ラベル 人物 の投稿を表示しています。 すべての投稿を表示
ラベル 人物 の投稿を表示しています。 すべての投稿を表示

Rem Koolhaas, Delirious New York 选译

库哈斯《迷狂的纽约(癫狂的纽约)》
Rem Koolhaas,Delirious New York: A Retroactive Manifesto for Manhattan
Oxford Uni Press, 1978.

一些创作物给人一种“出路”式的幻觉,库哈斯这本癫狂纽约就是(库哈斯本人的建筑思考因此也相当地振奋人心)。我读得很热血沸腾(delirious),到了几乎要翻译出来与人分享的地步,当然事实上第一我没有时间,第二我虽然能保证自己的理解力但对文字驾驭能力没信心。即便这样,仍然是硬着头皮小翻了几句讲得特别地绚烂华丽得一塌糊涂的,错字烂句容忍啊。

库哈斯认为,曼哈顿的能量在于拥堵,一个随时处于全面堵塞和僵死边缘的世界。勒·柯布西耶为什么没能征服曼哈顿?因为在他的城市形式里移除了拥堵。这种拥堵,在一种与现实脱离的领域里,迫使大都市向上发展为一个高塔林立的、建筑于人类欲望并充斥着人类欲望的世界。
---------------------------------------------------------节选翻译:Cozi/金珍


尤其是1890-1940年间,一种新的文化(机器时代?)选择了曼哈顿作为她的实验场:在这个神话般的岛上,前所未有的大都市生活方式以及随之出现的建筑几乎像集体实验一般被推进,整个城市变成一个全人造体验的工厂,真实和自然在这里不复存在。[p.6]

曼哈顿是未发生之灾难的累积(an accumulation of disasters that never happen) [p.20]

......每一个建筑物都成为一个纪念碑。这个类型的纪念碑呈现了对传统象征主义的一种激进式的、道德创伤般的打断(a radical, morally traumatic break)...... 它(建筑物)几乎不是它自己本身。[p.81]

除了将私属价值超高密集度地(a hyperdensity of private meanings)填注进内部空间之外,看不见建筑向外拓张领地的野心,这一点使得这种亚乌托邦式的碎片(sub-utopian fragments)尤为诱人。由于在外部完整地保存了那种人们对传统城市规划的幻想,变革避免了明目张胆,从而保证了自身的被接受程度。[p.87]

一种新的道路,那就是,某种意义来说,一种对危机的记录:对“灵感缺乏”这一概念的体系化;对“无内容”这一主题的多样化,建立在一种工序之上,一种对依赖于疯狂机器化之上的非人类协作的展示,一种令人振奋的个人向自动主义──关于一种人工合成的、四季不歇的春之祭的自动主义──的屈服。[p.184] (解释一下,《春之祭》是斯特拉文斯基的一处芭蕾剧,就是尼金斯基跳的那个,故事里面被选出来做祭品的少女被要求一直跳舞直到跳死。整本书这类典故式和双关式的用词太多太多了,所以读起来很费劲,库哈斯太牛了,据说这是他二十几岁写出来的东西。)

达利“发现”的反现代的曼哈顿,一直以来都只是停留在口头上(has been strictly verbal),他的征服因此是完全的。他没有篡改外形(physique),而将这座大都会重组为一个反功能主义的原始纪念碑聚积体,而这些返祖纪念碑,由一种诗意的持续复制过程完成。[p.224]

这座大都市致力于达到这样一个神话般的极致──一个完全人工创造的世界,在那里,它将能完全符合自身的欲望。 [p.242]

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以下评论文字转自网络,出处不详...

看过库哈斯著作的人都会觉得他的书像他的作品一样充满了新奇、眩目的味道;而且,不断的充斥着跳跃与不知所云。如何认识库哈斯的理论呢?这里拟从库哈斯的叙述方式与理论根基两方面入手对其进行理解。

《颠狂的纽约》(Delirious New York, 1978年)是库氏在大都会建筑学领域撰写的奇幻"建筑小说",也是了解库哈斯城市理论的最重要的文献。这部集论文、方案、作品于一体而编织的美学文本,对当代大都市密集性文化现实进行超现实主义的批评。所谓超现实,就是脱离了普遍的理论论述结构。一般的理论模式都为:是什么(问题的本体论)----为什么(问题的研究方法论)----怎么办(问题的现实意义及解决方案)。从库哈斯的有关著作来看,她只注重了第一步骤的渲染和铺陈,偶尔涉及到第二点的研究方法论,而绝少提及第三点。这种似乎从记者生涯中养成的恣意文风形成了库哈斯的研究习惯。
在对城市的认识的过程中,库哈斯的思考路径不是顺着建筑学的既定理论框架进行思考。而是从社会学的角度入手,诸如网络对社会形态的影响、新时代生活方式的变革、建筑不得不进行革命的必要性、对城市发展速度的思考、资本财富在城市进程中作用的再认识、建筑师的收入与建筑作品及建设速度之间的关系----包罗万象、不一而足。几乎我们一般接触到的新事物,都库哈斯被纳入了对建筑学的反思之中。这种反思构成了库哈斯理论的基础,所指者何并不唯一,分析视角时常变化,难免有极大的眩目感和跳跃性。
从微观上讲,他要求建筑应对每种社会新问题做出回应,以保持一种先进性。从宏观来讲,他的结论就是建筑学的“末世论”,他在普利茨奖授奖仪式上发表讲话中说道:“我们仍沉浸在沙浆的死海中。如果我们不能将我们自身从“永恒”中解放出来,转而思考更急迫,更当下的新问题,建筑学不会持续到2050年。”这种末世论不是灭亡论,而是指传统建筑学理论的解体与消亡。

比如,库哈斯的普通城市(Generic City)的思想。他认为今天城市变化的真正力量在于资本流动,而非职业设计。城市是晚期资本主义文明产生的无尽重复的结构模块,设计只能以此现实为前提思考并成形。在这个意义上, 库哈斯颠覆了传统"场所"的概念。
又如,库哈斯对网络生活的理解:“……在数十年,也许近百年来,我们建筑学遭遇了到了极其强大的竞争……我们在真实世界难以想象的社区正在虚拟空间中蓬勃发展。我们试图在大地上维持的区域和界限正在以无从察觉的方式合并、转型、进入一个更直接、更迷人和更灵活的领域--电子领域。”
从现今的建筑学潮流上看,在建筑界普遍对现代建筑进行了反思,全球的思想界普遍对现代性问题进行了反思以后,渐渐的温和化了。库哈斯是身处在这个潮流之外,他的方法是让现代化更加现代化。面对资本聚集成的摩天楼,文脉是多么的无力;面对新事物的时髦和方便,人性本身也在不断变化。正如高尔基的一句名言:让暴风雨来得更猛烈些吧!库哈斯没有回头寻找古典的寄托,没有从人性中寻找建筑的最终归宿;他义无反顾的投入到对时代前端的筹划之中----至少他是这样认为。他的建筑在形式上依然没有违背现代建筑的造型原则,但在功能上却策划着一场又一场的颠覆----这正是库氏自我对建筑新潮形式的解释。

言之有理

「建築を志す人こそ、発想や思想の言語化を大切にしなくてはならない。「はじめに言葉ありき」。言葉にならなくては集団で創作することが非常に困難になる。自己表現の成果が、普遍性、客観性をもつものとはなりにくい。 言葉は底知れぬ力を有している。まあ、「本を読みなさい」ということなのかな?」
                         ------後藤春彦先生

Which Was the Happiest?

"Such lovely roses!" said the Sunshine. "And each bud will soon burst in bloom and be equally beautiful. These are my children. It is I who have kissed them to life."

"They are my children," said the Dew. "It is I who have nourished them with my tears."

"I should think I am their mother," the Rose Bush said. "You and Sunshine are only their godmothers, who have made them presents in keeping with your means and your good will."

"My lovely Rose children!" they exclaimed, all three. They wished each flower to have the greatest happiness. But only one could be the happiest, and one must be the least happy. But which of them?

"I'll find out," said the Wind. "I roam far and wide. I find my way into the tiniest crevices. I know everything, inside and out."

Each rose in bloom heard his words, and each growing bud understood them.

Just then a sad devoted mother, in deep mourning, walked through the garden. She picked one of the roses; it was only half-blown but fresh and full. To her it seemed the loveliest of them all, and she took it to her quiet, silent room, where only a few days past her cheerful and lively young daughter had merrily tripped to and fro. Now she lay in the black coffin, as lifeless as a sleeping marble figure. The mother kissed her departed daughter. Then she kissed the half-blown rose, and laid it on the young girl's breast, as if by its freshness, and by the fond kiss of a mother, her beloved child's heart might again begin to beat.

The rose seemed to expand. Every petal trembled with joy. "What a lovely way has been set for me to go," it said. "Like a human child, I am given a mother's kiss and her blessing as I go to the blessed land unknown, dreaming upon the breast of Death's pale angel.

"Surely I am the happiest of all my sisters."

In the garden where the Rose Bush grew, walked an old woman whose business it was to weed the flower beds. She also looked at the beautiful bush, with especial interest in the largest full-blown rose. One more fall of dew, one more warm day, and its petals would shatter. When the old woman saw this she said that the rose had lived long enough for beauty, and that now she intended to put it to practical use. Then she picked it, wrapped it in old newspaper, and took it home, where she put it with other faded roses and those blue boys they call lavender, in a potpouri, embalmed in salt. Mind you, embalmed - an honor granted only to roses and kings.

"I will be the most highly honored," the rose declared, as the old weed puller took her. "I am the happiest one, for I am to be embalmed."

Then two young men came strolling through the garden. One was a painter; the other was a poet. Each plucked a rose most fair to see. The painter put upon canvas a likeness of the rose in bloom, a picture so perfect and so lovely that the rose itself supposed it must be looking into a mirror.

"In this way," said the painter, "it shall live on, for generations upon generations, while countless other roses fade and die."

"Ah!" said the rose, "after all, it is I who have been most highly favored. I had the best luck of all."

But the poet looked at his rose, and wrote a poem about it to express the mystery of love. Yes, his book was a complete picture of love. It was a piece of immortal verse.

"This book has made me immortal," the rose said. "I am the most fortunate one."

In the midst of these splendid roses was one whom the others hid almost completely. By accident, and perhaps by good fortune, it had a slight defect. It sat slightly askew on its stem, and the leaves on one side of it did not match those on the other. Moreover, in the very heart of the flower grew a crippled leaf, small and green.

Such things happen, even to roses.

"Poor child," said the Wind, and kissed its cheek. The rose took this kiss for one of welcome and tribute. It had a feeling that it was made differently from the other roses, and that the green leaf growing in the heart of it was a mark of distinction. A butterfly fluttered down and kissed its petals. It was a suitor, but the rose let him fly away. Then a tremendously big grasshopper came, seated himself on a rose near-by, and rubbed his shins. Strangely enough, among grasshoppers this is a token of affection.

The rose on which he perched did not understand it that way, but the one with the green crippled leaf did, for the big grasshopper looked at her with eyes that clearly meant, "I love you so much I could eat you." Surely this is as far as love can go, when one becomes part of another. But the rose was not taken in, and flatly refused to become one with this jumping fop. Then, in the starlit night a nightingale sang.

"He is singing just for me," said the rose with the blemish, or with the mark of distinction as she considered it. "Why am I so honored, above all my sisters? Why was I given this peculiarity - which makes me the luckiest one?"

Next to appear in the garden were two gentlemen, smoking their cigars. They spoke about roses and about tobacco. Roses, they say, are not supposed to stand tobacco smoke; it fades them and turns them green. This was to be tested, but the gentlemen would not take it upon themselves to try it out on the more perfect roses.

They tried it on the one with the defect.

"Ah ha! a new honor," the rose said. "I am lucky indeed - the luckiest of all." And she turned green with conceit and tobacco smoke.

One rose, little more than a bud but perhaps the loveliest one on the bush, was chosen by the gardener for the place of honor in an artistically tied bouquet. It was taken to the proud young heir of the household, and rode beside him in his coach. Among other fragrant flowers and beautiful green leaves it sat in all its glory, sharing in the splendor of the festivities. Gentlemen and ladies, superbly dressed, sat there in the light of a thousand lamps as the music played. The theater was so brilliantly illuminated that it seemed a sea of light. Through it swept a storm of applause as a young dancer came upon the stage. One bouquet after another showered down, in a rain of flowers at her feet.

There fell the bouquet in which the lovely rose was set like a precious stone. The happiness it felt was complete, beyond any description. It felt all the honor and splendor around it, and as it touched the floor it fell to dancing too. The rose jumped for joy. It bounded across the stage at such a rate that it broke from its stem. The flower never came into the hands of the dancer. It rolled rapidly into the wings, where a stage hand picked it up. He saw how lovely and fragrant the rose was, but it had no stem. He pocketed it, and when he got home he put it in a wine glass filled with water. There the flower lay throughout the night, and early next morning it was placed beside his grandmother. Feeble and old, she sat in her easy chair and gazed at the lovely stemless rose that delighted her with its fragrance.

"You did not come to the fine table of a lady of fashion," she said.

"You came to a poor old woman. But to me you are like a whole rosebush. How lovely you are." Happy as a child, she gazed at the flower, and perhaps recalled the days of her own blooming youth that now had faded away.

"The window pane was cracked," said the Wind. "I got in without any trouble. I saw the old woman's eyes as bright as youth itself, and I saw the stemless but beautiful rose in the wine glass. Oh, it was the happiest of them all! I knew it! I could tell!"

Every rose on that bush in the garden had its own story. Each rose was convinced that it was the happiest one, and it is faith that makes us happy. But the last rose knew indeed that it was the happiest.

"I have outlasted them all," it said. "I am the last rose, the only one left, my mother's most cherished child!"

"And I am the mother of them all," the Rose Bush said.

"No, I am," said the Sunshine.

"And I," said the Dew.

"Each had a share in it," the Wind at last decided, "and each shall have a part of it." And then the Wind swept its leaves out over the hedge where the dew had fallen, and where the sun was shining.

"I have my share too," said the Wind. "I have the story of all the roses, and I shall spread it throughout the wide world. Tell me then, which was the happiest of them all? Yes, that you must tell, for I have said enough."

by Hans Christian Andersen 1868

今敏的世界

今敏上个月去世,他所有的动画片我都看了过去。这位大师也是YY的高手,以致很多人回想到后来诸多精神分裂和关于梦解析的电影都离不开这位领军人物的点拨,不过这点上大可不必纠结。今敏的作品不像宫崎骏之类以孩童为视角展现出一个梦的世界,相反我觉得他的动画都非常成人化(阴暗成分,性暗示),而核心展现出的仍旧是孩童般不加限制的想象力,对精神解析的功力使其在立意上也要深刻细腻得多。另外今敏绝对是女人至上主义的,他所有的作品几乎都会由一个女神般的人物来充当主角。
按照我看片的次序,看到《未麻的部屋》的时候的确认为有大卫林奇的范儿。一个导演不一定要出片量多,但势必有强烈的个人风格可循。最为我钦佩的要属今敏的《红辣椒》,在制作上我认为是一部集他大成的作品,是最能代表今敏的作品,这个故事源于作家筒井康隆的一本书,筒井很想把这个故事拍成真人电影却苦于资金力量的欠缺,于是找到了今敏(其实如果这些动画能拍成真人的话也将是件非常了不起的事)。而要说最喜欢今敏的哪部作品则很难选择了。《东京教父》是我认为的最亲切温馨的一部,特别记得那个红色魔鬼与蓝色魔鬼的故事,还有那句“能够自由表达...是爱的源泉”。

sherilyn fenn by gene lumie

you have no idea about how i love this dorama and sherilyn fenn~

我想是因为我爱生活吧

继续摘 毛姆<人生的枷锁>

菲利普是靠理性来欣赏作品的。他不由得暗自感叹:假如他身上也有那种所谓"艺术家的气质"(他讨厌这个用语,可又想不出别的说法),他就会像他们那样,也能借助感情而不靠推理来获得美的感受。他感到自己毫无匠心,不堪造就。他是用脑子来作画的。

"干吗不干了呢?" 菲利普沉吟了片刻。"我想是因为我爱生活吧。"

............

"哦,亲爱的老弟,要是你想做个正人君子,就千万别当艺术家。两者是水火不相容的。你听说过有些人为了赡养老母,不惜粗制滥造些无聊作品来骗取钱财—— 唔,这表明他们是克尽孝道的好儿子,但这可不能成为粗制滥造的理由。他们只能算是生意人。真正的艺术家宁可把自己的老娘往济贫院里送。我认识这儿的一个作家。有一回他告诉我,他老婆在分娩时不幸去世了。他爱妻的死,使他悲痛欲绝;但是当他坐在床沿上守护奄奄一息的爱妻时,他发现自己竟然在打腹稿,默默记下她弥留时的脸部表情、她临终前的遗言以及自己当时的切身感受。"

"要时时刻刻为生计操心,世上再没有什么比这更丢脸的了。那些视金钱如粪土的人,我就最瞧不起。他们不是伪君子就是傻瓜。金钱好比第六感官,少了它,就别想让其余的五种感官充分发挥作用。没有足够的收入,生活的希望就被截去了一半。你常听到人们说,穷困是对艺术家最有力的鞭策。唱这种高调的人,自己从来没有亲身尝过穷困的滋味。他们不知道穷困会使你变得多么卑贱。它使你蒙受没完没了的羞辱,甚至像癌一样地吞噬你的灵魂。艺术家要求的并非是财富本身,而是财富提供的保障:有了它,就可以维持个人尊严,工作不受阻挠,做个慷慨、率直、保持住独立人格的人。" (第五十一章)

Through The Devil Softly

如果不是网络的力量,我可能就此相信她不会再出现了。然而我又不是特别留意主动去找,只是她很自然地又回到视线中来。Hope Sandoval存于我的记忆里的,是穿着红裙,要么碎花,身后是永恒的幽蓝或翠青的冷,越久就越缥缈,就成了一个迷团,是迷人的迷。有一天突然看到有帖子说Hope出新专,都不敢相信了。这种打破沉静的突如其来,让人觉得,甚至都手足无措。这就好像,沉浸在同一个梦里多时,迫使我睁开双眼的那一刹那,然而我又很快沉醉过去了。

もしインターネットがないならば、あたしは彼女が出て来ないことを信じるかもしれない。それから、特に彼女を注意しなくて、しかし、彼女が自然に我らの視線へ帰ってくる。記憶中のHope Sandovalは、いつも赤いスカートを着て、時々小花柄ワンピースだ。背後はいつまでも青いや青緑色など冷たい。縹渺であって、謎になっていて、人を迷わせる。ある日、突然掲示板からよると、Hopeの新アルバムが今月出る、本当に信じがたいなあ。

沉到心底最深最柔弱的那个部分,不变的是Hope的声音,曾经的Mazzy Star。因为太久,也竟会觉得奇妙。Y跟我讲过现在不敢再去听Mazzy Star了,因为不想忍不住再掉进自闭绝望的情绪中,已没有精力再像从前——其实后期的Hope显得甜美,新专辑已找不见早期在乐器配合上的躁郁和锐气,背景都极度简单,对一个成长的歌手来说这些变化也顺理成章——从前爱过的低迷、伤感又美丽的歌,比如我也喜欢红房子,我想不起最后一次听在什么时候。谁都不会说噢该走了,我将留在你们的青春岁月里,Through the devil softly,实则时间也这样悄无声息地滑过。特定的情感在特定的年岁里才会产生的化学作用,像某种类似灵魂的交换。曾挑选钟情的曲子刻进CD,CD机还是好不容易靠说提高英文听力能力水平的借口才买来的,而如今,Mp3里仍保留着的不再担心被划伤的曲目,能给你带来某些熟悉场景的曲目。

心中に一番深くて、一番柔らかい一部に沈潜するのは、hopeの声だ、昔のmazzy starだ。長い時間だから、奇妙な感じいっぽうだ。yさんはあたしに「今さら、おそろくmazzy starのことを聞かないよ、」といって、「自閉絶望な気持ちの中で落ちたくないなあ、昔と違う若くないなあ。」 実は、前より後期のhopeがもっと甘いとおもう。特定の情感は特定の歳月のもとで、化学反応を発生できた。

而Mazzy Star于我就太熟悉了。昨天还听的是十多年前的歌,今天听的就是十年前同样的人唱的新歌。像生根发芽的过程。不过到最后,我猜我还是喜欢老歌。

けれども、あたしにとって、mazzy starがよく知っていた。昨日聞いたばかりのは十年前の曲、今日聞いているのは、同じ人十年後の新しい曲だ。でも最後まで、古い曲がもっと好きだとおもう。David Roback and Hope Sandoval

被戈达尔打败

看电影这个动作绝对是需要合适的对象,合适的心境,我恍悟。如果电影恰是“法国左派”的革命代表之作,觉得不得不看,那观者所要具备的观影素质,绝非上班族下班后企图重拾的那份情操的陶冶。文化毕竟不是休闲小菜。所以不想给自己造成更僵持和纠结的局面,除了打破时间规律的勇气,还必须要懂得情绪的变通,给自己积攒够时间,我们真正需要的是剩余精力的力量——这就是为什么年轻就是他妈的一切。 类似某个充足睡眠过的午后躺床上时所突发的感官脱节,伴随大脑神经隐隐作痛的效果。 往往我们一边地陈述一边却不能确定自己的表达,语言上的慌乱和迷失,被这种自我的不安全和不确定感带到了更遥远的深处,于是,诗歌产生了。只是戈达尔采用的工具是影像。同样,跨越时代这个历史动作的共通点,首先由无数个疑问所牵引,引发的无数思想上的空泛,而答案也恰恰在这其中。

而方法论的指引是以后的事了,在戈达尔的年代里这不是重点,他要做的是如何去打破。戈达尔的电影作品里,影像和声乐在意识领地里胡搅蛮缠,主观意识的介入带动观影客体的主动性,这种非连贯性的、意象上模棱两可的反复操作,考验的不仅仅是对一个纯粹故事的理解,它需要更多内在冲突上的解释。在这点上我并不主张事后去补救,继《筋疲力尽》,今晚我又看了《法外之徒》,也许哪天我会再拿出来温故知新,但今晚看过,我却不剩力气,本想倒头就睡却又有了点要胡说八道的欲望。关于观看戈达尔的其他远近闻名的作品,此时此景,我实在感到惧怕。我觉得是时候该换个角度出发,当先把自己全身心投入到法国新浪潮这个背景中去才是。

Monroe控


我自私,没有耐心,缺乏安全感,我还会常常做错事,经常失控,但如果你不能应付我最差的一面,你也不值得得到我最好的一面。


私は利己であるし、我慢できないし、安全感が欠いていた。そのうえ、手違いをよく生じて、コントロールもできなくなった。。ただし、もし貴方は私に一番悪い片面に応対できなかったら、一番いい片面をもらえなかった。


——Marilyn Monroe

直面过的惨淡人生


昨看到93年的时候MJ“娈童案”的主角突然站出来澄清事实的新闻,我着实冷笑了一下。不知道别人是怎么看待这件事,对我来说,这只是可悲的一部分。对MJ的突然离世,我称不上震惊、悲痛或怎么样,我对他生前媒体对之的林林总总也没有过分地关心。但即使这样,我也不能回避他有如上帝之子的巨星形象,他成就了一代人的经典,即使你跟他没什么关系也改变不了这个事实。

在这样是非莫辩、物欲浮华的年代,作为领袖的私生活是最值得考究的。MJ也明白这一点:不可控制的社会舆论。他自己就是个从来没得到过真正理解的孩子,孤独从未停止过。在MJ的自传里他的童年并不幸福,他有个被他形容为“最卑鄙”的父亲,十岁开始的夜总会生活使这个孩子饱经了各种世道的黑暗和丑陋面。他对父亲的憎恨使他更加憎恨自己,自卑和内疚感始终攫住他。MJ一直在做的就是要改变这一切,包括自己的人生,甚至自己的面容。还有他认为一个孩子本该拥有的尊重和爱。

成事者必纯粹,他的强大其实不难理解,逆境中的强烈愿望燃烧着他——Heal the world, We are the world, You are not alone——他像神一样歌唱。 歌德曾经描述能写出最美情诗的人内心却是痛苦与哭泣。比如海涅那样单纯而又敏感的诗人,一次爱情就可以让他写一辈子爱情诗。MJ造就的里程碑背后所藏匿的关于心灵和身体上的脆弱大抵也是如此罢。期望弥补这个世界曾对他的不公,没想一路的痴茫,与现实抗争的人生都是不可思议和充满危险。他所爱的却伤害之最深。

有不少这样的例子,当他们成为明星拥有了巨大财富,转变他们手中觉得愚蠢无比的金钱为世界做出意义的时候,我们才有机会去触碰到他们反差的内心世界。我联想到了Angelina Jolie,很强大很女神。从小Angelina Jolie爱把自己装扮成朋克女,叛逆无度放浪形骸,好刺青玩双性恋,用刀片自虐,迷恋死亡学... 用表现尖锐的个性来颠覆自己备受冷漠的存在感。她生活在单亲家庭,同样憎恨她的父亲,也同样在好莱坞成名的今天对贫民窟的孩子们表现出无条件的爱——除一生的自我求证,这些活在他人眼光里的明星在孩子们面前才真正回归成他们自己。

活法

今早电车上读到稻盛和夫的人生观,发现此人很相信意念的力量,他觉得人生的前景是跟着强大的信念走的,你越逃避的事情就越会发生在你的身上,这完全归结于意念的惩罚。当中举例他当时怎样预测到手机时代的到来,并准确预测到了合同价格,将来每月的基本话费是多少。这种"预见能力",稻盛和夫先生解释为首先要把它提高到一个强烈的愿望,直到你能"看得见"成功的意象。

有点像神话了。我觉得尊敬的稻盛和夫先生他具备的才能是他的那套哲学和思维方式,这套冷静坚韧的处事原则促使他能窥见到事物发展的客观规律,并准确判断周遭的动态并作出精准的判断。但我相信他的一个中心思想,首先一定要有梦想这个前提,这是超越现实,接近成功的原动力。我很喜欢他描写"强烈愿望"的一段话:全身上下从头顶到脚尖都充溢着这个愿望,就好比是身体划破后流出来的是"愿望"而不是血液一样。

我更爱你现在备受摧残的嗓子


最近才知道Jane Birkin还有个女儿叫Lou Dillon,裸露着出现在《Playboy》的封面上。同母异父的姐姐Charlotte Gainsbourg,我只听过她唱歌,比Lou要朴实得多。Lou有着更散乱的头发和不屑的性格,她更像一个fashion icon,年轻人啊。我就是怀念Jane Birkin,有Birkin的60年代很美,那些照片那些故事,曾经的Ex-fan des sixties和现在的。

Anywhere I Lay My Head

That's why I love her. We do have mutual enthusiasm for something, seriously. So, I'm not really surprised when she sing, because that's what I want to hear. Scarlett Johansson - Anywhere I Lay My Head
Year: 2008 Producer:Dave Sitek (Yeah Yeah Yeahs)

Tracklist:
1. Fawn (2:32)
2. Town with no cheer (5:03)
3. Falling down (4:55)
4. Anywhere I lay my head (3:39)
5. Fannin' street (5:06)
6. Song for Jo (4:09)
7. Green grass (3:33)
8. I wish I was in New Orleans (3:59)
9. I don't want to grow up (4:11)
10. No one knows I'm gone (2:57)
11. Who are you (4:49)
Scarlett的首张唱片,恶评如潮(只因她挫败了很多人原先美好的性幻想)。但我的感觉是听时倍感舒适,斯佳丽的声学我也十分赞赏。不能说我了解斯佳丽多少,我只是看过她的电影,搜集过她的照片(我终于有了个可以称之为青春偶像的人了么,我感谢她。)事实上,能留住我视线的并不只因她有多美,一开始我也没有真的注意到。

专辑除了原创曲Song For Jo,全是翻唱Tom Waits,在我看她只是利用了老Tom的歌词,小妮子还强悍地请来了David Bowie合声("Falling Down" and "Fannin' Street") 。整张CD听下来,我第一想到的是Nico,然后是Jesus and Mary Chain,Mazzy Star,My Bloody Valentine。。。很Indie,老天,不要太4AD!也许还不只是,我知道的真不多。难道有人单纯地指望她是Kylie Minogue那样的同类绝色?更恶劣的是还拿她和布兰妮相提并论?斯佳丽的胸部的确很直观,曲线很好莱坞,因为她其实完全不会介意。

懒得去做什么比较了,唱歌谁不会呢。我看到的是一个拥有丰富内心和独特爱好的姑娘,斯佳丽只管热衷于表达兴趣,也证明了并不是所有美女都热衷于对摇滚圈的人以身相许。这张《Anywhwere I lay my head》对我来说至少是音乐。音乐是可以令人畅游其中的,我喜欢没事听电影原声,这点来说这张唱片也合我的胃口。不讲一个人的声线该怎么样才对,音乐是可以去渲染一个场景,波动一种情绪。这里的人声就是乐器,高音或者低沉,起伏甚至隐藏,不管怎么样,斯佳丽有自己的方式。

Factory Girl

过分戏剧。过分说教。过分冷漠。过分坦白(或者苍白)。

吸血鬼一般的安迪.霍夫曼。

乳臭未干的鲍勃.迪伦。

除了迷你裙和烟不离手的Sienna Miller。不是Edie。

Jon Brion


从我喜欢的两部电影《Punch-Drunk Love》和《Eternal Sunshine of the Spotless Mind》中的绝佳配乐开始,我忍不住去寻找Jon Brion的音乐,进而再去找他配乐的电影。Brion应该是个有趣的人。他的音乐里奇幻、美妙还有少许的慵散,有时候更像是梦的舞步,陪同影像用各种实验玩味的电子、弦乐、键盘使电影的浪漫与哀愁产生各种微妙的化学反应。听过他改编的很多熟能详耳的曲子,像Radiohead的《Creep》、Led Zeppelin的《Stairway to Heaven》和Beatles的歌等等,对Brion的音乐表现我感到惊喜,之余就是音乐的这种愉悦的自由心境。也是我目前Mp3的Top Artist。

资料:Last FM
Throughout the '90s, Brion found himself increasingly in demand in the studio, producing and collaborating on albums by Aimee Mann, Fiona Apple, Rufus Wainwright, David Byrne, and the Eels and soundtracks including the Grammy-nominated Magnolia.Recently, Brion experimented Hip-Hop style as producer on Kanye West last album, "Late Registration". The result is brilliant, with real-life instruments mashed up with heavy beats. To complete this mutation, Kanye West did a live recording of his record at the mythic Abbey Road Studio, Jon Brion being the missing link between Hip Hop and The Beatles pop music.In addition to his prolific studio work, he also has held a long-term position as "the house band" Friday nights at the high-profile Hollywood nightclub Largo. At his live shows, the crowd can expect anything from guest appearances by Aimee Mann, Michael Stipe, Elvis Costello, T-Bone Burnett, or Grant Lee Phillips, and Brion is infamous for making up songs on the spot (often from titles shouted from the audience). He also is beloved for his quirky cover versions of songs by Cheap Trick, the Beatles, and Cole Porter, proudly likening his on-stage antics to "spraying musical Raid on the classics, until each dying song flips on its back and wiggles its little musical legs in surrender." Whatever music he was involved in, his eclectic touch undeniably shaped the sound of many progressive alternative musicians throughout the '90s.

twin peaks



"On the surface, ABC's Twin Peaks was a detective series like any other, its core intrigue summarized neatly in four delicious words: Who killed Laura Palmer? But cocreators David Lynch and Mark Frost (whose work on ''Hill Street Blues'' broke several rules itself) were never content with the easily explained, turning what could have been another run-of-the-mill series into a dreamscape of midgets and giants, one-armed men and log ladies, murder suspects and homemade pie. This four-disc set features the first seven hour-long episodes, plus commentary from directors, crew members, and writers, but it's sorely missing Lynch himself and the series pilot he directed (arguably the finest work of his career). But even these omissions can't detract from the brilliance of the show, one of the most innovative to ever grace the small screen."

-----By Stephen McGill

---------*---------------------------*----------------------*------------------------*----------
"do u believe soul?"
"several."
"more than one?"
"black foot legend. waking souls given lifes the mind in the body and dreaming souls wanders."
"dreaming souls... where they wander?"
"all the way places, to the land of dead."
"is there where Laura is? "
"reposing under the ground,Agent Cooper,it's the only thing i'm sure."

-----------*----------------------------*----------------------*-------------------------*------

yes, it's a part of dialoge of cult TV classic, "Twin Peaks". OK, you ask: "Why is watching a TV show from the early 1990s interesting?" To me, "Twin Peaks" was a magnificent show.The storylines were complex to a point of not being understandable (that whole Donna/James storyline didn’t make a bit of sense) But the show was terrific because it dealt with the battle between good and evil. And yes, sometimes evil won on that show. But the battle was very real - in a campy, David Lynch-TV style way.


And, i should say the TV show's success also have a key point, the very one ---tv soundtrack maker Angelo Badalamenti..he compositions snaked their way around the actors and scenes in a near perfect dance. Long after the television show had gone away, the music still stands on its own, and it still has that transporting effect on me.

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