568: Human Spectacle - 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 #568 | April 26, 2024 568: Human Spectacle 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 568 集 | 2024 年 4 月 26 日 568：人类奇观 注：《美国生活》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: Prologue Ira Glass In October 2003, a guy was brought into the psychiatric emergency room at Bellevue Hospital in New York City.
序言：序言 Ira Glass 2003 年 10 月，一名男子被送进纽约市贝尔维尤医院的精神科急诊室。
Dr. Joel Gold was the chief attending psychiatrist that day and saw him.
乔尔·戈尔德医生是那天的主治精神科医生，也见了他。
He felt that his life was essentially a reality show, that he's been recorded for years, that everyone in his life was an actor reading from a script.
他觉得他的生活本质上就是一场真人秀，他已经被录制了很多年，他生活中的每个人都是一个念剧本的演员。
And he came to New York essentially to test this hypothesis.
他来到纽约主要是为了检验这个假设。
He thought that maybe 9/11 was faked, just to get a reaction out of him on reality TV.
他认为 9/11 事件可能是伪造的，只是为了让他在电视真人秀上做出反应。
And if he came to New York, and if the World Trade Centers were still standing, he would know that that was in fact the case.
如果他来到纽约，如果世贸中心仍然矗立，他就会知道事实确实如此。
If in fact they had been destroyed, then he would admit that perhaps he was delusional.
如果它们确实被摧毁了，那么他就会承认自己可能是产生了妄想。
But once he got to New York, instead of visiting the Twin Towers, he walked into the United Nations and asked for asylum-- asylum from a TV show that was filming him without his consent, 24 hours a day, which, you know, is how he ended up in Bellevue.
但一到纽约，他没有参观双子塔，而是走进联合国并请求庇护——一个未经他同意、每天24小时拍摄他的电视节目的庇护，你知道，这就是他最终来到贝尔维尤的原因。
Dr. Gold didn't think much of this.
戈尔德博士对此并没有多想。
People show up at Bellevue with lots of weird delusions all the time.
人们总是带着许多奇怪的错觉出现在贝尔维尤。
And then a few months later, another guy walks in with the same idea, that he was being filmed 24/7 and broadcast around the world.
几个月后，另一个人带着同样的想法走进来，他正在被 24/7 拍摄并在世界各地播出。
And the second guy, like the first one, mentioned a film, the 1998 movie The Truman Show .
第二个人和第一个人一样，提到了一部电影，1998 年的电影《杜鲁门的世界》。
Both of them name The Truman Show by name.
他们俩都以《杜鲁门的世界》的名字命名。
They said, my life is like The Truman Show .
他们说，我的生活就像《杜鲁门的世界》。
Truman is played by Jim Carrey.
杜鲁门由金·凯瑞饰演。
He's filmed all day, every day, on a program that is broadcast to billions of people around the globe.
他每天都在向全球数十亿人播放的节目中进行拍摄。
His wife, his best friend, everybody around him is an actor.
他的妻子，他最好的朋友，他周围的每个人都是演员。
Everybody knows this is a TV show but him, until one day, he starts to see clues that make him suspicious.
每个人都知道这是一部电视节目，但他，直到有一天，他开始看到令他怀疑的线索。
And just to be clear, you're not saying that the Truman Show necessarily triggered this, like, people watched The Truman Show and suddenly something in their brain snaps.
需要澄清的是，你并不是说《杜鲁门的世界》一定会引发这种情况，就像人们观看《杜鲁门的世界》然后突然大脑中的某些东西突然崩溃一样。
Yeah, exactly.
是的，完全正确。
On the contrary, I think.
我认为恰恰相反。
It's just when people are becoming psychotic, perhaps if you've seen the movie and that's kicking around in your head, you might say, yes, this is what's happening to me.
只是当人们变得精神病的时候，也许如果你看过这部电影并且脑海中浮现出这样的场景，你可能会说，是的，这就是发生在我身上的事情。
If your psychosis includes both paranoia and a sense that you are very, very important-- what psychiatrists called grandiosity-- 30 years ago, you know, you might think that the CIA or the KGB is watching you all the time.
如果你的精神病既包括偏执狂，又包括感觉自己非常非常重要——精神病学家称之为自大——30年前，你知道，你可能会认为中央情报局或克格勃一直在监视你。
These days, you have another possible explanation-- reality TV.
如今，你有另一种可能的解释——电视真人秀。
A few months later, a third patient showed up with the same delusion, and a few months after that, a fourth.
几个月后，第三位患者也出现了同样的错觉，几个月后，第四位患者也出现了。
Dr. Gold started calling it The Truman Show delusion.
戈尔德博士开始称其为“杜鲁门秀”错觉。
He's written a book about it with his brother Ian called Suspicious Minds .
他和他的兄弟伊恩（Ian）就此写了一本名为《可疑的思想》（Suspicious Minds）的书。
In one case in the book, a patient, a super smart guy, an academic, very altruistic, believed that he was part of an elaborate game show and the world was watching him and betting on everything that he did.
在书中的一个案例中，一个病人，一个超级聪明的人，一个学者，非常无私，相信他是一个精心设计的游戏节目的一部分，全世界都在看着他并押注于他所做的一切。
And this was a really fun thing that everyone would be doing online.
这是每个人都会在网上做的一件非常有趣的事情。
And the monies collected would go to charities all over the world.
收集到的善款将捐献给世界各地的慈善机构。
And then every single human being on earth would be given some amount of money, and the world would be bettered for it.
然后地球上的每个人都会得到一定数量的钱，世界也会因此而变得更好。
One of the things that he included in his delusion, you write in your book, is that he has the thought that he actually was the mastermind who created this game show that he was on, and that he controlled it and he knew the rules when he had originally created the show.
你在书中写道，他在他的妄想中包含的一件事是，他认为他实际上是创建他所在的这个游戏节目的策划者，并且他控制了它并且他在最初创建该节目时知道规则。
But somehow he had forgotten that, and all the rules-- which is so interesting, because, of course, it's true.
但不知怎的，他忘记了这一点，以及所有的规则——这很有趣，因为，当然，这是真的。
Like he did invent the game show.
就像他发明了游戏节目一样。
And the only fact that he's missing is that it's not real.
他唯一遗漏的事实是这不是真的。
It's all in his own head.
一切都在他自己的脑子里。
That's, yeah, an interesting way of putting it.
是的，这是一种有趣的表达方式。
It is kind of fantastical.
这有点奇幻。
Absolutely.
绝对地。
Ira Glass But he can't grasp the whole reality.
艾拉·格拉斯（Ira Glass） 但他无法掌握整个现实。
He does not remember.
他不记得了。
At one point, he suggests that he told his best friends, "This is what I'm going to do.
有一次，他建议他告诉他最好的朋友，“这就是我要做的。
You're going to run the show.
你将主持这场演出。
But you will now hypnotize me, and I will forget what we're talking about now so we can do this really good deed for humanity."
但你现在会催眠我，我会忘记我们现在正在谈论的事情，这样我们就可以为人类做这件真正的善事。”
Some of these patients respond to treatment, some don't-- same as with other delusions and psychoses.
其中一些患者对治疗有反应，有些则没有——就像其他妄想症和精神病一样。
But Dr. Gold says that if they do come back to reality--
但戈尔德博士说，如果他们真的回到现实——
Some feel great relief if they've been persecuted.
有些人如果受到迫害就会感到极大的解脱。
It's quite embarrassing, if you think about it.
如果你仔细想想，这真是太尴尬了。
Every moment of your life, I mean, when you're in the shower, literally everything is filmed, so they feel quite good about it.
我的意思是，你生命中的每一刻，当你洗澡时，几乎所有的事情都会被拍摄下来，所以他们对此感觉很好。
At the same time, there's a certain sadness that they're not particularly important.
同时，也有一种悲伤是它们并不是特别重要。
Do they miss being the most famous person in the world?
他们怀念成为世界上最著名的人的日子吗？
No question, there are some who feel that that's a huge loss.
毫无疑问，有些人认为这是一个巨大的损失。
At the same time, I think they return to the notion that they're mentally ill, which in and of itself is an unfortunate and sad thing.
与此同时，我认为他们又回到了自己患有精神疾病的观念，这本身就是一件不幸和悲伤的事情。
Psychosis aside, I think all this illustrates so clearly there's a downside and an upside to being on stage for the whole world to see, a human spectacle against your will.
撇开精神病不谈，我认为所有这些都清楚地说明了站在舞台上让全世界都看到一个违背你意愿的人类奇观，有一个缺点，也有一个优点。
And today on our program, we have people who became just that.
今天在我们的节目中，我们有这样的人。
They have an experience so few of us have, that we all get to see from afar.
他们拥有我们很少有人拥有的经历，而我们都能从远处看到。
They are on display for everybody, and not because they chose it.
它们向所有人展示，而不是因为他们选择了它。
What that feels like, the positive parts and the negative side and the real life reality, the whole thing, from the WBEZ Chicago, it's This American Life.
那感觉如何，积极的一面、消极的一面、现实生活的现实，整个事情，来自芝加哥 WBEZ，这就是《美国生活》。
I'm Ira Glass.
我是艾拉·格拉斯。
Stay with us.
留在我们身边。
Act One, "I Am the Eggplant," koo koo kachoob.
第一幕，“我是茄子”，koo koo kachoob。
In the TV genre that's devoted to pure human spectacle, reality TV, you know, people fight drunkenly in hot tubs.
在致力于纯粹人类奇观的电视类型中，真人秀，你知道，人们在热水浴缸里醉酒打斗。
They eat live spiders for money.
他们为了钱而吃活蜘蛛。
But none of that can hold a candle to this show, a show that aired in Japan all the way back in 1998.
但这些都无法与这部 1998 年在日本播出的节目相比。
It was called Susunu!
它叫Susunu！
Denpa Shonen .
电波少年。
And one of its segments in particular got the attention of our producers, Stephanie Foo.
其中其中一个部分特别引起了我们的制作人 Stephanie Foo 的注意。
The segment is called "Sweepstakes Life." It starts the way a lot of these shows do, with a bunch of people at an audition.
该部分称为“抽奖生活”。它的开始方式与许多此类节目的方式相同，一群人参加试镜。
One guy beats out everyone else.
一个人打败了其他人。
He's 22 years old, a comedian just starting out in his career.
他今年 22 岁，是一位刚刚开始职业生涯的喜剧演员。
His name is Nasubi.
他的名字叫那须比。
Nasubi.
纳苏比。
Stephanie Foo Nasubi means "eggplant" in Japanese, a nickname he got because he has a long face.
Stephanie Foo Nasubi 在日语中的意思是“茄子”，这个昵称是因为他有一张长脸。
The producers tell him they have a unique idea for a show, something they've never tried before.
制片人告诉他，他们对节目有一个独特的想法，这是他们以前从未尝试过的。
It may or may not air.
它可能会也可能不会播出。
But if it does, he'll be the star.
但如果真的如此，他将成为明星。
He'll be famous.
他会出名的。
[SPEAKING JAPANESE] Stephanie Foo The producers blindfold him, put him in a car, and take him to a small apartment.
[日语] Stephanie Foo 制片人蒙住他的眼睛，把他放进车里，然后带他到一间小公寓。
Then they tell him to take his clothes off.
然后他们叫他脱掉衣服。
[SPEAKING JAPANESE] Stephanie Foo That wipes the grin off his face.
[说日语] Stephanie Foo 这抹去了他脸上的笑容。
[SPEAKING JAPANESE] Interpreter It wasn't just my personal sort of shame or issues about nudity, per say.
[说日语] 翻译 这不仅仅是我个人的耻辱或关于裸体的问题。
My dad is a cop.
我爸爸是一名警察。
And when I first announced that my career choice was going to be comedy, he was not thrilled.
当我第一次宣布我的职业选择将是喜剧时，他并不兴奋。
And we had to go through some things to get him around to the idea.
我们必须经历一些事情才能让他接受这个想法。
He said the one thing that I must never do in public is strip.
他说我绝对不能在公共场合做的一件事就是脱衣。
So there I was.
所以我就在那里。
And then this guilt towards-- I was breaking the promise to my father as publicly as possible.
然后这种愧疚感——我尽可能公开地违背了对父亲的承诺。
But he strips.
但他脱光了。
He grabs a pillow, holds it over his groin, and looks around the room.
他抓起一个枕头，放在腹股沟上，环视房间。
There's no chair in the room, no bed, just a coffee table and magazines, tons of magazines.
房间里没有椅子，没有床，只有一张咖啡桌和杂志，大量的杂志。
The producers tell him that from now on, if he wants food, clothes, he will have to win them by entering sweepstakes in those magazines.
制片人告诉他，从现在开始，如果他想要食物、衣服，他就必须通过参加那些杂志的抽奖活动来赢得它们。
They give him postcards to send in for prize drawings.
他们给了他明信片，让他寄去领取奖品。
He'll be freed from the apartment after he wins 1 million yen, or $10,000 worth of prizes.
当他赢得 100 万日元（即价值 10,000 美元）的奖金后，他将被释放出公寓。
Until then, he isn't allowed any outside contact with the world.
在那之前，他不被允许与外界有任何接触。
He can't call his family.
他无法给家人打电话。
He can't talk to friends.
他不能和朋友说话。
And oh, they tell him, "Don't forget to put tapes in this little camera here every two hours and record yourself.
哦，他们告诉他，“别忘了每两个小时把磁带放进这个小摄像机里，记录一下自己。
We'll come pick up the tapes once a day." And then they say, "All right, later." Nasubi screams, "Are you for real?"
我们每天都会来取一次磁带。”然后他们说：“好吧，稍后再说。”纳苏比尖叫道：“你是认真的吗？”
[SPEAKING JAPANESE] Stephanie Foo Nasubi says he'd signed no contract.
[日语] Stephanie Foo Nasubi 表示他没有签署任何合同。
But he didn't have anything better to do, so he sat down and wrote, and soon was entering 200 to 300 contests a day.
但他没有更好的事情可做，所以他坐下来写作，很快每天就参加 200 到 300 场比赛。
And while he waited for prizes to arrive, he had no food.
当他等待奖品到达时，他没有食物。
Nasubi got frighteningly thin very quickly.
纳苏比很快就瘦得可怕。
You could see the sharp angles of his collarbones.
你可以看到他锁骨的锐角。
[SPEAKING JAPANESE] Interpreter Well, starvation is a good word for it.
[说日语] 翻译 嗯，饥饿这个词形容得很好。
The staff got together and would give me basically a very simple little bread each day.
工作人员聚在一起，基本上每天都会给我一个非常简单的小面包。
So I had bread and water, essentially, for the first two weeks.
所以前两周我基本上只吃面包和水。
But then as soon as the results started to come in, then that stopped and everything shifted over entirely to the things that I could win through sweepstakes.
但一旦结果开始出现，一切就停止了，一切都完全转移到我可以通过抽奖赢得的东西上。
After two weeks, he finally won some sugary drinks.
两周后，他终于赢得了一些含糖饮料。
A few days after that, he won a bag of rice.
几天后，他赢得了一袋大米。
When the postman dropped it off, it was like Christmas.
当邮递员把它寄来的时候，就像圣诞节一样。
Nasubi danced like a madman.
奈须像疯子一样跳舞。
Were you trying to be a good performer and be funny when you were doing that?
当你这样做的时候，你是否想成为一名优秀的表演者并且变得有趣？
Or was it just really genuine joy?
或者这只是真正的快乐？
[SPEAKING JAPANESE] Interpreter Well, initially, of course, I was there as a performer, and I wanted to be a comedian.
[说日语] 翻译 嗯，当然，最初我是作为一名表演者在那里的，我想成为一名喜剧演员。
But somewhere in the middle, the whole business of staying alive became my full-time occupation.
但在这中间的某个时候，维持生命的整个事情变成了我的全职工作。
So I think what you saw, if you saw me dancing, it was really just a human being expressing great joy.
所以我认为你所看到的，如果你看到我跳舞，那真的只是一个人在表达巨大的喜悦。
So he danced for this package of rice.
于是他为这包米跳舞。
But then he stopped short.
但他突然停了下来。
He realized he didn't own a pot to cook the rice in.
他意识到他没有煮饭的锅。
But after a couple days of failed attempts, he figured out that if he put some rice in an empty drink container and left it near his single gas burner, it eventually turned into a kind of porridge.
但经过几天的失败尝试后，他发现，如果他将一些米放入一个空的饮料容器中，并将其放在他的唯一燃气灶附近，它最终会变成一种粥。
[SPEAKING JAPANESE] Interpreter And I could eat delicious rice every day.
[说日语] 翻译 我每天都能吃到美味的米饭。
I remember how good that felt.
我记得那感觉有多好。
And then there was the slow trepidation as it started to vanish.
然后，当它开始消失时，恐惧感慢慢消失。
And then it ran out.
然后它就跑完了。
And the only food substitute that I had been able to win in a sweepstakes was dog food.
我在抽奖中赢得的唯一食物替代品是狗粮。
You know, after, let's say, six weeks of eating dog food, when then I was able to get more rice and it arrived, I really felt a special kind of joy at being able to return to humanity in a sense and taste delicious rice again every day.
你知道，比如说，吃了六个星期的狗粮之后，当我能够得到更多的米饭并且它到达时，我真的感到一种特殊的喜悦，因为能够在某种意义上回归人性，每天再次品尝美味的米饭。
Back then, there was a kind of sweepstakes mania in Japan.
当时，日本有一种抽奖热潮。
The country was in the middle of a terrible recession.
该国正处于严重的经济衰退之中。
And some wondered whether one could subsist entirely on their winnings.
一些人想知道一个人是否可以完全靠他们的奖金维持生计。
And so when Sweepstakes Life debuted, almost immediately after Nasubi was first shut in the room, it was an instant hit.
因此，当《Sweepstakes Life》首次亮相时，几乎就在 Nasubi 第一次被关在房间里之后，它立即引起了轰动。
Nasubi had no idea.
纳苏比不知道。
He didn't even know he was on TV.
他甚至不知道自己在电视上。
He believed what the producers had told him, that he'd record some videotapes, and maybe someday it would end up on the air.
他相信制片人告诉他的话，他会录制一些录像带，也许有一天它会播出。
On television, Nasubi's groin was hidden by a purple cartoon eggplant that floated around as he moved.
在电视上，纳苏比的腹股沟被一个紫色的卡通茄子遮住了，茄子随着他的移动而漂浮在周围。
Everything he did was accentuated with ridiculous "boing boing" sound effects, and puffy rainbow letters floated above his head.
他所做的一切都伴随着可笑的“轰轰”音效，浮肿的彩虹字母漂浮在他的头顶上。
But these effects popped up just as often when Nasubi was despondent.
但当那须比沮丧时，这些影响也经常出现。
The show took every chance to poke fun at him, whether he was muttering to himself, dancing around, or doing terrible headstands-- you know, the dumb stuff you do when you think no one's watching, except people were.
节目抓住一切机会取笑他，无论他是在自言自语、跳舞还是做可怕的倒立——你知道，当你认为没有人在看的时候，你会做那些愚蠢的事情，除了人们在看。
For context, in the US, Game of Thrones usually has around 9 million viewers.
就背景而言，在美国，《权力的游戏》通常有大约 900 万观众。
Nasubi had 16 million in a country less than half the size of ours.
纳苏比在一个面积还不到我们一半的国家里拥有 1600 万人口。
People thought Nasubi was the funniest comedy act they'd ever seen.
人们认为那须比是他们见过的最有趣的喜剧表演。
And I have to admit, as a viewer, once in a while, when Nasubi got something really awesome in the mail, I couldn't help it.
我必须承认，作为一名观众，有时候，当纳苏比在邮件中收到一些非常棒的东西时，我会情不自禁。
I laughed, too, even though I knew how much he was suffering.
我也笑了，尽管我知道他有多痛苦。
I couldn't help it.
我忍不住了。
His unfiltered joy is contagious.
他未经过滤的快乐是有感染力的。
Though as a foreigner watching Sweepstakes Life , most of the time, when the studio audience cracked up, I felt sick.
虽然作为一个外国人看《抽奖人生》，但大多数时候，当演播室观众大笑时，我感到恶心。
I thought, what could possibly be funny about this?
我想，这有什么好笑的呢？
[SPEAKING JAPANESE] Interpreter I mean, that was maybe a time when Japan was going through some things and they needed to sort of do that.
[说日语] 翻译 我的意思是，当时日本可能正在经历一些事情，他们需要这样做。
Roughly 50 years of prosperity has finally come to a close, and people really uncertain about their futures.
大约50年的繁荣终于结束了，人们对自己的未来感到非常不确定。
You know, I think people just tended to watch the show and say, you know, I got it bad.
你知道，我认为人们只是倾向于观看节目并说，你知道，我做得很糟糕。
But look at poor Nasubi.
但看看可怜的纳苏比。
He's got it worse.
他的情况更糟。
Now there's a lot more awareness of the weak and of people who need extra support.
现在，人们对弱者和需要额外支持的人有了更多的认识。
I don't think I think the average Japanese today would think it was funny that there was a guy naked in a room somewhere.
我不认为今天的普通日本人会认为某个房间里有一个赤身裸体的人很有趣。
Nasubi won hundreds of prizes.
Nasubi 赢得了数百个奖项。
But many of them were useless to him-- Spice Girls tickets, for example, or a TV with no cable, or a bicycle.
但其中许多对他来说毫无用处——例如辣妹乐队的门票，或者没有有线电视的电视，或者自行车。
He sent away for clothes, but never won anything he could wear.
他派人去买衣服，但从未赢得过任何他能穿的东西。
He was naked the entire time he was in that room, for the entire show.
整个演出期间，他在那个房间里的整个过程中都是赤身裸体的。
And as the weeks went by, then months, Nasubi started to look less and less sane.
几周过去了，几个月过去了，纳苏比开始看起来越来越不理智。
He grew a beard.
他留起了胡子。
His hair was wild.
他的头发很乱。
And he started talking differently, slower.
他开始以不同的方式说话，放慢速度。
[SPEAKING JAPANESE] Stephanie Foo He'd make really creepy faces into the camera.
[说日语] Stephanie Foo 他会对着镜头做出非常令人毛骨悚然的鬼脸。
At one point, he won some toys and he started talking to them.
有一次，他赢得了一些玩具，并开始与它们交谈。
He took a stuffed seal for a walk around the apartment.
他带着一只海豹标本在公寓里散步。
An action figure became his sensei, and he got life advice from it.
一个可动人偶成为了他的老师，他从中得到了人生建议。
And if, right now, you're sitting there thinking, how in God's good name is this possible?
如果，现在，你坐在那里思考，看在上帝的份上，这怎么可能呢？
Why was this allowed?
为什么允许这样做？
Imprisonment, solitary confinement, starvation.
监禁、单独监禁、饥饿。
Watching, I thought, this isn't a reality TV show.
看着，我想，这不是真人秀节目。
It's a psychological experiment made public.
这是一项公开的心理实验。
Plus boing boings, of course.
当然，还有嘘声。
Was there anything preventing you from backing out at that point?
当时有什么事情阻止你退出吗？
Like, was the door locked?
比如，门锁了吗？
[SPEAKING JAPANESE] Interpreter No, there was no lock on the door.
[日语] 翻译 不，门没有锁。
And producers later asked me, so why didn't you escape?
后来制片人问我，那你为什么不逃呢？
I was naked, so I would have had to go outside naked and seek help.
我赤身裸体，所以我不得不赤身裸体到外面寻求帮助。
But I don't think that that's what kept me in there.
但我不认为这就是让我留在那里的原因。
The only thing I really have to say is that I said I'd do it, and I do what I say.
我唯一真正要说的是，我说过我会这么做，并且我会按照我所说的去做。
That was it?
就是这样吗？
The only reason?
唯一的原因是什么？
I kept asking him, but wait, really, why?
我一直问他，但是等等，真的，为什么？
[SPEAKING JAPANESE] Interpreter There's a phrase, [JAPANESE], "the Japanese spirit," which is just that you sort of stick through.
[说日语] 翻译 有一个短语，[日语]，“日本精神”，就是你要坚持到底。
You endure things.
你忍受一些事情。
When you're given something, whether it's easy or whether it's hard, you just really do.
当你得到某件事时，无论它是简单还是困难，你都会真正去做。
You're obliged to follow it through.
你有义务遵守它。
Nasubi did finally win $10,000 worth of prizes.
Nasubi 最终赢得了价值 10,000 美元的奖金。
It took him almost an entire year.
他花了几乎一整年的时间。
But at last, he'd completed the challenge.
但最终，他还是完成了挑战。
When he reached his goal, producers didn't tell him anything about it.
当他实现目标时，制片人没有告诉他任何事情。
Instead, they snuck into his apartment in the middle of the night, put a blindfold on him, took him out to a car, gave him clothes.
相反，他们在半夜溜进他的公寓，蒙住他的眼睛，带他出去上车，给他衣服。
Nasubi seemed to think this was a good thing.
奈须比似乎觉得这是一件好事。
He was laughing, giggling.
他在笑，咯咯笑。
[SPEAKING JAPANESE] [STUDIO AUDIENCE LAUGHTER]
[说日语] [演播室观众笑声]
But when he took the blindfold off, he found out he'd been taken to Korea.
但当他摘下眼罩时，他发现自己被带到了韩国。
[SPEAKING JAPANESE] Interpreter When I got off on the other side in Korea, I took off the mask.
[日语] 翻译 当我在韩国的另一边下车时，我摘下了口罩。
And they said, "Congratulations.
他们说：“恭喜。
You've achieved your $10,000.
您已获得 10,000 美元。
This is your reward.
这是你的奖励。
You get to have a trip in Korea." So I got to do a little sightseeing that day.
你可以去韩国旅行。”所以那天我必须去参观一下。
And I thought, oh, wow, that was a long thing, boy, what I've been through.
我想，哦，哇，这是一件很长的事情，孩子，我经历过的事情。
But then at the end of the day, they took me back to my room and there was the exact same room set up in the exact same way.
但在一天结束时，他们带我回到我的房间，那里的房间布置得一模一样。
They'd recreated his little apartment, complete with the magazines, the stuffed seal, the postcards, exactly how he'd left it, except in Korea.
他们重建了他的小公寓，里面有杂志、封条、明信片，一模一样，除了在韩国的时候。
And they told him, great.
他们告诉他，太好了。
Now all you have to do is start over and win your airfare back home.
现在您所要做的就是重新开始并赢取回家的机票。
[SPEAKING JAPANESE] Interpreter This was just like somebody just had pulled the floor out from under me, and I just fell.
[说日语] 翻译 这就像有人刚刚把我身下的地板拉开，我就摔倒了。
I didn't know that humans could be that cruel.
我不知道人类可以如此残忍。
Did you feel like you were going insane?
你有没有感觉自己快要疯了？
[SPEAKING JAPANESE] Interpreter If anything, the opposite of insane.
[说日语] 翻译 如果有的话，那就是疯狂的反面。
I lost all energy.
我失去了所有的能量。
It's like somebody had just, like, sucked the life out of me.
就好像有人刚刚吸走了我的生命。
I didn't want to talk.
我不想说话。
I didn't want to breathe.
我不想呼吸。
I didn't want to move a muscle.
我不想动一动肌肉。
I had reached the end.
我已经走到了尽头。
I was finished.
我完了。
I told the producer that I wouldn't do it.
我告诉制片人我不会这样做。
I refused.
我拒绝了。
And we went back and forth for quite a while, actually.
事实上，我们来来回回了很长一段时间。
But in the end, kudos to his skill as a negotiator.
但最终，他作为谈判者的技巧值得称赞。
I did give in and do the last section of it.
我确实屈服了，做了最后一部分。
Why did you do it?
你为什么这么做？
What did he say that actually convinced you to do it?
他说了什么真正说服你这么做的？
[SPEAKING JAPANESE] Interpreter Well, it was just that I got exhausted, if anything.
[说日语] 翻译 好吧，如果有的话，只是我累坏了。
I mean, he wasn't leaving.
我的意思是，他没有离开。
I couldn't just sort of get up and storm out.
我不能起身就冲出去。
I had made no preparations for being in Korea.
我没有为去韩国做任何准备。
And so at the end, I just said, yeah, whatever.
所以最后我只是说，是的，无论如何。
And so I continued.
所以我继续说。
After all, he was naked with no money in another country.
毕竟他在异国赤身裸体，身无分文。
If you watch the clip, the producers just tell him he's trapped, show him looking shocked, and cut away.
如果你看这个片段，制片人只是告诉他他被困住了，让他看起来很震惊，然后就剪掉了。
The studio audience laughs.
演播室的观众哈哈大笑。
[STUDIO AUDIENCE LAUGHTER] Woman [SPEAKING JAPANESE]
[演播室观众笑声] 女人 [说日语]
Nasubi continued his writing routine for four more months.
纳苏比又继续他的写作四个月。
And then the final episode aired.
然后最后一集播出了。
Picture it.
想象一下。
The producers sneak into Nasubi's room and blindfold him again, dress him, drive him to another location.
制片人潜入那须比的房间，再次蒙住他的眼睛，给他穿好衣服，开车送他去另一个地点。
They release him in yet another bare room.
他们把他释放到另一个空荡荡的房间里。
And he sighs and instinctively takes off all his clothes.
他叹了口气，本能地脱掉了所有的衣服。
Then, suddenly, all four of the walls around him fall down.
然后，突然间，他周围的四堵墙全部倒塌。
That's him screaming.
那是他在尖叫。
Turns out he's on stage in a huge studio in Japan in front of an enormous audience.
结果他在日本一个巨大工作室的舞台上，面对着众多观众。
[SPEAKING JAPANESE] Audience [SPEAKING JAPANESE]
[日语] 观众 [日语]
[CHEERING] Nasubi looks horrified.
[欢呼] 那须比看起来很害怕。
Two television hosts cautiously approach him and talk to him like a baby, telling him congratulations.
两位电视主持人小心翼翼地走近他，像个婴儿一样跟他说话，向他表示祝贺。
[SPEAKING JAPANESE] Nasubi [SPEAKING JAPANESE]
[说日语] Nasubi [说日语]
Nasubi says, frightened, "My house fell down.
那须比害怕地说：“我的房子倒塌了。
And there's all these people here."
而且这里还有这么多人。”
[SPEAKING JAPANESE] [LAUGHTER AND APPLAUSE]
[说日语] [笑声和掌声]
"It's finally over," presses the host.
“终于结束了，”主持人催促道。
"You're finished." Nasubi should be happy.
“你完了。”纳苏比应该很高兴。
But he looks thoroughly weirded out.
但他看起来非常奇怪。
Remember, Nasubi didn't even know he was being broadcast.
请记住，纳苏比甚至不知道他正在被广播。
The producers told him that it was an experiment, that they didn't know if he'd ever make it on air.
制片人告诉他，这是一个实验，他们不知道他是否会在电视上播出。
So he's blown away when they tell him about the TV show, that a secret camera in his apartment once even broadcast a 24-hour live stream of his actions.
因此，当他们告诉他电视节目的事时，他大吃一惊，他公寓里的一个秘密摄像机甚至曾经 24 小时直播他的行为。
They tell him his diaries were published and are bestsellers.
他们告诉他，他的日记已经出版并且是畅销书。
Clips from him enjoying a specific brand of ramen turned into commercials and endorsement deals.
他享用特定品牌拉面的视频变成了广告和代言交易。
He was on the cover of magazines.
他出现在杂志封面上。
Then they play a bunch of clips from the show.
然后他们播放了节目中的一堆片段。
Nasubi blinks.
纳须比眨眨眼。
He says, "Did I do that?
他说：“我这样做了吗？
That was me?"
那是我吗？”
[SPEAKING JAPANESE] Interpreter And so I sat there, realizing that this new life was-- I was no longer just a nobody.
[说日语] 翻译所以我坐在那里，意识到这个新生活是——我不再只是一个无名小卒。
The entire nation had been watching me for 15 months.
15 个月来，全国人民都在关注我。
And you know to be honest, I thought, well, what the hell?
说实话，我想，好吧，到底是什么？
What is my country coming to?
我的国家将走向何方？
I was very happy that my journey was not for nothing.
我很高兴我的旅程没有白费。
But it's still weird.
但还是很奇怪。
Unsurprisingly, Nasubi left the show with some scars.
不出所料，纳苏比带着一些伤疤离开了演出。
He had a lot of trouble holding a conversation for six months.
在六个月的时间里，他很难保持对话。
And he felt sweaty and uncomfortable in clothes for a year.
而且一年来他都感觉衣服出汗、不舒服。
And his role didn't help his comedy career like he'd hoped.
他的角色并没有像他希望的那样对他的喜剧事业有所帮助。
He was mostly offered roles that required him to be goofy and naked.
他接到的大部分角色都要求他表现得傻乎乎、赤裸裸。
He's a D-list celebrity now and has the dwindling bank account to match.
他现在是一名二流名人，但银行账户却在不断减少。
And talking to him, it felt like he's really worked hard to turn that traumatic experience into a positive story he tells himself.
与他交谈时，感觉他真的很努力地将这段痛苦的经历变成他告诉自己的积极故事。
He even says he's thankful for the experience.
他甚至说他很感谢这次经历。
[SPEAKING JAPANESE] Interpreter It was-- I don't want to overstate it, but it was kind of meditative in a way.
[说日语] 翻译 这是——我不想夸大它，但它在某种程度上是一种冥想。
I had a lot of time to think about my life and a lot of time to think about a lot of stuff.
我有很多时间思考我的人生，也有很多时间思考很多事情。
That certainly is a very zen way to look at it.
这当然是一种非常禅宗的看待它的方式。
[SPEAKING JAPANESE] Interpreter Well, I mean, it's 10-some years since I finished, since I did that project.
[说日语] 翻译 嗯，我的意思是，自从我完成那个项目以来，已经有十多年了。
And after that, everything has been much easier and much better, obviously.
显然，在那之后，一切都变得更加容易、更好。
I'm able to deal with things.
我有能力处理事情。
I see things happening, or I see situations around myself, and I think that's nothing like what I went through in that room.
我看到正在发生的事情，或者我看到自己周围的情况，我认为这与我在那个房间里经历的完全不同。
And people still remember him.
人们仍然记得他。
That's more than one could say for most of the Denpa Shonen characters.
对于《电波少年》中的大多数角色来说，这不仅仅是一个人能说的。
None of them lasted as long as Nasubi or became as famous.
他们中没有一个人像那须比一样存在得那么久，也没有那么出名。
The show ended in 2002, after its ratings began to drop.
该剧于 2002 年结束，收视率开始下降。
[SPEAKING JAPANESE] Interpreter I came out of the whole thing, in a sense, with the very best of possible results.
[说日语] 口译员 从某种意义上说，我从整个事情中走出来，获得了最好的结果。
A lot of people were not so fortunate.
很多人就没那么幸运了。
There were terrible things that happened related to the show.
与演出相关的可怕的事情发生了。
One contestant on Denpa Shonen almost died of dehydration while trying to hitchhike across Africa.
《电波少年》的一名参赛者在试图搭便车穿越非洲时险些脱水身亡。
Some people were starved until they completed various challenges.
有些人一直挨饿，直到完成各种挑战。
Another man was forced to go into a gay club in Australia and offer condoms to men until he was assaulted.
另一名男子被迫进入澳大利亚的一家同性恋俱乐部，向男子提供安全套，直到遭到袭击。
The video cuts out, but you can hear him scream.
视频被切断，但你可以听到他的尖叫声。
And the mastermind behind all this, the producer of the show, the guy who convinced Nasubi to keep going in Korea, his name was Toshio Tsuchiya.
而这一切的幕后策划者、节目的制作人、说服那须比继续在韩国前进的人，他的名字叫土屋敏夫。
Back in the '90s, he was considered the king of Japanese reality TV.
早在90年代，他就被认为是日本真人秀电视之王。
Last year, 14 years after Sweepstakes Life ended, Tsuchiya called Nasubi, who wasn't thrilled to hear from him at first.
去年，即“抽奖生活”结束 14 年后，土屋给那须美打了电话，而那须美一开始听到他的消息并不高兴。
[SPEAKING JAPANESE] Interpreter I had some, let's say, mixed feelings about him, a little resentment, maybe.
[说日语] 翻译 我对他有一些，比如说，复杂的感觉，也许还有一点怨恨。
Yeah, I kept my distance for a very long time.
是的，我保持距离很长一段时间。
And then, actually just last year, he got in touch with me.
然后，实际上就在去年，他联系了我。
And apparently it sort of came to his attention that maybe he had put people through maybe more than they deserved.
显然，他注意到，也许他让人们经历的事情可能超出了他们应得的程度。
And so he invited me to dinner.
于是他邀请我共进晚餐。
And he spent the evening explaining why he did what he did and apologizing.
他整个晚上都在解释自己为什么这么做并道歉。
I think we-- yeah, I think we pretty much came to terms.
我想我们——是的，我想我们已经达成共识了。
And I welcome the opportunity to work with him again, certainly.
当然，我很高兴有机会再次与他合作。
Wow.
哇。
You would work with him again.
你会再次和他一起工作。
That's really-- [LAUGHS] that is shocking.
这真的——[笑]令人震惊。
And what was his reason for putting you through what he did?
他让你经历他所做的事情的原因是什么？
[SPEAKING JAPANESE] Interpreter He wanted something that would move people.
[说日语] 翻译 他想要一些能感动人们的东西。
And you don't get that out of just somebody playing around.
而且你不能仅仅从某人玩耍中得到这一点。
He wanted to see something real.
他想看到一些真实的东西。
He wanted to pull miracles out of people.
他想为人们创造奇迹。
It was done for the purpose of getting a miracle on film.
这样做的目的是为了在电影中创造奇迹。
And that seemed to me like-- well, I'll be honest.
在我看来，这就像——好吧，老实说。
It sounds like something an evil puppet master would say.
这听起来就像一个邪恶的傀儡师会说的话。
So I had to.
所以我不得不这么做。
I talked to Toshio Tsuchiya on the phone.
我和土屋敏夫通了电话。
He's a round, middle-aged guy, bleached platinum blonde hair.
他是一个圆滚滚的中年男人，有着漂白的白金金色头发。
He confirmed that he reached out to Nasubi, and that when they met, Nasubi told them very honestly how painful his experience on the show was.
他证实他曾联系过纳苏比，当他们见面时，纳苏比非常诚实地告诉他们他在节目中的经历是多么痛苦。
Tsuchiya says he listened and was moved.
土屋说他听了并很感动。
But he says he wasn't sorry, about Nasubi, about any of the segments he produced for Denpa Shonen , about any of the contestants, not in the slightest.
但他说，对于 Nasubi，对于他为《电波少年》制作的任何片段，对于任何参赛者，他一点也不感到抱歉。
I used the same interpreter for our interview that I used for Nasubi's.
我在采访中使用了与 Nasubi 采访时使用的同一个翻译。
Here's Tsuchiya.
这里是土屋。
[SPEAKING JAPANESE] Interpreter I was enthralled by their struggle.
[说日语] 翻译 我对他们的斗争着迷。
I was thrilled by their personal struggle.
他们的个人奋斗让我感到兴奋。
So I was watching them succeed.
所以我看着他们成功。
I have no regrets about anything I do to that show.
我对我为这部剧所做的一切并不后悔。
Nasubi said that you apologized to him when you guys talked.
奈须比说你们谈话时你向他道歉了。
Is that correct, or no?
这是正确的还是错误的？
[SPEAKING JAPANESE] Interpreter Well, I put him through a lot.
[说日语] 翻译 嗯，我让他经历了很多。
If you say this you have a sports team and you have a coach who runs his players through very difficult maneuvers, at the end of the day, he may pat them on the back and say, sorry for putting you through such a rough struggle.
如果你这么说，你有一支运动队，并且有一位教练带领他的球员完成非常困难的演习，那么在一天结束时，他可能会拍拍他们的背说，很抱歉让你经历了如此艰难的挣扎。
It wasn't me expressing that I shouldn't have done the project.
我并不是在表达我不应该做这个项目。
Tsuchiya has a lot of lofty ideas of what the show was trying to accomplish.
土屋对于这部剧想要实现的目标有很多崇高的想法。
And when he talks about them, you do get the sense that it was, in fact, intended to be a sort of psychological experiment.
当他谈论它们时，你确实会感觉到这实际上是一种心理实验。
[SPEAKING JAPANESE] Interpreter The whole project was trying to reach at some very elemental, simple humanity.
[说日语] 翻译整个项目试图达到一些非常基本、简单的人性。
You see, Nasubi would have been brought to a state where he was at such an elemental part of his existence that he danced without realizing he had ever danced.
你看，纳苏比会被带到这样一种状态：他处于他存在的一个基本部分，以至于他跳舞时没有意识到自己曾经跳舞过。
And he danced on a regular basis.
他定期跳舞。
The modern individual is shackled by convention and expectation and all these other things that we wear from day to day.
现代人受到惯例和期望以及我们每天穿着的所有其他东西的束缚。
And I wanted to see them drop some of that, to see the simple humanity in them, to see actual gratefulness.
我希望看到他们放弃一些，看到他们身上简单的人性，看到真正的感激之情。
It's weird to think about.
想想就觉得奇怪。
But the fact of the matter is, what Tsuchiya's saying is true.
但事实是，土屋说的是真的。
Denpa Shonen did really capture humanity in a rare way.
电波少年确实以一种罕见的方式捕捉到了人性。
A way you don't ever really see, even on the craziest of American reality TV shows.
这是一种你从未真正见过的方式，即使是在最疯狂的美国真人秀节目中也是如此。
Hungry, starving, alone, unaware that he was being watched, Nasubi was totally innocent and totally animal.
饥饿、饥饿、孤独，没有意识到自己正在被监视，纳苏比完全是天真的，完全是动物。
Of course, it's cruel to bring a human being to that point.
当然，把一个人带到那个地步是很残酷的。
And it takes a special kind of cruelty to take someone at their most vulnerable and add wacky sound effects to their suffering.
在某人最脆弱的时候对待他们，并在他们的痛苦中添加古怪的声音效果，需要一种特殊的残忍。
A couple weeks into Nasubi's challenge, before he won any solid food, when he was hungriest, a delivery man came to the door bearing ramen and stir-fried vegetables.
纳苏比挑战几周后，在他赢得任何固体食物之前，当他最饿的时候，一名送货员送上拉面和炒蔬菜上门。
"It's 1,700 yen all together," the man said.
“一共1700日元。”男子说道。
"I don't have any money," Nasubi replied.
“我没有钱。”纳苏比回答道。
"Sorry, my mistake," the delivery man said, and left.
“对不起，我的错。”送货员说完就离开了。
Nasubi sat there, his head hung, a contestant in a real-life hunger game, the smell of ramen lingering in the air.
那须比坐在那里，低着头，就像是现实生活中饥饿游戏的参赛者，空气中弥漫着拉面的香味。
Stephanie Foo is one of the producers of our program.
Stephanie Foo 是我们节目的制作人之一。
Coming up, we go to a land where highway cloverleaves are sunk in a vast meadow, where one man tries to document how things really are.
接下来，我们来到一片广阔的草地上，公路上的三叶草被淹没，一个人试图记录事物的真实情况。
That's in a minute from Chicago Public Radio when our program continues.
芝加哥公共广播电台一分钟后我们的节目仍在继续。
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 on our program, of course, we choose a theme, bring you different kinds of stories on that theme.
当然，我们每周的节目都会选择一个主题，为您带来有关该主题的不同类型的故事。
Today's show, "Human Spectacle." We have stories of people who go on display in front of others, lots and lots of others, even though they are not so crazy about doing that.
今天的节目是《人类奇观》。我们有这样的故事：人们在很多很多人面前展示自己，尽管他们并不那么热衷于这样做。
We have arrived at Act Two of our program, Act Two, "I Always Feel Like Somebody's Watching Me."
我们已经到了节目的第二幕，第二幕，“我总是感觉有人在看着我。”
We've talked a lot in today's program so far about reality TV.
到目前为止，我们在今天的节目中已经谈论了很多有关真人秀的内容。
And of course, what makes reality TV entertaining is very, very simple, and that is editing.
当然，真人秀节目的娱乐性非常非常简单，那就是剪辑。
Editing-- if they just set up cameras and showed you all 24 hours in anybody's day, you know, how interesting could that possibly be?
编辑——如果他们架起摄像机向你展示任何人一天中 24 小时的情况，你知道，那会有多有趣？
Well, here is a story of somebody trying just that, a story of everyday people being treated as human spectacle and being treated that way precisely because of their everyday-ness.
嗯，这是一个有人尝试这样做的故事，一个普通人被视为人类奇观的故事，并且正是因为他们的日常性而被这样对待。
Ariel Sabar explains.
阿里尔·萨巴尔解释道。
Here's how it worked.
这是它的工作原理。
On a Tuesday morning in the spring of 1949, a seven-year-old boy named Raymond Birch was fast asleep in his bed.
1949 年春天的一个星期二早晨，一个名叫雷蒙德·伯奇 (Raymond Birch) 的七岁男孩正在床上熟睡。
His mother walked into his bedroom and said, Raymond, time to get up for school.
他的母亲走进他的卧室说，雷蒙德，该起床去上学了。
When the boy opened his eyes, he saw a scientist with a clipboard and timer standing in the corner of his room.
当男孩睁开眼睛时，他看到一位科学家拿着剪贴板和计时器站在他房间的角落里。
The scientist, a stranger to the boy, just stared, didn't say a word.
这位科学家对男孩来说是个陌生人，只是盯着他看，没有说话。
The boy squirmed out of bed and reached for his clothes.
男孩从床上爬起来，伸手去拿衣服。
The scientist wrote, "7:01 AM-- Raymond picked up a sock."
这位科学家写道：“上午 7 点 01 分——雷蒙德捡起了一只袜子。”
In the late 1940s and early '50s, scientists followed kids in houses, schoolyards, and streets across the town of Oskaloosa, Kansas, taking pages of notes on the littlest things they did or said.
在 20 世纪 40 年代末和 50 年代初，科学家们在堪萨斯州奥斯卡卢萨镇的房屋、校园和街道上跟踪孩子们，记录下他们所做或所说的最微小的事情。
"6:33 PM-- Bradley walked deliberately to where his sister sat playing with a puppy and hit her on the head, twice, just as hard as he could hit.
“下午 6 点 33 分——布拉德利故意走到他姐姐正在和一只小狗玩耍的地方，用尽全力打了她的头两次。
His sister looked very surprised and annoyed." "11:06 AM-- Fred skidded on the floor so that he fell with his body partially under the sway.
他的妹妹看起来非常惊讶和恼怒。” “上午 11 点 06 分——弗雷德在地板上打滑，导致他摔倒，身体部分受到晃动。
He yelled, 'whoops,' and then lay still, since he saw the swing coming back over him." "11:37 AM-- Margaret's mother asked, why can't you play with your dolls and let that go?
他大喊‘哎呀’，然后就躺着不动了，因为他看到秋千又回到了他身上。” “上午 11 点 37 分——玛格丽特的妈妈问，为什么你不能在玩你的洋娃娃时就放手呢？
Margaret kept on painting the pillars before her, neither looking at her mother nor answering her."
玛格丽特继续画她面前的柱子，没有看她的母亲，也没有回答她。”
All of this was happening under the watch of a University of Kansas psychologist named Roger Barker, who has bend on taking his field in a radically new direction.
所有这一切都是在堪萨斯大学心理学家罗杰·巴克（Roger Barker）的监督下发生的，他致力于将自己的领域推向一个全新的方向。
Because psychology was still struggling in those days to be taken seriously as a science, most of Barker's colleagues imitated other kinds of scientists, doing lots of experiments in labs.
由于当时心理学仍在努力被认真对待为一门科学，巴克的大多数同事模仿其他类型的科学家，在实验室里做了很多实验。
But none of this made sense to Barker.
但这些对巴克来说毫无意义。
Humans didn't live in laboratories.
人类并不生活在实验室里。
They lived in the real world.
他们生活在现实世界中。
And that's where Barker want to study them-- in the wild, the way a botanist looked at flowers in the field or a primatologist tracked apes through a forest.
这就是巴克想要在野外研究它们的地方，就像植物学家观察田野里的花朵或灵长类动物学家在森林中追踪猿类一样。
So when the University of Kansas called in 1947 and asked Barker if he wanted to chair its psychology department, Barker said, I'll take the job, but on one condition.
因此，当 1947 年堪萨斯大学打电话询问巴克是否愿意担任心理学系主任时，巴克说，我会接受这份工作，但有一个条件。
You find me a small town.
你给我找一个小镇。
A dean at the school said he knew just the place-- Oskaloosa, population 725.
学校的一位院长说他只知道这个地方——奥斯卡卢萨，人口 725 人。
When Roger Barker first drove up into the hills of northeastern Kansas to see Oskaloosa, he must have been beside himself.
当罗杰·巴克第一次开车到堪萨斯州东北部的山上去看奥斯卡卢萨时，他一定是欣喜若狂。
The place was a Norman Rockwell painting-- not too rich, not too poor, sturdy families in modest houses.
这个地方就像诺曼·洛克威尔的画作——不太富裕，也不太贫穷，坚固的家庭住在简陋的房子里。
It was the picture of middle America.
这是美国中部的写照。
Barker wanted to study what he called "the naturally occurring behavior of free-ranging persons." And to do that, he told his field workers to become part of the scenery-- visible and friendly, but not obtrusive.
巴克想研究他所谓的“自由放养的人自然发生的行为”。为此，他告诉现场工作人员要成为风景的一部分——引人注目、友好，但不引人注目。
The last thing we want to do, he said, is give people the guinea pig feeling.
他说，我们最不想做的就是给人一种小白鼠的感觉。
Barker took his own advice and moved his entire family to Oskaloosa.
巴克采纳了自己的建议，全家搬到了奥斯卡卢萨。
They settled in a beat-up house near the town square, joined the Presbyterian church, and became active in the town's social and civic organizations.
他们在城镇广场附近的一所破旧的房子里定居下来，加入了长老会，并积极参与城镇的社会和公民组织。
And that left Barker just as exposed as the Oskaloosans he planned to put under his microscope.
这使得巴克和他计划将奥斯卡卢桑人放在显微镜下一样暴露在外。
"You'll be watching us," a local mother told the researchers one day.
“你们会看着我们，”有一天，当地的一位母亲告诉研究人员。
"But don't forget, we'll be watching you."
“但别忘了，我们会看着你。”
One of the first things Barker wanted to do in Oskaloosa was to document a day in the life of an ordinary boy.
巴克在奥斯卡卢萨想做的第一件事就是记录一个普通男孩一天的生活。
Barker didn't have a hypothesis about the boy or about seven-year-olds.
巴克没有关于这个男孩或七岁孩子的假设。
He wasn't testing for anything in particular.
他没有测试任何特别的东西。
He wanted only to show the world that following a kid for a day could produce a ton of interesting data.
他只想向世界展示，跟踪一个孩子一天可以产生大量有趣的数据。
Scientists could later break down that data in an infinite number of ways, depending on their interests and the goals of their research, which was how little Raymond Birch woke up that morning to find a scientist standing over him.
科学家们随后可以根据他们的兴趣和研究目标以无数种方式分解这些数据，这就是雷蒙德·伯奇那天早上醒来发现一位科学家站在他身边的原因。
On that Tuesday, April 26, 1949, eight researchers, taking turns like runners in a relay race, followed Raymond for 13 hours straight.
1949 年 4 月 26 日那个星期二，八名研究人员像接力赛跑者一样轮流连续跟踪雷蒙德 13 个小时。
The book that came out of it, One Boy's Day , was 435 pages long.
由此出版的一本书《男孩节》长达 435 页。
It had an entry for nearly every minute of Raymond's day.
雷蒙德一天中几乎每一分钟都有一个条目。
The researchers tried record not just Raymond's words and movements, but also his perceptions, motives, and feelings.
研究人员不仅尝试记录雷蒙德的言语和动作，还尝试记录他的看法、动机和感受。
They noted that Raymond mumbled with a mouthful of toast at breakfast.
他们注意到，雷蒙德在吃早餐时嘴里含着烤面包，咕哝着。
They followed him as he walked with his mom through her job at the county clerk's office, and looked on as he drew a picture of a cowboy with a long beard.
当他和他的妈妈一起在县书记员办公室工作时，他们跟着他，并看着他画了一张留着长胡子的牛仔的照片。
They watched Raymond find a baseball bat in the grass and pick it up.
他们看着雷蒙德在草地上找到一根棒球棒并捡了起来。
"Oh, boy," he said, according to their notes.
根据他们的笔记，他说：“哦，天哪。”
"He tossed a stone in the air and swung, but accidentally clipped a flag pole-- 8:24 AM.
“早上 8 点 24 分，他向空中扔了一块石头并挥舞，但不小心夹断了一根旗杆。
This made a wonderful hollow ringing noise, so he proceeded to hit the flag pole again.
这发出了美妙的空洞响声，于是他又开始撞击旗杆。
8:25 AM-- He went around and round and around the pole, hitting it with a bat as he did so, until he became so dizzy that he fell down, bat and all."
上午 8:25——他绕着杆子转了一圈又一圈，一边用球棒击打它，直到他头晕目眩，连球棒都摔倒了。”
Even before the book about Raymond's day was published, Barker felt it was destined for greatness.
甚至在关于雷蒙德的一天的书出版之前，巴克就觉得它注定会取得伟大的成就。
It would find its way onto campuses as a staple of psychology courses, he thought, and into the hands of artists, novelists, and laymen interested in the cultural scene.
他认为，它将作为心理学课程的主要内容进入校园，并进入对文化场景感兴趣的艺术家、小说家和外行人的手中。
"We believe it will become a sort of classic and be in demand for a long time," he wrote in a January 1951 letter.
他在 1951 年 1 月的一封信中写道：“我们相信它将成为一种经典，并在很长一段时间内受到人们的欢迎。”
But One Boy's Day never took off.
但“男孩节”从未真正兴起。
And by April 1959, Barker, crestfallen, asked Harper & Row to ship him the 70 remainders languishing in its warehouse.
到了 1959 年 4 月，巴克垂头丧气地要求 Harper & Row 将其仓库中滞留的 70 件剩余物品运给他。
Part of the trouble was simply the book's premise.
部分问题在于这本书的前提。
In its defiant first sentence, Barker calls the book, "a scientific document."
巴克在其挑衅性的第一句话中称这本书为“一份科学文献”。
But other scientists had a hard time seeing that.
但其他科学家很难看到这一点。
The book was just a tick-tock chronology of Raymond's day.
这本书只是雷蒙德那个时代的年表。
There wasn't any theory or analysis.
没有任何理论或分析。
And this annoyed many of the reviewers in serious academic journals.
这惹恼了许多严肃学术期刊的审稿人。
One reviewer wrote, "The reader is struck by the fact that he is encountering only raw data.
一位评论家写道：“读者对他只遇到原始数据这一事实感到震惊。
How can one evaluate such materials without a theoretical framework?" In other words, what does it mean?
如果没有理论框架，如何评估这些材料呢？”换句话说，这意味着什么？
Barker lived in Oskaloosa the rest of his life.
巴克在奥斯卡卢萨度过了余生。
But he abandoned his day in the life studies after just a few years.
但仅仅几年后，他就放弃了生命研究。
There were more revealing and less labor-intensive ways, he discovered, to study human beings in their natural habitats.
他发现，在自然栖息地研究人类有更多的启发性和更少的劳动密集型方法。
Today, field studies of naturally occurring behavior are no more common in psychology than they were in Barker's time.
今天，对自然发生行为的实地研究在心理学中并不比巴克时代更常见。
The costs and logistics are just too staggering.
成本和物流太惊人了。
One rare but recent Barker-like effort was conducted by UCLA's Center on the Everyday Life of Families.
加州大学洛杉矶分校家庭日常生活中心最近进行了一项罕见但类似巴克的努力。
Researchers there embedded in the homes of 32 middle class families in Los Angeles for a week and videotaped nearly every waking minute.
研究人员潜入洛杉矶 32 个中产阶级家庭的家中一周，几乎在醒着的每一分钟都进行录像。
But the ratio of cost and effort to interesting results remains as lopsided today as it was in Barker's time.
但今天，成本和努力与有趣结果的比率仍然像巴克时代一样不平衡。
The New York Times reported that, quote, "After more than $9 million and untold thousands of hours of video watching, the researchers found that, well, life in these trenches is exactly what it looks like-- a fire shower of stress, multitasking, and mutual nitpicking."
《纽约时报》报道称，“在花费了超过 900 万美元和无数小时的视频观看之后，研究人员发现，这些战壕里的生活正是它看起来的样子——充满压力、同时处理多项任务和相互挑剔。”
One guy in particular who is not a big fan of these studies?
特别是一个不太喜欢这些研究的人？
Raymond Birch, the boy.
雷蒙德·伯奇，那个男孩。
I tracked him down a few years ago.
几年前我就找到了他。
His real name is Gary Morgan, and he's now a retired utility worker in his early 70s living in Pennsylvania.
他的真名是加里·摩根 (Gary Morgan)，现年 70 岁出头，是一名退休公用事业工人，居住在宾夕法尼亚州。
Roger Barker autographed Gary's copy of One Boy's Day and personally inscribed it, calling Gary its, quote, "real author." But Gary has yet to get past its first pages.
罗杰·巴克 (Roger Barker) 在加里 (Gary) 的《男孩节》 (One Boy's Day) 上亲笔签名，并亲自题字，称加里 (Gary) 是“真正的作者”。但加里还没有读完第一页。
"I have to say, why is this interesting?" He told me.
“我不得不说，为什么这很有趣？”他告诉我。
"There's nothing happening in this book as far as I can tell.
“据我所知，这本书里没有发生任何事情。
What is it going to tell them that I was standing there, chewing on my fingernails?"
它能告诉他们我站在那里咬指甲的什么信息呢？”
Ariel Sabar is the author of The Outsider , a biography of Roger Parker.
阿里尔·萨巴尔 (Ariel Sabar) 是罗杰·帕克的传记《局外人》的作者。
It's available as an Amazon Kindle Single.
它以 Amazon Kindle Single 形式提供。
[MUSIC - "CENTER OF ATTENTION" BY GUSTER]
[音乐 - 古斯特的《注意力中心》]
Act Three: Take My Break, Please Ira Glass Act Three, "The Big Break." So in this story, a comedy act takes to the stage for the biggest show of their lives.
第三幕：请让我休息一下 艾拉·格拉斯 第三幕“大突破”。因此，在这个故事中，喜剧表演登上了舞台，上演了他们一生中最盛大的表演。
And it is a spectacle, though not the one they had in mind.
这是一场奇观，尽管不是他们想要的。
David Segal tells the story.
大卫·西格尔讲述了这个故事。
Mitzi McCall and Charlie Brill were a sketch comedy act back in the early 1960s, playing small clubs around the country-- mostly in Los Angeles, where they lived.
米兹·麦考尔 (Mitzi McCall) 和查理·布里尔 (Charlie Brill) 是 20 世纪 60 年代初的喜剧小品，在全国各地的小俱乐部演出——主要是在他们居住的洛杉矶。
They were married.
他们结婚了。
They still are, actually.
事实上，他们仍然如此。
And they were struggling.
他们正在挣扎。
Then one day, they got a phone call that changed their lives.
有一天，他们接到一通电话，改变了他们的生活。
We were sitting at home.
我们坐在家里。
And I don't know what we were--
我不知道我们是什么——
Starving.
挨饿了。
Charlie Brill Starving.
查理·布里尔挨饿了。
No, no, we weren't starving.
不，不，我们没有挨饿。
We--
我们——
Yes, I was starving.
是的，我快饿死了。
Charlie Brill Well, you were hungry that day.
查理·布里尔 嗯，那天你很饿。
Oh.
哦。
[LAUGHS] Oh, was that it?
[笑]哦，是这样吗？
Charlie Brill Yeah.
查理·布里尔 是的。
And the phone rang.
电话响了。
And it was our manager, Mace Neufeld.
这是我们的经理梅斯·纽菲尔德。
And he said, "Guess what?" "What?" "I got you on The Ed Sullivan Show ." And we let out a scream, because that was the show.
他说：“你猜怎么着？” “什么？” “我在埃德·沙利文秀上找到了你。”我们尖叫起来，因为这就是表演。
The ultimate.
终极。
Charlie Brill Bigger.
查理·布里尔·比格。
If you got a shot on Ed Sullivan, you had a shot at stardom.
如果你有机会出演艾德·沙利文，你就有机会成为明星。
Yes.
是的。
Charlie Brill We were just so thrilled.
查理·布里尔 我们非常激动。
And immediately we started to work on the piece of material that we selected for The Ed Sullivan Show .
我们立即开始制作为埃德·沙利文秀选择的素材。
And we rehearsed and rehearsed.
我们排练了又排练。
And we fine-tuned it.
我们对其进行了微调。
We ran down to The Horn in Santa Monica.
我们跑到了圣莫尼卡的 The Horn。
We broke it in.
我们把它打破了。
It got a lovely, lovely reaction.
它得到了一个可爱的、可爱的反应。
And we told everybody.
我们告诉了所有人。
In fact, I think I sky wrote it over Hollywood.
事实上，我想我是在好莱坞的天空上写的。
We're on The Ed Sullivan Show , yahoo.
我们正在参加埃德·沙利文秀，雅虎。
Yeah.
是的。
Charlie Brill And we were on our way.
查理·布里尔 我们正在路上。
Woo!
哇！
This wasn't just a shot at greatness.
这不仅仅是一次伟大的尝试。
This was a chance to meet a few of their idols who'd be on the show that night, too-- people like Tessie O'Shea, Georgia Brown, who were both big musical theater stars.
这是一个见到当晚也会出现在节目中的几位偶像的机会，比如泰西·奥谢 (Tessie O'Shea)、乔治亚·布朗 (Georgia Brown)，他们都是音乐剧大明星。
But to Charlie and Mitzi, the biggest deal of all was a guy they'd already met.
但对查理和米兹来说，最重要的是他们已经见过的人。
We were just-- we were in awe of Frank Gorshin, a great, great, great impressionist.
我们只是——我们对弗兰克·戈尔辛（Frank Gorshin）感到敬畏，他是一位伟大、伟大、伟大的印象派画家。
Impressionist.
印象派。
Charlie Brill And the Riddler on Batman .
《蝙蝠侠》中的查理·布里尔和谜语人。
We had probably done maybe something with Frank Gorshin.
我们可能和弗兰克·戈尔辛一起做了一些事情。
I think it was something for Frank Gorshin.
我认为这对弗兰克·戈辛来说是件好事。
I shined his shoes.
我擦亮了他的鞋子。
[LAUGHS] Charlie Brill And I was so in awe.
[笑]查理·布里尔 我非常敬畏。
So we get to New York, and we go to rehearsal by taxi.
我们到了纽约，乘出租车去排练。
And there's thousands of people in the streets, clamoring.
成千上万的人走上街头，大声叫嚷。
And the streets are cordoned off.
街道也被封锁。
Is that the word?
是这个词吗？
Cordoned?
封锁了？
Yeah, cordoned.
是的，封锁了。
And I looked at Mitzi.
我看着米兹。
And I said, my god, all this for Frank Gorshin.
我说，天啊，这一切都是为了弗兰克·戈尔辛。
They were given the worst dressing room in the building on the top floor, a space they shared with a soda machine.
他们被分配到了顶层大楼里最差的更衣室，他们和一台汽水机共用一个空间。
But they didn't care.
但他们不在乎。
They were both 26 years old, and they were about to go national.
他们都26岁了，即将进入国家队。
But first, it was time for a dress rehearsal.
但首先，是彩排的时候了。
Here's the deal.
事情是这样的。
We didn't know that the dress rehearsal was something that was looked at very carefully.
我们不知道彩排是经过非常仔细的审视的。
By all the executives.
由所有高管。
Mitzi Mccall Exactly.
米兹·麦考尔 没错。
And they have an audience.
他们有观众。
We didn't know.
我们不知道。
We were like coming down in our bathrobes with hair curlers.
我们就像穿着浴袍带着卷发器下来一样。
And we go through our act.
我们会执行我们的行动。
And when we get to a punch line, instead of doing--
当我们谈到一个妙语时，而不是这样做——
The punch line.
妙语。
Mitzi Mccall We go, blah, blah, blah.
米兹·麦考尔 我们走吧，等等，等等。
Because we don't want to reveal the punch line.
因为我们不想透露妙语。
We want the band to laugh.
我们希望乐队开怀大笑。
Oh, gosh.
哦，天哪。
Charlie Brill And we don't want-- you know, it was a secret, our punch line.
查理·布里尔：我们不想——你知道，这是一个秘密，我们的妙语。
Yeah.
是的。
[LAUGHS] Charlie Brill So we used to go-- and here we are.
[笑]查理·布里尔 我们曾经去过——现在我们来了。
And Mitzi, by the way, blah, blah, blah.
顺便说一下，Mitzi，等等，等等。
So then we schlep upstairs to our dressing room.
然后我们就拖着脚步上楼去更衣室。
And we hear on the loudspeaker, "McCall and Brill, Mr. Sullivan's office, please.
我们听到扩音器里传来“麦考尔和布里尔，请到沙利文先生的办公室。
McCall and Brill." So we go down, and we go into Mr. Sullivan's office.
麦考尔和布里尔。”于是我们下楼，走进沙利文先生的办公室。
And there he was.
他就在那里。
[SIGH] Charlie Brill He was sitting in a chair getting made up.
[叹息]查理·布里尔 他正坐在椅子上化妆。
And I looked at the man who could make our entire careers.
我看着那个可以成就我们整个职业生涯的人。
So he said, what you did in dress rehearsal, first of all, I don't get the "blah, blah, blahs." I'm not getting that.
所以他说，首先，你在彩排中所做的事情，我不明白“等等，等等”。我不明白。
And we said, no, Mr. Sullivan, those are our punch lines, and we want them to be fresh.
我们说，不，沙利文先生，这些是我们的妙语，我们希望它们是新鲜的。
And he said, oh, well, I wish you would let us in on them for the dress rehearsal.
他说，哦，好吧，我希望你能让我们参加彩排。
And he said, the piece of material you're doing is too sophisticated for this audience.
他说，你正在做的材料对于观众来说太复杂了。
And I went, what?
我就去了，什么？
Because I had seen The Sullivan Show all my life.
因为我一生都看过《沙利文秀》。
And he said, well, there's gonna be mostly 14, 15, 16-year-old girls in the audience tonight and kids.
他说，好吧，今晚观众中大部分是 14、15、16 岁的女孩和孩子。
And it never occurred to me to say, why?
我从来没想过要说，为什么？
What are we were doing?
我们在做什么？
Like a circus show?
就像马戏表演一样？
And he said, so show me your entire act.
他说，那就让我看看你的整个表演吧。
And because we were so new and eager to please, we stood there in the office and showed Mr. Sullivan our entire nightclub act, anything we had ever worked on.
因为我们是新人，渴望取悦别人，所以我们站在办公室里，向沙利文先生展示了我们整个夜总会的表演，以及我们曾经做过的任何事情。
Sketches.
草图。
Mitzi Mccall Blah, blah, blah.
米兹·麦考尔 废话，废话，废话。
Yeah, sketches.
是的，草图。
Mitzi Mccall And he said, OK, here's the deal.
Mitzi McCall 他说，好吧，事情就是这样。
We're gonna put that first girl that comes in--
我们要把第一个进来的女孩——
We'll put her in the second sketch.
我们会把她放在第二幅草图中。
But then you do the other girl that you did in the third sketch in the second sketch.
但是然后你在第二个草图中画了你在第三个草图中画的另一个女孩。
And that's what you end with.
这就是你的结局。
Now, we went, uh, oh-- OK.
现在，我们去了，呃，哦——好吧。
They went back upstairs in something close to a panic.
他们带着近乎惊慌的心情回到楼上。
Basically, they had just been told to write a new act, right then and there, instead of the routine they had been fine-tuning for weeks.
基本上，他们只是被告知要当场写一个新的表演，而不是他们已经调整了几周的惯例。
They might have freaked out, but they didn't have time.
他们可能吓坏了，但他们没有时间。
The curtain's going up in an hour.
一小时后大幕就要拉开。
We were in a daze.
我们都愣住了。
We didn't really know what he said.
我们实在不知道他说了什么。
Should we put the first--
我们应该把第一个——
What did he say?
他说什么？
Charlie Brill If we take the first girl and put it in the third.
查理·布里尔 如果我们把第一个女孩放在第三个女孩身上。
And then there was a knock on the door.
然后有人敲门。
The door was open, but there was a knock.
门开着，但有人敲门。
And there's this guy standing there with funny hair and granny glasses.
这个家伙站在那里，头发滑稽，戴着老太婆眼镜。
And he said--
他说——
Give us a Coke, love.
亲爱的，给我们一杯可乐。
Charlie Brill Give us a Coke, love.
查理·布里尔 亲爱的，给我们一杯可乐。
And I looked at Mitzi, and I said, this guy wants a glove or something.
我看着米兹，我说，这家伙想要手套什么的。
I'm not sure what he wanted.
我不确定他想要什么。
"Coke love." Charlie Brill And he started to laugh.
“可乐之爱。”查理·布里尔 他开始大笑。
And he said, no, give us a Coke, love.
他说，不，给我们一杯可乐吧，亲爱的。
The Coke machine.
可乐机。
And I said, oh, yeah, well, come in.
我说，哦，是的，好吧，进来吧。
It's all yours.
都是你的了。
And he said, can you give me a dime?
他说，你能给我一毛钱吗？
$0.10.
0.10 美元。
And I said, oh, I got to buy you the coke as well.
我说，哦，我也得给你买可乐。
OK.
好的。
What do you think, we're made out of money, kid?
你觉得怎么样，我们是用钱做的，孩子？
The worst part was that this guy seemed to want to just hang out.
最糟糕的是，这个家伙似乎只想出去玩。
So he helped himself to a seat on the sofa.
于是他扶着自己在沙发上坐下。
While he's talking to us, he takes out of his pocket a napkin and a pen, and he's drawing me.
当他和我们说话时，他从口袋里掏出一张餐巾纸和一支笔，然后画了我。
He's looking at me and he's drawing me.
他看着我，画着我。
Mhm.
嗯。
Mhm.
嗯。
Charlie Brill That's nice.
查理·布里尔 太好了。
And he did some pictures of me and Mitzi on napkins.
他在餐巾纸上拍了一些我和米兹的照片。
All we thought about was, I wish this kid would go so we can work on our act.
我们所想的只是，我希望这个孩子能够走，这样我们就可以继续我们的表演。
We haven't put the first character in the third sketch and the second in the--
我们还没有把第一个角色放在第三个草图中，第二个角色放在——
Ugh, gosh.
呃，天哪。
Charlie Brill And he left.
查理·布里尔 他离开了。
And we looked at each other and said, OK, now, what are we doing?
我们互相看着对方说，好吧，现在我们在做什么？
[CHUCKLES] Charlie Brill "All right.
[咯咯笑]查理·布里尔“好吧。
McCall and Brill.
麦考尔和布里尔。
McCall and Brill on stage for the show."
麦考尔和布里尔在舞台上观看演出。”
Good evening, ladies and gentlemen.
晚上好，女士们先生们。
Tonight, live from New York--
今晚，来自纽约的直播——
The show was about to begin.
演出即将开始。
All the performers gathered in the wings, waiting for their turn.
所有的表演者都聚集在侧翼，等待轮到他们。
Finally, Ed Sullivan came out and announced the first act.
最后，埃德·沙利文出来宣布第一幕。
[AUDIENCE SCREAMING] Charlie Brill We were on The Ed Sullivan Show with The Beatles.
[观众尖叫]查理·布里尔（Charlie Brill）我们和披头士乐队一起参加了埃德·沙利文秀。
[MUSIC - "ALL MY LOVING" BY THE BEATLES]
[音乐 - 披头士乐队的《我所有的爱》]
We didn't realize that's what the crowds were for, because, to be very honest, we didn't really know who The Beatles were.
我们没有意识到这就是人群的目的，因为说实话，我们并不真正知道披头士乐队是谁。
Actually, our manager, when he called us and said, you're gonna be on The Ed Sullivan Show , and he said, and guess what?
事实上，我们的经理打电话给我们说，你要参加《埃德·沙利文秀》，他说，你猜怎么着？
You're gonna be with The Beatles?
你要和披头士乐队在一起吗？
And we said, who?
我们说，谁？
[MUSIC - "ALL MY LOVING" BY THE BEATLES]
[音乐 - 披头士乐队的《我所有的爱》]
David Segal The guy with the pen, the one who drew the pictures?
大卫·西格尔（David Segal） 那个拿着笔的人，就是画图的那个人？
That, of course, was John Lennon.
那当然是约翰·列侬。
And this was February 9, 1964, the first time a US audience had laid eyes on The Beatles.
那是 1964 年 2 月 9 日，美国观众第一次看到披头士乐队。
Years later, Lennon said he thought the kids that night had lost their minds.
多年后，列侬说他认为那天晚上的孩子们已经疯了。
Charlie, watching from 20 feet away, thought so too.
查理在 20 英尺外观看，也这么认为。
Honest to God, my hand to God, I tell you, we couldn't hear them.
对上帝诚实，对上帝说实话，我告诉你，我们听不到他们的声音。
The screams all through what they did were so loud, I never got a chance to hear what they sound like.
他们所做的一切的尖叫声是如此之大，我从来没有机会听到他们的声音。
Who's singing?
谁在唱歌？
This was something different.
这是不同的。
Charlie Brill Yeah, I mean, I heard about Sinatra at the Paramount.
查理·布里尔 是的，我是说，我在派拉蒙听说过辛纳屈。
Yeah.
是的。
Charlie Brill People were screaming.
查理·布里尔 人们在尖叫。
But this, I never heard of saw such bedlam in my life.
但这是我一生中从未听说过的混乱场面。
Now, when they're finished, the screams keep going on.
现在，当他们结束时，尖叫声仍在继续。
It must have dawned on you at that moment, or was it before, that this was a cultural phenomenon, just off the charts.
在那一刻，或者之前，你一定已经意识到，这是一种文化现象，简直是史无前例的。
I really need to be rigorously honest right now.
我现在真的需要非常诚实。
No, it didn't.
不，没有。
No.
不。
No. We were too nervous of what we were gonna do.
不，我们对自己要做的事情太紧张了。
Please.
请。
Charlie Brill I mean, I knew they were a hit.
查理·布里尔（Charlie Brill）我的意思是，我知道它们很受欢迎。
But you know what, we hadn't gone on yet.
但你知道吗，我们还没有继续。
I wanted to know that we were gonna be fabulous.
我想知道我们会变得很棒。
Crazy.
疯狂的。
David Segal 73 million Americans watched The Ed Sullivan Show that night, about 40% of the entire country.
当晚，7300 万美国人观看了大卫·西格尔 (David Segal) 的《埃德·沙利文秀》(The Ed Sullivan Show)，约占全国人口的 40%。
Ordinarily, when that many people come together, it's for the last episode of a long-running TV series, or for playoff games of teams they already know, not for a show that turns the stage over to an act that nobody's heard of.
通常，当这么多人聚集在一起时，这是为了一部长期播出的电视剧的最后一集，或者是为了他们已经认识的球队的季后赛，而不是为了一场将舞台变成无人听说过的表演的节目。
Arguably, Mitzi and Charlie had the single greatest break in the history of show business.
可以说，米兹和查理取得了演艺界历史上最伟大的突破。
People forget this was an hour-long program, with The Beatles playing a few songs at the beginning and then a few songs toward the end.
人们忘记了这是一个长达一个小时的节目，披头士乐队在开始时播放了几首歌曲，然后在结尾播放了几首歌曲。
In between, there were six different acts, from vaudeville, from Broadway, from the circus, from everything rock was about to bulldoze aside.
其间，有六种不同的表演，从歌舞杂耍、从百老汇、从马戏团，从一切摇滚乐即将被推倒的东西。
It was basically the future sharing a bill with the doomed.
这基本上是未来与注定要失败的人分担账单。
Which is why, after The Beatles finished singing "She Loves You," the next thing on The Ed Sullivan Show that night was a guy in a tux doing a card trick.
这就是为什么当披头士乐队唱完“她爱你”后，当晚埃德·沙利文秀上的下一件事是一个穿着燕尾服的男人玩纸牌戏法。
We do the trick with one, two, three, four red spot cards.
我们用一张、两张、三张、四张红色点卡来完成这个任务。
Now, from these four red spot cards I take in my right hand-- my right hand is, of course, always the hand with the thumb from the left side.
现在，从这四张红色斑点卡中，我拿起我的右手——当然，我的右手始终是拇指在左侧的手。
Now, in this hand--
现在，在这手上——
There's an acrobatic novelty act.
有一个新奇的杂技表演。
There's Tessie O'Shea, a very large woman in a sequined gown, playing a banjo, doing her signature tune, "Two Ton Tessie from Tennessee."
泰西·奥谢 (Tessie O'Shea) 是一位穿着亮片长袍的身材魁梧的女人，正在弹奏班卓琴，演奏着她的标志性曲调“来自田纳西州的两吨泰西”。
[SINGING] They play tennis on her double chin.
[唱歌] 他们用她的双下巴打网球。
They call her Two Ton Tessie, Two Ton Tessie from Nashville, Tennessee.
他们称她为“两吨泰西”，来自田纳西州纳什维尔的“两吨泰西”。
Yes, they call her--
是的，他们叫她——
Frank Gorshin comes on with 10 minutes of impersonations-- Dean Martin, Burt Lancaster, Anthony Quinn.
弗兰克·戈尔辛 (Frank Gorshin) 上场，模仿迪恩·马丁 (Dean Martin)、伯特·兰卡斯特 (Burt Lancaster)、安东尼·奎因 (Anthony Quinn) 长达 10 分钟。
The far-fetched conceit of his act doesn't seem quite so far-fetched 40 years later.
40 年后，他的行为似乎并不那么牵强。
Well, it's election year.
嗯，今年是选举年。
And once again, a lot of the Hollywood stars will be out campaigning for the candidates of both parties.
许多好莱坞明星将再次为两党候选人竞选。
Well, a funny thing occurred to me.
嗯，我发生了一件有趣的事情。
What if these stars should suddenly decide to run for these offices themselves.
如果这些明星突然决定自己竞选这些职位怎么办？
They'd have no trouble getting votes because of their popularity.
由于他们的受欢迎程度，他们毫无困难地获得选票。
In just a short time, the stars will be running the country.
用不了多久，明星就会统治国家。
He imagines a meeting of the US Senate, where character actor Broderick Crawford is vice president and people like Marlon Brando are senators.
他想象着美国参议院的一次会议，角色演员布罗德里克·克劳福德（Broderick Crawford）担任副总统，马龙·白兰度（Marlon Brando）等人担任参议员。
Tonight, we're going to discuss what [INAUDIBLE] somebody changed and made the present two-party system [INAUDIBLE].
今晚，我们将讨论[听不清]有人改变了什么并使目前的两党制度变得[听不清]。
10-4.
10-4。
[AUDIENCE LAUGHTER] Mr. Chairman, for years now, year after year after year, there have been just two major parties-- one at Frank Sinatra's house, and the other one at Dean Martin's.
[观众笑声]主席先生，多年来，年复一年，只有两个主要的聚会——一个在弗兰克·辛纳屈家，另一个在迪恩·马丁家。
Just two years after this, Ronald Reagan was elected governor of California.
仅仅两年后，罗纳德·里根当选为加利福尼亚州州长。
[MUSIC - "THE ARTFUL DODGER" BY DAVY JONES]
[音乐 - 戴维·琼斯的《狡猾的道奇》]
This is "The Artful Dodger" from the musical Oliver , played here by an 18-year-old Davy Jones.
这是音乐剧《奥利弗》中的“狡猾的道奇”，由 18 岁的戴维·琼斯扮演。
When he heard the screams that evening, he thought-- and this is a quote-- "I'd like a little bit of this action." Two years later, he was cast as a member of The Monkees, the made-for-TV knockoff of The Beatles.
那天晚上，当他听到尖叫声时，他想——这是一句引言——“我想要一点这样的行动。”两年后，他被选为 The Monkees 乐队的成员，该乐队是披头士乐队的电视模仿品。
Mitzi and Charlie were slated for what was probably the worst slot on the show.
米兹和查理被安排出演可能是节目中最糟糕的角色。
They were the last act before The Beatles returned for the final songs.
这是披头士乐队回归演唱最后几首歌之前的最后一场演出。
We were in a daze, but we heard them introduce us.
我们一愣，却听到他们介绍我们。
We walked out.
我们走了出去。
Now, the screams came on, because they wanted The Beatles.
现在，尖叫声开始响起，因为他们想要披头士乐队。
That's when I said I thought I heard "Get them off."
就在那时我说我好像听到了“把他们放开”。
I think I said it.
我想我说过了。
Mitzi Mccall Oh.
米兹·麦考尔哦。
[LAUGHS]
[笑]
Now we take you to Hollywood at a very tense moment in the career of a young, aspiring actress, the office of McCall and Brill.
现在，我们带您来到一位年轻、有抱负的女演员职业生涯非常紧张的时刻，麦考尔和布里尔的办公室。
Miss Tidy, would you come into my office right away, please?
蒂迪小姐，请您马上到我办公室来一下好吗？
Yes, sir.
是的，先生。
Neat, neat, neat, neat.
整齐，整齐，整齐，整齐。
Everything nice and neat, that's me.
一切都美好而整洁，这就是我。
Hello, sir.
你好先生。
Uh, Ms. Tidy, I am having a terrible time trying to find a young actress to star in my next motion picture.
呃，蒂迪女士，我在寻找一位年轻女演员来出演我的下一部影片时遇到了麻烦。
Yes, sir.
是的，先生。
Charlie Brill Now, are the young ladies outside ready to be interviewed?
查理·布里尔 现在，外面的年轻女士准备好接受采访了吗？
Yes, sir, they're neatly waiting outside, sir.
是的，先生，他们正在外面整齐地等着，先生。
I'll send them in.
我会把他们送进去。
The premise here is that Charlie is a director casting a movie, and Mitzi is his secretary and then a bunch of different women auditioning for the role.
这里的前提是查理是一位正在选角的导演，米兹是他的秘书，然后是一群不同的女性试镜这个角色。
She plays an aspiring starlet.
她扮演一位有抱负的新星。
Hi, sir.
嗨，先生。
Um, you might not remember me, but I was Miss Palm Springs back in 1956.
嗯，你可能不记得我了，但我是 1956 年的棕榈泉小姐。
A stage mom.
舞台妈妈。
Mitzi Mccall Sir, if you're not interested in her, maybe you can be interested in me.
Mitzi McCall 先生，如果您对她不感兴趣，也许您可以对我感兴趣。
No, I-- I just wish-- Mitzi Mccall [SINGING] 'Cause everything's coming up roses!
不，我 - 我只是希望 - Mitzi McCall [唱歌] 因为一切都会玫瑰花！
And a method actor.
还有一个方法演员。
Mitzi Mccall Then and only then can the true justification of the motivation of our inside urgency henceforth find the infinitesimal need of our outward action.
米兹·麦考尔 那时，也只有到那时，我们内心的紧迫感的动机才能真正合理地找到我们外在行动的无限微小的需要。
Dig?
挖？
Did you notice the dead silence after she says "dig," in a room that only 30 minutes earlier had been filled with the noise that scared the cops?
你有没有注意到，在她说“挖”之后，房间里死一般的寂静，而就在 30 分钟前，房间里还充满了吓坏警察的噪音？
That's a lot of silence.
这是很多沉默。
So you were up there for what?
那你上来是为了什么？
How long do you think?
你觉得要多久？
Two minutes or something like that?
两分钟或者类似的时间？
It was two years.
已经两年了。
Mitzi Mccall Two years.
米兹·麦考尔 两年了。
We were there for two years.
我们在那里待了两年。
Mitzi Mccall Mhm.
米兹·麦考尔 嗯。
We didn't know what we were doing.
我们不知道自己在做什么。
We didn't know if we'd finished the act or didn't finished the act.
我们不知道我们是否已经完成了表演，或者还没有完成表演。
But the band leader had the punch line, and he played tada!
但乐队领队有一句妙语，他扮演了tada！
And now you want to see a couple of Jews standing there so nervous, looking to see if Ed would call us over.
现在你想看到几个犹太人如此紧张地站在那里，看看埃德是否会叫我们过去。
Because that's what makes you.
因为那就是你的原因。
Did he call us over?
他叫我们过来了吗？
No.
不。
No. We were looking at each other, saying, did he motion to us?
没有。我们面面相觑，问道，他是在向我们示意吗？
No. Get off.
不，下车。
Charlie Brill No, it wasn't get off.
查理·布里尔 不，这不是下车。
David Segal Did you have a sense at the time that it had gone well or gone poorly?
大卫·西格尔（David Segal）当时你有感觉事情进展顺利还是进展不佳吗？
We knew immediately.
我们立刻就知道了。
Charlie Brill Into the toilet.
查理·布里尔 进了厕所。
Yeah.
是的。
Mhm.
嗯。
But see, they didn't have this expression then, but we sucked.
但是看，他们当时没有这种表情，但我们很糟糕。
It was, in fact, the worst three minutes of their lives.
事实上，这是他们一生中最糟糕的三分钟。
They bombed so bad that when they came off stage, people wouldn't look at them.
他们的表现太糟糕了，以至于当他们走下舞台时，人们都不会看他们。
Mitzi's mom dodged their call.
米兹的妈妈躲开了他们的电话。
The biggest terror was that we didn't want to go home.
最大的恐惧是我们不想回家。
We did not want to go back to Los Angeles.
我们不想回洛杉矶。
But that night, we felt so bad.
但那天晚上，我们感觉很糟糕。
And Frank Gorshin was nice enough to take us to Downy's.
Frank Gorshin 非常友善地带我们去了 Downy's。
Sardi's.
萨迪的。
Charlie Brill Sardi's.
查理·布里尔·萨迪的。
And we had a drink.
我们喝了一杯。
And he said, don't worry, this is not the end of your lives.
他说，别担心，这不是你生命的终结。
And we said, oh, my god.
我们说，哦，天哪。
It was such a fiasco that in 40 years, neither of them have actually seen their performance-- until now.
这是一场惨败，以至于四十年来，他们都没有真正看到过自己的表演——直到现在。
Watching a tape of it, the first thing Charlie noticed was that they actually did get a couple of laughs.
查理在观看录像带时注意到的第一件事是，他们确实笑了。
I think I'm gonna be sick.
我想我会生病。
Charlie Brill You made me quiet ill.
查理·布里尔 你让我安静得生病了。
[AUDIENCE LAUGHTER] Uh, Ms. Tidy, send in the next young lady, please.
[观众笑声] 呃，Tidy 女士，请派下一位年轻女士进来。
Yeah.
是的。
Charlie Brill Yeah, we're getting laughs.
查理·布里尔 是的，我们笑了。
Hi, sir.
嗨，先生。
I'm next the young lady's mother.
接下来我是这位年轻女士的母亲。
How do you do?
你好吗？
Mitzi Mccall My little girl is waiting outside, you know.
米兹·麦考尔 你知道，我的小女儿正在外面等着。
She used to be one of The Beatles.
她曾经是披头士乐队的成员之一。
Oh, what happened?
噢，发生什么事了？
Mitzi Mccall Somebody stepped on her.
米兹·麦考尔 有人踩到了她。
[AUDIENCE LAUGHTER] Ha, that was funny.
[观众笑声]哈，这很有趣。
You ad libbed that.
你即兴说的。
No, you know it comes from-- Charlie Brill We were a hit.
不，你知道它来自——查理·布里尔 我们很受欢迎。
Look at us.
看看我们。
Cute.
可爱的。
You know what?
你知道吗？
There's something wrong with you.
你有问题。
It was pathetic.
真是可悲。
The problem, they both say, is that they had to rearrange their act for 14-year-olds in a hurry the day of the broadcast.
他们俩都说，问题在于他们必须在播出当天匆忙地为 14 岁的孩子重新安排表演。
They're still convinced that if they'd been invited on the show any other night, things would have been different.
他们仍然坚信，如果他们被邀请参加其他任何一个晚上的节目，情况就会有所不同。
As it happened, they retreated back home, where their agent didn't call for six long months.
碰巧的是，他们撤回了家，他们的经纪人在长达六个月的时间里没有给他们打电话。
From then on, they'd wince every time they heard The Beatles.
从那时起，每次听到披头士乐队的声音，他们都会皱起眉头。
Imagine that.
想象一下。
They had the rest of the '60s ahead of them.
他们还面临着 60 年代的剩余时光。
They were in for a lot of wincing.
他们陷入了很多退缩。
[MUSIC - "SGT PEPPER'S LONELY HEARTS CLUB BAND" BY THE BEATLES]
[音乐 - 披头士乐队的“SGT PEPPER's Lonely Hearts Club Band”]
[MUSIC - "ROCKY RACCOON" BY THE BEATLES]
[音乐 - 披头士乐队的《洛奇浣熊》]
But Mitzi and Charlie regrouped and recovered, and they had long and fine careers.
但米兹和查理重新振作起来，恢复了健康，他们的职业生涯又漫长又美好。
Through the '60s and '70s, they played nightclubs in Vegas, and they were on television a lot-- goofy stuff, like The Gong Show , but great programs, too, like The Tonight Show , which they were on four times.
整个 60 年代和 70 年代，他们在维加斯的夜总会表演，并且经常出现在电视上——愚蠢的东西，比如《锣秀》，但也有很棒的节目，比如《今夜秀》，他们上过四次。
Mitzi later wrote for sitcoms, like Alf .
米兹后来为情景喜剧创作剧本，就像阿尔夫一样。
Charlie eventually landed a leading role on a detective show called Silk Stalkings , which ran on the USA network for nine years.
查理最终在一部名为《丝绸追踪》的侦探剧中担任主角，该剧在美国网络上播出了九年。
They have a daughter, whom they adore.
他们有一个女儿，他们都很疼爱她。
No knock on Alf , but it gradually dawned on Mitzi and Charlie that on February 9, 1964, they were part of something seismic.
阿尔夫没有受到任何批评，但米兹和查理逐渐意识到，1964 年 2 月 9 日，他们是一场地震的一部分。
Yeah.
是的。
Charlie Brill We didn't know it.
查理·布里尔 我们不知道。
People would come up to us and say, wasn't that you that was on The Beatles show?
人们会走过来对我们说，披头士乐队演出的不是你吗？
And we said, yes, yes, waiting for them to say, boy, did you suck.
我们说，是的，是的，等着他们说，孩子，你很糟糕吗？
And they went, oh, my god, you're famous.
他们说，哦，天哪，你很有名。
Mitzi and Charlie are retired now.
米兹和查理现已退休。
Meanwhile, The Beatles have split up.
与此同时，披头士乐队已经解散。
Hell, Wings have split up.
天哪，Wings已经分裂了。
But four decades after they flamed out in front of nearly half the country, Mitzi and Charlie are still together, still standing, and still refining the act.
但在他们在近半个国家面前熄火四十年后，米兹和查理仍然在一起，仍然站立，仍然完善表演。
[SIGH] Charlie Brill --let's go to Florida.
[叹息]查理·布里尔——我们去佛罗里达吧。
Did you call me Dixie?
你叫我迪克西吗？
Charlie Brill I think I made a mis--
查理·布里尔，我想我犯了一个错误——
No, I mean you're-- what do you have, a girlfriend?
不，我的意思是你——你有什么，女朋友？
All right, never mind.
好吧，没关系。
Charlie Brill It was a slip.
查理·布里尔 这是一个失误。
Dixie?
迪克西？
I mean, I don't-- Charlie Brill Forget the Dixie.
我的意思是，我不——查理·布里尔（Charlie Brill）忘记迪克西。
Anyway, I said to Mitzi, we have to go to Florida.
不管怎样，我对米兹说，我们必须去佛罗里达。
David Segal.
大卫·西格尔.
He's a reporter for The New York Times .
他是《纽约时报》的记者。
We first ran this story back in 2005.
我们第一次报道这个故事是在 2005 年。
And since then, Charlie and Mitzi are still going strong.
从那时起，查理和米兹仍然表现强劲。
This year, they celebrated their 55th wedding anniversary.
今年，他们庆祝了结婚 55 周年。
Well, today's program was produced by Stephanie Foo and myself, with Alex Blumberg, Ben Calhoun, Sean Cole, Channa Joffe-Walt, Sarah Koenig, Miki Meek, Jonathan Menjivar, Brian Reed, Robyn Semien, Alissa Shipp, and Nancy Updike.
嗯，今天的节目由 Stephanie Foo 和我本人制作，参与人员包括 Alex Blumberg、Ben Calhoun、Sean Cole、Channa Joffe-Walt、Sarah Koenig、Miki Meek、Jonathan Menjivar、Brian Reed、Robyn Semien、Alissa Shipp 和 Nancy Updike。
Our senior producer for today's show was Julie Snyder.
我们今天节目的高级制片人是朱莉·斯奈德。
Production help from Lily Sullivan.
莉莉·沙利文 (Lily Sullivan) 提供制作帮助。
Seth Lind is our director of operations.
塞思·林德 (Seth Lind) 是我们的运营总监。
Emily Condon's our production manager.
艾米丽·康登是我们的生产经理。
Elise Bergerson is our business operations manager.
Elise Bergerson 是我们的业务运营经理。
Kimberly Henderson is our office coordinator.
Kimberly Henderson 是我们的办公室协调员。
Research help from Michelle Harris and Julie Beer.
米歇尔·哈里斯和朱莉·比尔的研究帮助。
Music help from Damien Graef and Rob Geddis.
Damien Graef 和 Rob Geddis 提供音乐帮助。
Our website, ThisAmericanLife.org.
我们的网站 ThisAmericanLife.org。
This American Life is delivered to public radio stations by PRX, the Public Radio Exchange.
《美国生活》由公共广播电台 PRX 向公共广播电台播出。
Thanks, as always, to our program's co-founder, Mr. Torey Malatia.
一如既往地感谢我们项目的联合创始人 Torey Malatia 先生。
You know, at the beginning of this program, when we started This American Life together, even then, he already wanted to disavow any responsibility for what happens here each week.
你知道，在这个节目开始时，当我们一起开始《美国生活》时，即使在那时，他也已经想否认对这里每周发生的事情负有任何责任。
He told me--
他告诉我——
This is what I'm going to do.
这就是我要做的。
You're going to run the show.
你将主持这场演出。
But you will now hypnotize me, and I will forget.
但你现在会催眠我，我就会忘记。
I'm Ira Glass, back next week with more stories of This American Life.
我是艾拉·格拉斯，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。