原标题: 诸暨市妇幼保健院无痛人流安心分类
威廉王子与未婚妻凯特将与明年月9日在威斯敏斯特大教堂举行威廉王子婚礼将制作成3D电影让民众亲身经历 网上爆料的豪华婚房  Prince William and Kate Middleton intend to make their wedding a people's event and on April 9 the happy couple may seem close enough you to reach out and touch them. Broadcasters are considering plans to screen the royal wedding in 3D.   据悉,英国威廉王子与未婚妻凯特将与明年月9日在威斯敏斯特大教堂举行出席这场盛大的婚礼的“嘉宾阵容”将经过女王千挑万选才能最后定夺,别沮丧,老百姓也许有机会“近距离”观看到威廉与凯特的婚礼因为全英各大媒体巨头盯上了这块“肥肉”,打算将皇室婚礼制作成3D电影让民众亲身经历   If those plans come to fruition it would mean a worldwide audience of millions would watch the anticipated marriage ceremony through 3D glasses. It is understood that Sky, the B and Virgin are in joint discussions about the possibility of screening the event live from Westminster Abbey in 3D. Sky TV have pioneered the new 3D technology on the small screen, largely sporting events, but it is more likely that a terrestrial broadcaster such as the B will get full access to footage of the event, in order to cater the largest possible TV audience.   如果该计划最后付诸实施,那就意味着全世界的民众都有幸“亲眼目睹”皇室婚礼为了运用超强3D电影效果来吸引老百姓进影院,三大媒体巨头(天空电视台、英国广播公司、英国维珍媒体公司)已经就怎样将这场奢华婚礼进行直播进行了深度讨论据悉,天空那个电视台拥有在“屏幕上”使用3D技术的水平与能力,但是仅仅运用该技术进行了体育直播而英国广播公司在传媒界的权威性让它在如此重大事件报道中占据一席之地婚礼报道权将花落谁家,我们目前还不得而知   Prince William and Kate Middleton, both , announced their engagement last week, nine years after they met as students at St Andrews University.   据悉,互为圣安德鲁斯大学同学、同是岁的威廉与凯特,经过9年的爱情长跑,终于上周宣布订婚 959

“If the one ever appeared, anyone else would just be a compromise. But I don’t want to compromise.” This line has become the talk of the town since TV drama My Sunshine debuted on Jan . It has become an instant hit, with the premiere episode reaching a record 1 million online views by the end of the day.“如果世界上曾经有那个人出现过,其他人都会变成将就而我不愿意将就; 这句话正出自电视剧《何以笙箫默该剧1月号一经播出就迅速蹿红,首播当日网络点击量高达1.亿Many fans follow the series because of all the pretty faces, especially stunner Tiffany Tang, 31, and the well-dressed Wallace Chung, 0. However, the show’s success is also due to the tremendous fan base its original Web novel Silent Separation has accumulated since . The novel started a craze as soon as writer Gu Man published the first chapter online.颜值高成为很多粉丝追剧的原因,尤其是风度翩翩的帅哥钟汉良(0岁)和大美女唐嫣(31岁)不过,这部剧的成功更离不开原著粉们的持 年原创小说《何以笙箫默在网上发表,作者顾漫发布第一章之后就引发追文热潮The story is about two sweethearts that separate and are given a second chance. Zhao Mosheng and He Yichen fall in love in college but separate due to misunderstandings. Seven years later, fate tosses them together again. They work hard to resolve their misunderstandings and, in the end, become happily married.《何以笙箫默讲述了一对情侣分道扬镳后再度相遇的故事 女主赵默笙和男主何以琛相恋于校园,却因误解劳燕双飞 七年后,命运让他们再度相遇努力解开误会之后,他们终于破镜重圆、喜结连理The TV drama attracts me not only because it stays true to the novel, but also because it depicts my ideal romance. Whether they admit it or not, every woman dreams of having a handsome man chase after them exclusively. Well, He Yichen is just that. As one of the top lawyers in China, he is cute, competent, rational and rich. But after getting married, the seemingly cold lawyer gives Zhao a dream wedding, cooks her, picks her up after work and protects her anytime she needs it - almost everything a dream husband should do.这部剧之所以吸引我不仅因它忠于原著,还因其讲述了一段我理想中的爱情不论你承认与否,每个女人都曾梦想有一个美男子弱水三千只取自己这一瓢饮而何以琛正是这样的存在:作为中国顶尖的律师,他聪明能干、理性多金 而看似高冷的何大律师不仅送给赵默笙一场梦幻般的婚礼,还在婚后下厨作羹汤、亲自接老婆下班,对赵默笙的呵护可谓无微不至,简直就是360度全能理想好丈夫!Also, what makes the TV drama stand out among so many counterparts is the experiential proximity it creates the audience. The love between the main couple is touching but not overstated. It is not only a fantasy or a daydream that takes the audience away but also an experience that can occur in our daily lives.这部电视剧能从众多同类剧中脱颖而出,还和其细节贴近观众日常生活息息相关主角之间的爱情动人却不浮夸,这不是一个与观众相去甚远的爱情童话,而是描绘了我们日常生活中都会发生的点点滴滴My Sunshine is a success, at least me. It maintains the beauty of the novel, adds cute faces to create a feast the eyes, satisfies many girls’ fantasies about love, and most importantly, encourages all of us to seize every available opporty to embrace happiness.至少在我看来,《何以笙箫默是一部成功之作它保留了原著之美,加之演员们高质量的颜值,让观众大饱眼福,又满足了女孩们的爱情幻想最重要的是,它鼓励所有人要抓住一切机会追求幸福 357850

I remember the first time I ever heard the term “Korean Wave”. It was in the late 1990s, and I was a teenager. Back then, pioneer boy bands and girl groups such as H.O.T., NRG and Baby V.O.X. had totally changed my understanding of pop music.我记得第一次听到“韩流”这个词是在90年代末,那时我还只有十几岁以H.O.T., NRG 以及Baby V.O.X为代表的最早一批少男少女偶像团体完全改变了我对流行音乐的认识Now, almost years later, the invasion of South Korean pop music is ongoing. The latest evidence is Saturday’s M Korean Music Wave, a concert held the very first time in China (at the National Stadium in Beijing), where some of the biggest names in the South Korean music industry permed, including EXO, INFINITE, Girls’ Generation, T-ARA and PM.如今,快年过去了,韩国流行音乐的势头依然不减:最近,韩国音乐波演唱会首次在中国(北京鸟巢)落地,此次演唱会汇聚了韩国乐坛的大腕明星,EXO, INFINITE, 少女时代, T-ARA以及PM等都登台表演In addition to taking off in Asia in a big and enduring way, K-pop (short Korean pop music) is also conquering the world, finding popularity in the US, music’s biggest market. On Aug 5, Billboard officially launched the new K-pop music chart, ranking the best-selling South Korean songs both in the US and the home country.韩国流行音乐(简称K-pop)不仅在亚洲大获成功、经久不衰,而且也开始征世界,在全球最大的音乐市场——美国——也大为流行8月5日,公告牌官方开设了K-pop新歌榜,盘点美国国内和韩国本土最卖座的韩国歌曲Honestly, I’m not a big fan of K-pop itself — the catchy and calculating strain of music that somehow manages to simultaneously sound like every contemporary musical genre, mostly electronic dance music, arranged in conventional pop song structures. But if you see K-pop as a culture, things get more interesting.说实话,我并不是K-pop的铁杆粉,这些音乐朗朗上口、结构千篇一律、杂糅着各种当代音乐元素,常常是建立在传统流行乐结构基础上的电子舞曲但如果你将其视为一种文化,那么它就变得有趣起来Assembly line造星机器First, the process of creating a K-pop singer, mostly through ming boygirl groups, is like car production: Industrialize and focus on exports. Talent agencies find potential singers, often through global auditions. The training of the future stars, who are taught to sing and dance, act and learn eign languages, can take three to seven years.韩国的造星大都是通过偶像团体的形式以工业化和出口为目的的生产模式简直像汽车行业一样,造星公司首先通过全球海选挑出一些有潜力的歌手,然后经过三到七年的声乐、舞蹈、表演训练以及外语学习,将他们打造成明星出道In the South Korean model, a pop group is more like a brand than a proper band. instance, SM Entertainment’s Super Junior boasts members. This allows the company to break the band down into sub-s targeting different markets, including Super Junior-M (Mandarin pop music), Super Junior-T (trot music, a m of Korean music dating back to the early 1900s), and something called Super Junior-Happy.在韩国的造星模式中,偶像团体更像是一个品牌而非普通的乐队比如SM公司旗下的Super Junior就有名成员公司可以针对不同的市场将他们分成子团体,比如(针对中国的)Super Junior-M,(主打二十世纪早期韩国半岛传统流行乐,韩国演歌)Super Junior-T,以及Super Junior-HappyThe pace of the K-pop music production is quick. You get one song that can last a week, and that’s it. The record labels always want something new out of artists, in order to sell more music, as well as draw more fans. So it makes sense why South Korean singers are under huge amounts of pressure.K-pop的更新速度很快,一首歌也许只流行一个星期为了卖出更多的专辑、圈更多的粉丝,唱片公司总希望艺人不断有新作推出所以也就不难理解,韩国歌手为什么会压力巨大了But meanwhile, there is good news K-pop fans. If you’re a K-pop fan, you’re really getting involved in a commy of people. They all like the same band as you, you all get to know the same thing, and it becomes a family. So maybe that’s why everyone’s so passionate.但(这种模式的)好处就是,作为K-pop的粉丝,你能遇到一大群“志同道合”的人,他们和你喜欢同一个组合,和你了解同样的事,就像一家人一样这也许是为什么其中的每个人都充满热情You feel the dedication of those South Korean artists who are taught to fight in life, and understand that dreams are attainable. Then you get music that makes you dance and smile. What else is needed?在那些被教育成不断为人生奋斗的韩流艺人身上,你看到了奉献的精神,觉得梦想触手可及他们还带来让你随之舞蹈、让你欢笑的音乐,那么,你还有何求?It seems that K-pop’s ability to dazzle is in no danger of diminishing just yet.这样看来,K-pop的光芒怎会有黯淡之时? 13983nine years, Stephen Colbert has relentlessly maintained his pompous, deeply ridiculous but consistently appealing conservative blowhard character on his late-night show, “The Colbert Report” — so much so that when he puts the character to rest good on Thursday night, he may have to resort to comicide. The Grim Reaper is his last guest.九年来,史蒂芬·科尔伯特(Stephen Colbert)一直坚持不懈地维持着自己在他那深夜秀“扣扣熊报告”(The Colbert Report)里的形象:一个浮夸、滑稽之极而又一直十分有趣的保守派吹牛大王——以至于他在周四晚上要让这个大话精永久息影时,他可能要让这个角色死掉才行穿着斗篷的死神是他的最后一个嘉宾Devoted fans of “The Colbert Report” (the final T is silent) have ded this day since April , when their favorite late-night star announced that he was leaving to become the successor to David Letterman on CBS.当他们最爱的深夜秀主持人在月号宣布自己将要离开,前去哥伦比亚广播公司(Columbia Broadcasting System,下称CBS)接替大卫·莱特曼(David Letterman)时,“扣扣熊报告”(The Colbert Report,最后一个t不发音哦)的忠实粉丝们就一直害怕着这一天的到来Mr. Colbert has steered clear of commenting on his plans the last show, other than on-air comments that the end is near. But whatever comic exercise Mr. Colbert devises to end his multi-award-winning run on Comedy Central, including perhaps some symbolic hara-kiri the character he brought into American homes four nights a week, he has left an indelible mark on late-night television comedy.科尔伯特一直避而不谈自己最后一期的节目有什么策划,只是在直播里提到结束的日子快到了但不管科尔伯特策划了什么桥段来结束这个在喜剧中心频道(Comedy Central)播放、已获多项大奖的节目——可能还包括一些象征性的切腹自杀来终结这个他在每周四天里给美国家庭带来的喜剧人物——他都为深夜电视喜剧界留下来不可磨灭的印记And he did it in a way almost no one thought was possible, or sustainable: as a fake host, a fictional character using Mr. Colbert’s own name who was an elaborate parody of a bloviating political talk show host.而且之前从来没人认为他这样的表演方式是可行的,或者说是可持续的:他是以科尔伯特为名的一个捏造出来的主持人、一个虚构人物,惟妙惟肖而又反讽地模仿着一个喋喋不休的政治脱口秀主持人Jimmy Kimmel, the host of A’s late-night show, with whom Mr. Colbert shares a manager (James Dixon), said he had been concerned when Mr. Colbert announced his intention to create the parody show in .和科尔伯特同在一名经纪人(詹姆斯·迪克森[James Dixon])旗下的美国广播公司(American Broadcasting Company)深夜秀主持人吉米·坎尔(Jimmy Kimmel)说他在年科尔伯特宣布要制作这部嘲讽模仿节目时就十分关注“I remember pleading with Dixon to tell Stephen it was a terrible mistake to do a character the whole time,” Mr. Kimmel said. “That it wasn’t going to last, and also not to name the show ‘The Report’ as a joke. It was just going to confuse everybody. And he did, anyway, and of course, it was a smashing success in every way.”“我记得当时自己求着迪克森去和史蒂芬说,要一直模仿同一个人,真的是一个糟糕的错误,”坎尔说“我说这没法持续下去,我还说不要戏谑地把这节目名字叫做‘报告’这只会让所有人摸不着头脑但他还是做了,当然,这个节目最后在各个方面都取得了绝对的成功”Mr. Colbert appeared in character not simply on his show, but in appearances elsewhere, including a memorable knockout permance at the White House Correspondents’ Dinner in . (He stirred Bush administration outrage with comments like: “I believe the government that governs best is the government that governs least, and by these standards, we have set up a fabulous government in Iraq.”) He even remained at his blowhard best when he testified bee Congress in . (Bee a Congressional subcommittee on immigration issues and farm labor, Mr. Colbert’s character said things like, “Maybe the easier answer is just to have scientists develop vegetables that pick themselves.”)科尔伯特不止在他的节目里以那个虚构人物出现,在其他场合也是如此,包括年在白宫记者协会晚宴上的那次让人印象深刻的绝佳表演(他是这样讥讽布什政府的暴行的:“我相信管得最少的政府就是管得最好的政府,以这个标准的话,我们已经在伊拉克建立了一个绝好的政府啊”)甚至年在国会发表言时他还是不改自己的戏谑本色(在一个国会移民与农工问题小组委员会面前,科尔伯特扮演的角色是这么说的,“可能最好的解决办法就是让科学家研发出一种新蔬菜,让它们自己把自己从田里拔出来好了”)Mr. Colbert has worked with many of his late-night colleagues, including Conan O’Brien and Jimmy Fallon, appearing in character, of course. (He showed up on Mr. Fallon’s debut “Tonight” show on N, pouring a bucket of pennies down the host’s collar, then welcoming him with a colorful phrase.)科尔伯特曾和包括柯南·奥布莱恩(Conan O’Brian)和吉米·法伦(Jimmy Fallon)在内的很多深夜秀同行合作过,当然了,他还是以他的虚构角色出现的(当法伦第一次在全国广播公司[National Broadcasting Company]的“今夜秀”[Tonight]主持时,他带来了一桶硬币,都倒进了法伦的领子里,然后用脏话欢迎了他)Like other competitors, Mr. Fallon professed unabashed awe that Mr. Colbert could sustain this permance at such a high level so long. “Bee he won the Emmy, I had been preaching that people had to recognize what he was doing: He’s faking a person,” Mr. Fallon said. “I was one of those who said, ‘He’ll do it six months and then he’ll move on.’ Imagine if you were still trying to do the Coneheads on ‘Saturday Night Live.’ It’s gets old. But not this. He’s a genius.”和其他竞争者一样,法伦对于科尔伯特居然能让这个节目长期维持在高水平,表示了不加掩饰的崇敬“在他赢得艾美奖之前(Emmy),我就一直说人们要知道他在干嘛:他在假装是另一个人,”法伦说“我当时就是那些人之一,我们说‘他会玩这个玩六个月,然后就得玩点别的了’想想看如果你还在‘周六夜现场’[Saturday Night Live]里装蠢人会怎么样这个桥段有点老套但他的这个不一样他是个天才”But all the eft and talent Mr. Colbert has invested in keeping the character going, he appears resolute in his intention to allow him to pass into comic history. This decision, Mr. O’Brien said, reflects tremendous confidence. “There is something really cool about Stephen saying, ‘This needs to stop at some point, so let’s stop now,’ ” he said.尽管科尔伯特花费了如此多的精力和才干让这个节目得以持续下去,但他似乎对于让自己退入喜剧界历史十分坚决奥布莱恩说,科尔伯特的这个决定反映了其超然的自信“史蒂芬这么说真的很酷,他说,‘这个节目在某天总会结束,那就现在结束好了,’”奥布莱恩说道In some cases, a classic comic creation defines a permer life. Jack Benny was long associated with being a cheapskate, butchering his violin playing and lying about his age. Classic comic characters are often too fully realized to abandon.在一些例子里,一个经典的喜剧节目会定义一个表演者的一生杰克·本尼(Jack Benny)的形象长期以来就一直和守财奴联系在一起,他搞砸了自己的小提琴表演,还在年龄上撒谎经典的喜剧角色往往给人留下的印象太深刻,实在难以摆脱Mr. O’Brien said that hanging on to a persona was an American convention, while British permers seem willing to walk away from their signature creations. He cited John Cleese’s Basil Fawlty and Steve Coogan’s Alan Partridge (a narcissistic media personality), though Mr. Coogan has resurrected Partridge a few times.奥布莱恩说,坚持演同一个角色是美国的传统,而英国的表演者看起来更愿意撇开自己的成名之作他提到了约翰·克里斯(John Cleese)饰演的巴塞尔·弗尔蒂(Basil Fawlty),以及史蒂芬·库根(Steven Coogan)饰演的艾伦·帕特奇(Alan Patridge)(一个自恋的媒体人),尽管库根之后又复兴了帕特奇的几次Ricky Gervais has also recently revived David Brent, the bumbling manager he portrayed on the British version of “The Office,” in live concert permances. “I did consider not bringing him back to life,” Mr. Gervais said. But in a new context — Brent as would-be rock star — the character could be seen as realistically having moved on.里奇·格威斯(Ricky Gervais)最近同样重新唤醒了大卫·布伦特(David Brent)这个角色,这是英国版的《办公室里一个爱管闲事的主管“我的确考虑了不要让这个角色复活,”格威斯说但在一个新的环境里——布伦特会是一个准摇滚明星——所以这个角色可以说已经开始了新生活“What’s interesting about what Colbert is doing,” Mr. Gervais said in an interview, “what’s brave and possibly confusing about it, is that he’s always used his own name.” He added: “It can be a dangerous game to play. He presented himself as the character, and now he’s not going to be it. And people are going to miss the character. It’s a joy to watch someone do a really great parody with a character saying the opposite of what you know is right.”“科尔伯特做的事情有趣之处,”格威斯在采访中说,“同样也是勇敢和让人困惑之处在于,他一直在用自己的真名”他补充道:“这个把戏可能会很危险他自己表演的是一个虚构人物,而他自己又要不成为这个人物人们会想念这个人物的能看到一个把反讽模仿做的这么棒的节目真的很开心,那个角色说的都是与你明知是对的事情相反的东西”That is the essence of what is upsetting so many of Mr. Colbert’s fans. While moving up to a bigger stage is in the tradition of late-night stars pushing their careers ward — as Mr. Letterman, Mr. O’Brien and Mr. Kimmel have all done — none of those moves have required a singular comic character’s disappearing ever.这也是科尔伯特的粉丝们之所以沮丧的根本原因虽然对于传统的深夜秀主持人来说,走向更大的舞台是他们职业晋升的常态——就像莱特曼,奥布莱恩,还有坎尔,他们都是这样的——但他们的这些职业转换都没有要让一个如此优异的喜剧人物永远消失Some who have worked on “The Colbert Report” have said that Mr. Colbert was tiring of the demands of constantly staying in character, and that he had subtly been doing pieces that did not depend on it. (His recent skewering of sweep month excesses by “Good Morning, America” was a comedic tour de ce with little connection to his character.)一些在“扣扣熊报告”工作的员工说,科尔伯特已经厌倦了不断的维持角色的要求,而且他已经开始在做节目时巧妙地慢慢不再依赖于扮演角色(他最近做的讽刺“早安,美国”[Good Morning, America]为提高收视率损招频出的节目就是一个和他角色没有太大关系的喜剧杰作)Mr. O’Brien commended Mr. Colbert breaking what he called the American tradition. “Our system is, if there’s another nickel to be found in it, you keep playing that character,” he said, “just beat it to death — and then do it another years.”奥布莱恩说科尔伯特打破了他称为美国传统的东西“我们的体系是,如果还能再在这里面挣到一毛钱,你就继续演下去,”他说,“就演到死为止——然后再演十年”He added: “You always have permers saying, ‘I think I’ll go out on top, while it’s still great.’ And then it’s a sitcom, ‘Who’s the Boss?,’ and it’s the 18th season, and you’re like: ‘Tony, I like you, but ... .’ This is one of the few times when a permer is saying, ‘I want to get out while it’s still great,’ and it’s actually true.”他说:“你总会听到表演者说,‘我想功成身退,趁我还不错的时候’接着就是情景剧桥段了,‘谁才是老板?’,这都演了18季了,然后你就会说:‘托尼,我喜欢你,但是……’这是少有的一次当一个表演者说‘我想功成身退’,然后还真的实现了”But going out on a slab — if that’s Mr. Colbert’s plan? “I think that’s a really funny idea,” Mr. Kimmel said. “And it would make it clear to people that he’s not that character anymore.”但就这样以死掉的方式离开——这是科尔伯特的想法吗?“我觉得这是一个有趣的想法,”坎尔说“而且这会清楚地告诉人们他不再是那个角色了”Mr. Gervais agreed: “As surreal as that would be, it does make people get it. ‘I was that character, and that character is dead now. Do you get it? This is me now.’ ”格威斯也同意:“尽管有点虚幻,但这的确让人们明白了‘我之前只是那个角色,现在那个角色死了你们明白了?我现在就是我’”And then, presumably, Stephen Colbert can turn up next September on CBS as Mr. Letterman’s successor and be quickly accepted as a real talk show host.之后,史蒂芬·科尔伯特应该就可以于明年九月在CBS登台接替莱特曼,然后作为一个真实的脱口秀主持人迅速被观众接受了“I think he’ll be great and funny, and people are going to still enjoy him plenty on that level,” Mr. O’Brien said. “And then, every now and then, there’ll be a cooking segment.”“我认为他还会很棒、很搞笑,而且人们还会像现在那样享受他的节目,”奥布莱恩说“然后,时不时地,就会有做菜环节了” 35

ON SOME DAYS this summer, the robots would rise, get into their cars and pull onto Sunset Boulevard or Melrose Avenue-streets that, with their sun-sloshed vistas and waving palms, seem engineered windows-down, volume-up music listening. Yet no matter what radio station they turned to, the robots were greeted by the same song, one they recognized right away. There was the supple, shoulder-lifting guitar lick; that sturdy, urging drumbeat; and the aerial chorus that functions as a brag, a mission statement or both: Were up all night to get lucky. And though Thomas Bangalter and Guy-Manuel de Homem-Christo -the two French musicians better known as the robo-attired duo Daft Punk -usually make a point of never listening to their past creations, theyd always let the music play. Despite having lived with the song more than a year, even they werent sick of Get Lucky.今年夏天的某些日子里,两位“机器人”起床,上车,开上日落大道(Sunset Boulevard)或梅尔罗斯大街(Melrose Avenue)街道的两旁,是沐浴着阳光的景色,和摇曳多姿的棕榈树,好像就是为了要让人们摇下车窗、调高音量听歌然而不管调到哪个电台,两位“机器人”听到的都是同一首歌,他们马上就能辨认出来的那首有那轻快的、让人不由得耸起肩膀的吉他过门,有那厚实的、急切的鼓点,还有那空灵的副歌──是一种炫耀,或者说是一句使命宣言,或两者兼有:我们整夜不睡,为了成为彼此的幸运儿(Were up all night to get lucky)托马斯?本高特(Thomas Bangalter)和盖-马努尔?德霍曼-克里斯托(Guy-Manuel de Homem-Christo)这两位法国籍音乐家──即机器人打扮的二人组合“傻朋克”(Daft Punk)──通常特意不去听他们过去的作品,但碰到这首歌的时候,他们总是让它播放下去《走运(Get Lucky)已经问世一年有余,然而他们自己也都没觉得厌烦It an unexpected, simple, very cool surprise, says de Homem-Christo. eeing the next car is listening to it, and people are nodding. Or the other day, at a restaurant, seeing kids and mothers having a birthday party, and theyre all dancing. I know it can be annoying, having it everywhere like that, but it seems to have sp.德霍曼-克里斯托说:“此曲是一场始料未及的、简单的、非常出色的意外看到旁边车上的人在听,在点头,或者是另一天在某家餐厅,看到孩子们和母亲们在开生日派对,大家都在起舞我知道到处这样可能很烦,但它好像已经传开了”It a midsummer afternoon, and Bangalter and de Homem-Christo are sitting in a control room at Conway Recording Studios in Los Angeles, the city that serves as their stateside headquarters. The space is dominated by a gargantuan console teeming with hundreds of buttons and knobs. It looks like the kind of device that, were you to flip the wrong switch, would accidentally launch a drone strike on Palm Springs.那是一个仲夏的下午,在两人的美国大本营洛杉矶,本高特和德霍曼-克里斯托坐在洛杉矶康韦录音室(Conway Recording Studios)的一个控制室里房间里矗立着一台布满了几百个钮和旋钮的巨大控制台,那架势好像一弄错开关,就会不小心对棕榈泉(Palm Springs)发起一场无人机打击一样A little over a year ago, the two men were working out of this room, overseeing the final mixes of not only Get Lucky-a song so huge, it would sire endless remixes and remakes-but also much of Random Access Memories, their fourth studio album. Bangalter and de Homem-Christo describe their creative process as research and development, and Random, they worked without deadlines or budgetary constraints, with the hope of capturing the scope and sound of mammoth studio-crafted records from the 70s and early 80s-a time when cost was not a key consideration, and when a hit album had the same reach and life span of a hit movie.一年多一点时间之前,两个人就是在这个房间里忙碌,监督《走运以及他们第四张录音室专辑《超时空记忆(Random Access Memories)里很大一部分作品的最后混音工作《走运成为大热门,衍生了很多重混和翻唱作品本高特和德霍曼-克里斯托将其创作过程称为“研发”,对于《超时空记忆,他们没有限制时间也没有限制预算,希望呈现出70年代末80年代初大录音室专辑的那种广度与音质在那个年代,成本不是关键的考量因素,一张热门专辑的走红范围和时间不亚于一部热门电影As they were finishing up, Bangalter says, We had a very strong sense of happiness. It was like a weird fantasy: Let make a record like it the 70s. But we were very puzzled by the way it would clash with today world.本高特说,收尾的时候“我们有一种强烈的幸福感就像是一场奇异的幻想:让我们像70年代那样来录一张专辑吧但后来它与当今世界的碰撞方式让我们感到非常不解”This is understandable, given that, on paper at least, the album would seem like a potential disaster-a record that found the duo turning away from the type of sound that made Daft Punk one of the most memorable and unpredictable acts of the last years. Ever since their 1997 debut, Homework, Daft Punk been at the vanguard of electronic music, creating one sample-jacking, endorphin-morphing hit after another. And the group ultrarare, mega-elaborate live shows helped set the standard today lucrative, spectacle-driven electronic-dance music festivals.这种不解是可以理解的,因为至少从表面上看,这张专辑似乎将要败得一塌糊涂让傻朋克成为过去年最难忘、最变化莫测搭档之一的那种声音,在这张唱片里已经消失不见自从1997年发行第一张专辑《家庭作业(Homework)以来,傻朋克一直走在电子音乐的前列,一首接一首地推出让同行抄袭、让听众或痛或喜的热门歌曲这个组合极其少见而又超级精妙的现场演出,又从一个方面为今天利润丰厚、以盛大场景为追求的电子舞曲演出设定了标准On Random, though, Bangalter and de Homem-Christo moved toward live instrumentation and a big studio sound. And, after years of working largely on their own, they brought in a raft of collaborators that ranged from strikingly of-the-moment ( Pharrell Williams ) to blatantly anachronistic ( Paul Williams, the mer Muppets collaborator and writer of such Nixon-era classics as the Carpenters Weve Only Just Begun).但在《超时空记忆里面,本高特和德霍曼-克里斯托转向了现场器乐与大录音室音质在基本上独自运作多年之后,他们请来了一系列的合作者,既有红得发紫的如法瑞尔?威廉姆斯(Pharrell Williams),又有完全过气的如保罗?威廉姆斯(Paul Williams)后者参与了《大青蛙布偶电影(Muppets)的音乐创作,也是卡朋特乐队(Carpenters)《我们才刚刚开始(Weve Only Just Begun)等尼克松时代经典作品的词作者The resulting album features not only the lushly produced disco of Get Lucky, but also a career-recapping spoken-word history lesson from 73-year-old Italian producer Giorgio Moroder ; an eight-minute power-ballad featuring Paul Williams, a choir and a 65-person orchestra; and a handful of downer synth ballads that sound like theyre being permed by a GPS device that gone off its Wellbutrin. Sonically and culturally, Random resembles nothing else produced in .由此形成的专辑中不仅有《走运这首华美的迪斯科,还有73岁的意大利制作人乔吉奥?莫罗德尔(Giorgio Moroder)概括其从艺生涯的一段口述史,一段有保罗?威廉姆斯参与的八分钟动力民谣,一段搭配65人管弦乐团的合唱,以及一些沉郁的合成民谣(像一台安非他酮抗抑郁药吃完了的GPS导航仪在演奏一)不管是从声学角度来是从文化角度来看,它都不同于年的其他任何专辑Yet it turned out to be the biggest album of the group -year career, aided by a past-ward marketing campaign and, of course, the inescapable Get Lucky. At a time when audiences everything in the mass-culture continuum-from summer blockbusters to top TV shows-have fractured and dwindled, Get Lucky proves that, every once in a while, a song can transcend being merely an affable sing-along hit and become an omnipotent ce across all ages and genders. It like Hey Ya! or Crazy in Love-a song well pretty much be hearing until we die.然而借助于一轮贯通过去与未来的营销,当然还有走到哪里都能听到的《走运,《超时空记忆成了傻朋克年从艺生涯当中最火爆的专辑在各种大众文化类型──从暑期大片到前大电视节目──的观众都已瓦解、萎缩之际,《走运明,每隔一段时间都能够有那么一首歌,超越脍炙人口的热门歌的范畴,成为一种跨越年龄、跨越性别的全能力量它就像“Hey Ya!”、《疯狂的爱(Crazy in Love)一样,是一首我们差不多会一直听到老死的歌曲This was, in some ways, Daft Punk hope all along. Ever since the early 90s, when they were teens in Paris, Bangalter and de Homem-Christo have rarely settled on living in one era at a time, instead interrogating the past, the present and the future all at once. When we first met, says Bangalter, we were aly listening to music that was , 30 years older, or watching movies that were 50 or 60 years older. I think that what we tried to do with Random. The only objective was to create something that could have a certain kind of timelessness.从某种意义上讲,这正是傻朋克一直以来的希望自从90年代还是巴黎的毛头小伙时,本高特和德霍曼-克里斯托就很少一次停留在一个时代,而是同时拷问过去、现在与将来本高特说:“第一次见面的时候,我们已经在听二三十年前的歌,或者是看五六十年前的电影我想这也是我们希望在《超时空记忆里面实现的唯一的目标,是打造出某种可能拥有一定永恒性的东西”BECAUSE THEYVE TAKEN great pains to obscure their identities over the last two decades-with goofy masks or elaborately opaque robot helmets-a somewhat tenuous mystique surrounds the duo. Earlier this year, a photo of the two men, taken during what appeared to have been a booze-pong party at Columbia Records headquarters, found its way onto Gawker and the Huffington Post. The incident appears to have only mildly irked Daft Punk, but not the reasons youd expect. We didnt play beer pong, Bangalter says, laughing. I dont even know what beer pong is.怪怪的面具,精心设计成不透明的机器人头盔──傻朋克在过去年里不遗余力地掩盖自己的身份,他们身上笼罩了一层淡淡的神秘感今年早些时候,两人的一张照片出现在新闻网站Gawker和《赫芬顿邮报(Huffington Post)上,拍摄场合似乎是哥伦比亚唱片公司(Columbia Records)总部的一场“booze pong”(扔乒乓球喝酒游戏,又称beer pong)活动这一事件好像只给傻朋克造成了一点小小的烦恼,但并不是因为你所以为的原因本高特笑着说:“我们没有玩beer pong,我都不知道beer pong是什么东西”As anyone who saw that photo knows, the members of Daft Punk pretty much look like dudes who would listen to Daft Punk. Bangalter, 38, is tall and lean, with a light beard and an easy smile; on the day we meet, he dressed in a gray H sker D T-shirt, light gray jeans and slip-on sneakers, his hair hidden beneath a blue-and-red Patagonia hat. De Homem-Christo, 39, has shoulder-length hair and heavier scruff and is wearing white sneakers, tight black pants, a dark T-shirt that says Bad Attitude and a wishbone pendant around his neck. He has a reputation barely talking in interviews, but after initially appearing to doze off on the sofa, he becomes nearly as talkative as his longtime friend and partner.看过照片的人都知道,傻朋克成员的相貌跟傻朋克的普通听众没有什么两样38岁的本高特又高又瘦,留着短茬络腮胡,带着从容的笑意我们见面的那一天,他穿着一件印有Husker Du乐队图案的灰色T恤、浅灰色牛仔裤和一脚蹬帆布鞋,头发则隐藏在一顶红蓝相间的Patagonia牌帽子下面39岁的德霍曼-克里斯托长发齐肩,颈背较厚,穿着白色运动鞋、黑色紧身裤、印有“Bad Attitude”(态度差)字样的深色T恤,脖子上挂着一件Y型吊坠很多人都知道他很少在接受采访的时候说话,这次采访开始的时候他好像还在沙发上打起了瞌睡,但过后他就差不多跟他的老友兼搭档一样地健谈了The two first met in 1987, as eighth-grade art kids at Paris Lyc e Carnot, where they were surrounded by aspiring bankers (both come from creative backgrounds: de Homem-Christo parents ran an ad agency, while Bangalter father was a successful songwriter). It didnt take long them to find one another. [The school] was a factory making businessmen, says Bangalter. Anybody who had a certain aspiration something creative, whether it movies or music or design, would stand out. They struck up a conversation about film-The Lost Boys being the first of many movies theyd watch and discuss together. Later, theyd produce their own fanzine, Banane M canique (Clockwork Banana), the first issue of which featured a mash-up of the poster A Clockwork Orange and the cover of the album The Velvet Underground amp; Nico.两人第一次相见,是1987年在巴黎Lycee Carnot学校,彼时他们都是八年级的艺术生在这所学校,他们周围都是渴望进入业工作的同学,而两人都来自从事创意行业的家庭:德霍曼-克里斯托的父母开了一家广告公司,本高特的父亲则是一位颇有建树的词曲作家两人不久便发现了彼此本高特说:“(那所学校)像是一家制造商人的工厂,任何人只要怀揣从事某种创意行业的理想,不管是电影、音乐还是设计,都会引人注目”他们开始谈起电影,《捉鬼小精灵(The Lost Boys)成为他们一起观看并讨论的众多影片中的第一部后来他们出版了自己的同好杂志《发条香蕉(Banane Mecanique),其中第一期是把电影《发条橙(A Clockwork Orange)的海报和专辑《地下丝绒乐队与妮可(The Velvet Underground amp; Nico)的封面糅在了一起And though Bangalter and de Homem-Christo both obsessed over vintage acts such as the Doors and Jimi Hendrix -and would spend hours at the library, looking at microfiche of old rock magazines-it would take years them to make music together. Their first song was a short loop of drum machine and bass, recorded at Bangalter home. We were ripping off this bass line, thinking we were doing something extraordinary, says de Homem-Christo now, smiling at the memory.虽然本高特和德霍曼-克里斯托都痴迷于《大门(The Doors)和《吉米?亨德里克斯(Jimi Hendrix)这样的经典影片,并且会在图书馆连坐数小时观看旧摇滚杂志的缩微胶片,但多年之后他们才开始一起做音乐第一首作品是鼓机与贝斯的循环短曲,是在本高特的家里录制的忆起往昔,德霍曼-克里斯托脸上露出微笑,说:“我们是在压榨这条贝斯声线,觉得是在做一件非同寻常的事情”Later, theyd m a ramshackle guitar band, Darlin, bee immersing themselves in the growing rave movement, regrouping as Daft Punk and releasing a series of singles, finally culminating in Homework, which was recorded in Bangalter bedroom. It a buoyant, grabby debut, anchored by the underwater thump of Around the World and the prowling, glitchy bass of Da Funk. The album was a critical hit, even in the states, and established Daft Punk as madcap dance-floor alchemists.后来他们组建了一松散的吉他乐队,名叫“Darlin’”,然后又全身心投入到当时正在壮大的“rave”运动,重组为“傻朋克”乐队,发布了一系列的单曲,最后有了《家庭作业这样的巅峰之作他们这首张专辑在本高特的卧室里录制而成,风格轻快而撩人,以《周游世界(Around the World)的水下敲击声和“Da Funk”低沉而吵哑的贝斯声压阵它是一张至关重要的热门唱片,即便在美国也是如此,并且奠定了傻朋克舞曲界的狂妄炼金术士的地位It also earned them a reputation as reluctant semi-stars. When theyd play gigs, de Homem-Christo would hide behind equipment or turn his back, Miles Davis -style, to the audience. I was too shy to be confronted by any kind of audience, he says. Going to the blackboard at school was the worst torture. To promote Homework, they wore goofy animal masks, kept a safe distance from the press and didnt appear in s, preferring surreal clips directed by the likes of Spike Jonze and Michel Gondry.这张专辑还为他们赢得了一种不愿抛头露面的名声要做现场表演的时候,德霍曼-克里斯托就会躲在乐器后面,或者是像迈尔斯?戴维斯(Miles Davis)那样转过身去背对观众他说:“我太怕羞了,不管哪种观众都不敢直接面对在学校上黑板是最痛苦的折磨”为了推销《家庭作业,他们戴上怪怪的动物面具,跟媒体保持着安全距离,并且不在视频中亮相,也更喜欢斯派克?琼斯(Spike Jonze)和米歇尔?冈瑞(Michel Gondry)等人导演的超现实镜头 01 Discovery, Daft Punk introduced a new look, in the m of impenetrably sleek robot getups. They also debuted a new sound: a mix of soft-rock haze, guitar-shredding rock and meticulously coordinated goofiness. The record yielded Daft Punk then-longest-charting hit, One More Time, a new millennium ode to unyielding good times that, considering how the rest of the decade turned out, now sounds equal parts ebullient and poignant.为录制01年的《发现(Discovery),傻朋克推出了一副新的装扮:光滑?亮而又密不透风的机器人装他们还推出了一种新的音质:慢摇滚的迷茫、撕裂吉他的震撼和精心设计的痴颠混合在一起这张专辑有傻朋克当时在音乐排行榜上盘踞时间最长的歌曲《再一次(One More Time)它是对即将呈现的好时代的又一次千年赞颂考虑到后来年发生的情况,现在它听起来既热情奔放,又五味杂陈Daft Punk music would continue to mutate over the coming years and albums, from the aggro Human After All () to the swelling, orchestra-aided Tron: Legacy soundtrack (). With each new release, the robot masks would undergo some new iteration. Bangalter and de Homem-Christo, the masks function as a way to ensure privacy: They like being able to go out without being harassed, and they strive to keep their personal lives as undocumented as possible (neither cares to discuss his family, though both have children, and Bangalter is married to French actress élodie Bouchez ).在接下来的年头和专辑里面,从年激愤的《毕竟还是人类(Human After All)到年澎湃、有管弦乐辅助的《创:战记(Tron: Legacy)配乐,傻朋克的音乐在继续变异每发一张新专辑,机器人面具都会有一些新的演变在本高特和德霍曼-克里斯托看来,面具起到一种保护隐私的作用:他们喜欢出门的时候能够不被人骚扰,而且都尽量保持私生活“无据可查”的状态(两个人都不喜欢谈论自己的家人,不过他们都有孩子,本高特的妻子是法国演员艾洛迪?布歇(Elodie Bouchez))In later years, as the duo got more famous-their legendary - tour found them playing gargantuan arenas-the helmets let them avoid all the insincere glad-handling that comes with being recognized, especially in the music industry. You feel it not real when people are, like, petting your back all the time, says de Homem-Christo. But, perhaps most importantly, being cloaked in head-to-toe suits-the most striking iteration of which was designed, with glittery sleekness, by Saint Laurent Hedi Slimane -and voice-altering electronics grants the members of Daft Punk the ability to disappear from even themselves. It allows you to get what youve done and what you are, says Bangalter. us, the idea of always starting from scratch is really interesting.在之后的年头里,随着傻朋克的名气越来越高(年到年的传奇巡演期间,他们已经在超大的演出场地演出),头盔让他们逃掉了被认出来之后不得不面对的各种虚情假意,特别是在音乐行业德霍曼-克里斯托说:“比如说别人一直在抚摸你脊背的时候,你会感觉不真实”但最重要的恐怕还在于,躲藏在从头到脚的戏装(最惹人眼球的版本是 罗兰(Saint Laurent)的赫迪?苏莱曼(Hedi Slimane)设计的一套闪闪发光的装)和改变音色的电子乐里面,使得傻朋克的两位成员隐遁于人前,甚至是隐遁于自己本高特说:“它使你能够忘掉自己做过什么,忘掉自己是谁在我们看来,总是从零开始这一点真的非常有趣”It an ethos that goes all the way back to their early days, right after they came up with Da Funk. The track was such a crowd-pleaser that Bangalter and de Homem-Christo set out to make a soundalike sequel. It would have been an easy hit, but the song was such an obvious unsatisfying self-homage, they decided not to release it. That was a big change of direction, de Homem-Christo says. We said, Let try something totally opposite, and from that day, we never did the same thing.这种气质发端于傻朋克的早期,即他们推出“Da Funk”之后由于这首曲子非常迎合大众口味,本高特和德霍曼-克里斯托决定推出一首相似的续篇如果面世的话,它将很容易走红,但这首歌是一种明显的自我崇拜,他们很不满意,所以决定不予发布德霍曼-克里斯托说:“那是一次很大的转向我们说,‘来做点完全相反的事情吧’,从那天开始,我们从未做过同样的事情”BANGALTER, QUICK AND SPRINGY, is leading me around the room at Conway, where they worked not only on Random, but also on several tracks Kanye West Yeezus album. He shows me a gorgeous Steinway piano in one corner, and a booth where they oversaw the Gary Glitter-gone-tribal drumbeats of West hit Black Skinhead. In their early years, Bangalter and de Homem-Christo preferred to do much of their work at home studios, but Random opened them up to tuff we couldnt really do at home, says Bangalter, gesturing around a large recording area. We were like, Okay-clap-let experiment.身形轻快敏捷的本高特带着我参观康韦录音室的那个房间在这里,他们不仅录制了《超时空记忆,还为坎耶?韦斯特(Kanye West)的专辑“Yeezus”录制了多首曲子他带着我看了屋角一架漂亮的斯坦威(Steinway)钢琴,还有一间隔音室──韦斯特热门歌曲《黑色光头(Black Skinhead)里面类似狂野版盖瑞?格利特(Gary Glitter)的鼓声,就是两人在那间隔音室里监制的早年的本高特和德霍曼-克里斯托更喜欢使用家里的录音室,但本高特指着录音室里一片宽阔的录音区说,《超时空记忆让他们看到了“无法在家里完成的东西我们就像是:OK,试验一下吧”Random began in earnest in , when Bangalter and de Homem-Christo moved their gear into a giant studio and began playing around. Inspiration came from Tron, which they were still in the midst of scoring, and which required them to work with a full orchestra. Though theyd collaborated with other musicians in the past-most notably on the West single tronger-as Tron progressed, they found themselves energized by the prospect of incubating a more open-ended creative commy. They started to see their role on Random less as musicians and more as filmmakers, shepherding a large group of disparately talented people and ing them behind a single vision.《超时空记忆的录制工作在年正式开始本高特和德霍曼-克里斯托把他们的装备搬到一个大型录音室,开始试音灵感来自于《创:战记,当时他们还在为这部电影配乐,而电影的配乐要求他们跟一个完整的管弦乐团合作虽然过去也曾跟其他音乐家合作(特别是年录制韦斯特单曲《更强(Stronger)的时候),但随着《创:战记配乐的进行,他们看到孵育一个更开放创意共同体的可能性,并为之感到振奋他们开始觉得,在《超时空记忆里面,他们的角色与其说是音乐家,倒不如说是导演:带领一大群各怀禀赋的人才,把他们团结在同一种想象之下So Bangalter and de Homem-Christo ditched their samplers and began a years-long series of recording sessions, traveling to Los Angeles, Paris and New York. As with any project they undertake, Bangalter says, making an album is so day-to-day. We dont have a road map or a master plan.于是本高特和德霍曼-克里斯托抛弃了采样器,前往洛杉矶、巴黎和纽约一期一期地录制,耗时数年本高特说,跟他们做的任何项目一样,录制专辑是一种日常工作,“没有路线图也没有总体规划”Perhaps no track exemplifies their calculated capriciousness better than Get Lucky, which took more than a year to record. Bangalter and de Homem-Christo had been working on the track since , but the song sparkling guitar lines werent in place until they met with legendary guitarist and producer Nile Rodgers. At first, the three men just talked.恐怕没有哪首曲子比录制耗时一年多的《走运更能体现他们精心设计的反复无常本高特和德霍曼-克里斯托从年就开始创作这首歌,但直到他们遇上传奇吉他手兼制作人奈尔?罗杰斯(Nile Rodgers),这首歌闪耀的吉他声线才开始成形起初三个人只是在口头上谈Their discussions with me were holistic discussions, notes Rodgers, who provided Get Lucky with its spiky backbone riff. It was like, were treating this record as if the Internet doesnt exist. And I interpreted that as, were approaching this record the way we approached records in the pre-digital era. Which meant permances had to have a linear life: a beginning, a middle and an end. And those permances had to be played pretty damn good.为《走运贡献了核心连复段的罗杰斯说“他们与我的讨论是原则上的讨论我们对这张专辑的处理就像是互联网根本不存在一样我的解释是,我们要像对待前数字化时代的专辑一样对待这张专辑,也就是演奏必须是一条线性的生命:有开始,有中间部分,有结尾,而这些演奏又必须做到一流”After some discussions about what the group was trying to achieve, Rodgers took out his guitar and started playing. The riff Get Lucky, Rodgers says, came right there on the spot. When I first started playing, it was a little too complicated. You could see this look on Guy-Man face, which was not so approving but respectful, and I knew I wasnt in the right place yet. But that how all my stuff starts out. I do complicated things first, simplify it, then work backwards. Rodgers would wind up contributing to three songs on the album, including the most recent single, Lose Yourself to Dance.在讨论要实现什么样的目标之后,罗杰斯拿出吉他开始弹奏罗杰斯说,《走运的连复段“完全是即兴演奏的我开始弹的时候还有点过于复杂,从盖-马努尔的脸上就可以看出,虽然不是很赞同,但还是充满尊重,我就知道我还没有做到位但我的所有作品都是这样开始的,先把复杂的做出来,然后予以简化,倒着回去”到最后,罗杰斯为这张专辑里面的三首歌曲出了力,其中之一是最晚出的单曲《迷失自己于舞蹈(Lose Yourself to Dance)Months later, after shaping the track on their own, Bangalter and de Homem-Christo summoned Pharrell to their studio in Paris. Once again, they didnt start playing right away. Instead, they listened to a few singles Pharrell had been working on and talked music. They were feeling the same way I was, Pharrell says. That everything now is so programmed, it missing the human element.几个月后,本高特和德霍曼-克里斯托在自己定好《走运大体框架之后把法瑞尔叫去了他们的巴黎录音室这一次他们也没有马上开始弹奏,而是听了法瑞尔之前正在创作的几首单曲,并谈论音乐法瑞尔说:“他们跟我的感觉一样,就是现在什么都通过编程编好了,缺失了人的元素”Theyre very methodical, but at the same time very sensitive with how they make their music, Pharrell continues. Not sensitive in a negative way, but very open. And their music is always in a constant pursuit of feeling. That a recurring theme in every piece of music they make, and that not a human trait to me; it more characteristic of a robot.法瑞尔接着说:“他们非常地有条不紊,但同时对自己如何做音乐又非常地敏感不是那种消极的敏感,是非常地开放他们的音乐一直是在不断地追寻感觉这是他们每一件音乐作品里反复出现的一个主题,在我看来它并不是人的特点,勿宁说是机器人的特点”After giving the jet-lagged Pharrell a superstrong over-the-counter French stimulant, Bangalter and de Homem-Christo cued up a rough draft of Get Lucky and asked if he was interested in working on it. the most part, they let me roam free, he says. They introduced it as a blank canvas: What are you hearing; what are you seeing? We did so many takes of different parts, because they like to capture something perfect. And perfect doesnt mean that every syllable is sung correctly. Perfect means it touches the soul.在给倒时差的法瑞尔吃了一剂超强的法式非处方兴奋剂之后,本高特和德霍曼-克里斯托准备弹唱《走运的一个草稿,问他有没有兴趣参与创作法瑞尔说:“他们基本上是让我自由发挥他们把这首曲子当作一张空白画布呈现给我:你听到了什么,你看到了什么?我们对各个不同的环节做了多次尝试,因为他们喜欢捕捉到某种完美的东西完美的意思并不是每一个音节都唱对,而是每一个音节都触及灵魂”When it was all over, Pharrell got back on a plane. He was so exhausted, he could barely remember what hed sung.全部完事之后,法瑞尔坐飞机回去了精疲力竭的他差点都想不起自己唱了什么HERE ARE A FEW oft-spoken truisms about the music industry in the year : Pop songs, even big ones, are lucky if they can dominate the airwaves more than a few weeks; the major-label system is a slowly smoldering empire in decline; the best way to ensure a chart-topping, culture-conquering album is to shake the tendrils of some deep-pocketed mega-corp (Samsung, Bud Light) that has as much to with music as it does with, say, llama husbandry.关于年的音乐行业,有几句常常被说起的老生常谈:流行歌曲(哪怕是热门流行歌曲)在电台上播放的时间如果能超过几个星期,那就算运气好了;大唱片公司制度是一个正在慢慢焚化的衰落帝国;确保一张专辑登顶排行榜、跨越文化界线的最佳办法是摆脱一些实力雄厚的大财团的羁绊,比如三星(Samsung)、百威(Bud Light)等,这些大财团不仅做音乐,还做羊驼养殖之类的业务These are all, sadly enough, pretty much well-founded realities at this point. But the release of Random, and its ensuring success, has proved to be, at the very least, a temporary rebuke to the way music has been sold in the last decade.可悲的是,这一切在当下基本上都是有根有据的现实但事实明,《超时空记忆的发布及之后取得的成功,再怎么说也是对过去年音乐发售方式的一种暂时的批判Bangalter and de Homem-Christo had funded the record production, but instead of releasing it independently, they turned to Columbia Records, one of the oldest major labels in the world-and also one of the last. Bee wed heard the record, we met with them to talk about their philosophy, says Columbia Chairman Rob Stringer. Their attitude was, records do still sell, if they have quality and imagination behind them. We talked about campaigns that were really based on the golden age of the record industry, in the 70s and 80s, when the Sunset Strip was as much about music as it was about movies.唱片的制作经费由本高特和德霍曼-克里斯托提供,但他们并没有独立发行,而是求助于世界上第一批成立、也是最后一批存在的大品牌之一:哥伦比亚唱片公司哥伦比亚公司董事长罗伯?斯汀格(Rob Stringer)说:“听这张唱片之前,我们跟他们见了面,谈起他们的理念他们的态度是,只要有足够的质量和想象力,唱片还是可以好卖的我们谈起推广计划这些计划其实是基于唱片行业在70年代、80年代的黄金时期,那个时候日落大道不仅关乎音乐,同样也关乎电影”Random was introduced using a mix of retro showmanship and new-media cunning. Instead of announcing the record online, the band teased it with a brief, vague ad on Saturday Night Live, a clip that featured little more than their helmeted visage and a quick snippet of Get Lucky. That was followed by billboards in cities like New York and London; a series of YouTube interviews with the likes of Pharrell and Rodgers; and a reveal of the album track-listing on the -sharing app Vine.《超时空记忆的发布将怀旧表演技巧与新媒体技巧融合在了一起傻朋克并没有在网上发布这张专辑,而是欲擒故纵地在《周六夜现场(Saturday Night Live)发布了一则简短而含混的广告,镜头上除了他们戴着头盔的形象和一小段《走运之外基本上就没有别的了之后专辑的广告又打上了纽约、伦敦等城市的广告牌,然后是YouTube上法瑞尔、罗杰斯等人接受采访的视频,以及视频分享应用Vine上发布的专辑歌曲列表The buildup to the record was so steadily intriguing that, as Random release date came closer, its success felt like a fait accompli-which is strange, given that, all their success, Daft Punk had never broken into the top 0 in the U.S. So when the album finally debuted at number 1, no one was surprised-in part because of its persuasive marketing, but also because, by that point, Get Lucky was beginning to lodge itself in the country collective hippocampus.造势活动稳步吊人胃口,所以当《超时空记忆的发布日期日益临近的时候,它的成功感觉已经像板上钉钉(这一点很不寻常,因为傻朋克尽管很成功,但也从来没有进入到美国销量排行榜前0名)所以当这张专辑最终实现上市首周便取得销量第一的成绩时,谁都不觉得奇怪,这既是因为它的营销说力很强,也是因为到那个时候《走运已经开始融入美国人的集体记忆And though it never actually reached the top of the singles charts in America-denied entry by Robin Thicke Blurred Lines, also featuring Pharrell-it hard to think of another song this year that proved as joyfully egalitarian, or as reliably escapist, as Get Lucky. People are in a time or a place when they wanna feel again, says Pharrell, when asked why the song took off. The Internet has brought on so much ubiquity. When you can get the news real-time, and with 7 billion people on the planet, odds are, there gonna be bad news. I think were all y to hear music that takes us away and allows us to have a good time again. Most people just want to be happy.《走运事实上从未登顶美国的单曲排行榜(被罗宾?西克(Robin Thicke)的《模糊线条(Blurred Lines)挤出,这首歌也有法瑞尔参与),但很难想到今年有哪首歌像它一样地充满了快乐的平等主义和确切的逃跑主义法瑞尔在回答这首歌为什么走红的问题时说:“人们想再次感受曾经处过的时间或空间互联网带来了如此多的无处不在现象地球上有70亿人口,当你随时能够读到新闻,读到的很可能就是坏消息我觉得我们都乐意听到一些带我们远走高飞、让我们能够再次享受好时光的音乐大部分人不过是想感到快乐”There another music-biz axiom that Daft Punk flouted this year, much to the chagrin of its fans: Namely, that when youve got an album as big as this one, youve got to get out and play it live.傻朋克今年还鄙视了另一条音乐行业的公理,让其信奉者大为懊丧这条公理是:推出这样盛大的一张专辑,你必须亲自出马搞现场演出The group last tour-during which they permed in a massive light-up pyramid-ended in . The shows have become legendary: Like Woodstock, theyre the kind of gigs people remember fondly, even if they werent actually there. Daft Punk never had a problem selling out huge venues, but the group scarcity has only increased their fans demand more stage time.傻朋克的最后一次巡演在年结束(期间他们曾在一个灯光璀璨的巨型金字塔里表演)那几场演出已经成为传奇:像伍德斯托克音乐节(Woodstock)一样,它们也属于那种被人津津乐道的演出,尽管实际上并不是在伍德斯托克进行的傻朋克的大型表演从来不愁卖,但这个组合很少演出这一点只会让歌迷更加希望他们多在舞台上演出As proof, witness the group only live appearance this year, at the MTV Video Music Awards. They were originally supposed to appear on Comedy Central The Colbert Report, but after what host Stephen Colbert later claimed was interference from MTV, the duo pulled out. (MTV, Colbert and Daft Punk all declined to comment.) As it turns out, the VMAs wound up being Daft Punk only strategic misfire of the year-after all the buildup to their appearance, it was deflating to watch two guys in robot suits simply help hand out an envelope onstage.作为据,不妨看看这个组合今年在MTV音乐电视大奖(MTV Video Music Awards)颁奖典礼上唯一的一次亮相本来他们要在喜剧中心频道(Comedy Central)的“科尔伯特报告”(The Colbert Report)中表演,但后来还是退出了,据主持人斯蒂芬?科尔伯特(Stephen Colbert)后来称,这是因为MTV方面的干预(MTV、科尔伯特和傻朋克均拒绝置评)事实明,MTV音乐电视大奖颁奖典礼成为傻朋克今年来唯一的一次失策:在有关他们将要亮相的各种造势活动之后,看到两个穿着机器人外套的人在舞台上只是帮忙递出一个信封,实在让人泄气As of now, the group has no plans to play live, even though the electronic-dance field theyve inspired has grown into a multimillion-dollar industry, and despite the fact that there are no doubt millions of fans (and certainly a few business associates) who would love to see them hit the road.尽管在傻朋克激发下诞生的电子舞曲已经成长为一个庞大的产业,尽管肯定有数百万的乐迷(肯定还有一些商业伙伴)期待看到他们走上巡演之路,但到目前为止,这个组合还没有现场演出的计划Were not sensitive to any kind of pressure, because the most valuable thing we have is our own freedom and creative dreams, says Bangalter. There less value us in a big bag of money than in a creative idea we want to fulfill. The world we live in today is slightly off because money makes the world go. So weve had the freedom to always pick the thing that makes us the most happy.本高特说:“我们不在意任何压力,因为我们拥有的最宝贵的东西,是我们自己的自由和创作梦想一大袋子钱对于我们的价值,比不上一个我们希望实现的创作构想我们今天生活的世界有些偏离正轨,因为金钱能让地球转动总之我们有自由去挑选最让我们感到快乐的东西”Still, it seems a given that at some point Bangalter and de Homem-Christo will decide to reimagine their live show, in the same way they rewired their sound. After all, a song like Get Lucky only comes along once or twice a career, and as much as the robots love watching our reactions to it from the safety of their cars, it hard to believe they wont want to see that joy amplified, illuminated and shared, and among thousands of faces all at once. After all, theyre only human.但本高特和德霍曼-克里斯托似乎肯定会在将来的某个时候重新想象他们的现场演出,就像他们重新设计自己的声音一样毕竟像《走运这样的歌曲在艺人从业生涯中只会出现一两次,而且,既然这两个机器人喜欢舒舒地坐在车里看我们对这首歌的反应,很难相信他们不想看到这种快乐被放大、被点亮、被分享,一瞬间呈现在数千张脸孔之上他们毕竟还是人类 6bes offers up yet another insightful list of the movie stars that are actually worth the big bucks. From Kristen Stewart to herTwilight co-stars Robert Pattinson and Taylor Lautner, bes came up with their Top List of the Best Actors the Buck by using ;data on actors earnings,; ;box office grosses and budget estimates; and the actors last three films over the past three years ;that opened in more than ,000 theaters, calculating the return on investment the studios who pay his (or her) salary.;福布斯(bes)近日公布了一份最具性价比电影明星的榜单,“暮光女”克里斯丁·斯图尔特(Kristen Stewart)及其搭档罗伯特·帕丁森(Robert Pattinson)、泰勒·洛特纳(Taylor Lautner)均榜上有名福布斯的这份榜单是依据该演员在过去三年中在超过00家影院上映的最近三部作品的票房收入、制作预算及演员报酬计算出的Who came in at No. 1? Click the pics to find out.来看看哪位明星拔得了头筹!. Kevin JamesNO. 凯文·詹姆斯 (Kevin James 《劈腿困境 The Dilemma)Returns $.0 every paid.电影公司每付其1美元薪酬,获得.美元的票房回报9. Amy AdamsNO.9 艾米·亚当斯(Amy Adams 《大师 The Master)Returns $.60 every paid.电影公司每付其1美元薪酬,获得.6美元的票房回报8. Dwayne JohnsonNO.8 道恩·强森 (Dwayne Johnson 《速度与 Fast Five)Returns $.70 every paid.电影公司每付其1美元薪酬,获得.7美元的票房回报7. Bradley CooperNO.7 布拉德利·库珀 (Bradley Cooper 《乌云背后的幸福线Silver Linings Playbook 《宿醉 The Hangover)Returns every paid.电影公司每付其1美元薪酬,获得5美元的票房回报6. Taylor LautnerNO.6 泰勒·洛特纳(Taylor Lautner 《暮光之城 Twilight 《在劫难逃 Abduction)Returns .50 every paid.电影公司每付其1美元薪酬,获得9.5美元的票房回报5. Daniel RadcliffeNO.5 丹尼尔·雷德克里夫 (Daniel Radcliffe 《哈利·波特Harry Potter 《黑衣女子 The Woman in Black)Returns .50 every paid.电影公司每付其1美元薪酬,获得30.5美元的票房回报. Robert PattinsonNO. 罗伯特·帕丁森(Robert Pattinson 《暮光之城 Twilight 《大都会Cosmopolis)Returns .70 every paid.电影公司每付其1美元薪酬,获得31.7美元的票房回报3. Shia LaBeoufNO.3 希亚·拉夫(Shia LaBeouf 《变形金刚Transmers 《华尔街:金钱永不眠 Wall Street: Money Never Sleeps)Returns .80 every paid.电影公司每付其1美元薪酬,获得35.8美元的票房回报. Kristen StewartNO. 克里斯丁·斯图尔特(Kristen Stewart 《暮光之城Twilight 《在路上On the Road)Returns <牛人_句子>.60 every paid.电影公司每付其1美元薪酬,获得0.6美元的票房回报1. Natalie PortmanNO.1 娜塔莉·波特曼(Natalie Portman 《黑天鹅Black Swan 《不求回报No Strings Attached)Returns $.70 every paid.电影公司每付其1美元薪酬,获得.7美元的票房回报 59

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