到医院进行检查或者出示真实有效的体检报告。这才是为了各自安全着想的正确做法，毕竟男女双方都希望这是一次没有负担，也不需要承担更多额外风险的同房。 当双方都在意自身健康保护了，也许才是走上可持续同房的第一步。同时，那些聊天软件不妨出一个互换体检报告的功能，当人们想要线下约见面时，必须要双方经过健康认证才行，毕竟仅是实名认证已经不足以保护双方了。 意外怀孕 每逢佳节，过后不出一个月，计划生育门诊就会人满为患，都是排队做人流的……你说说，不放假吧，大家辛辛苦苦工作怨声载道，放假吧，一个个也是不省心。光是避孕这件事已经说了很多次，在前面我已经大篇幅地讲过这些问题了，这里再次强调一下。 「蹭一蹭」有可能会怀孕。 「最后拿出来，射在外面」也有可能怀孕。 …… 既然不想承担一次偶然性同房带来的额外成本，那为啥不能好好地把避孕措施做好呢？有时候连对方的名字都不一定知道，就这样全靠对方自觉，这种信任都知道是哪儿来的……真要是怀孕了，都不知道孩子叫什么昵称，你说多尴尬？ 还是得强调一下安全套的意义，无论是预防怀孕，还是预防性传播疾病，都有明显的效果。如果觉得使用安全套影响了你的体验，就放弃使用的话，那意味着你在体验和安全健康之间选择了前者，之后面临一系列问题时不要哭鼻子就好。 世上没有后悔药！心里有点儿数，好吧？ 哦，对了，也有后悔药，比如紧急避孕药。如果确实你豁出去了，请第一时间使用紧急避孕药，同时紧急避孕药所带来的月经、皮肤、内分泌、胃肠道等问题，你也要自己承担。哦，记得去查查性传播疾病。 人身安全 上面讲的都还是可以通过自己的努力去控制其发生的可能性的，但是人身安全方面有时候真的不好控制，毕竟对方不可能在一开始就展现其邪恶的念头，这就很难识别了。 虽然在这件事情上，有41.3%的女性会选择身边的朋友作为对象，22.8%选择前男友，28.7%选择同事……但是也有越来越多的女性认为还是选择陌生人更安全一些，其实这反而��加了风险。这就是为什么很多明星和领导都只能「吃窝边草」的原因，因为找陌生人的风险成本太高了……只可惜，有些人还是不明白，那些不远万里网友见面的案例，总会人人担忧，骗财骗色还好，如果卷入人口贩卖或者传销组织可咋整？ 因���，姑娘们对于人身安全的警惕性必须要有，这属于安全成本的考量范畴。 尽量不要去陌生的城市 只身一人，千里赴约，憧憬悸动，见面之后，现实崩塌……对方几个彪形大汉，财色两空，关键是人生地不熟连回家都费劲。如果遇到的是犯罪团伙，很有可能人生轨迹从此改变了。因此，就算要约，也尽量是自己所在的城市和自己熟悉的区域。 尽量自己订宾馆 最常发生在宾馆，选择可靠的宾馆非常重要，毕竟你不知道对方会不会在宾馆动什么手脚，比如安装隐蔽摄像头、饮用水中加入「迷魂药」等，这都将带来额外的人身财产风险。那些图谋不轨的人掌握了一些照片和视频之后，轻则卖给产业链终有一天视频中再相见，重则拿来对你一次又一次的敲诈和勒索。你说这样值得吗？ PUA风险 PUA（pick-up artist）这个词大家不陌生，基本上就是纯技术流派了，对于很多女孩儿来讲，你这边掏心掏肺掏身掏钱，人家那边全部都按剧本走，情感操控都算轻的，如果心狠手辣鼓励你自杀都是分分钟的事儿……碰到这样的情况，唯一的自救方法就是全速抽身，不然最后就是满盘皆输。 推荐AA制 同房不存在谁是享受方，谁是服务方，两个人都是各取所需，自然在消费方面就要AA制。对于礼物或者奖励之类的花销，希望可以警惕，要知道拿人手软、吃人嘴短……都是自由自愿，何必背上欠别人的心理负担呢？而且，当你选择让对方承担花销，就好像默认要满足对方提出的其他要求来作为交换，你愿意吗？ 把自己的行踪告诉信得过的人 把自己的行踪告诉身边信得过的朋友或家人完全是有必要的，否则等你消失很久了也不一定有人发现，到那个时候才真的是欲哭无泪……很多人说，这事怎么能告诉别人？你看看，这就是认知基础的问题，迟早会有所改变的，毕竟在健康和人身安全面前，越来越规范的行为，将会被更多人所接受。 好的，关于「社交性同房」的讨论就到这里了。 有这个念头或者有这样的经历都是个人选择，旁人没必要评价。我们只需要擦亮眼睛，保护好自己。当然，你有可能会说：这么麻烦，还是不要约了。 其实，也行，你自己选择就好。 反正，明天太阳照常升起。 完 这件事情一方面反映了年轻人在控制欲望方面不太成熟，另一方面也表现出人们在培养感情方面的困难，当然也跟成本有一定关系……「社交性同房」的整个过程就像是整个恋爱过程的四倍速快放，通过聊天软件迅速地变得熟络，然后约定地点吃饭、牵手、看电影、去宾馆等流程一气呵成，甚至直接约在宾馆也是可以的，结束后迅速分手，分道扬镳，就像一场两人约好的催眠。 随着婚姻的成本越来越高，尤其是现在婚姻与资产、房产等物质的绑定，导致婚姻的门槛提高，很多年轻人甚至不敢奢望婚姻，如果选择失败将意味着两败俱伤。这也是婚前性行为逐渐被接受的原因之一，而「社交性同房后」的出现满足了年轻人在这个阶段的生理需求。 其实，在男女双方都是单身的情况下，可以自由决定以何种方式开始或结束，他们哪怕是上午见面，下午发生关系，晚上就分手，这都没啥可评价的。完全没有必要觉得这是肮脏和不耻的，更不用为此萌生隐瞒和欺骗的念头。 在提倡自由的同时尽可能保护所有人的隐私是全社会的问题，而老六更在意的是健康和安全。 我是六层楼，我爱这个世界。 原文地址:https://scuinfo.com/#page=detail&id=10063547

[thehanguo]

6th Annual Golden Flower Awards Part I

又到了一年一度的总结阶段了，今年由于回国的原因，总结的时间晚了几个星期。今年我写博客也有六年了，发现自己观影的习惯也在悄然发生着变化。从最早期的去碟店里淘新出的盗版DVD，到后来用电驴和BT从资源网站上下到电脑上看，再到现如今每个星期基本上都会去电影院观赏新上的片子，或者是直接在网上在线看以前上映时没有机会看的老片子。人的生活总是在不知不觉中发生着变化，不知不远的将来我看电影的方式又会有什么新的改变。

虽然看电影的方式在随着时间而慢慢变化，但不变的是我对电影的这份热爱。以下是对过去一年时间里看过的84部影片做的一份很个人的小结：

Best Leading Actor - Drama

Clooney, George - The Descendants 🌟

Fassbender, Michael - Shame

Fiennes, Ralph - Coriolanus

Giamatti, Paul - Win Win

评奖理由：每年的这个单元入围者的实力都旗鼓相当。但是Fiennes在Coriolanus里的舞台痕迹过重；Fassbender在Shame里有相当一部分时间是“体力活”。取Clooney舍Giamatti的原因是在于前者偶像多年，在The Descendants一片里洗尽铅华。Clooney经过多年的磨练，终于让人们对他的演技加以认可。

Best Leading Actress - Drama

Streep, Meryl - The Iron Lady

Thurman, Uma - Kill Bill Vol. 1&2

Weisz, Rachel - The Deep Blue Sea

Williams, Michelle - My Week with Marilyn 🌟

评奖理由：一位老戏骨对抗三位中青年女优。Kill Bill虽然是Thurman的代表作，但动作片的类型对演技的要求有局限性。同样被作品拖累的是Weisz，再出色的个人表演也挽救不了剧本的失败。同样扮演史实人物的Streep和Williams，虽然化妆在对于两者表演的加分上都功不可沫，但是在The Iron Lady中还是有些喧宾夺主的感觉。Williams这几年在独立小制作的文艺片里开拓了自己的一片疆土，未来的发展不可限量。

Best Leading Actor - Musical/Comedy

Carell, Steve - Crazy Stupid Love

Gordon-Levitt, Joseph - 50/50

Reilly, John C. - Carnage

Waltz, Christoph - Carnage 🌟

评奖理由：和戏剧类最佳男主角相反的是，每年的音乐／喜剧类的入围者实力都稍弱一些。今年这类片子中给我印象最深刻的无疑是Carnage。这部根据舞台剧改编的影片中演员的表演是核心之重。片中两位男主演的交锋可以说是火花四溅，最后选择了Waltz是基于其喜剧表演与他在Inglorius Basterds中的纳粹军官的角色反差较大，Academy Awards的最佳男配角实至名归。

Best Leading Actress - Musical/Comedy

Davis, Viola - The Help 🌟

Foster, Jodie - Carnage

Winslet, Kate - Carnage

Zeta-Jones, Catherine - Chicago

评奖理由：和男演员相反的是，女演员的类别里，音乐／喜剧类的入围者较戏剧类的入围者整体实力更高一些。Foster和Winslet在Carnage里的表演不用赘述，两位都是功成名就的实力派，演起这类作品可以说是得心应手。人美歌甜的Zeta-Jones在Chicago里把她的这份才华充分发挥了出来，她也凭借此片在当年的Oscar上赢得了最佳女配角。但是以上三位在最近两年才迎来事业高峰期的Davis面前还是自叹不如，虽然在The Help里Davis的戏份喜剧性较弱，但是好表演就是好表演，为她在今年初的Oscar上大热倒灶败给Streep而可惜，不过将来她的机会肯定不会少。

Best Supporting Actor

Del Toro, Benicio - Traffic

Hawkes, John - Martha Marcy May Marlene 🌟

Hoffman, Philip Seymour - The Ides of March

李济勋 － 建筑学概论

评奖理由：与主角不同的是，配角需要在很短的时间内表现自己，所以有些时候好的配角往往让人印象深刻。常年活跃在独立小制作的Hawkes去年凭借Winter's Bone走进了大众的视野，今年在Martha Marcy May Marlene中的邪教头目的表演让人过目不忘。

Best Supporting Actress

Bavat, Sareh - A Separation

Mulligan, Carey - Shame / Drive 🌟

Redgrave, Vanessa - Coriolanus

Spencer, Octavia - The Help

评奖理由：年纪轻轻但才华无限的Mulligan在去年的两部片子中展现了其多面的演技。其他几位虽各有千秋，但碍于Mulligan在去年的表现太抢眼，也只好甘拜下风。

Best Music

Artist, The

Chicago 🌟

Kill Bill Vol. 1

Midnight in Paris

评奖理由：歌舞片在这个单元的胜算向来很大。值得一提的是，The Artist和Midnight in Paris的配乐都在人们脑海中留下了深刻的印象，着实不易。

Best Screenplay

A Separation 🌟

Carnage

Moneyball

Traffic

评奖理由：在伊朗“神作” A Separation面前，其他片子的编剧们也只好感叹生不逢时。好的剧本往往取材于生活，而伊朗特殊的社会环境和人文生态也成就了该剧本的深度和对社会各种现象的探讨。

Best Director

Hazanavicius, Michel - The Artist

Payne, Alexander - The Descendants

Soderbergh, Steven - Traffic

Tarantino, Quentin - Kill Bill Vol.1 🌟

评奖理由：个人认为一位好的导演要有其鲜明的个人风格。而在这次的几位入围者当中，Tarantino的风格无疑是最明确的。对暴力和血浆的热爱，鲜明颜色的运用，独特的叙事风格以及寓言似的对白都是Tarantino给影片贴上的个人标签，个人很期待他的下一部片子。

Best Picture - Drama

A Separation 🌟

Kill Bill Vol. 1

Like Crazy

Shame

评奖理由：A Separation的“神作”理由就在于该片能够通过两位普通人家的生活矛盾上升到对社会中性别，宗教，政治，司法对人们的世界观和价值观的深刻影响，而影片寓意式的结尾会让观众们对伊朗甚至中东这个地区的人文和社会有一层更深的认识。

Best Picture - Musical/Comedy

50/50

Carnage

Chicago 🌟

Help, The

评奖理由: 对社会问题的探讨不及The Help, 小资的人文关怀不及50/50, 演员们之间的演技碰撞不及Carnage, 但Chicago是最符合音乐／喜剧这一个类别的了。当年该片取得的成功也让歌舞片在21世纪焕发了新的光彩。

（始发于2012年6月17日）

[in-the-devils-resting-place]

movies

速度与激情7 fast7

泰山归来：险战丛林 tarzan 终极斗士 4 boyka

长城 great wall

致命魔术 prestige

死使 deadpool

魔兽 warcraft

惊心动魄 unshakeable

杀手保镖 hitman bodyguard

美国刺客 american assassin

爱国者行动 patriot day

底特律 detroit 玩命再劫 baby driver 你的名字。your name 沉默 silence 最美的安排 collateral beauty

蓝精灵：寻找神秘村 smurfs

速度与激情  fast1

空难余波 aftermath

星际迷航3：超越星辰 star trek beyond

速度与激情 6 fast6

劣质爱情 bad batch

十诫 ten commandments

火线掏宝 war dogsf

耶稣受难记 passion of christ

做过炼狱的女人 brimstone

圆梦巨人 bfg 生吃 raw

攻壳机动队 ghost in shell 1995

圣诞搞轰趴 xmas party

乐高蝙蝠侠电影 lego batman

派特森 patterson

藩篱 fences

夜行人生 live by night

蝙蝠侠大战超人：正义黎明    dawn justice

会计刺客 accountant

真爱至上 love actually

猜火车 trainspotting

古墓丽影  tomb

斗牛费迪南 ferdinand

玩命再劫  baby driver

教父  godfather

死亡笔记  note

独立日：卷土重来 resurgence

金刚  king kong 寻龙传授

星际迷航3：超越星辰 trek beyond

斯隆女士 sloane 疯狂动物城 zoot 寻梦环游记 coco

哈利 波特 - 神秘的魔法石 philosopher

联合王国 united kingdom

灰姑娘 cindrella

超能敢死队 ghostbusters

神偷奶爸3 despicable

内裤队长 cptn underpants

神奇队长 fantastic 第一夫人 jackie

婚礼玩很大  wedding dates

邻居大战 2 neighbors

X战警：逆转未来  days of future

X战警前传：金刚狼 wolverine

X战警  x men

疾速追杀 wick

灾难艺术家 artist

极冻之城 atomic

房间 room

赴汤蹈火 hell

五十度灰 shades X战警：第一站 class

蝙蝠侠：黑暗骑士 dark knight

异形2 aliens

深海浩劫  deepwater horizon

肖申克的救赎 shawshank

小镇疑云 broadchurch

衰姐们 girls

老妈实习生 great news

小丑回魂 it

宿敌 feud

星球大战：义军崛起 star wars rebels

同妻俱乐部 grace frankie 白王后 white queen

吸血鬼猎人巴菲 buffy

大祸临头 catastrophe 卢克 凯寄 luke cage

恐龙战队 power rangers 爱 love

颤栗行尸 fear walking

致命武器 lethal weapon

真探 true detective

美国罪案故事：公诉辛普森  oj simpson

失控 ungobernable

谍网 quantico 海运罪案调查处：洛杉矶 ncis la

杰克武士  samurai jack

隐情 the catch

芝加哥医情  chicago md

小镇滋味 clarita

X档案 files

当我们崛起时 we rise

暗影猎人 shadowhunters

维多利亚 victoria

王冠 crown

黑客军团 mr robot

音乐之乡nashville

芝加哥烈焰 chicago fire

芝加哥警署 chicago pd

高堡奇人 high castle

少狼 wolf

傲骨贤妻 wife

偷拐抢骗  snatch

基本演绎法 elementary

杰西卡 琼斯 jessica

逍遥法外 get away murder

奇异果女孩gilmore

唐顿庄园 downton

殖民地 colony

房客小妹  new girl

people

艾尔莎 怕塔奇 pataky

娜塔莉 伊曼纽尔 emmanuel

妮 玛拉 rooney

吉娜 卡拉诺 carano

裘德 洛 law

佐伊 克拉维茨 kravitz 娜奥米 沃茨 watts 克里斯 海姆斯沃斯 hemsworth 乔什 布洛林 brolin比莉 洛尔德 lourd 塔伊加 维迪提 waititi 芬 琼斯 finn jones 艾利森 苏朵儿 sudol 汤姆 希德勒斯顿 hiddleston

珍妮弗 艾斯波西多 esposito

杰米 钟 jamie chung

罗宾 怀特 robin wright

嘉玛 陈 gemma chan 翠西亚 海 helfer

杰米 亚历山大 jamie alexander

比尔 使柯斯嘉 bill skarsgard

布鲁克林 黛珂儿 decker

妮可 基德曼 kidman 奥布瑞 普拉扎 plaza 瑞茜 维瑟斯彭 witherspoon 埃兹拉 米勒 miller ezra 埃迪 雷德梅尼 redmayne 罗莎里奥 道森 dawson 梅利莎 班诺伊 benoist 杰梅奈 克莱门特 clement 海伦娜 马特森 mattsson 安娜 肯的里克 kendrick 布拉德 皮特  pitt 艾米 亚当斯 adams 戴克 蒙哥马利 montgomery 杰西卡 查斯坦 chastain

小罗柏特 唐尼 downey

娜欧密 史考特 naomi scott

杰森 莫玛 momoa

布利嘉 海兰 heelan

贝姬 G

迈克尔 发丝宾德 fassbender 皮鲁 艾斯贝克  asbaek

克丽丝塔 艾伦krista allen

莉莉 詹姆斯 lily james

蔻碧 史莫得斯 smulders

海利 阿特维尔 atwell

瑞秋 麦亚当斯 mcadams 露比 罗丝 rose

汤姆 赫兰德 holland

莫莲娜 芭卡琳 baccarin

乔什 盖德 gad

大卫 问汉姆 wenham

克莱尔 丹妮斯 danes

曼迪 穆尔 moore

戴文 博斯蒂克 devon

乔伊 金 king

杰克 吉伦哈尔 jake gyll

伊丽莎白 班克斯 banks

艾米 史玛特 smart

露西 劳伦斯lawless

卖卡 门罗 maika

凯蒂 卡西迪 cassidt

托雷 凯莉 kelly

汤姆 佩尔瑞 pelphrey

凯拉 奈特利 keira

艾玛 汤普森 thompson 凯特 麦金农 mckinnon 凯莉 拉塞尔  russell

寄洛 里维斯 reeves

科洛 格雷丝 莫瑞兹 moretz 海莉 斯坦菲尔德 steinfeld 玛丽昂 歌迪亚 cotlilard

米洛 文提米利亚  ventimiglia

克里森腾 贝尔 bell 妮娜 杜波夫 dobrev 亨利 卡维尔 cavill 瑞安 雷诺兹 reynold

景甜

史蒂芬 奥格 ogg

波伊德 霍布鲁克 holbrook

凯莉 安 摩丝  moss

达芙妮 金  dafne

比尔 帕克斯顿 paxton 凯特 贝金赛尔 beckinsale 道恩 强森 雷恩 高斯林 gosling 丹尼尔 卡卢亚 kaluya

海莉 班奈特 bennett

艾米莉 布朗特blunt 朴敏庆

娜塔莉 波特曼 dormer 艾美 罗森 rossum 本尼迪柯特 康佰巴奇 cumberbatch 凯特 玛拉 mara 法米克  詹森 famke

埃德加 赖特 wright

托比 凯贝尔 kebbell

爱丽森 布里 brie

卡雅 斯��达里奥 scodelario

斯蒂芬 魔切特 merchant

帕特里克 斯图尔特 stewart

西 阿弗莱克 affleck

奥斯卡 伊萨克 isaac

马赫夏拉 啊里  ali

达科塔 约翰逊 dakota 劳拉 普莱潘 prepon

詹米 多南 dornan 提尔达 斯温顿 swinton 苏菲 特纳 turner 克里夫 史丹顿 standen

戴夫 帕特尔 patel

维奥拉 戴维斯 davis

杰西卡 贝尔 biel

娜奥米 哈里斯 harris

安德鲁 加尔德 garfield

梅尔 吉布森 gibson

本 阿弗莱克 affleck

丹泽尔 华盛顿 washington

爱丽 拉特 larter

马特 达蒙 damon

维戈 莫腾森 mortensen

米歇尔 威廉姆斯 williams

梅丽尔 斯特里普streep

安森 蒙特 mount

乔登 皮尔 peele

贾维尔 巴尔登 bardem

米莉 芭比 布朗 brown

詹妮弗 洛芙 休伊特 hewitt

罗丝  莱斯莱 leslie

德鲁 巴里莫尔 barrymore

达科塔 范宁 fanning

蒂莫西 奥利芬特 olyphant

阿德琳妮 帕里寄 palicky

凯莉 麦当劳 macdonald

艾洛蒂 袁 yung

亚伦 泰勒 约翰逊 johnson

伊娃 格林 green

[stardust-medium5]

無限迷路 【PV付】

Composition/Arrangement/Bass：空想纪录

Composing : 涅芙

Guitar：王尧GT

Tuning：硫叶立德_NA

Choir：天野柚AmanoYuzu

Mixing：kldlink

Illustration：非欢奥迪托雷，kotomeiro

PV: 面包烤过才好吃

Voice : Stardust

Special Thanks：怀归

[streamingstream]

[Must-See Balanchine]旧金山芭蕾舞团之巴兰钦必看

话说周末去看了The Trocks的演出。之前一直说作为bonus不会提前公开信息的两个小剧目之一，居然是《海盗》里的大双！Medora的左腿挥鞭转不小心暴露了反串者就是以前介绍的中国舞者邹龙🐲。

总之还是蛮精彩的，两只老剧目《天鹅湖》和《艾丝美达拉》的笑点爆棚，新剧目《海盗》和《堂吉柯德》对原作的还原度更高，走的算是轻幽默的路线吧。还有一支也是bonus的《天鹅之死》，小编表示已经快要笑到无法自拔了。

旧金山芭蕾舞团之巴兰钦必看

言归正传，旧金山芭蕾舞团三月7日到18日会在San Francisco War Memorial and Performing Arts Center演出三部巴兰钦风格迥异的剧目：STRAVINSKY VIOLIN CONCERTO（《斯特拉文斯基小提琴协奏曲》）， PRODIGAL SON（《浪子》）和DIAMONDS（《钻石》）。

演出信息联系：https://www.sfballet.org/season/repertory/program-04

下一篇我会推送旧金山芭蕾舞团和最近的演出集，今天就先介绍巴兰钦吧​

人物简介 · 巴兰钦

乔治·巴兰钦（George Balanchine，1904—1983年），美籍俄裔舞蹈家，被誉为“美国芭蕾之父”，是现代芭蕾中期最重要的代表人物和20世纪最具影响力的编舞之一。

巴兰钦生于俄罗斯圣彼得堡，毕业于俄国帝国芭蕾舞学校（Imperial Ballet School ）1933年定居美国，协助创办了美国芭蕾学校、纽约城市芭蕾舞团等机构，任学校教授及舞团艺术指导，直至逝世前夕。

巴兰钦一生创作了逾400多部作品，还执导了多部歌剧、音乐剧等。他的几个经典的标签一个是开创了其标志性的新古典主义风格（Neoclassical Style）芭蕾，提出了抽象芭蕾的概念，还有他对舞蹈和音乐的独特见解，将音乐与舞蹈从单纯艺术角度高度融合进叙事当中，也被誉为"音乐芭蕾"和"交响芭蕾"。

黑白芭蕾 （Black-and-White Ballet）

​新古典主义芭蕾的特点就是沿用古典芭蕾的技术和语汇，并在此之上尽可能地去除剧情及一切冗余成分。上次推送The Trocks演出的作品们就属大的古典芭蕾范畴。新古典主义芭蕾单纯从舞蹈和音乐本身寻找关系，不再遵照程式的剧本构思情节。当一旦作品的设计脱离了固定了故事线，整个编舞、设计结构、音乐、舞台空间以及各方面的关联都被解放出来而具备了更多可能性。

巴兰钦的新古典主义的典型代表就是他的无剧情芭蕾（plotless ballets）。在他众多的这类作品中���很多在表演过程中演员只身着简单的紧身练功服。很多在表演过程中演员只身着简单的紧身练功服。1951年起巴兰钦开始大量使用纯黑白颜色的紧身服作为演出服装，因而被称为“黑白芭蕾”（ black-and-white ballet）。巴兰钦的首部黑白芭蕾的作品可能是1941年改编的《巴洛可协奏曲》Concerto Barocco，这部作品原始版本则使用了精美复杂的巴洛克风情服饰。黑白芭蕾的这种视觉统一精简在某种程度上营造了一种中立环境，追求弱化任何矫揉造作的成分，强化巴兰钦认为最重要的：纯粹的动作、音乐以及两者的关系，乐感、速度和线条。这也是巴兰钦力求的新古典主义的审美方式，一个词形容的话大概就是“扬长去短”吧。

本场演出的剧目之一《斯特拉文斯基小提琴协奏曲》Stravinsky Violin Concerto就是一部典型的黑白芭蕾作品。慢拍部分，能看出巴兰钦在寻求探索小提琴和女舞者，音乐与思虑之间的联系。曾经参与演出这部作品的前舞者库克（Bart Cook）回忆这部作品时形容，在第二段双人舞的托举中，男舞者托着女舞者“要正如小提琴手如何架着小提琴，如果不是，那就有问题了。”  音乐的两处咏叹调作为《斯特拉文斯基小提琴协奏曲》的核心和高潮相较而言没有过多明显的编排逻辑痕迹。库克形容这两处咏叹调“胆大且极富情感”，虽然依旧十分抽象，但“可能是他众多作品中最有情感的一段了”。

其他演出剧目信息

得益于传统和严谨的俄罗斯式芭蕾训练，巴兰钦将古典芭蕾和当代美国舞蹈风格融为一体，创立了自己的具有美国风格的芭蕾。剧目题材和形式广泛多样，虽然以无情节芭蕾（plotless ballets）最为突出，但是他从古典芭蕾到具有美国风格的作品，从抒情舞蹈到大型舞剧都有。

《浪子》（The Prodigal Son）就是这样的一部，它是巴兰钦1929年在巴黎为佳吉列夫舞团排演的最后一个作品，在他为佳吉列夫舞团编创的11个作品当中只有《浪子》和《阿波罗》得以保存成为其之后舞团的保留剧目。巴兰钦似乎在缅怀过去的同时也想以此证明他并不是完全排斥有情节的芭蕾作品。在这种类型的芭蕾舞中，同样他显示了作为一个杰出编导的独创才能。《浪子》改编自圣经福音里的“浪子回头”的比喻，却不囿于传统宗教性艺术的程式和古典芭蕾的语言范围，而只是追随浪子四处游荡，同时揉进了马戏、杂技、剧场等表现方式极大的丰富了舞台效果。

（下面这张图是纽约城市芭蕾舞团的《浪子》选图，旧金山芭蕾舞团的不好意思没有找到）

今年恰逢《钻石》(Diamonds)首演的50周年，旧金山芭蕾舞团特意选择了这支浪漫华美的作品。《钻石》是巴兰钦三部曲杰作《珠宝》（Jewels​）的第三部分，音乐取自柴可夫斯基的《第三交响曲》（Symphony No. 3 in D major, Op. 29）。柴可夫斯基在完成《天鹅湖》的创作前夕完成了《第三交响曲》，是他六部交响曲中唯一有大调的一部，亦是唯一一部由五个乐章所组成的。巴兰钦在编创的时候认为第一乐章不合适就将其从中去掉了。这部作品有浓厚的宫廷式浪漫主义色彩，优雅而高贵，还有巴兰钦故乡俄罗斯的传统民间舞元素。和巴兰钦的绝大多数作品一样，《钻石》的编舞形式和组成异常���杂，被形容成“队形和排列简直复杂的和一堆钻石一样”。

Bonus

本场【谭元元】有好多戏份的话说，比如，《浪子》的女主！

《斯特拉文斯基小提琴协奏曲》也有！

《钻石》的宣传照里面没看见，不过有两部里面有。表示这辈子亲眼面见女神的机会突然来了呢好不好。

演出详细信息

3/7    Tuesday         7:30 pm 3/8    Wednesday   7:30 pm    FREE Pointes of View Lecture at 6:05 pm 3/10  Friday            8:00 pm    FREE Meet the Artist Interview at 7 pm 3/12  Sunday          2:00 pm    FREE Meet the Artist Interview at 1 pm 3/16  Thursday       7:30 pm War Memorial Opera House 301 Van Ness Avenue San Francisco, CA 94102

宣传片

[thehanguo]

第84届Oscar入围影片简评

一年一度的OSCAR季终于又要在二月底落下帷幕了。纵观今年入围最佳影片的九部作品中，与其说势均力敌，不如说没有像往年那样有脱颍而出的作品。以下是我对我看过的入围作品的点评：

The Artist

这几年经济的不景气让美国人民怀念起了自己国家曾经的辉煌岁月。The Artist把观众们带回了当时默片和有声片交接的年代。通俗易懂，让人会心一笑的故事情节是影片的亮点。该片的拥趸是已经成为爷爷奶奶的一代，在他们看来，浮躁，黑暗，物欲横流正是造成现今社会问题的根源。也正因为如此，本片很有可能像上届的The King's Speech一样，虽然和当代社会的联系不强，但是由于在老一代评委中非常受欢迎而在OSCAR的颁奖典礼上笑到最后。

演员演技：🌟🌟🌟🌟

无聊指数：🌟🌟

The Descendants

这是我个人认为在入围作品中完成度最高的一部。无论从演员的表演，剧本对人类情感和社会的探讨，以及各种技术环节的辅助上，Alexander Payne精雕细啄的这部影片比起他上两部影片更加主流化一些。但是归根到底，影片的故事还是过于通俗化。不过当观众们看到曾经的老帅哥George Clooney在片中洗尽铅华的表演时，剧本上的一些缺陷也就不再重要了。

演员演技：🌟🌟🌟🌟

无聊指数：🌟🌟🌟

Extremely Loud & Incredibly Close

Stephen Daldry好像很热衷于改编一些难度很大的文学作品。我还记得他08年将The Reader搬上银幕，原著中对人性和时代的深刻解读并没有在影片中表现出来，反倒是Kate Winslet的全裸戏在各大成人网站上登上点击率排行榜。与其说Daldry作为导演的功力不够，不如说文学作品本身的改编难度太大。Extremely Loud & Incredibly Close也是如此。作为主角的小演员Thomas Horn虽然演技好的没话说，但是无奈其所塑造的人物太让人反感。看完影片的前半个小时，我真想把他送进青少年心理治疗所。但是随着剧情的推进，观众们也逐渐意识到主人公小男孩Oskar所经历的重创，但也更加确定的要给这苦命的孩子做做心理辅导。另外，Sandra Bullock的短暂亮相是本片的唯一亮点。

演员演技：🌟🌟🌟

无聊指数：🌟🌟🌟🌟

The Help

入围影片中演员集体表演最出色的一部。除了对Emma Stone的金色卷发有些看不惯之外，对该片没有什么太大的批评。但是影片过于喜剧通俗的表达方法和有些脱离现今社会的意识形态不会让它在颁奖典礼上走的太远。

演员演技：🌟🌟🌟🌟

无聊指数：🌟

Midnight in Paris

该片被公认为是Woody Allen近年的最佳作品。的确，本片将其以往秉持的通俗剧情最小化，加入了Allen诗人一般的想像力，外加Paris油画般的映像，让观众们深深陶醉在艺术的氛围当中。但是看Allen的影片就如同听周董的唱片一样，似曾相识，缺少惊喜，所以说，入围已是对这位名留影史的小老头的最佳表彰。

演员演技：🌟🌟🌟

无聊指数：🌟🌟🌟🌟

The Tree of Life

第一次看这种意识流的影片，看完后真叫人无语。影片两极化的评价让它能够侥幸的通过OSCAR的评选制度入围最佳影片。这类神片也只有神人能看懂，像我等这种大俗人以后见到Terrence Malick的片子还是敬而远之的好，别花那份冤枉钱去影院里禁受两个小时的折磨。

演员演技：🌟🌟

无聊指数：🌟🌟🌟🌟🌟

个人最爱：The Help

得奖预测：The Artist

（始发于2012年2月11日）

[angrycollectordaze-me-blog]

Essay代写：French romantic art and English romantic art

下面为大家整理一篇优秀的essay代写范文- French romantic art and English romantic art，供大家参考学习，这篇论文讨论了法国浪漫主义美术与英国浪漫主义美术。起源于法国的浪漫主义运动是对18世纪法国启蒙运动理性主义的反驳，19世纪的法国浪漫主义美术将浪漫追求与时代精神、社会斗争相结合，画面充满激情昂扬的热血气氛，在艺术创作和艺术表达上具有进步意义，是一种积极的美术创作态度。而英国浪漫主义绘画创作主要表现在历史画领域，以古代神话、圣经故事、文学历史题材作为大型情节性绘画创作，画面创作题材、形式上都与现实生活缺少直接联系，以抒发个人浪漫情怀或者怀旧情绪为主；艺术家在注重情感表现的同时，发现了绘画新的审美范畴，表现了一种消极的绘画态度。

​The romanticism movement originated in France is a refutation of the rationalism of the enlightenment in France in the 18th century. Romanticism art painting creation pays attention to the expression of emotional imagination, freedom of thought, human ideal, digging into the deep inner world of people. In terms of artistic expression, romanticism often expresses the conflicts of human nature and social contradictions by creating very strong dramatic effects full of infectious emotions. The picture is good at using symbolism, allegorical meaning, exaggeration and contrast to express the idea of the picture; In terms of tone and brushwork, the expressive force of tone and smooth and unrestrained brushwork add freedom, lightness and romanticism to the picture. In terms of creation subject matter, romanticism mainly chooses tragedy subject matter, literary genre, or exotic subject matter for creation. Through the imagination of tragic and shocking literary stories, romanticism conveys people's emotion, hope and strength in tragedy. French romanticism painting in the 19th century brought this personality to the extreme and broke through the bondage of classical art in the same period. French romantic art combines the romantic pursuit with the spirit of The Times and social struggle. The picture is full of passionate and passionate blood atmosphere, which is of progressive significance in artistic creation and expression. It is a positive attitude towards artistic creation.

At the same time, Britain was in the period of industrial revolution in the 18th century. On the one hand, the social environment re-established the value of human beings; on the other hand, it profoundly changed the class relationship of British society and the relationship between human beings and nature. Therefore, romanticism in the sense of English literature was the product of industrial revolution. The creation of British romanticism painting is mainly manifested in the field of historical painting. Ancient myths, bible stories and literary and historical themes are used as large-scale plot painting creations. The painting themes and forms are not directly related to real life and are mainly used to express personal romantic feelings or nostalgia. While paying attention to the expression of emotion, artists have discovered a new aesthetic category of painting, that is, the painting shows a negative painting attitude by presenting the illusion, horror, and even ugliness as the aesthetic view of artistic creation.

French romanticism represents the painting families of gerico and delacroix. Gerriko's life was short, and his painting creation always had a strong affinity with horses. He worshiped actors who trained horses since childhood, and he created thousands of paintings and paintings of horses. However, he ended his young life because he fell off a horse and was injured. The picture depicts the desperate people in the night in the endless sea to see the horizon of the ship shadow for a moment. Representative works include frightened horse, epson racing horse, cavalry officer in charge, etc., and outstanding representative the raft of medusa, which is composed of a pyramid with a black man at the top waving his red shirt as much as possible to attract the attention of ships in the distance. The depiction of the black people who are held high also shows that the prejudice against the black tradition is broken and the author's blood and imagination are highlighted. The people below crowded around each other and held each other, the hungry, the death-stricken people making their last desperate struggle. The crowd was generally confused and nervous. There were people who were holding up the black people who were Shouting for help, there were people who were talking about better ways. In sharp contrast to the noise and panic, there was a dead body lying quietly on the edge of the wood. There was also an old man sitting silently on the edge of the wood night. He was holding his dead son in his arms, looking desperate and seemingly indifferent to survival. At the left end of the picture, there is a tilted sail, which is full of wind and swaying in the sea wind, forming a visual correspondence with the human tower in front. The picture vividly expresses the suffering of the turbulent waves. The impact of the waves, the survival, strength and hope of the characters in the picture all touch the emotions of the viewers.

Delacroix's "the slaughter of the isle of hias" also marks the arrival of the heyday of French romanticism. The painter draws on world-renowned events to show the humiliation suffered by the Greek nation. His compassionate art arouses people's infinite sympathy for the oppressed. "Free to lead the people" is the artist's creative imagination to the peak of the work. In the picture, the goddess of the upper world appears half-naked on the barricade, holding a bayonet rifle and leading the insurgents to advance. The viewer will not have any sense of incongruity, as his eyes are drawn to the scene of gunfire. In the picture, the battle scenes of thousands of troops and horses are fully displayed by five or six people. How can this ability of generalization and exaggeration not be surrendered?

Black, an important figure in the English romantic school of painting, is also a famous poet in the history of English literature. Black was born in a small merchant family in London, England. At the age of 14, he was apprenticed to a famous engraving painter, but he did not receive professional art training. His art activities were mainly to make book binding at the request of booksellers. He drew many illustrations of literary works to reproduce the images of myths, religions and literary allusions, but these images were often mixed with his critical attitude towards British society, as well as his humanitarian thoughts and religious views. His Jesus is a humanized god, the embodiment of human virtue. As long as the expression of love for god in art, it reflects his aesthetic view of harmony between human and nature. Most of the paintings are in tempera, watercolor, bronze plate, and a small number of wood carvings. Black's life was full of ups and downs and loneliness. He always expressed his political views and strong religious emotions in the form of illustrations, and his works were shrouded in a mysterious color of doctrine. It represents the creation of Adam by Jehovah, one of his best tempera paintings. The image of yahweh, with its wings outstretched and its body straightened, hurries through space like a rocket. Adam is under its body, with a snake wrapped around his lower body, floating in the illusory and mysterious sky under the cover of god. Here is the use of strong color lines, the image of the dynamic force, with printmaking fun, but the picture is all painted in watercolor, the blind god of old age has a long beard flying, sitting in the fire car, is rebuke Adam, naked Adam humble, bound hands to punish, very imaginative, is a typical representative of the British romantic painting creation. Other representative works are death star, compassion, river of life and so on.

Romantic painting broke the shackles of classical creation, and showed the artist's creative personality, emotion and imagination through dramatic imagination and description of social events and tragic stories. However, in different regions and different cultural backgrounds, the artistic expression in the same period and the same art school is different. French romantic art combines romantic pursuit with the spirit of The Times and social struggle. The picture is full of passionate blood and hope, showing a positive romantic art. The dreamy, horrible and exotic atmosphere expressed by the British romantic painters conveys a kind of negative romantic art. In a word, the prosperity and development of romantic painting school has a very high influence and value on the creation and development of western art.

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