Longreads Best of 2020: Music Writing
A long, long time ago / I can still remember / How that music used to make me smile—Don McLean, American Pie
很久很久以前/我仍然记得/音乐曾经如何让我微笑——唐·麦克莱恩，美国派
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## Like A Shovel and a Rope (David Ramsey, Oxford American)
## 就像铲子和绳子（David Ramsey，牛津美国大学）
In the before times, a little over a year ago, we traveled to Savannah, Georgia, for a music festival.
以前，一年多前，我们前往佐治亚州萨凡纳参加音乐节。
It was fall, but still sweltering.
虽已入秋，但依然闷热。
We stood for hours directly in front of the stage, shoulder-to-shoulder with sweaty strangers who, too, love music.
我们在舞台前站了几个小时，与同样热爱音乐、满头大汗的陌生人肩并肩。
This seems like a heat-induced fever dream, an act now incomprehensible.
这看起来像是一场由热引起的发烧梦，这种行为现在令人难以理解。
The day’s highlight was seeing Shovels & Rope — the husband-and-wife duo of Michael Trent and Cary Ann Hearst — play live.
当天的亮点是观看迈克尔·特伦特 (Michael Trent) 和卡里·安·赫斯特 (Cary Ann Hearst) 夫妻二人组 Shovels & Rope 的现场表演。
The energy and intensity of their performance outshone the sun on that humid Georgia afternoon.
在佐治亚州那个潮湿的下午，他们表演的能量和强度比阳光还要耀眼。
At Oxford American, David Ramsey’s intimate portrait of the hardest-working couple in rock ‘n’ roll is a love letter written in 40 short parts.
在牛津美国大学，大卫·拉姆齐 (David Ramsey) 用一封由 40 个简短的部分写成的情书，对摇滚界最努力的夫妇进行了亲密的描绘。
Ramsey captures not only the je ne sais quoi of Shovels & Rope, he documents the down and dirty, the ordinary sleepless exasperation of raising a family while writing, recording, and touring.
拉姆齐不仅捕捉到了《Shovels & Rope》中难以言表的东西，他还记录了在写作、录音和巡演时抚养家庭的卑微、肮脏和普通的不眠之夜。
Many of their best songs have a deliberateness on the topic of how to build a life, both wistful and hard-edged.
他们的许多最好的歌曲都深思熟虑地探讨了如何建立生活的主题，既渴望又尖锐。
“Making something out of nothing with a scratch and a hope,” they sing on “Birmingham,” their origin-myth anthem, “two old guitars like a shovel and a rope.”
“带着一丝希望，从无到有，”他们在神话起源歌曲《伯明翰》中唱道，“两把旧吉他就像一把铲子和一根绳子。”
There is a way of singing that is a distant cousin of the temper tantrum.
有一种歌唱方式是发脾气的远房表亲。
A sound that simmers at the bend and snap of the spirit, fragile and fierce.
一种在精神弯曲和断裂时沸腾的声音，脆弱而激烈。
We are peculiar animals that sing songs to each other, but we are still animals.I think what got me hooked on the way that Cary Ann sings shares something of this current, the way something so powerful could have such brittle edges.
我们是互相唱歌的奇特动物，但我们仍然是动物。我想是什么让我着迷于卡里·安的歌唱方式，分享了这种潮流的一些东西，如此强大的东西可能有如此脆弱的边缘。
Shovels & Rope is like this, too—they seem to conjure in each other a kind of frenzy, grease and fury, tender cries at the edge of a scream.
《铲子与绳子》也是如此——它们似乎在彼此身上召唤出一种疯狂、油脂和愤怒，尖叫边缘温柔的哭声。
They are an anthemic band, but their medium is the fragility of the anthem: Something about to break.
他们是一支国歌乐队，但他们的媒介是国歌的脆弱性：即将破碎的东西。
There is a way of singing that is a distant cousin of the temper tantrum.
有一种歌唱方式是发脾气的远房表亲。
A sound that simmers at the bend and snap of the spirit, fragile and fierce.
一种在精神弯曲和断裂时沸腾的声音，脆弱而激烈。
We are peculiar animals that sing songs to each other, but we are still animals.
我们是互相唱歌的奇特动物，但我们仍然是动物。
I think what got me hooked on the way that Cary Ann sings shares something of this current, the way something so powerful could have such brittle edges.
我认为是什么让我着迷于卡里·安的演唱方式，分享了这种潮流的一些东西，如此强大的东西可能有如此脆弱的边缘。
Shovels & Rope is like this, too—they seem to conjure in each other a kind of frenzy, grease and fury, tender cries at the edge of a scream.
《铲子与绳子》也是如此——它们似乎在彼此身上召唤出一种疯狂、油脂和愤怒，尖叫边缘温柔的哭声。
They are an anthemic band, but their medium is the fragility of the anthem: Something about to break.
他们是一支国歌乐队，但他们的媒介是国歌的脆弱性：即将破碎的东西。
The thing that they do, I hesitate to say that you have to be there, but—there is an intimacy and devilment to their live performance, a lift and crash, that has been hard to capture on record.
他们所做的事情，我犹豫是否要说你必须在那里，但是——他们的现场表演有一种亲密和邪恶，升起和坠落，这是很难在记录中捕捉到的。
So that their art, like the lives they have carved out for themselves, is a thing on the move, uncatchable as a storm.
因此，他们的艺术就像他们为自己创造的生活一样，是一种流动的事物，像风暴一样无法捕捉。
Home and the road and home on the road.
家与路，家在路上。
## Pure Magic: The Oral History of Prince’s Super Bowl XLI Halftime Show (Alan Siegel, The Ringer)
## 纯魔法：Prince 超级碗 XLI 中场秀的口述历史（艾伦·西格尔、《The Ringer》）
When I think of Prince, I remember his musical genius.
当我想到普林斯时，我就想起他的音乐天才。
How when he did something, he did it his own way and how his way was always a sharp cut above, a sneak peek into his brilliance, which seemed to radiate from him like heat from the sun.
当他做某事时，他以自己的方式做事，而他的方式总是在上方锐利地切割，让人瞥见他的才华，这似乎从他身上散发出来，就像太阳的热量一样。
His approach to the 2007 Superbowl half-time show was no different, from how he secured the job and created the setlist, to how he ignored the traditional pre-event press conference requirement to play a few songs instead.
他对 2007 年超级碗中场表演的态度没有什么不同，从他如何获得工作和创建歌单，到他如何忽略传统的赛前新闻发布会要求播放几首歌曲。
Then of course, there was his legendary game-day performance — in the pouring rain, to boot.
当然，还有他在比赛日的传奇表演——在倾盆大雨中。
A truer artist there never was.
从来没有比这更真实的艺术家。
Meglen: We had a little meal, just the four of us.
梅格伦：我们吃了一点饭，只有我们四个人。
At the end of the meal, Prince reached down, and he had a little portable DVD player, because that’s what you had at the time.
用餐结束时，普林斯伸手，手里拿着一个小型便携式 DVD 播放器，因为那是你当时所拥有的。
We weren’t going online at that point.
那时我们还没有上网。
He had a bunch of the previous Super Bowl halftimes.
他在之前的超级碗半场比赛中表现出色。
And he basically was critiquing them, saying, “This was good but I wouldn’t have done this.”Hayes: This is what his thing is: “I don’t care about how you did it before.
他基本上是在批评他们，说：“这很好，但我不会这样做。”海耶斯：这就是他的事情：“我不在乎你以前是怎么做到的。
This is how I do it.”Meglen: Which finally prompted Saltz to go, “What would you do?” He looked at Saltz, and in his normal Prince way, said, “Sir, follow me, please.” And the three of us followed him upstairs into the living room.
我就是这样做的。” 梅格伦：这最终促使萨尔茨问道，“你会怎么做？”他看着萨尔茨，以他一贯的王子方式说道：“先生，请跟我来。”我们三个人跟着他上楼进了客厅。
And the entire band was standing there in position.Hayes: He tried to give us a heads-up just to make sure we were on point.
整个乐队都站在那里。Hayes：他试图给我们一个提示，以确保我们处于正确的位置。
Just so, like, everybody knew their stuff.Meglen: He went over, put on his guitar, and said, “Hit it.”Arzate: He gave us actually all a private show.
就这样，就像，每个人都知道他们的东西。 Meglen：他走过去，戴上吉他，然后说，“击中它。” Arzate：他实际上给我们所有人带来了一场私人表演。
The cleaning people, myself, and the executives.
清洁工、我自己和管理人员。
Meglen: We had a little meal, just the four of us.
梅格伦：我们吃了一点饭，只有我们四个人。
At the end of the meal, Prince reached down, and he had a little portable DVD player, because that’s what you had at the time.
用餐结束时，普林斯伸手，手里拿着一个小型便携式 DVD 播放器，因为那是你当时所拥有的。
We weren’t going online at that point.
那时我们还没有上网。
He had a bunch of the previous Super Bowl halftimes.
他在之前的超级碗半场比赛中表现出色。
And he basically was critiquing them, saying, “This was good but I wouldn’t have done this.”
他基本上是在批评他们，说：“这很好，但我不会这样做。”
Hayes: This is what his thing is: “I don’t care about how you did it before.
海耶斯：这就是他的风格：“我不在乎你以前是怎么做到的。
This is how I do it.”
我就是这样做的。”
Meglen: Which finally prompted Saltz to go, “What would you do?” He looked at Saltz, and in his normal Prince way, said, “Sir, follow me, please.” And the three of us followed him upstairs into the living room.
梅格伦：这最终促使萨尔茨问：“你会怎么做？”他看着萨尔茨，以他一贯的王子方式说道：“先生，请跟我来。”我们三个人跟着他上楼进了客厅。
And the entire band was standing there in position.
整个乐队都站在原地。
Hayes: He tried to give us a heads-up just to make sure we were on point.
海耶斯：他试图给我们一个提示，以确保我们处于正确的位置。
Just so, like, everybody knew their stuff.
就这样，每个人都知道自己的东西。
Meglen: He went over, put on his guitar, and said, “Hit it.”
梅格伦：他走过去，戴上吉他，然后说：“弹吧。”
Arzate: He gave us actually all a private show.
Arzate：他实际上给我们所有人带来了一场私人表演。
The cleaning people, myself, and the executives.
清洁工、我自己和管理人员。
Mischer: When we said, “You’ll have to have a press conference.
米舍尔：当我们说，“你必须召开新闻发布会。
They would like to interview you,” Prince point blank said, “I don’t do interviews.”Mischer: He said, “I’m just gonna play for them.” And we said “OK.”
他们想采访你，”普林斯直截了当地说，“我不接受采访。” 米舍尔：他说，“我只是为他们效力。”我们说“好吧”。
Mischer: When we said, “You’ll have to have a press conference.
米舍尔：当我们说，“你必须召开新闻发布会。
They would like to interview you,” Prince point blank said, “I don’t do interviews.”
他们想采访你，”普林斯直言不讳地说，“我不接受采访。”
Mischer: He said, “I’m just gonna play for them.” And we said “OK.”
米舍尔：他说，“我只想为他们效力。”我们说“好吧”。
Shelby J.: As we’re walking to the stage I’m like, “I think I’m gonna be sick.” All I can see ahead of me is all these cameras.
Shelby J.：当我们走向舞台时，我想，“我想我会生病。”我眼前所能看到的就是所有这些摄像机。
And so there were these doors over to my left, I didn’t say a word to anybody.
所以我左边有这些门，我没有对任何人说一句话。
I just kindly excused myself for a moment.
我只是善意地原谅了一会儿。
There were bushes outside.
外面有灌木丛。
I literally got sick, stood back up, and was like, “OK.” And people were [there] in their Super Bowl garb, but they don’t know me from a can of paint, so I was cool with that.
我真的生病了，站了起来，然后说：“好吧。”人们穿着超级碗服装，但他们不知道我是从一罐油漆中认识的，所以我对此很冷静。
I shut the door and came back in.Adande: Prince and all his people come out and kind of pick up their instruments, and take their positions.Flanked by Australian dancers Nandy and Maya McClean—the Twinz—Prince stepped up to the microphone in a salmon-colored suit, thanked Mischer, and addressed the reporters sitting in front of him.
我关上门，又回来了。阿丹德：普林斯和他的所有人都出来了，拿起乐器，就位。在澳大利亚舞者南迪和玛雅·麦克林（Twinz）的两侧，身着鲑鱼色西装的普林斯走到麦克风前，向米歇尔表示感谢，并向坐在他面前的记者发表讲话。
“We hope we don’t rock your ears too much,” he said.
他说：“我们希望不要让你的耳朵受到太大影响。”
“Contrary to rumor, I’d like to take a few questions right now.” At that moment, someone in the crowd blurted out, “Prince, how do you feel about performing …”Adande: I think it was a plant.Gongaware: It was one of the sportswriters.Adande: Before he could even finish [the question], Prince just breaks into “Johnny B.
“与传言相反，我现在想回答几个问题。”就在这时，人群中有人脱口而出：“Prince，你对表演感觉如何……” Adande：我认为那是一株植物。Gongaware：那是一位体育记者。Adande：还没等他说完（问题），Prince 就突然插上了“Johnny B.
Goode.”
古德。”
Shelby J.: As we’re walking to the stage I’m like, “I think I’m gonna be sick.” All I can see ahead of me is all these cameras.
Shelby J.：当我们走向舞台时，我想，“我想我会生病。”我眼前所能看到的就是所有这些摄像机。
And so there were these doors over to my left, I didn’t say a word to anybody.
所以我左边有这些门，我没有对任何人说一句话。
I just kindly excused myself for a moment.
我只是善意地原谅了一会儿。
There were bushes outside.
外面有灌木丛。
I literally got sick, stood back up, and was like, “OK.” And people were [there] in their Super Bowl garb, but they don’t know me from a can of paint, so I was cool with that.
我真的生病了，站了起来，然后说：“好吧。”人们穿着超级碗服装，但他们不知道我是从一罐油漆中认识的，所以我对此很冷静。
I shut the door and came back in.
我关上门又回来了。
Adande: Prince and all his people come out and kind of pick up their instruments, and take their positions.
阿丹德：普林斯和他的所有人都出来了，拿起他们的乐器，就位。
Flanked by Australian dancers Nandy and Maya McClean—the Twinz—Prince stepped up to the microphone in a salmon-colored suit, thanked Mischer, and addressed the reporters sitting in front of him.
在澳大利亚舞者南迪和玛雅·麦克林（Twinz）的陪伴下，身着鲑鱼色西装的王子走到麦克风前，向米歇尔表示感谢，并向坐在他面前的记者发表讲话。
“We hope we don’t rock your ears too much,” he said.
他说：“我们希望不要让你的耳朵受到太大影响。”
“Contrary to rumor, I’d like to take a few questions right now.” At that moment, someone in the crowd blurted out, “Prince, how do you feel about performing …”
“与传言相反，我现在想回答几个问题。”就在这时，人群中有人脱口而出：“王爷，您表演的感觉如何……”
Adande: I think it was a plant.
阿丹德：我认为这是一种植物。
Gongaware: It was one of the sportswriters.
gonaware：是一位体育记者。
Adande: Before he could even finish [the question], Prince just breaks into “Johnny B.
阿丹德：普林斯还没来得及说完[问题]，就插嘴说“Johnny B.
Goode.”
古德。”
## Push Play (Chris Dennis, Guernica)
## Push Play（克里斯·丹尼斯，格尔尼卡）
Throughout our lives, most thinking human beings struggle with the question of who we are.
在我们的一生中，大多数有思想的人都在为“我们是谁”这个问题而奋斗。
As Chris Dennis so eloquently puts it, “We align ourselves with some predominant pattern to alleviate not just our own loneliness, but the perceived loneliness of others around us—until some wild, original thing appears and, against our simpler nature, we leap for it.” For Dennis, loving the music of Dolly Parton and her unabashed conviction in being her made-up, bouffant, silicone-enhanced self helped him understand his own identity.
正如克里斯·丹尼斯（Chris Dennis）雄辩地指出的那样，“我们使自己与某种主要模式保持一致，不仅是为了减轻我们自己的孤独感，也是为了减轻我们周围其他人的孤独感——直到一些狂野的、原创的事物出现，与我们简单的本性相反，我们跳向它。”对于丹尼斯来说，热爱多莉·帕顿的音乐，以及她毫不掩饰地坚信自己是化妆、蓬松、硅胶增强的自我，帮助他了解了自己的身份。
In the fall of 1986 I turned seven years old, and my father gave me a used black Magnavox boombox.
1986 年秋天，我七岁了，父亲给了我一台二手的黑色 Magnavox 音箱。
It was sitting on the coffee table when I came home from school.
当我放学回家时，它就放在咖啡桌上。
“Push play,” my dad said, and the look on his face confused me, until I realized that the surprise—the actual gift—was the cassette tape he’d already put in the player.
“推播放，”我爸爸说，他脸上的表情让我困惑，直到我意识到惊喜——真正的礼物——是他已经放进播放器的盒式磁带。
So I pushed play.
所以我推动了比赛。
Looking back, it’s obvious that he had fast-forwarded to the song he knew I would immediately recognize and want to hear, because I’d heard it on the radio in the car several times and sang all the words.
回想起来，很明显他已经快进到了他知道我会立即认出并想听的那首歌，因为我在车里的收音机里听过这首歌好几次，并唱出了所有的歌词。
But when I pushed play, I suddenly felt embarrassed, uncertain, because I loved the song very much and the gift meant that my dad knew: that he saw me, and approved of my loving it.
但当我按下播放键时，我突然感到尴尬、不确定，因为我非常喜欢这首歌，而这份礼物意味着我爸爸知道：他看到了我，并认可了我对它的喜爱。
I couldn’t have articulated it then, but I wasn’t sure if I wanted my dad to understand me in this way.
当时我无法清楚地表达出来，但我不确定我是否希望我的父亲以这种方式理解我。
I had some ineffable sense that loving Dolly Parton might be something I should hide.
我有一种难以形容的感觉，我可能应该隐藏对多莉·帕顿的爱。
## Meet the Revolutionary Women Strumming Their Way Into the World of Flamenco Guitar (Lavinia Spalding, AFAR)
## 来认识一下进入弗拉门戈吉他世界的革命女性（Lavinia Spalding、AFAR）
I started to study guitar four years ago, finally making good on a dream I’d put off and denied myself for decades.
四年前我开始学习吉他，终于实现了我推迟和否认了自己几十年的梦想。
A few years later, I started studying bass too.
几年后，我也开始学习贝斯。
Of all the decisions in my life, committing to music has had a profound influence on me, on how I perceive my limitations and my potential.
在我一生中的所有决定中，致力于音乐对我产生了深远的影响，影响了我如何看待自己的局限性和潜力。
It’s a daily labor of love, where focus and concentration bring small, yet regular rewards from learning to read music, playing songs, training my ear, and working on rhythm and timing.
这是一种日常的爱的劳动，专注和专注会从学习读乐谱、演奏歌曲、训练我的耳朵、练习节奏和节奏中带来微小但定期的回报。
While I’ll never achieve mastery, Lavinia Spalding’s piece at AFAR immediately resonated with me.
虽然我永远无法精通，但 Lavinia Spalding 在 AFAR 的作品立即引起了我的共鸣。
A child guitar prodigy, she gave up playing in her teens.
她是一位吉他神童，十几岁时就放弃了演奏。
In a bid to reclaim her music skills and reconnect with her late father, Spalding travels to Spain to study with three tocaoras — the oh-so-rare female Flamenco guitar masters.
为了恢复她的音乐技能并与已故的父亲重新建立联系，斯伯丁前往西班牙向三位托卡拉学习——非常罕见的女性弗拉门戈吉他大师。
This piece reminds me of the sheer joy of learning music and how powerful a good teacher’s encouragement can be.
这首曲子让我想起了学习音乐的纯粹乐趣以及好老师的鼓励是多么强大。
You don’t need to read music to play flamenco, she says.
她说，你不需要阅读乐谱来演奏弗拉门戈舞。
“Flamenco is ninety percent improvisational,” she explains.
“弗拉门戈百分之九十都是即兴创作，”她解释道。
“It comes from the houses; it’s deep inside the people.
“它来自房屋；它深入人心。
It’s an ethnic music, not a scholastic music.” She suggests I simply follow along while she plays falsetas, or soleares melodies.
这是民族音乐，而不是学院音乐。”她建议我只是跟着她演奏假音或索拉雷斯旋律。
Then her hands explode across the strings like fireworks, and all I can do is stare.
然后她的双手像烟花一样在琴弦上爆炸，我所能做的就是凝视。
And panic.
和恐慌。
And realize how unprepared I actually am.Fortunately, she’s as encouraging as she is talented and tenacious.
并意识到我实际上是多么没有准备。幸运的是，她才华横溢，顽强，令人鼓舞。
“You’ve got it!” she says again and again during our hour together.
“你做到了！”在我们在一起的时间里，她一遍又一遍地说。
She repeats this praise even when it’s abundantly clear that I have not, in fact, got it.
即使很明显我实际上并没有得到它，她还是重复了这种赞美。
Toward the end of our lesson, she suggests I record a video of her playing slowly.
在我们的课程即将结束时，她建议我录制一段她缓慢演奏的视频。
Back in my rented apartment, I watch the video 50 times and practice fanatically—once for six hours straight—until I memorize the falsetas.
回到我租来的公寓，我把视频看了 50 遍，并狂热地练习——一次连续六个小时——直到我记住了假音。
And when my fingertips start tingling, I’m euphoric.
当我的指尖开始刺痛时，我感到欣喜若狂。
I run my thumb over them like they’re a row of tiny talismans.
我用拇指抚摸它们，就像它们是一排小护身符一样。
You don’t need to read music to play flamenco, she says.
她说，你不需要阅读乐谱来演奏弗拉门戈舞。
“Flamenco is ninety percent improvisational,” she explains.
“弗拉门戈百分之九十都是即兴创作，”她解释道。
“It comes from the houses; it’s deep inside the people.
“它来自房屋；它深入人心。
It’s an ethnic music, not a scholastic music.” She suggests I simply follow along while she plays falsetas, or soleares melodies.
这是民族音乐，而不是学院音乐。”她建议我只是跟着她演奏假音或索拉雷斯旋律。
Then her hands explode across the strings like fireworks, and all I can do is stare.
然后她的双手像烟花一样在琴弦上爆炸，我所能做的就是凝视。
And panic.
和恐慌。
And realize how unprepared I actually am.
并意识到我实际上是多么没有准备。
Fortunately, she’s as encouraging as she is talented and tenacious.
幸运的是，她才华横溢、顽强，令人鼓舞。
“You’ve got it!” she says again and again during our hour together.
“你做到了！”在我们在一起的时间里，她一遍又一遍地说。
She repeats this praise even when it’s abundantly clear that I have not, in fact, got it.
即使很明显我实际上并没有得到它，她还是重复了这种赞美。
Toward the end of our lesson, she suggests I record a video of her playing slowly.
在我们的课程即将结束时，她建议我录制一段她缓慢演奏的视频。
Back in my rented apartment, I watch the video 50 times and practice fanatically—once for six hours straight—until I memorize the falsetas.
回到我租来的公寓，我把视频看了 50 遍，并狂热地练习——一次连续六个小时——直到我记住了假音。
And when my fingertips start tingling, I’m euphoric.
当我的指尖开始刺痛时，我感到欣喜若狂。
I run my thumb over them like they’re a row of tiny talismans.
我用拇指抚摸它们，就像它们是一排小护身符一样。
## “I miss my body when it was ferocious”: The Transfiguration of Paul Curreri (Brendan Fitzgerald, Longreads)
##“我想念我的身体，当它凶猛时”：保罗·库雷里的变形（布伦丹·菲茨杰拉德，长读）
Imagine that there is a thing you are put on this earth to do, and then suddenly, you’re no longer physically able to do it.
想象一下，你被安排在这个地球上做一件事，然后突然之间，你的身体不再能够做这件事。
This is exactly what happened to singer-songwriter Paul Curreri, who was cut down in his musical prime, sidelined by permanent injury.
这正是歌手兼作曲家保罗·库雷里 (Paul Curreri) 身上发生的事情，他在音乐生涯的巅峰时期就因永久性受伤而退役。
“Paul Curreri gives what few songwriters can,” Matt Dellinger wrote in The New Yorker in 2002.
“保罗·库雷里 (Paul Curreri) 提供了很少有词曲作者能做到的东西，”马特·德林格 (Matt Dellinger) 2002 年在《纽约客》上写道。
“It hits you soon and hard that you’re hearing something exquisite.” In this deeply researched and carefully crafted Longreads feature, journalist Brendan Fitzgerald documents Curreri’s uneasy relationship with his body and his art after suffering damage to the primary tools of his trade — his fretting hand and vocal chords.
“你很快就会感到震惊，因为你听到了一些美妙的声音。”在这部经过深入研究和精心制作的长读特辑中，记者布伦丹·菲茨杰拉德 (Brendan Fitzgerald) 记录了库雷里在他的主要工具——按动的手和声带——受到损害后，与自己的身体和艺术之间的不安关系。
In 2008, Curreri’s body began to mutiny.
2008年，库雷里的尸体开始叛变。
A vocal hemorrhage canceled a tour; another silenced him for more than a year.
声带出血取消了巡演；另一件事情让他沉默了一年多。
He self-produced two more studio albums, then he and his wife left Charlottesville.
他又自行制作了两张录音室专辑，然后他和妻子离开了夏洛茨维尔。
They tried Berlin, and then Austin, Texas.
他们尝试了柏林，然后是德克萨斯州奥斯汀。
In 2012, while working on demos for a new album, Curreri injured his voice a third time, after which his body seemed all at once to come undone.
2012年，在为新专辑制作小样时，库雷里的声音第三次受伤，此后他的身体似乎一下子就崩溃了。
A twinge in his fretting hand appeared overnight and did not resolve; a doctor told him the pain would not improve.
一夜之间，他的手上出现了一阵刺痛，而且没有缓解。医生告诉他疼痛不会改善。
Both arms became inflamed and ached in such a way that, for a time, Curreri found it hard to turn a doorknob or hold a fork.
双臂发炎、疼痛，一度让库雷里很难转动门把手或拿叉子。
He shelved the new songs and moved with Sproule back to Charlottesville.Curreri’s appeal, for me, had always lived in his brazen standoffs with limitation, failure, and dissolution.
他搁置了新歌，并与斯普劳尔一起搬回了夏洛茨维尔。对我来说，库雷里的吸引力一直存在于他厚颜无耻的对峙中，其中包括限制、失败和瓦解。
“Beauty fades — it goes a-crackin’ and a-juttin’,” he sang on 2004’s The Spirit of the Staircase.
“美丽会消逝——它会嘎嘎作响，”他在 2004 年的《楼梯的精神》中唱到。
“Some folks go slow, some all of a sudden.” For years, Curreri’s work had shouted, and so he became a shouter of singular beauty.
“有些人进展缓慢，有些人进展突然。”多年来，库雷里的作品一直在呼喊，因此他也成为了非凡之美的呼喊者。
Then, he went quiet — slowly, at first, then all of a sudden.
然后，他安静了下来——一开始是缓慢的，然后突然之间。
In 2008, Curreri’s body began to mutiny.
2008年，库雷里的尸体开始叛变。
A vocal hemorrhage canceled a tour; another silenced him for more than a year.
声带出血取消了巡演；另一件事情让他沉默了一年多。
He self-produced two more studio albums, then he and his wife left Charlottesville.
他又自行制作了两张录音室专辑，然后他和妻子离开了夏洛茨维尔。
They tried Berlin, and then Austin, Texas.
他们尝试了柏林，然后是德克萨斯州奥斯汀。
In 2012, while working on demos for a new album, Curreri injured his voice a third time, after which his body seemed all at once to come undone.
2012年，在为新专辑制作小样时，库雷里的声音第三次受伤，此后他的身体似乎一下子就崩溃了。
A twinge in his fretting hand appeared overnight and did not resolve; a doctor told him the pain would not improve.
一夜之间，他的手上出现了一阵刺痛，而且没有缓解。医生告诉他疼痛不会改善。
Both arms became inflamed and ached in such a way that, for a time, Curreri found it hard to turn a doorknob or hold a fork.
双臂发炎、疼痛，一度让库雷里很难转动门把手或拿叉子。
He shelved the new songs and moved with Sproule back to Charlottesville.
他搁置了新歌，并与斯普劳尔一起搬回夏洛茨维尔。
Curreri’s appeal, for me, had always lived in his brazen standoffs with limitation, failure, and dissolution.
对我来说，库雷里的吸引力始终存在于他厚颜无耻的对峙中，其中包括限制、失败和瓦解。
“Beauty fades — it goes a-crackin’ and a-juttin’,” he sang on 2004’s The Spirit of the Staircase.
“美丽会消逝——它会嘎嘎作响，”他在 2004 年的《楼梯的精神》中唱到。
“Some folks go slow, some all of a sudden.” For years, Curreri’s work had shouted, and so he became a shouter of singular beauty.
“有些人进展缓慢，有些人进展突然。”多年来，库雷里的作品一直在呼喊，因此他也成为了非凡之美的呼喊者。
Then, he went quiet — slowly, at first, then all of a sudden.
然后，他安静了下来——一开始是缓慢的，然后突然之间。
* * *
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