Citizen Hearst

Narrator: One by one, Hollywood’s biggest stars and movie moguls paraded into a huge tent.

旁白：好莱坞的巨星和电影大亨一一走进了一个巨大的帐篷。

Clark Gable was dressed as a cowboy.

克拉克·盖博打扮得像个牛仔。

Henry Fonda and his wife wore clown outfits.

亨利方达和他的妻子穿着小丑服装。

Cary Grant showed up as a trapeze artist.

加里·格兰特以空中飞人的身份出现。

As they crossed a special gangway, a burst of air puffed up the ladies’ skirts.

当他们穿过一个特殊的舷梯时，一阵空气吹起了女士们的裙子。

A full-sized carousel, imported from the Warner Studios lot, swept the revelers in circles.

一个从华纳工作室进口的全尺寸旋转木马将狂欢者们卷成一圈。

Presiding over the festivities, in a ringmaster’s gaudy outfit, was the newspaper publisher William Randolph Hearst.

报纸出版商威廉·伦道夫·赫斯特 (William Randolph Hearst) 穿着一身华丽的服装，主持了庆祝活动。

He had thrown the party in April of 1937, to celebrate his 74th birthday, at the Santa Monica mansion of his mistress, the film star Marion Davies.

1937 年 4 月，他在情妇、电影明星马里昂·戴维斯位于圣莫尼卡的豪宅中举办了派对，庆祝自己 74 岁生日。

The theme of the evening was “The Greatest Show on Earth.”

当晚的主题是“地球上最伟大的表演”。

It was a fitting tribute to Hearst, whose career had often resembled a three-ring circus.

这是对赫斯特的恰如其分的致敬，他的职业生涯常常类似于三环马戏团。

By the strength of his personality and a seemingly endless reservoir of money from his family’s fortune, he had become America’s most powerful and controversial media tycoon.

凭借他强大的个性和来自家族财富的看似无穷无尽的资金，他已成为美国最强大和最有争议的媒体大亨。

David Nasaw, Author, The Chief: We live in a world that’s dominated by media.

大卫·纳索（David Nasaw），《The Chief》作者：我们生活在一个由媒体主导的世界。

It’s with us when we wake up in the morning, when we have our lunch, when we go to bed at night.

当我们早上醒来、吃午饭、晚上睡觉时，它就在我们身边。

It’s the air we breathe.

这是我们呼吸的空气。

Andie Tucher, Historian: He made journalism really important whether or not you believed that he was doing good journalism.

安迪·图彻（Andie Tucher），历史学家：无论你是否相信他的新闻工作做得很好，他都让新闻工作变得非常重要。

He made the act of publishing news and intelligence and opinion and sensation, he made that act really important.

他使发布新闻、情报、观点和轰动的行为变得非常重要。

Greg Young, Writer: I think in almost every form of media today you can see traces of this Hearst ideology: the flamboyance, the fearlessness, the sort of pushing right to the edge in a way to make these direct contacts with the American people.

格雷格·杨（Greg Young），作家：我认为在当今几乎所有形式的媒体中，你都可以看到赫斯特意识形态的痕迹：华丽、无所畏惧，以及那种以与美国人民直接接触的方式推向边缘的方式。

Gary Kamiya, Writer: He brought narrative, he brought melodrama, he brought variety.

加里·卡米亚（Gary Kamiya），编剧：他带来了叙事，他带来了情节剧，他带来了多样性。

The marketing, the hype, the sensationalism.

营销、炒作、煽情。

But I think at the same time the lack of concern with objective truth, the out and out lies, the out and out fabrications, the out and out distortions were pernicious.

但我同时认为，缺乏对客观事实的关心，彻头彻尾的谎言，彻头彻尾的捏造，彻头彻尾的歪曲是有害的。

And we’ve seen them having effects on journalism even today.

即使在今天，我们也看到它们对新闻业产生了影响。

Narrator: William Randolph Hearst, at age 22, was just another rich kid, one of a hundred aspiring tycoons in New York City, all hoping to blaze their name in history.

旁白：威廉·兰道夫·赫斯特，22 岁，只是另一个富家子弟，纽约市一百名有抱负的大亨之一，他们都希望在历史上名垂青史。

He was a senior at Harvard College, and was yet again on the brink of expulsion.

他当时是哈佛大学的大四学生，再次处于被开除的边缘。

He’d been sent down by his parents to cram for his looming final exams.

他被父母送下楼去临时抱佛脚，准备即将到来的期末考试。

But when, exactly, was Will Hearst supposed to study?

但威尔·赫斯特到底什么时候应该学习呢？

At night, a newly electrified Broadway called out to him with endless shows and performances.

晚上，新近热闹起来的百老汇以无尽的演出和表演呼唤着他。

He loved the theater.

他喜欢剧院。

Adored chorus girls.

深受喜爱的合唱团女孩们。

And knew all the steps to the Vaudeville shuffle.

并且知道歌舞杂耍的所有步骤。

Then, in the morning, there were the newspapers.

然后，早上，有报纸。

There was something for every taste and appetite.

每种口味和胃口都能找到适合自己的东西。

Papers that cost only a penny or two, catering to the city’s one point five million souls.

报纸只需花费一两便士，迎合了这座城市一分五百万的灵魂。

Every single edition hand set on rotary presses, dashing off 24,000 copies an hour.

每版均采用手工轮转印刷机，每小时印制 24,000 份。

Greg Young, Writer: This was really an absolute golden age for newspapers.

格雷格·杨，作家：这确实是报纸的黄金时代。

The greatest concentration of New York publishers were on one street called Publishers Row or Newspaper Row and it was right across the street from City Hall.

纽约出版商最集中的地方是一条名为出版商街或报纸街的街道，它就在市政厅的街对面。

It would have been one of the busiest places in the city, the smell of ink, the smell of newsprint, horse cars and newsies coming to pick up their newspapers to go deliver them.

这里本来是城里最繁忙的地方之一，墨水的味道，新闻纸的味道，马车和报童来接报纸送去。

Andie Tucher, Historian: Newspapers would come out throughout the day.

安迪·图彻（Andie Tucher），历史学家：报纸全天都会出版。

They would be the 10:00 o’clock edition and then something else at noon and something else at 2:00.

它们将是 10:00 点的版本，然后是中午的其他版本和 2:00 的其他版本。

So the presses were always going.

所以媒体总是在进行。

The staffs were always working.

工作人员一直在工作。

Sitting atop this industry, this vast effort to present news to the American people, put the publisher in a very powerful position.You could shape the opinions and the interests and the desires of your readers.

出版商在这个行业中处于领先地位，向美国人民提供新闻的巨大努力使出版商处于非常强大的地位。你可以塑造读者的观点、兴趣和愿望。

You were a name people knew.

你是一个人们都知道的名字。

Gary Kamiya, Writer: Newspaper publishers and editors are truly kings among men.

加里·卡米亚（Gary Kamiya），作家：报纸出版商和编辑是真正的人中之王。

There was no other communicative mass media.

没有其他传播大众媒体。

So editors, in effect, strode the earth like colossi.

因此，编辑们实际上就像巨人一样行走在地球上。

Narrator: The newspaper game was irresistible to Hearst.

旁白：报纸游戏对赫斯特来说是不可抗拒的。

Young as he was, he already knew he wanted to be a player.

尽管他很年轻，但他已经知道自己想成为一名球员。

He’d told his mother that he was searching for something.

他告诉他的母亲他正在寻找一些东西。

“Something,” he wrote, “where I could make a name.”

“某件事，”他写道，“能让我出名的地方。”

In fact, he was already somewhat notorious.

事实上，他已经有些恶名了。

In the three years he’d been at Harvard, everyone on campus had definitely heard of Will Hearst.

在哈佛的三年里，校园里的每个人肯定都听说过威尔·赫斯特。

Victoria Kastner, Writer: Will Hearst was a phenomenon.

维多利亚·卡斯特纳（Victoria Kastner），编剧：威尔·赫斯特是一位现象级人物。

He had an alligator that he took on a leash into class with him, named ‘Champagne Charlie’ because it was a beverage that the alligator liked.

他有一条鳄鱼，他用皮带拴着它去上课，它被命名为“香槟查理”，因为这是鳄鱼喜欢的饮料。

David Nasaw, Author: He had an entourage that came with him.

大卫·纳索（David Nasaw），作者：他有一个随从。

He had a full time valet at Harvard.

他在哈佛有一名全职代客。

He had a huge allowance.

他有一笔巨额津贴。

He had not a dorm room, but apartments and enough money to entertain all his undergraduates.

他没有宿舍，但有公寓，还有足够的钱来招待所有本科生。

Narrator: Hearst was great fun.

旁白：赫斯特非常有趣。

Though he stopped drinking in his junior year, he was a spectacular host and any excuse was a good one for a wild party.

尽管他在大三时就不再喝酒了，但他还是一位出色的主人，任何借口都适合举办一场疯狂的派对。

Classmates described him as “a mixture of boyishness and devilishness,” and elected him to all the most exclusive frats and elite societies.

同学们形容他是“孩子气和魔鬼的混合体”，并选他加入所有最排外的兄弟会和精英社团。

He’d once released hundreds of roosters into Harvard Yard.

他曾经将数百只公鸡放入哈佛庭院。

Then had commissioned several professors’ portraits -- on chamberpots.

然后委托几位教授在夜壶上绘制肖像。

Hearst even took to the stage as a member of the Hasty Pudding theater club.

赫斯特甚至以“冬日布丁”戏剧俱乐部的成员的身份登上舞台。

Victoria Kastner, Writer: Will Hearst was very bright.

维多利亚·卡斯特纳，编剧：威尔·赫斯特非常聪明。

But he was not particularly interested in showing up regularly to class.

但他对定期上课并不是特别感兴趣。

What really made him passionate was when he became the business editor of the Harvard Lampoon.

真正让他充满热情的是当他成为《哈佛讽刺报》的商业编辑时。

Narrator: The Harvard Lampoon, was the college humor magazine with the reputation of being “always late and not always funny.”

旁白：《哈佛讽刺》是一本大学幽默杂志，以“总是迟到而且并不总是有趣”而闻名。

Victoria Kastner, Writer: The business editor was the job that they always gave to the richest boy on campus because it always bled money.

维多利亚·卡斯特纳（Victoria Kastner），作家：商业编辑是他们总是给校园里最富有的男孩的工作，因为它总是会赔钱。

It was expected that he would be subsidizing the Lampoon but actually, he made it a success financially.

人们预计他会资助《讽刺报》，但实际上，他在经济上取得了成功。

He sold ads and that was the beginning, you know, his first whiff of newsprint.

他卖广告，这就是他第一次接触新闻纸的开始。

Narrator: He’d secured the support of Boston’s finest tailors, jewelers -- and even carriage makers.

旁白：他得到了波士顿最好的裁缝、珠宝商，甚至马车制造商的支持。

In just two years, he increased circulation by 50 percent, advertising revenue by 300 percent, and soon he had the magazine out of debt and turning a profit.

在短短两年内，他的发行量增加了 50%，广告收入增加了 300%，很快他就让杂志摆脱了债务并扭亏为盈。

By the fall of his senior year, he knew exactly what he wanted to do, and he couldn’t wait to get started.

到了大四的秋天，他清楚地知道自己想做什么，并且迫不及待地想开始。

“I am a man of business now,” he wrote home.

“我现在是一个商人了，”他在家里写信说。

“[And] I am convinced I could run a newspaper successfully.

“[并且]我相信我可以成功经营一份报纸。

…

……

[I want] to go to work.”

[我想要]去上班。”

“Stand in like a man and stick to [your] studies to the end,” came his father’s reply.

“像个男人一样站起来，坚持学习到底。”他父亲的回答是。

All it took to pass the final exams was a grade of 50 percent, but Hearst never returned to campus.

只要取得 50% 的成绩就可以通过期末考试，但赫斯特再也没有回到校园。

And he was expelled for good.

他被永远驱逐了。

Narrator: Far out on the high western plains, alone on that unending prairie, Butte, Montana, could not have made a starker contrast with New York City.

旁白：蒙大拿州巴特，在遥远的西部高原上，一望无际的大草原上，与纽约市形成了鲜明的对比。

In no way at all, did this dusty little town fit in with Will’s plans.

这个尘土飞扬的小镇根本不符合威尔的计划。

But immediately after his expulsion, his father decided it was time for him to join the family business.

但在他被驱逐后，他的父亲立即决定让他加入家族企业。

Will was the only son of the mining entrepreneur George Hearst, whose empire included a half dozen silver, gold, and copper mines across the American West.

威尔是矿业企业家乔治·赫斯特的独生子，他的帝国包括遍布美国西部的六座银矿、金矿和铜矿。

“Pa, this is the damnedest hole I have ever struck,” he wrote home.

“爸，这是我踩过的最该死的洞，”他在家里写信说。

“And I am sure the four walls of a prison could not present any greater or more melancholy monotony than one obtains from this mine.” Will minced no words rejecting the world that for decades had been the source of the family’s vast fortune and that meant everything to his father.

“我相信，监狱的四堵墙不可能比这座矿井中的人所感受到的更强烈、更令人忧郁的单调。”威尔毫不掩饰地拒绝这个世界，几十年来，这个世界一直是这个家庭巨额财富的源泉，对他的父亲来说意味着一切。

Gary Kamiya, Writer: George Hearst is this rough and tumble guy who comes out from Missouri.

加里·卡米亚（Gary Kamiya），编剧：乔治·赫斯特（George Hearst）是一个来自密苏里州的粗暴的家伙。

He was an innate geologist.

他是一位天生的地质学家。

He was an untrained, untutored, natural geologist.

他是一位未经训练、未经指导的自然地质学家。

Narrator: When gold was found in California back in 1849, he’d hurried West to be part of it.

旁白：1849 年，当加利福尼亚州发现金矿时，他就急忙前往韦斯特参与其中。

Gary Kamiya, Writer: The gold rush upended everything.

加里·卡米亚（Gary Kamiya），作家：淘金热颠覆了一切。

It was as if somebody had picked up the entire country and tilted it to the west.

就好像有人举起了整个国家，并将其向西倾斜。

People flooded in for this incredible bonanza.

人们蜂拥而至，只为这一令人难以置信的财富。

Narrator: The promise of great riches drew so many from around the country and around the world, that the population of California increased three hundred times over.

旁白：巨额财富的承诺吸引了来自全国各地和世界各地的许多人，以至于加利福尼亚州的人口增加了三百倍。

Most of these new arrivals never really had a shot.

大多数新来者从未真正有过机会。

Many of them were Chinese immigrants.

其中许多人是中国移民。

If they wanted to try their luck, the state slapped them with an exorbitant monthly tax, and they faced violence in the mining camps.

如果他们想碰碰运气，国家就会向他们征收过高的每月税，而且他们还会在采矿营地面临暴力。

But George Hearst thrived in that world.

但乔治·赫斯特在那个世界里茁壮成长。

He was a white man from a wealthy family, who knew the right lawyers, and carried a big gun.

他是一位来自富裕家庭的白人，认识合适的律师，并携带一把大枪。

For him plenty of venture capital was available to start new mines.

对他来说，有大量的风险资本可以用来开办新矿。

And he soon struck it rich with a vast silver cache right on the Nevada border.

他很快就在内华达州边境拥有大量白银储备而致富。

He returned to Missouri a millionaire, and met Phoebe Apperson, a brown-haired teacher 22 years his junior.

他以百万富翁的身份回到密苏里州，并遇到了比他小 22 岁的棕发教师菲比·阿普森 (Phoebe Apperson)。

David Nasaw, Author: Phoebe was this demure school teacher who went to church, minded her manners, and George comes into town as this semi-literate scoundrel who cultivated the appearance of a rough hewn western miner.

大卫·纳索（David Nasaw），作者：菲比是一位端庄的学校老师，她去教堂，注意自己的举止，而乔治来到城里时，是一个半文盲的恶棍，外表像一个粗犷的西部矿工。

Alexandra Nickliss, Historian: As a woman in the 19th century, practically the only way she could get out to California was to make the right decision to marry the right suitor.

亚历山德拉·尼克利斯 (Alexandra Nickliss)，历史学家：作为一名 19 世纪的女性，实际上她能够前往加利福尼亚州的唯一途径就是做出正确的决定，嫁给正确的追求者。

George was ambitious to succeed, he was looking for a sophisticated and cultured woman who could give him a son and an heir.

乔治雄心勃勃地想要成功，他正在寻找一位成熟、有教养的女人，能给他一个儿子和继承人。

Narrator: William Randolph Hearst was born ten months after George and Phoebe married, in San Francisco, April 29th, 1863.

旁白：1863 年 4 月 29 日，乔治和菲比结婚十个月后，威廉·伦道夫·赫斯特出生于旧金山。

George stayed in town only long enough to see the baby born, then he packed up and left for mining country, leaving his young wife to raise their son alone.

乔治在城里只待了多久，看到孩子出生，就收拾行装前往矿区，留下年轻的妻子独自抚养儿子。

Alexandra Nickliss, Historian: This was a tough time for Phoebe.

历史学家亚历山德拉·尼克利斯：这对菲比来说是一段艰难的时期。

Early on in her marriage, she was disillusioned, frustrated, terribly lonely.

结婚初期，她感到失望、沮丧、极度孤独。

Narrator: She started to travel when Will was still a baby, leaving him with a nurse when she ventured, for months at a time, to the Yosemite valley, to Idaho, and even as far as Hawaii.

旁白：当威尔还是个婴儿时，她就开始旅行，留下一名护士照顾他，而她一次冒险几个月，去了约塞米蒂山谷、爱达荷州，甚至远到了夏威夷。

When she was home, her son would cling to her.

当她回到家时，她的儿子会粘着她。

Phoebe wrote to a friend that “he …

菲比写信给一位朋友说“他……

seems to be afraid all the time that I will go away and leave him again.”

似乎一直害怕我会离开他，再次离开他。”

Whenever they were together, she indulged her young son.

每当他们在一起时，她都会纵容她的小儿子。

David Nasaw, Author: Phoebe is the most important person in his life.

大卫·纳索（David Nasaw），作者：菲比是他生命中最重要的人。

As a child he can do no wrong.

作为一个孩子，他不会做错事。

She excuses his failures.

她为他的失败找借口。

And he’s told from the beginning he can do whatever he wants to do.

从一开始他就被告知他可以做任何他想做的事。

Narrator: Phoebe liked to say that “[Will’s] forte [is] an irrepressible imagination.”

旁白：菲比喜欢说“威尔的强项是无法抑制的想象力”。

Once, to keep her from going to a party, her three-year old son poured castor oil all over her favorite dress.

有一次，为了阻止她去参加聚会，她三岁的儿子把蓖麻油倒在她最喜欢的衣服上。

A few years later, he set off fireworks in his room.

几年后，他在自己的房间里放烟花。

As smoke filled the house, Will screamed FIRE, then locked his bedroom door and waited to see what would happen.

当烟雾充满房子时，威尔尖叫着“着火了”，然后锁上了卧室的门，等着看会发生什么。

His dangerous prank was barely acknowledged.

他的危险恶作剧几乎没有被承认。

In 1873, Phoebe set off on an 18-month tour of Europe and Will was finally invited to come along.

1873年，菲比开始了为期18个月的欧洲之旅，威尔终于受邀同行。

Mother and son crisscrossed the continent, from England to Germany to Holland.

母子俩穿越了整个大陆，从英国到德国再到荷兰。

They spent mornings studying languages together; afternoons in each other’s company at galleries and churches and museums.

他们早上一起学习语言；下午彼此陪伴在画廊、教堂和博物馆。

Ten-year-old Will was his mother’s date to every dinner, and even accompanied her to a meeting with the Pope.

十岁的威尔是他母亲每次晚餐的约会对象，甚至陪她去见教皇。

Gary Kamiya, Writer: Phoebe was very, very close to her only son, Willie, and probably projected a lot of emotional intimacy and closeness onto him that perhaps she didn’t always have with her husband.

加里·卡米亚（Gary Kamiya），作家：菲比与她唯一的儿子威利（Willie）非常非常亲密，并且可能向他投射了很多情感上的亲密和亲密，而这也许是她与丈夫并不总是有的。

David Nasaw, Author: Will grew up in this bizarre, unstable environment where he rarely saw his father.

大卫·纳索（David Nasaw），作者：威尔在这个奇怪、不稳定的环境中长大，他很少见到他的父亲。

The most troubling part of that childhood was the unstable finances.

那个童年最令人不安的部分是不稳定的经济状况。

George Hearst spent his money as fast as he could.

乔治·赫斯特尽可能快地花掉他的钱。

He had racing stables, he kept buying property, he kept investing the money he made in one mine in another mine.

他拥有赛马马厩，不断购买房产，不断将在一个矿场赚到的钱投资到另一个矿场。

Gary Kamiya, Writer: He had meteoric ups and downs, and the downs at times were pretty low.

加里·卡米亚（Gary Kamiya），作家：他的起起落落有时非常缓慢。

I think Will was too young to realize the real sense of, “Oh my God, the whole thing could collapse.”

我认为威尔还太年轻，无法意识到“天哪，整个事情可能会崩溃”的真正含义。

Narrator: By the time Will was in his teens, George’s fortunes had stabilized, and the Hearsts had become one of the richest families in the country.

旁白：威尔十几岁的时候，乔治的财富已经稳定下来，赫斯特家族也成为了全国最富有的家族之一。

George had grown his empire across the West and Central America -- from Utah, Nevada, South Dakota, and Montana, to Mexico.

乔治的帝国遍布西美洲和中美洲——从犹他州、内华达州、南达科他州、蒙大拿州到墨西哥。

There was now plenty of excess capital in the Hearst accounts -- and some of it, George had earmarked for a new interest.

赫斯特账户里现在有大量多余的资本——其中一些，乔治已指定用于新的利息。

David Nasaw, Author: George Hearst, like many other mega millionaires in California, decides that the best way to spend his money is to run for office.

大卫·纳索（David Nasaw），作者：乔治·赫斯特（George Hearst）和加州许多其他百万富翁一样，认为花钱的最佳方式是竞选公职。

And if you’re gonna run for office around the 1880s, the only way to get your name before the public is to own your own newspaper.

如果你要在 1880 年代左右竞选公职，让你的名字出现在公众面前的唯一方法就是拥有自己的报纸。

So it makes perfect sense for him to buy The Examiner in San Francisco.

因此，他购买旧金山的《The Examiner》是完全合理的。

There would be a story every day about what George Hearst did, thought and why George Hearst was an upstanding California citizen.

每天都会有一个故事讲述乔治·赫斯特的所作所为、所想，以及为什么乔治·赫斯特是一名正直的加州公民。

Narrator: By the spring of 1886, George had been sworn in as the democratic senator from California.

旁白：1886 年春天，乔治宣誓就任加利福尼亚州民主党参议员。

Meanwhile, his 23-year-old son -- the college dropout -- was still loafing around the West.

与此同时，他 23 岁的儿子——大学辍学生——仍在西方游荡。

Will had steadfastly refused to show any interest in the family’s mining business, but had managed to have the family’s paper delivered to every dusty mining town he dropped in on.

威尔坚决拒绝对家族的采矿业表现出任何兴趣，但设法将家族的文件送到他所拜访的每一个尘土飞扬的采矿小镇。

His letters to his father were full of advice about how best to remake what he affectionately called “our miserable little sheet.”

他写给父亲的信充满了关于如何最好地改造他亲切地称为“我们可怜的小床单”的建议。

“Now if you could make over to me the Examiner -- with enough money to carry out my schemes -- I’ll tell you what I’d do,” he wrote.

“现在，如果你能把审查员交给我——有足够的钱来实施我的计划——我会告诉你我会做什么，”他写道。

“[I’d make] the paper as far as possible original.”

“[我会]尽可能原创这篇论文。”

Gary Kamiya, Writer: The dude was a born newspaperman.

加里·卡米亚（Gary Kamiya），作家：这家伙是天生的新闻记者。

One of the most impressive things about Hearst is how this undisciplined, spoiled brat, kind of rich kid who has been traipsing around the west, once he discovers his calling, he zones in on it.

赫斯特最令人印象深刻的事情之一就是这个不守纪律、被宠坏的小子，一种一直在西部游荡的富家子弟，一旦发现了自己的使命，他就专心致志地投入其中。

So to some degree, he went into newspapering because I think he realized this is what I’m good at.

所以在某种程度上，他进入报业是因为我认为他意识到这就是我所擅长的。

Narrator: In the face of his son’s stubborn certainty, George relented.

旁白：面对儿子固执的确信，乔治态度软化了。

“There’s one thing sure about my boy,” he’d once remarked.

“关于我的孩子，有一件事是确定的，”他曾经说过。

“When he wants cake, he wants cake …

“当他想要蛋糕时，他想要蛋糕……

And …

还有……

after a while he gets his cake.”

过了一会儿，他就拿到了蛋糕。”

Victoria Kastner, Writer: When Will took over the San Francisco Examiner, in March of 1887, when he was all of 24, it was a second rate money-losing headache of a newspaper, but he christened it ‘the monarch of the dailies’ and proceeded to start stirring things up.

作家维多利亚·卡斯特纳：1887 年 3 月，当威尔接手《旧金山观察家报》时，当时他才 24 岁，这是一份二流的、令人头疼的赔钱报纸，但他将其称为“日报之王”，并开始搅局。

Narrator: It took all of 13 days for the young newspaperman to be arrested for libel.

旁白：这位年轻的记者花了整整13天才因诽谤罪被捕。

His paper accused some supposedly crooked lawyer of taking advantage of the good people of San Francisco.

他的报纸指责一些被认为不诚实的律师利用旧金山的好人。

Hearst was in prison just long enough to snag a few national headlines.

赫斯特在监狱里的时间刚刚够登上一些全国头条新闻的。

Boy was it good to finally be a part of the game.

男孩，终于成为游戏的一部分真是太好了。

Will Hearst’s main competition in the city came from the Chronicle, and from the Call -- respectable papers with swanky headquarters designed by leading architects.

威尔·赫斯特在这座城市的主要竞争对手来自《纪事报》和《号召报》——这些受人尊敬的报纸，其总部由顶尖建筑师设计。

The offices of the San Francisco Examiner, meanwhile, occupied a squat building on Sacramento Street.

与此同时，旧金山审查员的办公室占据了萨克拉门托街的一座低矮建筑。

It didn’t look much like the launching place for a revolution.

它看起来不太像一场革命的发源地。

But Hearst arrived with several writers from the Harvard Lampoon and then hired on the very best news people he could find -- no matter their price.

但赫斯特带着《哈佛讽刺报》的几位作家来到这里，然后聘请了他能找到的最好的新闻人物——无论他们的价格如何。

“Dear Papa, …

“亲爱的爸爸，……

I have been …

我已经……

trying to find a managing editor.

试图寻找一位总编辑。

…

……

We may be able to get Ballard Smith [of the New York Herald].

我们或许可以请到巴拉德·史密斯（《纽约先驱报》）。

The paper requires a head that has ability and experience.

这篇论文需要一个有能力和经验的头脑。

…

……

Naturally such a man commands a high salary and you must reconcile yourself, either to paying it or giving up the paper.”

当然，这样的人要高薪，你必须接受自己，要么付钱，要么放弃报纸。”

Gary Kamiya, Writer: Hearst realized I can actually make this thing a success especially if I have basically an unlimited spigot of money.

加里·卡米亚（Gary Kamiya），作家：赫斯特意识到我实际上可以让这件事取得成功，特别是如果我基本上有无限的资金。

Narrator: New hire Winifred Black, a 24-year-old midwesterner, claimed that “nowhere was there ever a more brilliant or more outrageous, incredible, ridiculous, glorious set of typical newspaper people than there was in that shabby old office.”

旁白：新员工温妮弗雷德·布莱克 (Winifred Black) 是一位 24 岁的中西部人，她声称“没有什么地方比那间破旧的办公室里的典型报纸人更聪明、更离谱、令人难以置信、可笑、光荣了。”

Victoria Kastner, Writer: Hearst believed that life should be fun, and that meant work should be fun.

维多利亚·卡斯特纳（Victoria Kastner），作家：赫斯特相信生活应该充满乐趣，这意味着工作也应该充满乐趣。

Gary Kamiya, Writer: He was in many ways a great boss to work with.

加里·卡米亚（Gary Kamiya），作家：从很多方面来说，他都是一位非常适合共事的老板。

This madcap exuberance of these mostly young men who were just getting paid a lot of money, they were drinking themselves crazy.

这些刚拿到很多钱的年轻人大多是疯狂的热情，他们疯狂地喝酒。

You know one editor would say “Can we fire this guy he’s completely drunk” and Hearst would go “Well as long as he’s sober one day in thirty that’s good enough for me.” So he had a very latitudinous attitude towards vice.

你知道，一位编辑会说“我们可以解雇这个喝醉了的家伙吗”，而赫斯特会说“只要他三十岁生日那天清醒，对我来说就足够了。”所以他对恶习持非常宽容的态度。

He didn’t care about that as long as they delivered the goods.

他不在乎这些，只要能把货送过来就行。

Narrator: The young publisher seemed to fill the newsroom with sheer personality.

旁白：这位年轻的出版商似乎让新闻编辑室充满了纯粹的个性。

He was a big man, over 6 feet tall, with a high-pitched voice and piercing blue-gray eyes.

他是个大个子，身高六英尺多，声音高亢，蓝灰色的眼睛锐利有力。

David Nasaw, Author: Hearst rules with a smile.

大卫·纳索（David Nasaw），作者：赫斯特微笑着统治。

He doesn’t yell at anybody, he doesn’t fire anybody, but he wants things done his way.

他不会对任何人大喊大叫，不会解雇任何人，但他希望事情按照他的方式完成。

This is my newspaper.

这是我的报纸。

Narrator: Will liked to say,“[I am making] a newspaper to suit me.”

旁白：威尔喜欢说，“[我正在制作]一份适合我的报纸。”

He wrote many of the headlines himself -- and reviewed all the copy.

他亲自撰写了许多头条新闻，并审阅了所有的文案。

His name might only appear on the masthead, but his hand was there on every single page.

他的名字可能只出现在报头上，但每一页都有他的手。

Greg Young, Writer: I think in a way, Hearst was ahead of his time.

格雷格·杨，作家：我认为在某种程度上，赫斯特走在了他的时代的前面。

Previously, newspapers were dull as dishwater.

以前，报纸就像洗碗水一样无趣。

There were almost no illustrations and there were certainly no photographs back then.

那时几乎没有插图，当然也没有照片。

It was just lines of text and for the most part every newspaper looks like the one from the day before.

只是几行文字，而且每份报纸的大部分看起来都和前一天的一样。

Jeet Heer, Writer: Hearst totally changed the nature of the newspaper.

Jeet Heer，作家：赫斯特彻底改变了报纸的性质。

The news had to have personality, it had to have character, it could not be dry or simply factual.

新闻必须有个性，必须有特色，不能是枯燥的或简单的事实。

For Hearst, journalism was like boxing.

对于赫斯特来说，新闻业就像拳击。

The rambunctiousness, the vibrancy, it’s bloody, it might do damage to your brain, but still you make people root for you and you change how they think.

暴躁、活力、血腥，可能会损害你的大脑，但你仍然让人们支持你，你改变了他们的想法。

Gary Kamiya, Writer: It had to be punchy, hyperbolic rhetoric, really lurid adjectives.

加里·卡米亚（Gary Kamiya），作家：它必须是有力的、夸张的修辞，非常耸人听闻的形容词。

It’s almost hard to describe it because these techniques have become so engrained in media.

几乎很难描述它，因为这些技术已经在媒体中根深蒂固。

Narrator: Soon, The Examiner had a new slogan that reflected Hearst’s obsession: “THERE IS NO SUBSTITUTE FOR CIRCULATION.”

旁白：很快，《审查者报》就有了一条反映赫斯特痴迷的新口号：“流通无可替代。”

Stephen Hearst, Great-Grandson: He was always thinking about what he could do to attract eyeballs.

斯蒂芬·赫斯特（Stephen Hearst），曾孙：他总是在思考自己能做些什么来吸引眼球。

His business was about eyeballs.

他的生意就是眼球。

And how many people I can communicate with in a day.

以及我一天可以与多少人沟通。

He went after the last grizzly bear in California.

他追捕了加利福尼亚州最后一只灰熊。

His editors had chased this bear for weeks and weeks and there were updates in the daily paper in the Sunday paper would have a larger update, so you’d have to read Monday through Saturday and then he’d capsulize it in a major story on Sunday to build readership.

他的编辑们已经追了好几个星期了，周日报纸上的日报会有更大的更新，所以你必须周一到周六阅读，然后他会在周日将其概括为一个主要故事来建立读者群。

Narrator: Finally caught in late October 1889, 20,000 people a day came to gawk at Hearst’s big new creature, which he named Monarch, after his paper.

旁白：最终在 1889 年 10 月下旬被发现，每天都有 20,000 人围观赫斯特的这个巨大的新生物，他以他的论文命名为君主。

Gary Kamiya, Writer: He was always doing these kinds of stunts.

加里·卡米亚（Gary Kamiya），编剧：他总是在做这些特技。

It was just naked self promotion.

这只是赤裸裸的自我推销。

And in fact the nakedness of it was almost part of its appeal, it was so blatant, it was so ridiculous that it became kind of addictive in that way too.

事实上，它的赤裸几乎是它吸引力的一部分，它是如此明目张胆，如此荒谬，以至于它也以这种方式让人上瘾。

There was no attempt to be tasteful.

没有尝试变得有品味。

No, taste was, like, for losers.

不，品味就像是失败者的口味。

Narrator: On his 27th birthday -- after three years at the helm -- he had grown his circulation from a measly 5,000 to well over 55,000, and the young publisher watched those numbers more closely than anyone.

旁白：在他 27 岁生日那天——掌舵三年后——他的发行量从区区 5,000 份增加到超过 55,000 份，这位年轻的出版商比任何人都更密切地关注这些数字。

He had an intuitive understanding of the kind of reporting that sold his papers -- it was all about tapping into his readers’ emotions.

他对那些能推销他的论文的报道有着直观的理解——这一切都是为了挖掘读者的情感。

All the better if their passions lined up with his politics.

如果他们的热情与他的政治观点一致那就更好了。

Like his father, Will was a staunch democrat, at a time when white supremacy was one of the party’s core principles.

和他的父亲一样，威尔也是一位坚定的民主党人，当时白人至上是该党的核心原则之一。

In college, he’d performed in blackface with his white friends.

在大学里，他曾和白人朋友一起黑脸表演。

In every way, The Examiner was Will Hearst’s platform, and his openly racist sentiments would find a place of prominence in its pages.

从各个方面来说，《审查员》都是威尔·赫斯特的平台，他公开的种族主义情绪将在其版面中占据显着位置。

Erik Loomis, Historian: He is supportive of a white man’s America.

埃里克·卢米斯，历史学家：他支持白人的美国。

And anyone threatening that, be they black, be they Asian, be they Native, be they Mexican, is somebody who has to be either eliminated or suppressed.

任何威胁这一点的人，无论是黑人、亚洲人、土著人还是墨西哥人，都必须被消灭或镇压。

Narrator: Now, in 1890, eight years after the passage of a federal ban on immigration called the Chinese Exclusion Act, Hearst aggressively took up against Asian people in California.

旁白：现在，1890 年，即名为《排华法案》的联邦移民禁令通过八年后，赫斯特积极反对加州的亚裔。

David Nasaw, Author: When Will Hearst takes over The Examiner, San Francisco is the center of an anti-Chinese, anti-Asian racism that is frightening.

大卫·纳索（David Nasaw），作者：当威尔·赫斯特（Will Hearst）接手《审查员报》时，旧金山成为令人恐惧的反华、反亚裔种族主义的中心。

White people were convinced that the Chinese are taking away jobs.

白人相信中国人正在抢走工作岗位。

Gary Kamiya, Writer: There was definitely rioting, there were acts of violence.

加里·卡米亚（Gary Kamiya），作家：肯定有骚乱，有暴力行为。

Hearst and The Examiner fanned the flames of racial discontent really expertly.

赫斯特和《审查员》非常熟练地煽动种族不满的火焰。

It’s visceral.

这是发自内心的。

It appeals to people’s fears, to their base, their emotions.

它唤起了人们的恐惧、他们的基础和他们的情感。

And he also, I’m sure, sincerely believed it.

我确信他也真诚地相信这一点。

Narrator: In a signed editorial, Hearst would write, “I am strongly in favor of …

旁白：赫斯特在一篇署名社论中写道：“我强烈支持……

exclusion, to prevent these Orientals swarming the country and absolutely overwhelming it.

排斥，以防止这些东方人涌入这个国家并绝对压倒它。

…

……

We want our country not merely for the white race, but for ...

我们希望我们的国家不仅仅是为了白人，而是为了……

[our own] standards of wages, standards of living.

[我们自己的]工资标准、生活标准。

This is not race prejudice.

这不是种族偏见。

It is race preservation.”

这是种族保护。”

These sentiments would go on to become one of the mainstays of his entire journalistic career, deployed whenever it suited him, to galvanize his readers’ fears.

这些情绪将继续成为他整个新闻职业生涯的支柱之一，只要他适合，就会运用它来激发读者的恐惧。

The way Will Hearst saw it, more readers meant more followers meant more power.

在威尔·赫斯特看来，更多的读者意味着更多的追随者意味着更多的权力。

Narrator: As Hearst’s readership and influence grew, so too did his appetites.

旁白：随着赫斯特的读者群和影响力不断增长，他的胃口也越来越大。

He had commissioned the building of a boat, the Vamoose, designed to be the fastest steamship in the world, and every morning the young publisher could be seen racing across the Bay to San Francisco, from his new home in the village of Sausalito.

他委托建造了一艘名为 Vamoose 的船，旨在成为世界上最快的蒸汽船，每天早上，人们都可以看到这位年轻的出版商从他位于索萨利托村的新家穿过海湾前往旧金山。

Andie Tucher, Historian: He wanted above all to be noticed, to be important, to be on top.

安迪·图彻（Andie Tucher），历史学家：他首先希望受到关注、变得重要、处于领先地位。

He wanted people to pay attention.

他希望人们关注。

He was hyper-competitive--he wanted to be the richest one around as well as the most powerful one around.

他非常有竞争力——他想成为最富有的人，也想成为最有权势的人。

David Nasaw, Author: Hearst wants to get all the attention.

大卫·纳索（David Nasaw），作者：赫斯特希望获得所有关注。

He wears the loudest plaid suits with yellow ties.

他穿着最花哨的格子西装，系着黄色领带。

And he takes great joy in thumbing his nose at respectable society.

他以蔑视受人尊敬的社会为乐。

Gary Kamiya, Writer: He could have lived where his parents lived, the big tony San Francisco neighborhood Van Ness, but instead he moved to Sausalito.

加里·卡米亚（Gary Kamiya），作家：他本可以住在他父母居住的地方，即旧金山的高档社区范内斯（Van Ness），但他搬到了索萨利托。

Up on the cliffs, it's a magnificent house that he bought overlooking the Bay.

他在悬崖上买了一栋俯瞰海湾的宏伟房子。

It's a little off-beat thing for this very hedonistic, willful, self-willed man who kind of did what he wanted to do.

对于这个非常享乐主义、任性、任性的人来说，这是一件有点不寻常的事情，他有点做了他想做的事。

He was definitely a maverick in that way.

从这方面来说，他绝对是一个特立独行的人。

Narrator: Hearst’s sprawling bachelor pad had plenty of room for lavish full of firecrackers, games, and beautiful women.

旁白：赫斯特宽敞的单身公寓里有足够的空间，可以放放鞭炮、游戏和美女。

Victoria Kastner, Writer: He wanted entertainment.

维多利亚·卡斯特纳，作家：他想要娱乐。

He wanted to be around people who were fun and who were talented.

他想和有趣、有才华的人在一起。

And he especially loved show girls, that was for sure.

他特别喜欢歌舞女郎，这是肯定的。

Narrator: Once, he’d seen the British actress Adelaide Neilson onstage, and even though she was 15 years his senior, he’d been completely smitten.

旁白：有一次，他在舞台上看到了英国女演员阿德莱德·尼尔森，尽管她比他大15岁，但他还是完全被迷住了。

Then there’d been Lillian Russell, at the time the highest paid actress in the country.

然后是莉莲·拉塞尔，当时美国片酬最高的女演员。

He said his feelings for her had been so “tense, dramatic, and ecstatic,” that he’d wanted to propose.

他说他对她的感情是如此“紧张、戏剧性和欣喜若狂”，以至于他想向她求婚。

Soprano Sybil Sanderson, he had proposed to -- but Phoebe had quickly intervened.

他曾向女高音西比尔·桑德森求婚，但菲比很快就介入了。

And who could forget Eleanor Calhoun, yet another Will Hearst fiancée?

谁能忘记威尔·赫斯特的另一位未婚妻埃莉诺·卡尔霍恩呢？

To Phoebe, the young actress was a gold-digger and a “devil fish” -- and was soon gotten rid of as well.

对于菲比来说，这位年轻女演员是一位拜金女，也是一条“魔鬼鱼”，但很快也被抛弃了。

Will now lived openly with a waitress from his Harvard days named Tessie Powers.

威尔现在公开与哈佛时代的女服务员泰西·鲍尔斯同居。

Victoria Kastner, Writer: They were together for 10 years and he took her everywhere.

维多利亚·卡斯特纳（Victoria Kastner），作家：他们在一起十年了，他带她去任何地方。

They traveled together.

他们一起旅行。

They went to the opera together.

他们一起去看歌剧。

He was extremely proud to be with her and she loved him.

他为能和她在一起感到非常自豪，她也爱他。

Narrator: But she had the same problem as all his other girlfriends.

旁白：但她和他所有其他女朋友都有同样的问题。

Victoria Kastner, Writer: Tessie definitely did not have the kind of social background that Will’s mother, Phoebe, wanted her to have.

维多利亚·卡斯特纳（Victoria Kastner），作家：泰西绝对没有威尔的母亲菲比希望她拥有的那种社会背景。

Phoebe didn’t think that it was inappropriate for her to break up his romances and she didn’t think it was inappropriate for her to regulate his expenditures.

菲比并不认为她破坏他的恋情是不合适的，她也不认为她规范他的开支是不合适的。

Narrator: For Phoebe, it was all connected to preserving the family’s wealth and reputation.

旁白：对于菲比来说，这一切都与维护家族的财富和声誉有关。

She wrote to George: “[You must convince] Will to change his manner of living.

她写信给乔治：“（你必须说服）威尔改变他的生活方式。

…

……

How is it possible for him to devote his time and attention to a prostitute and utterly ignore his mother?”

他怎么可能把时间和精力都花在妓女身上，而完全忽视他的母亲呢？”

David Nasaw, Author: She loved her son but she feared that her son was too much like his father.

大卫·纳索，作者：她爱她的儿子，但她担心她的儿子太像他的父亲。

A wild-eyed alcoholic, and a crazy spendthrift.

一个狂野的酒鬼，一个疯狂的挥霍者。

Narrator: “Will has been spending an enormous amount of money, more than you and me together.

旁白：“威尔花了很多钱，比你和我加起来还要多。

…

……

Do you intend to continue your indulgence?

你还想继续你的放纵吗？

…

……

If you have any courage, it might be well to say a few words to Will.”

如果你有勇气的话，不妨对威尔说几句话。”

Victoria Kastner, Writer: George was an indulgent parent but I wouldn’t say he was particularly involved.

维多利亚·卡斯特纳（Victoria Kastner），作家：乔治是一位溺爱的父母，但我不会说他特别投入。

He let WR you know, run the presses and do kind of whatever he wanted.

他让WR知道你，控制媒体并做任何他想做的事。

He was more a parent from a distance.

从远处看，他更像是一位家长。

Narrator: Despite Phoebe’s many attempts to rein in her son, Will was stubborn.

旁白：尽管菲比多次尝试控制儿子，威尔却很顽固。

“You have often asked me what I could do with my money and that I must squander it on the girl.

“你经常问我可以用我的钱做什么，并且我必须把它浪费在那个女孩身上。

But a fellow does like to live a little.”

但一个人确实喜欢生活一点。”

Will had already spent the equivalent of 3.7 million of today’s dollars on the Examiner -- as well as almost a million more on himself.

威尔已经在 Examiner 上花费了相当于今天 370 万美元的费用，在自己身上又花费了近 100 万美元。

And he still wasn’t satisfied.

而他仍然不满足。

In four years, he had topped the San Francisco market without much of a fight.

四年内，他毫不费力地占据了旧金山市场的榜首。

Now, he was getting bored, and longed to test himself -- and his bold brand of journalism -- against much bigger foes.

现在，他感到无聊，渴望与更大的敌人对抗来测试自己以及他大胆的新闻品牌。

All he needed was for his father to support this new venture.

他所需要的只是他的父亲支持这个新事业。

But things were different this year.

但今年情况有所不同。

As his son well knew, George was very ill.

正如他的儿子所知道的那样，乔治病得很重。

On February 28th, 1891, George Hearst died.

1891 年 2 月 28 日，乔治·赫斯特去世。

“He was the best judge of a mine in this or perhaps in any part of the world,” stated The Examiner.

“他是这个地区乃至世界任何地方最好的矿场评判者，”《审查者》评论道。

“In which work he has had no rival.”

“在这方面他没有对手。”

Victoria Kastner, Writer : I think he admired George very much.

维多利亚·卡斯特纳，作家：我认为他非常钦佩乔治。

He admired his independence.

他钦佩他的独立性。

He admired the fact that acquiring all of that wealth, becoming a senator, didn’t change him a single bit.

他很钦佩这样一个事实：获得所有这些财富，成为一名参议员，并没有改变他一丁点。

When George Hearst died, he left a will that the New York Times estimated at between 15 and 20 million dollars, and that is in 1891.

乔治·赫斯特去世时留下了一份遗嘱，据《纽约时报》估计，遗嘱价值在 15 至 2000 万美元之间，那是在 1891 年。

Narrator: Today, George’s fortune would be equivalent to half a billion dollars.

旁白：今天，乔治的财富相当于十亿美元。

And, as the only son, Will was expected to inherit it all.

而且，作为唯一的儿子，威尔有望继承这一切。

But the inheritance, when it was announced, held a nasty surprise for the young publisher.

但当继承权宣布时，这位年轻的出版商却大吃一惊。

His mother, Phoebe, had gotten everything.

他的母亲菲比已经得到了一切。

Victoria Kastner, Writer: In the will, George said that Phoebe should be sure to provide for their son.

维多利亚·卡斯特纳（Victoria Kastner），作家：乔治在遗嘱中说，菲比应该确保养活他们的儿子。

But Will was 28 at the time and certainly crushed that his father didn't make him a part of the inheritance in a more specific way.

但威尔当时 28 岁，他的父亲没有以更具体的方式让他成为遗产的一部分，这无疑让他感到沮丧。

Narrator: Now a grieving widow, Phoebe Hearst -- long Will’s closest confidant -- had just become something else entirely to her son.

旁白：如今，菲比·赫斯特（Phoebe Hearst）是一位悲伤的寡妇，她是威尔长期以来最亲密的知己，但对她的儿子来说，她完全变成了另外一个人。

“You have always been most kind and generous to me and given me extra money whenever I asked for it,” he wrote, “but don’t you think it would be better for me if I didn’t ask for it so often, if I were put now on a more independent and manly footing?”

“你一直对我非常友善和慷慨，每当我提出要求时，你都会给我额外的钱，”他写道，“但你不认为如果我不那么频繁地提出要求，如果我现在处于更加独立和男子气概的基础上，对我来说会更好吗？”

Victoria Kastner, Writer: It put him in this very awkward position.

维多利亚·卡斯特纳（Victoria Kastner），作家：这让他陷入了一个非常尴尬的境地。

He had to go to her, you know, palm extended, hat in hand, and ask for funds, which was a very difficult thing for him to do, and I think it was hard on their relationship as well.

你知道，他必须向她伸出手掌，手里拿着帽子，寻求资金，这对他来说是一件非常困难的事情，我认为这对他们的关系也很困难。

Narrator: Will had no property or income of his own.

旁白：威尔没有自己的财产或收入。

He desperately wanted to move to New York and buy another paper -- but he could only do so with a huge loan from his mother.

他非常想搬到纽约再买一份报纸——但他只能靠母亲提供的巨额贷款才能做到这一点。

He knew that she’d never agree if he was still with Tessie.

他知道，如果他还和泰西在一起，她永远不会同意。

Alexandra Nickliss, Historian: Once she received control of the entire Hearst estate, she became one of the wealthiest women in the United States.

历史学家亚历山德拉·尼克利斯：一旦她控制了整个赫斯特庄园，她就成为美国最富有的女性之一。

And she grew into a very demanding, imperious individual.

她成长为一个要求非常高、专横的人。

She expected people to do what she wanted.

她希望人们做她想做的事。

Narrator: Will Hearst had been given so very much, yet so much was now off limits.

旁白：威尔·赫斯特被给予了太多，但现在却被禁止了。

He understood his mother’s price, and he split with Tessie for good.

他了解母亲的代价，并与泰西永远分手。

Narrator: Snubbed by his dead father and reeling from his split with Tessie, Hearst arrived in New York a man on a mission.

旁白：赫斯特被死去的父亲冷落，并因与泰西的分手而感到震惊，他带着使命来到纽约。

The city couldn’t fail to improve his mood -- everywhere he looked, daring new projects were going up; the shape of the skyline changing by the day.

这座城市不能不改善他的心情——他放眼望去，大胆的新项目正在拔地而起；天际线的形状每天都在变化。

Greg Young, Writer: New York is one of the most exciting places to be in the world in the 1890s.

Greg Young，作家：纽约是 20 世纪 90 年代世界上最令人兴奋的地方之一。

It is a city with so much wealth in it.

这是一座拥有如此多财富的城市。

There’s so much happening in New York.

纽约发生了很多事情。

Gary Kamiya, Writer: New York was the big tamale, the big enchilada.

加里·卡米亚（Gary Kamiya），编剧：纽约是个大玉米粉蒸肉，大玉米卷饼。

It was the biggest population, it was where the big newspapers were.

这是人口最多的地方，也是大报纸所在的地方。

There was a sense that if you could make it there, you could make it anywhere.

有一种感觉，如果你能在那里成功，你就可以在任何地方成功。

Narrator: Phoebe had armed her boy with letters of introduction that would have opened any door into the respectable world of the New York elite.

旁白：菲比给她的儿子准备了介绍信，这将打开一扇通往纽约精英受人尊敬的世界的大门。

But after calling on one or two of his mother’s friends, Hearst yet again made it clear that he preferred to go his own way.

但在拜访了他母亲的一两个朋友之后，赫斯特再次明确表示他更愿意走自己的路。

Greg Young, Writer: New York City has one of the most impenetrable like social upper crusts.

格雷格·杨（Greg Young），作家：纽约市是社会上层阶级中最难以理解的城市之一。

You’re talking very old families who have acquired a lot of wealth and a lot of social privilege.

你说的是非常古老的家庭，他们获得了大量财富和社会特权。

On the other hand, Hearst doesn’t like to follow rules.

另一方面，赫斯特不喜欢遵守规则。

He’s also a little bit of a disruptor.

他也是一个有点颠覆者。

Gary Kamiya, Writer: Hearst liked that sense of flaunting propriety, but at the same time he always wanted to be at the top of the social heap.

加里·卡米亚（Gary Kamiya），作家：赫斯特喜欢那种炫耀礼节的感觉，但同时他总是想成为社会的顶端。

It’s classic Hearst.

这是赫斯特的经典之作。

There's this quality of I may be a wild man from the West, but I have a lot more money than you.

有这样的品质，我可能是一个来自西方的野人，但我比你有钱多了。

David Nasaw, Author: If he had put all his effort into it, he could have become a respected gentleman, but he doesn’t want to, he’s got better things to do.

大卫·纳索（David Nasaw），作者：如果他全力以赴，他本可以成为一位受人尊敬的绅士，但他不想这样做，他还有更好的事情要做。

Narrator: The publishing industry had changed since Hearst had last been in New York in his student days.

旁白：自从赫斯特上次来纽约还是学生时代以来，出版业已经发生了变化。

Papers were being churned out faster than ever before -- a revolution fueled by the linotype printing press, a steam-powered monster so loud that many printers were now hired from among the city’s deaf population.

纸张的生产速度比以往任何时候都快——这是一场由排字印刷机推动的革命，排字印刷机是一种蒸汽驱动的怪物，声音如此之大，以至于现在许多印刷工都是从该市的聋哑人中雇用的。

David Nasaw, Author: The New York market in newspapers was overstocked.

大卫·纳索（David Nasaw），作者：纽约报纸市场库存过剩。

There were dozens of newspapers that were doing very, very well.

有几十家报纸做得非常非常好。

Narrator: Hearst surveyed them all with an expert eye, peering into every corner of the market.

旁白：赫斯特以专家的眼光对他们进行了调查，审视了市场的每一个角落。

Niche publications -- like the Wall Street Journal, specialized in business news and catered to the street’s brokers and financiers.

小众出版物——比如《华尔街日报》，专门报道商业新闻，迎合华尔街的经纪人和金融家的需求。

The erudite New York Tribune was much beloved by the literary set.

博学的《纽约论坛报》深受文学界的喜爱。

While the Yidishes Tageblatt -- the “Jewish Daily News” -- printed for conservative and orthodox leaders.

而《犹太每日新闻》（Yidishes Tageblatt）则为保守派和正统领导人印刷。

The New York Age, and The Woman’s Era were created for, and by, the Black community.

《纽约时代》和《女性时代》是为黑人社区创建的，也是由黑人社区创建的。

No fewer than twenty papers appeared in languages other than English.

以英语以外的语言发表的论文不少于二十篇。

The New York Times became known as the gray lady, because of its staid layout and establishment politics.

《纽约时报》因其古板的布局和建制派政治而被称为“灰色女士”。

Its circulation paled in comparison to the Sun, which had as many as 100,000 subscribers -- and to the Herald, which drew 200,000 a day.

与拥有多达 10 万订阅者的《太阳报》和每天吸引 20 万订阅者的《先驱报》相比，它的发行量相形见绌。

But at the top of the pack was the World, printing a quarter million copies weekday mornings and over 500 thousand on Sundays.

但位居榜首的是《世界》，工作日早上印刷了 25 万份，周日印刷量超过 50 万份。

Owned and operated by Joseph Pulitzer, The World was the single most popular newspaper of the age, and Hearst wanted nothing more than to take it down.

《世界报》由约瑟夫·普利策拥有和经营，是当时最受欢迎的报纸，赫斯特只想把它拿下来。

Gary Kamiya, Writer: So the dragon is Joseph Pulitzer.

加里·卡米亚（Gary Kamiya），编剧：所以这条龙就是约瑟夫·普利策（Joseph Pulitzer）。

This is who Hearst wants to beat if he is going to become the undisputed heavyweight champion of the journalistic world.

如果赫斯特想成为新闻界无可争议的重量级冠军，这就是他想要击败的人。

He’s got to knock out Joe Pulitzer.

他必须击败乔·普利策。

Narrator: Pulitzer -- at 48 years of age to Hearst’s 32 -- had everything the younger man wanted.

旁白：普利策 48 岁，赫斯特 32 岁，拥有年轻人想要的一切。

He had risen from nothing to become the 24th richest man in the country.

他白手起家，成为全国第 24 位富豪。

He employed the biggest news staff on the planet and shaped the opinions of millions.

他雇用了地球上最大的新闻人员并影响了数百万人的观点。

A democrat, like Hearst, he’d tried his hand at politics and been elected to Congress.

作为一个像赫斯特一样的民主党人，他尝试过从政并当选为国会议员。

His success had brought him a string of waterfront properties.

他的成功为他带来了一系列海滨房产。

He had several boats all much bigger than Hearst’s.

他有几艘船，都比赫斯特的大得多。

And everything he’d achieved, he’d fought for, and won.

他所取得的一切都是他为之奋斗并赢得的。

Greg Young, Writer: Joseph Pulitzer was an immigrant who made it big in St. Louis and owned a newspaper there.

格雷格·杨（Greg Young），作家：约瑟夫·普利策（Joseph Pulitzer）是一位移民，他在圣路易斯发迹，并在那里拥有一家报纸。

In the 1880s, he came to New York and he was kind of the big shot.

1880 年代，他来到纽约，算是个大人物。

He really changed the nature of journalism.

他确实改变了新闻业的本质。

Hearst actually modeled his own newspaper out in San Francisco on what Pulitzer was doing.

赫斯特实际上以普利策的做法为蓝本在旧金山创办了自己的报纸。

Andie Tucher, Historian: The New York World was so visible, it was such a presence in the city.

安迪·图彻（Andie Tucher），历史学家：纽约世界是如此明显，它在这座城市中是如此的存在。

It was hard to avoid reading Pulitzer's paper.

阅读普利策的论文是很难避免的。

This was a newspaper that was really focused on the needs and the interests of the enormous immigrant population in New York City.

这是一份真正关注纽约市庞大移民人口的需求和利益的报纸。

Narrator: Never before in American history had there been more immigrants arriving on its shores.

旁白：美国历史上从未有过如此多的移民抵达其海岸。

Robert Chiles, Historian: New York is an immigrant city.

历史学家罗伯特·奇利斯：纽约是一座移民城市。

It's overwhelmingly Irish immigrants as well as a lot of German immigrants.

其中绝大多数是爱尔兰移民以及大量德国移民。

And those people keep coming.

那些人不断地来。

But now, in the late 19th century, you suddenly have this surge of immigrants from Southern and Eastern Europe.

但现在，在 19 世纪末，来自南欧和东欧的移民突然激增。

And so you have the arrival of Italian immigrants, by the tens and hundreds of thousands.

因此，数以万计、数十万的意大利移民抵达。

Jewish immigrants from the Russian empire.

来自俄罗斯帝国的犹太移民。

It was a vibrant and diverse population in this city.

这座城市的人口充满活力且多元化。

And they were living in crowded conditions and they were, by and large at the bottom of the city's economy.

他们生活在拥挤的环境中，总体上处于城市经济的底层。

Jeet Heer, Writer: There’s two different models for how you can make money for newspapers.

Jeet Heer，作家：报纸赚钱有两种不同的模式。

There's the New York Times model where you don’t get the most readers, but you get upscale readers and you have a genteel, respectable newspaper that appeals to them and you get advertising.

在《纽约时报》的模式中，你不会获得最多的读者，但你会获得高档读者，并且你有一份文雅、受人尊敬的报纸来吸引他们，并且你会得到广告。

And there’s the Pulitzer model where you get the most readers that you possibly can, including, you know, the poor, the immigrants, the working class.

还有普利策模式，你可以尽可能地获得最多的读者，包括穷人、移民、工人阶级。

Like trying to reach the masses.

就像试图接触大众一样。

Narrator: As Hearst saw it, the working people of New York City were the prize and Pulitzer was standing in his way.

旁白：在赫斯特看来，纽约市的劳动人民是他的奖品，而普利策却阻碍了他。

After weeks of shopping around, Hearst finally settled on the vehicle for his plans -- a little 2-cent paper called the Morning Journal.

经过几周的货比三家，赫斯特终于选定了他的计划的载体——一份名为《晨报》的 2 美分小报纸。

He tapped the equivalent of 4.7 million dollars from Phoebe’s estate, for a paper with only 70,000 readers.

他从菲比的遗产中动用了相当于 470 万美元的资金，来出版一份只有 7 万名读者的报纸。

Andie Tucher, Historian: The Journal, when Hearst got hold of it, was not at all important.

安迪·图彻（Andie Tucher），历史学家：当赫斯特拿到《华尔街日报》时，它一点也不重要。

It was not at all interesting, nobody cared, nobody bought it.

它一点也不有趣，没有人关心，没有人买。

It was a good thing to get if you wanted a cheap way to enter the New York market, but other than that, it was not gonna bring any loyal readers with him.

如果你想以便宜的方式进入纽约市场，这是一件好事，但除此之外，它不会为他带来任何忠实的读者。

David Nasaw, Author: Everybody thought wow you know this young kid he may have made it in San Francisco but he’s certainly not going to succeed in New York and he’s certainly not going to succeed by buying the Journal!

大卫·纳索（David Nasaw），作者：每个人都认为哇，你知道这个年轻人，他可能在旧金山取得了成功，但他肯定不会在纽约取得成功，而且他肯定不会通过购买《华尔街日报》而取得成功！

Narrator: A cartoonist working over at the World remembered that, “[Hearst] was both pitied and jeered when it leaked out that he had bought the Journal.

旁白：一位在《世界报》工作的漫画家回忆道，“当赫斯特买下《华尔街日报》的消息被泄露出去时，他既感到同情，又受到嘲笑。

…

……

[He was] ridiculed for his youth and assurance, …

[他]因为自己的年轻和自信而被嘲笑，……

[and] sneered at as a rich man’s son.”

[并且]被嘲笑为富人的儿子。”

David Nasaw, Author: Hearst knows that he’s got to spend a lot of money.

大卫·纳索（David Nasaw），作者：赫斯特知道他必须花很多钱。

He then goes on a shopping spree.

然后他开始疯狂购物。

He buys the best editors.

他买下了最好的编辑。

He buys the best newspaper men.

他买下了最好的报社人物。

And he gets most of them from Pulitzer.

他大部分都是从普利策获得的。

Narrator: He hired away Morrill Goddard, a star reporter and editor.

旁白：他雇佣了明星记者兼编辑莫里尔戈达德。

When Pulitzer replaced Goddard, Hearst hired away the new editor, Arthur Brisbane, as well.

当普利策取代戈达德时，赫斯特也挖走了新编辑阿瑟·布里斯班。

Not to be outdone, Pulitzer often bested Hearst’s offers.

普利策也不甘示弱，经常击败赫斯特的报价。

Entire staffs switched papers one day to the next.

全体员工一天又一天地交换文件。

Media critics dubbed Hearst a “monopolist of talent.” Rumor was, he’d even lured away Pulitzer’s pressroom cat.

媒体评论家称赫斯特为“人才垄断者”。有传言说，他甚至引走了普利策新闻室的猫。

The rivalry rippled across every section of their papers.

这场竞争蔓延到了他们论文的各个部分。

Hearst soon debuted the American Humorist, an enormous, Sunday comic supplement as tall as a large toddler.

赫斯特很快就推出了《美国幽默家》，这是一份巨大的周日漫画增刊，有一个大孩子那么高。

Erik Loomis, Historian: In the late 19th century, comics are tremendously successful, enormously powerful.

埃里克·卢米斯 (Erik Loomis)，历史学家：在 19 世纪末，漫画取得了巨大成功，影响力巨大。

It gives a 12-year-old a reason to buy the paper.

它给了 12 岁的孩子一个购买报纸的理由。

Andie Tucher, Historian: Comics expressed things dramatically often because readers were perhaps recent immigrants, working class people, people for whom English was not a strong language.

安迪·图彻（Andie Tucher），历史学家：漫画常常戏剧性地表达事物，因为读者可能是新移民、工人阶级，对英语不是强语言的人来说。

Greg Young, Writer: Over at The World, Pulitzer had an illustrator named Richard Outcault and Outcault, created a little character that was called The Yellow Kid.

格雷格·杨（Greg Young），作家：在《世界》中，普利策请了一位名叫理查德·奥考特（Richard Outcault）的插画家，奥考特创作了一个名叫“黄孩子”的小角色。

A sickly little boy in like a yellow robe.

一个身着黄袍、体弱多病的小男孩。

Jeet Heer, Writer: The Yellow Kid was a slum kid.

Jeet Heer，作家：黄孩子是一个贫民窟的孩子。

Why is he bald?

他为什么秃头？

Because kids who have lice, they get their heads shaved -- especially young poor kids.

因为有虱子的孩子，他们会被剃光头——尤其是贫穷的孩子。

Narrator: Outcault explained that: “The Yellow Kid was not an individual, but a type.

旁白：奥考特解释说：“黄孩子不是一个个体，而是一种类型。

When I used to go about the slums on newspaper assignments I would encounter him often, wandering out of doorways or sitting down on dirty doorsteps.

当我过去在贫民窟执行报纸任务时，我经常遇到他，他在门口徘徊，或者坐在肮脏的门阶上。

I always loved the Kid.

我一直很喜欢那个孩子。

He had a sweet character and a sunny disposition, and was generous to a fault.”

他性格可爱，性情阳光，而且慷慨大方。”

Greg Young, Writer : Hearst, of course, steals Outcault away from Pulitzer, however Pulitzer then just hires another illustrator to make a Yellow Kid.

格雷格·杨（Greg Young），作家：当然，赫斯特从普利策那里偷走了奥考特，但普利策随后只是聘请了另一位插画家来创作《黄孩子》。

Jeet Heer, Writer: So there are two rival Yellow Kids.

Jeet Heer，作家：所以有两个相互竞争的黄孩子。

There’s a Pulitzer Yellow Kid and a Hearst Yellow Kid.

有普利策黄孩子和赫斯特黄孩子。

People want papers that convey the reality of slum life, convey the reality of living in a tenement, of poverty, of hunger.

人们希望报纸能够传达贫民窟生活的现实，传达住在公寓里、贫穷和饥饿的现实。

That bald kid really resonated with the public.

那个光头小子确实引起了公众的共鸣。

And Hearst being Hearst, he found that was also very profitable.

赫斯特就是赫斯特，他发现这也非常有利可图。

Narrator: Now that Hearst had the cartoonists, the writers, and all the editors he’d wanted, he set in motion his most devious plan yet.

旁白：现在赫斯特有了他想要的漫画家、作家和所有编辑，他启动了他迄今为止最狡猾的计划。

He went ahead and dropped the price of the Journal from two cents to one.

他继续将《华尔街日报》的价格从两美分降到一美分。

Newspapers that sold for a penny, Hearst claimed, were the “true” tribunes of the people.

赫斯特声称，售价一美分的报纸是人民的“真正”论坛。

Robert Chiles, Historian: He sells his newspaper for half the price of Pulitzer’s newspaper and Hearst can do that because he has a lot of money and he can afford to lose money for a while.

罗伯特·奇利斯，历史学家：他以普利策报纸一半的价格出售他的报纸，赫斯特可以做到这一点，因为他有很多钱，而且他可以承受一段时间的亏损。

Narrator: In just three months, the Journal’s circulation more than doubled, jumping from 70,000 to 150,000.

旁白：短短三个月内，《华尔街日报》的发行量增加了一倍多，从7万份跃升至15万份。

No longer able to ignore the Journal’s success, Pulitzer dropped his price as well.

普利策再也无法忽视《华尔街日报》的成功，也降低了价格。

The editorial in the paper announcing the price change was succinct: “We prefer power to profits.” Privately, Pulitzer told his editors, “We must smash the interloper.”

报纸上宣布价格调整的社论很简洁：“我们更喜欢权力而不是利润。”普利策私下告诉他的编辑，“我们必须粉碎闯入者。”

At a penny apiece, both papers got the eyeballs they wanted -- but now lost money on every copy.

两份报纸都以每份一美分的价格吸引了他们想要的眼球，但现在每份都赔钱。

A great game of high stakes chicken had begun.

一场精彩的高风险小鸡游戏开始了。

Erik Loomis, Historian: Being a worker at this time was a life of poverty, of desperation, living in massive crowded tenements.

埃里克·卢米斯（Erik Loomis），历史学家：当时的工人生活贫困、绝望，生活在拥挤的公寓里。

People worked fourteen-sixteen hour days, they had no right to a union, workplace safety was abysmal.

人们每天工作十四到十六个小时，他们没有权利成立工会，工作场所的安全状况很糟糕。

There are very few wins for workers during these years.

这些年来，工人的胜利很少。

So there’s more and more tensions in America over the issue of class.

因此，美国在阶级问题上的紧张局势越来越严重。

Andie Tucher, Historian: It was an era when there was a real call for reform.

安迪·图彻（Andie Tucher），历史学家：那是一个真正呼唤改革的时代。

The end of the 19th century was a heartless, monopolistic, capitalist, gilded age.

19世纪末是一个无情的、垄断的、资本主义的镀金时代。

Jeet Heer, Writer: You had the first billionaires and the first giant corporations that owned everything.

Jeet Heer，作家：你们拥有第一批亿万富翁和第一批拥有一切的大公司。

They had vast monopoly power.

他们拥有巨大的垄断权力。

Narrator: These corrupt, sprawling monopolies were known as the trusts, and every day necessities like coal, sugar and coffee all fell under their purview.

旁白：这些腐败、规模庞大的垄断企业被称为信托公司，煤炭、糖和咖啡等日常必需品都属于他们的管辖范围。

Charles “the Ice King” Morse, for example, controlled all 285 million tons of ice the city used every year -- ice for homes, restaurants, and even morgues.

例如，“冰王”查尔斯·莫尔斯 (Charles Morse) 控制着该市每年使用的全部 2.85 亿吨冰——用于家庭、餐馆甚至太平间的冰。

There were few incentives to set fair prices, or to treat workers well.

几乎没有动力去设定公平的价格，或者善待工人。

David Nasaw, Author: When Hearst gets to New York, I think he’s outraged at the corruption.

大卫·纳索（David Nasaw），作者：当赫斯特到达纽约时，我认为他对腐败感到愤怒。

The working people of New York, largely immigrants, are being ripped off right and left.

纽约的劳动人民，主要是移民，正在左右被剥削。

That corruption is rampant, that the Democratic Party while pretending to represent the immigrant working class is making it more expensive for them to get clean water, to get sewers, to get gas, public schools, milk and everything else.

腐败猖獗，民主党在假装代表移民工人阶级的同时，却让他们获得清洁水、下水道、天然气、公立学校、牛奶和其他一切的成本更高。

And he knows that this is a way to win circulation and to, you know, gain power for himself.

他知道这是赢得流通的一种方式，你知道，这是为自己赢得权力的一种方式。

Narrator: Back in San Francisco, Hearst had made a name for himself by taking on the Southern Pacific Railroad, one of the biggest trusts in all the West.

旁白：回到旧金山后，赫斯特因收购南太平洋铁路而名声大噪，该铁路是西方最大的信托公司之一。

Gary Kamiya, Writer: The Southern Pacific Railroad, it’s hard to grasp how powerful it was.

加里·卡米亚（Gary Kamiya），作家：南太平洋铁路，很难想象它有多么强大。

It essentially ran the state.

它本质上是管理国家的。

It was said that the government of California was not in Sacramento, it was at 4th and Townsend street, which was where the SB headquarters were.

据说加州政府并不在萨克拉门托，而是在汤森街第四街，也就是SB总部所在地。

They bought off politicians.

他们收买了政客。

They gave subsidies to newspapers for favorable coverage.

他们为报纸提供补贴以获得有利的报道。

They were omnipotent and they were always hated by large numbers of San Franciscans.

他们无所不能，一直受到大批旧金山人的憎恨。

Hearst sent his best man, Ambrose Bierce, and he basically siced him on the almighty Southern Pacific railroad.

赫斯特派出了他的伴郎安布罗斯·比尔斯（Ambrose Bierce），他基本上把他安排在了强大的南太平洋铁路上。

And Hearst when he decided he wanted to go after something or someone he was dogged and ruthless and unswerving.

而赫斯特当他决定要追求某事或某人时，他就会顽强、无情、坚定不移。

And he loved victory.

他热爱胜利。

So it was both a good crusade -- it was good on the face of it, and it was also good for business.

因此，这既是一次很好的十字军东征——表面上看是好事，而且对商业也有好处。

Narrator: Now, in 1896, Hearst took what he’d learned in San Francisco, and mobilized his staff at The Journal to wage war against all New York City trusts.

旁白：现在，1896 年，赫斯特利用他在旧金山学到的知识，动员《华尔街日报》的员工向纽约市的所有信托公司发动战争。

Erik Loomis, Historian: The Journal was able to channel stories about the struggles of workers in ways that gains them political sympathy and that promotes the idea that maybe the state should fix some of these problems.

历史学家埃里克·卢米斯：《华尔街日报》能够以赢得工人政治同情的方式传播有关工人斗争的故事，并宣扬国家也许应该解决其中一些问题的想法。

And that is critical right?

这很关键，对吗？

For the first time, a major paper is saying the state needs to fix some problems.

第一次有主流报纸称国家需要解决一些问题。

Narrator: When the Gas Trust wanted to tear up vast reaches of the city’s streets to lay unnecessary new gas mains, Hearst had his best lawyers argue against it, taking their case all the way to the Supreme Court.

旁白：当燃气信托公司想要拆除城市的大片街道以铺设不必要的新燃气总管时，赫斯特让他最好的律师反对这一做法，并将他们的案件一路上诉到最高法院。

Then when the American Ice Company more than doubled its prices -- putting ice out of reach for most New Yorkers -- The Journal took down the Ice King, smashed the trust, and in the process exposed a sprawling corruption scheme that ended the mayor’s political career.

然后，当美国制冰公司将其价格提高了一倍多——让大多数纽约人买不起冰——《华尔街日报》拿下了冰王，粉碎了信任，并在此过程中揭露了一个庞大的腐败计划，最终结束了市长的政治生涯。

Hearst’s readers loved it, and every morning brought letters of appreciation from across the region.

赫斯特的读者很喜欢它，每天早上都会收到来自该地区各地的感谢信。

“The multitudes” Hearst wrote in an editorial, “are individually helpless against the rapacity of the few.” But, with The Journal on their side, the people “could be armed against their despoilers.”

赫斯特在一篇社论中写道，“大众对于少数人的贪婪无能为力。”但是，有了《华尔街日报》的支持，人民“就可以武装起来对抗掠夺者”。

Jeet Heer, Writer: For Hearst, journalism was getting the reader engaged.

Jeet Heer，作家：对于赫斯特来说，新闻业正在吸引读者。

The whole point of news is to create stories that the reader can be drawn into.

新闻的全部意义在于创造能够吸引读者的故事。

Chenjerai Kumanyika, Media Scholar: They’re tapping into a kind of anger, right?

Chenjerai Kumanyika，媒体学者：他们正在利用一种愤怒，对吧？

And the anger is a motivating force, that motivates people to read, motivates people to get involved with stories.

而愤怒是一种动力，它激励人们去阅读，激励人们参与故事。

Even if those stories are being rendered in a lurid and kind of you know sensational way, they’re about ordinary people and expressing an outrage, with a kind of authenticity that maybe you’re not seeing in some of the more elite papers.

即使这些故事以一种耸人听闻、耸人听闻的方式呈现，它们也是关于普通人的，表达了一种愤怒，具有一种你在一些更精英的报纸上可能看不到的真实性。

So, if you’re reading this stuff that’s very compelling and you know you probably feel like he’s your champion.

所以，如果你正在阅读这篇非常引人注目的文章，并且你知道你可能会觉得他是你的冠军。

Gary Kamiya, Writer: There was this crusading and idealistic aspect that was fresh.

加里·卡米亚（Gary Kamiya），作家：这种十字军东征和理想主义的一面是新鲜的。

It was the narrative, it was the melodrama, it was the marketing, the splashiness that he brought that made it effective and made people want to read it.

是叙事，是情节剧，是营销，是他带来的引人注目，使得它有效并让人们想读它。

And that he was fighting for important issues.

他正在为重要问题而奋斗。

You can’t dismiss that this advocacy journalism in its rawest form paid very positive dividends in terms of ending this very corrupt system.

你不能否认，这种最原始形式的倡导性新闻在结束这个非常腐败的体系方面取得了非常积极的成果。

Narrator: Hearst called what he was doing “the new journalism” and ranked it above even the city’s courts as a force for justice.

旁白：赫斯特称他正在做的事情为“新新闻业”，并将其视为正义的力量，甚至高于该市的法院。

The young publisher was riding high, energized by each new crusade -- and loving absolutely everything the city had to offer.

这位年轻的出版商意气风发，每次新的十字军东征都充满活力，并且热爱这座城市所提供的一切。

Greg Young, Writer: If you wanted to have a good time in New York around the turn of the century, you headed to the Tenderloin.

格雷格·杨（Greg Young），作家：如果你想在世纪之交的纽约度过一段美好的时光，你就要去田德隆区。

You could find the best dance halls, the seediest saloons, the brothels, and the gambling dens.

你可以找到最好的舞厅、最破旧的酒吧、妓院和赌场。

Normally men like Hearst would not be seen in the Tenderloin.

通常，像赫斯特这样的人不会出现在田德隆区。

Of course, it would damage their social status.

当然，这会损害他们的社会地位。

But Hearst really wasn’t that kind of a guy, and he enjoyed meeting dancing girls.

但赫斯特确实不是那种人，他喜欢认识跳舞的女孩。

Narrator: Ever since he’d arrived in New York, Hearst had been seen with one performer in particular.

旁白：自从到达纽约以来，人们就经常看到赫斯特和一位表演者在一起。

Her name was Millicent Willson.

她的名字叫米莉森特·威尔森。

Victoria Kastner, Writer : She and her sister Anita were the dancing Willson sisters.

维多利亚·卡斯特纳，作家：她和她的妹妹安妮塔是跳舞的威尔森姐妹。

They did something quite daring in vaudeville, which was they rode bicycles across the stage.

他们在杂耍表演中做了一件相当大胆的事情，那就是骑着自行车穿过舞台。

They were bicycle girls.

她们是骑自行车的女孩。

Narrator: The sisters performed in musical comedies in which they showed as much leg as they could without getting arrested.

旁白：姐妹俩在音乐喜剧中表演，她们在不被捕的情况下尽可能多地展示腿。

Millicent was 16 when they met, and Hearst was nearly twice her age.

他们相遇时米莉森特 16 岁，赫斯特几乎是她年龄的两倍。

“When he asked me to go out with him …

“当他邀请我和他一起出去时......

my mother was against it,” Millicent explained.

我母亲反对，”米利森特解释道。

“I recall she said, ‘Who is he?

“我记得她说，‘他是谁？

Some young fellow from out West somewhere …

某个来自西部某个地方的年轻人……

?’ She insisted Anita had to come or I couldn’t go.”

？’她坚持说安妮塔必须来，否则我就不能去。”

Victoria Kastner, Writer: He walked around with both of them.

维多利亚·卡斯特纳，作家：他和他们俩一起走来走去。

One on each arm, which people thought was quite scandalous.

每只手臂上都有一个，人们认为这是相当可耻的。

Narrator: The Willson sisters even joined Hearst on lavish vacations abroad.

旁白：威尔森姐妹甚至和赫斯特一起在国外度过了奢华的假期。

Greg Young, Writer: He was doing things on the edge of respectability.

格雷格·杨，作家：他所做的事情都处于受人尊敬的边缘。

In both his personal and professional lives he thrived and enjoyed pushing things to the limits.

在他的个人生活和职业生涯中，他都蓬勃发展并喜欢将事情推向极限。

Victoria Kastner, Writer: Hearst was a man of action.

维多利亚·卡斯特纳（Victoria Kastner），作家：赫斯特是一个实干家。

Millie would say that they wanted to go to Sherries or Delmonico’s and have some lovely meal.

米莉会说他们想去雪利酒店或德尔莫尼科餐厅吃一顿美餐。

But instead he wanted to go down to the newspaper office and Millie and Anita would spend long boring hours as W.R, went over the masthead, changed the headline, corrected things for the last edition.

但相反，他想去报社，米莉和安妮塔会花很长无聊的时间，让 W.R 翻阅报头，更改标题，纠正上一版的内容。

Narrator: Hearst developed a routine where he’d work all day, hit the theater with the Willson sisters, then return to the Journal -- with or without the girls in tow.

旁白：赫斯特制定了一个惯例，他会工作一整天，与威尔森姐妹一起去剧院，然后返回《华尔街日报》——无论是否有女孩们在场。

One of his editors later recalled that, “Hearst would come back at about 1:30 in the morning and [then would proceed] to rip my editorial pages to pieces.

他的一位编辑后来回忆道，“赫斯特会在凌晨 1:30 左右回来，[然后继续]把我的社论撕成碎片。

…

……

It was always an interesting spectacle …

这总是一个有趣的景象……

to see this young millionaire, usually in irreproachable evening dress, working over the forms, changing a head here, shifting the position of an article there, clamoring always for more pictures and bigger type.”

看到这位年轻的百万富翁，通常穿着无可挑剔的晚礼服，在表格上工作，这里改变一个头，那里改变文章的位置，总是要求更多的图片和更大的字体。”

Greg Young, Writer: In the first couple of years of the Journal, Hearst basically threw everything at the wall to see what would stick.

格雷格·杨（Greg Young），作家：在《华尔街日报》的最初几年里，赫斯特基本上把所有东西都扔到墙上，看看什么能粘住。

Because of this, his newspaper was known as a place for exciting ideas and for interesting concepts because it was so much more interesting than everything else that was being sold at the time.

正因为如此，他的报纸被认为是令人兴奋的想法和有趣的概念的地方，因为它比当时出售的其他任何东西都有趣得多。

Narrator: By 1897, two years into his ownership of the Journal, Hearst’s rivalry with Pulitzer was pushing past all usual boundaries of decorum.

旁白：到 1897 年，即赫斯特拥有《华尔街日报》两年后，他与普利策的竞争已经突破了所有通常的礼仪界限。

The Journal’s circulation climbed so steadily that Pulitzer became convinced that Hearst must have a spy in his newsroom, and even put in place a system of codenames to confuse the competition.

《华尔街日报》的发行量稳​​步攀升，以至于普利策确信赫斯特的新闻编辑室里一定有间谍，甚至制定了一套代号系统来迷惑竞争对手。

Hearst, meanwhile, seemed equally willing to publish tasteless exposés on his front page, to print titillating drawings in his theater reviews, and to degrade and dehumanize in his comics.

与此同时，赫斯特似乎同样愿意在他的头版上发表无品位的揭露，在他的戏剧评论中刊登令人兴奋的图画，并在他的漫画中贬低和非人性化。

Anything to sell his paper.

为了卖掉他的报纸，什么都可以。

Gary Kamiya, Writer: There’s no question that Hearst was an expert at appealing to fear, to lust, to voyeurism, to sensationalism.

加里·卡米亚，作家：毫无疑问，赫斯特是诉诸恐惧、欲望、窥淫癖和煽情主义的专家。

And probably the most obvious aspect of this is crime.

其中最明显的方面可能就是犯罪。

He was a master at creating heroes and villains so that whoever the murderer is, is a demonic, satanic figure, threatening everything that we hold dear.

他是创造英雄和恶棍的大师，所以无论凶手是谁，都是一个恶魔般的撒旦人物，威胁着我们所珍视的一切。

And the victim is like the damsel on the white horse.

而受害者就像白马上的少女一样。

He increased the ratio of crime stories to an extraordinary degree, 20 or 30% of the stories in the journal were crime stories.

他将犯罪故事的比例提高到了惊人的程度，杂志上的故事有20％或30％是犯罪故事。

And he was pretty shameless about it.

而且他对此非常无耻。

Narrator: In the summer of 1897, when a headless body washed up on the banks of the East River, both Hearst and Pulitzer were determined to make the most of it.

旁白：1897 年夏天，当一具无头尸体被冲上东河岸时，赫斯特和普利策都决心充分利用它。

Andie Tucher, Historian: This was, of course, a case that had lots of potential for sensation.

安迪·图彻（Andie Tucher），历史学家：当然，这是一个很有可能引起轰动的案件。

And both of them were covering it.

他们俩都在掩盖它。

But Hearst sets up what he calls his own murder squad, his own reporters who go out with the police, investigate with the police.

但赫斯特成立了他所谓的自己的谋杀小组，他自己的记者与警察一起出去，与警察一起调查。

Narrator: Hearst dispatched twenty reporters to swarm the murder scene and the city morgue.

旁白：赫斯特派出了二十名记者，包围了谋杀现场和市停尸房。

The case hinged on a distinctive red and yellow oilcloth that had been used to wrap the body, and Hearst’s team canvased every store in town, until they figured out exactly who had supplied the killer.

案件的关键是用一块独特的红黄色油布包裹尸体，赫斯特的团队走遍了镇上的每家商店，直到他们弄清楚到底是谁提供了凶手。

Andie Tucher, Historian: Now, bear in mind, Hearst has his people doing detective work that the detectives are not doing.

安迪·图彻（Andie Tucher），历史学家：现在，请记住，赫斯特让他的人做侦探工作，而侦探们却没有做。

Narrator: Hearst’s bold coverage fit perfectly with the Journal’s new motto: “WHILE OTHERS TALK THE JOURNAL ACTS!”

旁白：赫斯特的大胆报道与《华尔街日报》的新座右铭完美契合：“当其他人谈论《华尔街日报》的行为时！”

Greg Young, Writer: This idea that reporters need to be in the story required a new type of journalist called the stunt journalist.

格雷格·杨，作家：记者需要参与故事的想法需要一种称为特技记者的新型记者。

It was a little mix of investigative journalism and a little bit of reality TV.

这是调查性新闻和电视真人秀的结合体。

They would do disguises, they would embed themselves into places all for the idea of finding a story that related to the working class person.

他们会伪装，他们会把自己融入到某个地方，所有这些都是为了找到一个与工人阶级有关的故事。

Chenjerai Kumanyika, Media Scholar: He understands you have to be in it.

Chenjerai Kumanyika，媒体学者：他明白你必须参与其中。

He wants his reporters to be along for the ride.

他希望他的记者能够随行。

And, you know, he would tell his reporters, visualize the news before you write it.

而且，你知道，他会告诉他的记者，在写新闻之前先想象一下新闻。

Narrator: When Hearst got a tip about the identity of the murderer, he jumped on a bicycle and raced uptown, outstripping even his own reporters.

旁白：当赫斯特得知凶手的身份后，他跳上一辆自行车，向住宅区狂奔，甚至跑得比他自己的记者还快。

In the end, it took all of three days for Hearst and his team to crack the case.

最终，赫斯特和他的团队花了三天时间才破获此案。

Two Journal reporters made the first arrest, leaping into a moving carriage on 9th Avenue and catching the suspect in full flight.

两名《华尔街日报》记者率先逮捕了嫌疑人，他们跳进第九大道上一辆行驶的马车，抓住了逃跑的嫌疑人。

Hearst loved every second.

赫斯特热爱每一秒。

He’d always remember the way he’d closed that case.

他永远记得他结案的方式。

“We were young,” he’d write wistfully.

“我们还年轻，”他若有所思地写道。

“It was an adventure.”

“这是一次冒险。”

Question was, once Hearst had raced through the streets in pursuit of a killer, was there anything he wouldn’t do?

问题是，一旦赫斯特跑遍街道追捕凶手，还有什么是他不会做的吗？

Gary Kamiya, Writer: Cuba was this last colonial possession of the Spanish empire.

加里·卡米亚（Gary Kamiya），作家：古巴是西班牙帝国最后的殖民地。

And it was a very controversial political situation there in which there was a Cuban rebellion against Spanish colonial rule.

那里的政治局势非常有争议，古巴人反抗西班牙殖民统治。

Narrator: Back in 1895, revolutionaries calling for “independence or death” had risen against the Spanish.

旁白：早在1895年，要求“独立或死亡”的革命者就起来反抗西班牙人。

The rebels had been violently repressed, but their bloody struggle had continued for two years.

起义军虽遭到猛烈镇压，但血腥斗争却持续了两年。

David Nasaw, Author: Hearst loves a good story and he loves a story that could be made into a melodrama.

大卫·纳索（David Nasaw），作者：赫斯特喜欢好故事，也喜欢可以拍成情节剧的故事。

He sees a developing story in Cuba where the bad guys are the Spanish, the damsel in distress is the Cuban people, and the hero is going to be William Randolph Hearst and the American government that’s going to rescue these poor Cubans.

他在古巴看到了一个正在发展的故事，其中坏人是西班牙人，遇险的少女是古巴人民，英雄将是威廉·伦道夫·赫斯特和将拯救这些可怜的古巴人的美国政府。

Gary Kamiya, Writer: The Hearst papers were vehemently pro Cuban rebels and they painted them as this noble band going up against this evil colonial empire and Hearst just played that to the max.

加里·卡米亚（Gary Kamiya），作家：赫斯特的报纸强烈支持古巴叛乱分子，他们将他们描绘成一支对抗邪恶殖民帝国的高贵乐队，而赫斯特则将这一点发挥到了极致。

Narrator: Hearst believed that Europeans should stay well away from the Americas, and to get his point across, he was willing to publish almost anything -- especially now that he’d found a new villain that his readers loved to hate.

旁白：赫斯特认为欧洲人应该远离美洲，为了表达他的观点，他愿意出版几乎任何东西——尤其是现在他发现了一个让他的读者又爱又恨的新恶棍。

Greg Young, Writer: The tensions between Cuba and Spain at this time represents a story of independence that was very appealing to New Yorkers and to Americans overall.

格雷格·杨（Greg Young），作家：此时古巴和西班牙之间的紧张关系代表了一个对纽约人和整个美国人都非常有吸引力的独立故事。

Hearst is beginning to formulate a plan that this is an event that we can actually be a part of in a way that no other newspaper is.

赫斯特正在开始制定一项计划，我们实际上可以以其他报纸无法做到的方式参与这一活动。

He is sending correspondents down to Cuba that were sending these breathless updates, that were often highly exaggerated, but were unbelievably entertaining.

他正在派记者前往古巴，发送这些令人窒息的最新消息，这些消息往往非常夸张，但却令人难以置信地有趣。

Narrator: Hearst published story after story from Cuba, each more sensational -- and less tethered to reality -- than the last.

旁白：赫斯特发表了一个又一个来自古巴的故事，每一个都比上一个更加耸人听闻，而且与现实的联系更少。

He soon zeroed in on an 18-year-old revolutionary named Evangelina Cisneros, who’d been imprisoned without a trial.

他很快就把目标锁定在了一位名叫伊万杰琳娜·西斯内罗斯 (Evangelina Cisneros) 的 18 岁革命者身上，她未经审判就被监禁。

The Journal published wildly melodramatic articles about her plight, then Hearst had one of his reporters smuggle her out of Havana, disguised as a man and smoking a Cuban cigar.

《华尔街日报》发表了有关她困境的夸张文章，然后赫斯特让他的一名记者将她乔装成男人，抽着古巴雪茄，偷偷带出哈瓦那。

Cisneros arrived in New York a sensation.

西斯内罗斯抵达纽约时引起了轰动。

Hearst paraded her around the city like his own personal war trophy -- hosting an elaborate dinner in her honor at Delmonico’s, a ball at the Waldorf, and a rally at Madison Square Garden that drew 75,000.

赫斯特带着她在城市里游行，就像他自己的个人战利品一样——在德尔莫尼科酒店为她举办了一场精心准备的晚宴，在华尔道夫酒店举办了一场舞会，还在麦迪逊广场花园举办了一场吸引了 75,000 人参加的集会。

His frenzied coverage brought more and more readers to the Journal, and branded Spain as enemy number one.

他的疯狂报道为《华尔街日报》带来了越来越多的读者，并将西班牙视为头号敌人。

Then, on February 15th, 1898, off the coast of Havana, a battleship called the USS Maine exploded.

然后，1898 年 2 月 15 日，在哈瓦那海岸附近，一艘名为“缅因号”的战舰发生爆炸。

Two hundred and sixty-six American sailors were dead.

两百六十六名美国水手丧生。

Hearst was convinced that Spain was to blame, and was determined to seize the opportunity.

赫斯特坚信西班牙是罪魁祸首，并决心抓住这个机会。

“Arouse everybody,” Hearst telegrammed his team.

“唤醒所有人，”赫斯特给他的团队发了电报。

“Maine is [a] great thing.”

“缅因州是一件伟大的事情。”

Gary Kamiya, Writer: This point is when he began, for the first time, cross these lines.

加里·卡米亚（Gary Kamiya），作家：此时，他开始第一次跨越这些界限。

What he did was so beyond the bounds of acceptable journalism by any standard.

无论以任何标准衡量，他的所作所为都超出了可接受的新闻业的界限。

David Nasaw, Author: Hearst, immediately publishes on his front pages a variety of stories, going after the Spanish, all made up.

大卫·纳索，作者：赫斯特，立即在他的头版上发表了各种追击西班牙人的故事，全都是编造的。

Andie Tucher, Historian: The battleship Maine, was probably an accident.

安迪·图彻（Andie Tucher），历史学家：缅因号战列舰可能是一次事故。

Everything suggests that it was probably an accident.

一切都表明这可能是一场意外。

But at that point, it was impossible to simmer everybody back down.

但到了那个时候，就不可能让所有人都冷静下来了。

So war seemed inevitable at that point.

因此，战争在那时似乎是不可避免的。

And Hearst loved it.

赫斯特很喜欢它。

Narrator: Hearst was well aware that this was the biggest story of his career, and he intended to push it as far as he could.

旁白：赫斯特很清楚这是他职业生涯中最重要的故事，他打算尽可能地推动它。

The Spaniards were not men but beasts, he claimed, and proceeded to spread outright lies about their troops savaging women, poisoning children, and feeding prisoners of war to sharks.

他声称，西班牙人不是人，而是野兽，并开始散布关于他们的军队残暴妇女、毒害儿童以及将战俘喂鲨鱼的谎言。

Pulitzer had recently jumped on the bandwagon as well, and the World was soon trafficking in reporting almost as sensational as Hearst’s.

普利策最近也加入了这股潮流，世界很快就开始贩卖几乎和赫斯特的一样耸人听闻的报道。

Now, both Hearst and Pulitzer were demanding that the President declare war at once.

现在，赫斯特和普利策都要求总统立即宣战。

William McKinley, a moderate Republican who’d won the White House on a business-friendly ticket two years earlier, remained cautious.

威廉·麦金利 (William McKinley) 是一位温和的共和党人，两年前以对商业有利的方式入主白宫，但他仍然保持谨慎态度。

“War should never be entered upon until every agency of peace has failed,” the President maintained.

总统坚称：“在所有和平机构都失败之前，决不应该发动战争。”

But with every paper sold, the calls for war grew louder.

但随着每张报纸售出，战争的呼声越来越高。

The unrelenting, over-the-top war-mongering Hearst and Pulitzer engaged in earned them a new nickname -- Yellow Kid journalists.

赫斯特和普利策无情、过分的战争贩子为他们赢得了一个新绰号——黄孩子记者。

“Nothing …

“没什么……

troubles the yellow journalist,” one critic complained.

给黄色记者带来麻烦”，一位评论家抱怨道。

“His object is sordid and mercenary.

“他的目的是肮脏的、唯利是图的。

His cry is for blood.

他的呼喊是为了鲜血。

The more of it the better.”

越多越好。”

“Yellowdom’s strong point,” another stated, is “the total disregard for truth and dignity.”

另一位人士表示，“黄色统治的强项是完全无视真理和尊严”。

Jeet Heer, Writer: The whole idea of the yellow press was that these are trash papers that publish gossip, publish scandal, and also are riling up the masses.

Jeet Heer，作家：黄色报纸的整体理念是，这些报纸是发布八卦、丑闻、激怒群众的垃圾报纸。

Andie Tucher, Historian: The spiral of sensationalism that Pulitzer and Hearst were drawn into, I think it made it a lot easier to cross lines that they might not have crossed without the heat of competition pushing them onward.

安迪·图彻（Andie Tucher），历史学家：普利策和赫斯特陷入的耸人听闻的漩涡，我认为这让他们更容易跨越界限，如果没有激烈的竞争推动他们前进，他们可能不会跨越界限。

Narrator: Now The Journal was lambasting McKinley almost daily, denouncing him as weak and indecisive.

旁白：现在《华尔街日报》几乎每天都在猛烈抨击麦金莱，谴责他软弱、优柔寡断。

Finally, on April 20, 1898, McKinley asked for a declaration of war.

最后，1898 年 4 月 20 日，麦金莱要求宣战。

Hearst was more than happy to take the credit.

赫斯特非常乐意接受这一荣誉。

Gary Kamiya, Writer: The hutzpah of this is so unbelievable.

加里·卡米亚（Gary Kamiya），编剧：这真是令人难以置信。

“How do you like The Journal’s war?” So he just nakedly, unabashedly, unapologetically takes credit for this war.

“你觉得《华尔街日报》的战争怎么样？”所以他就赤裸裸的、毫不掩饰、毫无歉意地把这场战争归功于自己。

Narrator: At night, the publisher celebrated by launching rockets from the roof of his headquarters in New York and San Francisco.

旁白：晚上，出版商从纽约和旧金山总部的屋顶发射火箭来庆祝。

“Watch the skies,” he told his readers.

“留意天空，”他告诉读者。

“If you see the bombs it means that war is on.”

“如果你看到炸弹，就意味着战争已经开始。”

Andie Tucher, Historian: Hearst was someone who wanted more than anything else to be on top and to win.

安迪·图彻（Andie Tucher），历史学家：赫斯特是一个最渴望登上顶峰并获胜的人。

He was somebody who cared deeply about having influence and being a big man on the world stage.

他是一个非常关心影响力并成为世界舞台上的大人物的人。

Gary Kamiya, Writer: He wants to rule the world, he wants to have more power, more influence, more money, more everything than everybody.

加里·卡米亚（Gary Kamiya），作家：他想要统治世界，他想要比任何人拥有更多的权力、更多的影响力、更多的金钱、更多的一切。

In the Spanish American war there’s a playfulness to it, which is amusing in some situations, but when you’re talking about major international relations it’s not so amusing.

在美西战争中，有一种好玩的感觉，在某些情况下很有趣，但当你谈论重大国际关系时，就不那么有趣了。

He’s totally unelected, he’s not supposed to be running American foreign policy.

他完全不是当选的，他不应该管理美国的外交政策。

Everything he’s doing is so over the top.

他所做的一切都太过分了。

Narrator: In June, Hearst decided to set sail as a war correspondent.

旁白：六月，赫斯特决定以战地记者的身份启航。

He assembled a traveling party that included several private chefs, cases of champagne, and the Willson sisters, and they all arrived right before the American invasion.

他组建了一个旅行团，其中包括几位私人厨师、几箱香槟和威尔森姐妹，他们都在美国入侵之前抵达。

Hearst cabled Phoebe, “At front and absolutely safe so don’t worry.

赫斯特给菲比发电报说：“在前面，绝对安全，所以不用担心。

…

……

There is no opportunity for us to get hurt even if we wanted to.”

即使我们想受伤，我们也没有机会受伤。”

Hearst did come under fire, and one of his reporters was badly wounded.

赫斯特确实遭到了攻击，他的一名记者受了重伤。

“I’m sorry you’re hurt,” Hearst told the poor man, “but wasn’t it a splendid fight?”

“我很抱歉你受伤了，”赫斯特告诉那个可怜的人，“但这不是一场精彩的战斗吗？”

Patrolling the island on his yacht, Hearst answered to no one but himself.

赫斯特驾着游艇在岛上巡逻，除了他自己之外，不向任何人负责。

He boarded an abandoned enemy vessel, and collected little souvenirs.

他登上了一艘废弃的敌舰，并收集了一些纪念品。

On the fourth of July, Hearst picked up starving Spanish sailors, and declared them his prisoners of war.

七月四日，赫斯特救起了饥饿的西班牙水手，并宣布他们为战俘。

The publisher had done much more than report the news.

出版商所做的不仅仅是报道新闻。

He’d made the news.

他上了新闻。

In the end, Hearst was on the island for a month.

最终，赫斯特在岛上呆了一个月。

The fighting he’d come to cover was over.

他前来报道的战斗已经结束。

The conflict -- in which 2,000 Americans had died -- heralded the rise of the United States as an imperial power.

这场冲突导致 2,000 名美国人死亡，预示着美国作为帝国主义强国的崛起。

For Hearst, the war had every making of a major victory.

对于赫斯特来说，这场战争完全是一次重大胜利。

Earlier that winter, on February 17th, Hearst had printed the first ever million-copy run in American history.

那年冬天早些时候，即 2 月 17 日，赫斯特印刷了美国历史上第一本百万册的印刷品。

It was a prize Pulitzer had long dreamed of, but never achieved.

这是普利策长期以来梦想但从未实现的奖项。

For the first time in over a decade, a paper other than the World stood atop the New York City market.

十多年来，第一次有一份《世界报》以外的报纸占据了纽约市场的榜首。

Gary Kamiya, Writer: Hearst returns home.

加里·卡米亚（Gary Kamiya），编剧：赫斯特回家了。

He thinks, “Well, I've won the New York penny newspaper war against Joe Pulitzer, what's next?

他想，“好吧，我已经赢得了纽约便士报纸与乔·普利策的战争，下一步是什么？

Where can I advance my empire?” For Hearst, when one dragon is slayed, you move on to the next one.

我可以在哪里推进我的帝国？”对于赫斯特来说，当一条龙被杀死时，你就会转向下一条。

You don’t rest on your laurels.

你不会安于现状。

That was not his style.

那不是他的风格。

Erik Loomis, Historian: In the 1890s, newspapers were sold by young children who were at the bottom of society.

历史学家埃里克·卢米斯（Erik Loomis）：在 1890 年代，报纸是由处于社会底层的幼儿出售的。

There was no social safety net in America.

美国没有社会保障网。

And so you have these young children who either are orphans or their parents are working sixteen hours a day or have disappeared or have lost control of them.

因此，这些年幼的孩子要么是孤儿，要么他们的父母每天工作十六个小时，或者失踪或失去对他们的控制。

Greg Young, Writer: Sometimes they were homeless.

格雷格·杨，作家：有时他们无家可归。

A lot of them were children as young as five or six years old who would stand on a street corner all day, morning till night, hawking these newspapers.

其中很多是五六岁的孩子，他们整天从早到晚站在街角兜售这些报纸。

Andie Tucher, Historian: The newsies were out there in all weathers.

安迪·图彻（Andie Tucher），历史学家：无论天气如何，报童都在那里。

They often were living extremely precarious lives and they were absolutely critical for the distribution of newspapers at this point.

他们常常过着极其不稳定的生活，此时他们对报纸的发行绝对至关重要。

Narrator: As Hearst’s influence grew, he relied more and more on the newsboys.

旁白：随着赫斯特的影响力越来越大，他越来越依赖报童。

They were the engine that fueled the Journal’s expansion, and most New Yorkers simply couldn’t get a paper without them.

它们是推动《华尔街日报》扩张的引擎，如果没有它们，大多数纽约人根本无法获得报纸。

Erik Loomis, Historian: These newsies, they would have to buy the newspapers.

埃里克·卢米斯（Erik Loomis），历史学家：这些新闻记者，他们必须购买报纸。

Now, if they sold all the papers, they made some money.

现在，如果他们卖掉所有的报纸，他们就能赚到一些钱。

But if they didn’t, they took a loss.

但如果他们不这样做，他们就会遭受损失。

In 1898, Hearst and Pulitzer, because they are funding these big news expenditures in Cuba, they raised the price of the papers from 50 cents per hundred to 60 cents.

1898年，赫斯特和普利策为古巴的这些大新闻支出提供资金，他们将报纸的价格从每百份50美分提高到60美分。

And at first, so many newspapers were flying out of their hands because people were so invested in this war that it was okay.

起初，很多报纸都从他们手中飞走了，因为人们对这场战争投入了太多精力，所以一切都还好。

But then 1899 comes, the war ends.

但 1899 年到来，战争结束了。

People stop buying papers at the same level.

人们不再购买同一水平的报纸。

And the kids are stuck.

孩子们被困住了。

Greg Young, Writer: After the Spanish-American War, most of the papers in town priced their papers lower again to their newsies.

格雷格·杨（Greg Young），作家：美西战争结束后，镇上的大多数报纸再次向报刊降低了报纸定价。

But The World and The Journal kept their whole sale price at that higher rate.

但《世界报》和《华尔街日报》将其整体售价保持在较高水平。

So of course, this enraged all these children who needed to get by, who needed to make ends meet.

当然，这激怒了所有需要维持生计、需要维持收支平衡的孩子。

Narrator: On July 19th, more than five thousand newsboys went out on strike.

旁白：7月19日，五千多名报童罢工。

The presses were still churning off the morning editions, but now the papers could find no buyers.

出版社仍在大量生产早版，但现在报纸找不到买家了。

Armed with clubs and rotten fruit, they marched to Hearst’s headquarters on Newspaper Row, and refused to pick up a single edition.

他们手持棍棒和腐烂的水果，游行到赫斯特位于报纸街的总部，并拒绝领取任何一期报纸。

Kid Blink, one of the strike’s leaders, demanded justice: “Ain’t that ten cents worth as much to us as it is to Hearst and Pulitzer who are millionaires?

罢工领袖之一基德·布林克 (Kid Blink) 要求伸张正义：“这十美分对我们来说难道不和赫斯特和普利策这些百万富翁一样值钱吗？

…

……

If they can’t spare it, how can we?”

如果他们都不能饶过我们，我们又如何呢？”

Greg Young, Writer: A lot of people took the side of the newsies.

格雷格·杨（Greg Young），作家：很多人都站在新闻记者一边。

The labor unions of the city, of course their parents, but of course, the rival competing newspapers of the World and Journal.

城市的工会，当然还有他们的父母，当然还有《世界报》和《华尔街日报》等竞争对手的报纸。

Narrator: The Sun and the Herald were more than happy to make a run for Hearst and Pulitzer’s working class readers, and proudly advertised the newsboys’ cause in their own editions.

旁白：《太阳报》和《先驱报》非常乐意为赫斯特和普利策的工人阶级读者争取利益，并自豪地在自己的版本中宣传报童的事业。

Meanwhile, the young newsies had formed their own union.

与此同时，年轻的新闻记者成立了自己的工会。

Erik Loomis, Historian: The labor leaders from around this city come and they support them so politicians come out and support them, and all of a sudden, Hearst is sort of like what’s going on here?

埃里克·卢米斯（Erik Loomis），历史学家：这座城市各地的劳工领袖都来了，他们支持他们，所以政客们也出来支持他们，突然之间，赫斯特有点像这里发生的事情？

He’s fine with these worker movements so long as they don’t challenge him.

只要这些工人运动不挑战他，他就可以接受。

And once they do, he’ll turn very quickly.

一旦他们这样做了，他就会很快转身。

Narrator: Both Hearst and Pulitzer tried to hire scabs, looking to the city’s population of homeless and destitute adults.

旁白：赫斯特和普利策都试图雇佣工贼，关注城市中无家可归和贫困的成年人。

But the newsies beat the publishers even to the flophouses, and turned opinion in their favor.

但报刊甚至击败了出版商，甚至让他们住进了廉价旅馆，并让舆论转向对他们有利的方向。

“Every one of us has decided to stick by the newsboys,” one man said, “we won’t sell no papers.” Daily circulation plummeted.

“我们每个人都决定坚持报童，”一名男子说，“我们不会卖报纸。”每日流通量急剧下降。

The World was cut by more than two thirds.

世界被削减了三分之二以上。

And it was just as bleak over at the Journal.

《华尔街日报》的情况也同样黯淡。

In the end, the publishing giants were forced to compromise.

最终，出版巨头被迫妥协。

They agreed to buy back any papers that the newsies couldn’t sell.

他们同意回购报童卖不出去的报纸。

But they still kept prices high, and they broke up the union.

但他们仍然保持高价格，并且解散了工会。

Chenjerai Kumanyika, Media Scholar: Hearst standing up for common people is a strategy of business for him.

Chenjerai Kumanyika，媒体学者：赫斯特为普通民众挺身而出对他来说是一种商业策略。

Even when he’s championing populist politics, he’s kind of like, ‘I support that to the extent that it supports me.’ So, you know, that’s what I think we actually have to look at, right?

即使他支持民粹主义政治，他也会说，“我支持它，只要它支持我。”所以，你知道，这就是我认为我们实际上必须考虑的，对吗？

It’s like that’s the more complicated story.

这似乎是更复杂的故事。

Erik Loomis, Historian: One of the richest men in the world literally cannot stand the poorest people in the country, people he directly relies on to sell his newspapers, from getting even a dime more if it negatively impacts him.

埃里克·卢米斯（Erik Loomis），历史学家：世界上最富有的人之一确实无法忍受这个国家最贫穷的人，他直接依赖的人来出售他的报纸，如果这对他产生了负面影响，就不能再多得到一毛钱。

Narrator: As the strike came to a close, so too did the newspaper war between William Randolph Hearst and Joseph Pulitzer.

旁白：随着罢工的结束，威廉·伦道夫·赫斯特和约瑟夫·普利策之间的报纸战争也结束了。

The World would remain in print, but would never again recapture its old spirit, and its publisher slowly withdrew from public life.

《世界》将继续印刷，但再也不会恢复其原有的精神，其出版商也慢慢退出了公众生活。

Andie Tucher, Historian: Pulitzer was embarrassed by the lengths he had gone to in order to compete with Hearst.

安迪·图彻（Andie Tucher），历史学家：普利策为与赫斯特竞争而付出的努力感到尴尬。

We believe that that was one of the reasons that he gave his money to found the Columbia Journalism School, in remorse for the excesses that he countenanced.

我们相信，这就是他捐钱创办哥伦比亚新​​闻学院的原因之一，对他所纵容的过分行为表示悔恨。

Narrator: Under the golden dome of The World, Pulitzer’s senior editors called a massive meeting.

旁白：在《世界报》的金顶下，普利策的高级编辑召开了一次大型会议。

“There is and has been for years …

“多年来一直如此……

a fierce competition,” they acknowledged.

一场激烈的竞争，”他们承认。

“The great mistakes which have been made have been caused by an excess of zeal.”

“所犯的重大错误都是由于过度的热情造成的。”

“The World,” they concluded, “feels that it is time for the staff to learn definitely and finally that it must be a normal newspaper.”

他们总结道：“《世界报》认为，现在是时候让工作人员明确地、最终地认识到它必须是一份普通的报纸了。”

For Pulitzer, there came a reckoning.

对于普利策来说，清算已经来临。

But if Hearst had any regrets about the part he’d played, he didn’t let on.

但即使赫斯特对自己所扮演的角色有任何遗憾，他也没有表现出来。

He was already focused on his next move, eager to test his powers of persuasion in yet another rough and tumble arena.

他已经专注于下一步行动，渴望在另一个混乱的舞台上测试自己的说服力。

Narrator: On October, 13, 1905, Hearst found himself lost in Williamsburg, Brooklyn, with a gaggle of political advisors and journalists.

旁白：1905 年 10 月 13 日，赫斯特发现自己与一群政治顾问和记者一起迷失在布鲁克林的威廉斯堡。

It was an inauspicious start to that year’s mayoral election -- and this time, the candidate was none other than Hearst himself.

那一年的市长选举开局并不顺利，而这一次的候选人正是赫斯特本人。

David Nasaw, Author: This man is incredibly restless, he's incredibly ambitious and you put the two of them together, he can’t sit still for long.

大卫·纳索（David Nasaw），作者：这个人非常不安，他非常雄心勃勃，你把他们两个放在一起，他不能坐太久。

Having conquered New York as a journalist and as a newspaperman, he wants to do something else.

作为一名记者和报人征服了纽约之后，他想做点别的事情。

Erik Loomis, Historian: Hearst understands very early on that his newspapers can do a whole lot more than what newspapers had been doing over the last 100 years to promote a whole different way of thinking about the world and one that promotes Hearst himself as one potentially the person who can have the solution to these problems that are facing America.

埃里克·卢米斯（Erik Loomis），历史学家：赫斯特很早就明白，他的报纸可以比过去 100 年来的报纸做更多的事情，以促进一种完全不同的思考世界的方式，并将赫斯特本人宣传为有可能解决美国面临的这些问题的人。

Robert Chiles, Historian: On the one hand, he's already been in politics for a long time as a publisher and as a particularly partisan publisher at that, he has a clear set of beliefs that he has articulated.

罗伯特·奇利斯，历史学家：一方面，他作为一名出版商已经涉足政界很长一段时间，而且作为一名特别有党派倾向的出版商，他有一套明确的信念。

He has an agenda that is clearly resonating with a large segment of society.

他的议程显然引起了社会大部分人的共鸣。

And he has something else which is a clear lust for power.

他还有其他的东西，那就是对权力的明显渴望。

Narrator: His career in politics began with a run for Congress in 1902.

旁白：他的政治生涯始于 1902 年竞选国会议员。

His working-class readers seemed to have forgiven him for his role in the newsie strike, and elected him by a landslide.

他的工人阶级读者似乎原谅了他在报刊罢工中所扮演的角色，并以压倒性优势选举了他。

No sooner was Hearst the representative for the Eleventh District of New York than he was running again -- this time for the democratic nomination for president.

赫斯特一成为纽约第十一选区的代表，就再次竞选——这次是为了总统的民主提名。

He campaigned energetically across the country, chartering a special train, and using the Hearst papers to boost his chances everywhere he went.

他在全国各地大力开展竞选活动，包租了专列，并利用赫斯特的报纸来增加他所到之处的机会。

Gary Kamiya, Writer: Hearst as a political candidate realized that if you want to pick up votes, delegates, influence in the midwest, you have to have a Chicago newspaper.

加里·卡米亚（Gary Kamiya），作家：赫斯特作为一名政治候选人意识到，如果你想在中西部地区获得选票、代表和影响力，你就必须拥有一份芝加哥报纸。

Narrator: He bought two: the Chicago American in 1900 and then the Chicago Examiner two years later -- but even his expanding stable couldn’t secure the nomination.

旁白：他买了两份：1900 年的《芝加哥美国人报》，两年后的《芝加哥考官报》——但即使是他不断扩大的稳定也无法获得提名。

Now, he’d split with the democratic party and was running for mayor on his own third-party ticket, at the head of the Municipal Ownership League.

现在，他与民主党分道扬镳，并以市政所有权联盟的负责人身份，以自己的第三方名义竞选市长。

To make himself presentable to voters, Hearst had had to remake himself.

为了让自己在选民面前更有吸引力，赫斯特不得不重塑自己。

He retired his [loud] plaid suits, and now routinely sported a sedate new uniform -- a black hat and a long black coat -- that made him look more like an undertaker than the bad boy of U.S. journalism.

他退役了他那张[花哨的]格子西装，现在经常穿着一身稳重的新制服——一顶黑帽子和一件黑色长外套——这让他看起来更像是一个殡仪员，而不是美国新闻业的坏男孩。

Everywhere the candidate went, Millicent was by his side -- but the young woman was no mere show girl -- that was Mrs. Hearst.

无论候选人走到哪里，米利森特都在他身边——但这位年轻女子不仅仅是歌舞女郎——那是赫斯特夫人。

They’d been married at Grace Church, back in the spring of 1903.

早在 1903 年春天，他们就在格雷斯教堂举行了婚礼。

Victoria Kastner, Writer: Phoebe didn’t meet her daughter-in-law until long after the wedding.

维多利亚·卡斯特纳（Victoria Kastner），作家：菲比直到婚礼后很久才见到她的儿媳妇。

She was not too keen on having -- after all of this effort, trying to separate her son from various actresses and opera singers -- here he’s gone and married a stage actress.

她不太热衷于——在付出了所有努力，试图将她的儿子与各种女演员和歌剧歌手分开之后——现在他已经离开并与一位舞台女演员结婚了。

Narrator: Phoebe did send an emerald brooch to her son’s bride, but all the while kept close tabs on how the match was received by polite society.

旁白：菲比确实给儿子的新娘送了一枚祖母绿胸针，但她一直密切关注上流社会对这桩婚事的反应。

“Quite a number of people like her,” Phoebe reluctantly admitted, and there certainly was no denying that her son seemed especially pleased with himself.

“喜欢她的人不少。”菲比不情愿地承认，不可否认的是，她的儿子似乎对自己特别满意。

David Nasaw, Author: Everybody thinks that Hearst marries Millicent Willson because he needs to be more respectable and it’s true.

大卫·纳索（David Nasaw），作者：每个人都认为赫斯特与米利森特·威尔森结婚是因为他需要更加受人尊敬，这是事实。

He decides that Millicent can be perfectly respectable looking and any wife is better than no wife.

他认为米利森特的外表非常值得尊敬，有妻子总比没有妻子好。

Narrator: Ring on his finger and somber wardrobe notwithstanding, Hearst the candidate in fact remained the same man as ever.

旁白：尽管赫斯特的手指上戴着戒指，衣着阴郁，但候选人赫斯特实际上仍然是原来的那个人。

Instead of moving his new wife into a townhouse on Fifth Avenue, he chose a brand new apartment building called the Clarendon, on the Upper West Side -- a location that just two decades earlier had been grazing land for the city’s livestock, and remained about as far as could be from the usual haunts of the old New York elite.

他没有让新婚妻子搬进第五大道的联排别墅，而是选择了位于上西区的一栋名为克拉伦登的全新公寓楼——二十年前，这里还是城市牲畜的牧场，离老纽约精英通常出没的地方也很远。

But the Hearsts were no less comfortable here, and now occupied the penthouse, a 7,000-square foot affair, over three floors, with sweeping views of the Hudson River and the entire city.

但赫斯特夫妇在这里也同样感到舒适，现在他们住进了这套顶层公寓，这是一栋占地 7,000 平方英尺的三层楼公寓，可以将哈德逊河和整个城市的景色一览无余。

From this high perch, Hearst launched his run for mayor.

赫斯特从这个高位开始了市长竞选。

His campaign took up the same causes that had made the Journal the leading paper in the city.

他的竞选活动与使《华尔街日报》成为该市主要报纸的原因相同。

Gary Kamiya, Writer: He was arguing for income taxes on the rich, an 8-hour working day, the destruction of trusts.

加里·卡米亚（Gary Kamiya），作家：他主张对富人征收所得税、实行 8 小时工作日以及摧毁信托。

All of these positions were fairly radical at the time.

所有这些立场在当时都相当激进。

David Nasaw, Author: He was a good progressive.

大卫·纳索（David Nasaw），作者：他是一位很好的进步人士。

He wanted the city to own the streetcars, to own the gasworks, to own the sewers, to own the waterworks, so that there would be less corruption, less graft.

他希望这座城市拥有有轨电车、煤气厂、下水道、自来水厂，这样就能减少腐败和贪污。

That, of course, would take all the money away from Tammany Hall.

当然，这会夺走坦慕尼协会的所有资金。

Narrator: Tammany was the most notorious democratic political organization in New York.

旁白：坦慕尼协会是纽约最臭名昭著的民主政治组织。

Known simply as ‘the machine,’ for decades it controlled the city’s politics through a powerful mix of corruption, intimidation, and outright violence.

它被简单地称为“机器”，几十年来，它通过腐败、恐吓和彻底的暴力等强大手段控制着这座城市的政治。

They ran everything -- businesses both legal and illegal: construction, sanitation, firefighting -- and, of course, state and local elections.

他们经营一切——合法和非法的企业：建筑、卫生、消防——当然还有州和地方选举。

The machine relied on thugs, like the members of the notorious Eastman Gang, to keep people in line.

这台机器依靠恶棍，比如臭名昭著的伊士曼帮的成员，来让人们保持秩序。

As a party boss once said, “the way to have power is to take it.”

正如一位党魁曾经说过的那样，“拥有权力的方法就是夺取权力。”

Robert Chiles, Historian: The key to the machine’s success, the key to their domination of the city for many decades, was the desperation of the immigrants and working class voters.

历史学家罗伯特·奇利斯：机器成功的关键，他们几十年来统治城市的关键，是移民和工人阶级选民的绝望。

Tammany Hall has young men who are aspiring to move up in New York City life and they know the problems of everyone in their building, everyone on their block, and they report back to the ward boss, they say, ‘this family can’t make ends meet because the dad got injured on the job.’ Well, Tammany shows up, and they give them a turkey.

坦慕尼协会的年轻人渴望在纽约市的生活中升迁，他们知道他们大楼里每个人的问题，他们所在街区的每个人的问题，他们向区长汇报，他们说，“这个家庭入不敷出，因为父亲在工作中受伤了。”好吧，坦慕尼协会出现了，他们给了他们一只火鸡。

The widow upstairs, they make sure they have a bucket of coal, she’s not going to go cold this winter.

楼上的寡妇，他们确保有一桶煤，她今年冬天不会冷。

And all they ask in return is your vote.

他们所要求的回报就是你的投票。

And so they don’t want reform.

所以他们不想要改革。

They’re not interested in addressing the actual conditions that are responsible for all that suffering.

他们对解决造成所有这些痛苦的实际情况不感兴趣。

What this leaves is an opening for more radical critiques of the status quo -- that means an opening for Hearst.

这为对现状进行更激进的批评提供了机会——这也为赫斯特提供了机会。

Narrator: On the campaign trail, Hearst’s PR machine worked tirelessly to show that their candidate was in nobody’s pocket, and wasn’t afraid of anybody.

旁白：在竞选过程中，赫斯特的公关机器不知疲倦地工作，以表明他们的候选人不受任何人的影响，并且不害怕任何人。

As election day neared, even rival papers could not ignore the enthusiasm that Hearst was finding among the people.

随着选举日的临近，即使是竞争对手的报纸也无法忽视赫斯特在人们中发现的热情。

“William Randolph Hearst drove through the Lower East Side last night in a procession of triumph,” The World reported, “the like of which has not been seen in New York in many years.”

《世界报》报道称，“昨晚，威廉·伦道夫·赫斯特在凯旋游行中驾车穿过下东区，这样的场面在纽约已经很多年没有出现过了。”

After hosting one more elaborate rally at Madison Square Garden, all Hearst could do now was wait.

在麦迪逊广场花园举办了一场更为复杂的集会后，赫斯特现在所能做的就是等待。

As he cast his vote on East 29th Street, there were rumors of violence in locations across the city, but he remained undaunted, predicting a landslide.

当他在东 29 街投票时，全市各地都有发生暴力事件的传言，但他仍然毫不畏惧，预测会出现压倒性的结果。

“I am confident,” he said in a statement that verged on a victory speech, “[And] I shall always feel deeply grateful for the great kindness that has been shown me by my fellow citizens in this campaign.”

“我有信心，”他在一份近乎胜利演讲的声明中说道，“我将永远对我的同胞们在这次竞选中向我表现出的巨大善意深表感激。”

David Nasaw, Author: How could he lose?

大卫·纳索（David Nasaw），作者：他怎么会输呢？

Because Tammany knows they're in trouble and from the very beginning they send their tough guys into the voting precincts where Hearst is gonna win.

因为坦慕尼知道他们遇到了麻烦，从一开始他们就派他们的硬汉进入赫斯特将获胜的投票区。

It is an outrage of gargantuan proportions.

这是一种规模巨大的愤怒。

Narrator: Just as they’d done so many times before, Tammany resorted to every underhanded trick in their extensive repertoire.

旁白：就像他们以前多次做过的那样，坦慕尼协会使出了他们广泛的手段中的每一种卑鄙伎俩。

They had attacked Hearst’s polls watchers.

他们攻击了赫斯特的民意调查观察员。

One man had a finger chewed off, and his face slashed.

一名男子的一根手指被咬断，脸部也被划破。

Tammany then flooded the race with fraudulent votes, tipping the election in favor of their own candidate, George McClellan Jr., who would go on to serve for another four terms.

随后，坦慕尼协会在竞选中大量投出舞弊选票，使选举结果有利于他们自己的候选人小乔治·麦克莱伦（George McClellan Jr.），后者将继续连任四届。

“We have won the election,” a furious Hearst told the Times.

“我们赢得了选举，”愤怒的赫斯特告诉《泰晤士报》。

“Illegal voting and dishonest count have not been able to overcome a great popular majority.” He demanded an investigation.

“非法投票和不诚实计票未能战胜绝大多数民众。”他要求进行调查。

But it would be to no avail.

但这是没有用的。

There would be no recount.

不会重新计票。

As Tammany celebrated its latest victory, ballot boxes filled with the votes that would have put Hearst in the mayor’s office, drifted slowly down the East River, and on out of sight.

当坦慕尼协会庆祝其最新胜利时，装满选票的投票箱沿着东河缓缓漂流，消失在人们的视线中，这些选票本来可以让赫斯特当选市长。

David Nasaw, Author: Hearst never expects to lose anything.

大卫·纳索（David Nasaw），作者：赫斯特从没想过会失去任何东西。

And when he does lose, he’s shattered, but not for long.

当他真的输了时，他会崩溃，但不会持续太久。

…

……

because his confidence in himself is such--and his confidence that he knows America and he knows the voters.

因为他对自己充满信心，而且他对自己了解美国、了解选民充满信心。

He knows the newspaper readers is such that he bounces back.

他知道报纸的读者是这样的，所以他会反弹。

And eventually, he will vanquish his enemies, he will defeat his opponents and the people of America will understand that this is the man they need because he’s for them.

最终，他将战胜他的敌人，他将击败他的对手，美国人民将明白，这是他们需要的人，因为他是为了他们。

Narrator: By the spring of 1906, Hearst was hailed as the foremost figure in American journalism.

旁白：1906 年春，赫斯特被誉为美国新闻界最重要的人物。

The fact that he should have been sitting in the mayor’s office in no way blunted his political ambition.

他本应该坐在市长办公室的事实丝毫没有削弱他的政治野心。

He confided to his editor and friend Arthur Brisbane that the loss was a “tragedy for the people,” but added, “Our next effort will be the most important thus far.”

他向编辑兼朋友阿瑟·布里斯班吐露，这次损失是“人民的悲剧”，但他补充说，“我们的下一步努力将是迄今为止最重要的。”

“We will,” he informed Brisbane, “run for Governor as planned.”

他告诉布里斯班：“我们将按计划竞选州长。”

Gary Kamiya, Writer: Whatever it was that pushed him on was incredibly deep.

加里·卡米亚（Gary Kamiya），作家：无论是什么推动他前进，都是极其深刻的。

The fact that he was so irrepressible, there's something you have to at least like, you know, respect about the guy’s sheer strength.

事实上，他是如此难以抑制，你至少必须喜欢、尊重他的纯粹力量。

Greg Young, Writer: He has this kind of Teflon ambition He thinks that he can do no wrong and at one point is just going to click.

格雷格·杨（Greg Young），作家：他有这种特氟隆的野心，他认为自己不会做错事，并且在某一时刻就会点击。

And one point he's going to be able to get the power that he needs, the power that he wants.

有一天他将能够获得他需要的力量，他想要的力量。

Narrator: Now, however, his critics and political enemies had found a new strategy, taking a page right out of Hearst’s own playbook.

旁白：然而现在，他的批评者和政敌找到了一种新策略，借鉴了赫斯特自己的剧本。

No sooner had he begun his gubernatorial campaign, than they launched a series of vitriolic attacks against him.

他刚开始竞选州长，他们就对他发起了一系列尖刻的攻击。

And one story in particular seemed to follow the candidate everywhere he went.

尤其有一个故事似乎伴随着这位候选人，无论他走到哪里。

In 1900, Hearst had printed his usual brand of attacks against then President William McKinley.

1900 年，赫斯特发表了他一贯的攻击时任总统威廉·麦金利的文章。

Andie Tucher, Historian: He had published a doggerel verse, a really stupid poem, that seemed to suggest that McKinley -- who his opponents used to say had the backbone of an éclair -- that the world would be better off if he were assassinated.

安迪·图彻，历史学家：他发表了一首打油诗，一首非常愚蠢的诗，这似乎表明麦金莱——他的对手过去常说麦金莱有闪电泡芙的骨干——如果他被暗杀，世界会变得更好。

Narrator: Then, in 1901, he’d run an editorial arguing that, “If bad institutions and bad men can be got rid of only by killing, then killing must be done.”

旁白：然后，在1901年，他发表了一篇社论，认为“如果坏制度和坏人只能通过杀戮来摆脱，那么杀戮就必须进行”。

That had been the year of the World’s Fair, in Buffalo, New York.

那一年是在纽约布法罗举办的世界博览会。

On September 6th, McKinley himself had visited.

9月6日，麦金莱亲自来访。

While the President stood greeting members of the public, a young man approached.

当总统站着向公众致意时，一名年轻人走了过来。

He shot the president twice, at point blank range.

他近距离向总统开了两枪。

When McKinley died from his wounds, Hearst’s many rivals were more than happy to blame the publisher, even though the assassin, Leon Czolgosz, was an anarchist from Michigan who’d never seen a Hearst paper.

当麦金莱因伤去世时，赫斯特的许多竞争对手非常乐意指责出版商，尽管凶手莱昂·佐尔戈斯是一位来自密歇根州的无政府主义者，他从未见过赫斯特的报纸。

Gary Kamiya, Writer: Hearst certainly was merciless in his attacks on McKinley and used all the tricks in his trade but that was standard journalistic warfare, they wasn’t anything that any objective person could look at and say, ‘Oh, William Randolph Hearst is responsible for the assassination of William McKinley.’

加里·卡米亚，作家：赫斯特在攻击麦金莱时确实是无情的，并使用了他行业中的所有技巧，但这是标准的新闻战，任何客观的人都不会看到并说，“哦，威廉·伦道夫·赫斯特应对威廉·麦金莱的暗杀负责。”

Narrator: Now, in October 1906 -- when Hearst pulled ahead of Republican candidate Charles Evans Hughes and took one step closer to the Governor’s Mansion in Albany -- even the White House got involved.

旁白：1906 年 10 月，当赫斯特领先共和党候选人查尔斯·埃文斯·休斯 (Charles Evans Hughes)，距离奥尔巴尼州长官邸又近了一步时，就连白宫也参与其中。

President Theodore Roosevelt denounced Hearst as “the most potent single influence for evil that we have in our life” and had his secretary of state, among others, play up the assassination for all it was worth.

西奥多·罗斯福总统谴责赫斯特是“我们一生中最有力的邪恶影响力”，并让他的国务卿和其他人不遗余力地渲染这次暗杀事件。

The story was spread so widely that Hearst’s working-class supporters could no longer ignore it.

这个故事传播得如此广泛，以至于赫斯特的工人阶级支持者再也无法忽视它。

It was practically impossible, one of Hearst’s collaborators would later remember, to “describe the hate [in] those days.”

赫斯特的一位合作者后来回忆道，“描述那些日子里的仇恨”实际上是不可能的。

Robert Chiles, Historian: When you're engaging in the sort of yellow journalism, the sort of scandal mongering, the sort of lies, the sort of demagoguery that Hearst is engaging in and willing to use, You’re going to have to expect that what goes around comes around.

罗伯特·奇利斯，历史学家：当你参与赫斯特正在参与并愿意使用的那种黄色新闻、那种散布丑闻、那种谎言、那种煽动时，你将不得不期待善有善报。

Hearst had crossed swords with a lot of incredibly powerful people and powerful interests.

赫斯特与许多非常有权势的人和强大的利益集团发生过冲突。

Jeet Heer, Writer: That really made him the enemy of the economic elite and respectable society and old money which saw him as--I don't think it's too far to say, they saw him as the Antichrist.

Jeet Heer，作家：这确实使他成为经济精英、受人尊敬的社会和旧钱的敌人，他们将他视为——我认为这并不算太远，他们将他视为反基督者。

They saw him as a figure that would destroy American society.

他们认为他是一个会摧毁美国社会的人物。

You know, like a socialist.

你知道，就像一个社会主义者。

Gary Kamiya, Writer: One of the reasons that he was so bitterly assailed was that he expressed his positions in such hyperbolic and, you know.

加里·卡米亚（Gary Kamiya），作家：他受到如此猛烈攻击的原因之一是他以如此夸张的方式表达了自己的立场，你知道。

villain against good guys ways that it upped the emotional ante of the argument.

坏人对抗好人的方式，增加了争论的情感赌注。

Narrator: In the end, Hearst lost the race for governor, then, three years later, he lost another run for mayor.

旁白：最终，赫斯特在州长竞选中落败，三年后，他又在市长竞选中落败。

In total he had launched six major campaigns, but would never again hold elected office.

他总共发起了六次重大竞选活动，但再也没有当选过公职。

Robert Chiles, Historian: The fact that Hearst keeps running for public office despite so many failures, you could attribute to a genuine belief that he is this great champion of all of these important causes for the kind of people that are buying his newspapers and for whom he purports to care deeply, or you could attribute it to profound egomania.

历史学家罗伯特·奇利斯：尽管赫斯特经历了如此多的失败，但他仍然继续竞选公职，这一事实可以归因于一种真诚的信念，即他是所有这些重要事业的伟大捍卫者，这些事业是那些购买他的报纸并声称深切关心的人的，或者你也可以将其归因于深刻的自大狂。

In Hearst's case I think it's a little bit of both.

就赫斯特的情况而言，我认为两者兼而有之。

David Nasaw, Author: He never doubted himself, there was no gray in his universe, everything was black or white, everything was right or wrong, and he was always right and his opponents were always wrong.

大卫·纳索，作者：他从不怀疑自己，他的宇宙中没有灰色，一切都是黑或白，一切都是对的或错的，他总是对的，他的对手总是错的。

And because he was only right, he couldn't give in to them.

因为他是对的，所以他不能向他们屈服。

He couldn't stop pushing.

他无法停止推动。

Narrator: Hearst now had a paper on each coast, two in the heartland, and he kept tabs on everything that appeared in all of them.

旁白：赫斯特现在在每个海岸都有一份报纸，在中心地带有两家，他密切关注所有报纸上出现的所有内容。

He worked harder than ever, traveled more and more, slept less and less.

他比以往任何时候都更加努力地工作，旅行越来越多，睡眠越来越少。

He’d once run himself so ragged that he’d been forced to retire to a sanatorium in Michigan.

他曾经把自己弄得很破烂，以至于被迫退休到密歇根的一家疗养院。

“The work and worry about the papers and campaign and everything broke Will down,” Millicent wrote to Phoebe.

“工作、对报纸、竞选活动的担忧以及一切都让威尔崩溃了，”米利森特写信给菲比。

“The papers get in every morning, and there is always something the matter with them.

“每天早上都会收到报纸，里面总是有问题。

I think we shall have to go someplace where there are no papers.” But Hearst would never agree to that, and he soon returned to New York.

我想我们得去一个没有证件的地方。”但赫斯特绝不会同意这一点，他很快就回到了纽约。

Victoria Kastner, Writer: As WR got older I think Phoebe worried about whether or not he was taking sufficient care of himself, because he pushed himself extremely hard.

维多利亚·卡斯特纳（Victoria Kastner），作家：随着 WR 年龄的增长，我认为菲比担心他是否照顾好自己，因为他对自己要求非常严格。

And she, I think, and Millie began to align by worrying that WR was taking on too much.

我想，她和米莉开始结盟是因为担心 WR 承担了太多责任。

Narrator: For all his drive and assurance, the one thing Hearst didn’t seem to know was when to stop.

旁白：尽管赫斯特充满干劲和信心，但他似乎不知道什么时候该停下来。

He soon jumped at the opportunity to test the speed of a newfangled biplane, keen to try for himself the brand new field of aviation.

他很快抓住了测试新型双翼飞机速度的机会，热衷于尝试自己全新的航空领域。

He was determined to turn even this to his advantage, publishing the news in all his papers.

他决心将这一点转化为自己的优势，并在所有报纸上发表了这一消息。

By 1909 he’d started to accumulate media properties on a whole new scale.

到 1909 年，他开始以全新的规模积累媒体资产。

He bought four new papers.

他买了四份新报纸。

Soon, the people of Los Angeles, Atlanta, Boston, and Washington, D.C., could all turn to his front page to get his take on what mattered most.

很快，洛杉矶、亚特兰大、波士顿和华盛顿特区的人们都可以转向他的头版，了解他对最重要事情的看法。

Hearst then moved into magazines, founded Motor, purchased Cosmopolitan, and would soon add Good Housekeeping, Town and Country, and Harper’s Bazaar to expand his reach further still.

随后，赫斯特涉足杂志业，创办了《Motor》，收购了《Cosmopolitan》，并很快又增加了《Good Housekeeping》、《Town and Country》和《Harper’s Bazaar》，以进一步扩大他的影响力。

If he was never going to rule from Washington, he resolved to forge another path -- and create something, perhaps, that might become more powerful than presidents.

如果他永远不会在华盛顿进行统治，他决心开辟另一条道路，并创造一些可能比总统更强大的东西。

After hearing of her son’s plans, an old family friend at once wrote to Phoebe: “He [means],” he told her, “to control the press …

听说她儿子的计划后，一位家庭老朋友立即写信给菲比：“他[的意思]，”他告诉她，“控制媒体......

It is madness.”

这太疯狂了。”

At 46, Hearst had vision and daring enough to dream up an entirely new kind of media power -- but, as ever, he owed it all to his mother.

46 岁的赫斯特拥有足够的远见和勇气，梦想着一种全新的媒体力量，但一如既往，他将这一切归功于他的母亲。

Narrator: On October 29th, 1911, American journalism lost one of its most successful sons.

旁白：1911 年 10 月 29 日，美国新闻界失去了一位最成功的儿子。

The next day, a signed editorial appeared in all the Hearst newspapers.

第二天，赫斯特所有报纸上都刊登了一篇署名社论。

“Joseph Pulitzer,” Hearst wrote, “was the great originator …

“约瑟夫·普利策，”赫斯特写道，“是伟大的创始人……

and foremost exemplar of modern journalism -- journalism of action …

现代新闻业最重要的典范——行动新闻业……

In his conception, the newspaper was not merely a money making machine.

在他的构想中，报纸不仅仅是一台赚钱机器。

It was the instrument of the will and power of its hundreds of thousands of readers.”

它是数十万读者意志和力量的工具。”

Hearst remembered his competitor as “a towering figure in national and international journalism.”

赫斯特回忆道，他的竞争对手是“国内和国际新闻界的杰出人物”。

Gary Kamiya, Writer: Hearst penned this rather eloquent tribute essentially to a man who was fighting for the working people of the United States.

加里·卡米亚（Gary Kamiya），作家：赫斯特写下了这篇相当雄辩的悼词，主要是为了向一位为美国劳动人民而战的人致敬。

And whose cause was to lift them up and to help them and who really made a sea change in American journalism.And when you read that you can see Hearst, in a certain way he's thinking about himself, too.

他的事业是为了鼓舞他们、帮助他们，他真正使美国新闻业发生了翻天覆地的变化。当你读到这篇文章时，你可以看到赫斯特，在某种程度上，他也在思考自己。

Narrator: Hearst closed by wishing Pulitzer’s sons well, as they took up their father’s mantle.

旁白：赫斯特最后祝愿普利策的儿子们一切顺利，因为他们继承了父亲的衣钵。

Truth was, as he well knew, they didn’t stand a chance.

事实上，正如他所知道的那样，他们没有机会。

On the eve of World War I, Hearst controlled America’s first media empire.

第一次世界大战前夕，赫斯特控制了美国第一个媒体帝国。

He embraced new technologies and now produced his own newsreels, owned his own wire service, and ventured into early animation.

他拥抱新技术，现在制作了自己的新闻片，拥有自己的通讯社，并涉足早期动画领域。

He emerged from the war with his usual bold and controversial plans for how best to shape the changing world.

战争结束后，他带着一贯的大胆而有争议的计划，讨论如何最好地塑造不断变化的世界。

Still, Hearst’s media machine had been made possible by his mother, paid for with the millions of dollars he’d borrowed.

尽管如此，赫斯特的媒体机器还是由他的母亲建造而成，并用他借来的数百万美元支付。

The Journal, his flagship, was finally eking out a profit, but his ceaseless expansion put him ever more deeply in the red.

他的旗舰《华尔街日报》终于扭亏为盈，但不断的扩张却让他陷入了更深的亏损。

Phoebe’s advisors were dismayed by his constant requests, and more than once they’d warned, “Mr. H is in danger.

菲比的顾问们对他不断提出的要求感到沮丧，他们不止一次警告说：“H 先生处于危险之中。

He is an able newspaper man but does not look ahead in financial matters.”

他是一位能干的报界人士，但在财务问题上没有前瞻性。”

Yet Phoebe remained his steadfast champion.

然而菲比仍然是他坚定的拥护者。

Mother and son shared a passion for progressive politics, and his projects were but one of her many causes.

母子俩都对进步政治充满热情，他的项目只是她众多事业之一。

Victoria Kastner, Writer: She was definitely the greatest benefactor that California had ever known.

维多利亚·卡斯特纳（Victoria Kastner），作家：她绝对是加州有史以来最伟大的捐助者。

She helped start the Save the Redwoods League.

她帮助发起了拯救红杉联盟。

She restored all the missions.

她恢复了所有任务。

She established kindergartens all over the state.

她在全州各地建立了幼儿园。

She built the University of California, which had been five ill-assorted buildings, until she wrote a blank check for its redesign and development.

她建造了加州大学，该大学原本是五座杂乱无章的建筑，直到她为重新设计和开发写了一张空白支票。

Narrator: On the Berkeley campus -- where she’d paid for a museum, a mining school, and a women’s gymnasium -- female students referred to her as “the best friend the University women have ever had” and started calling for a statue in her honor.

旁白：在伯克利校园——她出资建造了一座博物馆、一所采矿学校和一所女子体育馆——女学生称她为“大学女性有史以来最好的朋友”，并开始呼吁为她建造一座雕像。

She continued to travel the world, spending months abroad each year.

她继续环游世界，每年在国外呆几个月。

Mother and son still vacationed together -- just as they had when he’d been a lad of ten -- meeting in Paris, or Cairo, or California.

母亲和儿子仍然一起度假——就像他十岁时那样——在巴黎、开罗或加利福尼亚见面。

And every year, Phoebe visited Hearst, Millicent and their family -- which now included five young sons.

每年，菲比都会拜访赫斯特、米利森特和他们的家人——现在他们有五个年幼的儿子。

Phoebe remained, at 76, the most important person in her son’s life.

76 岁的菲比仍然是她儿子生命中最重要的人。

David Nasaw, Author: She’s astounded by her son’s success and dismayed by his profligacy.

大卫·纳索（David Nasaw），作家：她对儿子的成功感到震惊，并对他的挥霍行为感到沮丧。

There are moments when Phoebe decides…

有时菲比决定……

enough is enough …this is my son’s money, father should’ve left it to him, I’m just going to give it to him.

够了……这是我儿子的钱，父亲应该留给他，我就给他。

And then she’d consult with her lawyers and her lawyers would say don’t do it.

然后她会咨询她的律师，她的律师会说不要这样做。

It’s much better off in your hands than in his hands, and she’d sigh and say to the lawyers, “you’re right.” And hold on to the purse strings.

在你手里比在他手里要好得多，她会叹息并对律师们说，“你是对的。”并牢牢抓住钱包。

Narrator: In December 1918, Phoebe traveled to spend the holidays with Hearst, Millicent, and the boys.

旁白：1918 年 12 月，菲比与赫斯特、米利森特和孩子们一起去度假。

She embarked on her usual New York tour -- going to the opera, visiting her friends, and spending as much time as possible with her son and his family.

她开始了她平常的纽约之旅——去看歌剧院，拜访她的朋友，并尽可能多地与她的儿子和他的家人在一起。

One morning, Phoebe woke with a cough, then a fever came on.

一天早上，菲比因咳嗽而醒来，然后开始发烧。

Her doctors were seeing hundreds of cases just like hers around the city.

她的医生在全市看过数百个与她类似的病例。

The diagnosis was influenza, the same strain that was sickening and killing tens of millions around the world.

诊断结果是流感，与全世界数以千万计的人患病并死亡的流感病毒是同一种病毒。

Her son was by her side when Phoebe Apperson Hearst died on April 13th, 1919.

1919 年 4 月 13 日，菲比·阿普森·赫斯特 (Phoebe Apperson Hearst) 去世时，她的儿子就在她身边。

He remembered it as the most melancholy day of his life.

他记得那是他一生中最忧郁的一天。

Years later, when he himself was an old man, he would recall, “[I] …

多年后，当他自己年事已高时，他回忆道：“[我]……

was something of a ‘mother’s boy’ -- and …

有点像“母亲的儿子”——而且……

[I’ve] always been mighty glad of it.”

[我]一直对此感到非常高兴。”

Victoria Kastner, Writer: I think Hearst missed her a great deal but I also think he had had a lot of time to think about what he would do when the family fortune was finally his.

维多利亚·卡斯特纳（Victoria Kastner），作家：我认为赫斯特非常想念她，但我也认为他有很多时间思考当家族财产最终属于他时他会做什么。

Gary Kamiya, Writer: He really loved his mom and he was close to her but when you have to always go to get your allowance from mom and you're in your fifties, this is, like, not normal.

加里·卡米亚（Gary Kamiya），作家：他真的很爱他的妈妈，他和她很亲近，但是当你必须总是从妈妈那里领取零花钱，而你已经五十多岁了，这就有点不正常了。

David Nasaw, Author: I think Phoebe’s death was a double edged sword.

大卫·纳索（David Nasaw），作者：我认为菲比的死是一把双刃剑。

He lost a mother, but he was also set free.

他失去了母亲，但他也获得了自由。

He was his own man for the first time ever.

他第一次成为了自己的人。

Narrator: At 56, Hearst at last controlled the entirety of the family estate.

旁白：56岁时，赫斯特终于掌控了整个家族产业。

He stood on the verge of embodying exactly the kind of untrammeled power that he’d made his name railing against.

他正处于体现那种不受约束的权力的边缘，而他因反对这种不受约束的权力而闻名。

As more and more people got their news direct from Hearst, Americans could no longer escape his opinions, his beliefs, his views.

随着越来越多的人直接从赫斯特那里获得新闻，美国人再也无法逃避他的观点、他的信仰和他的观点。

The voice of William Randolph Hearst reached them almost everywhere.

威廉·伦道夫·赫斯特的声音几乎传到了他们的每一个角落。

Now, with no rival to check his expansion and no Phoebe to track his expenditures, Hearst was well and fully unleashed.

现在，没有竞争对手来阻止他的扩张，也没有菲比来跟踪他的支出，赫斯特得到了充分的释放。

What did he plan to do with his unprecedented influence?

他打算利用自己前所未有的影响力做什么？

The whole world wanted to know.

全世界都想知道。

Narrator: On May 1st, 1941, a dense crowd of movie moguls, photographers, and celebrity-seekers jostled outside the premiere of one of the most talked-about films of the year.

旁白：1941 年 5 月 1 日，当年最受关注的电影之一的首映式外，挤满了电影大亨、摄影师和追星者。

They had come to see the director, Orson Welles, star in a thinly veiled portrait of newspaper publisher William Randolph Hearst.

他们是来看导演奥森·威尔斯主演的报纸出版商威廉·伦道夫·赫斯特的一部几乎不戴面纱的肖像画。

Victoria Kastner, Writer: Citizen Kane was in a way, the perfect irony, it was definitely based on Hearst’s life but played up certain things, ignored other things, and fabricated many things.

维多利亚·卡斯特纳，编剧：《公民凯恩》在某种程度上是完美的讽刺，它绝对是根据赫斯特的生活改编的，但夸大了某些事情，忽略了其他事情，并捏造了很多事情。

And in a way that’s not an unfair description of Hearst’s journalism as well.

从某种程度上来说，这对赫斯特的新闻事业的描述也并非不公平。

Narrator: The film would become a classic of modern cinema, but at the time, Hearst was the most powerful media mogul the country had ever seen, and he was determined that his private life would not be ridiculed in public.

旁白：这部电影后来成为现代电影的经典，但当时赫斯特是这个国家有史以来最有权势的媒体大亨，他决心自己的私生活不会在公共场合受到嘲笑。

Not a single one of his 25 newspapers even acknowledged Citizen Kane’s existence.

他的 25 家报纸中没有一家承认《公民凯恩》的存在。

It was a vivid demonstration of Hearst’s ability to control what Americans saw, and heard and believed.

这生动地展示了赫斯特控制美国人所见、所听、所信的能力。

Jeet Heer, Writer: For Hearst, news was not reporting the facts.

Jeet Heer，作家：对于赫斯特来说，新闻并不是报道事实。

News was creating history.

新闻正在创造历史。

Making history.

创造历史。

You don't report history, you're a participant in history.

你不是报道历史，你是历史的参与者。

Andie Tucher, Historian: Hearst made it almost impossible not to pay attention to journalism, not to think about journalism, not to, quite possibly, be drawn into journalism--either in support of him or against him.

安迪·图彻（Andie Tucher），历史学家：赫斯特让人们几乎不可能不关注新闻业、不思考新闻业，甚至很可能不被卷入新闻业——无论是支持他还是反对他。

Gary Kamiya, Writer: He would force presidents and heads of state to deal with him as if he was like a Secretary of State, or had that kind of level of power, and it makes him into this god-like figure.

加里·卡米亚（Gary Kamiya），作家：他会迫使总统和国家元首像国务卿一样对待他，或者拥有那种权力，这使他成为神一般的人物。

David Nasaw, Author: Everybody has an opinion on Hearst, and no one is neutral.

大卫·纳索（David Nasaw），作者：每个人对赫斯特都有自己的看法，没有人是中立的。

He is vilified, he's idolized, but he's on everybody's mind.

他被诽谤，他被崇拜，但他在每个人的心中。

Narrator: Hearst built his corporate colossus with the help of his family’s vast fortune and his unerring sense of what the working man wanted from the news.

旁白：赫斯特凭借家族的巨额财富和他对工人想要从新闻中得到什么的准确认识，建立了自己的企业巨头。

His appetite for power was limitless.

他对权力的渴望是无限的。

So were his arrogance and his hubris.

他的傲慢和狂妄也是如此。

But the scale of Hearst’s/his empire, and the increasingly strident nature of his politics, would lead Americans to question just how much influence one man should rightfully command.

但赫斯特帝国的规模，以及他日益强硬的政治性质，将导致美国人质疑一个人到底应该拥有多大的影响力。

Narrator: In early April of 1919, two people were wandering around on the top of a hillside in an isolated section of the California coast.

旁白：1919年4月初，两个人在加州海岸偏僻的山坡上闲逛。

One of them was the publisher, William Randolph Hearst.

其中之一是出版商威廉·伦道夫·赫斯特。

The other, his architect, Julia Morgan.

另一个是他的建筑师朱莉娅·摩根。

They made an unlikely pair, but they were a powerful combination.

他们是一对不太可能的组合，但却是一个强大的组合。

He was used to getting exactly what he wanted, no matter the cost.

他习惯于不惜一切代价得到他想要的东西。

She was used to solving almost any design challenge, no matter how daunting.

她习惯于解决几乎所有设计挑战，无论多么艰巨。

Hearst had once suggested that he wanted to build a “bungalow” right where they were standing.

赫斯特曾经建议他想在他们所在的地方建造一座“平房”。

They had both laughed at that.

他们俩都笑了。

Now, as they looked around at the extraordinary vista, they knew he had something entirely different in mind.

现在，当他们环顾四周这非凡的景色时，他们知道他心里有完全不同的想法。

David Nasaw, Author: Only a madman would have ever dreamed of building a castle on the hilltop.

大卫·纳索（David Nasaw），作者：只有疯子才会梦想在山顶建造一座城堡。

They chose together a spot that was on this enormous slope, a spot that had to be cleared, roads had to be built and not just little roads, but big roads.

他们一起在这个巨大的斜坡上选择了一个地点，一个必须清理的地方，必须修建道路，不仅仅是小路，而是大路。

Everything had to be imported.

所有东西都必须进口。

The lumber had to be imported.

木材必须进口。

The stone had to be imported.

石头必须进口。

The topsoil, the shrubbery, everything.

表土，灌木丛，一切。

The port had to be created so barges could bring the building materials.

必须建造港口，以便驳船可以运送建筑材料。

Only a man who didn't estimate costs in advance would have dreamed of building on this hillside.

只有没有提前估算成本的人才会梦想在这个山坡上建造房屋。

But they worked brilliantly together.

但他们合作得非常出色。

He never raised his voice to her.

他从来没有对她提高过声音。

He never shouted or yelled or gesticulated.

他从不喊叫、喊叫或打手势。

He knew that she would fulfill his dreams.

他知道她会实现他的梦想。

Narrator: Fulfilling Hearst’s dreams was a full-time job.

旁白：实现赫斯特的梦想是一份全职工作。

It had been that way for decades.

几十年来一直如此。

Through his relentless drive, Hearst had become the undisputed king of American journalism -- known within his empire simply as “The Chief.”

通过不懈的努力，赫斯特已成为无可争议的美国新闻业之王——在他的帝国内被简称为“酋长”。

Beginning in 1887 with the lowly San Francisco Examiner, his newspapers and magazines now reached millions of Americans every day, in cities all across the country.

从 1887 年的《旧金山观察家报》开始，他的报纸和杂志现在每天都能接触到全国各个城市的数百万美国人。

His still-growing empire had been built by a willingness to spend whatever it took to crush his competitors.

他的帝国仍在不断壮大，他愿意不惜一切代价击败竞争对手。

And spend he could.

他可以花钱。

His father George had struck it rich in the Gold Rush and left the equivalent of half a billion dollars to his mother, Phoebe.

他的父亲乔治在淘金热中致富，并给他的母亲菲比留下了相当于五亿美元的财富。

Now, in 1919, she too had passed away, and at the age of 56, Hearst was finally in control of the family fortune and one of America’s richest men.

现在，1919 年，她也去世了，56 岁的赫斯特终于掌控了家族财富，成为美国最富有的人之一。

Victoria Kastner, Writer: George Hearst took the very first money he made in the Comstock Lode.

维多利亚·卡斯特纳，作家：乔治·赫斯特在康斯托克矿脉赚到了他的第一笔钱。

And with that money, he bought land at San Simeon in 1865.

1865 年，他用这笔钱在圣西蒙购买了土地。

When Willie Hearst was only two years old.

当时威利·赫斯特只有两岁。

So it was very important to the entire Hearst family.

所以这对整个赫斯特家族来说非常重要。

And George went through several financial reversals but they never sold San Simeon.

乔治经历了几次财务逆转，但他们从未出售过圣西蒙。

He always hung onto it.

他总是坚持下去。

One of the things that George Hearst said was, I'm saving it for the boy.

乔治·赫斯特说过的其中一件事是，我要把它留给那个男孩。

Narrator: It was a working cattle ranch, 97,000 acres, along a stunning stretch of the California coast 230 miles north of Los Angeles.

旁白：那是一个仍在运营的牧场，占地 97,000 英亩，位于洛杉矶以北 230 英里的加利福尼亚海岸沿线。

Hearst and his father could hunt and ride horses through the canyons.

赫斯特和他的父亲可以在峡谷中狩猎和骑马。

At night the family stayed in fully furnished tents pitched by the ranch hands on a place they called “Camp Hill.” Meals were delicious affairs, prepared by a team of cooks.

晚上，一家人住在牧场工人在他们称之为“营地山”的地方搭建的设施齐全的帐篷里。饭菜很美味，由厨师团队准备。

The view was spectacular.

景色非常壮观。

Now, “Camp Hill” was to be the site of a monument to Hearst’s boundless ambition.

现在，“坎普山”将成为赫斯特无限雄心的纪念碑所在地。

He was building a castle because he, literally, had a castle’s worth of treasures with which to fill it.

他正在建造一座城堡，因为他确实拥有一座城堡的宝藏可以用来填充它。

Auctioneer: Eleven thousand six hundred.

拍卖师：一万一千六百。

David Nasaw, Author: Limits, boundaries, restraint, these were not words in the Hearst vocabulary.

大卫·纳索（David Nasaw），作者：限制、界限、克制，这些都不是赫斯特词汇中的词。

He was possessed by a collecting demon.

他被一个收藏恶魔附身了。

The people he commissioned to buy things were told the Chief wants this.

他委托买东西的人被告知酋长想要这个。

And they would say, but the bidding is going too high.

他们会说，但是出价太高了。

And they were told, well, get it.

他们被告知，好吧，明白了。

The boss wants it.

老板想要。

He was like a two-year old, who sees something and wants it and grabs it and won't let go.

他就像一个两岁的孩子，看到什么东西就想要它，抓住它就不放手。

Narrator: Only months after Phoebe died, Hearst’s desire to acquire things went into overdrive.

旁白：菲比去世几个月后，赫斯特对获得东西的渴望变得异常强烈。

He could have easily furnished all the planned rooms at San Simeon from his own and his mother’s collections, but instead, he bought new art, furnishings, and antiques before the foundation had even been laid at the top of the hill.

他本可以轻松地用自己和母亲的收藏来装饰圣西蒙所有计划的房间，但相反，他在山顶奠基之前就购买了新的艺术品、家具和古董。

The nations of Europe were on their knees following World War I, and Hearst and other wealthy Americans happily preyed on impoverished nobles in one of the great fire sales in history.

第一次世界大战后，欧洲各国纷纷屈服，赫斯特和其他富有的美国人在历史上一次大甩卖中愉快地掠夺了贫困贵族。

He snatched up suits of armor, paintings, tapestries, a large fifteenth-century Italian sideboard, matched doors with Renaissance panels, and Moorish columns from the 12th century.

他抢走了一套盔甲、绘画、挂毯、一个十五世纪的意大利大餐具柜、与文艺复兴时期镶板相匹配的门，以及十二世纪的摩尔式柱子。

He needed a complex of warehouses just to hold it all.

他需要一个复杂的仓库来容纳这一切。

Victoria Kastner, Writer: Hearst told a story about a man who had to call a dollar “William” because he was never gonna know it long enough to call it Bill.

维多利亚·卡斯特纳（Victoria Kastner），作家：赫斯特讲述了一个故事，讲述了一个人不得不将一美元称为“威廉”，因为他永远不会足够长的时间来称呼它为“比尔”。

And that was pretty typical of how he felt I think about himself.

这就是他对我自己的看法的典型表现。

He understood that he over spent especially when it came to collecting.

他知道自己花了太多钱，尤其是在收藏方面。

He said, I'm like a dipsomaniac, a drunkard with a bottle.

他说，我就像一个酒鬼，一个拿着酒瓶的酒鬼。

And when these art dealers show me things, I have to buy.

当这些艺术品经销商向我展示东西时，我必须购买。

Narrator: Hearst’s wife delighted in her husband’s compulsive acquisitions.

旁白：赫斯特的妻子对丈夫的强迫性收购感到高兴。

Millicent Wilson had been a 16-year old Broadway chorus girl when she met the 33-year-old Hearst in 1896.

1896 年，米莉森特·威尔逊 (Millicent Wilson) 遇到 33 岁的赫斯特时，她还是一名 16 岁的百老汇合唱团女孩。

She was the latest in a string of lovers that had horrified Hearst’s Presbyterian mother and, by the time Millicent came along, Phoebe had despaired of ever controlling her son’s love life.

她是一系列令赫斯特的长老会母亲感到恐惧的情人中最新的一个，当米利森特出现时，菲比已经对控制儿子的爱情生活感到绝望。

Gary Kamiya, Writer: Hearst acted as he always had, out of his untrammeled love of beautiful young women, and what state in society they were from did not matter.

加里·卡米亚（Gary Kamiya），作家：赫斯特一如既往地行事，出于对年轻漂亮女性无拘无束的热爱，而她们来自什么社会地位并不重要。

In fact it seems, au contraire, it was almost better if they were chorus girls.

事实上，相反，如果她们是合唱团女孩，那就更好了。

Narrator: To Phoebe’s surprise, Millicent proved adept at playing the respectable wife, giving birth to five sons, and standing by Hearst during his unsuccessful campaigns for mayor and governor of New York and his time serving in Congress.

旁白：令菲比惊讶的是，米利森特擅长扮演受人尊敬的妻子，生下了五个儿子，并在赫斯特竞选纽约市长和州长失败以及在国会任职期间支持赫斯特。

David Nasaw, Author: From the moment she marries W.R, Millicent sheds her show business background, her chorus girl friends, to become a New York society matron.

大卫·纳索（David Nasaw），作者：从与 W.R 结婚的那一刻起，米莉森特就抛弃了她的演艺背景和合唱团的女朋友，成为了纽约社交界的主妇。

We see scenes from a strange home-movie, almost like an old serial western.

我们看到一部奇怪的家庭电影中的场景，几乎就像一部古老的连续西部片。

Narrator: As skilled as Millicent was at filling the public role of Mrs. Hearst, it was her private place, at the center of her large family, that she seemed to really care about.

旁白：尽管米莉森特很擅长扮演赫斯特夫人的公共角色，但她似乎真正关心的是她的私人空间，即她大家庭的中心。

In the summer of 1920, she played a beautiful damsel in distress in an elaborate home movie orchestrated by her husband, called The Lighthouse Keeper’s Daughter.

1920 年夏天，她在丈夫精心制作的家庭电影《灯塔看守人的女儿》中扮演了一位美丽的陷入困境的少女。

The hour-long silent film was a spoof of the popular western serials and featured, among other escapades, a mounted Hearst, waving his lasso and saving Millicent from marauding bandits.

这部长达一小时的无声电影恶搞了流行的西部连续剧，其中包括赫斯特骑马挥舞套索从劫掠的强盗手中拯救米利森特的故事。

Two of the Hearst boys used sulfur flares for special effects, almost asphyxiating themselves in the process.

赫斯特男孩的两个男孩使用硫磺照明弹来产生特效，在这个过程中几乎让自己窒息。

By the end, W.R.

最后，W.R.

and Millicent were embracing on screen, followed by lines that Hearst had written himself:

屏幕上和米利森特拥抱在一起，后面是赫斯特自己写的台词：

Narrator: The make-believe silent picture at San Simeon was a charming diversion, but it was the real movie business that fascinated Hearst.

旁白：圣西蒙的虚构无声电影是一种迷人的消遣，但真正让赫斯特着迷的是真正的电影业。

And just like in the newspaper world, the real action was back in New York City.

就像报纸界一样，真正的行动发生在纽约市。

Narrator: At the turn-of-the-century, Hearst had won a bare-knuckled New York newspaper war against the powerful publisher Joseph Pulitzer by hiring away his rival’s most talented writers and editors and winning over the loyalty of his working-class readers.

旁白：在世纪之交，赫斯特通过雇佣竞争对手最有才华的作家和编辑并赢得工人阶级读者的忠诚，赢得了一场与强大的出版商约瑟夫·普利策的激烈纽约报纸战争。

Hearst’s papers had boasted something for almost everyone -- sensational reporting, vivid writing, innovative comics, arts, and sports stories, bold use of color, and revolutionary layouts.

赫斯特的报纸几乎为每个人带来了一些东西——耸人听闻的报道、生动的写作、创新的漫画、艺术和体育故事、大胆的色彩运用和革命性的布局。

As a publisher, he had been a crusading progressive, railing against the corrupt bosses and monopolies that dominated big cities and kept the masses living in poverty.

作为一名出版商，他一直是一位激进的进步人士，谴责腐败的老板和垄断企业，这些企业主宰着大城市，让群众生活在贫困之中。

There were villains and victims in a good Hearst story, and he hated the villains.

赫斯特的好故事里既有坏人，也有受害者，而他讨厌坏人。

The millions of immigrants who crowded into America’s cities and bought his papers for a penny, were his core audience, but he wanted more, always more.

涌入美国城市并花一分钱购买他的报纸的数百万移民是他的核心读者，但他想要更多，总是更多。

David Nasaw, Author: Hearst went from newspapers into magazines.

大卫·纳索（David Nasaw），作者：赫斯特从报纸转向杂志。

He became the largest holder of magazines as he did of newspapers.

他成为杂志和报纸的最大持有者。

All his editors said, “You’re nuts.” His business advisors said, “You can’t do it.” But he did it.

他所有的编辑都说：“你疯了。”他的商业顾问说：“你做不到。”但他做到了。

Hearst was, all his life, in search of the next big thing.

赫斯特一生都在寻找下一件大事。

And very early on was taken with moving pictures.

很早就是用动态图片拍摄的。

Erik Loomis, Historian: It is hard to overestimate how revolutionary the moving picture was.

历史学家埃里克·卢米斯（Erik Loomis）：很难高估这部电影的革命性。

It is as revolutionary as the Internet.

它与互联网一样具有革命性。

It’s as revolutionary as the railroad.

它与铁路一样具有革命性。

It's one of the most revolutionary technologies in world history.

它是世界历史上最具革命性的技术之一。

Narrator: Hearst loved innovations.

旁白：赫斯特热爱创新。

Anything for a competitive edge.

为了竞争优势不择手段。

Early in his publishing career, he had turned inventions like new high-speed presses and color printing to his advantage.

在他出版生涯的早期，他将新型高速印刷机和彩色印刷等发明转化为自己的优势。

Now, the new medium of film beckoned, and he quickly embraced something known as the newsreel.

现在，新的电影媒介向他招手，他很快就接受了新闻短片。

These short factual films had been introduced to America by the pioneering French film company Pathé in 1911.

这些纪实短片于 1911 年由法国先锋电影公司百代 (Pathé) 引入美国。

Hearst cut a distribution deal with Pathé, confident that his brand, known for snappy and accessible stories, would be a perfect fit for the new medium.

赫斯特与百代达成了发行协议，相信他的品牌以生动活泼的故事而闻名，将非常适合新媒体。

“The best trained newspapermen in the world, working hand in hand with a matchless producing company” proclaimed an early advertisement, “No staging, no make-believe, no ‘play acting’, just the actual drama of life with its heroes .

“世界上训练有素的新闻工作者，与无与伦比的制作公司携手合作”，早期的广告宣称，“没有舞台，没有虚构，没有‘表演’，只有英雄们的真实生活戏剧。

.

。

.

。

their every look, every gesture, every movement brought from the uttermost ends of the earth and flashed on your theater screen.”

他们的每一个眼神、每一个手势、每一个动作都来自天涯海角，在你的影院屏幕上闪现。”

Erik Loomis, Historian: Hearst understands the power of the moving film, and he begins to see it as a way to promote his own brand, but this really begins with the silent film.

埃里克·卢米斯（Erik Loomis），历史学家：赫斯特了解动人电影的力量，他开始将其视为推广自己品牌的一种方式，但这实际上是从无声电影开始的。

Narrator: In 1914, Hearst pioneered yet another form of entertainment -- the serialized drama.

旁白：1914年，赫斯特开创了另一种娱乐形式——连载戏剧。

Audiences were transfixed by the adventures of Pauline.

观众们被宝琳的冒险经历惊呆了。

More than just a damsel in distress, she was a new kind of heroine, and The Perils of Pauline became a sensation -- with chapters like Pirate Treasure, Tragic Plunge, and A Watery Doom.

她不仅仅是一个陷入困境的少女，还是一种新型的女英雄，《宝琳的危险》引起了轰动，其中包括《海盗宝藏》、《悲惨的暴跌》和《水汪汪的末日》等章节。

Erik Loomis, Historian: She's a young woman ready to be a modern woman, going out and having adventures on her own and having fun doing it.

埃里克·卢米斯（Erik Loomis），历史学家：她是一位年轻女性，准备成为一名现代女性，独自出去冒险，并享受其中的乐趣。

And Hearst is simply promoting what young women want to see because the audience for this is young women.

赫斯特只是在宣传年轻女性想看到的东西，因为它的观众是年轻女性。

Narrator: Very quickly, Hearst realized that if his serials could tell popular melodramas, they could advance his political goals as well.

旁白：赫斯特很快意识到，如果他的连续剧能够讲述流行的情节剧，那么它们也可以推进他的政治目标。

His newspapers had whipped the country into a nationalist frenzy over American intervention in Cuba during the Spanish American War in 1898, but when it came to foreign entanglements outside the Western hemisphere, Hearst was a staunch isolationist.

1898 年美西战争期间，美国干预古巴，他的报纸使该国陷入民族主义狂热，但当谈到西半球以外的外国纠葛时，赫斯特是坚定的孤立主义者。

As part of his crusade to keep America out of World War I, he argued that the real enemies of the United States lay elsewhere.

作为让美国卷入第一次世界大战的斗争的一部分，他认为美国真正的敌人在其他地方。

To make his point, in the fall of 1916, he produced an ambitious serial drama called Patria, in which Japanese spies and their Mexican allies invade the United States.

为了阐明自己的观点，1916 年秋天，他制作了一部雄心勃勃的连续剧《Patria》，讲述了日本间谍及其墨西哥盟友入侵美国的故事。

Gary Kamiya, Writer: It's an absolutely ludicrous, totally racist, hyperbolically bad movie.

加里·卡米亚（Gary Kamiya），编剧：这是一部绝对可笑、完全种族主义、夸张的糟糕电影。

He combines all of his hatreds.

他将所有的仇恨结合在一起。

The evil and cunning Japanese and these marauding, radical Mexicans.

邪恶狡猾的日本人和掠夺激进的墨西哥人。

And of course our lovely hero defeats these emissaries of evil.

当然，我们可爱的英雄打败了这些邪恶的使者。

There’s no question that Hearst was a master at appealing to people’s baser emotions.

毫无疑问，赫斯特是激发人们卑鄙情感的大师。

A picture’s worth a thousand words, and I think that he realized that before a lot of people did.

一张图片胜过一千个文字，我认为他比很多人都意识到了这一点。

Narrator: On the screen, as in his newspapers, Hearst never let the truth get in the way of telling a good story, and his wildly popular serials helped fuel an explosion of interest in the new film industry.

旁白：在银幕上，就像在他的报纸上一样，赫斯特从不让真相妨碍讲述一个好故事，他广受欢迎的连续剧帮助激发了人们对新电影业的兴趣。

Robert Chiles, Historian: The moving pictures represented a new generation of what Hearst was trying to do in his working class newspaper at the turn of the century.

历史学家罗伯特·奇利斯：这些电影代表了赫斯特在世纪之交在他的工人阶级报纸上试图做的事情的新一代。

The movies were now this wildly popular form of mass entertainment and when people went into these picture palaces, these opulent buildings, you enter into this construction that looks like you're going into an opera hall and you sit in a cool theater, in an otherwise hot, crowded city, and these decadent curtains draw back and the screen lights up and the organ begins to play, and suddenly you're transported away from the toils and concerns of the Lower East Side and into an adventure.

电影现在是一种广受欢迎的大众娱乐形式，当人们走进这些电影宫殿、这些华丽的建筑时，你进入了这个建筑，看起来就像你走进了一个歌剧院，你坐在一个凉爽的剧院里，在一个炎热、拥挤的城市里，这些颓废的窗帘拉开，屏幕亮起来，风琴开始演奏，突然间你就远离了下东区的辛劳和忧虑，进入了一场冒险。

And it's entertainment.

这是娱乐。

It is fantasy.

这是幻想。

It's escape.

这是逃避。

Narrator: Hearst kept churning out hundreds more newsreels and serials.

旁白：赫斯特不断制作数百部新闻片和连续剧。

And in March of 1919, he teamed up with the producer and distributor Adolph Zukor and created Cosmopolitan Productions.

1919 年 3 月，他与制片人和发行人 Adolph Zukor 联手创建了 Cosmopolitan Productions。

He was determined to pay top dollar for only the best directors and stars, and he wanted twenty-four major films a year.

他决心只为最好的导演和明星支付高价，并且他希望每年上映二十四部主要电影。

David Nasaw, Author: Hearst had a talent for telling stories and editing stories.

大卫·纳索（David Nasaw），作者：赫斯特具有讲故事和编辑故事的天赋。

He knew what the public wanted but more than that, Hearst was a true revolutionary.

他知道公众想要什么，但更重要的是，赫斯特是一位真正的革命者。

He’d get a story, he’d run it in the newspapers, he would embellish it in his magazines, he would tell it over the radio and turn it into a moving picture.

他会得到一个故事，他会在报纸上刊登它，他会在杂志上修饰它，他会通过广播讲述它并将其变成电影。

I mean, this is the essence of synergy.

我的意思是，这就是协同作用的本质。

Hearst understood that once you got the message, you can move it from format to format to format to format.

赫斯特明白，一旦您收到消息，您就可以将其从一种格式转移到另一种格式。

You could create something called ‘media’ which is the plural of ‘a medium.’ And that’s a Hearstian creation.

你可以创造一种叫做“媒体”的东西，它是“媒介”的复数形式。这就是赫斯特的创造。

Erik Loomis, Historian: He understands that a multi-faceted media empire has enormous power and so he perhaps more than any other American is able to shape the feelings, the ideas, the political thoughts of Americans because frankly, he's bombarding them with media images.

埃里克·卢米斯（Erik Loomis），历史学家：他明白，一个多元化的媒体帝国拥有巨大的力量，因此他也许比其他任何美国人都更有能力塑造美国人的感情、想法和政治思想，因为坦率地说，他正在用媒体形象轰炸他们。

He recognizes the power of the media in a way that comes to define the 20th century and he is there to use that power.

他认识到媒体的力量定义了 20 世纪，并且他正在利用这种力量。

Narrator: The New York film community had, quite simply, never seen anything like it.

旁白：很简单，纽约电影界从未见过这样的事情。

It was the summer of 1922, and William Randolph Hearst’s latest picture was called When Knighthood Was In Flower -- a remake of the story of Mary Tudor.

那是 1922 年的夏天，威廉·伦道夫·赫斯特的最新影片名为《当骑士盛开时》——翻拍自玛丽·都铎的故事。

The set designer, a Viennese emigré, named Joseph Urban, conjured up entire city blocks of Paris, a gothic cathedral, and the Tower of London.

布景设计师是一位名叫约瑟夫·厄本（Joseph Urban）的维也纳移民，他想象出了巴黎的整个街区、哥特式大教堂和伦敦塔。

There were 3,000 extras.

还有 3,000 名临时演员。

The budget was an unheard of 1.5 million dollars, making it, at the time, the most expensive film ever produced.

预算高达 150 万美元，这在当时是有史以来制作成本最高的电影。

Adolph Zukor worried about the spiraling cost, but Hearst dismissed his concerns out of hand, “Very good pictures like all very good products, cannot be made hastily, any more than they can be made cheaply,” he said.

阿道夫·祖科尔（Adolph Zukor）担心成本不断上升，但赫斯特立即驳回了他的担忧，“非常好的照片就像所有非常好的产品一样，不能仓促制作，也不能廉价制作，”他说。

And he was just getting started.

而他才刚刚开始。

His publicity campaign -- 650 billboards, brilliant electric signs that dominated Times Square, helped turn When Knighthood Was In Flower into one of the highest-grossing productions of 1922.

他的宣传活动——650 个广告牌和遍布时代广场的绚丽电子标志，帮助《骑士风云》成为 1922 年票房最高的作品之一。

The film received rapturous reviews, especially its star.

这部电影获得了热烈的评价，尤其是它的明星。

Her name was Marion Davies, and her career was as much a creation of William Randolph Hearst as his San Francisco Examiner had been.

她的名字叫马里恩·戴维斯，她的职业生涯就像威廉·伦道夫·赫斯特的《旧金山观察报》一样，都是他的创造。

We hear an early version of The Girl on the Magazine Cover from Stop!

我们听到了 Stop! 杂志封面上的女孩的早期版本！

Look!

看！

Listen!

听！

Narrator: Back in 1915, right after Millicent had given birth to twin boys, Hearst had found himself in his usual seat in the second row of the Globe Theater, watching the new Irving Berlin musical Stop!

旁白：回到 1915 年，米利森特刚生下双胞胎男孩后，赫斯特发现自己坐在环球剧院第二排他常坐的座位上，观看欧文·柏林的新音乐剧《站住！

Look!

看！

Listen!

听！

In one number, called The Girl on the Magazine Cover, a huge reproduction of Vogue filled the stage.

在一场名为《杂志封面上的女孩》的节目中，舞台上布满了《Vogue》杂志的巨大复制品。

Then a group of chorus girls stepped out of the tableau and joined an elaborate song and dance routine.

随后，一群合唱团女孩从舞台上走出来，加入到精心准备的歌舞表演中。

One of them was the 18-year old Marion Davies.

其中之一是 18 岁的马里恩·戴维斯 (Marion Davies)。

Hearst, who was 52, was transfixed.

52 岁的赫斯特惊呆了。

Victoria Kastner, Writer: W.R.

维多利亚·卡斯特纳 (Victoria Kastner)，编剧：W.R.

was always attracted to performers, outgoing, extroverted people, talented people, and that especially went for, you know, showgirls, actors.

总是被表演者、外向、外向的人、才华横溢的人所吸引，尤其是，你知道，歌舞女郎、演员。

So he always kind of had a crowd around him who were not the dry, sedate members of the drawing room set.

所以他周围总是有一群人，他们不是客厅里那些枯燥、冷静的人。

Lara Gabrielle, Writer: Marion Davies was born in Brooklyn in January of 1897.

劳拉·加布里埃尔 (Lara Gabrielle)，编剧：马里恩·戴维斯 (Marion Davies) 1897 年 1 月出生于布鲁克林。

The family was kind of lower middle class.

这个家庭属于中下阶层。

Her father was an alcoholic.

她的父亲是个酒鬼。

She was a very bright child but she had a very noticeable stutter.

她是一个非常聪明的孩子，但她有非常明显的口吃。

And it affected her school life to such a degree she was bullied by the kids and by the teachers and it contributed to her leaving school early.

这影响了她的学校生活，以至于她受到孩子们和老师的欺负，这导致她提前离开学校。

But she loved to dance and there weren’t a whole lot of opportunities for women at that time.

但她喜欢跳舞，而当时女性没有太多机会。

So being a chorus girl around the turn of the century was an avenue to a higher class.

因此，在世纪之交，成为一名合唱团女孩是通往更高阶层的途径。

This was a way for women to marry well and it was pushed by her mother, but Marion never felt that she was a star.

这是女人嫁得好的一种方式，也是她母亲推动的，但玛丽昂从来不觉得自己是明星。

Narrator: Hearst was looking for the next Mary Pickford, the silent film star, whose innocent but alluring screen presence had made her the reigning star of the new film industry.

旁白：赫斯特正在寻找下一个玛丽·碧克馥，一位无声电影明星，她天真却迷人的银幕形象使她成为新电影界的卫冕明星。

“He sent me flowers and little gifts, like silver boxes or gloves or candy,” Marion recalled.

“他给我送了鲜花和小礼物，比如银盒子、手套或糖果，”马里昂回忆道。

“I wasn’t the only one he sent gifts to, but all the girls thought he was particularly looking at me.”

“他送礼物的不止我一个，但所有女孩都觉得他特别看重我。”

Gary Kamiya, Writer: The same impulses that led Hearst to choose Millicent, you know, led him to then choose another extremely young woman.

加里·卡米亚（Gary Kamiya），作家：赫斯特选择米利森特的冲动，你知道，导致他选择了另一位非常年轻的女性。

And it’s a little bit like, well you went for the beautiful, young, trophy wife from the chorus line and here’s another one.

这有点像，好吧，你选择了合唱队里美丽、年轻、奖杯的妻子，而这是另一个。

Narrator: Hearst wasn’t immediately sold on Marion as a film star, but he went to a screening of her first feature, produced by her brother-in-law.

旁白：赫斯特并没有立即看好玛丽昂作为电影明星，但他去看了她的姐夫制作的第一部故事片的放映。

She played a rich man’s daughter kidnapped by gypsies.

她扮演一个被吉普赛人绑架的富人的女儿。

Lara Gabrielle, Writer: She has a glow to her.

劳拉·加布里埃尔（Lara Gabrielle），作家：她身上散发着光芒。

That charm, that beauty, not even just physical beauty.

那种魅力，那种美丽，甚至不仅仅是外表上的美。

But, this sort of emotional sense of giving to the camera and I think that in combination with, this kind of beautiful angel that he was seeing on the screen was something very attractive to him.

但是，这种给予镜头的情感感觉，我认为与他在屏幕上看到的这种美丽天使相结合，对他来说非常有吸引力。

And so he went to Marion and he said to her, I would like to make you a star.

于是他去找玛丽昂，对她说，我想让你成为明星。

Narrator: In 1917, Hearst gave Marion her own production company and a generous contract.

旁白：1917年，赫斯特给了玛丽昂她自己的制作公司和一份丰厚的合同。

He controlled almost every aspect of her films -- the script, the casting, even the hairstyles.

他几乎控制了她电影的每一个方面——剧本、选角，甚至发型。

He loved to watch Marion work and was always at the studio.

他喜欢看玛丽昂工作并且总是在工作室。

Victoria Kastner, Writer: Marion Davies was the first screwball comedienne before Carole Lombard.

维多利亚·卡斯特纳（Victoria Kastner），编剧：马里恩·戴维斯（Marion Davies）是卡罗尔·隆巴德之前的第一位怪诞喜剧演员。

She was a natural mimic and did, you know, absolutely hilarious impersonations, impressions.

她是一个天生的模仿者，你知道，她的模仿和印象绝对是搞笑的。

She was always irreverent.

她总是不敬。

And was always the scapegrace, the little troublemaker.

而且总是个倒霉蛋，一个小麻烦制造者。

I mean, she was a beautiful woman who was hilarious and that is, you know, a tremendous combination.

我的意思是，她是一个美丽又有趣的女人，你知道，这是一个巨大的组合。

Narrator: When Hearst wasn’t with Marion on the set he was with her out on the town.

旁白：当赫斯特没有和玛丽昂一起在片场时，他就和她一起去城里。

David Nasaw, Author: For years, he carried on an affair and a marriage.

大卫·纳索（David Nasaw），作者：多年来，他一直在外遇和婚姻。

Marion, he saw at his apartments overlooking Bryant Park in New York City while on the West Side, his wife lived at the Clarendon Hotel.

他在俯瞰纽约市布莱恩特公园的公寓里看到了马里昂，而在西区，他的妻子住在克拉伦登酒店。

Whether Millicent knew or asked, we don't know, but his double life went on.

我们不知道米利森特是否知道或问过，但他的双重生活仍在继续。

Narrator: Then, in 1921, Millicent noticed an expansive piece of publicity about “a Miss Marion Davies,” the star of an upcoming Hearst feature.

旁白：然后，在 1921 年，米利森特注意到一篇关于“马里恩·戴维斯小姐”的大篇幅宣传，她是赫斯特即将上映的故事片中的明星。

She got in touch with Hearst’s editors and demanded that “all advertising be distinctly on picture, not on star.”

她与赫斯特的编辑取得了联系，并要求“所有广告都清晰地出现在图片上，而不是明星上。”

It was clear that she suspected her husband was having an affair, and Hearst’s double life was running on borrowed time.

很明显，她怀疑丈夫有外遇，而赫斯特的双重生活已经在借来的时间里进行了。

Narrator: By 1922, three years after Hearst and Julia Morgan first wandered around the barren hillside at San Simeon, the outlines of the planned castle had come into shape.

旁白：到了 1922 年，也就是赫斯特和朱莉娅·摩根第一次在圣西蒙荒芜的山坡上漫步三年后，规划中的城堡的轮廓已经成型。

It was a typical Hearst undertaking, a reimagining of a Spanish village, with the main structure capped by two soaring towers and guest houses arrayed to maximize the astounding views.

这是典型的赫斯特作品，对西班牙村庄的重新想象，主体结构顶部有两座高耸的塔楼和宾馆，排列整齐，以最大限度地欣赏令人惊叹的景色。

The scale, and of course the cost, were enormous, but nothing Hearst wanted seemed to faze Julia Morgan.

规模巨大，当然成本也巨大，但赫斯特想要的一切似乎都没有让朱莉娅·摩根感到困惑。

David Nasaw, Author: She studied at Beaux Arts in Paris and was not only a remarkable visionary and an architect but was fearless, dauntless, and never said to Hearst: “That’s impossible, it can’t be done.”

大卫·纳索（David Nasaw），作者：她就读于巴黎美术学院，不仅是一位非凡的梦想家和建筑师，而且无所畏惧、无所畏惧，从未对赫斯特说过：“那是不可能的，这是做不到的。”

Narrator: While the massive undertaking was the subject of Hearst’s intense focus, New York remained the epicenter of his empire.

旁白：虽然这项浩大的事业是赫斯特高度关注的主题，但纽约仍然是他的帝国的中心。

And Millicent wanted to be there too.

米利森特也想去那里。

She craved acceptance from the city’s elite and wanted her boys to be raised as proper gentlemen.

她渴望得到城市精英的认可，并希望她的儿子们能被培养成正派的绅士。

Her husband couldn’t be bothered.

她的丈夫不能被打扰。

Victoria Kastner, Writer: Will was always an outsider, and I think that came in part from being from California.

维多利亚·卡斯特纳（Victoria Kastner），作家：威尔一直是个局外人，我认为这部分是因为他来自加利福尼亚。

His father was a definite outsider, a you know, a gold miner bonanza king.

他的父亲绝对是个局外人，你知道，他是一位金矿富矿之王。

So he was always very scornful of East Coast society, which he felt was modelled on European aristocracy and was an utter waste of time.

所以他总是对东海岸社会非常蔑视，他认为东海岸社会是欧洲贵族的典范，完全是浪费时间。

He was much more interested in what you did than in who you were in terms of pedigree.

他对你所做的事情比对你的血统更感兴趣。

David Nasaw, Author: He's a New Yorker who grew up in the West.

大卫·纳索（David Nasaw），作者：他是一位在西方长大的纽约人。

He's a San Franciscan who went to school at Harvard.

他是旧金山人，曾在哈佛大学上学。

And instead of gravitating towards respectable society, holds it at arm's length.

与其倾向于受人尊敬的社会，不如与之保持一定距离。

He says, this is who I am.

他说，这就是我。

You know, take it or leave it.

你知道，要么接受，要么离开。

Narrator: He didn’t want to settle down and play the society game, and even if he had, there wasn’t time.

旁白：他不想安定下来玩社会游戏，即使他想，也没有时间。

While Millicent was doting on the five boys, he was with Marion, or constantly traveling, from one part of his empire to the next.

当米利森特溺爱这五个男孩时，他和玛丽昂在一起，或者不断地从他的帝国的一个地方到另一个地方。

And he knew that his relationship with Marion would stay out of the news, even if it was hardly a secret.

他知道他和玛丽昂的关系不会成为新闻，即使这算不上秘密。

The press barons of the day were happy to trade in salacious exposés to sell their papers, but they had an unspoken deal that their personal lives were off-limits.

当时的新闻大亨很乐意用淫秽的曝光来出售他们的报纸，但他们有一个不言而喻的协议，那就是他们的个人生活是禁区。

Eventually, the affair infected the atmosphere of the elegantly furnished rooms of the Clarendon.

最终，这件事影响了克拉伦登酒店布置优雅的房间的气氛。

Over the Christmas holidays in 1922, Hearst and Millicent had a rare scene.

1922 年的圣诞节假期，赫斯特和米利森特出现了罕见的一幕。

One of their sons, Bill Hearst Jr., remembered his mother throwing her wedding ring on the floor.

他们的一个儿子小比尔·赫斯特（Bill Hearst Jr.）记得他的母亲把结婚戒指扔在了地板上。

“If this is all you think of our marriage, keep it!” she yelled.

“如果这就是你对我们婚姻的全部看法，那就保留吧！”她喊道。

Victoria Kastner, Writer: In spite of Hearst newspapers being these lightning rods of political controversy, in person, Hearst deplored controversy.

维多利亚·卡斯特纳（Victoria Kastner），作家：尽管赫斯特的报纸是政治争议的避雷针，但赫斯特本人对争议感到遗憾。

He didn't like arguments.

他不喜欢争论。

He didn't like scenes.

他不喜欢场景。

He didn't raise his voice.

他没有提高声音。

He had a courtly kind of Victorian way of talking.

他的说话方式有一种维多利亚时代的礼貌。

He never made demands.

他从不提出要求。

He would ask requests, you know, so it distressed him very much that Millicent was rightfully upset.

你知道，他会提出要求，所以米利森特理所当然地感到不安，这让他非常痛苦。

But he said, I’ve tried, as a matter of fact, to do everything I can for Mrs. Hearst.

但他说，事实上，我已经尽力为赫斯特夫人做我能做的一切。

I want her to be happy, and I can’t imagine that she’s happy in this situation any more than I am.

我希望她幸福，但我无法想象她在这种情况下会比我更幸福。

Narrator: Once, when Hearst left San Simeon for Los Angeles, he returned to find his wife had packed up and headed for New York.

旁白：有一次，当赫斯特离开圣西蒙前往洛杉矶时，他回来时发现妻子已经收拾好行李前往纽约。

“When I arrive he’s always sweet and charming, but never stays more than a few hours,” Millicent later told the film star Charlie Chaplin.

“当我到达时，他总是甜美迷人，但从来不会停留超过几个小时，”米利森特后来告诉电影明星查理·卓别林。

“And it’s always the same routine .

“而且总是同样的例行公事。

.

。

.

。

some urgent business matter needs his immediate attention in Los Angeles, and we all pretend to believe him.

洛杉矶有一些紧急的生意需要他立即处理，我们都假装相信他。

And of course we all know he returns to join Marion.”

当然，我们都知道他会回来与马里昂会合。”

Stephen Hearst, Great-Grandson: She was referred to as M.D.

史蒂芬·赫斯特，曾孙：她被称为医学博士。

when I was a kid and I thought maybe there was somebody in the family who was a doctor.

当我还是个孩子的时候，我想也许家里有人是医生。

I didn't know who M.D.

我不知道医学博士是谁。

was.

是。

And I wasn't going to ask my parents about it.

我也不打算问我父母这件事。

It was just, it was just something, something in the closet.

这只是，这只是一些东西，壁橱里的东西。

Victoria Kastner, Writer: His sons felt tremendous loyalty to their mother.

维多利亚·卡斯特纳（Victoria Kastner），作家：他的儿子们对他们的母亲怀有极大的忠诚。

And they, you know, were embarrassed at this relationship about which Hearst was so open as he always was about his behavior.

你知道，他们对这段关系感到尴尬，而赫斯特对他的行为总是如此开放。

Gary Kamiya, Writer: It’s hard to think of another major American popular figure who essentially lived apart from his wife and with his mistress.

加里·卡米亚（Gary Kamiya），作家：很难想象还有哪个美国知名人物基本上与妻子和情妇分开生活。

Hearst was like, hey, screw you.

赫斯特说，嘿，去你的吧。

You don't like it.

你不喜欢它。

I'm going to do it anyway.

无论如何我都会这么做。

You know, he lived his whole life like this, in effect.

你知道，他实际上就是这样度过了一生。

Narrator: Like his business empire, Hearst organized his personal life around his own needs and his desires and rarely acknowledged the fallout that he left in his wake.

旁白：就像他的商业帝国一样，赫斯特围绕自己的需求和欲望来组织自己的个人生活，很少承认他留下的后果。

David Nasaw, Author: Eventually, Millicent decided that she was going to be Mrs. Hearst.

大卫·纳索（David Nasaw），作者：最终，米莉森特决定她将成为赫斯特夫人。

And they decided to keep the marriage together by keeping a continent between them.

他们决定通过在他们之间保留一块大陆来维持婚姻。

They moved into a pattern, where Milicent would stay in the East.

他们进入了一种模式，米利森特将留在东部。

Hearst would buy her her own estate in Sands Point, one of the grandest estates on Long Island.

赫斯特将为她在桑兹角购买自己的庄园，这是长岛最宏伟的庄园之一。

Marion would move into San Simeon.

马里昂将搬到圣西蒙。

Except September, in September, Hearst and Marion would go east, Millicent would come west and entertain her friends during September, and then they'd switch sides of the continent again.

除了九月，在九月，赫斯特和玛丽昂会向东走，米莉森特会向西走，在九月期间招待她的朋友，然后他们会再次交换大陆的两侧。

Greg Young, Writer: Part of me, my instinct is to pity Millicent in this situation because you see Hearst and you're like, well, he's just going to do what he's going to do because that's what he's been doing his whole life.

格雷格·杨，作家：在这种情况下，我的本能是怜悯米利森特，因为你看到赫斯特，你会想，好吧，他只会做他要做的事，因为这就是他一生都在做的事情。

But for Millicent there actually were some benefits to remaining in this marriage with Hearst.

但对于米利森特来说，继续与赫斯特的婚姻实际上有一些好处。

Millicent forged a path of her own here and realizing that's what she needed to deal with, she decided to build something on top of it for herself and for her sons.

米莉森特在这里开辟了一条自己的道路，并意识到这就是她需要处理的问题，她决定在此基础上为自己和她的儿子们建立一些东西。

Narrator: During World War I, Millicent had embarked on a series of programs to help the troops overseas and bolster the care for them when they returned home as wounded veterans.

旁白：第一次世界大战期间，米利森特开展了一系列项目来帮助海外部队，并在他们作为受伤退伍军人回国后加强对他们的照顾。

Her reputation as a philanthropist was such that she often eclipsed her husband, and her name was put forward as a candidate for Congress.

她作为慈善家的声誉使她的丈夫黯然失色，她的名字被提名为国会候选人。

But as Millicent reinvented herself as Mrs. Hearst, her husband continued to live his life on his terms and by his own rules.

但当米莉森特将自己重塑为赫斯特夫人时，她的丈夫继续按照自己的方式和规则生活。

David Nasaw, Author: By the 1920s, a new innovation in the newspaper world was being born, and that was the tabloid.

David Nasaw，作者：到了 20 年代，报纸界的一项新创新正在诞生，那就是小报。

Andie Tucher, Historian: Tabloids really focus on photographs, that defines what they are.

安迪·图彻（Andie Tucher），历史学家：小报真正关注的是照片，照片定义了它们的本质。

The front page almost always has some big photograph on it.

首页几乎总是有一些大照片。

The stories are short, they're brisk, they're often sensational.

这些故事很短，很轻快，而且往往很耸人听闻。

They often talk about celebrity or crime...

他们经常谈论名人或犯罪......

it's the Jazz Age.

现在是爵士乐时代。

And the tabloids kind of reflect that.

小报也反映了这一点。

The first one is the Daily News.

第一个是《每日新闻》。

And then along comes the Evening Graphic, whose nickname is the Pornographic, because it is so out there.

然后出现了晚间图片，它的绰号是色情图片，因为它是如此的公开。

And Hearst, who is incapable of not competing with anything that comes along, establishes the Daily Mirror in competition with the other two.

赫斯特无法不与任何出现的事物竞争，他创办了《每日镜报》，与另外两家竞争。

So in New York City, you've got three major tabloids all competing with each other in the 1920s, just, you know, fighting it, fighting it out with very sharp elbows.

因此，在 20 世纪 20 年代的纽约市，三大小报都在相互竞争，只是，你知道，互相争斗，以非常尖锐的手段争斗到底。

Narrator: Ironically, Hearst despised the tabloids.

旁白：讽刺的是，赫斯特鄙视小报。

They were smaller-sized papers, popular with commuters, and focused solely on the need to entertain.

它们是较小尺寸的报纸，深受通勤者的欢迎，并且只专注于娱乐的需要。

They were also cheaply printed and offended Hearst’s aesthetic standards.

它们的印刷成本也很低，并且冒犯了赫斯特的审美标准。

Gary Kamiya, Writer: The tabloid is explicitly aiming at the lower chakras that the Hearst papers always appealed to, but the Hearst papers were like a shotgun.

加里·卡米亚（Gary Kamiya），作家：小报明确瞄准了赫斯特报纸一直吸引的下脉轮，但赫斯特报纸就像一把猎枪。

They were aiming to hit every part of the human psyche.

他们的目标是触及人类心灵的每一个部分。

Hearst had to respond to this attack, that in many ways was taking what had been one of the most successful things about his business model, and then using it against him.

赫斯特必须回应这种攻击，这种攻击在很多方面都在利用他的商业模式中最成功的东西之一，然后用它来对付他。

Narrator: The tabloids were stealing away Hearst’s working-class readers, and he did almost anything to lure them back.

旁白：小报正在抢走赫斯特的工人阶级读者，而他几乎不择手段地吸引他们回来。

His New York Daily Mirror resorted to outlandish stunts to boost his circulation -- it resurrected cold murder cases with lurid, baseless new charges, printed what it called “pictures of freaks” including the “Dog Faced Man,” and sent a 400-pound clown around town handing out $100 prizes.

他的《纽约每日镜报》采取了奇特的噱头来提高自己的发行量——用耸人听闻、毫无根据的新指控复活了冰冷的谋杀案，刊登了包括“狗脸人”在内的所谓“怪胎照片”，并派了一个 400 磅重的小丑在镇上分发 100 美元的奖品。

Nothing helped.

没有任何帮助。

Time magazine proclaimed that “the terrible tabloids have out-Hearsted Hearst.”

《时代》杂志宣称“可怕的小报已经超越了赫斯特”。

David Nasaw, Author: Hearst was the great innovator, but even an innovator grows old.

大卫·纳索（David Nasaw），作者：赫斯特是伟大的创新者，但即使是创新者也会变老。

And his newspapers were getting a little bit stodgy, a little bit old fashioned, Hearst was no longer the progressive reformer screaming against urban corruption anymore.

他的报纸变得有点古板、有点过时，赫斯特不再是那个大声疾呼反对城市腐败的进步改革者。

He had become an establishment type.

他已经成为一种建制派。

Narrator: The critic H.L.

旁白：评论家 H.L.

Mencken yearned for the younger publisher.

门肯渴望有一位年轻的出版商。

“The American daily press, with Hearst leading it in a devil’s dance, was loud, vulgar, inordinate and preposterous,” he wrote, “-- but it was not slimy and it was not dull.

“在赫斯特的带领下，美国的日报媒体喧闹、粗俗、过分、荒谬，”他写道，“但它并不粘稠，也不乏味。

Today it is both.”

今天两者兼而有之。”

Compounding his troubles with the tabloids, was the fact that Hearst had gone on a spending spree in the early 20s and added twelve new papers to his arsenal.

让小报给他带来的麻烦更加复杂的是，赫斯特在二十出头的时候就开始了疯狂的消费，并在他的武器库中增加了十二份新报纸。

His empire could not have been on shakier ground.

他的帝国已经岌岌可危了。

For decades he had turned to his mother, again and again for huge loans, most of which she had eventually forgiven.

几十年来，他一次又一次地向母亲寻求巨额贷款，其中大部分最终被她免除了。

Now he needed banks to further leverage his constant spending and by late in 1922, his compulsion to expand at any cost had driven his corporation to the brink of bankruptcy.

现在，他需要银行进一步利用他持续不断的支出，到 1922 年末，他不惜一切代价扩张的冲动使他的公司濒临破产。

David Nasaw, Author: Hearst had always been in debt.

大卫·纳索（David Nasaw），作者：赫斯特一直负债累累。

Always, always, always, always.

永远，永远，永远，永远。

He was one of the richest men on earth, but he always spent more than he could.

他是世界上最富有的人之一，但他总是花得超出他的能力范围。

And he borrowed the difference.

他借了差价。

And then he borrowed more to repay his earlier debts.

然后他又借了更多钱来偿还之前的债务。

And as long as his circulation held up and his advertising held up, the banks were willing to lend to him.

只要他的发行量和广告持续下去，银行就愿意借钱给他。

Narrator: In December, his Corporate Treasurer wrote him that “we are absolutely at the end of our string in manipulating finances.” A few months later, Chase National Bank dropped him as a customer.

旁白：去年 12 月，他的公司财务主管写信给他说，“我们在操纵财务方面已经到了穷途末路的地步。”几个月后，大通国民银行不再是他的客户。

In desperation, Hearst agreed to sell small denomination corporate bonds, much like the government had done during World War I.

无奈之下，赫斯特同意出售小面额公司债券，就像政府在第一次世界大战期间所做的那样。

He was betting that his readers would see his brand as a safe investment, and he turned out to be right.

他打赌他的读者会认为他的品牌是一项安全的投资，事实证明他是对的。

By 1924, he had sold $12 million dollars worth and, with the help of the booming post-war economy, clawed his way off the financial precipice.

到 1924 年，他已售出价值 1200 万美元的资产，并在战后经济蓬勃发展的帮助下摆脱了财务困境。

Hearst never looked back.

赫斯特从未回头。

One in four Americans -- over seven million families -- opened one of his papers every day.

四分之一的美国人——超过七百万个家庭——每天都会打开他的一份报纸。

Millions more read his syndicated features.

还有数百万人阅读了他的联合专题。

David Nasaw, Author: In the 1920s Hearst is probably as powerful politically as any individual who does not hold office and much more powerful than many individuals who did hold office.

作者戴维·纳索 (David Nasaw)：在 20 年代，赫斯特在政治上的影响力可能与任何未担任公职的个人一样强大，而且比许多担任过公职的个人更有权力。

Every major city, with the exception of Philadelphia, has a Hearst newspaper.

除费城外，每个主要城市都有一份赫斯特报纸。

And because they are all controlled by William Randolph Hearst, because the editorial content, which permeates the news pages as well as the editorial pages, is decided by Hearst, his power is extreme.

而且因为它们都是由威廉·伦道夫·赫斯特控制的，因为渗透到新闻版和社论版的社论内容都是由赫斯特决定的，所以他的权力是极端的。

Narrator: And he wasn’t just interested in working-class readers anymore.

旁白：他不再只对工人阶级读者感兴趣。

Hearst coveted the kind of upscale audience that bought his magazines -- subscribers of such genteel publications as Town and Country, Harper’s Bazaar, and his flagship, Cosmopolitan.

赫斯特觊觎购买他的杂志的高端读者——《城镇与乡村》、《时尚芭莎》和他的旗舰《大都会》等上流出版物的订阅者。

In 1928,he began commissioning essays from prominent political figures in Europe and, a few years later, added space opposite the editorials for regular contributors, including writers like Edith Wharton, Will Rogers, and George Bernard Shaw.

1928 年，他开始委托欧洲著名政治人物撰写文章，几年后，他在社论对面为定期撰稿人增加了空间，其中包括伊迪丝·沃顿 (Edith Wharton)、威尔·罗杰斯 (Will Rogers) 和萧伯纳 (George Bernard Shaw) 等作家。

Hearst had invented the Op Ed page.

赫斯特发明了专栏页面。

He also realized that the monopoly over cheap news that newspapers had enjoyed for so long would not last forever.

他还意识到，报纸长期以来对廉价新闻的垄断不会永远持续下去。

He began acquiring new radio stations in California, and by 1928, boasted a statewide network that often promoted his political views.

他开始在加利福尼亚州收购新的广播电台，到 1928 年，他拥有一个覆盖全州的网络，经常宣传他的政治观点。

And in 1929, he debuted Hearst Metrotone News -- newsreels that talked -- with an authoritative narrator that magnified the power of the flickering images a hundredfold.

1929 年，他首次推出了《赫斯特都市音新闻》（Hearst Metrotone News）——一种会说话的新闻片——由一位权威的旁白将闪烁图像的力量放大了一百倍。

Newsreel: Two men flying a hot air balloon.

新闻短片：两个人驾驶热气球。

Narrator: In his usual style, Hearst doubled down on the promotion of his new service, creating an all-newsreel theater in New York City.

旁白：按照一贯的风格，赫斯特加倍努力推广他的新服务，在纽约市创建了一家全新闻影片剧院。

“Every important event .

“每一个重要的事件。

.

。

.

。

will be shown on the screen within a few hours after it takes place,” Hearst’s PR machine exclaimed.

发生后几个小时内就会显示在屏幕上。”赫斯特的公关机器惊呼道。

“Similarly, every big event in the world will be rushed to the Newsreel Theater with all possible speed.”

“同样，世界上的每一件大事都会以最快的速度赶到新闻片剧院。”

Of course, Hearst considered whatever he did as news as well.

当然，赫斯特也将他所做的一切视为新闻。

Newsreel: Chicago acclaims W.R.

新闻短片：芝加哥赞扬 W.R.

Hearst at prosperity fete.

赫斯特出席繁荣盛宴。

David Nasaw, Author: Hearst’s self confidence is unbreachable.

大卫·纳索（David Nasaw），作者：赫斯特的自信是牢不可破的。

There were very few politicians, whether they’re governor, mayor, congressman or senator who were going to dare to contradict him.

很少有政治家，无论是州长、市长、国会议员还是参议员，敢于反对他。

And on any number of issues, Hearst has his way because of the reach of his empire.

由于赫斯特帝国的影响力，在许多问题上他都有自己的一套办法。

Not only through the newspapers, but through his magazine complex, radio stations that he controls and through his newsreels.

不仅通过报纸，还通过他的杂志社、他控制的广播电台以及他的新闻片。

He was unstoppable.

他势不可挡。

Narrator: Somehow, year in and year out, Hearst had managed to stay one step ahead of his competition, and just out of reach of his creditors.

旁白：不知何故，年复一年，赫斯特设法在竞争中保持领先一步，并且远离债权人。

He had never been more powerful or more of a fixture on the American media landscape.

他在美国媒体界从未如此强大或如此重要。

And he just kept spending.

他只是继续花钱。

He felt as though the Beverly Hills house he bought for Marion was too small so he gave her a three-story Georgian colonial mansion overlooking the beach in Santa Monica that cost upwards of 7 million.

他觉得给玛丽昂买的比佛利山庄的房子太小了，所以他给了她一座俯瞰圣莫尼卡海滩的三层乔治亚殖民时期豪宅，耗资超过 700 万美元。

In the autumn of 1927, Hearst bought Millicent the home of the former Alva Vanderbilt, a medieval castle on Long Island Sound known as Beacon Towers.

1927 年秋天，赫斯特买下了米利森特 (Millicent) 前阿尔瓦范德比尔特 (Alva Vanderbilt) 的宅邸，这是一座位于长岛海峡 (Long Island Sound) 的中世纪城堡，被称为灯塔塔 (Beacon Towers)。

A few years before, F.

几年前，F.

Scott Fitzgerald had used it as the inspiration for Jay Gatsby’s home.

斯科特·菲茨杰拉德 (Scott Fitzgerald) 以此为杰伊·盖茨比 (Jay Gatsby) 家的灵感来源。

Then, as if the castle he was building in San Simeon wasn’t enough, he bought a real one, St. Donat’s, in Wales.

然后，好像他在圣西蒙建造的城堡还不够，他在威尔士买了一座真正的城堡，圣多纳城堡。

And Hearst used the corporate bank accounts to pay for almost everything.

赫斯特使用公司银行账户支付几乎所有费用。

Stephen Hearst, Great-Grandson: It was his.

史蒂芬·赫斯特，曾孙：是他的。

I mean, it seems it seems like, you know, isn't W.R raiding the cookie jar?

我的意思是，看起来，你知道，W.R 不是在袭击饼干罐吗？

Well the cookie jar is his, the cookie jar is in his house.

好吧，饼干罐是他的，饼干罐在他家里。

So it obviously, it doesn't, it doesn’t mesh with today's corporate environment with your audit committees and your chair of the board and your secretaries and so forth.

所以很明显，它不符合当今的企业环境，包括审计委员会、董事会主席和秘书等等。

But it was, remember, it was, it was all his.

但记住，这是，这一切都是他的。

So he did what he pleased, as he pleased.

于是他就随心所欲，随心所欲。

Jeet Heer, Writer: He's a figure of appetite, you know, he wants to consume the world.

Jeet Heer，作家：他是一个有食欲的人物，你知道，他想吞噬整个世界。

Someone like that, I feel like is almost by necessity empty, there's something in him where he has this hunger for approval, for acclaim, for the love of women.

我觉得这样的人几乎必然是空虚的，他身上有某种东西，他渴望认可、赞扬和女人的爱。

You know, like he really needs something to soothe his ego.

你知道，就像他真的需要一些东西来安抚他的自尊一样。

Gary Kamiya, Writer: He always needs more.

加里·卡米亚（Gary Kamiya），作家：他总是需要更多。

He needs more circulation.

他需要更多的血液循环。

He needs more money.

他需要更多的钱。

He needs more statuary.

他需要更多的雕像。

He needs more houses.

他需要更多的房子。

He needs to make the houses he has bigger.

他需要让他拥有的房子更大。

You know, he's like this incredibly acquisitive sort of shark moving through the world, just devouring things.

你知道，他就像一条贪得无厌的鲨鱼，在世界各地游来游去，吞噬一切。

Narrator: In the late 1920s, a first-time guest would travel overnight by train from Los Angeles, arriving at San Simeon in the early hours of the morning.

旁白：在 20 年代末，第一次来的客人会从洛杉矶乘火车过夜，在凌晨抵达圣西蒙。

Chauffeurs would then pick them up for the 90-minute drive, over rough dirt roads, to the castle.

然后司机会接他们，经过 90 分钟的车程，穿过崎岖的土路，到达城堡。

As they wound their way towards the top of the hill, the bleary-eyed passengers would be jolted by the sight of a group of kangaroos lopping along the side of the road.

当他们蜿蜒走向山顶时，睡眼惺忪的乘客们会被一群袋鼠在路边大步走来的景象吓到。

They would see a line of camels, a herd of American bison, ostriches, emus, reindeer, and antelope.

他们会看到一排骆驼、一群美洲野牛、鸵鸟、鸸鹋、驯鹿和羚羊。

A weekend at the most extraordinary house in America had begun.

在美国最非凡的房子里度过的周末已经开始了。

Casa Grande, with its soaring twin Spanish bell towers, had been completed in 1925.

卡萨格兰德 (Casa Grande) 及其高耸的双西班牙钟楼于 1925 年竣工。

Three guest houses -- Casa Del Mar, Casa Del Sol, and Casa del Monte, surrounded the main structure.

三座宾馆——Casa Del Mar、Casa Del Sol 和 Casa del Monte 围绕着主体建筑。

Hearst referred to them as “cottages,” but they were anything but.

赫斯特称它们为“小屋”，但它们绝非如此。

The smallest had ten rooms, the largest eighteen.

最小的有十个房间，最大的有十八间。

He was meticulously focused on every inch of them.

他一丝不苟地关注着他们的每一寸。

Even with such a massive set of buildings, Hearst had new construction projects constantly underway.

尽管拥有如此庞大的建筑群，赫斯特仍然不断在进行新的建设项目。

David Nasaw, Author: Hearst was a compulsive, obsessive, builder and rebuilder.

大卫·纳索（David Nasaw），作者：赫斯特是一个强迫性的、强迫性的建设者和重建者。

There never came a moment in which he would look at a room and say, this is it.

他从来没有一刻看着一个房间说：就是这里了。

This is perfect.

这是完美的。

This eternal restlessness and ambition to get it right pervaded his private life and his design of his living quarters as well.

这种永恒的不安和追求正确的野心渗透到他的私人生活和他的居住区设计中。

As he was building guest houses that surrounded the castle, he'd put a fireplace on the north end.

当他在城堡周围建造宾馆时，他在北端放了一个壁炉。

And then the room would be built around it, and he'd come and take a look and say, no, no, no, no, let's move it to the south end.

然后房间会围绕它建造，他会过来看看并说，不，不，不，不，让我们把它移到南端。

And they would redesign the entire room because that's the way he wanted.

他们会重新设计整个房间，因为这就是他想要的方式。

Victoria Kastner, Writer: I think collectors are born, not made.

维多利亚·卡斯特纳（Victoria Kastner），作家：我认为收藏家是天生的，而不是后天培养的。

I think it's a psychological tendency that you either have or you don't.

我认为这是一种心理倾向，你要么有，要么没有。

He was much more interested in the decorative arts than he was in the fine arts.

他对装饰艺术比对美术更感兴趣。

He was interested in tapestries, in hand hewn silver, in really fabric of every type, phenomenal Persian carpet, silk hangings, that sort of thing.

他对挂毯、手工凿制的银器、各种类型的真正织物、非凡的波斯地毯、丝绸帷幔等感兴趣。

And pottery, exceptional Spanish lusterware from the Middle Ages, exceptional Greek pots from the ancient world.

还有陶器，来自中世纪的非凡的西班牙光泽器皿，来自古代世界的非凡的希腊陶器。

Hearst had an antique shoe collection.

赫斯特拥有古董鞋收藏。

He had a collection of locks and keys.

他有一堆锁和钥匙。

He had a collection of German sleighs.

他收藏了一系列德国雪橇。

It’s difficult to come up with things which he did not collect.

很难想出他没有收集过的东西。

Narrator: San Simeon was becoming a theatrical backdrop for Hearst’s most prized possessions and the ideal setting for his new life with Marion on the west coast.

旁白：圣西蒙正在成为赫斯特最珍贵的财产的戏剧背景，也是他与马里昂在西海岸新生活的理想场所。

The flashy Hollywood scene suited his and Marion’s relationship.

浮华的好莱坞场景适合他和玛丽昂的关系。

It was a town that lived on gossip, and everyone had a past.

这是一个以流言为生的小镇，每个人都有过去。

Hearst’s days in the tawdry world of the New York scandal sheets, or Marion’s life as a chorus girl, were nothing unseemly by Los Angeles standards, and with San Simeon as the alluring centerpiece, the couple quickly assumed their place as the city’s center of gravity.

赫斯特在纽约丑闻片的俗气世界中度过的日子，或者玛丽昂作为合唱团女孩的生活，按照洛杉矶的标准来看，并没有什么不体面的，而且以圣西蒙为诱人的中心，这对夫妇很快就占据了这座城市的重心。

Marion had become one of the country’s biggest silent film stars, and Hearst continued to exert an iron grip over her career.

玛丽昂已成为美国最著名的无声电影明星之一，赫斯特继续对她的职业生涯施加铁腕控制。

Lara Gabrielle, Writer: Hearst wanted Marion built up, he wanted Marion to have the best, he wanted her to be seen by others the way he saw her.

劳拉·加布里埃尔（Lara Gabrielle），编剧：赫斯特希望玛丽昂得到成长，他希望玛丽昂拥有最好的，他希望别人以他看待她的方式看待她。

And he saw her as this saintly angel, he thought that comedy was beneath her.

他将她视为圣洁的天使，他认为喜剧配不上她。

Victoria Kastner, Writer: He didn't want her hit in the face with a custard pie or a bottle of seltzer water, you know.

维多利亚·卡斯特纳（Victoria Kastner），作家：你知道，他不想让蛋奶馅饼或一瓶苏打水打到她的脸上。

He actually wanted her to be another Mary Pickford and, you know, in a field picking daffodils or something.

他实际上希望她成为另一个玛丽·碧克馥，你知道，在田野里采摘水仙花之类的。

Narrator: Marion did her best to carve out her independence.

旁白：玛丽昂竭尽全力争取自己的独立。

When she was on her own in Hollywood she often entertained the likes of Pickford, and her husband, Douglas Fairbanks, Rudy Valentino, and Charlie Chaplin.

当她独自一人在好莱坞时，她经常招待皮克福德、她的丈夫道格拉斯·费尔班克斯、鲁迪·瓦伦蒂诺和查理·卓别林等人。

Chaplin seemed particularly smitten with Davies’s glamour and wry sense of humor.

卓别林似乎对戴维斯的魅力和讽刺幽默感特别着迷。

And while the mainstream press tended to keep Hearst’s private life with Millicent out of the news, there was no such restraint in the gossipy LA papers.

虽然主流媒体倾向于不报道赫斯特与米利森特的私生活，但洛杉矶的八卦报纸却没有这样的克制。

Hearst couldn’t help but notice these goings on and was intensely jealous, often hiring spies to follow Davies and report back to him on her whereabouts.

赫斯特忍不住注意到了这些事情，并产生了强烈的嫉妒，经常雇佣间谍跟踪戴维斯，并向他报告她的行踪。

But Marion’s flirtations weren’t the only thing Hearst should have been worrying about -- her entire career was suddenly on the brink.

但玛丽昂的调情并不是赫斯特唯一应该担心的事情——她的整个职业生涯突然处于崩溃的边缘。

We see and hear a scene from The Singing Fool.

我们看到并听到了《愚人歌唱》中的一个场景。

Lara Gabrielle, Writer: Marion goes to see this movie called The Singing Fool with Al Jolson and she starts to cry.

劳拉·加布里埃尔（Lara Gabrielle），编剧：马里昂和艾尔·乔森一起去看了一部叫《唱歌的傻瓜》的电影，她开始哭了。

And her friend, who’s with her, gently pats her leg, you know, thinking that she is moved by the movie and she leans over to him and whispers in his ear: “I’m ruined, I’m ruined”.

和她在一起的朋友轻轻拍了拍她的腿，你知道，以为她被电影感动了，她靠向他，在他耳边低声说：“我毁了，我毁了”。

David Nasaw, Author: She couldn’t speak two sentences without getting stuck and she was absolutely convinced her career was over.

大卫·纳索（David Nasaw），作者：她说不出两句话就会被卡住，她确信自己的职业生涯已经结束了。

As the movies began to talk Hearst hired the best speech therapists and voice coaches in the universe.

当电影开始说话时，赫斯特聘请了世界上最好的语言治疗师和声音教练。

Narrator: “As long as I live, I will remember when she was trying to learn to talk!” her friend Adela Rogers St. Johns remembered.

旁白：“只要我活着，我就会记得她努力学说话的时候！”她的朋友阿德拉·罗杰斯·圣约翰斯记得。

After a morning with her speech coaches, Marion would storm downstairs and say, “I’m not going to go any farther with this.” Hearst wouldn’t hear of it.

在与演讲教练度过一个早晨后，马里昂会冲下楼说：“我不会再继续下去了。”赫斯特不会听到这个消息。

He was convinced she could make it in the talkies.

他相信她能在有声电影中取得成功。

When the day came for her audition, Irving Thalberg at MGM gave her a screen test.

当她试镜的日子到来时，米高梅的欧文·撒尔伯格给她进行了试镜。

Lara Gabrielle, Writer: She went home very depressed, she thought it was a disaster, but she gets a call that says “Your screen test was brilliant”.

劳拉·加布里埃尔（Lara Gabrielle），作家：她回到家非常沮丧，她认为这是一场灾难，但她接到一个电话，说“你的试镜很棒”。

Narrator: When Hearst played the test in their theater at San Simeon, she remembered that he started to cry.

旁白：当赫斯特在圣西蒙的剧院进行测试时，她记得他开始哭了。

“He said, ‘My God, it’s marvelous.’”

“他说，‘天哪，太棒了。’”

Narrator: She had made the leap into the talkies, a jump that had proven impossible for most of the big silent screen stars.

旁白：她一跃进入了有声电影领域，这一跃进对于大多数无声银幕大明星来说是不可能的。

Her future as Hollywood royalty seemed secure.

她作为好莱坞皇室成员的未来似乎是有保障的。

David Nasaw, Author: Marion was probably one of the most popular people in Hollywood.

大卫·纳索（David Nasaw），作者：马里昂可能是好莱坞最受欢迎的人物之一。

And Hearst wanted to make his young love happy.

赫斯特想让他年轻的爱人幸福。

So in order to get her out of Los Angeles, out of Hollywood to San Simeon, he made San Simeon the greatest resort that anyone had ever been to.

因此，为了让她离开洛杉矶，离开好莱坞来到圣西蒙，他让圣西蒙成为了任何人去过的最棒的度假胜地。

Newsreel: “San Simeon is the gathering place of the Hollywood immortal.

新闻片：“圣西蒙是好莱坞不朽人物的聚集地。

With guests like Maire Dressler seen here clowning with the host William Randolph Hearst.

诸如梅尔·德莱斯勒 (Maire Dressler) 等嘉宾与主持人威廉·伦道夫·赫斯特 (William Randolph Hearst) 一起表演小丑表演。

That pretty blonde over there with the short bobbed hair is Marrianne Davies.

那边那个留着短发的漂亮金发女郎是玛丽安·戴维斯。

Although she typifies glamour on the screen, at San Simeon she joins in the fun.

尽管她在银幕上代表着魅力，但在圣西蒙她也加入了乐趣。

Nothing pleased the host more than when everybody got out of doors in the afternoon to take part in some group activity.

没有什么比下午大家都出去参加集体活动更让主人高兴的了。

He was proud of San Simeon and eager for his guests to enjoy it to the full.”

他为圣西蒙感到自豪，并渴望他的客人充分享受它。”

Victoria Kastner, Writer: Hearst loved to lead the guests on long trail rides through the country.

维多利亚·卡斯特纳（Victoria Kastner），作家：赫斯特喜欢带领客人在乡村进行长途骑行。

But he had to lead.

但他必须领导。

You didn't ride ahead of him and he would ride the guests right into the ground.

你不骑在他前面，他会把客人直接骑到地上。

Narrator: Douglas Fairbanks avoided the rides entirely “It was like a military parade, and I wasn’t of the temperament that would take that,” he recalled.

旁白：道格拉斯·费尔班克斯完全避免了这些游乐设施“这就像一场阅兵式，我的性格不适合这样，”他回忆道。

Victoria Kastner, Writer: There were very few rules at San Simeon, but one was guests were expected to drink alcohol in extreme moderation.

维多利亚·卡斯特纳（Victoria Kastner），作家：圣西蒙的规则很少，但其中一条是客人应该极度适量饮酒。

David Niven said the wine flowed like glue at dinner.

大卫·尼文说晚餐时酒像胶水一样流动。

But Hearst wasn't a drinker.

但赫斯特不喝酒。

Marion drank more than he wished she would.

玛丽昂喝的酒比他希望的多。

And he wanted not to tempt her unduly and also to keep guests at their best.

他既不想过度诱惑她，又想让客人保持最佳状态。

The other thing is, he really frowned on conjugal relations between unmarried guests.

另外，他对于未婚客人之间的夫妻关系实在是很不赞成。

David Nasaw, Author: That was one of the rules that you didn’t break.

作者大卫·纳索：这是你没有违反的规则之一。

Hearst as he aged became more and more prudish, but it was a small price to pay for the luxuries of San Simeon.

随着年龄的增长，赫斯特变得越来越拘谨，但对于圣西蒙的奢华来说，这只是一个很小的代价。

They would feast, they would go on hikes, they would visit the zoo.

他们会大吃一顿，他们会去远足，他们会参观动物园。

It was glorious, it was a fantasy world.

那是辉煌的，那是一个奇幻的世界。

Victoria Kastner, Writer: Everybody gathered for the evening's activities.

维多利亚·卡斯特纳（Victoria Kastner），作家：大家都聚集在一起参加晚上的活动。

It wasn't a hotel.

这不是一家酒店。

You know, the whole point was that you were there with people and the interaction was what was to be fun.

你知道，重点是你和人们在一起，互动才是有趣的。

Cocktails began at 7:30 or 8 o'clock at night in the assembly room.

鸡尾酒会于晚上7点30分或8点在会议室开始。

Hearst arrived in a way that surprised people if they weren’t expecting it.

赫斯特的到来让人们感到惊讶，如果他们没有预料到的话。

The seats against the walls, which came from 16th century Italian churches, actually one of them was hinged as a door.

靠墙的座位来自16世纪的意大利教堂，实际上其中一个是用铰链作为门的。

That hinged door led into the elevator that went straight up to Hearst’s apartment.

那扇铰链门通向直达赫斯特公寓的电梯。

So, he wouldn’t be there and the next thing you know, he would.

所以，他不会在那里，接下来你知道的，他就会在那里。

He would’ve emerged from this panel in the door from his elevator.

他会从电梯门上的这个面板中出现。

Then you’d follow him and Marion into the refectory at nine o’clock and then the meal was served.

然后你会在九点钟跟着他和玛丽恩进入餐厅，然后饭菜就上桌了。

David Nasaw, Author: The mixture of people there, there were intellectuals, politicians, industrialists, businessmen, and more Hollywood stars than you could find assembled on any lot at any time.

大卫·纳索（David Nasaw），作者：那里的人云集，有知识分子、政治家、实业家、商人，还有更多的好莱坞明星，多得你在任何时候都找不到聚集的地方。

Hearst was in his element.

赫斯特如鱼得水。

Narrator: Although San Simeon was hundreds of miles away from any major city, let alone a decent-sized town, Hearst kept himself connected to his empire.

旁白：尽管圣西蒙距离任何主要城市都有数百英里，更不用说是一个像样的城镇了，赫斯特仍然与他的帝国保持着联系。

Phone lines and telegraph cables, that fed into a state-of-the-art switchboard, manned 24 hours a day, allowed him the kind of constant communication he demanded.

电话线和电报电缆连接到最先进的总机，每天 24 小时有人值班，使他能够实现他所要求的持续通信。

David Nasaw, Author: Hearst never rests.

大卫·纳索（David Nasaw），作者：赫斯特从不休息。

He wants to make sure his New York papers are OK.

他想确保他的纽约文件没问题。

The time difference keeps him up all night.

时差让他彻夜难眠。

Because the evening papers are going to come out at eight o'clock, nine o'clock, the morning edition is going to be put to bed at two o'clock, which means he's got to be up at five o'clock, six o'clock in the morning.

因为晚报要八点、九点出，早报要两点上床，也就是说他必须早上五点、六点起床。

Victoria Kastner, Writer: Hearst ended up with a secretary who could match his pace, a retired colonel named Joe Willikom.

维多利亚·卡斯特纳（Victoria Kastner），作家：赫斯特最终找到了一位能够与他的步伐相匹配的秘书，一位名叫乔·威利科姆（Joe Willikom）的退休上校。

But before that, it was a hard go for the secretaries.

但在此之前，秘书们的日子却很艰难。

One of whom, poor man, actually had a heart attack because Hearst had a level of energy that exhausted most people around him, it was few people who could actually keep up.

其中一个可怜的人实际上心脏病发作了，因为赫斯特的精力使他周围的大多数人都筋疲力尽，很少有人能真正跟上。

William Randolph Hearst III, Grandson: He wanted his children to, to work, I sort of got that from my father and from his father.

威廉·伦道夫·赫斯特三世（孙子）：他希望他的孩子们去工作，我从我的父亲和他的父亲那里得到了这一点。

The idea of being an idle rich person I think was something he didn't feel any affinity for, didn't like those people.

我认为他对成为一个无所事事的富人的想法没有任何兴趣，也不喜欢那些人。

My grandfather sent telegrams from the castle to his empire.

我的祖父从城堡向他的帝国发送电报。

The operator made carbon copies of everything that left the castle and came in.

接线员对离开城堡和进来的所有东西都进行了复写。

So you're kind of reading the nearest equivalent to emails.

所以你正在阅读最接近电子邮件的内容。

And if you look at that correspondence, you see this mixture of minutia.

如果你看一下这些信件，你会看到这些细节的混合。

You know, the white flowers near the bee house look a bit tired, can we do something about that?

你知道，蜂房附近的白花看起来有点累，我们能做点什么吗？

And then a note from Winston Churchill and then a directive to write an editorial.

然后是温斯顿·丘吉尔的便条，然后是撰写社论的指示。

So you get this sense of a tremendously active imagination, creativity, drive, interest.

所以你会感受到一种极其活跃的想象力、创造力、动力和兴趣。

Gary Kamiya, Writer: He worked like a dog and one of the most admirable things about this guy, he was a newspaperman and he was a newspaperman to the day he died.

加里·卡米亚（Gary Kamiya），作家：他像狗一样工作，这是这个人最令人钦佩的事情之一，他是一名新闻记者，直到他去世的那一天，他都是一名新闻记者。

There’s something kind of honorable about that.

这有点光荣。

Narrator: Late one evening in October of 1929, the glasses clinked, the laughter echoed in the soaring assembly room, and upstairs in his private library, William Randolph Hearst pored over drafts of the next day's morning papers.

旁白：1929 年 10 月的一个深夜，酒杯叮当作响，笑声在高耸的会议室中回荡，威廉·兰道夫·赫斯特在楼上的私人图书馆里仔细阅读第二天的晨报草稿。

Holed up in his castle, he was in his element, the most dominant media mogul the country had ever seen.

躲在自己的城堡里，他如鱼得水，是这个国家有史以来最具影响力的媒体大亨。

It seemed as though his next act would be governed only by the scale of his ambition.

似乎他的下一步行动将只取决于他野心的大小。

Narrator: On October 29th, 1929, the American stock market lost $14 billion dollars in value, triggering a Depression unlike anything the world had ever seen.

旁白：1929 年 10 月 29 日，美国股市损失了 140 亿美元，引发了世界上前所未见的大萧条。

Hearst wasn’t particularly concerned.

赫斯特并不特别担心。

Most of his assets were in real estate -- and he believed it was just a long-overdue correction.

他的大部分资产都在房地产上——他认为这只是一场迟来的调整。

That winter, he started a $2 million renovation of his mother’s estate, called Wyntoon, on the California - Oregon border.

那年冬天，他开始耗资 200 万美元翻修他母亲位于加利福尼亚州和俄勒冈州边境的 Wyntoon 庄园。

Although his editors received a cable that read: “Chief would like all papers to avoid use of the word ‘Depression’ as much as possible .

尽管他的编辑收到了一封电报，上面写着：“酋长希望所有报纸都尽可能避免使用‘萧条’这个词……”

.

。

.” over time he could hardly deny the impact of the downturn on his businesses.

”。随着时间的推移，他几乎无法否认经济低迷对其业务的影响。

Although circulation remained steady, his advertising revenues plunged -- down 15% in 1930, 24% in 1931.

尽管发行量保持稳定，但他的广告收入却大幅下降——1930 年下降了 15%，1931 年下降了 24%。

Robert Chiles, Historian: These were, of course, incredibly dark days all around the country.

历史学家罗伯特·奇利斯：当然，这些日子是全国各地极其黑暗的日子。

By 1932, the army of the unemployed in New York City was over a million people.

到 1932 年，纽约市的失业大军已超过 100 万人。

Statewide, unemployment was over 30 percent.

全州失业率超过 30%。

Nationally, it was over 25 percent.

全国范围内这一比例超过25%。

There were dozens of bread lines around New York City by 1932, a couple of them sponsored by Hearst himself.

到 1932 年，纽约市已经出现了数十条排队领取面包的队伍，其中有几条是由赫斯特本人赞助的。

Narrator: Finally, even Hearst began to scale back, unable to pay interest on his loans or find the cash to publish his papers.

旁白：最后，甚至赫斯特也开始缩减规模，因为无法支付贷款利息，也无法找到现金来发表论文。

He was forced to cut his nationwide payroll by $7 million, and issue more stock in his holding company, Hearst Consolidated.

他被迫在全国范围内削减 700 万美元的工资，并在其控股公司赫斯特联合公司中发行更多股票。

He cabled his representative in London.

他给伦敦的代表发了电报。

“We have all just been run over by a steamroller here in America and feel pretty much flattened out.”

“在美国，我们都刚刚被压路机碾过，感觉几乎被压扁了。”

When President Herbert Hoover failed to respond to the crisis, Hearst delivered a speech in June of 1931 on the CBS radio network’s eighty-two stations, then he ran the text in every one of his morning editions.

当赫伯特·胡佛总统未能应对危机时，赫斯特于 1931 年 6 月在哥伦比亚广播公司 (CBS) 广播网络的 82 个电台上发表了讲话，然后他在他的每一期早报中都播放了这段文字。

He advocated spending an unprecedented five billion dollars to provide jobs for the unemployed and “increase the purchasing power of the masses.”

他主张史无前例地花费50亿美元为失业者提供就业机会并“提高大众的购买力”。

David Nasaw, Author: Strikingly, even before there is any sense of a New Deal, Hearst comes up with his own policy to cure the Depression.

大卫·纳索（David Nasaw），作者：引人注目的是，甚至在新政出现之前，赫斯特就提出了自己的治愈大萧条的政策。

And it involves tremendous public works projects, a sort of Keynesian infusion of dollars into the economy to put people back to work.

它还涉及巨大的公共工程项目，类似于凯恩斯主义向经济注入美元，让人们重返工作岗位。

It is more New Deal than the New Deal.

与其说是新政，不如说是新政。

Narrator: In 1932, Hearst threw the full support of his media empire behind Franklin D.

旁白：1932年，赫斯特将他的媒体帝国全力支持富兰克林·D·赫斯特。

Roosevelt, backing the most gifted politician of his age, a man with an uncanny knack for reaching the ordinary men and women that were the core audience of Hearst’s empire.

罗斯福支持他那个时代最有才华的政治家，他拥有不可思议的本领，能够接触到赫斯特帝国的核心受众普通男女。

When F.D.R.

当罗斯福 (F.D.R.)

crushed Herbert Hoover and gained the White House, Hearst ordered up a newsreel that celebrated the event.

击败赫伯特·胡佛并入主白宫后，赫斯特订购了一部新闻短片来庆祝这一事件。

In his distinctive, high-pitched, patrician voice, he also argued that Americans could help their own cause by choosing how to spend their hard-earned dollars.

他还用他独特的、高亢的、贵族般的声音指出，美国人可以通过选择如何花费辛苦赚来的钱来帮助自己的事业。

‘Buy American to help Prosperity says WR Hearst.

WR Hearst 表示，“购买美国货有助于繁荣”。

Noted publisher launches nationwide movement to aid U.S. Industry.

著名出版商发起全国性运动来援助美国工业。

W.R.

W.R.

Hearst: On Camera: My friends, the policy, the sustained policy, of buying goods of American manufacture, rather than materials of foreign manufacture, is not only a patriotic policy for the general good of the nation, but a policy which will surely inure to our own benefit.

赫斯特：镜头前：我的朋友们，购买美国制造的商品而不是外国制造的材料的政策，持续的政策，不仅是一项为了国家整体利益的爱国政策，而且是一项肯定符合我们自身利益的政策。

Narrator: As the Depression ground on, however, Hearst and Roosevelt were increasingly at odds.

旁白：然而，随着大萧条的到来，赫斯特和罗斯福的分歧越来越大。

When Roosevelt created the National Recovery Administration in 1933, which strengthened labor protections and sought to further regulate the publishing industry, Hearst was apoplectic.

当罗斯福于 1933 年创建国家复兴管理局，加强劳工保护并寻求进一步规范出版业时，赫斯特勃然大怒。

“Please tell the President,” Hearst told one of his editors, “that I consider his proposal to license the press under the NRA in direct violation of the Bill of Rights, .

“请告诉总统，”赫斯特告诉他的一位编辑，“我认为他根据全国步枪协会授予新闻业许可的提议直接违反了《权利法案》……”

.

。

.

。

and I will fight his proposal with every means at my command .

我将用我所能掌握的一切手段来反对他的提议。

.

。

.

。

even if it costs me every nickel I possess.”

即使这会花费我所有的镍币。”

Hearst had built his empire on support for the rights of the working man, but when it came to the unionization of his own industry, it had always been another story.

赫斯特在支持工人权利的基础上建立了自己的帝国，但当谈到他自己的行业的工会化时，情况却一直是另一回事。

Back in 1899, he had joined Joseph Pulitzer in a failed attempt to crush a strike by the boys who distributed newspapers around New York City.

早在 1899 年，他就曾与约瑟夫·普利策 (Joseph Pulitzer) 一起镇压纽约市各地分发报纸的男孩们的罢工，但以失败告终。

His opposition to labor movements within his own ranks had hardly lessened in the ensuing decades.

在接下来的几十年里，他对自己队伍中的劳工运动的反对几乎没有减弱。

Erik Loomis, Historian: In the 1930s, newspapers began to organize, particularly reporters.

Erik Loomis，历史学家：20 世纪 30 年代，报纸开始组织起来，特别是记者。

Hearst sees his media empire as his and nobody else's.

赫斯特认为他的媒体帝国是他自己的，而不是其他人的。

He was firing newspaper editors that maybe were a little bit too far left.

他解雇了可能有点太左的报纸编辑。

And the newspaper guild begins to organize.

报业公会开始组织起来。

They want the journalistic independence that they need to do a real newspaper.

他们想要一份真正的报纸所需的新闻独立性。

To Hearst, this is the destruction of America, that if you have a third party entity telling a newspaper editor that he can't fire somebody at will, what has happened to America?

对赫斯特来说，这是对美国的毁灭，如果有第三方实体告诉报纸编辑他不能随意解雇某人，那么美国发生了什么？

Narrator: Hearst felt that he had been instrumental in getting FDR into the White House.

旁白：赫斯特认为他在罗斯福入主白宫方面发挥了重要作用。

Now he turned on the president with a vengeance.

现在他向总统发起了报复。

The Chief insisted that his editors call the New Deal the “Raw Deal” and wrote that NRA stood for “No Recovery Allowed.”

酋长坚持要求他的编辑将新政称为“原始协议”，并写道 NRA 代表“不允许恢复”。

Robert Chiles, Historian: From the outset of the New Deal, the Hearst press, the business community in general, are willing to perhaps work with the Roosevelt administration.

历史学家罗伯特·奇利斯：从新政一开始，赫斯特媒体和整个商界就愿意与罗斯福政府合作。

They’re afraid that if somebody doesn’t do something to ameliorate the suffering, there really is going to be a revolution.

他们担心，如果有人不采取行动来减轻痛苦，那么真的会发生一场革命。

There are people talking that way.

有人这样说话。

And so the business community would love nothing better than for Roosevelt to take a moderate approach in a way that saves capitalism in America.

因此，商界最希望罗斯福采取温和的态度来拯救美国的资本主义。

But once Roosevelt's policies had helped to transform the public's sense of despair and hopelessness, then not only does Hearst deride the new deal as communistic, he refers to the President as Stalin Delano Roosevelt.

但一旦罗斯福的政策帮助改变了公众的绝望感，赫斯特不仅嘲笑新政是共产主义的，他还将总统称为斯大林·德拉诺·罗斯福。

Erik Loomis, Historian: Working class Americans loved Franklin Roosevelt.

埃里克·卢米斯（Erik Loomis），历史学家：美国工人阶级喜爱富兰克林·罗斯福。

They loved the new deal.

他们喜欢这项新政。

Somebody was finally speaking their language.

终于有人说他们的语言了。

The fatal flaw of William Randolph Hearst like many wealthy capitalists who see themselves as able to change the nation is that they could not imagine anyone acting against them.

威廉·伦道夫·赫斯特像许多自认为能够改变国家的富有资本家一样，其致命缺陷是他们无法想象有人对他们采取行动。

That their interests were paramount.

他们的利益至高无上。

And so if somebody acted against their interests, they must be an enemy..

因此，如果有人违背他们的利益，他们一定是敌人。

Gary Kamiya, Writer: Hearst’s founding political ideology and myth, if you will, was that he was speaking up for the average American, the working man.

加里·卡米亚（Gary Kamiya），作家：如果你愿意的话，赫斯特的创始政治意识形态和神话是，他是在为普通美国人、工人发声。

In his early career especially, I think that Hearst genuinely seized upon that.

特别是在他的早期职业生涯中，我认为赫斯特真正抓住了这一点。

Yes, it was convenient.

是的，很方便。

It was pragmatic for him to do that for growing the circulation of his Democratic papers, but he also believed it.

对他来说，这样做是为了增加民主党报纸的发行量，这是务实的做法，但他也相信这一点。

Interestingly, as time went on, it was never that deeply rooted in him.

有趣的是，随着时间的推移，这种想法在他心中却从未那么根深蒂固。

At a certain point some of it you have to say is that he began to kind of act like his class.

在某个时刻，你不得不说的是，他开始表现得像他的班级一样。

He didn’t live and breathe the needs of the people but he knew how to market to them and sell to them really well.

他并不关心人们的需求，但他知道如何向他们推销并向他们推销。

And so I think that that's the key difference, that when the chips were down and when actions and policies were being proposed that actually were helping millions and millions of working men and women across the country, he was unable ideologically to make that shift.

所以我认为这就是关键的区别，当形势危急时，当提出的行动和政策实际上正在帮助全国数以百万计的工人男女时，他在意识形态上无法做出这种转变。

A lot of his actions and his behaviors later in his life, he was classically defending his prerogatives as a very wealthy person.

他一生中的很多行为和行为，都是典型地捍卫自己作为一个非常富有的人的特权。

Narrator: In the 1930s, Hearst and Marion were becoming the reigning monarchs of Hollywood.

旁白：20世纪30年代，赫斯特和玛丽昂成为好莱坞的统治君主。

But trouble in the castle was brewing.

但城堡里的麻烦正在酝酿之中。

Everyone knew that the queen’s drinking problem was getting worse, and the king was powerless to stop it.

所有人都知道王后的酗酒问题越来越严重，而国王却无力阻止。

“When the drinking had got bad,” a close friend remembered, “he used to have to watch her pretty closely …

“当酗酒严重时，”一位亲密的朋友回忆道，“他常常不得不非常密切地观察她......

she would go along quietly for some time and then suddenly this would all break loose.”

她会安静地度过一段时间，然后突然一切都崩溃了。”

David Nasaw, Author: Hearst tried every way possible to limit Marion's drinking.

大卫·纳索（David Nasaw），作者：赫斯特尝试了一切可能的方法来限制马里昂的饮酒。

There were strict rules at San Simeon that nobody could have more than two cocktails, that the waiters were to make sure that wine glasses weren't refilled, and yet Marion's girlfriends would, when they packed their suitcases, have a hidden compartment in which they bring in a bottle for Marion.

圣西蒙有严格的规定，任何人不能喝超过两杯鸡尾酒，服务员要确保酒杯没有重新装满，而马里昂的女朋友们在收拾行李时，会在一个隐藏的隔间里为马里昂带一瓶酒。

Marion's liquor was hidden in the ladies' rooms where Hearst would not go.

玛丽昂的酒藏在赫斯特不会去的女厕所里。

Marion bribed various waiters in the grounds' staff to look the other way when the liquor came out.

马里昂贿赂了场地里的多名服务员，让他们在酒出来时视而不见。

Hearst tried everything.

赫斯特尝试了一切。

Narrator: The most powerful publisher in the world was helpless.

旁白：世界上最有实力的出版商很无奈。

Marion had started drinking as a chorus girl and never stopped.

玛丽昂从合唱团女孩时期就开始喝酒，并且从未停止过。

The stress of her failing career didn’t help.

事业失败的压力并没有帮助她。

By the early 1930s, seven of her previous nine films had lost an average of $175,000 each.

到 1930 年代初，她之前的九部电影中有七部平均每部电影损失了 175,000 美元。

Hearst didn’t even blink at the box office numbers.

赫斯特对票房数字连眼睛都没眨一下。

He remained Marion’s steadfast champion, still fixated on every aspect of her career, but he was incapable of giving her what she most wanted.

他仍然是玛丽昂坚定的支持者，仍然专注于她职业生涯的各个方面，但他无法给她她最想要的东西。

David Nasaw, Author: Marion knew that Hearst would never marry her.

大卫·纳索（David Nasaw），作者：马里昂知道赫斯特永远不会娶她。

For a variety of reasons including laws that would’ve given Millicent half of the estate.

出于多种原因，包括法律规定米利森特拥有一半遗产。

But she made her choice.

但她做出了自己的选择。

She wanted W.R.

她想要W.R.

Narrator: “I started out a gold digger,” Marion told a close friend, “and I ended up in love.”

旁白：“我一开始是个淘金者，”马里昂告诉一位密友，“最后我陷入了爱情。”

Hearst’s plate spinning had worked in the 1920’s, but as his affair with Marion entered its second decade, Millicent’s tolerance began to reach its limits.

赫斯特的制版技术在 1920 年代曾奏效，但随着他与玛丽昂的恋情进入第二个十年，米利森特的容忍度开始达到极限。

In a letter to his attorney, Hearst wrote: “ .

赫斯特在给律师的信中写道：“……

.

。

.

。

whenever I do see her something that I do or do not say throws her into a fury which results in the most distressing scenes imaginable.

每当我看到她时，我所做或没有说的事情都会让她勃然大怒，从而导致最令人痛苦的场景。

In fact, distressing does not describe the painfulness of these furies, and there is nothing to be done in the face of these tempestuous scenes but to flee from them as fast and as far as possible.”

事实上，“痛苦”并不能描述这些愤怒的痛苦，面对这些狂暴的场面，除了尽快、尽可能远地逃离之外，我们别无选择。”

Lara Gabrielle, Writer: Hearst talks about how he really wants to get a divorce.

劳拉·加布里埃尔（Lara Gabrielle），编剧：赫斯特谈论了他真正想要离婚的想法。

There is nothing to the relationship with Millicent anymore.

与 Millicent 的关系已经没有任何关系了。

But Millicent valued very much her position as Mrs. Hearst.

但米莉森特非常重视自己作为赫斯特夫人的地位。

Victoria Kastner, Writer: Hearst didn't want to create a situation where Millicent received the social opprobrium of being a divorcee.

维多利亚·卡斯特纳（Victoria Kastner），作家：赫斯特不想造成米利森特因离婚而受到社会谴责的局面。

A divorcee was unacceptable, especially in society where Millicent was.

离婚者是不可接受的，尤其是在米利森特所在的社会。

Furthermore, she was Catholic and that made it doubly unacceptable.

此外，她是天主教徒，这使得这更加令人无法接受。

So they lived on in this compromised way but it was an awkward thing for her to remain Mrs. Hearst with people knowing about Marion Davies and Marion, though she tried to act like she didn’t care, matter of fact she said, “Why should I run after a street car when I’m already on board?

所以他们就以这种妥协的方式生活着，但对她来说，在人们都知道马里昂·戴维斯和马里昂的情况下继续保持赫斯特夫人的身份是一件尴尬的事情，尽管她试图表现得好像她不在乎，事实上她说，“当我已经上车时，我为什么要追赶一辆有轨电车呢？

What difference does it make if he’s married to someone else?

如果他嫁给了别人，那又有什么区别呢？

He’s with me” you know, but she did care.

他和我在一起”你知道，但她确实在乎。

I think Hearst thought that it would work out fine for everyone but really, in a way, it didn’t work out fine for anyone.

我认为赫斯特认为这对每个人都会有好处，但实际上，在某种程度上，这对任何人来说都没有好处。

Narrator: In May of 1934, after five years of the Great Depression, San Francisco longshoremen went out on strike.

旁白：1934 年 5 月，经历了五年的大萧条之后，旧金山的码头工人开始罢工。

The movement spread to every port on the West Coast and suddenly, America was in the throes of its greatest worker revolt in decades.

这场运动蔓延到西海岸的每个港口，突然间，美国陷入了几十年来最大规模的工人起义的阵痛之中。

From his lofty perch at San Simeon, Hearst was worried.

赫斯特在圣西蒙的崇高地位上感到忧心忡忡。

Here was another example of dangerous labor activism that challenged the very foundation on which his empire was built.

这是危险的劳工激进主义的另一个例子，挑战了他的帝国的基础。

Erik Loomis, Historian: The leader of this movement is named Harry Bridges.

埃里克·卢米斯（Erik Loomis），历史学家：这场运动的领导者名叫哈里·布里奇斯（Harry Bridges）。

He’s an Australian immigrant and he’s radical and he’s willing to engage in direct action.

他是澳大利亚移民，很激进，愿意采取直接行动。

Hearst sees Bridges as a communist, he sees him as overthrowing democracy in America if he gets his way and he sees bringing that kind of radical unionism into San Francisco as an unacceptable transformation of his hometown.

赫斯特认为布里奇斯是一名共产主义者，如果他如愿以偿，他就会推翻美国的民主，他认为将这种激进的工会主义带入旧金山对他的家乡来说是一种不可接受的转变。

And he fights it with all he can.

他竭尽全力与之抗争。

Narrator: Hearst blamed Roosevelt for fomenting the left-wing agitators.

旁白：赫斯特指责罗斯福煽动左翼煽动者。

“The people approved the well-considered proposals of the Democratic platform, not the theories of Karl Marx and the policies of Stalin” he wrote.

他写道：“人民批准了民主党纲领经过深思熟虑的建议，而不是卡尔·马克思的理论和斯大林的政策。”

David Nasaw, Author: As Hearst gets older, his self-confidence turns into an overwhelming dictatorial arrogance.

大卫·纳索（David Nasaw），作者：随着赫斯特年龄的增长，他的自信变成了压倒性的独裁傲慢。

There is only one side to any question, and that's his side.

任何问题都只有一面，那就是他的一面。

He's right and everybody else is wrong.

他是对的，其他人都是错的。

If you in any way support New Deal measures that he's against, then you're a communist and he's going to destroy you.

如果你以任何方式支持他反对的新政措施，那么你就是共产主义者，他就会摧毁你。

Gary Kamiya, Writer: Hearst becomes so worried about communism that he dispatches a bunch of undercover reporters to go out and interview professors and intellectuals under false pretenses and basically trying to get these professors to say something that's going to expose them as sympathetic to communism.

加里·卡米亚（Gary Kamiya），作家：赫斯特对共产主义变得如此担心，以至于他派遣了一群卧底记者出去采访教授和知识分子，并以虚假的借口基本上试图让这些教授说出一些会暴露他们同情共产主义的话。

This is full on witch hunt territory.

这完全是猎巫领域。

Narrator: Hearst had always prided himself on the crusading activism of his reporters.

旁白：赫斯特一直为他的记者们的激进主义感到自豪。

Now he was ordering them to start attacking ordinary people.

现在他命令他们开始攻击普通人。

David Nasaw, Author: Hearst is the most virulent, vicious, anti-communist, until MacCarthy.

大卫·纳索（David Nasaw），作者：赫斯特是麦卡锡之前最恶毒、最恶毒、最反共的人。

The exuberance, the joy, he almost celebrates these attacks on people who aren't and have never been communists.

他的热情、喜悦，几乎是在庆祝这些针对非共产主义者、也从来不是共产主义者的攻击。

But who have crossed a Hearstian line in the sand.

但谁已经跨越了沙滩上的赫斯特线。

Narrator: But this time, Hearst’s arrogance and his zeal would come back to haunt him.

旁白：但这一次，赫斯特的傲慢和热情又回来困扰着他。

The Communist party staged a boycott of his newspapers and films.

共产党抵制他的报纸和电影。

New Dealers, socialists, and labor-leaders were happy to sign on.

新政者、社会主义者和工党领袖都很乐意签约。

Soon, Hearst’s circulation numbers were taking a hit.

很快，赫斯特的发行量就受到了打击。

So many audiences hissed at the screen when his newsreels appeared that Hearst Metrotone News changed its name to News of the Day.

当他的新闻短片出现时，许多观众在屏幕上发出嘘声，赫斯特·Metrotone News 更名为《每日新闻》。

And his enemies had no compunction about exposing his affair with Marion.

他的敌人对于揭露他与马里昂的风流韵事毫不感到内疚。

One labor activist published a book entitled “Hearst: Labor’s Enemy No. 1,” claiming that Hearst was, among other things, “a liar, a thief, a blackmailer, a receiver of bribes and a swindler.”

一位劳工活动人士出版了一本题为《赫斯特：工党头号敌人》的书，声称赫斯特是“骗子、小偷、勒索者、受贿者和骗子”。

Hearst was vilified and lampooned, mocked and pilloried, but he seemed immune to criticism and willing to take any position, no matter how contentious, as long as it furthered his ends.

赫斯特受到诽谤、讽刺、嘲笑和嘲笑，但他似乎不受批评，愿意采取任何立场，无论有多么有争议，只要能促进他的目标。

Andie Tucher, Historian: In the early 30s, Hearst is really trying to make his name as an important player in world affairs, and one way he can do that is publishing columns by people who are even more important players in world affairs.

安迪·图彻（Andie Tucher），历史学家：在 30 年代初，赫斯特确实试图让自己成为世界事务中的重要参与者，而他可以做到这一点的一种方法是出版那些在世界事务中更重要的参与者的专栏。

So Hearst asks for columns from Adolf Hitler, he asks for columns from Benito Mussolini.

因此，赫斯特向阿道夫·希特勒请求专栏，他向贝尼托·墨索里尼请求专栏。

Narrator: In the fall of 1934, while on an extended vacation in Europe, Hearst arranged to see Hitler, who had recently risen to power in Germany.

旁白：1934年秋天，赫斯特在欧洲度长假期间，安排会见刚刚在德国掌权的希特勒。

Hearst knew the meeting would be intensely controversial.

赫斯特知道这次会议将会引起激烈的争议。

The year before, the new German Chancellor’s reign of terror against Jews had escalated, and Hearst’s own papers had covered the mounting violence, editorializing that “If Hitlerism means pillage, cruelty and oppression, as well as tyranny, it is doomed -- and Germany perhaps with it.”

前一年，新任德国总理对犹太人的恐怖统治升级，赫斯特自己的报纸也报道了日益加剧的暴力事件，并发表社论称“如果希特勒主义意味着掠夺、残忍和压迫，以及暴政，那么它就注定要失败——德国也许也同样如此。”

Gary Kamiya, Writer: Hearst was seeing Hitler as a statesman and he had this blinkered blind vision that everything was going to be OK as long as Hitler didn't go too far.

加里·卡米亚（Gary Kamiya），作家：赫斯特将希特勒视为政治家，他有一种狭隘的盲目愿景，认为只要希特勒不走得太远，一切都会好起来的。

But at this point Hitler had proven himself to be essentially a murderous thug the terms of this interview were, were, should have been much more confrontational, much more aggressive about all of that.

但此时希特勒已经证明自己本质上是一个凶残的暴徒，这次采访的条款应该更具对抗性，更具侵略性。

David Nasaw, Author: We don't know what went on at that meeting but he doesn't come away with the sense that Hitler is a dangerous man.

大卫·纳索（David Nasaw），作者：我们不知道那次会议上发生了什么，但他离开时并没有意识到希特勒是一个危险的人。

And more importantly, after this visit, he doesn't editorialize ever against the danger that Hitler poses to the peace of the world.

更重要的是，在这次访问之后，他再也没有发表过反对希特勒对世界和平构成危险的社论。

And when we look back on the Hearst legacy today, I mean, that stands out.

当我们今天回顾赫斯特的遗产时，我的意思是，这一点很突出。

Narrator: With Hearst’s anti-communist crusade, his hostility to union movements, and his fraternization with Hitler, the rupture of his relationship with his old progressive allies was complete.

旁白：随着赫斯特的反共运动、他对工会运动的敌意以及他与希特勒的友好关系，他与他的旧进步盟友的关系彻底决裂。

Chenjerai Kumanyika, Media Scholar: Hearst seems to have gained momentum because of his ability to put his finger on the pulse of American populism, right?

Chenjerai Kumanyika，媒体学者：赫斯特似乎因为能够把握美国民粹主义的脉搏而获得了动力，对吗？

Like where the common people are at, what kind of journalism is gonna appeal to them, what kinds of issues.

比如普通民众在哪里，什么样的新闻会吸引他们，什么样的问题。

So what’s sort of amazing is that he takes this position against labor, and against, sort of, social justice and New Deal policies right at the time when those things are extremely popular.

令人惊讶的是，在这些东西非常受欢迎的时候，他却采取了反对劳工、反对社会正义和新政政策的立场。

Erik Loomis, Historian: Hearst simply becomes a man out of touch with the American working class.

埃里克·卢米斯（Erik Loomis），历史学家：赫斯特简直成了一个与美国工人阶级脱节的人。

If workers were his readers, they were his readers because he gave them something they wanted to read, but now Hearst dedicates the early and mid 1930s to fighting the kind of social change that maybe he once would have supported.

如果工人是他的读者，那么他们也是他的读者，因为他给了他们一些他们想读的东西，但现在赫斯特将 20 世纪 30 年代初和中期的时间奉献给了他可能曾经支持的那种社会变革。

Gary Kamiya, Writer: There's a cognitive dissonance there, because this is the guy that was fighting for the eight hour workday and fighting for many, many things that the unions were supporting.

加里·卡米亚（Gary Kamiya），作家：这里存在认知失调，因为这个人为八小时工作日而奋斗，并为工会支持的许多很多事情而奋斗。

He starts to appear to be more like one of those guys with the top hats, with the bulging wallet and stepping over poor people on his way to his limousine.

他开始显得更像那些戴着高礼帽、钱包鼓鼓、在走向豪华轿车的路上踩过穷人的人。

He's like the most conspicuously wealthy person, probably in the history of the country.

他可能是这个国家历史上最引人注目的富人。

And all of this is a stick in the eye of the laboring classes.

而这一切，都是劳动阶级的眼中钉。

David Nasaw, Author: He's almost said to his readers, working class and middle class: you've got to choose.

大卫·纳索（David Nasaw），作者：他几乎对他的读者，工人阶级和中产阶级说：你必须做出选择。

It's me or Roosevelt, it's me or the New Deal.

是我还是罗斯福，是我还是新政。

And they choose Roosevelt and they choose the New Deal and they stop buying his newspapers.

他们选择了罗斯福，他们选择了新政，他们不再购买他的报纸。

In his early years, when he fulminated against the trusts and for the working man.

在他早年的时候，他猛烈地反对托拉斯和工人。

He hit upon something that was truly American.

他偶然发现了一些真正美国化的东西。

I salute that, and I think that represents the best in the American spirit.

我对此表示敬意，我认为这代表了最好的美国精神。

But in the middle of his life, he grew more conservative.

但到了中年，他变得更加保守。

And then reactionary.

然后反动。

Because he didn't want the world he had helped create to change one iota.

因为他不希望他帮助创造的世界发生哪怕一丝一毫的改变。

And he becomes more out of touch with American qualities of right and wrong.

他也变得越来越不了解美国人的是非观。

Of justice and injustice.

正义与非正义。

Victoria Kastner, Writer: Hearst wrote to his sons one time saying success is a frame of mind, an immutable posture, an unshakable sensibility.

维多利亚·卡斯特纳（Victoria Kastner），作家：赫斯特有一次写信给他的儿子们说，成功是一种心态、一种不变的姿态、一种不可动摇的情感。

Circumstances have nothing to do with success.

环境与成功无关。

You must decide to succeed before you can succeed.

在你能够成功之前，你必须下定决心要成功。

And then he concluded by saying you must focus on the objectives, not the obstacles.

最后他总结说，你必须关注目标，而不是障碍。

Narrator: After seven years of the Great Depression and his opposition to FDR and the New Deal, the effect on Hearst’s empire was impossible to ignore.

旁白：经历了七年的大萧条以及他反对罗斯福和新政之后，赫斯特帝国受到的影响是不容忽视的。

By 1937, his newspapers and magazines across the country had lost tens of millions of readers.

到1937年，他的报纸杂志在全国各地已经失去了数千万读者。

His flagship paper, the New York Journal and American, was being dismissed by his rivals as “the vanishing American.”

他的旗舰报纸《纽约日报》和《美国人》被他的竞争对手斥为“正在消失的美国人”。

It was the same all across the country.

全国各地都一样。

Hearst Consolidated was in freefall.

赫斯特联合公司的股价直线下滑。

But as he huddled with his advisors over the next few months, trying to figure out a reorganization of the company, Hearst quietly spent $200,000 on antiques and another $200,000 on more real estate acquisitions.

但在接下来的几个月里，当赫斯特与顾问们一起讨论公司重组方案时，他悄悄地花费了 20 万美元购买古董，另外​​又花费了 20 万美元收购更多房地产。

Victoria Kastner, Writer: The Depression forced Hearst really into a reckoning.

维多利亚·卡斯特纳（Victoria Kastner），作家：大萧条迫使赫斯特真正进行了清算。

He had incorporated in the 30s to try to get out of the personal responsibility of the finances.

他在 30 年代成立了公司，试图摆脱个人的财务责任。

But things began to get quite cataclysmic.

但事情开始变得非常灾难性。

Narrator: He owed Canadian paper mills $9 million dollars, and they refused to ship him newsprint until he paid.

旁白：他欠加拿大造纸厂900万美元，他们拒绝向他运送新闻纸，直到他付款为止。

He owed $78 million, more than one and a half billion in today’s dollars, to banks and dividends to stockholders that were overdue.

他欠银行 7800 万美元，按今天的美元计算超过 1.5 亿美元，欠股东股息逾期。

In May, Hearst, Marion, and a few others boarded a train East to meet with creditors.

五月，赫斯特、马里昂和其他几个人登上了东行的火车去会见债权人。

En route, Hearst sent a wire to Julia Morgan that read: “Stop work entirely at San Simeon.”

途中，赫斯特给朱莉娅·摩根发了一封电报，上面写着：“完全停止在圣西蒙的工作。”

On the train, Hearst confessed to Marion, “I guess I’m through.”

在火车上，赫斯特向玛丽昂坦白，“我想我已经完了。”

David Nasaw, Author: He's called to New York and he's told the only way to keep the empire together is for you to step aside.

大卫·纳索（David Nasaw），作者：他被叫到纽约，并被告知保持帝国统一的唯一方法就是你让位。

And establish a trustee.

并设立受托人。

On the trip , Marion comes into his railcar, and pulls aside one of his chief advisers and said, “I've called my lawyers and I can lend the Chief a million dollars.” And Hearst says, no, never, won't do it.

在旅途中，马里昂走进他的有轨电车，把他的一位首席顾问拉到一边说：“我已经给我的律师打电话了，我可以借给酋长一百万美元。”赫斯特说，不，永远，不会这样做。

By the time he gets to New York, he realizes he has no choice but to take Marion's money and he hands over control to a bank executive.

当他到达纽约时，他意识到自己别无选择，只能拿走马里昂的钱，并将控制权移交给一名银行高管。

And he's stripped of all power.

而且他被剥夺了所有权力。

And he's told that he has to begin to liquidate his assets to pay his debts.

他被告知必须开始变卖资产来偿还债务。

He loses control of the empire he's, he's built.

他失去了对他所建立的帝国的控制。

And it's nobody's fault but his own.

这不是任何人的错，而是他自己的错。

Narrator: Much of the staff at San Simeon was let go.

旁白：圣西蒙的大部分员工都被解雇了。

The zoo animals were put up for sale.

动物园里的动物被出售。

The first on the auction block was the elephant, who lumbered off to the Los Angeles Zoo.

第一个出现在拍卖台上的是大象，它缓慢地前往洛杉矶动物园。

Hearst tried to remain upbeat, but he was, according to a cousin who visited, a “pathetic, broken man.”

赫斯特试图保持乐观，但据一位来访的堂兄说，他是一个“可怜的、破碎的人”。

He was forced to sell off some of his papers, deed the Wyntoon property to the corporation, and begin paying rent and covering the maintenance at San Simeon.

他被迫卖掉一些文件，将温顿的财产转让给公司，并开始支付圣西蒙的租金和维护费用。

And his art collection would have to be sold off as well.

他的艺术收藏也必须被卖掉。

Victoria Kastner, Writer: One of the advisers said that liquidating Hearst art at auction would be the equivalent of emptying an oil tanker with an eyedropper.

维多利亚·卡斯特纳（Victoria Kastner），作家：其中一位顾问表示，在拍卖会上清算赫斯特艺术品就相当于用滴管清空一艘油轮。

So what they did instead was take Gimbel’s Department store, the fifth floor men and boys sportswear, and they crammed it with Hearst's art objects, everything from Egyptian statues to Renaissance tapestries, and had effectively like a fire sale.

因此，他们所做的就是把五楼的金贝尔百货公司的男士和男孩运动服塞满里面，里面塞满了赫斯特的艺术品，从埃及雕像到文艺复兴时期的挂毯，应有尽有，实际上就像是甩卖一样。

Narrator: Watching the liquidation of his prized possessions out of a second-rate department store was a degrading humiliation.

旁白：眼睁睁地看着他珍贵的财产从一家二流百货商店被清算，这是一种可耻的耻辱。

It was a final indignity for a man of Hearst’s pride and stature.

对于像赫斯特这样骄傲和声望的人来说，这是最后的侮辱。

Throughout his ordeal, the one person he had been able to rely on was Marion.

在他的磨难中，他唯一可以依靠的人就是玛丽昂。

Shortly after she had bailed him out with a million dollars, Hearst had proposed something radical.

在她用一百万美元保释他之后不久，赫斯特提出了一些激进的建议。

It was time for them to get married, he said.

他说，他们该结婚了。

He was 74, she was almost 40, and it seemed as though the time had finally come.

他已经74岁了，她也快40岁了，似乎时机终于到了。

Lara Gabrielle, Writer: In the late 30s, there is a divorce agreement from Millicent, there was just no more to it.

劳拉·加布里埃尔（Lara Gabrielle），作家：三十年代末，与米利森特签订了一份离婚协议，但就没有更多了。

Millicent was finally done.

米利森特终于完成了。

So W.R and Marion find a person down in Mexico who is willing to marry them.

因此，W.R 和 Marion 在墨西哥找到了一个愿意嫁给他们的人。

They go down to Mexico and they’re waiting for the divorce agreement to become official, come through.

他们前往墨西哥，等待离婚协议正式生效。

They get a call at the last minute that Millicent has thrown Cosmopolitan magazine into the divorce agreement.

他们在最后一刻接到电话，米利森特已将《大都会》杂志纳入离婚协议。

Hearst cannot reconcile the fact that his business life and his personal life are now coming together.

赫斯特无法调和他的商业生活和个人生活现在融合在一起的事实。

And he makes the decision to not go through with the divorce.

他决定不离婚。

Can you imagine what that did to Marion?

你能想象这对玛丽恩造成了什么影响吗？

I mean, just the heartbreak that she thought that this was going to happen for her.

我的意思是，她认为这会发生在她身上，这让她感到心碎。

And it didn't because of a magazine.

这并不是因为一本杂志。

She disappears.

她消失了。

Nobody knows where she is in those days that she's gone.

在她离开的那些日子里，没有人知道她在哪里。

And finally she shows back up again and she had been on an alcoholic bender.

最后她再次出现，而且她一直在酗酒。

And from then on, she’s never really the same.

从那时起，她就不再是原来的她了。

Kane: “What are you doing?

凯恩：“你在做什么？

Jigsaw puzzles?”

拼图游戏？”

Narrator: Orson Welles’ critically acclaimed 1941 film, Citizen Kane, wasn’t an accurate portrait of Hearst, but it didn’t need to be.

旁白：奥逊·威尔斯 (Orson Welles) 1941 年广受好评的电影《公民凯恩》(Citizen Kane) 并不是赫斯特的准确写照，但也不必如此。

All the pieces were there -- the publishing revolutionary, the obsessive art collector, the fierce competitor, and the three women in his life.

所有的东西都在那里——出版革命者、痴迷的艺术收藏家、激烈的竞争对手，以及他生命中的三个女人。

Wife: “Gee 11:30.

妻子：“哎呀，11:30。

Shows are just getting out.

节目才刚刚上映。

People are going to nightclubs and restaurants.

人们去夜总会和餐馆。

Course we’re different because we live in a palace.”

我们当然不同，因为我们住在宫殿里。”

Kane: “You always said you wanted to live in a palace.”

凯恩：“你总是说你想住在宫殿里。”

David Nasaw, Author: The problem with Citizen Kane for Hearst was not the presentation of Hearst himself, because Orson Welles was not going to, at this stage in his life, play a villain.

大卫·纳索（David Nasaw），作者：赫斯特的《公民凯恩》的问题不在于赫斯特本人的呈现，因为奥森·威尔斯在他人生的这个阶段不会扮演恶棍。

And if he was playing Hearst, Hearst would be a charming, lovable, character, at least in the beginning.

如果他扮演赫斯特，赫斯特将是一个迷人、可爱的角色，至少在一开始是这样。

Kane: “It’ll make you all happy to learn that our circulation this morning was the greatest in New York.

凯恩：“如果知道今天早上我们的流通量是纽约最高的，你们都会很高兴。

684,000.”

684,000。”

David Nasaw, Author: What made Hearst angry was that the three most important women in his life, his mother, his wife and Marion Davies were caricatures.

大卫·纳索（David Nasaw），作者：让赫斯特生气的是，他生命中最重要的三个女人，他的母亲、他的妻子和玛丽昂·戴维斯都是漫画。

Especially his mother who was played by Agnes Moorehead and who was just a witch.

尤其是他的母亲，由艾格尼丝·摩尔黑德扮演，她只是一个女巫。

And Marion Davies, who became Susan Alexander, a no talent opera singer with the most irritating grating voice in movie history.

还有玛丽昂·戴维斯，她后来成为苏珊·亚历山大，一位没有天赋的歌剧歌手，有着电影史上最令人恼火的刺耳声音。

A clip of Susan Alexander and her regrettable voice.

苏珊·亚历山大和她令人遗憾的声音的片段。

Narrator: Hearst’s personality was so large, his career so long, his public persona so controversial and polarizing, that it was as if Orson Welles was tapping into not just the life of one man, but to a part of America itself.

旁白：赫斯特的个性是如此之大，他的职业生涯如此之长，他的公众形象如此有争议和两极分化，以至于奥森·威尔斯似乎不仅在挖掘一个人的生活，而且在挖掘美国本身的一部分。

Victoria Kastner, Writer: Orson Welles was tilting at windmills.

维多利亚·卡斯特纳（Victoria Kastner），作家：奥逊·威尔斯正在对着风车倾斜。

And it's not a biography, but I think the thing it got right about Hearst was the joie de vivre of Charles Foster Kane, those early years when he's with the showgirls and when he's having the newspapers redone and the animation and kind of the fire.

这不是一本传记，但我认为它对赫斯特的描述是查尔斯·福斯特·凯恩的生活乐趣，早年他和歌舞女郎在一起，当他重做报纸、动画和大火时。

Kane: “Are we going to declare war on Spain or are we not?”

凯恩：“我们是否要向西班牙宣战？”

Gary Kimaya, Writer: The portrait of Citizen Kane seems somewhat accurate in the sense of this guy who’s got everything, but he’s kind of a lonely guy.

加里·基玛亚（Gary Kimaya），编剧：《公民凯恩》的形象似乎有点准确，因为他拥有一切，但他是一个孤独的人。

It’s almost like an archetypal myth.

这几乎就像一个典型的神话。

He’s got everything, but in some ways, what does he have?

他拥有一切，但从某些方面来说，他拥有什么？

He’s a very very isolated human being.

他是一个非常非常孤立的人。

William Randolph Hearst III, Grandson: Most of what people think about my grandfather is really Citizen Kane.

威廉·伦道夫·赫斯特三世，孙子：人们对我祖父的大多数看法实际上是《公民凯恩》。

I told my kids it'll take another 100 years before my grandfather's really sort of fit into history properly.

我告诉我的孩子们，我的祖父还需要一百年才能真正融入历史。

Narrator: If Hearst and Marion’s portrait in Citizen Kane was at odds with their comfortable life at San Simeon, it was accurate in one respect, Marion was drinking herself to death.

旁白：如果说《公民凯恩》中赫斯特和马里昂的肖像与他们在圣西蒙的舒适生活不一致的话，那么从一方面来说这是正确的，马里昂是在酗酒致死的。

Hearst urged her to take any kind of cure and hired nurses and attendants to keep her away from alcohol, but she always found a way.

赫斯特敦促她采取任何治疗方法，并聘请护士和服务员让她远离酒精，但她总能找到办法。

“Eventually, she would make an ass of herself at the table,” a waiter from San Simeon remembered, “start acting up, making noises and things.

“最终，她会在餐桌上出丑，”一位来自圣西蒙的服务员回忆道，“开始调皮，发出声音等等。

It was not unusual for Mr. Hearst to ask her to be taken from the table.”

赫斯特先生要求她离开餐桌的情况并不罕见。”

The fact that Hollywood no longer seemed to want her hadn't helped Marion’s spirits, and by the mid-1930s, she had finally quit the film business.

好莱坞似乎不再需要她，这一事实并没有让玛丽昂的精神得到改善，到了 20 世纪 30 年代中期，她终于退出了电影事业。

In the end, she contented herself with taking care of her aging partner.

最终，她满足于照顾年迈的伴侣。

“I thought the least I could do for a man who had been so wonderful .

“我想我至少能为一个如此优秀的人做点什么。

.

。

.

。

was to be a companion to him,” she recalled.

是为了成为他的伴侣，”她回忆道。

Despite his bucolic surroundings, Hearst’s future remained clouded by financial troubles.

尽管身处田园风光，赫斯特的未来仍然因财务问题而蒙上阴影。

The trustee who ran his company was selling off assets to pay stock dividends.

经营他公司的受托人正在出售资产以支付股票股息。

Hearst was left clinging to editorial control of his shrinking empire.

赫斯特只能紧紧抓住他不断缩小的帝国的编辑控制权。

It was hard not to agree with Time magazine when it wrote, “At age 75, the bad boy of U.S. journalism is just a hired editorial writer who has taken a salary cut.”

很难不同意《时代》杂志的观点，它写道：“美国新闻业的坏小子，75 岁了，只是一名受雇的社论作家，却被减薪了。”

While Hearst’s business affairs were in crisis, events on the other side of the Atlantic were also spiraling out of control.

当赫斯特的商业事务陷入危机时，大西洋彼岸的事件也在失控。

His old contributors, Hitler and Mussolini, seemed intent on war, but he remained a staunch isolationist.

他的老贡献者希特勒和墨索里尼似乎热衷于战争，但他仍然是坚定的孤立主义者。

David Nasaw, Author: Hearst believes let the damn Europeans fight and leave Europe, the old world, to destroy itself.

大卫·纳索（David Nasaw），作者：赫斯特认为让该死的欧洲人战斗并离开欧洲这个旧世界，以毁灭自己。

You know, if Hitler takes over the continent, OK, who cares?

你知道，如果希特勒接管了整个大陆，好吧，谁在乎呢？

I certainly don’t care and it's not a danger to America.

我当然不在乎，这对美国也不构成危险。

What's a danger to America is the Japanese.

对美国来说，威胁的是日本人。

And Hearst profoundly believes this.

赫斯特深信这一点。

In large part because of his anti Asian racism.

很大程度上是因为他的反亚裔种族主义。

Narrator: After Pearl Harbor, Hearst and Marion retreated inland, to Wyntoon and he quickly supported the war.

旁白：珍珠港事件后，赫斯特和马里恩撤退到内陆温顿，他迅速支持战争。

"We must come out victorious and with the largest V in the alphabet" he proclaimed.

他宣称：“我们必须取得胜利，并获得字母表中最大的V”。

And in the immediate aftermath of the attack, Hearst played to his readers' worst impulses.

袭击发生后，赫斯特立即迎合了读者最糟糕的冲动。

For decades, Hearst had used his papers to vilify Asian immigrants.

几十年来，赫斯特一直利用他的论文来诽谤亚洲移民。

Now his empire called for the forced internment of Japanese-Americans.

现在他的帝国要求强制拘留日裔美国人。

“I am for the immediate removal of every Japanese on the West Coast to a point deep in the interior,” one Hearst syndicated columnist snarled, “ I don't mean a nice part of the interior either.

“我主张立即将西海岸的所有日本人转移到内陆深处，”一位赫斯特联合专栏作家咆哮道，“我指的也不是内陆的一个很好的部分。

Herd 'em up, pack 'em off, and give 'em the inside room in the badlands.

将他们聚集起来，打包，并给他们在荒地里的内部空间。

Let 'em be pinched, hurt, hungry and dead up against it .

让他们被捏、受伤、挨饿、拼死抵抗。

.

。

.

。

Personally, I hate the Japanese.

就我个人而言，我讨厌日本人。

And that goes for all of them.

这对他们所有人来说都是如此。

Gary Kamiya, Writer: Hearst's position on the internment of Japanese Americans was consistent and an extension of the Yellow Peril that runs through Hearst's career.

加里·卡米亚（Gary Kamiya），作家：赫斯特在拘留日裔美国人问题上的立场是一贯的，也是贯穿赫斯特职业生涯的“黄祸”的延伸。

He had, you know, a pretty long history of perceiving Asians, and later Japanese in particular, as being an other, an unknowable, alien sort of force.

你知道，他长期以来一直将亚洲人，尤其是后来的日本人视为另一种、不可知的、外星的力量。

And that of course, that view is really what underpinned so many people's decisions to support the executive order that interned 110,000 Japanese Americans on the West coast.

当然，正是这种观点支撑了如此多的人决定支持在西海岸拘留 110,000 名日裔美国人的行政命令。

Narrator: In the early 1940s, Hearst’s media machine still wielded enormous power, and he knew that demonizing the Japanese would be hugely popular with his audiences.

旁白：20世纪40年代初，赫斯特的媒体机器仍然掌握着巨大的权力，他知道妖魔化日本人会很受观众欢迎。

David Nasaw, Author: Remarkably, it's the war that saves the Hearst empire.

大卫·纳索（David Nasaw），作者：值得注意的是，正是这场战争拯救了赫斯特帝国。

Newsprint is rationed, so it is cheaper to produce the newspapers than it has ever been because you can’t have big newspapers any more.

新闻纸是定量配给的，因此生产报纸比以往任何时候都便宜，因为你不能再拥有大报纸了。

And people start buying the newspapers, every newspaper, to find out what's going on and circulation increases.

人们开始购买报纸，每一份报纸，以了解正在发生的事情并增加发行量。

Costs decrease, Hearst has been put on a strict allowance, so he can't spend money anymore.

成本降低了，赫斯特的津贴也很严格，所以他不能再花钱了。

His losing newspapers have been sold off.

他亏损的报纸已被卖掉。

And by the end of the war, the Hearst financial prospects are better than they've been in decades.

到战争结束时，赫斯特的财务前景比几十年来都要好。

Narrator: By the time he and Marion returned from their exile at Wyntoon, the war-time economic boom had finally dug Hearst out of his financial hole, and he was back in command of a diminished but still formidable empire.

旁白：当他和马里昂从温顿流放归来时，战时的经济繁荣终于将赫斯特从财务困境中救了出来，他重新掌控了一个虽已缩小但仍然强大的帝国。

He had also been able to repay Marion her $1 million dollars.

他还偿还了玛丽昂 100 万美元。

As if the preceding seven years had never happened, he immediately started renovations on one of his guest cottages.

仿佛之前的七年从未发生过一样，他立即开始翻修自己的一间客房小屋。

And he doted on his dogs.

他也很宠爱他的狗。

Hearst had always loved dachshunds, and in 1945, he and Marion still owned 73 of them.

赫斯特一直很喜欢腊肠犬，到 1945 年，他和玛丽恩仍然拥有 73 只腊肠犬。

When his favorite dog Gandhi died, he held a formal funeral in his honor, with the entire staff in attendance for the ceremony.

当他最喜欢的狗甘地去世时，他为他举行了正式的葬礼，全体员工都参加了葬礼。

He and Marion remained near constant companions, dressing for dinner each night in the refectory, and then watching the newest film in the theater.

他和玛丽昂一直是亲密的伙伴，每天晚上在餐厅穿好衣服准备晚餐，然后在剧院观看最新的电影。

There would be occasional visitors, but although his circle of friends and acquaintances was large, it was striking how few people, if anyone, really knew him.

偶尔会有访客，但尽管他的朋友和熟人圈子很大，但令人惊讶的是，真正认识他的人（如果有的话）却很少。

Gary Kamiya, Writer: There’s this kind of enigma.

加里·卡米亚（Gary Kamiya），作家：有这样一个谜。

Very few people got close to him.

很少有人接近他。

It might be that it speaks to somebody who has never had to actually get down at the same level with another person and go, here I am, there you are, let's exchange face to face at exactly the same level.

它可能是在对一个从未真正与另一个人处于同一水平的人说话，然后说，我在这里，你在那里，让我们在完全相同的水平上面对面交流。

Because nobody was on the same level with him, you know, and he didn't want to be on the same level with other people.

因为没有人与他处于同一水平，你知道，他也不想与其他人处于同一水平。

Narrator: After suffering what seemed like a mild heart attack in early 1947, Hearst and Marion made the excruciating decision to move to her house in Beverly Hills to be in closer proximity to a hospital.

旁白：1947 年初，赫斯特和马里昂经历了一次看似轻微的心脏病发作，之后做出了一个痛苦的决定，搬到她位于比佛利山庄的家中，离医院更近。

On May 2nd, as they left the castle, Marion looked over to see tears streaming down the old man’s face.

5月2日，当他们离开城堡时，玛丽昂回头一看，看到老人脸上流着泪水。

“We’ll come back, W.R., you’ll see,” she said.

“我们会回来的，W.R.，你会看到的，”她说。

They never did.

他们从来没有这样做过。

Victoria Kastner, Writer: I think San Simeon was the best part of Hearst’s life.

维多利亚·卡斯特纳，作家：我认为圣西蒙是赫斯特一生中最美好的部分。

I think he knew that.

我想他知道这一点。

It was the sight of a number of great romances, and by that I mean the romance that Hearst had with the landscape of California.

这是许多伟大浪漫的景象，我指的是赫斯特与加利福尼亚风景的浪漫。

The platonic romance of creativity that he had with Julia Morgan, and this passionate love that he had for Marion Davies.

他与朱莉娅·摩根的柏拉图式创造力浪漫，以及他对玛丽昂·戴维斯的热情爱。

Narrator: Near the end, Hearst was worried about Marion most of all.

旁白：接近尾声时，赫斯特最担心的是玛丽昂。

She kept up a cordial relationship with his boys, but he worried that she would be cast aside after he was gone, so he secretly gave her a controlling interest -- 30,000 shares of preferred stock -- in the Hearst Corporation.

她和他的儿子们保持着亲切的关系，但他担心他走后她会被抛弃，所以他秘密地给了她赫斯特公司的控股权——3万股优先股。

He also gave her the deed to the Beverly Hills house.

他还给了她比佛利山庄房子的契约。

David Nasaw, Author: His first couple of years in Los Angeles he’s in his middle 80’s.

大卫·纳索（David Nasaw），作者：他来到洛杉矶的头几年，已经 80 多岁了。

He still reads all his newspapers cover to cover every day and writes to say, this is not right, this is not right.

他仍然每天从头到尾地阅读所有报纸，并写信说，这是不对的，这是不对的。

But age catches up.

但年龄赶上了。

He's watched over by nurses and attendants and Marion.

他由护士、服务员和玛丽恩看护。

Narrator: On August 13th, 1951, The Chief dictated his last letter of the day and went to sleep.

旁白：1951 年 8 月 13 日，酋长口述了当天的最后一封信，然后就睡着了。

As he had grown increasingly frail, Marion had found it harder to retain her composure, and that night she was especially distraught and was given a sedative.

随着身体变得越来越虚弱，玛丽昂发现自己越来越难保持冷静，那天晚上她特别心烦意乱，被注射了镇静剂。

While Marion slept, Hearst died at 9:50 AM on August 14th.

8 月 14 日上午 9 点 50 分，当马里昂还在睡觉时，赫斯特去世了。

He was 88.

他88岁了。

Without waking her, his sons immediately had his body removed.

他的儿子们没有叫醒她，就立即把他的尸体移走了。

She awoke, and her house was empty.

她醒来，发现家里空无一人。

“I was alone.

“我独自一人。

...

...

I loved him for 32 years and now he was gone,” she remembered.

我爱了他 32 年，现在他走了，”她回忆道。

“I couldn’t even say goodbye.”

“我什至无法说再见。”

David Nasaw, Author: Millicent flies out from New York.

大卫·纳索（David Nasaw），作者：米利森特从纽约飞出。

The funeral is held in San Francisco.

葬礼在旧金山举行。

The mayor attends, Louis B.

市长出席，Louis B.

Mayer is there, Hollywood royalty, political royalty.

梅耶尔在那里，好莱坞皇室、政治皇室。

The only one who's missing is Marion.

唯一失踪的是马里昂。

Marion probably could have gone if she wanted to, but she knew she wasn't welcome.

如果玛丽昂愿意的话，她可能可以离开，但她知道她不受欢迎。

Victoria Kastner, Writer: So everybody had gotten along OK while Hearst was still around, but the alacrity with which the boys acted afterwards showed that they had not been fond of Marion.

维多利亚·卡斯特纳（Victoria Kastner），作家：所以，当赫斯特还在的时候，每个人都相处得很好，但是男孩们后来表现得敏捷表明他们并不喜欢玛丽昂。

He left her the voting rights of the Hearst Corporation controlling stock, and it had become very prosperous.

他把赫斯特公司控股权的投票权留给了她，赫斯特公司变得非常繁荣。

It was well over one hundred million dollars worth, even though 14 years before he'd been 80 million in the red.

尽管14年前他已经亏损了8000万美元，但它的价值远远超过了1亿美元。

So for a brief period, Marion actually was the chief employer of the Hearst Corporation.

因此，在一段短暂的时期内，马里昂实际上是赫斯特公司的首席雇主。

But she sold it all back to Mrs. Hearst for one dollar legal tender.

但她以一美元的法定货币将其全部卖回给赫斯特夫人。

And what she was saying is, I don't need the money.

她的意思是，我不需要钱。

And I think what Hearst was saying and giving her such a bequest was how incredibly important she had been in his life.

我认为赫斯特所说的以及给她这样的遗赠表明了她在他的生活中是多么重要。

Hearst died on the 14th of August.

赫斯特于8月14日去世。

Marion sold it on the 30th of October.

Marion 于 10 月 30 日将其出售。

And the very next day she married for the first and only time.

第二天，她第一次也是唯一一次结婚了。

Narrator: Her new husband was almost a decade younger than Marion, a captain in the Merchant Marine, named Horace Brown.

旁白：她的新丈夫比马里昂年轻近十岁，是商船队的一名船长，名叫霍勒斯·布朗。

He bore such a striking resemblance to Hearst -- a heavy-set man with the same sloping nose and close-set blue eyes -- that guests would look twice when the couple entered the room.

他与赫斯特有着惊人的相似之处——一个身材魁梧的男人，有着同样的倾斜鼻子和距离很近的蓝眼睛——以至于当这对夫妇走进房间时，客人们都会多看两眼。

Hearst may have been gone, but Marion would still cling to his memory for the rest of her life.

赫斯特可能已经去世了，但玛丽昂在余生中仍会牢牢记住他。

David Nasaw, Author: The Hearst Corporation then for a period of years, bans the name Marion Davies, it is not uttered, it is not spoken.

大卫·纳索（David Nasaw），作者：赫斯特公司在一段时间内禁止了马里昂·戴维斯（Marion Davies）这个名字，这个名字没有被提及，也没有被说出。

Narrator: In death, as in life, William Randolph Hearst remained a distinctly American invention.

旁白：威廉·伦道夫·赫斯特死后和生前一样，仍然是一个明显的美国发明。

In the colorful pages of his newspapers, and the flickering frames of his motion pictures, he presented his own singular vision of America, manipulating his audience to see the world through his lens and on his terms.

在报纸的彩色页面和电影的闪烁画面中，他展示了自己对美国的独特愿景，操纵观众通过他的镜头并按照他的方式看世界。

Gary Kamiya, Writer: In many ways, William Randolph Hearst is an American writ large.

加里·卡米亚（Gary Kamiya），编剧：从很多方面来说，威廉·伦道夫·赫斯特都是一个不折不扣的美国人。

He embodies everything good and bad about the essence of this country.

他体现了这个国家本质上的一切好与坏。

Its expansiveness, its ambition, its greed, its sentimentality, its showmanship, its ability to transform itself.

它的扩张、它的野心、它的贪婪、它的多愁善感、它的表演技巧、它自我改造的能力。

Robert Chiles, Historian: Hearst tells us a whole lot about ourselves as a democracy then and probably now.

历史学家罗伯特·奇利斯：赫斯特向我们讲述了很多关于当时以及现在可能的民主国家的情况。

He shows us the power of money and the power of ambition.

他向我们展示了金钱的力量和野心的力量。

He shows us the power of the media to shape opinion, to direct opinion.

他向我们展示了媒体塑造舆论、引导舆论的力量。

He shows us the appeal on occasion of the Crusader.

他向我们展示了十字军东征时期的吸引力。

He also shows us, however, the danger of the demagogue.

然而，他也向我们展示了煽动者的危险。

Erik Loomis, Historian: William Randolph Hearst primarily stands for himself.

埃里克·卢米斯（Erik Loomis），历史学家：威廉·伦道夫·赫斯特主要代表他自己。

And I think that's the most important thing to understand about him, is that he takes positions that are admirable in many ways and then later he takes positions that are reprehensible.

我认为了解他最重要的一点是，他在很多方面采取了令人钦佩的立场，但后来他采取了应受谴责的立场。

But fundamentally, any discussion of William Randolph Hearst is about William Randolph Hearst.

但从根本上来说，任何有关威廉·兰道夫·赫斯特的讨论都是关于威廉·兰道夫·赫斯特的。

Chenjerai Kumanyika, Media Scholar: Hearst was mostly loyal to himself in the project of building influence.

Chenjerai Kumanyika，媒体学者：赫斯特在建立影响力的项目中主要忠于自己。

And at times that project took the shape of standing in for working people.

有时，该项目表现为代表劳动人民。

But I think what we have to contend with in the end is, do we really want our most powerful institutions, media and otherwise, to be run by people who are not accountable to the masses of people, and are ultimately accountable to their own ideas of grandeur?

但我认为我们最终要面对的是，我们真的希望我们最强大的机构、媒体和其他方面，由那些不对人民群众负责、最终对自己的宏伟理念负责的人来管理吗？

And I think that’s part of what Hearst forces us to reckon with.

我认为这是赫斯特迫使我们考虑的一部分。

Andie Tucher, Historian: You don’t want to use history as a tarot deck to predict the future.

安迪·图彻（Andie Tucher），历史学家：你不想用历史作为塔罗牌来预测未来。

But there are cautions.

但也有一些警告。

There are lessons.

有教训。

And in an era when very powerful men are in a position to influence enormous chunks of American and world history you need to question how a person that big operates, who enables him?

在一个非常有权势的人能够影响美国和世界历史的巨大时代，你需要质疑一个如此大的人是如何运作的，是谁支持了他？

Who empowers him?

谁赋予他权力？

That’s, I think, the lesson of Hearst.

我认为这就是赫斯特的教训。

Greg Young, Writer: He influenced our whole American way of life.

格雷格·杨，作家：他影响了我们整个美国的生活方式。

How we digest culture, how we engage with political views.

我们如何消化文化，如何参与政治观点。

I think that that kind of fearlessness that was unique in him is actually kind of in the DNA of American media now.

我认为他身上所特有的那种无所畏惧实际上已经成为了美国媒体的基因。

That everything is always kind of pushing itself to the edge.

一切总是将自己推向边缘。

David Nasaw, Author: The 20th century and the 21st century are the centuries of mass media.

大卫·纳索（David Nasaw），作者：20世纪和21世纪是大众传媒的世纪。

Hearst was the first media mogul.

赫斯特是第一位媒体大亨。

He invents the world that for better or worse, we now inhabit.

他创造了我们现在居住的世界，无论好坏。

Political scientist Yu Ouyang and professor Jeremi Suri speak with Kelly McBride, Senior Vice President at The Poynter Institute for Media Studies, about how politicians and the press compete for public attention.

政治学家欧阳宇和杰里米·苏里教授与波因特媒体研究所高级副院长凯莉·麦克布莱德就政客和媒体如何争夺公众注意力进行了交谈。

Unverified sensationalism was William Randolph Hearst’s stock-in-trade.

未经证实的轰动效应是威廉·伦道夫·赫斯特的惯用伎俩。

Images by photographers Dorothea Lange and Ansel Adams document this shameful moment in America’s history.

摄影师多萝西娅·兰格和安塞尔·亚当斯拍摄的照片记录了美国历史上的这一耻辱时刻。

Hearst was a major force behind the anticommunist crusade that was underway for years before McCarthy arrived on the scene.

赫斯特是反共运动背后的主要力量，在麦卡锡到来之前，这场运动已经进行了多年。

For two weeks in the summer of 1899, a union strike crippled the country’s most powerful publisher.

1899 年夏天，一场工会罢工持续了两周，导致该国最强大的出版商陷入瘫痪。

Millicent Hearst was married to the media tycoon William Randolph Hearst.

米莉森特·赫斯特嫁给了媒体大亨威廉·伦道夫·赫斯特。

CEO of the Center for Public Integrity Paul Cheung and historian Andie Tucher speak with Senior VP of the Poynter Institute Kelly McBride about the rise of fake news—from its roots in yellow journalism to the present.

公共诚信中心首席执行官 Paul Cheung 和历史学家 Andie Tucher 与波因特研究所高级副总裁 Kelly McBride 讨论了假新闻的兴起——从黄色新闻的根源到现在。

Marion Davies was the mistress of media tycoon William Randolph Hearst.

马里恩·戴维斯是媒体大亨威廉·伦道夫·赫斯特的情妇。

A noted journalist, Joseph Pulitzer became a newspaper owner at age 25.

约瑟夫·普利策 (Joseph Pulitzer) 是一位著名记者，25 岁时成为一家报纸老板。

William Randolph Hearst was the first American media mogul.

威廉·伦道夫·赫斯特是美国第一位媒体大亨。

Without William Randolph Hearst's pantheon of early cartoonists, there would be no sitcoms, no Mickey Mouse, no Star Wars.

如果没有威廉·伦道夫·赫斯特的早期漫画家万神殿，就不会有情景喜剧、米老鼠、星球大战。

For decades, William Randolph Hearst lived in a castle that he and architect Julia Morgan built on his vast estate in San Simeon, California.

几十年来，威廉·伦道夫·赫斯特一直住在他和建筑师朱莉娅·摩根在他位于加利福尼亚州圣西蒙的巨大庄园上建造的一座城堡里。