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速度 Lucille Ball Was The Funniest Woman on TV 计时1
MARY TILLOTSON: This is Mary Tillotson.
STEVE EMBER: And this is Steve Ember with the VOA Special English Program PEOPLE IN AMERICA. Today, we tell about the much-loved performer Lucille Ball. Her famous television series, "I Love Lucy," was first broadcast in nineteen fifty-one.
MARY TILLOTSON: The "I Love Lucy" show was a huge success. It was the most popular television show of the nineteen fifties. The kind of television program Miz Ball helped develop is called a situation comedy. Some television experts give her credit for inventing this kind of series. Today, some of the most popular television programs in America are situation comedies.
Lucille BallSTEVE EMBER: One reason for the great popularity of "I Love Lucy" may have been its real-life connection with Miz Ball's family. On the show, she was Lucy, the wife of Ricky Ricardo, a Cuban musician. Ricky was played by band leader Desi Arnaz, who was Lucille Ball's husband in real life. The show combined issues common to the life of married people living in the city with musical performances and comic theater.
Often, a show would include a part with Mister Arnaz acting seriously while Miz Ball added a funny element. In the following piece, Mister Arnaz tries to sing normally and Miz Ball adds the comedy. 【214】 计时2 MARY TILLOTSON: Also on the "I Love Lucy" show were Vivian Vance and William Frawley. Miz Vance played Ethel Mertz and Mister Frawley played Ethel's husband, Fred Mertz. On the show, the Mertzes were friends of the Ricardos and owned the building in which they all lived.
Fred Mertz loved baseball, which was America's most popular sport at the time. "I Love Lucy" often showed Fred Mertz intensely watching baseball or some other sport like boxing while Ethel added her own funny comments.
STEVE EMBER: A well-known story about the "I Love Lucy Show" concerns the birth of the Arnaz's son, Desi Junior. Officials of the broadcasting company wondered what to do when Miz Ball became pregnant in nineteen fifty-two. Miz Ball explains that her husband, Desi, came up with a solution.
MARY TILLOTSON: Miz Ball's pregnancy was made part of the show. In fact, critics say the show in which Lucy Ricardo tells Ricky that she is pregnant is one of the best. In it, Lucy goes to the entertainment place where Ricky's band is playing to tell him that they are going to have a baby. Ricky suddenly understands that he is going to be a father after Lucy secretly requests the song, "We're Having a Baby." MARY TILLOTSON: Miz Ball gave birth to her second child on the same day that Lucy Ricardo gave birth. In fact, Desi Junior's birth date was planned to happen on the same day as the broadcast. 【245】 计时3 The show in which Lucy gave birth was one of the most popular television programs ever broadcast in America. In fact, the story is that Desi Junior's birth replaced reports about Dwight Eisenhower's first presidential ceremony on the front pages of America's newspapers.
STEVE EMBER: The success of the "I Love Lucy" show did not come early in Lucille Ball's life, or easily. Instead, it was the result of years of hard work.
Miz Ball was born near Jamestown, New York, in nineteen eleven. She tried to get into show business at an early age. Early on, she went to the same acting school as the famous actress Bette Davis. However, she left when she was told that she did not have enough acting ability.
In the early nineteen thirties, she moved to Hollywood. She appeared in a number of movies, but was not well known.
MARY TILLOTSON: In nineteen forty, she met the leader of a musical group who had been born in Cuba. His full name was Desiderio Alberto Arnaz de Acha the Third. They worked together in a movie and married soon after they met. For the next ten years, she appeared in movies and on radio. He traveled a lot with his band. 【207】 计时4 In nineteen fifty, the broadcasting company, CBS, decided to make a television program based on the radio show, "My Favorite Husband." Lucille Ball was the star of the radio show. She wanted Mister Arnaz to play the part of her husband on the television show. CBS rejected the idea. But she refused to give up. She and Desi traveled around the country performing in a show together to prove that they would do well on television. Their show was a success. CBS offered them both jobs.
STEVE EMBER: Miz Ball had another demand. She wanted her show to be a production of the best quality. Early television pictures were not of good quality. Miz Ball wanted her program to be filmed, which would improve the picture, and then broadcast later. Yet she wanted people to watch the program as it was being filmed so the sound of their reactions could be captured.
Miz Ball also wanted to film the shows in Hollywood. CBS did not want the extra costs. So, Miz Ball and Mister Arnaz agreed to work for less pay. In exchange, CBS let them own the program. That agreement made them owners of what would become one of the most successful programs on television.
MARY TILLOTSON: During the fifties, Miz Ball won almost every honor there was for television actors including several Emmy Awards. Yet, even the most popular performers could not escape the political realities of the time. Conservative lawmakers accused Lucille Ball of being a communist. The Federal Bureau of Investigation kept a secret record of information about her, just as it did about many Hollywood actors at the time. 【274】 计时5 STEVE EMBER: Mister Arnaz supervised their company, Desilu Productions. The company produced sixteen different television programs and ran three production centers, called studios.
In nineteen sixty, Lucille Ball and Mister Arnaz legally ended their marriage. Mister Arnaz sold his part of the company to his ex-wife. Miz Ball became the first woman to head a major production company. It was one of the biggest in Hollywood.
Miz Ball also was the star of several other shows of her own. "The Lucy Show" was broadcast from nineteen sixty-two to nineteen sixty-eight. "Here's Lucy" followed until nineteen seventy-four. Miz Ball later sold her production company to Paramount Studios.
MARY TILLOTSON: "I Love Lucy" showed Miz Ball at her best. Mister Arnaz added something that was unusual for American television at the time. Many of the songs on the show were in Spanish. One song, "Babalu," is popularly connected with "I Love Lucy". Its words are Spanish and its sound is Latin American. It is this mixture along with the excellent performances that made the show special.
STEVE EMBER: Miz Ball died in nineteen eighty-nine after a heart operation. Yet, she still makes people laugh. Her programs are rebroadcast on television and there are hundreds of Internet sites about her. After all these years, everyone still loves Lucy. 【215】
越障 The End of the Globalization Debate: A Review Essay BOOK REVIEW BY ROBERT HOWSE
Already by the end of the Cold War, the old struggle between right and left over the governance of the economy and the redistribution of wealth within the advanced liberal democracies had yielded to a new pro-market consensus. The center-left embraced many of the center-right critiques of the postwar regulatory and welfare state as inefficient, wasteful, and dependency- inducing, and sought to pursue traditional progressive values through a more economically liberal (in the sense of pro–free market) approach to governance of the economy. The discontents with these tendencies, mostly from the traditional left but not entirely, coalesced as a new counterculture, the antiglobalization movement. And there thus arose a great and intense debate about whether globalization was good or bad, inevitable or resistible, in relation to the ideal of the sovereign, progressive, democratic nation-state.
This debate, I argue, is over, above all because the antiglobalizers have themselves gone global. In various sites of global law and policymaking, including those at the interstices of the global and local, they actually have found processes and institutions through which, unlike the case with the state in many instances, they can air their criticisms and express their values as global values. There is no longer an antiglobalization “side” in the debate, coherently representing the position that the territorial nation-state should remain the locus of control over economic activity and should retain a monopoly on legitimate governance. Today the protesters who march against globalization are not marching in favor of the state. Instead, they are mostly advocating a set of values and causes that transcend state boundaries and that require global action.
Each of the works under review here contributes in a distinctive and significant way to understanding the end of the globalization debate. Jagdish Bhagwati, in In Defense of Globalization, displays a number of aspects in which the globalization debate has ended. While explicitly framing his argument as a defense of globalization, Bhagwati ends up arguing forcefully against several crucial elements of globalization, including the liberalization of short-term capital controls and the harmonization of intellectual property rights in the WTO. At the same time, he defends equally forcefully other elements, especially trade liberalization. Ultimately, Bhagwati’s analysis reveals that the real debate has shifted to the complex effects of different aspects of globalization.
Joseph Stiglitz and Saskia Sassen are theorists who decisively move our understanding beyond that of the old globalization debate. While Bhagwati usually displays an optimistic faith that political and economic rationality can ensure the achievement of “globalization with a human face,” Stiglitz is mindful of the puzzles and limits of rationality in economics and policy, and thus sees a need for innovative solutions that may challenge conventional economic wisdom. The very title of Stiglitz’s book, Making Globalization Work, takes us beyond the usual framing of the debate as globalization versus antiglobalization. Stiglitz illustrates how many of the problems with global economic liberalism identified by the antiglobalizers — such as environmental commons issues, the democratic deficit, and weak and corrupt states — require solutions at the global level through innovative mechanisms of global governance.
Sassen, in Territory, Authority, Rights, explains how the state itself has been transformed, in part by globalization itself, such that it is intrinsically more hospitable to pro-globalization forces. In this sense, one can no longer conceive of the state as the adversary of globalization or the repository of a legitimate counter-perspective. At the same time, Sassen also shows how activists representing values often understood as “antiglobalization” move between the local and the global, often operating through global networks and interpenetrating global sites of power, decision, and deliberation.
Rawi Abdelal supplies a valuable historical perspective. He explains that the liberalization of capital markets emerged not from a conspiracy of global financiers or the hegemony of Wall Street, but from a turn towards liberal economics by the French Socialists under François Mitterrand. The shift was based in part on the view that resisting global markets was impossible or too costly — one could not effectively operate the progressive social democratic state against the forces of globalization. 【673】 |
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