首页>>娱乐>>滚动>>正文

成都新时代化妆美甲培训学校韩式定妆眉毛切眉术培训妙手咨询

2019年11月18日 10:38:58|来源:国际在线|编辑:京东问答
Business.商业。The music business.唱片业。Universals gamble.环球公司的游戏。A musical merger could create anew model, or a dozy mammoth.唱片行业的并购案可能会催生一种新的商业模式,亦或者是一个行动迟缓的;庞然大物;。A WISE gamble involves knowing when to hold, when to fold and when to run,croons Kenny Rogers , an artist released through EMIs Capitol Records . Some are now wondering whether Universal Music Group was wise to gamble quite so much money on EMIs recorded-music division, which it bought from Citigroup for £1.2 billion (.9 billion) in an auction in November last year. For a firm in the weakest segment of a struggling industry, it was a lot. And regulators in America and Europe may make it costlier still.肯尼?罗杰斯(Kenny Rogers)在通过百代(EMI)旗下的国会唱片公司(Capitol Records)发行的一首歌中,这样低声吟唱道:;聪明的牌手知道何时叫牌,他懂得扣牌的时机,他还明白几时该重返牌局;。环球唱片(Universal Music Group)去年11月在一次拍卖会上从花旗集团(Citigroup)手中以12亿英镑(折合19亿美元)的价格买入英国百代(EMI)的唱片部门。环球如此大手笔的冒险行为是否明智?一些业界人士对此表示怀疑。对处在这样一个苦苦挣扎的行业,而且是其发展最疲软市场中的公司来说,这的确是一大笔钱。此外,美国和欧盟相关监管部门的介入,可能令环球付出更高昂的代价。At issue is whether the deal would give Universal Music, the largest of the four major labels, an unfair advantage by letting it take over the smallest. Taking EMIs market share and handsome catalogue (from theBeatles to Katy Perry, pictured) would give Universal a 40-50% share of most markets, reckons Enders Analysis, a research firm. It would also give the company more than half of last years Billboard Top 100 hits, which would put it in an especially strong negotiating position with digital distributors, from iTunes to start-ups. ;This is just about getting a bigger piece of the cake,;says Martin Mills, head of the Beggars Group of independent record labels.但是人们目前考虑的重点是:允许全球四家主要唱片公司中规模最大的环球对规模最小的百代进行收购,此举是否会给环球带来不公平优势?英国市场研究公司Enders Analysis认为,百代唱片(EMI)的市场份额以及旗下众多的大牌艺人(从披头士—Beatles到凯蒂·佩里—Katy Perry,见下图)将会给环球公司带来大部分市场中40%-50%的份额。而这样的交易也同样意味着去年;告示牌百强单曲榜(Billboard Top 100 hits);中过半歌曲的发行都将由环球负责,这将使得环球在同数字音乐分销商iTunes及其它新秀公司谈判时处于一个特别强势的地位。马丁·米尔斯,英国独立音乐厂牌乞丐集团(Beggars Group)创始人兼主席,对此发表称,;这也只不过就是分到了一块比较大的蛋糕罢了!;。Hard times force singers to wear old sweet wrappers日子苦、预算紧,某些歌手只能以老式糖纸裹身登台了Regulators have been wary of further consolidation in the industry ever since Sony Music merged with BMGs recorded-music division in 2004. The European Commission duly delivered a long ;statement of objections; earlier this month. Though negotiations are confidential until the Eurocrats deliver their verdict in September, many predict that Universal will have to sell off quite a bit of EMI, including Virgin Music and EMI Classics.自从2004年索尼唱片公司(Sony Music)并购了贝图斯曼(BMG)的唱片部门之后,致力于行业反垄断的监管者们一直都在担心,该行业未来还会出现其他的合并案例。本月早些时候,欧盟委员会适时地发布了一份内容很长的;异议声明;(Statements of objections)。尽管在9月份欧盟官员公布裁决结果之前,磋商内容仍对外保密,但是许多业界人士推测,环球唱片公司将被迫出售EMI唱片部门旗下相当一部分品牌,其中包括维京(Virgin Music)和百代古典(EMI Classics)。Some expect such concessions to hamper the labels plans to make money from the deal. Universal has to pay Citigroup .75 billion in September regardless of the outcome. This puts Vivendi , Universals French parent, in an uncomfortable position, as it must reassure its increasingly tetchy shareholders that the £100m in predicted synergies will come to pass.有人预计,做出这样的让步,会阻碍环球公司计划通过这项交易实现盈利的目的。同时,不管9月份欧盟会公布怎样的裁决结果,环球唱片公司都需要付花旗集团(Citigroup)17.5亿美金。这样的形势,就使得环球的法国老东家—威望迪集团(Vivendi)处在了一个难堪的境地。因为它必须安抚好那些脾气越来越暴躁的股东们,告诉他们百代加入所产生的协同效应,将为集团带来预计1亿英镑的收入。These regulatory hurdles are good news for Universals rivals, particularly Warner Music, an especially loud opponent of the merger (though it had previously attempted to merge with EMI itself), which is keen to scoop up anything divested in the process. But some wonder why Universal ever chose to double down in such a grim market.面对环球遭遇的这些行业监管门槛,它的竞争对手们,特别是华纳唱片公司(Warner Music)感到很高兴。华纳唱片是这次交易案特别强烈的反对者(尽管之前它也试图想要收购百代),而且它一直都渴望能够收编那些在此次并购过程中被拆分出售的业务 。但是也有人对此怀有疑问,究竟环球唱片公司为什么将赌注双倍压在了这样一个不景气的市场上?Sales of recorded music have fallen by half in the past decade, from about billion in 2002 to .5 billion last year. Downloaded music is much cheaper than the old compact discs. Indeed, thanks to widesp piracy, it is often free.在过去的十年里,唱片业的销售额跌了有五成。从2002年的约130亿美元缩水到了2011年的65亿美元。因为从互联网下载的音乐比传统的CD光盘要便宜的多,而且;得益于;网络盗版的盛行,这些数字音乐经常可以免费得到。Small wonder, then, that music firms are scrambling to cut costs. EMI is in fairly good shape after being put on a diet by Terra Firma, the private-equity firm that owned it before Citigroup. Still, Universalis getting the part of EMIs business that is most vulnerable to disruptive technology. (Citigroup separately sold its stodgy but strong music-publishing division to a consortium headed by Sony for .2 billion. Regulators agreed to this deal last month, without much fuss.)有少部分人怀疑,也就是说,目前的音乐唱片公司都在努力缩减开。花旗集团接手之前的百代(EMI),经过私募股权投资公司—泰丰资本(Terra Firma)的操刀调整之后,处于一个比较良好的状态。而现在,环球公司即将收购的却是百代最容易受到科技侵扰的唱片事业部。(花旗集团单独将百代的音乐版权部门以22亿美元的价格出售给了以索尼为首的一个财团。尽管音乐版权是块;难啃的骨头;,但是却拥有强势的发展前景。上月,行业监管人员同意了这笔交易,而且并没有表现出太多的紧张和不安。)Rock and roll, and the blues摇滚乐和布鲁斯To convince people that its purchase makes sense, Universal is in the awkward position of having to send several messages at once, not all of them coherent. To investors, the company is explaining that the music industry is beginning to stabilise. Its future is rosier than most people think, and alarger Universal would be well-placed to cash in [6]on a recovery, goes the argument. The latest Nielsen SoundScan [11]figures could conceivably support this view, as they show a slowing rate of decline of album sales in America in the first six months of 2012.为了让公众相信,这项收购案是合情合理的,环球唱片公司被迫将零星的几条信息一起公布出来,而并非有条理地让大家了解全部实情,这就使得环球现在处于一种尴尬的境地。面对投资者,它解释称音乐行业已经开始逐渐回稳。有人认为,唱片业的前景要比大多数人想的美好,而且规模扩张的环球公司也将受益于行业复苏,使自己在未来处于有利地位。Nielsen SoundScan最新发布的数据对上述观点进行了有力的持。正如数字显示的那样,2012年美国地区上半年唱片销量下降的趋势正在逐渐减缓。To regulators, Universal and Vivendi are singing a completely different tune.They argue that record labels have been crippled by digital distributors such as Apples iTunes, and by piracy. They moan that music retailers dictate terms to them. They plead that they are so powerless that even getting much larger would not give them anything approaching the clout to curb competition in the music market.但是面对行业的监管者们,环球和威望迪(Vivendi)则完全唱起了不同的调调。他们争论道,类似苹果iTunes这样的数字分销商以及盗版音乐的存在,严重削弱了唱片行业的市场;他们还抱怨音乐零售商对他们颐指气使,发号施令。同时他们也在自我辩解,称自己如此无力,即使规模再大也不可能达到在音乐市场;一手遮天;的地步。Lucian Grainge, the head of Universal, tries to square this circle .He explains that the merger is an effort to ;invest in the future of theindustry;. The plan is not to cut costs and keep EMIs catalogue, but to ;build it back up; and maintain it as a separate company within Universal. He describes the deal as a way to ;turn the industry back to some sort of growth;, and promises to work with as many new distributors and platforms as possible.;It would be insane for us to not ensure that the artists we invest in are not in every single new platform.;作为环球音乐首席执行官的卢西恩?格兰奇(Lucian Grainge),正在尝试这样一件不可能完成的事。他解释道,这项并购是环球公司对;投资音乐产业未来;所做的努力。公司的计划并非削减开并同时保留百代旗下的艺人名录,而是要重振其雄风,并将百代作为一个环球内部独立的公司来运作。格兰奇把这项交易形容为一种可以;扭转行业现状,使其重回增长之路;的方式,同时他还承诺将会同尽可能多的新平台和新分销商进行合作。;如果我们不能保每一个公司投资的艺人都享有全新独立的工作平台的话,那么我们就显得太愚蠢了;。The snag is that the industry has yet to find a way to replace declining album sales. Digital sales are rising, but are still only a fraction of what CDs used to generate. Subscription services such as Spotify may appeal more to tech-savvy music aficionados than to casual buyers who might once have picked up a CD on the way home from work. Efforts to bundle music with mobile-phone or pay-TV subscriptions have failed to catch on.还有一个小问题就是,尽管唱片销售额在不断下滑,但是业界仍未找到可以替代传统音乐销售的方式 。数字音乐的销售额在上升,但是具体数量仍是以前CD销售数量的一小部分。在线音乐播放软件Spotify的订阅务可能对了解技术常识的;音乐控;吸引多一些;而那些随机消费者可能会选择在下班回家的途中拿起一张CD来听。所以,尽管试图将数字音乐同手机以及付费电视订阅进行捆绑销售,但是这种做法并未在市场中流行开来。Some suggest that a larger Universal will be more inclined to take risks on new business models. If it finds one, that could benefit record labels and artists. But others guess that the musical mammoth will plod along, milking its existing sources of cash and making it harder for a new, potentially benign distributor to enter the market.有人认为,规模扩大以后的环球唱片公司将有可能冒险采取新的商业模式。如果它找到了这样一条新的经营之道,那么音乐厂牌和旗下艺人都会因此获益。但是也有人猜测,像环球这样庞大的唱片公司在未来的发展道路上将会步履迟缓。在不断艰难挖掘现有财路的情况下,也使得新的、潜力良好的分销商很难进入当前的唱片市场。201208/195018WHEN Fred Luter, the pastor of a large congregation in a flood-damaged section of New Orleans, assumes the presidency of the Southern Baptist Convention (S) at its annual meeting in June, it will not be the usual passing of the baton for Americarsquo;s largest Protestant denomination. Mr Luter, who is black, will become the standard-bearer of a group with a long history of racism.弗雷德.路特是新奥尔良一个遭受洪灾破坏街区的大会牧师,在美南浸信会六月年会上接任会长,这将是美国新教最大教派领袖一次不同寻常的交接,路特这个黑人将成为这个有着悠久种族歧视历史教会的旗手。Prejudice coloured the S from its very founding in 1845, as a breakaway sect from the anti-slavery Baptists of the north. (After the civil war, most black Baptists in the South split off from the S.) During the civil-rights struggle, although the conventionrsquo;s leaders endorsed integration, most Southern Baptist pastors and most of their flocks were reliable defenders of white supremacy.作为抵制农奴制度美北浸信会的独立分,美南浸信会(S)从1845年成立之初就披上了歧视的色。 内战过后,南方的浸信会黑人大部分都离开了美南浸信会(S)。 在民权斗争期间,尽管教会领导持黑人加入,但南方的很多浸信会牧师和教会组织都坚持维护白人的优势地位。In 1995 the convention formally apologised and promised to make amends. In recent years it has passed a series of resolutions requiring its churches to include more black members and to appoint black leaders. (It has also considered breaking with its past by dropping the ;Southern;, becoming instead the awkward ;Great Commission Baptists;.)1995年,该教会做出正式道歉并承诺做出改善。 近年来,教会已经通过了一系列要求教会招募更多黑人会员以及任命黑人领导的决议。 (它还考虑过和过去划清界线,把名字中的;南部;一词去掉,改名为不太顺口的;浸信会大委员会;)Mr Luterrsquo;s accession will be the most visible sign yet that Southern Baptists are making progress on this front. And progress is necessary. They may be Americarsquo;s second-largest group of Christians after Catholics;16m strong;but their numbers have levelled off, and have probably even waned a bit. If the denomination wants to flourish, it will have to find new members among minorities. It is slowly doing so: whereas in 1990 95% of Southern Baptist congregations were white, only 80% are nowadays.然而路特的当选显然说明南方浸信会已经在这方面取得进步。 进步也是必不可少的。 该教会有望成为美国仅次于天主教(一千六百万教友)的第二大基督教会,但是他们(美南浸信会)的教友数目最近有持平的趋势,甚至可能有所下降。 美南浸信会要想发展壮大,必须在少数人群中寻找新会员, 这种行动已经缓步开展: 1990年时南方浸信会成员白人占95%,而今的白人只占80%。Their next leader is a living embodiment of that shift. Mr Luter took over Franklin Avenue Baptist Church in 1986, when the congregation had dwindled to a few dozen because its mostly white membership had fled to the suburbs. Mr Luter built it into a mostly black gathering that had 7,000 members when Hurricane Katrina struck, in 2005. The church, which stood in nine feet (three metres) of water after the storm, has been rebuilt; its flock now numbers about 5,000.教会的下任会长就是这一转变生生的体现。 路特于1986年接管富兰克林街道浸信会教堂,当时该教区信徒数目已缩小到了几十人,因为很多白人会员已经逃往郊区。路特一手把该教区发展光大,到2005年;卡特里娜;飓风来袭时,该教区已经有7千名信徒了,大多是黑人。教堂因飓风进水达3米,已经重建。现在的会员已接近5000人。Yet Mr Luterrsquo;s rise to the presidency of the organisation is more than a matter of symbolism. He is a true-blue Southern Baptist who inveighs against gay marriage and abortion from the pulpit, but also displays a gift for passionate, humorous preaching that has its roots in his past as a street minister. This has made him an inspiring speaker at previous S conventions. The man who first suggested his candidacy, Danny Akin, president of Southeastern Baptist Theological Seminary in Wake Forest, North Carolina, told a reporter then that he believed Mr Luter would be elected ;on merit, regardless of race or colour;. But, he added, ;he gives us an opportunity;to say something about who we want to be.;然而路特升职为会长不单是形式上的象征。 他是一位坚定的南方浸信会信徒,在讲坛上常常怒斥同性婚姻和堕胎;他还展现了幽默热情的布道天赋,作为街道牧师他的天赋展露无遗。 这也让他成为以往美南浸信会(S)集会上振奋人心的演说家。 首位推举他为候选人的是Danny Akin,北卡罗拉威客森林()南方浸信会神学院的院长,他告诉记者:路特的当选是因为德才,与种族肤色无关。 但他补充道,;他给我们一个机会...告诉世人我们究竟想成为什么样的人。;201203/174990Books and Arts; Book Review;Harry Belafontes autobiography;文艺;书评;哈利·贝拉方特自传;Twentieth-century lion;上世纪的名流;My Song: A Memoir of Art, Race and Defiance. By Harry Belafonte;《我的歌:追忆艺术,种族与反抗》哈利·贝拉方特著。IT ALL began with a set of Venetian blinds. In 1946 a couple in a Manhattan apartment building asked their janitor, a biracial Jamaican New Yorker newly returned from naval service in the second world war, to install a set in their flat. The task completed, they gave him two theatre tickets as payment. The janitor, having no money for the dinner that a proper date would have included, went on his own to see “Home is the Hunter”, a play about black servicemen returning to America after the war. He was enraptured. 这一切要从一套百叶窗帘说起。故事发生在1946年的曼哈顿,有对夫妇想在家里安装一套百叶窗帘,于是便叫来一位公寓清洁工,作为报酬,事后给了他两张戏票。想来,邀人看戏起码得请吃个饭,可无奈囊中羞涩,这清洁工就自个儿去美国黑人剧院看了场《家是猎人》。这出戏讲述了一位美国黑人士兵战后返乡的事,看着看着这哥们就陶醉了。The tenants, Clarice Taylor and Maxwell Glanville, performed in the play, which was put on by the American Negro Theatre (ANT). The janitor was, of course, Harry Belafonte.剧中表演者正是那对夫妇,克莱斯·泰勒与麦斯威尔·格兰维尔;而那清洁工呢,自然就是哈利·贝拉方特;说来,那时二战刚刚终了,结束海军役后,这个有着牙买加血统的美籍混血回到纽约,在一幢公寓里做起了清洁工。In short order Mr Belafonte also found his way into the ANT, where he not only acted but made “my first friend in life”, another poor, hustling West Indian named Sidney Poitier. The two of them hatched get-rich-quick schemes—Mr Poitier wanted to market an extract of Caribbean conch as an aphrodisiac—and they shared theatre tickets: they could only afford a single ticket between them, so one would attend before the interval and one after, then each would fill the other in. Mr Poitier got his break first: he took Mr Belafontes place in a play that the latter, still employed as a janitor, missed because he had to collect his tenants rubbish. It took Mr Belafonte several more years of struggling, and he gained fame not as an actor, for which he had trained, but as a singer, for which he had not, filling time during the interval at Lester Youngs concerts, where his first backup band included Max Roach and Charlie Parker.不久后,贝拉方特也找到了通往美国黑人剧院的门路。在那儿,他不仅演戏,还结实了“生命中第一个朋友” 西德尼·波蒂埃。和贝拉方特一样,这个来自西印度群岛的小伙儿生活拮据,为了生计四处奔波。私下里,二人策划了快速致富的计划:加勒比贝壳的提取物可拿来当使,波蒂埃就想带着货去市场卖;此外,哥俩还共用一张戏票。由于只付得起一张票钱,两人就以幕间休息为准,你来半场,我来半场,互换位置。波蒂埃首先打开局面,并在一出戏中挤掉了贝拉方特的戏份。而贝拉方特仍旧干着清洁,因为他还得打扫房客的垃圾,遗憾得错过了机会。又是几年过去了,经过奋斗,贝拉方特终于获得成功。这一次,他没有拾起老本去演戏,而选择从未训练过的职业,做起了歌手:李斯特杨的音乐会上,幕间休息时常见他一展歌喉,那时,在他最初伴奏乐队里还有着像麦克斯·罗奇,查理·帕克这样的人物。Looming over both this book and its subjects life are two ghosts: Millie, his formidable, perpetually dissatisfied mother; and Paul Robeson, whose combination of entertainment and political activism⑾ forged a path that Mr Belafonte would follow. But whereas Robesons activism ran headlong into early cold-war paranoia, blacklists and McCarthyism, Mr Belafonte was luckier: his career rose more or less in tandem with the American civil-rights movement.不论是本书还是贝拉方特的一生中,总有两朵阴霾不肯散去:一个是他的母亲米勒。这女人让人敬畏,而且永不知满足。另一个则是保罗·罗贝孙,他将与政治激进主义糅合,铺下前路,好让贝拉方特遵循。然而,正是他的激进行为,让其猛然栽入早期冷战妄想与麦卡锡主义中,并在各种黑名单上记录在案,与之相比,贝拉方特幸运多了:其职业生涯的崛起,多多少少与美国民权运动相连。Martin Luther King junior sought him out in 1956, just a few months after rising to fame during the Montgomery bus boycott⒀. King was then 26, and a preacher at the Dexter Avenue Baptist Church in Montgomery, while Mr Belafonte was 28 and newly crowned “Americas Negro matinée idol”. Mr Belafonte was sceptical of both religion and non-violence (“I wasnt nonviolent by nature,” he explains, “or if I was, growing up on Harlems streets had knocked it out of me”), but was won over by Kings humility. There is an especially touching scene from nine years later in which, following a celebrity-studded civil-rights fund-raiser in Paris, King, then a Nobel peace-prize winner, serves food to the assembled stars as “an exercise in humility, an act of abject gratitude to all these stars for coming out for him.” In a book that is riddled with many of the usual faults of celebrity autobiography—name-dropping, score-settling, preening and a rather ungallant treatment of his first wife and some of his children—Mr Belafontes portrayal of King stands out for its unfussy warmth and unhagiographical affection.1956年,蒙哥马利市爆发巴士抵制运动,一名来自德克斯特大街浸信会教堂的牧师声名鹊起。他,就是马丁·路德·金。几个月后,时年26岁的金找到贝拉方特,那时,后者28岁,新得美誉“通吃美国妇女的小黑哥”。贝拉方特不信教,也不信非暴力,(用他自己说是“我生来刚烈,就算不使用暴力,在哈林区混大,也叫人砸有了。”)却因金的谦逊而折。九年后的一幕最是感人心脾:那是在巴黎举行的一场民权筹款会,到场的尽是知名人士,金,这位诺贝尔和平奖桂冠竟为在场的群星盛放实物, 以此向为他而来的群星们行以“谦恭之举”,表达心中“无尽感激”。贝拉方特的这本书中,明星自传常有的缺点满眼皆是:不是提一笔名人来拔高自己身价,就是报复之辞,要么自我吹捧几句,再不就是描写原配与孩子时,不甚殷切。所以,在对金的刻画,更凸显出他那份知性的温情与平实的情怀。After the 1960s, “My Song” goes downhill quickly, but that is hardly a surprise: maintaining fame is never as interesting as achieving it. The book is also too long. Mr Belafontes ramblings about business deals that went sour and his agonising over the extraordinary privileges his children enjoyed grow tedious. And then there is his political judgment. Standing with Martin Luther King junior to fight injustice and oppression is quite different from standing with practised political oppressors such as Hugo Chávez and Fidel Castro. Still, Mr Belafonte does have a remarkable song to sing. Given its bth, and the welcome disappearance of the segregated world in which it began, such a song will not be sung again.上世纪60年代后,贝拉方特“唱”不动了,事业迅速下滑。但这并不奇怪:追逐名誉时,人们总是乐此不疲,但要永葆不衰,可就难咯。这本同名自传也够冗长的: 不是漫谈生意不顺,就讲孩子享受优待,当爹的很是焦虑的事,读着读着也觉得无聊。书中还叙述了其个人的政治判断:他既和老练得政治压迫者(比如雨果·查韦斯,菲德尔·卡斯特罗)有过交情,也曾与马丁·路德·金并肩,同歧视,压迫做过斗争。两者意义却大不相同。不过,贝拉方特还真有一首别致的歌要唱,但一来这歌受众不广,二来它出炉于种族隔离的时代,如今,人们早已敞开胸怀,愈合这个世界,如此看来⒆,此曲恐为绝唱哩!201207/190580

Obituary;Vann Nath讣告;凡纳Vann Nath, a Cambodian who painted to stay alive, died on September 5th, aged 65凡纳,用绘画保命的柬埔寨人,9月5日去世,享年65岁When he was 52, with a hand that still trembled, Vann Nath produced a painting of a young man lying under a blossoming tree. He was playing a pipe while, in the background, cattle grazed by green palms in some bucolic corner of Cambodia. It was meant to be a self-portrait, he said, a beautiful memory from his childhood. He wanted only to paint idyllic landscapes now, in the style of temple murals or the French Impressionists who had first inspired him to take up art. 52岁的时候,用还在颤抖的手,凡纳(Vann Nath)画了一幅画:一位少年躺在开满花的树下吹着牧笛,牛儿在吃草,背后是柬埔寨某些村落里可见的绿棕榈。他说这原本是幅自画像,是童年的美好回忆。现在的他只想画田园风光,像寺院壁画或法国印象派那样,是他们把自己领上了艺术之路。That was because, in 1978-79, he had been made to paint quite different pictures. In those months he was interned in S-21 prison, a former French lycée in Phnom Penh which had been converted into a torture-compound for alleged enemies of the Khmer Rouge regime. Perhaps 14,000 people were sent to S-21 for a daily routine of electrocution, water-boarding and flagellation before being carted off for execution—a shovel or spade to the head—at the nearby “killing fields”. Mr Vann Nath was one of only six or seven prisoners to make it out alive.这是因为,1978-79年间他被迫作的画与此大相径庭,他被囚禁在S-21监狱数月,S-21前身是金边市内一所法国高中,后被红色高棉政权改造成为关押其宣称敌人的刑讯地。据计大概有14,000人被送进S-21监狱,接受日常惯例的电击,水刑和鞭刑,直到在附近的“杀人场”被断头处决——用铁锹或铁锨击打头部。凡纳是仅存的六七名生还者之一。He never expected to. Like almost all the others, he had no idea why he had been sent there. He was not an intellectual; his family was poor and provincial, and he just a painter in a small business making signs and billboards. In 1975, obedient to the Khmers Rouges, he had joined a peasant commune and worked hard there. When he first saw the wasted prisoners in S-21, he thought it was all over for him. But after withering away for a month, fed so sparely on rice gruel that he felt an urge to consume the flesh of the dead, he was asked to paint portraits of the regime’s leader, Pol Pot.他从未想到这些。和众多人一样,他不知道自己为什么被送到这里。他不是知识分子,远在乡下,家境贫寒,他只是一家小牌匾公司的画师。1975年,他从红色高棉下达的命令,加入一个农民公社,在那里卖力劳动。第一次看到S-21里羸弱不堪囚犯的时候,他想一切都结束了。一个月过去他逐渐消瘦萎靡,吃的不过是稀粥,他只想速死。但这时有人要他去画领袖像:红色高棉的领袖波尔布特(Pol Pot)。At first he thought he could not do it. The shocks and beatings meant that he could barely stand. Besides, he had no idea what Pol Pot looked like, and only a black-and-white photograph to copy. All the time he painted, day and night, the screams of the tortured echoed from other rooms. He hoped, with every brush-stroke, that his jailers would like his work and let him live. He focused by thinking how much he would like to kill the man he drew.起初他觉得自己做不来。但他受不了电击和殴打。此外,除了一张黑白照片可供描摹,他不知道波尔布特是什么模样。他一直在画,夜以继日,其他的房间里回荡着受刑者的惨叫。每画一笔,他都希望看管他的狱卒会喜欢这幅画,让他活命。他多想杀掉画中人,他靠着这种想法来集中精力。Nonetheless, he carried out the task to the satisfaction of Duch, the prison commandant, the one—and still only—former cadre now being held to account for his role in the revolution. For his flattering portraits, giving Pol Pot a fresh-faced girl’s rosy cheeks, Mr Vann Nath’s name in the prison ledger was tagged “Keep for use”. But for that “keeping”, he often said, he would be dead.尽管如此,因为自己那幅曲意逢迎,赋予波尔布特少女般玫瑰面庞的画作,他完成的这次任务让监狱长杜赫——目前唯一为自己在那场革命中的角色负责并受到控制的前柬共干部满意。凡纳的名字在监狱名单上被归类为“留着用”。他经常说,如果不是那个“留”字,他可能就死了。When a Vietnamese invasion swept the Khmers Rouges from power, in January 1979, his portrait-painting ended. But in 1980-81 an even more harrowing spell of art began. The fleeing warders of S-21 left behind troves of documents outlining the prison’s work, but it was Mr Vann Nath, painting his memories in sombre oils, who showed most vividly what had happened there. Blindfolded men, women and children trucked into the compound in the middle of the night. Men carried, trussed like pigs, on bamboo poles. Babies torn from their mothers’ arms—to be smashed against walls, he learned later. Prisoners prodded, whipped and steered by stone-faced cadres into holding cells to be crammed side by side, like decaying logs. For many years after the Khmers Rouges fell from power, the upper echelons of the regime denied S-21’s existence. Mr Vann Nath caught its reality in furtive glances, as he moved from cell to workshop.1979年1月,一越南军队扫清红色高棉政权,凡纳也停止了画人像。但1980-81年间是一段更让人锥心蚀骨的艺术开始。仓皇逃窜的S-21狱卒留下的文件书写了监狱运作的大体轮廓,然而正是凡纳用昏暗,严肃的颜料描绘出的个人记忆,才活生生的展示了那里曾经发生的过往。午夜时分,蒙住眼的男子,妇女和儿童被卡车运进集中营。男人被扎在竹竿上,像猪一样;婴儿从母亲的怀里被扯出来——不久凡纳才明白,婴儿会被摔死在树上;囚犯被面如铁石的狱卒刺戳,鞭打,扭送进囚禁室,再一个挨一个的挤在一起,像正在腐烂的木头。红色高棉丧失权力很多年后,此政权高层仍然否认S-21的存在。而凡纳在囚禁室到作画室的路上,一次次用秘密的一瞥记录下了S-21的现实。He painted by stilling his mind, in a process both painful and therapeutic. But painting still made no sense of what he had seen. It seemed to him that Cambodia could not cleanse itself of such an evil, and that his works were not good enough to do such horror justice. He only hoped the souls of those who had died would get some ease from them.他静下心来作画,这是痛苦和治愈的过程。但绘画不足以澄明他看到的一切。在他看来,柬埔寨似乎永远无法洗清这场罪恶,他的作品也做不了如此令人恐惧的审判,他只希望逝者能从画中得到一些慰藉。When S-21 was turned into a museum of the national self-genocide he had witnessed, some of his pictures hung on the walls. One day, for the first time since 1979, he saw one of his former jailers there, a “tiger” he had ded. Having puffed a few cigarettes to steel himself—for he was always a man of poise, despite his tormented past—he approached him affably and guided him by the shoulder to his paintings hanging there. “Is this accurate?” he asked. It was, the jailer conceded.当S-21集中营变成纪念柬埔寨国家自我屠杀物馆后,他看到墙上挂着自己的一些作品。一天,他自1979年后第一次在那儿看到了关押过自己的一名狱卒——他曾惧怕过的一只“恶虎”。凡纳吸了几口烟让自己坚强起来——尽管他受过折磨,可他一直是个泰然自若的人——他像走近朋友那样走近那位狱卒,扶着他的肩膀带他看自己的画。“画的准吗?”他问。是那样,那名狱卒承认道。The international media, whose questions about S-21 he patiently answered time after time, called him Cambodia’s Goya. He brushed it off. His principal fear was that young Cambodians would not learn about—or, worse still, would not believe—what he had witnessed. He painted, he said, so that Cambodia would never turn on itself so monstrously again.国际媒体不断询问关于S-21的事,他都耐心作答。媒体称他是柬埔寨的戈雅,他对此不置臧否。他最深的恐惧是年轻一代柬埔寨人可能不会了解这些——或者更糟,不会相信他所见的一切。他作画,他说,这样柬埔寨就不会再次变得如此怪异,如此邪恶。Silent witness沉默的人Two years ago Mr Vann Nath took the stand as a witness against Duch, his former master, who is now appealing a 35-year jail sentence handed down by a UN-backed war-crimes court in Cambodia. A second trial, of four senior leaders of the regime, is not expected to start until next year. The defendants say they are too ill to stand trial. They are attended, however, by a world-class team of doctors; Mr Vann Nath, who suffered years of kidney disease, struggled to afford even basic care. His testimony will be missing from subsequent proceedings. His paintings, however, speak for him.两年前凡纳作为人出庭,指他从前的主人——杜赫,杜赫被联合国持的柬埔寨战争罪法庭判处有期徒刑35年,现在正在为此上诉。由四名柬埔寨资深法官主持的二审要到明年才开始。那些被告说自己已经年老体衰,经不住审判,他们被囚禁,却受到一队世界级医生的照顾;而凡纳饱受多年的肾病折磨,却要努力维持甚至基本的护理。接下来的庭讯人们再不会听到他的词,然而他的画会代他说出心声。 201208/193383

  • 久久典范阿坝州韩式半永久绣眉学校
  • 德阳化妆学校
  • 快问口碑成都臻美纹绣培训纹绣绣眉培训好吗
  • 简阳市最好的纹绣学校
  • 最新报自贡vikey韩式纹绣培训学校收费多少贵吗管信息
  • 成都新时代培训学校韩式半永久纹眉定妆培训
  • 遂宁有名的纹绣师爱问频道四川碧莜缇纹绣学校学眉妆眼妆水雾眉多少钱
  • 美丽乐园德阳纹绣 学校
  • 成都枫尚化妆学校地址官网在哪里
  • 好乐园成都/学唇部纹绣多少钱
  • 华蓥市漂唇培训学校哪家好
  • 甘孜藏族自治州中华纹绣网京东咨询江油市学文眉绣眉多少钱
  • 普及面诊成都/首秀培训机构学习韩式半永久雾眉毛多少钱
  • 乐山半永久韩式眉培训学校哪家好
  • 绵阳半永久化妆术培训学校快问养生乐山纹绣培训机构
  • 99大夫成都素秀国际化妆学校崇州分校学纹绣整形平眉眉型价格
  • 安分类成都/环亚美容培训学校学纹绣绣眉培训多少钱京东指南
  • 崇州市高级纹绣培训
  • 飞度云知识成都/古积纹绣学校学韩式半永久纹绣多少钱爱在线
  • 泸州彩妆学校
  • 彭州市学化妆造型多少钱
  • 四川学习韩式半永久定妆
  • 国际在线娱乐微信

    返回顶端