54: Sinatra - This American Life
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00:00 00:00 Transcript Share This American Life Life Partners How to Listen Episodes Recommended About Overview Staff Announcements Fellowships Jobs Music Make Radio On The Road FAQ Submissions Merch Contact Us Our Other Shows Merch Follow Us Life Partners Subscribe to our newsletter Full episode Toggle Audio and Transcript Sync Transcript | Episode #54 | April 7, 2000 54: Sinatra Note: This American Life is produced for the ear and designed to be heard.
00:00 00:00 文字记录 分享此 美国生活 生活伙伴 如何收听 剧集 推荐 关于 概述 员工公告 奖学金 工作 音乐 在路上制作电台 常见问题解答 提交 商品 联系我们 我们的其他节目 商品 关注我们 生活伙伴 订阅我们的时事通讯 整集 切换音频和文字记录同步 文字记录 | 内容第 54 集 | 2000 年 4 月 7 日 54：西纳特拉 注：《This American Life》是为耳朵而制作的，旨在让人们听到。
If you are able, we strongly encourage you to listen to the audio, which includes emotion and emphasis that's not on the page.
如果可以的话，我们强烈建议您收听音频，其中包括页面上没有的情感和重点。
Transcripts are generated using a combination of speech recognition software and human transcribers, and may contain errors.
文字记录是使用语音识别软件和人工转录员结合生成的，可能包含错误。
Please check the corresponding audio before quoting in print.
请在印刷版引用前检查相应的音频。
Prologue Frank Sinatra All right, Mr. Ken Lane, whenever you're ready, we're going to sing a few of these songs.
序言 弗兰克·西纳特拉 好吧，肯·莱恩先生，只要你准备好，我们就唱几首这样的歌曲。
We hope you enjoy them.
我们希望您喜欢它们。
Yeah, we hope you enjoy them.
是的，我们希望您喜欢它们。
From WBEZ Chicago and Public Radio International, it's This American Life .
来自芝加哥 WBEZ 和国际公共广播电台的《This American Life》。
I'm Ira Glass.
我是艾拉·格拉斯。
What are you staring at?
你在看什么？
[SINGING] Brassieres.
[唱歌]胸罩。
I dig a broad with no brassieres.
我喜欢没有胸罩的女人。
This is a recording from 1962 of Frank Sinatra, Dean Martin, and Sammy Davis Jr. performing in a club outside Chicago.
这是 1962 年 Frank Sinatra、Dean Martin 和 Sammy Davis Jr. 在芝加哥郊外的俱乐部表演的录音。
And like everything else about Frank Sinatra, what's fascinating about this recording is how many different people he's able to be all at once.
和弗兰克·辛纳屈 (Frank Sinatra) 的其他一切一样，这张唱片的迷人之处在于他能够同时扮演许多不同的人。
Cutting up on the one hand, and then turning around and singing the most vulnerable possible love songs on the other.
一方面分手，另一方面又转身唱最脆弱的情歌。
[SINGING] When you're alone, who cares for starlit skies?
[唱] 当你一个人的时候，谁会在乎星空？
Where does it hurt, baby?
宝贝哪里疼？
When you're alone.
当你一个人的时候。
Not three minutes later, he's lashing into a gossip columnist he hates, Dorothy Kilgallen.
不到三分钟后，他就猛烈抨击了一位他讨厌的八卦专栏作家多萝西·基尔加伦。
I've met many, many male finks.
我见过很多很多男性芬克。
But I never met a female fink until I met Dorothy Kilgallen.
但在遇到多萝西·基尔加伦之前，我从未见过女性芬克。
How's that for an opener?
开场白怎么样？
[LAUGHTER] I wouldn't mind if she was a good-looking fink.
[笑声] 如果她长得漂亮的话我不会介意。
"That such beautiful music should emerge from such vulgarity is one of life's great mysteries," The Washington Star once wrote.
《华盛顿星报》曾写道：“如此美丽的音乐竟然能从如此粗俗中诞生，这是生命中最大的谜团之一。”
The town where she came from, they had a beauty contest when she was 17 years old, and nobody won.
她来自的那个小镇，在她17岁时举行了一场选美比赛，但没有人获胜。
There was a poor little Chinese kid.
有一个可怜的中国小孩子。
The boy was standing there.
男孩站在那里。
There was nobody else.
没有其他人。
They gave him the cup because he was better looking than the broads in the line.
他们把奖杯给了他，因为他比排队的女人好看。
Then there's the way he is on stage with Sammy Davis Jr. In 1962, it was still groundbreaking for a mainstream white performer to be integrating his night club act at all.
然后就是他与小萨米·戴维斯 (Sammy Davis Jr) 一起登上舞台的方式。 1962 年，对于一位主流白人表演者来说，将他的夜总会表演融入其中仍然是开创性的。
But a good portion of the act is just Sinatra and Martin telling Davis to get off the stage, and Davis pleading with them to stay.
但表演的很大一部分只是西纳特拉和马丁告诉戴维斯下台，戴维斯恳求他们留下来。
You asked me out here.
你约我到这里来。
Can I sing with you guys?
我可以和你们一起唱歌吗？
A couple of--
有几个——
Hey, hey, hey, hey, hey, hey, hey.
嘿，嘿，嘿，嘿，嘿，嘿，嘿。
I'll dance with you.
我会和你一起跳舞。
I'll sing with you.
我会和你一起唱歌。
I'll swim with you.
我会和你一起游泳。
I'll cut the lawn with you.
我会和你一起修剪草坪。
I'll go to Bar Mitzvahs with you.
我会和你一起去参加成人礼。
But don't touch me.
但别碰我。
A third of a century after this was recorded, what is, I think, most striking about it is how many of the jokes are simply about the fact that a black man is on stage with these white guys.
在这件事被录制了三分之一个世纪后，我认为最引人注目的是，有多少笑话只是关于一个黑人和这些白人一起在舞台上这一事实。
I'm going to play you a big chunk of this because it's amazing.
我会为你播放其中的大部分内容，因为它太棒了。
Well, now that you're out here, you might as well do something.
好吧，既然你已经来到这里，你不妨做点什么。
Might as well leave.
还不如离开呢。
Dean Martin Hey, how come he got a white stool?
Dean Martin 嘿，他怎么会有白色的凳子？
[LAUGHTER] Sammy Davis Jr. I tell you what.
[笑声] 小萨米·戴维斯 (Sammy Davis Jr.) 我告诉你什么。
Ladies and gentlemen, may I offer some impersonations for you nice folks?
女士们先生们，我可以为你们这些好人提供一些模仿吗？
Sam, that's a good idea.
萨姆，这是个好主意。
Why don't you do Paul Revere, get on your horse and get the hell out of here.
你为什么不像保罗·里维尔那样，骑上马，离开这里呢？
I tell you what.
我告诉你什么。
Do James Meredith of Mississippi.
密西西比州的詹姆斯·梅雷迪斯也是如此。
Ladies and gentlemen, my first impression is that of Mr. Frank Sinatra.
女士们、先生们，我的第一印象是弗兰克·辛纳屈先生。
[SINGING] When somebody loves you, it's no good unless she loves you all the way.
[唱歌] 当一个人爱你时，除非她全身心地爱你，否则那是没有好处的。
Man, if you like him, you're going to be cuckoo about me.
伙计，如果你喜欢他，你就会为我而疯狂。
He's just-- you'll excuse the expression-- a carbon copy.
他只是——恕我直言——一个抄本。
[LAUGHTER] Ira Glass When Sammy Davis finally sings a duet with Sinatra, it is a duet between a black man and a white man that is unimaginable to hear it.
[笑声] Ira Glass 当 Sammy Davis 最终与 Sinatra 唱二重唱时，这是黑人和白人之间的二重唱，听上去简直难以想象。
You cannot imagine it being performed today by a black and a white man.
你无法想象今天它是由一个黑人和一个白人表演的。
It's one they performed for years, "Me and My Shadow."
这是他们多年来表演的一首《我和我的影子》。
[SINGING TOGETHER, OVERLAPPING] Me and my shadow.
[一起唱歌，重叠]我和我的影子。
Closer than pages that stick in a book.
比粘在书中的页面更近。
We're closer than ripples that play in a brook.
我们比小溪里的涟漪还要近。
Strolling down the avenue.
沿着大道漫步。
Wherever you'll find him, you'll find me, just look.
无论你在哪里找到他，你都会找到我，只要看看。
Closer than a miser or the bloodhounds to Liza, me.
我比守财奴或猎犬更接近丽莎。
In Frank Sinatra, we see the history of the 20th century.
在弗兰克·辛纳屈身上，我们看到了20世纪的历史。
In Frank Sinatra, as a Chicago writer named Rennie Sparks puts it, we don't just see a man, we see every man.
正如芝加哥作家雷尼·斯帕克斯所说，在弗兰克·辛纳屈身上，我们看到的不仅仅是一个人，我们还看到了每个人。
Frank Sinatra is my father and my brother, my first boyfriend and my last.
弗兰克·辛纳屈是我的父亲和兄弟，是我的第一个男朋友，也是我的最后一个男朋友。
He's a frail boy crooner in a floppy bow tie.
他是一个打着松软领结的、体弱的男孩歌手。
He's a thug smashing his fist through a wall when his shirts come back with too much starch.
当他的衬衫上浆过多时，他就像一个暴徒，用拳头砸墙。
And he's a bewildered old man falling off his stool during "My Way." Shirley MacLaine says he let her stick her gum behind his ear during takes of Some Came Running .
他是一个在“我的路”中从凳子上摔下来的困惑的老人。雪莉·麦克雷恩说，在拍摄《Some Came Running》时，他让她把口香糖贴在耳后。
But he also liked to grab an ice cube from his drink thrusting it in the palm of a ga-ga fan and snarling, "Here, go skate around on it."
但他也喜欢从饮料中抓起一块冰块，塞到嘎嘎粉丝的手掌上，然后咆哮道：“来，在上面滑冰吧。”
"I wish someone would hurt you," he told Shirley, "So I could kill them for you."
“我希望有人能伤害你，”他告诉雪莉，“这样我就可以为你杀死他们。”
Well, today on our program, of course, Chairman of the Board.
好吧，今天我们的节目当然是董事会主席。
Act One of our program, The Death of Frank Sinatra.
我们节目的第一幕，弗兰克·辛纳屈之死。
Michael Ventura reads from his novel of the same name.
迈克尔·文图拉朗读他的同名小说。
Act Two, A Modest Request to all of American Television from one Sinatra Fan on Her Knees.
第二幕，一位辛纳屈跪下的粉丝向所有美国电视界提出的谦虚请求。
Act Three, History Lesson.
第三幕，历史课。
For the young people.
对于年轻人来说。
Act Four, Frank Sinatra Has a Cold.
第四幕，弗兰克·西纳特拉感冒了。
We have Gay Talese on the program reading from his classic 1966 account of several weeks he spent following Frank Sinatra at the height of Sinatra Rat Pack power.
盖伊·塔莱斯 (Gay Talese) 在节目中朗读了他 1966 年的经典记述，讲述了他在西纳特拉老鼠帮 (Sinatra Rat Pack) 势力鼎盛时期跟踪弗兰克·辛纳屈 (Frank Sinatra) 的几周时间。
Act Five, A Restaurant Full of Cabbies Gets Choked Up Over Frank.
第五幕，一家满是出租车司机的餐厅因弗兰克而哽咽。
Stay with us, pally.
和我们在一起吧，伙计。
Act One, The Death of Frank Sinatra.
第一幕，弗兰克·辛纳屈之死。
Michael Ventura grew up in the 1950s in New York.
迈克尔·文图拉 (Michael Ventura) 在 20 世纪 50 年代的纽约长大。
I'm Sicilian on both sides of my family.
我的家人都是西西里人。
And if you grew up as a Sicilian kid in the '50s in New York, it was like Sinatra was part of your family.
如果你是 50 年代在纽约长大的西西里孩子，那么西纳特拉就像是你家庭的一部分。
He was the most famous Italian, except for some baseball stars.
他是除了一些棒球明星之外最有名的意大利人。
Literally, just a figure people gossiped about, and they listened to his songs, and he was held up to me by my father as an example.
从字面上看，他只是一个人们八卦的人物，他们听他的歌，他被我父亲当作我的榜样。
You see him?
你看到他了吗？
He can spit in anybody's eye and get away with it.
他可以向任何人的眼睛吐口水并逃脱惩罚。
When Michael Ventura published a novel in 1996 called The Death of Frank Sinatra , Sinatra's people were not pleased.
当迈克尔·文图拉 (Michael Ventura) 1996 年出版了一本名为《弗兰克·西纳特拉之死》(The Death of Frank Sinatra) 的小说时，西纳特拉的人民并不满意。
The book, however, is not literally about Frank Sinatra.
然而，这本书实际上并不是关于弗兰克·辛纳屈的。
It's about men like Michael Ventura whose sense of style and sense of self came, in part, from Frank's style.
这是关于像迈克尔·文图拉这样的男人，他们的风格感和自我意识部分来自弗兰克的风格。
What's it mean to you, The Death of Frank Sinatra ?
弗兰克·辛纳屈之死对你来说意味着什么？
The death of a style.
一种风格的消亡。
The death of the last and greatest embodiment of a kind of street elegance, a style that is particularly and indelibly 20th century and that we will not see again.
街头优雅的最后也是最伟大的体现已经消亡，这种风格是 20 世纪独特且不可磨灭的风格，我们不会再看到它了。
Frank Sinatra himself only appears in the book once.
弗兰克·辛纳屈本人只在书中出现过一次。
In the scene that he's in, he's doing a concert.
在他所在的场景中，他正在举办一场音乐会。
And one of the things that's interesting is that in a work of fiction, Michael Ventura could choose any era Sinatra concert to put in.
有趣的是，在一部虚构作品中，迈克尔·文图拉可以选择任何时代的辛纳特拉音乐会来加入。
And he decided to choose Sinatra in the mid-1990s.
他在 20 世纪 90 年代中期决定选择 Sinatra。
The reason why, he says, is because the Sinatra that exists for us today is the Sinatra of all of his ages.
他说，这是因为今天存在于我们面前的西纳特拉就是他所有时代的西纳特拉。
All of them come forward as he sings.
当他唱歌时，他们都走上前来。
We asked him to read his account of what Sinatra is, as rendered in this one concert.
我们请他读一下他在这场音乐会中对西纳特拉的描述。
As the old man walked out onto the stage, a curtain came up behind him to reveal a large orchestra.
当老人走上舞台时，他身后的幕布升起，露出了一支大型管弦乐队。
Every musician wore a tuxedo.
每个音乐家都穿着燕尾服。
The conductor was a small, round man sitting at a grand piano and wearing earphones.
指挥是一个身材矮小、圆圆的男人，坐在三角钢琴前，戴着耳机。
With a slash of the conductor's hand, the rhythm and brass burst into a loud, uptempo number, and Sinatra flashed a smile that made him look uncannily young, a young smile in the old, pasty face.
指挥的手一挥，节奏和铜管乐突然响起，响亮、快节奏的乐曲，西纳特拉脸上闪过一丝微笑，使他看起来异常年轻，苍老苍白的脸上带着年轻的微笑。
And his eyes were the same as they'd always been, brighter in person than they ever registered on screen.
他的眼睛和以前一样，比银幕上的眼睛更明亮。
And like the smile, the eyes were young to the point of seeming unnatural.
和笑容一样，那双眼睛也年轻到了看起来不自然的程度。
For though no makeup could conceal the sad ravages of the face, the eyes and the smile seemed untouched.
虽然任何化妆都无法掩盖脸上悲伤的痕迹，但眼睛和微笑似乎没有受到影响。
As though to put his listeners at ease with these contradictions, Sinatra grabbed the microphone from the top of the black grand piano and sang about how they made him feel so young.
似乎是为了让听众对这些矛盾感到放松，西纳特拉从黑色三角钢琴顶部抓起麦克风，唱着这些让他感觉自己如此年轻。
These strangers in this room had that power.
这个房间里的这些陌生人拥有这种力量。
They made him feel so young, and he would feel that way even when he was old and gray.
他们让他感觉自己很年轻，即使他已经老了、头发花白了，他也会有这种感觉。
The song itself was keeping him alive.
这首歌本身让他活了下来。
It was as though Sinatra's voice was living his entire life all over again at different stages throughout the song.
就好像西纳特拉的声音在整首歌的不同阶段重新演绎了他的一生。
The first bars were the voice of the old man, raspy, worn, unable to hold notes for longer than a beat.
第一个小节是老人的声音，沙哑、疲惫，无法保持音符超过一个节拍。
And only his mastery of rhythm kept the song alive and made each word surprising.
只有他对节奏的掌握才让这首歌保持活力，让每一个字都令人惊讶。
Surprising, though everyone in the room knew the lyrics by heart.
令人惊讶的是，尽管房间里的每个人都熟记歌词。
Then on a high note, the voice cracked, and for an instant, the music soured, and the audience flinched as one person.
然后，在一个高音调上，声音破裂了，一瞬间，音乐变酸了，观众们都瑟瑟发抖。
But instead of retreating from that bad sound, Sinatra leaned into it.
但西纳特拉并没有从那个糟糕的声音中退缩，而是向它靠拢。
Sinatra bent the note further into a jazz-like harmony.
西纳特拉将音符进一步转变成爵士乐般的和声。
And so he erased his mistake from memory by making it part of the performance.
因此，他通过将其作为表演的一部分从记忆中抹去。
And then, instead of softening after the mistake, Sinatra held the new note longer and louder as though diving into it, then took a quick breath and sang the next note louder still and fuller, until seamlessly, for several bars, it was the voice of 30 or 40 years ago, full and unfettered, resonant and suggestive, until again it began to crack.
然后，西纳特拉并没有因为错误而软化，而是把新音符保持得更久、声音更大，仿佛潜入其中，然后快速吸了一口气，更加大声、更饱满地唱出下一个音符，直到无缝地，有几个小节，这是30或40年前的声音，饱满而不受束缚，共鸣而富有暗示，直到它再次开始破裂。
And again, he used the cracking to modulate back into the voice and style of the old man, on pitch but raw, one note per beat, sometimes right on the beat, sometimes just off it, keeping the performance tense, until on the last note, the young man's voice returned, as though saluting the old man who sang it.
再次，他用破音调回老人的声音和风格，音调上但原始，每个节拍一个音符，有时正好在节拍上，有时刚好偏离节拍，保持表演的紧张感，直到最后一个音符时，年轻人的声音又回来了，好像在向演唱这首歌的老人致敬。
And Sinatra let that note ride, and the audience cheered.
西纳特拉放开了这个音符，观众欢呼起来。
It was a breathless performance, like watching a trapeze artist work without a net.
这是一场令人喘不过气来的表演，就像观看空中飞人表演时没有网一样。
With barely a pause, he started to sing of how the best was yet to come, and wouldn't it be fine?
几乎没有停顿，他开始唱出最好的尚未到来，这不是很好吗？
An old man in some ageless space who could make them believe for the length of a song that the best indeed was yet to come.
一个在某个永恒空间里的老人，他可以用一首歌曲的长度让他们相信最好的确实尚未到来。
And the voice again going to and fro between strength and fragility, youth and age.
那声音再次在力量与脆弱、年轻与老年之间来回穿梭。
Sinatra's foot tapped the beat with absolute certainty, while his posture was ever so slightly wobbly, as though his energy was too much for his body.
西纳特拉的脚绝对确定地踏着节拍，而他的姿势却有点摇晃，仿佛他的能量超出了他的身体。
And in his immaculate tuxedo with the surety of his presence and the reckless confidence of his style, he seemed to be demonstrating his legend without trading on it, without needing to.
穿着完美无瑕的燕尾服，他的存在和风格的鲁莽自信，他似乎在展示他的传奇，而不用交易，也不需要这样做。
The lyrics were trite, obvious, sentimental.
歌词平淡、明显、感伤。
Somehow, he made them true.
不知何故，他让它们成真了。
The music was simple to the point of childishness.
音乐简单到了幼稚的程度。
Somehow, he made it complex.
不知何故，他让事情变得复杂了。
They found themselves applauding and cheering at the songs and not in homage, but as the only way to release the energy it gave them.
他们发现自己为这些歌曲鼓掌和欢呼，并不是为了致敬，而是为了释放歌曲给他们带来的能量。
The man was dispensing something, a kind of vitality that surged from his darkness with bright light.
男人正在散发着某种东西，一种从黑暗中涌出明亮光芒的生命力。
And he was giving it away with generous abandon as though he had no fear that he would not have more to give in the next song, the next show, the next anything.
他慷慨地放弃了它，就好像他不担心他在下一首歌曲、下一场演出、下一场任何事情中不会有更多的东西可以奉献。
In such an old man, where could this vitality come from?
这么老的人了，哪里来的生机？
I lit my cigarettes like he did.
我像他一样点燃了香烟。
I wore the kind of clothes he wore.
我穿的是他穿的那种衣服。
I still do.
我仍然这样做。
I tried to stand as he stood.
我试着像他一样站起来。
I tried to walk as he walked.
我试着跟着他走。
I still do.
我仍然这样做。
Not because I was imitating him but because I was imitating all the people who gave and taught me life, and they took so many of their cues from him.
不是因为我在模仿他，而是因为我在模仿所有给予我生命并教会我生命的人，他们从他那里得到了很多启发。
And where had he taken his cues from?
他从哪里得到暗示？
From peasants who came to America from an older, less sentimental world.
来自来自一个古老、不那么感伤的世界来到美国的农民。
Peasants who came with the intention of becoming aristocrats, and who almost as soon as they arrived began to stand and walk like those aristocrats they'd watched so closely, yet from afar, for generations.
那些怀着成为贵族的愿望而来的农民，几乎一到这里就开始像那些他们世世代代近距离观察的贵族一样站立和行走。
European princes had taught them grace.
欧洲王子教会了他们优雅。
American streets taught them flare.
美国的街道教会了他们闪光。
They didn't need to learn violence from anyone.
他们不需要向任何人学习暴力。
That they were born with.
他们与生俱来。
And Sinatra blended all this better than any and sang as he did so.
西纳特拉比任何人都更好地融合了这一切，并边唱边唱。
Sang of love and of pride, despairing of one and reveling in the other.
歌声里充满了爱和骄傲，其中一个令人绝望，另一个则令人陶醉。
And this is why Sicilians especially gave him respect in the peculiar way Sicilians use that word, meaning homage, deference, consideration, and that invitation to betrayal, loyalty.
这就是为什么西西里人特别以西西里人使用这个词的特殊方式给予他尊重，意思是致敬、顺从、考虑，以及邀请背叛、忠诚。
Now Sinatra sang about how they-- whoever they were-- couldn't take that-- whatever that was-- away from him.
现在西纳特拉唱到他们——无论他们是谁——如何无法将那——无论那是什么——从他身边夺走。
But somehow in the way she held her hat and the way she sipped her tea was beyond the world's possibility to destroy or erode.
但不知怎的，她拿帽子的方式和她喝茶的方式却超出了这个世界破坏或侵蚀的可能性。
There was a scrapbook of Sinatra's pictures.
有一本西纳特拉照片的剪贴簿。
The pictures were all of Sinatra but he was never alone.
这些照片都是西纳特拉的，但他并不孤单。
Sinatra with Lyndon Johnson, with Adlai Stevenson, with Eleanor Roosevelt.
西纳特拉与林登·约翰逊、阿德莱·史蒂文森、埃莉诺·罗斯福。
He was holding her hand and looking into her eyes.
他握着她的手，看着她的眼睛。
With Jack Kennedy, Bobby, Jackie, Nixon, Reagan, Nancy.
与杰克·肯尼迪、鲍比、杰基、尼克松、里根、南希一起。
And Sinatra with very different people.
西纳特拉和非常不同的人。
Sinatra with Johnny Roselli, Paul Castellano, Carlo Gambino, Carlo's son Joey, Jimmy Fratianno, Sally Spatola.
辛纳屈与约翰尼·罗塞利、保罗·卡斯特拉诺、卡洛·甘比诺、卡洛的儿子乔伊、吉米·弗拉蒂诺、莎莉·斯帕托拉。
And still another kind.
还有另一种。
Sinatra with Marilyn Monroe, Lauren Bacall Humphrey Bogart, Marlon Brando, Louis Armstrong, Elvis Presley, Duke Ellington.
辛纳屈与玛丽莲·梦露、劳伦·白考尔、亨弗莱·鲍嘉、马龙·白兰度、路易斯·阿姆斯特朗、埃尔维斯·普雷斯利、艾灵顿公爵。
That man on the stage, that old man was where it all connected.
舞台上的那个人，那个老人就是一切的联系所在。
Who else had held the hand of Eleanor Roosevelt and shaken the hand of Carlo Gambino both and on equal terms.
还有谁曾平等地握过埃莉诺·罗斯福的手并握过卡洛·甘比诺的手。
That man on the stage, that old man.
舞台上的那个人，那个老人。
And why?
为什么？
Because he could sing love songs like no one else.
因为他能像其他人一样唱情歌。
History of a kind.
一种历史。
History transfixed by love songs.
历史被情歌所震撼。
That's life, that's what all the people say, the man is singing now.
这就是生活，这就是所有人所说的，这个人现在在唱歌。
Some people get their kicks from stomping on a dream, but he don't let that get him down.
有些人因践踏梦想而感到兴奋，但他并没有因此而沮丧。
And now he's singing that we're much too marvelous for words.
现在他唱着我们的伟大，无法用语言来形容。
The man was speaking now.
男人现在正在说话。
"I'm just waiting for a downbeat, not a bus.
“我只是在等待悲观情绪，而不是公共汽车。
Where you working tomorrow?" The musicians laughed.
明天你在哪里工作？”音乐家们笑了。
The conductor, that little round man, laughed.
售票员，那个圆圆的小个子，笑了。
"That's my son, the guy with the earphones.
“那是我儿子，那个戴着耳机的人。
I had to promise his mother I'd give the bum a job." More laughter.
我必须向他的母亲保证我会给这个流浪汉一份工作。”更多笑声。
But something was wrong on the stage.
但舞台上有些不对劲。
The music was playing, but Sinatra wasn't singing.
音乐在播放，但西纳特拉没有唱歌。
He was looking around as though he's forgotten where he was.
他环顾四周，仿佛忘记了自己身在何处。
He started a lyric, then stopped.
他开始唱一首歌词，然后停了下来。
It didn't fit the music.
它不适合音乐。
He looked frightened, a scared boy in the body of an old man.
他看起来很害怕，一个老人身体里的害怕男孩。
He turned toward his son, whose presence seemed to remind him of who he was.
他转向儿子，他的出现似乎让他想起了自己是谁。
He was Frank Sinatra.
他就是弗兰克·西纳特拉。
He was there to sing love songs to history.
他在那里为历史唱情歌。
And he wheeled around and began to beg, but in the proudest terms, that luck be a lady tonight, and that she keep the party polite, and that she not blow on some other guy's dice.
他转过身来，开始乞求，但用最自豪的话说，今晚幸运的是一位女士，她让聚会保持礼貌，并且她不要吹其他人的骰子。
But it had been an awful moment, to see that confidence suddenly abandoned with nothing in the man to take its place.
但这真是一个可怕的时刻，看到这个人的信心突然消失，没有任何东西可以取代它。
He sang more slowly now, that it seemed we'd stood and talked like this before, and he was right.
他现在唱得更慢了，好像我们以前就这样站着说话，他是对的。
That we'd looked at each other in the same way then, but there was no way to remember where or when.
那时我们以同样的方式看着对方，但无法记住在哪里或何时。
He sang in the young voice and the old, back and forth, where and when unknowable.
他用年轻的声音和苍老的声音唱，来来回回，地点和时间不可知。
And as the lyrics climbed to the final high note, he became in his voice younger and younger until we hit the last when roundly and fully and held that note a long time.
随着歌词上升到最后的高音，他的声音变得越来越年轻，直到我们到达最后一个音调，圆润而完整，并保持了很长时间。
And when the note and the word were finally exhausted, the loose muscles of his fatty face trembled, as though they'd been unaccountably left behind, and his eyes were frightened again.
当纸条和单词终于说完时，他肥胖的脸上松弛的肌肉颤抖着，仿佛它们被莫名其妙地抛在了后面，他的眼睛又充满了恐惧。
He had to know that it was very possible that this was the last time his voice would rise to such a height.
他要知道，这很可能是他最后一次声音升到这样的高度。
And he looked like an old man who had said an irreparable goodbye.
他看起来就像是一个已经说了无法挽回的告别的老人。
He took a few steps, tried to recover.
他走了几步，试图恢复过来。
Slowly, he started to speak.
慢慢地，他开始说话了。
"I'm what they call a saloon singer." For most of the performance, he had been singing happily about love, jauntily.
“我就是他们所说的酒吧歌手。”在演出的大部分时间里，他都在欢快地快乐地唱着爱情。
Perhaps that was, in part, a function of age.
也许这在一定程度上是年龄的函数。
It was easier with that ravaged and undependable voice to sing faster tempos that gave him the flexibility to go through many changes and use many approaches.
用那种饱经风霜、不可靠的声音更容易唱出更快的节奏，这让他能够灵活地经历许多变化并使用许多方法。
Slow, sad songs required rounded tones and more control, could not be played with as easily, were far more dangerous.
缓慢、悲伤的歌曲需要圆润的音调和更多的控制，无法轻松演奏，而且危险得多。
He's risking humiliation every moment.
他每时每刻都冒着羞辱的危险。
Say what you like.
说你喜欢什么。
That's a very brave man.
这是一个非常勇敢的人。
The song began.
歌曲开始了。
He's telling us to drink up, all we happy people.
他告诉我们，我们这些快乐的人，喝点酒。
Nobody here looks very happy, but he's admitting that we're happier than him.
这里没有人看起来很快乐，但他承认我们比他更快乐。
He says he's paying for the drinks and the laughs.
他说他为酒水和笑声买单。
He's paying for everything because a woman with angel eyes is gone.
他为一切付出了代价，因为一个拥有天使眼的女人消失了。
And she's really gone.
而她真的走了。
What a tenderness he has for her.
他对她是多么的温柔啊。
What a terrible, generous, all-encompassing tenderness.
这是多么可怕的、慷慨的、包罗万象的温柔啊。
He's not bitter.
他并不苦涩。
He's not angry at her.
他并不生她的气。
Those angel eyes had every right to look elsewhere.
那些天使之眼完全有权看向别处。
He asks us to excuse him because he must disappear.
他请求我们原谅他，因为他必须消失。
And his voice is disappearing with him, a scratchy whisper like an old wax record played on an old machine.
他的声音也随之消失，沙哑的低语声就像旧机器上播放的旧蜡唱片。
With unbearable politeness, with a tenderness close to death-- the death of his voice-- he is saying, excuse me, I must disappear.
他以令人难以忍受的礼貌，带着一种近乎死亡的温柔——他的声音已经死了——说，对不起，我必须消失了。
There are no angel eyes left in the room, no reason to stay.
房间里已经没有天使眼了，没有留下来的理由。
He's tired.
他累了。
He could not live unless he sang to us.
除非他给我们唱歌，否则他就无法生存。
But each time he sings, he dares humiliation.
但他每次唱歌，都敢于羞辱。
Let's us watch the dying relationship between him and his voice, him and his memory, him and that angelic one whom he could not hold, whom he was no man for, whom his tenderness could finally not sustain, whom his darkness drove away.
让我们来看看他和他的声音、他和他的记忆、他和那个他无法拥抱的天使之间的垂死关系，他不是他的男人，他的温柔最终无法维持他的温柔，他的黑暗驱走了他。
Everything has ended.
一切都结束了。
Everything is over.
一切都结束了。
He can't even say "excuse me" anymore.
他甚至不能再说“对不起”了。
He thanks us.
他感谢我们。
He's leaving us.
他要离开我们了。
He touched what we like to think was our history, and it has left him like this.
他触动了我们认为是我们的历史，而这也让他变成了这样。
And now he is leaving us.
现在他要离开我们了。
Everyone cheered as he walked off the stage.
当他走下讲台时，所有人都欢呼起来。
Do they know what they're cheering?
他们知道自己在欢呼什么吗？
Do they know they're watching a man rehearse his death?
他们知道他们正在观看一个男人排练他的死亡吗？
We put one in every performance, if you've seen us perform before.
如果您以前看过我们的表演，我们会在每场表演中都会加入一个。
And it's called a saloon song.
这就是所谓的沙龙歌曲。
I do one in each performance because somebody, somewhere, sometime, dubbed me the saloon singer.
我在每场表演中都会表演一次，因为有人在某个地方、某个时间称我为酒吧歌手。
So I don't want to disappoint him.
所以我不想让他失望。
And it would happen to have a lot of truth, in fact, to that too, because when I was very young and I started working in joints in New Jersey and bars and grills and all kinds of places until one day, somebody came in and offered me a better job.
事实上，这也有很多道理，因为当我很小的时候，我开始在新泽西州的酒吧、烧烤店和各种各样的地方工作，直到有一天，有人进来给我提供了一份更好的工作。
Look what happened to me.
看看我发生了什么事。
[MUSIC - "ANGEL EYES" BY FRANK SINATRA]
[音乐 - 弗兰克·辛纳屈的《天使之眼》]
Act Two, One Sinatra Fan Versus All of Network TV.
第二幕，一名西纳特拉粉丝与所有网络电视粉丝。
Our program today was first broadcast a few years back when Frank Sinatra was still alive.
我们今天的节目是几年前首次播出的，当时弗兰克·西纳特拉还活着。
And in the original broadcast, writer Sarah Vowell made a plea to American television newscasters and a prediction about what would happen when Sinatra finally died.
在最初的广播中，作家莎拉·沃威尔（Sarah Vowell）向美国电视新闻播音员发出请求，并预测了西纳特拉最终去世后会发生什么。
Here's what she said.
这是她说的。
I'll tell you at the end of her story whether her prediction came true.
我会在她的故事结束时告诉你她的预言是否成真。
Any day now, Peter Jennings will cut away from some freak mudslide story, casualties, six registered voters, face another camera, and announce Old Blue Eyes' death.
现在的任何一天，彼得·詹宁斯都会从一些怪异的泥石流故事、伤亡、六名登记选民中剪掉，面对另一个镜头，宣布老蓝眼的死亡。
Later, the World News Tonight credits will roll over a tasteful montage of Frank's film stills and album covers.
随后，《今夜世界新闻》的片尾字幕中将出现弗兰克的电影剧照和专辑封面的雅致蒙太奇画面。
The other networks will run similar tributes, as will the brainiacs at Entertainment Tonight and those swingers on The News Hour at PBS.
其他电视网也将举办类似的致敬活动，《今夜娱乐》中的天才们和 PBS 新闻时刻中的那些浪荡公子也将如此。
But you know what?
但你知道吗？
It will not matter whether Sinatra's video wake is hosted by the tweedy Jim Lehrer or the perky Katie Couric because each and every remembrance will be accompanied by the same damn song, the most obvious, unsubtle, disconcertingly-dictatorial chestnut in the old man's vast and dazzling backlog-- "My Way." When the guy who generously gave us greats like "I Get a Kick Out of You" kicks it, we won't put on our Basie Boots or get a load of those cuckoo things he's been saying.
西纳特拉的视频守灵活动是由粗花呢吉姆·莱勒（Jim Lehrer）还是活泼的凯蒂·库里克（Katie Couric）主持并不重要，因为每一次纪念都会伴随着同一首该死的歌曲，这是这位老人庞大而令人眼花缭乱的积压中最明显、最不微妙、最令人不安的独裁栗子——“我的方式”。当那个慷慨地给我们带来了像“I Get a Kick Out of You”这样的伟大歌曲的人踢球时，我们不会穿上我们的贝西靴子，也不会听到他一直在说的那些杜鹃的话。
We'll be bored terrifically, screaming at the TV set every time he and that sappy string section face the final curtain.
每次他和那个多愁善感的弦乐部分面对最后的帷幕时，我们都会非常无聊，对着电视机尖叫。
[SINGING] And now, the end is near.
[歌唱] 现在，末日已近。
And so I face the final curtain.
我就这样面对最后的帷幕。
Get it?
得到它？
He's dead and on tape from the grave talking about how the end is near.
他死了，坟墓里的录音带讲述着末日即将来临。
Spooky.
幽灵般的。
[SINGING] I've lived a life that's full.
[歌唱] 我过着充实的生活。
The only way "My Way" has ever worked is if the person singing it is dumber than the song, which is why the only successful rendition of it was perpetrated by Sid Vicious.
《My Way》成功的唯一方式是唱这首歌的人比这首歌更笨，这就是为什么唯一成功的演绎这首歌的是席德·维瑟斯（Sid Vicious）。
Frank-- and Elvis, for that matter-- was always too complicated, too full of rhythmic freedom to settle into the song's simplistic selfishness.
弗兰克——还有埃尔维斯，就此而言——总是太复杂，太充满节奏自由，以至于无法适应这首歌简单的自私。
"My Way" pretends to speak up for self-possession and personal vision when really, it only calls forth the temper tantrums of two-year-olds, or perhaps the last words spoken to Eva Braun.
《我的方式》假装在表达自我克制和个人愿景，但实际上，它只会引起两岁孩子的脾气，或者可能是对爱娃·布劳恩说的最后一句话。
Remember the stories from Belgrade, how each night when the government-controlled evening news aired, the townspeople blew whistles or banged on pots and pans so they wouldn't hear the state's lies?
还记得贝尔格莱德的故事吗？每天晚上，当政府控制的晚间新闻播出时，镇民们都会吹口哨或敲打锅碗瓢盆，以免听到国家的谎言？
Keep that beautiful action in mind when Sinatra's dead, and all the TVs in your more boring democratic world are playing "My Way." Drown it out.
当西纳特拉死后，请记住那个美丽的动作，而在你更无聊的民主世界中，所有电视都在播放“我的方式”。淹没它。
Play something else to the montage in your own heart.
在你自己心里的蒙太奇中演奏一些别的东西。
Or just turn off the TV's sound.
或者直接关掉电视的声音。
Have your stereo queued up and ready to go.
让您的立体声音响排队并准备就绪。
He could keel over any second.
他随时都可能翻倒。
I mean, he might not even make it through this hour-long radio show.
我的意思是，他甚至可能无法完成这个长达一小时的广播节目。
Be prepared.
做好准备。
Why not play "Angel Eyes" for its subtle reference to the singer's Mediterranean windows to the soul, for its knowing, jaunty adieu.
为什么不播放“Angel Eyes”，因为它微妙地提到了歌手的地中海灵魂之窗，因为它的知性、欢快的告别。
Are you listening, Peter Jennings?
你在听吗，彼得·詹宁斯？
Hear how great that would work under all those postwar black-and-white snapshots.
听听这在战后的黑白快照下效果如何。
How that nice Christian harp outro hints at Frank's unlikely salvation.
那优美的基督教竖琴尾奏如何暗示弗兰克不可思议的救赎。
Let's all listen again.
让我们大家再听一遍。
I admit this may not be quite stupid and obvious enough for network television, so if the staff of The Today Show is hearing my voice right now, here's another suggestion.
我承认这对于网络电视来说可能不够愚蠢和明显，所以如果《今日秀》的工作人员现在听到我的声音，这里有另一个建议。
[SINGING] That's life.
[唱歌] 这就是生活。
That's what all the people say.
所有人都这么说。
You're riding high in April, shot down in May.
你在四月蒸蒸日上，在五月就被击落。
If "Angel Eyes" is all periods and pauses, this song is all exclamation points.
如果说《Angel Eyes》全是句点和停顿，那么这首歌全是感叹号。
Picture please, Good Morning America staffers, quick-cut shots of Sinatra with Ava Gardner, Sinatra with daughter Nancy at age five, Sinatra with Kennedy.
请想象一下，早安美国的工作人员，西纳特拉与艾娃·加德纳、西纳特拉与五岁女儿南希、西纳特拉与肯尼迪的快剪镜头。
Sinatra with some mob boss no one will recognize anyway over these lyrics.
西纳特拉和一些黑帮老大无论如何都不会因为这些歌词而认出。
[SINGING] I've been a puppet, a pauper, a pirate, a poet, a pawn and a king.
[唱歌]我曾经是一个傀儡、一个乞丐、一个海盗、一个诗人、一个棋子和一个国王。
I've been up and down and over and out, and I know one thing.
我经历过起起落落、翻来覆去，我知道一件事。
Each time I find myself flat on my face, I pick myself up and get back in the race.
每次我发现自己趴在地上时，我都会站起来并重新投入比赛。
That's life.
这就是生活。
It's really a terrible choice, just as corny as "My Way," but at least it's got a little bit of the old ring-a-ding-ding.
这确实是一个糟糕的选择，就像“我的方式”一样老套，但至少它有一点旧的叮当声。
It swings.
它摇摆不定。
This is my ABMY vote-- Anything But "My Way." As for me, when I hear the big news, I'm tempted to think I'll be cranking up my favorite Sinatra side, "Come Dance With Me," but it's too disrespectfully cheerful to work as a dirge and kind of creepy, if taken literally.
这是我对 ABMY 的投票——除了“我的方式”之外的一切。至于我，当我听到这个重大消息时，我很想把我最喜欢的西纳特拉的一面“来和我跳舞”，但如果从字面上看，它太不尊重地欢快地作为挽歌，而且有点令人毛骨悚然。
Who, except Tom Petty, wants to foxtrot with a corpse?
除了汤姆·佩蒂之外，谁愿意抱着尸体跳狐步舞呢？
I've decided instead to blare the Capitol recording of Cole Porter's "What Is This Thing Called Love?" It's the driving question behind the entire Sinatra research project, and it's a lovely pop song, suitably melancholy for morning, reflective, and wise.
我决定转而在国会大厦播放科尔·波特（Cole Porter）的《这叫爱情的东西是什么？》的录音。这是整个西纳特拉研究项目背后的驱动性问题，也是一首可爱的流行歌曲，适合早晨的忧郁、沉思和智慧。
The orchestra starts off low.
管弦乐队开始时声音很低。
Enter a clarinet that's somehow lewd and ponderous at the same time.
输入一支单簧管，它在某种程度上既淫荡又笨重。
Frank scrawls the topic sentence, then repeats it, adding one word, this funny thing called love.
弗兰克潦草地写下了主题句，然后重复了一遍，添加了一个词，这个有趣的东西叫做爱。
It begins as a rhetorical question, and by the end, turns into a cosmic inquiry of God.
它一开始是一个反问句，到最后，变成了对上帝的宇宙询问。
[SINGING] What is this thing called love?
[歌唱]这叫爱情的东西是什么？
This funny thing called love?
这种有趣的东西叫做爱情？
Just who can solve its mysteries?
到底谁能解开其中的谜团呢？
And why should it make a fool of me?
为什么它要愚弄我呢？
Now, ET producers, are you paying attention?
现在，ET制作者们，你们注意了吗？
At the end of the song, Frank asks one more time to the Lord in heaven above, just what is this thing called love?
在歌曲的最后，弗兰克再次问天上的主，爱情这个东西到底是什么？
And then he cuts out, as if he's off to face the creator in person.
然后他就停了下来，就好像他要亲自面对创作者一样。
[SINGING] That's why I ask the Lord up in heaven above, just what is this thing called love?
[歌唱] 所以我问天上的主，这叫爱的东西到底是什么？
And then, once he's gone, the orchestra resolves to a sweet, final chord, as if they have the answer, but Frank Sinatra is no longer around to hear it.
然后，一旦他离开，管弦乐队就会决定演奏一个甜美的、最后的和弦，就好像他们找到了答案一样，但弗兰克·辛纳屈(Frank Sinatra)已经不在身边听了。
Can't you just see the freeze frame?
你不能只看到冻结帧吗？
Frank in the recording studio, the Capitol years, the hat askew, the tie loosened?
弗兰克在录音室，国会大厦岁月里，帽子歪了，领带松了？
TV producers of America, I bet you for all of us, for Frank.
美国的电视制片人，我敢打赌，为了我们所有人，为了弗兰克。
Ixnay on the "My Way." Excuse me now while I disappear.
Ixnay 的《My Way》。现在请原谅我消失。
[MUSIC - "MY WAY" BY SID VICIOUS]
[音乐 - SID VICIOUS 的“我的方式”]
Well, although Sarah Vowell's plea to network television was broadcast twice on our show and once on NPR'S All Things Considered , when Frank Sinatra died on May 14, 1998, just a month after we last played Sarah's commentary, every network newscast used the song "My Way" in its obituary.
好吧，虽然莎拉·沃威尔对网络电视的恳求在我们的节目中播出了两次，在 NPR 的《All Things Thoughd》中播放了一次，但当弗兰克·辛纳屈 (Frank Sinatra) 于 1998 年 5 月 14 日去世时，也就是我们上次播放莎拉的评论一个月后，每个网络新闻广播都在其讣告中使用了歌曲“My Way”。
So much for the power of public radio to alter the national debate.
公共广播改变全国辩论的力量就到此为止了。
The one exception was ABC's Nightline , which is often a maverick force in TV news.
唯一的例外是美国广播公司的夜线，它通常是电视新闻中的一支特立独行的力量。
The night Sinatra died, Nightline ended its special hour-long tribute to Sinatra by playing Sarah's radio story.
辛纳屈去世当晚，夜线通过播放莎拉的广播故事来结束对辛纳屈一小时的特别致敬。
In other words, the person who got the last word on American network news that day, the day of Sinatra's passing, was Sarah.
换句话说，那天，也就是西纳特拉去世的那天，在美国网络新闻上得到最后消息的人就是莎拉。
Her essay is now collected in her book of radio essays, Take the Cannoli.
她的文章现在收录在她的广播文章集《Take the Cannoli》中。
Coming up, Gay Talese on the road with Sinatra in '66.
接下来，Gay Talese 将在 66 年与 Sinatra 一起上路。
That's in a minute from Public Radio International when our program continues.
一分钟后，国际公共广播电台将继续我们的节目。
It's This American Life .
这就是美国生活。
I'm Ira Glass.
我是艾拉·格拉斯。
Each week, of course, we choose a theme, invite a variety of writers and performers to take a whack at that theme with fiction, nonfiction, radio monologues, whatever we can think of.
当然，每周我们都会选择一个主题，邀请各种作家和表演者用小说、非小说、广播独白以及我们能想到的任何内容来探讨这个主题。
And the subject of today's show, what was his name again?
而今天节目的主题，他又叫什么名字？
[SINGING] And I sing love songs, mostly after dark, mostly in saloons.
[唱歌] 我唱情歌，大部分是在天黑后，大部分是在酒吧里。
Yes, you cannot have a career as long and distinguished as Frank Sinatra's without some experiments that fail.
是的，如果没有一些失败的实验，你就不可能拥有像弗兰克·西纳特拉那样长久而杰出的职业生涯。
Witness Frank Sinatra's cover of "Bad, Bad Leroy Brown" or the Rod McKuen poetry he recorded.
看看弗兰克·辛纳屈 (Frank Sinatra) 翻唱的《Bad, Bad Leroy Brown》或他录制的 Rod McKuen 诗歌。
I can just about get through the day, but the night makes me nervous.
白天我还能勉强度过，但晚上却让我紧张。
Not for any reason except maybe that it catches you unaware and follows you the way a woman follows when she wants something.
没有任何原因，除了也许它会在你不知不觉中抓住你并跟随你，就像女人在想要什么时跟随你一样。
What is that?
那是什么？
The night makes Frank Sinatra nervous?
夜晚让弗兰克辛纳屈紧张吗？
Frank Sinatra?
弗兰克·西纳特拉？
John Connors, who provides a lot of music for our radio program, and has a huge, huge Frank Sinatra collection, was playing me some of these Sinatra turkeys when we had this odd little moment.
约翰·康纳斯（John Connors）为我们的广播节目提供了大量音乐，并且拥有大量弗兰克·辛纳屈（Frank Sinatra）的收藏，当我们遇到这个奇怪的小时刻时，他正在给我播放一些辛纳屈火鸡。
He was playing me Sinatra's cover of the Simon and Garfunkel hit "Mrs. Robinson."
他正在给我播放西纳特拉翻唱的西蒙和加芬克尔的热门歌曲《罗宾逊夫人》。
[SINGING] So how's your bird, Mrs. Robinson?
[唱歌] 那么你的鸟怎么样了，罗宾逊夫人？
Dandy, Mrs. Robinson you say.
丹迪，你说的是罗宾逊夫人。
Hey, hey, hey.
嘿，嘿，嘿。
Well, have you heard, Mrs. Robinson--
好吧，你听说了吗，罗宾逊夫人——
It's hard for me to think it's bad because for me, bad is--
我很难认为这很糟糕，因为对我来说，糟糕的是——
Boring.
无聊。
John Connors -- is boring.
约翰·康纳斯——很无聊。
And none of this is boring.
这些都不无聊。
I still like them.
我还是喜欢他们。
It's really weird.
真的很奇怪。
And it's really weird because these are the songs that made me like him.
这真的很奇怪，因为这些歌曲让我喜欢他。
I'm just thinking of this now because when I was growing up, I didn't hear The Beatles.
我现在才想起这个，因为在我成长的过程中，我没有听过披头士乐队的歌。
I heard The Chipmunks doing the Beatles.
我听说花栗鼠乐队正在演奏披头士乐队。
I'm post-baby boom.
我是婴儿潮后的人。
But my mother was going out and was buying Sinatra singing "Mrs. Robinson." So this is the song.
但我妈妈要出去，买了西纳特拉唱的《罗宾逊夫人》。所以这就是这首歌。
This is "Mrs. Robinson" to me.
这对我来说是“罗宾逊夫人”。
When I hear the Simon and Garfunkel version of "Mrs. Robinson," it's the new version.
当我听到西蒙和加芬克尔版本的《罗宾逊夫人》时，这是新版本。
It's the cover.
这是封面。
This is the original.
这是原件。
The Simon and Garfunkel version is the cover.
封面是西蒙和加芬克尔的版本。
Act Three, So What Makes Sinatra So Special Anyway?
第三幕，是什么让辛纳特拉如此特别？
From the time of his big breakthrough as a solo singer in 1942, Frank Sinatra simply was more emotionally expressive, more vulnerable, more openly sensual than any male pop singer to that point.
自 1942 年作为独唱歌手取得重大突破以来，弗兰克·辛纳屈 (Frank Sinatra) 比任何男性流行歌手都更善于表达情感、更脆弱、更公开性感。
But the Frank Sinatra that we think of as Frank Sinatra did not appear until the 1950s.
但我们所认为的弗兰克·辛纳屈 (Frank Sinatra) 直到 20 世纪 50 年代才出现。
After a career slump, after his second marriage with Ava Gardner broke up, he went into the studio to record songs with a much more tough, more swinging sound than he had done before.
在经历了职业生涯的低谷之后，在他与艾娃·加德纳的第二次婚姻破裂后，他进入录音室录制歌曲，声音比以前更加坚韧、更加摇摆。
His public image was becoming the character who we know now-- half tough guy, half sentimental saloon singer.
他的公众形象正在成为我们现在所认识的人物——一半是硬汉，一半是多愁善感的酒吧歌手。
And Nelson Riddle invented this sound for these albums with heavy input, apparently, from Sinatra.
尼尔森·里德尔（Nelson Riddle）为这些专辑发明了这种声音，显然是来自西纳特拉（Sinatra）的大量投入。
The '50s are the era of nearly everything we think of today as a Sinatra standard.
50 年代几乎是我们今天所认为的一切 Sinatra 标准的时代。
[SINGING] Those fingers in my hair, that sly come hither stare that strips my conscience bare, it's witchcraft.
[歌唱] 那些手指插进我的头发，那狡猾的眼神，剥光了我的良心，这是巫术。
Music writer Will Friedwald says that the sound that Riddle invented for Sinatra is built around bass trombone, flute, muted trumpet, and strings.
音乐作家威尔·弗里德瓦尔德 (Will Friedwald) 表示，里德尔为西纳特拉发明的声音是围绕低音长号、长笛、静音小号和弦乐构建的。
And there's this lightness to the orchestration with a much more complicated mix of melodies and counter melodies on different instruments than other composers were using then on pop records.
与当时其他作曲家在流行唱片上使用的不同乐器相比，编曲更加轻松，旋律和复调旋律的混合要复杂得多。
Witness, for example, how Riddle used trumpeter Harry "Sweets" Edison.
例如，里德尔如何使用小号手哈利·“甜蜜”·爱迪生就是见证。
Essentially, he was not hired as a trumpeter to sit in the section, but he was hired strictly as a soloist or an obligatist.
本质上，他并不是被聘为小号手，而是被严格聘为独奏者或义务演奏者。
And he would not sit in the section.
而且他不会坐在这个区域。
He would sit to the side and had his own special microphone.
他会坐在一边，有自己的特殊麦克风。
And so Sweets would just improvise these little trumpet fills here and there on the muted trumpet.
因此，斯威茨只是在静音喇叭上即兴创作这些小喇叭填充。
And when he plays, he's only playing almost in between the breaths.
当他演奏时，他几乎只是在呼吸之间演奏。
Well, as Gary Giddins points out, Sweets essentially plays three kinds of solos-- beep, beep beep, and beep beep beep.
好吧，正如加里·吉丁斯（Gary Giddins）指出的那样，Sweets 本质上演奏三种独奏——嘟嘟嘟、嘟嘟嘟和嘟嘟嘟。
Let me play a little bit of this.
让我玩一点这个。
He comes in here, if I understand, right after Sinatra sings "with people she'd hate."
如果我理解的话，他就在西纳特拉唱完“和她讨厌的人”之后来到这里。
[SINGING] She loves the theater, but never comes late.
[唱歌]她喜欢看戏，但从不迟到。
She'd never bother with people she'd hate.
她从来不会和自己讨厌的人打交道。
That's why the lady is a tramp.
这就是为什么这位女士是个流浪汉。
It's going to come back again in a couple seconds.
几秒钟后它会再次回来。
[SINGING] She'll have no crap games with sharpies and frauds.
[唱歌]她不会玩带有利器和欺诈的垃圾游戏。
And she won't go to Harlem in Lincolns or Fords.
她也不会开林肯或福特去哈莱姆区。
And she won't dish the dirt--
她不会弄脏东西——
Sinatra's at his peak in the '50s and the early '60s.
西纳特拉在 50 年代和 60 年代初处于巅峰。
These are the years of his greatest recordings, of his movies, of the Rat Pack.
这些年是他最伟大的唱片、他的电影和《Rat Pack》的年份。
And this all brings us to our next act.
这一切都将我们带入下一步。
Act Four, Sinatra Has a Cold.
第四幕，西纳特拉感冒了。
If we want a glimpse into the life that Sinatra led during his heyday, one of the most famous accounts is by journalist Gay Talese.
如果我们想一睹西纳特拉全盛时期的生活，最著名的报道之一是记者盖伊·塔莱塞 (Gay Talese) 的报道。
First published in Esquire magazine in 1966, called Sinatra Has a Cold.
1966 年，《Sinatra 感冒了》首次发表在《Esquire》杂志上。
It's this long, funny, sad story with many, many, many scenes.
这是一个漫长、有趣、悲伤的故事，有很多很多场景。
We only have time for an excerpt here, which Gay Talese agreed to read for us.
我们这里只有时间摘录一段内容，盖伊·塔莱斯同意为我们朗读。
Frank Sinatra, holding a glass of bourbon in one hand and a cigarette in the other, stood in a dark corner of a bar between two attractive but fading blondes who sat waiting for him to say something.
弗兰克·辛纳屈（Frank Sinatra）一手拿着一杯波本威士忌，另一只手拿着一支香烟，站在酒吧的一个黑暗角落里，中间坐着两个迷人但褪色的金发女郎，她们坐在那儿等着他说话。
But he said nothing.
但他什么也没说。
He had been silent during much of the evening except now, in this private club in Beverly Hills, he seemed even more distant, staring out through the smoke and the semi-darkness into a large room beyond the bar where dozens of young couples sat huddled around small tables or twisted in the center of the floor to the clamorous clang of folk rock music blaring from the stereo.
整个晚上的大部分时间他都保持沉默，但现在，在比佛利山庄的这家私人俱乐部里，他显得更加遥远，透过烟雾和半暗的光线，凝视着酒吧后面的一间大房间，那里有几十对年轻夫妇挤在小桌子周围，或者扭坐在地板中央，听着音响中传来的喧闹的民间摇滚音乐。
The two blondes knew, as did Sinatra's four male friends who stood nearby, that it was a bad idea to force conversation upon him when he was in this mood of sullen silence, a mood that had hardly been uncommon during this first week of November, a month before his 50th birthday.
这两个金发女郎和站在附近的西纳特拉的四个男性朋友都知道，当他处于这种闷闷不乐的沉默状态时，强迫他说话是个坏主意，这种情绪在 11 月的第一周，也就是他 50 岁生日前一个月，并不罕见。
Sinatra had been working on a film that he now disliked and could not wait to finish.
西纳特拉一直在拍一部他现在不喜欢的电影，但他迫不及待地想完成。
He was tired of all the publicity attached to his dating the 20-year-old Mia Farrow who was not in sight tonight.
他厌倦了所有关于他与 20 岁的米亚·法罗 (Mia Farrow) 约会的宣传，而后者今晚却不见踪影。
He was angry that a CBS television documentary of his life, to be shown in two weeks, was reportedly prying into his privacy, even speculating on his possible friendships with mafia leaders.
他感到愤怒的是，哥伦比亚广播公司(CBS)一部关于他生活的电视纪录片将于两周后播出，据报道该纪录片刺探了他的隐私，甚至猜测了他与黑手党头目的可能的友谊。
He was worried about his starring role in an hour-long NBC show entitled Sinatra, A Man and His Music, which would require that he sing 18 songs with a voice that, at this particular moment, just a few nights before the taping was to begin, was weak and sore and uncertain.
他担心自己在 NBC 节目《辛纳屈、一个男人和他的音乐》中扮演的主角，这个节目长达一小时，要求他演唱 18 首歌曲，而在录制开始前几个晚上的这个特殊时刻，他的声音却是虚弱、疼痛和不确定的。
Sinatra was ill.
西纳特拉病了。
He was a victim of ailments so common that most people would consider it trivial, but when it gets to Sinatra, can plunge him into a state of anguish and deep depression, panic, even rage.
他是疾病的受害者，这种疾病如此常见，大多数人都认为这是微不足道的，但当它传到西纳特拉身上时，就会让他陷入痛苦、深度抑郁、恐慌，甚至愤怒的状态。
Frank Sinatra had a cold.
弗兰克·辛纳屈感冒了。
Sinatra with a cold is Picasso without paint, Ferrari without fuel, only worse.
患了感冒的西纳特拉就像没有油漆的毕加索，没有燃料的法拉利，只有更糟。
For the common cold robs Sinatra of that uninsurable jewel, his voice, cutting into the core of his confidence.
因为普通感冒夺走了西纳特拉那无法投保的宝石——他的声音，削弱了他信心的核心。
And it affects not only his own psyche but also seems to cause a kind of psychosomatic nasal drip within dozens of people who work for him, drink with him, depend on him for their own welfare and stability.
这不仅影响了他自己的心灵，而且似乎还让数十名为他工作、与他一起喝酒、依靠他谋取福利和稳定的人产生了一种心身性的鼻滴。
A Sinatra with a cold can, in a small way, send vibrations through the entertainment industry and beyond, as surely as a president of the United States, suddenly sick, can shake the national economy.
西纳特拉感冒了，可以在某种程度上给娱乐业及其他领域带来震动，就像美国总统突然生病一样，肯定会动摇国民经济。
For Frank Sinatra was now involved with many things involving many people-- his own film company, his record company, his private airline, his missile parts firm, his real estate holdings across the nation, his personal staff of 75, which are only a portion of the power he is and has come to represent.
因为弗兰克·辛纳屈现在参与了很多涉及很多人的事情——他自己的电影公司、他的唱片公司、他的私人航空公司、他的导弹零件公司、他在全国各地持有的房地产、他的 75 名私人员工，这些只是他所代表的权力的一部分。
He now seemed to be also the embodiment of the fully emancipated male, perhaps the only one in America, the man who can do anything he wants.
他现在似乎也是完全解放的男性的化身，也许是美国唯一一个可以做任何他想做的事情的人。
Anything.
任何事物。
Can do it because he has the money, the energy, and no apparent guilt.
能做到这一点是因为他有钱、有精力，而且没有明显的愧疚感。
All the way.
一路走来。
All or nothing at all.
要么全有，要么全无。
This is the Sicilian in Sinatra.
这是西纳特拉的西西里语。
He permits his friends, if they wish to remain that, none of the easy Anglo-Saxon outs.
他不允许他的朋友们，如果他们想保持这种状态，就不要轻易出局。
But if they remain loyal, then there is nothing Sinatra will not do for them-- fabulous gifts, personal kindnesses, encouragement when they're down, adulation when they're up.
但如果他们保持忠诚，那么西纳特拉就会为他们做任何事——精美的礼物、个人的善意、在他们失意时的鼓励、在他们奋发时的奉承。
They are wise to remember, however, one thing.
然而，他们明智地记住一件事。
He is Sinatra, The Boss, Il Padrone.
他是辛纳屈、The Boss、Il Padrone。
Or better still, he is what in traditional Sicily have long been called uomini rispetatti-- men of respect.
或者更好的是，他是传统西西里岛长期以来被称为 uomini rispetatti 的人——受人尊敬的人。
Men who are both majestic and humble.
男人既威严又谦虚。
Men who are loved by all and are very generous by nature.
受到所有人喜爱并且生性非常慷慨的男人。
Men whose hands are kissed as they walk from village to village.
当男人从一个村庄走到另一个村庄时，他们的手被亲吻。
Men who would personally go out of their way to redress a wrong.
那些会亲自竭尽全力纠正错误的人。
Frank Sinatra does things personally.
弗兰克·辛纳屈 (Frank Sinatra) 亲自做事。
At Christmastime, he will personally pick dozens of presents for his close friends and family, remembering the type of jewelry they like, their favorite colors, the size of their shirts and dresses.
在圣诞节期间，他会亲自为亲密的朋友和家人挑选数十件礼物，记住他们喜欢的珠宝类型、最喜欢的颜色、衬衫和连衣裙的尺寸。
The same Sinatra can, within the same hour, explode in a towering rage of intolerance should a small thing be incorrectly done for him by one of his paisanos.
如果他的一个派萨诺人错误地为他做了一件小事，同一辛纳特拉可能会在同一小时内爆发出强烈的不宽容愤怒。
For example, when one of his men brought him a frankfurter with ketchup on it, which Sinatra apparently abhors, he angrily threw the bottle at the man, splattering ketchup all over him.
例如，当他的一名手下给他带来了一份沾有番茄酱的法兰克福香肠时，西纳特拉显然对此深恶痛绝，他愤怒地将瓶子扔向该男子，番茄酱溅了一身。
In Las Vegas, after the last show at The Sands, the Sinatra crowd, which numbered about 20, all got into a line of cars and headed for another club.
在拉斯维加斯，金沙酒店的最后一场演出结束后，大约 20 名 Sinatra 观众全部坐上一排汽车，前往另一家具乐部。
It was 3 o'clock.
当时是 3 点钟。
The night was young.
夜晚还很年轻。
They stopped at The Sahara, taking a long table near the back and listened to a bald-headed little comedian named Don Rickles, who was probably more caustic than any other comic in the country.
他们在撒哈拉酒店停下来，在靠近后面的一张长桌上听一位名叫唐·里克斯的光头小喜剧演员的演讲，他可能比这个国家的任何其他喜剧演员都更加刻薄。
His humor is so rude, in such bad taste, that it offends no one because it's too offensive to be offensive.
他的幽默是如此粗鲁，品味如此低劣，以至于没有冒犯任何人，因为它太令人反感了。
Spotting Eddie Fisher among the audience, Rickles proceeded to ridicule him as a lover, saying it was no wonder that he could not handle Elizabeth Taylor.
里克斯在观众中发现了埃迪·费舍尔，开始嘲笑他作为情人，说难怪他无法应付伊丽莎白·泰勒。
And when two businessmen in the audience acknowledged that they were Egyptians, Rickles cut into them and their country's policy toward Israel.
当观众中的两名商人承认他们是埃及人时，里克斯切入了他们以及埃及对以色列的政策。
And he strongly suggested that the woman seated at one table with her husband was actually a hooker.
他强烈暗示与丈夫坐在一张桌子上的那个女人实际上是一个妓女。
When the Sinatra crowd walked in, Don Rickles could not be more delighted.
当辛纳屈人群走进来时，唐·里克斯高兴极了。
Pointing to Sinatra's pal Jilly Rizzo, Rickles yelled, "How's it feel to be Frank's tractor?
里克斯指着西纳特拉的朋友吉莉·里佐喊道：“成为弗兰克的拖拉机感觉如何？
Yeah, Jilly keeps walking in front of Frank, clearing the way." Then, nodding to Leo Durocher, a former baseball player, Rickles said, "Stand up Leo, show Frank how you slide."
是的，吉莉一直走在弗兰克前面，清理道路。”然后，里克斯向前棒球运动员利奥·杜罗彻（Leo Durocher）点头说：“利奥站起来，向弗兰克展示你如何滑行。”
Then he focused on Sinatra, not failing to mention Mia Farrow, nor that he was wearing a toupee, nor to say that Sinatra's washed up as a singer.
然后他把注意力集中在辛纳屈身上，没有提到米亚·法罗，也没有提到他戴着假发，更没有提到辛纳屈作为一名歌手的失败。
And when Sinatra laughed, everybody laughed.
当西纳特拉笑时，每个人都笑了。
And Rickles pointed toward Joey Bishop and said, "Bishop keeps checking with Frank to see what's funny."
里克斯指着乔伊·毕肖普说：“毕肖普一直在和弗兰克核实，看看有什么有趣的事情。”
Then, after Rickles told some Jewish jokes, Dean Martin stood up and yelled, "Hey, you're always talking about the Jews, never about the Italians." And Rickles cut him off, "What do we need the Italians for?
然后，在里克斯讲了一些犹太笑话后，迪恩·马丁站起来大喊：“嘿，你总是在谈论犹太人，从来没有谈论过意大利人。”里克斯打断了他的话，“我们需要意大利人做什么？
All they do is keep the flies off our fish." Sinatra laughed.
他们所做的就是让苍蝇远离我们的鱼。”西纳特拉笑了。
They all laughed.
他们都笑了。
And Rickles went on this way for nearly an hour until Sinatra, standing up, said, "All right, all right.
里克斯就这样走了将近一个小时，直到西纳特拉站起来说：“好吧，好吧。
Come on, get this thing over with.
来吧，把这件事结束吧。
I've got to go."
我得走了。”
"Shut up and sit down," Rickles yelled, "I had to listen to you sing."
“闭嘴，坐下，”里克斯喊道，“我必须听你唱歌。”
"Who do you think you're talking to?" Sinatra yelled.
“你以为你在跟谁说话？”西纳特拉喊道。
"Dick Haymes," Rickles replied.
“迪克·海姆斯，”里克斯回答道。
And Sinatra laughed again.
西纳特拉又笑了。
And then Dean Martin, pouring a bottle of whiskey over his head, entirely drenching his tuxedo, pounded the table.
然后迪恩·马丁把一瓶威士忌倒在头上，把他的燕尾服完全浸湿，然后重重地敲着桌子。
By 4:00 AM, Frank Sinatra led the group out of The Sahara, some of them carrying their glasses of whiskey with them, sipping it along the sidewalk and into the cars.
凌晨 4:00，弗兰克·辛纳屈 (Frank Sinatra) 带领大家走出撒哈拉沙漠，其中一些人随身携带着威士忌，沿着人行道喝着，然后上了车。
And then, returning to The Sands, they walked into the gaming casino.
然后，回到金沙，他们走进了赌场。
It was still packed with people.
里面仍然挤满了人。
Frank Sinatra, holding a shot glass of bourbon in his left hand, walked through the crowd.
弗兰克·辛纳屈左手拿着一杯波本威士忌，穿过人群。
He, unlike some of his friends, was perfectly pressed, his tuxedo tie precisely pointed, his shoes unsmudged.
与他的一些朋友不同，他衣着整齐，燕尾服领带笔直，鞋子没有弄脏。
He never seems to lose his dignity, never lets his guard completely down, no matter how much he has drunk nor how long he's been up.
他似乎从未失去尊严，从未完全放松警惕，无论他喝了多少酒，也不管他醒了多久。
He never sways when he walks like Dean Martin, nor does he dance in the aisles or jump up on the tables like Sammy Davis.
他走路时不会像迪恩·马丁那样摇晃，也不会像萨米·戴维斯那样在过道里跳舞或在桌子上跳起来。
A part of Sinatra, no matter where he is, is never there.
西纳特拉的一部分，无论他在哪里，都永远不在那里。
There's always a part of him, though sometimes a small part, that remains Il Padrone
他身上总有一部分，尽管有时是一小部分，仍然是 Il Padrone
The crowd that had gathered around him now opened to let him through.
聚集在他周围的人群现在开始让他通过。
But a woman stopped in front of him, handing him a piece of paper.
但一个女人停在他面前，递给他一张纸。
He signed it, and then he said, thank you.
他签了字，然后说，谢谢。
In the rear of The Sands' large dining room was a long table reserved for Sinatra.
在金沙大餐厅的后面，有一张为西纳特拉预留的长桌。
The dining room was fairly empty at this hour with perhaps two dozen other people in the room, including a table of four unescorted young ladies sitting near Sinatra.
这个时间餐厅里相当空，房间里大约有两打人，其中包括坐在西纳特拉附近的一桌四位无人陪同的年轻女士。
On the other side of the room, at a long table, sat seven men shoulder to shoulder against the wall, two of them wearing dark glasses, all of them eating quietly, speaking hardly a word, just sitting and eating and missing nothing.
房间的另一边，一张长桌旁，肩并肩靠墙坐着七个男人，其中两个戴着墨镜，所有人都安静地吃着饭，几乎不说话，只是坐着吃着，什么也没有错过。
The Sinatra party, after getting settled and having a few more drinks, ordered something to eat.
辛纳特拉一行人安顿下来，又喝了几杯酒后，点了一些吃的。
The table was about the same size as the one reserved for Sinatra whenever he's at Jilly's in New York.
这张桌子的大小与西纳特拉每次去纽约 Jilly's 时预留的桌子差不多。
And the people seated around this table in Las Vegas are mainly the same people who are often seen with Sinatra at Jilly's Restaurant in New York or at a restaurant in California or in Italy or in New Jersey, wherever Sinatra happens to be.
在拉斯维加斯，坐在这张桌子周围的人主要是那些经常在纽约的 Jilly's 餐厅、加利福尼亚、意大利或新泽西的餐厅里看到辛纳屈的人，无论辛纳屈在哪里。
When Sinatra sits to dine, his trusted friends are close.
当西纳特拉坐下来吃饭时，他信任的朋友就在身边。
And no matter where he is, no matter how elegant the place may be, there's something of the neighborhood showing because Sinatra, no matter how far he has come, is still something of the boy from the neighborhood.
无论他身在何处，无论这个地方多么优雅，都会流露出邻里的一些东西，因为西纳特拉，无论他走了多远，仍然是邻里男孩的一些东西。
Only now, he can take his neighborhood with him.
只有现在，他才能带着他的邻居一起去。
In some ways, the quasi-family affair at the reserved table in a public place is the closest thing Sinatra now has to home life.
从某些方面来说，公共场所预留餐桌上的准家庭事务是西纳特拉现在最接近家庭生活的事情。
Gay Talese.
盖伊·塔莱塞。
Act Five: How Sinatra Affects Us Ira Glass Act Five, How Sinatra Affects Us.
第五幕：西纳特拉如何影响我们 艾拉·格拉斯 第五幕，西纳特拉如何影响我们。
We have this account of everyday life from Camden Joy in New York.
我们从纽约的卡姆登·乔伊那里得到了关于日常生活的描述。
Recently, a room full of people were almost killed by Frank Sinatra.
最近，一屋子的人差点被弗兰克·辛纳屈杀死。
I was there.
我在那里。
I know.
我知道。
The scene was a Turkish kebab house in Lower Manhattan.
场景是曼哈顿下城的一家土耳其烤肉店。
This is my neighborhood hangout, the sort of place where only the employees are permitted to smoke.
这是我家附近的聚会场所，只有员工才可以吸烟的地方。
I go there because so do a lot of others-- Muslim cabbies on their breaks, fashion students from Kyoto, elegant immigrants from Tehran.
我去那里是因为很多其他人也去那里——休息时的穆斯林出租车司机、来自京都的时尚学生、来自德黑兰的优雅移民。
So there we all were the other day, eating grilled lamb and deep-fried balls of chickpeas off Styrofoam plates with plastic forks and knives, when suddenly we heard a new sound.
那天我们都在那里，用塑料叉子和刀在聚苯乙烯泡沫塑料盘子上吃烤羊肉和炸鹰嘴豆球，突然我们听到了一种新的声音。
A television.
一台电视。
Now many of you have already seen televisions, and most of us had too, but the surprise of it in my local kebaberie is that thus far, we'd only heard Turkish radio.
现在你们中的许多人已经看过电视，我们大多数人也看过电视，但令人惊讶的是，在我当地的烤肉店中，到目前为止，我们只听到土耳其广播。
So with all due respect, we turned to look at it, as tradition tells you to do whenever anyone switches on a television in your presence.
因此，恕我直言，我们转而研究它，就像传统告诉你的那样，每当有人在你面前打开电视时你就应该这样做。
There was a black and white movie.
有一部黑白电影。
There was a man twitching on a train.
火车上有一个人抽搐。
There was a woman wearing pearls and a great deal of mascara, hairspray, and lipstick.
有一个戴着珍珠项链、涂着大量睫毛膏、发胶和口红的女人。
There was Janet Leigh, and there was Frank Sinatra.
有珍妮特·利，还有弗兰克·辛纳屈。
There are moments in a crowd when America makes so much sense, when you want to scream, bring me your tired, your poor, your hungry, and let's all dig Frank Sinatra.
在人群中，有些时刻，美国变得如此有意义，当你想尖叫时，把你的疲倦、你的贫穷、你的饥饿带给我，让我们一起挖掘弗兰克·辛纳屈(Frank Sinatra)。
I mean to say this was one such moment.
我的意思是说，这就是这样的时刻。
So all of us fell silent as, again, custom holds is the courteous thing to do when a television plays in a public setting.
于是我们所有人都沉默了，因为当电视在公共场合播放时，风俗习惯是礼貌的做法。
And through the steam of onions browning in olive oil, we watched The Manchurian Candidate .
透过橄榄油中变褐色的洋葱蒸汽，我们观看了《满洲候选人》。
Now, I've always wondered why you can never go into a place and hear my favorite Sinatra albums-- his sad albums, like No One Cares or In the Wee Small Hours -- and instead, you only hear songs like "New York, New York." Well, there's a reason.
现在，我一直想知道为什么你永远无法进入一个地方并听到我最喜欢的西纳特拉专辑 - 他的悲伤专辑，例如《No One Cares》或《In the Wee Small Hours》 - 相反，你只能听到像“纽约，纽约”这样的歌曲。嗯，这是有原因的。
And it's the same reason restaurants have to be careful when his movies are on TV.
这也是餐馆在电视上播放他的电影时必须小心的原因。
It's a possible health code violation.
这可能违反健康法规。
You can die from Sinatra.
你可能会死于西纳特拉。
In the movie, Sinatra is coming apart.
在电影中，西纳特拉崩溃了。
He sets a cigarette between his lips, and it falls into his Scotch and water.
他把一支香烟放在嘴里，香烟掉进了他的苏格兰威士忌和水中。
He looks around, embarrassed.
他环顾四周，一脸尴尬。
Only Janet Leigh is watching.
只有珍妮特·利在观看。
He tries to light a match, drops it, manages to light one, but his hands shake too badly, and the match goes out.
他试图点燃一根火柴，但它掉在地上，又设法点燃了一根，但他的手抖得太厉害，火柴熄灭了。
He asks Janet Leigh whether she minds if he smokes, and their eyes meet, and they fall in love.
他问珍妮特·利是否介意他抽烟，他们四目相对，坠入爱河。
She tells him she doesn't mind at all.
她告诉他她一点也不介意。
Please do.
请这样做。
He tries to light one up again, looks like he's going to vomit, bursts out of his chair, knocks over his drink, and runs.
他试图再次点起一支，看起来要吐了，从椅子上跳起来，打翻了饮料，然后跑了。
There in the Turkish kebab house our mouths were full of baba ghanoush and hummus and baby lamb.
在土耳其烤肉店里，我们嘴里塞满了巴巴加努什、鹰嘴豆泥和小羊肉。
But all of us had stopped chewing.
但我们所有人都停止了咀嚼。
We were too struck by what we were seeing.
我们对所看到的一切感到非常震惊。
A man we all recognized was on the television about to break down.
电视上的一个我们都认识的人快要崩溃了。
Sinatra has tried to flee the woman, but she follows him.
西纳特拉试图逃离那个女人，但她跟着他。
She asks him where his home is.
她问他的家在哪里。
He can't look at her.
他不能看她。
His voice catches on every syllable as he tells her he's in the Army.
当他告诉她他在军队时，他的声音每一个音节都清晰可见。
His eyelids flutter.
他的眼皮颤抖着。
He sucks on the cigarette she has lit for him.
他吮吸着她为他点燃的香烟。
He sighs, apparently at everything.
他叹了口气，显然是对一切都叹了口气。
We all know people who hate Frank Sinatra for all sorts of reasons, mostly for how he treats other human beings in so-called real life.
我们都知道有人出于各种原因讨厌弗兰克·西纳特拉，主要是因为他在所谓的现实生活中对待其他人的方式。
And they dismiss the undeniable beauty of his talent.
他们忽视了他不可否认的才华之美。
I wonder if these people had been in the Turkish kebab house with us what they would think, seeing this scene.
我不知道这些人和我们一起在土耳其烤肉店里的人看到这一幕会作何感想。
As with his best albums, Sinatra doesn't seem to be going from any script.
与他最好的专辑一样，西纳特拉似乎并没有脱离任何剧本。
There aren't printed-up lyrics and dialogue for this kind of thing.
这种事情没有印刷的歌词和对话。
It's the real stuff.
这是真货。
In this scene, he says almost nothing.
在这一幕中，他几乎什么也没说。
He exhales and sweats and looks away.
他呼气，出汗，然后移开视线。
He's standing before us letting his feelings utterly overwhelm him.
他站在我们面前，让他的感情完全淹没了他。
It's scary.
太可怕了。
It's time I mention what else was happening in our Turkish kebab house, and that was that all of us-- employees, bike messengers, cabbies-- felt Sinatra's confusion so completely that we ourselves were about to cry.
是时候我该提一下我们土耳其烤肉店里发生的其他事情了，那就是我们所有人——员工、自行车送信员、出租车司机——完全感受到了西纳特拉的困惑，以至于我们自己都快要哭了。
We would have been crying, that is, if our throats weren't clogged up with Turkish cuisine.
如果不是土耳其美食堵住了我们的喉咙，我们一定会哭。
Sinatra can barely talk.
西纳特拉几乎无法说话。
We could barely breathe.
我们几乎无法呼吸。
On the television, Janet Leigh starts to tell Sinatra who she is.
在电视上，珍妮特·利开始告诉西纳特拉她是谁。
Then she stops.
然后她停了下来。
Instead, tells him her address, tells him the apartment number, her phone number.
相反，告诉他她的地址，告诉他公寓号码，她的电话号码。
She gently asks him if he can remember it.
她轻轻地问他是否还记得。
His larynx closes up as he tells her, yes.
当他告诉她，是的时，他的喉咙闭合了。
You aren't sure how to take this response, because he still can't look at her.
你不知道该如何接受这个回应，因为他仍然无法看着她。
Janet Leigh repeats the phone number, and he turns even further from her, shakes his head slightly, closes his eyes in weariness.
珍妮特·利重复了电话号码，他转得离她更远，轻轻摇摇头，疲倦地闭上眼睛。
In that moment, finally, after attentively watching this, the whole group of us in the kebaberie began to cough.
就在那一刻，我们全家烤肉店里的人终于在认真地看着这一幕后，开始咳嗽起来。
Most everyone was choking back tears.
大多数人都强忍着泪水。
But by this time, many of us were choking on shish kebab too.
但到了这个时候，我们中的许多人也被烤羊肉串噎住了。
We were gagging into napkins, downing our sodas, poking ourselves in the ribs, crossing our hands at our throats.
我们用餐巾捂嘴，喝下苏打水，戳自己的肋骨，双手交叉捂住喉咙。
And then, abruptly, just like that, it was gone.
然后，突然间，就这样，它消失了。
We were OK.
我们都还好。
We would be fine.
我们会没事的。
We looked up at the television.
我们抬头看电视。
Sinatra, our would-be killer, was breathing easier too.
西纳特拉，我们的潜在杀手，呼吸也轻松了。
Well, our program was produced today by Peter Clowney and myself with Alix Spiegel and Nancy Updike, contributing editors Sarah Vowell, Paul Tough, Jack Hitt, and Margy Rochlin.
好吧，我们今天的节目由彼得·克劳尼和我本人、阿利克斯·斯皮格尔和南希·厄普代克、特约编辑莎拉·沃威尔、保罗·托夫、杰克·希特和玛吉·罗克林共同制作。
[ACKNOWLEDGEMENTS] To buy a cassette of this program, call us here at WBEZ in Chicago-- 312-832-3380-- or visit our website, where you can also listen to our shows for free, www.thislife.org.
[鸣谢] 要购买该节目的磁带，请致电我们位于芝加哥的 WBEZ - 312-832-3380 - 或访问我们的网站，您还可以免费收听我们的节目：www.thislife.org。
This American Life is distributed by Public Radio International.
《美国生活》由国际公共广播电台发行。
[FUNDING CREDITS] WBEZ management oversight by Torey Malatia who, of course, we always refer to as--
[资金来源] WBEZ 管理监督由 Torey Malatia 负责，当然，我们总是将他称为——
The Boss.
老板。
Il Padrone.
伊尔帕德罗内。
Ira Glass I'm Ira Glass, back next week with more stories of This American Life.
艾拉·格拉斯（Ira Glass） 我是艾拉·格拉斯（Ira Glass），下周回来，带来更多《美国生活》的故事。
This American Life is produced in collaboration with WBEZ Chicago and delivered to stations by PRX The Public Radio Exchange.
《This American Life》与 WBEZ Chicago 合作制作，并由 PRX 公共广播电台传送到各电台。