574: Sinatra’s 100th Birthday - 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 #574 | December 11, 2015 574: Sinatra’s 100th Birthday 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 574 集 | 2015 年 12 月 11 日 574：辛纳屈诞辰 100 周年 注：《美国生活》是为耳朵而制作，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, it's This American Life.
来自芝加哥 WBEZ 的《This American Life》。
I'm Ira Glass.
我是艾拉·格拉斯。
Brassieres.
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-- cutting up on the one hand and then turning around and singing the most vulnerable possible love songs on the other.
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成为许多不同的人——一方面剪掉，然后转过身去唱最脆弱的情歌。
[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?
宝宝哪里疼？
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 never met a-- I mean, I've met many, many male finks, but I never met a female fink until I met Dorothy Kilgallen.
我从未见过——我的意思是，我见过很多很多男性芬克，但我从未见过女性芬克，直到我遇到了多萝西·基尔加伦。
How's that for an opener?
开场白怎么样？
I wouldn't mind if she was a good looking fink.
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 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。
And this is 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 nightclub act at all.
这就是他与小萨米·戴维斯 (Sammy Davis Jr) 一起登上舞台的方式。 1962 年，主流白人表演者将自己的夜总会表演融入其中，这仍然是开创性的。
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。
Did he ask me out here-- can I sing with you guys?
他有没有约我出去——我可以和你们一起唱歌吗？
A couple of--
有几个——
Hey, hey, hey, hey, hey, hey-- I'll dance with you.
嘿，嘿，嘿，嘿，嘿，嘿——我和你一起跳舞。
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 half century after this was recorded, I think what's 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.
在这段录音被录制半个世纪后，我认为最引人注目的是有多少笑话只是关于一个黑人与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-- the jokes they make, what the jokes are about, how bare the whole thing is.
我会给你们播放其中的大部分内容，因为它太棒了——他们开的玩笑，这些玩笑的内容是什么，整个事情是多么的赤裸裸。
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。
I tell you what-- ladies and gentlemen, may I offer some impersonations for you nice folks?
我告诉你们——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·里维尔一样，骑上马，离开这里呢？
[LAUGHTER] I tell you what-- do James Meredith of Mississippi.
[笑声]我告诉你——密西西比州的詹姆斯·梅雷迪思(James Meredith)。
[LAUGHTER] Ladies and gentlemen, my first impression is that of Mr. Frank Sinatra.
[笑声] 女士们先生们，我的第一印象是弗兰克·辛纳屈先生。
When somebody loves you, it's no good unless she loves you all the way.
当一个人爱你时，除非她全心全意地爱你，否则是没有好处的。
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。
[LAUGHTER] He's just, if you'll excuse the expression, a carbon copy.
[笑声]如果你能原谅这个表达的话，他只是一个抄本。
Sammy Davis Jr. takes a breath and launches into his next impression.
小萨米·戴维斯 (Sammy Davis Jr.) 吸了一口气，开始了他的下一个印象。
Through the good lean years, yes, and all those in between years.
是的，经历了美好的贫瘠岁月，以及所有那些岁月之间的岁月。
You notice he does his people better than he does ours?
你注意到他对他的人民比对我们的人民更好吗？
Because we're born with a natural sense of rhythm, you nitwit.
因为我们生来就有一种天生的节奏感，你这个白痴。
Hope I'm not out of line, Frank.
希望我没有出格，弗兰克。
Then he says--
然后他说——
We just sit around all day eating chicken and watermelon.
我们整天坐着吃鸡肉和西瓜。
Gak, yuck gak.
嘎嘎嘎嘎。
I hope it's clear, this is Sammy Davis Jr. pushing back at Frank, calling out what's happening with his friend.
我希望大家都清楚，这是小萨米·戴维斯 (Sammy Davis Jr.) 反击弗兰克，大声疾呼他的朋友发生了什么事。
When Sammy Davis Jr. finally sings a duet with Sinatra, it's a duet between a black man and a white man that is imaginable to hear.
当小萨米·戴维斯 (Sammy Davis Jr.) 最终与辛纳屈 (Sinatra) 合唱时，这是可以想象的黑人和白人之间的二重唱。
You cannot imagine this being performed today by a black man and a white man together except in some deeply ironic context.
你无法想象今天黑人和白人一起表演这件事，除非是在某种极具讽刺意味的背景下。
This is a duet that they performed for years together, "Me and My Shadow."
这是他们多年来一起表演的二重唱《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。
Whereever 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。
Closer than smog is through all of LA.
比烟雾更近的是整个洛杉矶。
Me and my shadow.
我和我的影子。
Closer than Bobby is to JFK.
比鲍比到肯尼迪机场还要近。
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," the Chicago writer Rennie Sparks put it, "we don't just see a man, we see every man." Here's Rennie.
“在弗兰克·辛纳屈身上，”芝加哥作家雷尼·斯帕克斯说道，“我们看到的不仅仅是一个男人，我们看到的是每个男人。”这是雷尼。
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 an thug smashing his fist through a wall when his shirts come back with too much starch.
当他的衬衫上浆太多时，他就像一个暴徒，用拳头砸墙。
And he's a bewildered old man falling off a stool during "My Way." Shirley MacLaine says he let her stick her gum behind his ear during takes 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 gaga fan, 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中，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。”
[SINGING] She gets far too hungry, babe.
[唱歌]她太饿了，宝贝。
Wait there for dinner at eight.
八点在那里等晚饭。
She adores the theater, however, doesn't get there late.
她很喜欢去剧院，但是，她不会迟到。
She'd never bother with someone she'd hate.
她永远不会去打扰她讨厌的人。
That is why the lady is a tramp.
这就是为什么这位女士是一个流浪汉。
Ira Glass Well, today on our program, of course, the chairman of the board, Frank Sinatra.
艾拉·格拉斯（Ira Glass） 好吧，今天我们的节目中，当然是董事会主席弗兰克·西纳特拉（Frank Sinatra）。
This weekend marks his 100th birthday.
这个周末是他的 100 岁生日。
He was born December 12, 1915.
他出生于 1915 年 12 月 12 日。
And today's program is one that we first broadcast a year before Sinatra died.
今天的节目是我们在西纳特拉去世前一年首次播出的节目。
He died back in 1998.
他于 1998 年去世。
As you'll hear, this show sounds different in certain ways from the shows we do today, but in lots of ways, not so different.
正如您将听到的，这个节目听起来在某些方面与我们今天所做的节目有所不同，但在很多方面，并没有那么不同。
The show is an appreciation of Frank Sinatra.
该剧是对弗兰克·辛纳屈的欣赏。
But it is also, even more than that, I think, a bunch of people trying to make sense of Sinatra.
但我认为，更重要的是，一群人试图理解西纳特拉。
We have Gay Talese, Michael Ventura.
我们有盖伊·塔莱斯、迈克尔·文图拉。
We have Sarah Vowell making a plea to television executives everywhere.
莎拉·沃威尔 (Sarah Vowell) 向世界各地的电视高管发出呼吁。
We have a quick history lesson for all of you who right now are saying, really, Sinatra?
我们为现在正在说“西纳特拉真的吗？”的所有人上了一堂简短的历史课。
That's what we're doing?
这就是我们正在做的事情？
Really?
真的吗？
Stay with us, pally.
和我们在一起吧，伙计。
[SINGING] That is why the lady, that's why the lady is a tramp.
[唱歌] 这就是为什么这位女士，这就是为什么这位女士是流浪汉。
Act one, Frank Sinatra has a Cold.
第一幕，弗兰克·辛纳屈感冒了。
So Frank Sinatra's at his peak in the 1950s up through the middle of the 1960s.
弗兰克·辛纳屈 (Frank Sinatra) 在 20 世纪 50 年代到 60 年代中期处于巅峰状态。
Those are the years of his greatest recordings.
那是他最伟大的唱片的年份。
Those are the years of the Rat Pack, the iconic defining years for him.
那是 Rat Pack 的岁月，对他来说是标志性的决定性岁月。
And to see inside the life that he led during those years, during his heyday, one of the best accounts is by journalist Gay Talese.
要了解他在那些年的全盛时期的生活，最好的报道之一是记者盖伊·塔莱斯 (Gay Talese) 的报道。
It was first published in Esquire magazine in 1966.
1966年首次发表在《Esquire》杂志上。
It's called "Frank Sinatra Has a Cold."
它的名字叫“弗兰克·西纳特拉感冒了”。
It is also one of the most famous magazine stories ever written-- or anyway, famous among journalists-- because Talese managed to do this complicated portrait of Sinatra without ever interviewing Sinatra.
这也是有史以来最著名的杂志故事之一——或者无论如何，在记者中很有名——因为塔莱斯在没有采访西纳特拉的情况下就成功地描绘了西纳特拉的复杂肖像。
Sinatra refused to talk to him.
西纳特拉拒绝与他交谈。
So Talese talked to all the people around Sinatra and watched Sinatra.
于是塔莱斯与辛纳特拉周围的所有人交谈并观看了辛纳特拉的表演。
So this is this long, great story with many, many scenes.
这是一个漫长而精彩的故事，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个私人俱乐部里，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，伴随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 in a film that he now disliked and could not wait to finish.
西纳特拉一直在拍摄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 岁的米娅·法罗约会的宣传，而她今晚却不见踪影。
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 一小时节目《辛纳屈、一个男人和他的音乐》中的主演角色，这需要他演唱 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、酸痛和不确定的。
Sinatra was ill.
西纳特拉病了。
He was a victim of an ailment so common that most people would consider it trivial.
他是一种常见疾病的受害者，大多数人都认为这是微不足道的。
But when it gets to Sinatra, it can plunge him into a state of anguish and deep depression, panic, even rage.
但当事情发生在西纳特拉身上时，他就会陷入痛苦、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 robbed 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颗无法投保的宝石——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涕。
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.
西纳特拉患感冒可以在某种程度上给娱乐业及其他行业带来震动，就像美国总统突然生病可以动摇国民经济一样。
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, anything-- can do it because he has the money, the energy, and no apparent guilt.
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男人，任何事情都可以做到，因为他有钱，有精力，而且没有明显的负罪感。
All the way.
一路走来。
All or nothing at all.
要么全有，要么全无。
This is 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-- he is Sinatra, the boss, Il Padrone.
然而，他们明智地记住一件事——他是西纳特拉，老板，伊尔·帕德罗内。
Or better still, he is what in traditional Sicily have long been called oumini 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 oumini 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 in are very generous by nature.
受到众人喜爱的男人，生性都是非常慷慨的。
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 address a wrong.
那些会亲自竭尽全力解决错误的人。
Frank Sinatra does things personally.
弗兰克·辛纳屈 (Frank Sinatra) 亲自做事。
At Christmas time, 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.
圣诞节时，他会亲自为亲密的朋友和家人挑选几十件礼物，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。
This same Sinatra can, within the same hour, explode in a towering rage of intolerance to a small thing being incorrectly done for him by one of his paisanos.
同样的西纳特拉可以在同一小时内，因为他的一个派萨诺人为他错误地做的一件小事而爆发出一种无法容忍的巨大愤怒。
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 is 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子上坐下，听一位名叫唐·里克斯的光头小喜剧演员的讲话，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 business men 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, yeah.
是啊，是啊。
Jilly keeps walking in front of Frank, clearing the way." Then nodding to Leo Durocher, a former baseball player, Rickles said, "Stand up, Leo.
吉莉一直走在弗兰克前面，为弗兰克开路。”然后里克斯向前棒球运动员利奥·杜罗彻点头说：“站起来，利奥。
Show Frank how you slide." Then he focused on Sinatra, not failing to mention Mia Farrow, nor that he was wearing a toupee, nor to say that Sinatra was washed up as a singer.
向弗兰克展示你是如何滑行的。”然后他把注意力集中在辛纳特拉身上，没有提到米亚·法罗，也没有提到他戴着假发，更没有提到辛纳特拉作为一名歌手的身份已经被洗白了。
And when Sinatra laughed, everybody laughed.
当西纳特拉笑时，每个人都笑了。
And Rickles pointed towards 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?
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 got to go.
我得走了。
"Shut up and sit down," Rickles yelled.
“闭嘴，坐下，”里克斯喊道。
"I had to listen to you sing."
“我得听你唱歌。”
"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, and Sinatra laughed again.
“迪克·海姆斯，”里克斯回答道，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。
The roulette wheels were spinning.
轮盘赌轮在旋转。
The crap shooters were screaming in the far corner.
那些掷骰子的人在远处的角落里尖叫着。
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，他的衣着整齐——他的燕尾服领带精确地指向，他的鞋子没有弄脏。
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“伊尔帕德罗内”。
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，有一张为西纳特拉保留的长桌。
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.
房间另一边的一张长桌旁，七个人并肩靠墙坐着，其中两人戴着墨镜，所有人都安静地吃着饭，几乎不说话。
Just sitting and eating and missing nothing.
只是坐着吃东西，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 were 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 New Jersey.
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吉利餐厅、加利福尼亚、意大利或新泽西的餐厅里看到西纳特拉的人。
Wherever Sinatra happens to be.
无论西纳特拉碰巧在哪里。
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活动是西纳特拉现在最接近家庭生活的事情。
Gay Talese, reading an excerpt from "Frank Sinatra has a Cold." A quick Google search and you can read the full thing online.
盖伊·塔莱斯正在朗读《弗兰克·辛纳屈感冒了》的摘录。快速谷歌搜索，您就可以在线阅读全文。
Act two, One Sinatra Fan Versus All of Network Television.
第二幕，一名西纳特拉粉丝与所有网络电视粉丝。
So as I said earlier, for Frank Sinatra's hundredth birthday, we're bringing you an old show that we made back when Sinatra was still alive, first broadcast a year before his death.
正如我之前所说，在弗兰克·辛纳屈 (Frank Sinatra) 百岁生日之际，我们为您带来了一部老剧，是我们在辛纳屈 (Sinatra) 还活着时制作的，在他去世前一年首次播出。
He died in 1998.
他于 1998 年去世。
And in our original broadcast, one of our contributors, Sarah Vowell, made a plea to television newscasters.
在我们最初的广播中，我们的撰稿人之一莎拉·沃威尔向电视新闻播音员发出了恳求。
Her plea was simple.
她的请求很简单。
She said when Frank Sinatra dies, please, please do not use the song "My Way" to commemorate his death.
她说，当弗兰克辛纳屈去世时，请不要用歌曲《My Way》来纪念他的去世。
Don't let that be the soundtrack to the video montage you broadcast in tribute.
不要让它成为您播放的致敬视频蒙太奇的配乐。
She was sure that's what they were going to do.
她确信这就是他们要做的。
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.
当那个慷慨地给我们带来了像“I Get a Kick Out of You”这样的伟大歌曲的家伙踢球时，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布谷鸟的话。
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-- Ira Glass A few weeks ago, here on the radio program, I went on a little rant about one of the lyrics to the song "My Way." But Sarah's problem with "My Way" was much more fundamental than mine.
[唱歌] 现在——艾拉·格拉斯 (Ira Glass) 几周前，在广播节目中，我对歌曲《My Way》的其中一首歌词进行了一番咆哮。但莎拉对“我的方式”的问题比我的问题更为根本。
Basically she said, it doesn't have any of the qualities of the great Sinatra songs.
基本上她说，它没有西纳特拉伟大歌曲的任何品质。
It doesn't swing.
它不摆动。
It doesn't break your heart.
它不会伤你的心。
It's sappy.
这是多汁的。
It's boring.
很无聊。
It's even a little whiny.
甚至有点发牢骚。
Anyway, here's more of Sarah.
无论如何，这是莎拉的更多内容。
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（Frank）和埃尔维斯（Elvis）总是太复杂，节奏太自由，无法适应这首歌的简单化自私。
"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 word spoken to Eva Braun.
《我的方式》假装在为自我克制和个人愿景大声疾呼，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。
[SINGING] The record shows I took the blows and did it my way.
[唱歌] 记录显示我承受了打击并按照自己的方式做了。
Remember the stories from Belgrade?
还记得贝尔格莱德的故事吗？
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?
每天晚上，当政府控制的晚间新闻播出时，镇民如何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 is 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，当你更无聊的民主世界中所有电视都在播放“我的方式”时，请记住这个美丽的动作。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 sound.
或者干脆关掉电视声音。
Have your stereo cued up and ready to go.
准备好您的立体声音响并准备就绪。
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？
Hear how great that would work under all those post-war black and white snapshots, how that nice Christian harp outro hints at Frank's unlikely salvation.
听听这在所有那些战后黑白快照下会有多么伟大，那美妙的基督教竖琴尾奏如何暗示弗兰克不太可能的救赎。
Let's all listen again.
让我们大家再听一遍。
Excuse me while I disappear.
对不起，等我消失了。
Sarah Vowell I admit, this may not be quite stupid and obvious enough for network television.
莎拉·沃威尔（Sarah Vowell）我承认，这对于网络电视来说可能不够愚蠢和明显。
So if the staff of the Today Show is hearing my voice right now, here's another suggestion.
因此，如果《今日秀》的工作人员现在听到了我的声音，我还有另一个建议。
[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, Sinatra with some mob boss no one will recognize anyway, over these lyrics--
请想象一下，早安美国的工作人员，西纳特拉和艾娃·加德纳的快速剪辑镜头，西纳特拉和五岁女儿南希，西纳特拉和肯尼迪，西纳特拉和一些无论如何也不会被人认出的黑帮老大，在这些歌词中——
[SINGING] I've been a puppet, a pauper, a pirate, a poet, a pawn and 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 life.
那样的生活。
I tell you--
我告诉你——
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《My Way》一样老套，但至少它有一点老套的叮当声。
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 fox trot with a corpse?
除了汤姆·佩蒂之外，谁愿意抱着尸体跳狐步呢？
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 mourning, 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，适合哀悼、反思和智慧的忧郁。
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.
弗兰克潦草地写下主题句，然后重复它，并添加一个词——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，最后变成了对上帝的宇宙探究。
[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 mystery?
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?
现在的ET制作者们，你们关注了吗？
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] 这就是为什么我问天上的主，所谓的爱是什么？
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，在国会大厦的录音室里，帽子歪了，领带松了。
TV producers of America, I beg you for all of us, for Frank, ixnay on the "My Way." Excuse me now while I disappear.
美国的电视制片人，我请求你们为我们所有人、为弗兰克，请参加“我的方式”。现在请原谅我消失。
Ira Glass While Sarah Vowell's plea to network television was broadcast twice, twice on our program before Sinatra's death, his death on May 14, 1998, it had no effect whatsoever on television newscasters.
艾拉·格拉斯 (Ira Glass) 虽然莎拉·沃威尔 (Sarah Vowell) 对网络电视的恳求在辛纳特拉去世之前（他于 1998 年 5 月 14 日去世）在我们的节目中播出了两次，但它对电视新闻播音员没有任何影响。
Every network newscast used the song "My Way" in its network obituary.
每个网络新闻广播都在其网络讣告中使用歌曲“My Way”。
So much for the power of public radio to shape our nation's destiny.
公共广播塑造我们国家命运的力量就到此为止了。
The one exception was ABC's Nightline .
唯一的例外是美国广播公司的《夜线》。
The night that Sinatra died, Nightline ended a special hour long tribute they'd created to Sinatra by playing Sarah's radio story.
西纳特拉去世的那天晚上，夜线通过播放莎拉的广播故事来结束了他们为西纳特拉制作的长达一小时的特别致敬活动。
In other words, the person who got the last word in American network news that day, the day of Sinatra's passing, was Sarah.
也就是说，那天，也就是西纳特拉去世的那天，在美国网络新闻中得到最后消息的人就是莎拉。
Her essay has been collected in one of her many fine books, Take the Cannoli .
她的文章被收录在她的众多优秀著作之一《Take the Cannoli》中。
Coming up, Frank Sinatra shifts through all of his different ages in one concert.
接下来，弗兰克·辛纳屈将在一场音乐会中穿越他所有的不同年龄段。
That's in a minute on Chicago Public Radio, when our program continues.
稍后芝加哥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, what was his name again?
今天节目的主题——什么，他叫什么名字？
[SINGING] And I sing love songs mostly after dark, mostly in saloons.
[唱歌] 我主要在天黑后唱情歌，主要是在酒吧里。
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.
不是出于任何原因，只是它可能会在你不知不觉中抓住你，并像女人想要什么时跟随你一样跟随你。
What-- what is that?
那——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？
But that is not what I'm really here to talk about here in Act Three.
但这并不是我在第三幕中真正要讨论的内容。
What I'm really here to talk about is not the failures of Frank Sinatra, but what makes Sinatra so special in the first place.
我在这里真正要谈论的不是弗兰克·辛纳屈的失败，而是辛纳屈最初如此特别的原因。
And the answer is, from the time of his first big breakthrough as a solo singer in 1942, Frank Sinatra was more emotionally expressive, more vulnerable, more openly sensual, than other male pop stars back then.
答案是，从 1942 年作为独唱歌手首次取得重大突破起，弗兰克·辛纳屈 (Frank Sinatra) 就比当时的其他流行男歌手更具情感表达力、更脆弱、更公开性感。
He was a torch singer, a guy torch singer, who picked up moves from Billie Holiday.
他是一位火炬歌手，一位男火炬歌手，他从比莉·哈乐黛那里学来了动作。
Sinatra said Holiday influences singing more than anybody.
西纳特拉说霍乐迪对歌唱的影响比任何人都大。
And then in the 1950s, he didn't let go of all that, but he reinvented himself.
然后到了 20 世纪 50 年代，他并没有放弃这一切，而是重塑了自己。
After a career slump, after his second marriage with Ava Gardner broke up, he went into the studio to create records with a much tougher, more swinging sound than he'd done before.
在职业生涯低迷之后，在他与艾娃·加德纳的第二次婚姻破裂后，他进入录音室创作唱片，声音比以前更硬朗、更摇摆。
His public image became the character Frank Sinatra, who we know now-- half tough guy, half sentimental saloon singer.
他的公众形象变成了我们现在所熟知的弗兰克·辛纳屈（Frank Sinatra）——一半是硬汉，一半是多愁善感的酒吧歌手。
And Nelson Riddle invented this sound for those albums with apparently heavy input from Sinatra.
纳尔逊·里德尔 (Nelson Riddle) 为这些专辑发明了这种声音，显然来自西纳特拉 (Sinatra) 的大量投入。
It's the sound of most of the songs that we think of today as Sinatra standards.
这是我们今天认为的 Sinatra 标准的大多数歌曲的声音。
[SINGING] Those fingers in my hair, that sly come-hither stare that strips my conscience bare, it's witchcraft.
[唱歌]那些插在我头发里的手指，那种狡猾的凝视，剥夺了我的良心，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，管弦乐的编排更加轻松，旋律和反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 and 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。
But he had his own-- he would sit to the side and had his own special microphone.
但他有自己的——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, right after Sinatra sings "with people she'd hate."
如果我没理解错的话，他就进来了，就在西纳特拉唱完“和她讨厌的人”之后。
[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。
He's going to come back again in a couple seconds.
几秒钟后他就会再次回来。
[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.
而且她不会弄脏东西。
Which brings us to Act Four, the Death of Frank Sinatra.
这就把我们带到了第四幕，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，我父亲把他当作我的榜样。
You see him?
你看到他了吗？
He can spit in anybody's and get away with it.
他可以向任何人吐口水并逃脱处罚。
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·辛纳屈的去世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。
Of course, he wrote his book long before hip hop artists like Jay Z adopted Sinatra as their own.
当然，早在 Jay Z 等嘻哈艺术家采用 Sinatra 作为自己的书之前，他就写了这本书。
Frank Sinatra himself only appears in this book once.
弗兰克·辛纳屈本人只在本书中出现过一次。
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 to write about a Sinatra concert from any era Sinatra was alive.
有趣的是，在一部虚构作品中，迈克尔·文图拉可以选择写西纳特拉活着的任何时代的一场音乐会。
And Ventura decided on the mid-1990s, the last years of Sinatra's life.
文图拉决定以 20 世纪 90 年代中期为背景，也就是西纳特拉生命的最后几年。
The reason why, he says, is because in the old man, you get Sinatra at all of his ages.
他说，这是因为在老人身上，你可以看到他所有年龄段的西纳特拉。
You can still hear the young man and the middle aged man and the old man, all of them, when he sang.
当他唱歌时，你仍然可以听到年轻人、中年人和老人，所有这些人的声音。
Here's Ventura reading from that part of his book.
这是文图拉正在朗读他书中的这一部分。
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.
随着指挥的手一挥，节奏和铜管乐爆发出响亮的快节奏乐曲，西纳特拉脸上闪现出微笑，让他看起来异常年轻。
A young smile, on the old pasty face.
苍老苍白的脸上露出了年轻的微笑。
And his eyes were the same as they had 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.
它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。
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，无法保持超过一个节拍的音符。
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.
然后声音变得高亢，沙哑。
And for an instant, the music soured and the audience flinched as one person.
一瞬间，音乐变质了，观众们都畏缩了。
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 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.
错误之后，西纳特拉并没有软化，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，唱出下一个音符，声音更大、更饱满，直到几个小节天衣无缝，这就是30或40年前的声音——饱满而无拘无束，共鸣而富有启发性。
Until, again, it began to crack.
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，他用爆裂声重新调整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——保持表演紧张，直到最后一个音符，年轻人的声音回来了，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。
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活的人，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 had watched so closely, yet from afar, for generations.
农民们怀着成为贵族的愿望来到这里，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 revelling 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，都无法将那东西从他身边夺走。
That 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.
不知何故，她拿帽子的方式和她喝茶的方式超出了世界的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，就是这一切的联系点。
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-- history, of a kind.
因为他能像其他人一样唱情歌——历史之类的。
History transfixed by love songs.
历史被情歌所震撼。
That's life.
这就是生活。
That's what all the people say the man is singing now.
大家都说这个人现在唱的就是这个。
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?
明天你在哪里工作？
The musicians laughed.
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，那个戴着耳机的家伙。
I had to promise his mother I'd give the bum a job.
我不得不向他妈妈保证我会给这个流浪汉一份工作。
More laughter.
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.
他转过身来，开始乞求，但用最自豪的话说，祝今晚幸运的是一位女士，让聚会保持礼貌。
But it had been an awful moment.
但这是一个可怕的时刻。
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.
我就是他们所说的沙龙歌手。
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。
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.
他以难以忍受的礼貌、近乎死亡的温柔、死一般的声音说着“对不起”。
I must disappear.
我必须消失。
There are no angel eyes left in the room.
房间里已经没有天使眼了。
No reason to stay.
没有留下来的理由。
[APPLAUSE] Frank Sinatra We put one in every performance, if you've seen us perform before.
[掌声]弗兰克·西纳特拉（Frank Sinatra） 如果您以前看过我们的表演，我们在每场表演中都会放一个。
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.
我在每次表演中都会表演一次，因为有人在某个地方有时称我为酒吧歌手。
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.
事实上，这也有很多道理。
Because when I really young and I started working in joints in New Jersey and bars and grills and all kinds of places.
因为当我很年轻的时候，我就开始在新泽西州的酒吧、烧烤店和各种地方工作。
Until one day somebody came in and offered me a better job.
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?
看看我怎么了？
Nothing.
没有什么。
[SINGING] Drink up-- drink up all you people.
[歌唱] 喝干——喝干你们所有人。
Order anything that you see.
订购您看到的任何东西。
And have fun all you lovely people.
祝所有可爱的人们玩得开心。
The drink and the laughs on me.
饮料和笑声都在我身上。
I tried to think that love's not around.
我试着去想爱情并不在身边。
Still, it's uncomfortably near.
不过，距离太近还是让人不舒服。
My poor old heart, it's not gaining any ground, because my angel eyes, she ain't near.
我可怜的老心，它没有取得任何进展，因为我的天使之眼，她不在附近。
Act Five, Chairman of the Block.
第五幕，区块主席。
Now that Sinatra's dead and gone, I think there's a kind of kitsch version of Sinatra that has replaced the real guy in lots of people's minds.
现在西纳特拉已经死了，我认为有一种媚俗版本的西纳特拉已经取代了很多人心目中的真实人物。
The kitsch version is way less complicated, kind of a Vegas cartoon rat pack Sinatra.
媚俗的版本要简单得多，有点像维加斯的卡通老鼠包西纳特拉。
It leaves out the Billie Holiday side of Sinatra.
它忽略了辛纳屈比莉·哈乐黛的一面。
It leaves out the raw vulnerability of Sinatra.
它忽略了 Sinatra 的原始脆弱性。
It overlooks the originality of what he invented.
它忽视了他发明的原创性。
So there's that kitsch Sinatra that's out there.
所以就有了那个媚俗的西纳特拉。
And at the same time, there are a lot of people who really love Sinatra and remember Sinatra.
同时，还有很多人真正热爱西纳特拉并记住西纳特拉。
We'll close today's program with another story that we first broadcast years ago.
我们将以多年前首次播出的另一个故事来结束今天的节目。
This is about a man who loves Sinatra and how he used that love, for a while, to do something for his entire neighborhood.
这是关于一个热爱西纳特拉的男人的故事，以及他如何利用这种爱，在一段时间内为他的整个社区做一些事情。
To spread the joy.
传播欢乐。
One of his neighbors, Blake Eskin, tells the story.
他的一位邻居布莱克·埃斯金讲述了这个故事。
I went out one Friday evening with a friend in the East Village where we both live.
一个星期五晚上，我和一位朋友一起去了我们都住的东村。
On the street, we heard Frank Sinatra music blasting loud enough to wake the neighbors.
在街上，我们听到弗兰克·辛纳屈（Frank Sinatra）的音乐震耳欲聋，足以吵醒邻居。
[SINGING] Fairy tales can come true.
[歌唱] 童话可以成真。
It can happen to you.
它可能发生在你身上。
As we reached Fourth Street, I saw a hundred people huddled around the stoop of a six floor tenement.
当我们到达第四街时，我看到一百个人挤在一栋六层公寓的门廊周围。
Most of them were post-college, pre-child bearing types.
他们中的大多数是大学毕业后、尚未生育的类型。
Plus there were some older people who probably lived on the block.
另外，这个街区可能还住着一些老年人。
Everyone seemed to have forgotten where they were headed, whether to a party or to another bar or back to bed.
每个人似乎都忘记了自己要去哪里，是去参加聚会，还是去另一家酒吧，还是回到床上。
[SINGING] You will go to extremes with impossible schemes--
[歌唱]你会用不可能的计划走向极端——
A short, dark-haired guy in a suit stood at the top of the stoop holding a microphone.
一个身穿西装的黑发矮个子站在门廊顶端，手里拿着麦克风。
At first, I thought maybe the guy was lip syncing.
起初，我以为这家伙可能在假唱。
But after a few seconds, I realized he was doing the crooning himself.
但几秒钟后，我意识到他正在自己低声吟唱。
The guy looked a little like Sinatra and he moved like him, too.
这家伙看起来有点像西纳特拉，他的动作也像他。
But this was no run of the mill Sinatra impersonator.
但这并不是西纳特拉的普通模仿者。
It was as if he was possessed by the spirit of Sinatra, channeling the Chairman of the Board.
他仿佛被西纳特拉的精神所附身，引导着董事会主席。
[SINGING] She gets too hungry for dinner at eight.
[唱歌] 八点钟她太饿了，吃不了晚饭。
She adores this theater but she never arrives late.
她很喜欢这个剧院，但她从不迟到。
Come over here, Susan.
到这里来，苏珊。
At the bottom of the stoop was someone you would not ordinarily see with Frank Sinatra.
在门廊的底部是一个你通常不会和弗兰克·辛纳屈一起看到的人。
An older woman with spiky salt and pepper hair and a leopard print vest was doing a spirited, if slightly awkward, tap dance on a piece of wood she had dragged out onto the sidewalk.
一位年长的女士，一头尖尖的椒盐色头发，穿着一件豹纹背心，正在她拖到人行道上的一块木头上跳着踢踏舞，虽然有点尴尬。
[SINGING] She doesn't like crap games with barons and earls.
[唱歌]她不喜欢与男爵和伯爵玩双骰游戏。
Won't go dressed to a party all up in some other girl's pearls.
不会戴着其他女孩的珍珠去参加聚会。
She won't dish the dirt with the rest of those girls.
她不会和其他女孩一起泼脏水。
That's why this chick is a champ.
这就是为什么这只小鸡是冠军。
After my initial confusion and my subsequent bliss, my next reaction was to wonder how this was possible.
在我最初的困惑和随后的幸福之后，我的下一个反应是想知道这怎么可能。
Where were the cops?
警察在哪里？
The 9th precinct is a block away and New Yorkers are quick to complain about noise.
第九分局距离酒店只有一个街区，纽约人很快就会抱怨噪音。
But on Fourth Street, everything was copacetic.
但在第四街上，一切都很平静。
And it still is.
现在仍然如此。
Somehow, by some quirk of fate, the show outside 124 East Fourth Street has happened five Fridays in a row.
不知何故，由于命运的巧合，东四街 124 号外的演出已经连续五个星期五举行。
The singer, Nick Drakides, lives on the first floor of the building and the tap dancer, Laraine Goodman lives on four.
歌手 Nick Drakides 住在大楼一楼，踢踏舞演员 Laraine Goodman 住在四楼。
Gary and Wanda, who run the garden level thrift shop, put their merchandise, the chairs, and overstuffed couches on the sidewalk for the audience's comfort.
经营花园层旧货店的加里和旺达将他们的商品、椅子和软垫沙发放在人行道上，以让观众感到舒适。
[SINGING] She'd never bother with some bum that she'd hate.
[唱歌]她从来不会去理会那些她讨厌的流浪汉。
I said that's why Laraine is a champ.
我说过这就是拉雷恩成为冠军的原因。
Nick Drakides and Laraine Goodman are neighbors.
尼克·德拉基德斯和拉瑞恩·古德曼是邻居。
And like most people who live in the same building, they didn't know much about each other.
和大多数住在同一栋楼里的人一样，他们对彼此了解不多。
Laraine did know, however, that Nick had a big jazz record collection.
然而，拉雷恩确实知道尼克收藏了大量爵士唱片。
Five weeks ago, Laraine decided she wanted to tap dance in front of the building.
五周前，拉雷恩决定在大楼前跳踢踏舞。
As a sort of therapy, she says.
她说，作为一种疗法。
And she reached out to Nick, asking him to play some tunes while she tap danced that weekend.
她联系了尼克，请他在那个周末她跳踢踏舞时演奏一些曲子。
Because what happened was, I was coming home.
因为发生的事情是，我要回家了。
I'll tell you exactly what happened.
我会告诉你到底发生了什么。
When I was coming home that Friday evening around nine o'clock and I forgot her name.
那个星期五晚上九点左右我回家时，我忘记了她的名字。
And I'm walking down Fourth Street from Second Avenue and I'm like, oh, there she is tapping.
当我从第二大道沿着第四街行走时，我就想，哦，她正在敲击。
And I don't want to do this.
我不想这样做。
I'm tired.
我累了。
I'm like, ugh.
我就像，呃。
And then I had to reach for her name in my little-- in my pocket.
然后我不得不伸手去摸我的小口袋里的她的名字。
What's this thing?
这是什么东西？
Pocket day timer.
袖珍日计时器。
And I'm like, it's Laraine.
我想，这是拉雷恩。
Then I walked down the street and I said, hi, Lorraine.
然后我沿着街道走，我说，嗨，洛林。
How are you?
你好吗？
And she goes, oh come on out, Nick, and join me.
她说，哦，尼克，出来吧，跟我一起。
Blah, blah, blah.
巴拉，巴拉，巴拉。
And I think she assumed I'd bring out some music.
我想她以为我会带来一些音乐。
That was it.
就是这样。
I don't think she was expecting a suit and microphone stand and the PA, the CDs, the cassettes, the whole number.
我认为她没想到会有一套西装、麦克风架、扩音器、CD、录音带，所有的东西。
Thanks to Laraine Goodman.
感谢拉瑞恩·古德曼。
This is the brains behind this wonderful event here.
这是这个精彩活动背后的大脑。
Say good evening, Laraine.
说晚安，拉瑞恩。
Nick's initial gesture of kindness to Laraine, a near stranger, made her into a local celebrity and made himself into an even bigger one.
尼克最初对几乎陌生人的拉雷恩表现出善意，使她成为当地的名人，也使他自己成为了更大的名人。
There were only a handful of people watching Laraine tap dance when Nick went outside with his instant Sinatra kit, which includes a few CDs from a series called "Pocket Songs." The discs have the full Sinatra arrangements without a vocalist.
当尼克带着他的即时辛纳屈套件出去时，只有少数人在观看拉雷恩的踢踏舞，其中包括一些名为“袖珍歌曲”的系列的 CD。这些唱片有完整的西纳特拉改编，没有歌手。
The slogan is "You sing the hits."
口号是“你唱热门歌曲”。
Nick began with "I've Got the World on a String." The crowd built steadily.
尼克以“我把世界拴在一根弦上”开始。人群逐渐聚集。
And right away, Nick had the crowd on a string, standing on the stoop, had the string around his finger.
尼克立刻把人群拴在了绳子上，他站在门廊上，手指上缠着绳子。
What a world.
真是一个世界啊。
[SINGING] What a world, what a life.
[歌唱] 多么美好的世界，多么美好的生活。
I'm in love.
我恋爱了。
I've got a song that I sing--
我有一首我唱的歌——
Nick showed me a picture taken when he was 15.
尼克给我看了一张他 15 岁时拍的照片。
He's wearing a tuxedo, his hair parted to the side, standing at a microphone and pointing back at the camera.
他穿着燕尾服，头发分到一边，站在麦克风前，指着镜头。
It is a picture of a 15-year-old boy from Poughkeepsie, New York in Frank Sinatra drag.
这是一张来自纽约波基普西市的 15 岁男孩穿着弗兰克·辛纳屈 (Frank Sinatra) 变装的照片。
I'm basically-- what I'm doing right now, I have been into since I was a kid, since I was 10 years old.
我基本上——我现在正在做的事情，是我从小时候、从 10 岁起就开始做的。
[SINGING] We've got the world on our string and we're swinging on a rainbow.
[歌唱] 我们把世界拴在弦上，我们在彩虹上摇摆。
We've got the string around our finger.
我们的手指上已经有了绳子。
What a world, what a life.
什么样的世界，什么样的人生。
We all are in love.
我们都相爱了。
Each of us in the audience had been lured by the improbability of the situation.
我们每个观众都被这种不可能发生的情况所吸引。
But Nick's stage presence kept us there.
但尼克的舞台表演让我们留在那里。
Nick really knows how to work a room, even when it's not a room.
尼克真的知道如何在一个房间里工作，即使它不是一个房间。
He weaves his neighbor's names into the lyrics.
他将邻居的名字写入歌词中。
[SINGING] Any time he moves his-- there's Brendan, our lovely neighbor here.
[唱歌] 每当他移动他的——就有布伦丹，我们可爱的邻居。
Lucky me.
幸运的是我。
How you doing, Ritchie?
你好吗，里奇？
Can't you see?
你看不到吗？
I'm in love.
我恋爱了。
Life is a beautiful thing.
生活是一件美好的事情。
He plugs Gary and Wanda's thrift shop and thanks them for their help.
他接通了加里和万达的旧货店，并感谢他们的帮助。
He salutes a couple watching from a nearby fire escape.
他向一对在附近防火梯上观看的夫妇致意。
Now it's a safe bet that if Nick and Laraine had been break-dancing or playing conga drums, the police would have shut them down in 20 minutes tops.
现在可以肯定的是，如果尼克和拉雷恩跳霹雳舞或打康加鼓，警察最多会在 20 分钟内将他们关闭。
But the officers of the 9th precinct fell under the same spell as the rest of us and they couldn't bring themselves to get out of the patrol car to enforce the mayor's quality of life rules.
但第九分局的警察和我们其他人一样，也受到了同样的困扰，他们无法让自己下巡逻车来执行市长的生活质量规则。
The first week, they would circle around the block, speak through their megaphone.
第一周，他们会绕着街区转一圈，通过扩音器讲话。
They would say, people please don't block the streets, you know?
他们会说，请人们不要堵塞街道，知道吗？
Please keep the streets clear.
请保持街道畅通。
And that it.
那它。
That was the first week.
那是第一周。
The second week they requested "Summer Wind."
第二周他们要求播放《夏日的风》。
Through the megaphone as they were passing.
他们经过时通过扩音器。
The third week, the third week the police came and they stopped their car, held up traffic, and they said, OK, "Summer Wind." They wanted to hear "Summer Wind." So I finished "Night and Day", I put "Summer Wind" on.
第三周，第三周，警察来了，他们拦住了车，阻碍了交通，然后他们说，好吧，“夏天的风”。他们想听《夏日的风》。于是我完成了《日日夜夜》，我放上了《夏日的风》。
And I went up on the steps.
我走上台阶。
They manipulated their lights on the top into white spotlight on me and I started singing "Summer Wind."
他们将顶部的灯光操纵成白色聚光灯照在我身上，我开始唱“夏天的风”。
The crowd went crazy.
人群疯狂了。
Evidently, it's that whole New York, macho, Italian, police, Irish, street-- and evidently what I'm doing, they connect with that.
显然，这是整个纽约，男子气概，意大利人，警察，爱尔兰人，街道 - 显然我正在做的事情，他们与此相关。
[SINGING] The summer wind, it came blowing in from across the sea.
[歌声] 夏天的风，从海那边吹来。
Of course they do.
当然有。
So do the black men with dreadlocks, the young white guys in Wu Tang Clan t-shirts, the teenagers immersed in the swing lounge scene, the potbellied Italian men of a certain age, smoking cigars.
留着辫子的黑人、穿着武当派T恤的年轻白人、沉浸在秋千休息室场景中的青少年、抽着雪茄的大腹便便的意大利男人也是如此。
And, sitting front row center, wearing a party-colored mumu, Nick's next door neighbor, Jean, who has lived at 124 East Fourth Street for the last 48 years.
坐在前排中间、身穿派对色穆穆服的是尼克的隔壁邻居吉恩（Jean），他在过去 48 年里一直住在东四街 124 号。
For all of them and for me, there is something about Frank Sinatra and something about how Nick Drakides interprets Frank Sinatra that bewitches us, that touches us.
对于他们所有人和我来说，弗兰克·辛纳屈（Frank Sinatra）以及尼克·德拉基德斯（Nick Drakides）如何诠释弗兰克·辛纳屈（Frank Sinatra）的一些东西让我们着迷，让我们感动。
[SINGING] I sit like painted kites, those days and nights, they went flying by.
[歌]我坐像画好的风筝，那些日日夜夜，它们飞过。
There's a guy who's lives next door and he embraced me.
有一个人住在隔壁，他拥抱了我。
He hugged me, this old Chinese guy, man, with a hearing aid.
他拥抱了我，这个戴着助听器的中国老家伙。
I'm like, I touched this guy.
我想，我触碰了这个家伙。
I don't know how I did it, but I did it.
我不知道我是怎么做到的，但我做到了。
You know?
你知道？
[SINGING] Hey now, the autumn wind and the winter winds, they have come and they have gone.
[歌] 嘿，秋风冬风，来了又走了。
For any New Yorker to do something as big as this for his neighbors, again and again, is more than an anomaly.
对于任何一个纽约人来说，一次又一次地为他的邻居做这样的大事不仅仅是一种反常现象。
It is as rare and unstable as the elements at the bottom of the periodic table.
它与元素周期表底部的元素一样稀有且不稳定。
The key ingredients of this event-- neighborliness, generosity, free time, good weather, cooperative police officers-- are hard to come by in this city.
此次活动的关键要素——睦邻、慷慨、自由时间、好天气、合作的警察——在这座城市是很难见到的。
And they are nearly impossible to find together in the same place, week after week.
而且一周又一周，几乎不可能在同一个地方找到他们。
There's a gossip columnist in the New York Post named Cindy Adams.
《纽约邮报》有一位八卦专栏作家，名叫辛迪·亚当斯。
And it is tempting to resort to her mantra, "only in New York, folks, only in New York" to explain this phenomenon.
人们很容易用她的口头禅“只有在纽约，朋友们，只有在纽约”来解释这一现象。
But in Nick's case, the wisdom of Cindy Adams does not suffice.
但就尼克而言，仅靠辛迪·亚当斯的智慧是不够的。
This is not the stuff of New York, not of the real New York or even of the New York of a bygone era, but of a mythical movie New York, a Lower East Side block built on a studio back lot.
这不是纽约的东西，不是真正的纽约，甚至不是过去时代的纽约，而是神话电影中的纽约，一个建在工作室后面的下东区街区。
It is the first reel of an unknown MGM Musical from just after the war and it stars Nick Drakides.
这是战后不久未知的米高梅音乐剧的第一卷，由尼克·德拉基德斯主演。
What happens in the rest of the film is anyone's guess.
电影的其余部分会发生什么，大家都在猜测。
[SINGING] Strangers in the night, exchanging glances, wondering in the night, what were the chances we'd be sharing love.
[唱歌] 夜里的陌生人，交换眼神，在夜里想知道我们有什么机会分享爱。
[SINGING] It's quarter to three.
[唱歌] 现在是三点一刻。
There's no one in the place except you and me.
这个地方除了你和我之外没有人。
So set up, Joe.
所以准备好了，乔。
I got a little story you ought to know.
我有一个你应该知道的小故事。
We're drinking my friend to the end of a brief episode.
我们把我的朋友喝到了一小集的结尾。
Make it one for my baby and one more for the road.
为我的宝宝准备一份，再为路上准备一份。
Well, the original program we did about Frank Sinatra back in 1997 that most of today's show came from was produced by Peter Clowney and Sarah Vowell, with Alix Spiegel and Nancy Updike.
嗯，我们在 1997 年制作的关于弗兰克·辛纳屈 (Frank Sinatra) 的原始节目是由彼得·克劳尼 (Peter Clowney) 和莎拉·沃威尔 (Sarah Vowell) 以及阿利克斯·斯皮格尔 (Alix Spiegel) 和南希·厄普代克 (Nancy Updike) 制作的，今天的大部分节目都来自于此。
Contributors editors on that show including Paul Tough, Jack Hit, and Margie Rockland.
该节目的撰稿编辑包括 Paul Tough、Jack Hit 和 Margie Rockland。
Lily Sullivan and Matt Tierney helped remake it into today's program.
莉莉·沙利文和马特·蒂尔尼帮助将其改造成今天的节目。
Our website, thisamericanlife.org.
我们的网站 thisamericanlife.org。
Thanks as always to our program's co-founder, Mr. Torey Malatia, who of course we always refer to around here as the Boss, Il Padrone.
一如既往地感谢我们项目的联合创始人 Torey Malatia 先生，当然我们在这里总是称他为老板 Il Padrone。
I'm Ira Glass.
我是艾拉·格拉斯。
Back next week with more stories of This American Life.
下周我们将带来更多《美国生活》的故事。
[MUSIC - "ONE FOR MY BABY" BY FRANK SINATRA]
[音乐 - 弗兰克·辛纳屈 (Frank Sinatra) 的《为我的宝贝而生》]
This American Life This American Life is produced in collaboration with WBEZ Chicago and delivered to stations by PRX The Public Radio Exchange.
This American Life 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。