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[阅读小分队] 【Native Speaker每日训练计划】No.2774

发表于 2020-5-9 22:27:42 | 显示全部楼层 |阅读模式
内容:Inge Zhou 编辑: Vera Pan

Wechat ID: NativeStudy / Weibo:

Part I: Speaker

How American and Chinese values shaped the coronavirus response
Huang Hung, April 2020

To combat COVID-19, countries have enforced city-wide shutdowns, stay-at-home orders and mask mandates -- but the reaction (and adherence) to these rules has differed markedly in the East and West. In conversation with TED's head of curation Helen Walters, writer and publisher Huang Hung sheds light on how Chinese and American cultural values shaped their responses to the outbreak -- and provides perspective on why everyone needs to come together to end the pandemic. (Recorded April 16, 2020)

Source: TED
[Rephrase 11:44]

Part II: Speed

Remembering Florian Schneider, Who Brought Sonic Perfectionism and Humor to Kraftwerk
Ben Cardew, May 7th 2020

[Time 2]
Kraftwerk was supposed to be the man machine, the ultimate fusion of culture and technology. The band’s use of electronic instruments in pop-song form paved the way for those that followed, an influence felt from Detroit techno to London grime, from Kanye to Coldplay. This was a unit whose music would live on via automation long after its human incarnation had departed the natural realm. And yet the death of Florian Schneider—the band’s co-founder, sonic perfectionist, and erstwhile flute player—still hurts like hell.

At least in Kraftwerk’s later years, there was little left of them in the whole endeavor: Wolfgang Flür and Karl Bartos, key members of the imperial 1970s lineup, were replaced by an anonymous roll call of musical technocrats; Schneider himself departed in 2008, but still the Kraftwerk live revue rolled on. Co-founder Ralf Hütter suggested that the group might even continue after his own death, commenting in arch Kraftwerk style that “certain programs keep running.”
[160 words]

[Time 3]
For all the pretending otherwise, though, Kraftwerk was always a band of flesh and blood, where real human emotions ran deep. And Schneider and Hütter were the beating heart and pulsing brains: the group’s founders, principle songwriters, and even one-time roommates. They were there for all of it, from Kraftwerk’s formation amid Düsseldorf’s uninhibited art scene, to their electronic breakthrough on 1974’s Autobahn; from their jaw-dropping run of albums in the mid-’70s and early ’80s, right through to the all-conquering live monster they became in the new millennium.

Perhaps we’re not meant to think of Kraftwerk as individuals so much as contributors to a common good, inhabitants of a realm of ideas that subsumed and surpassed them. Certainly, the group played up this anonymity, at times sending robots to replace them on stage and in interviews. But now is not the time for theories of digital immortality, when faced with the very flesh-and-blood death of Florian Schneider. So what of Florian? What did he bring to Kraftwerk?

At first, he brought the flute. In Kraftwerk’s early days, Schneider’s wistful flute lines and occasional violin melody floated above Hütter’s organs and guitars, as the band jammed out an elegant, enchanting, and often unsettling take on krautrock. It is, perhaps, hard to think of an instrument less suited to latter-period Kraftwerk than a flute. And yet, on those first three Kraftwerk albums—Kraftwerk, Kraftwerk 2, and Ralf und Florian, all since excised from the catalogue by the band’s revisionist approach to history—Schneider’s flute provides the closest suggestion of what is to come, its fragile timbre giving the suggestion of the bell-tone classical melody that would infuse Kraftwerk’s electronic hits. You can still hear the flute hidden away on side two of Autobahn, the band’s international breakthough and the “first album” of their revised canon. “Morgenspaziergang,” the album’s gorgeous closing number, features a flute riff of such pastoral simplicity that it seems criminal it will never be heard again live.
[328 words]

[Time 4]
Schneider also brought perfectionism to Kraftwerk. His refusal to compromise his sonic vision arguably hobbled the band in the ’80s and ’90s as they worked to bring the pristine surfaces of their studio work to the stage, bogging down ceaseless innovation with endless tinkering. But these ideals proved the band’s savior in the ’00s when they returned to touring; their live sound was so jaw-dropping in its crystalline perfection that it felt like it was cleansing your ears.

When I saw Kraftwerk at London’s O2 Academy Brixton in 2004 (still one of the best concerts I’ve ever been to), the sound of a bicycle chain snaking percussively around the hall on “Tour de France” was so perfectly realized it felt closer to an aural hallucination than something actually coming out of the speakers. The band’s 10th—and possibly last—studio album Tour de France Soundtracks, released the year before that Brixton gig, may not have been light years ahead of its peers in terms of musical innovation, but its sound design was so perfectly buffed as to make any competitors feel vaguely ridiculous in their sonic gloom.
[187 words]

[Time 5]
Schneider’s interest in speech synthesis drove Kraftwerk’s exploration of the crossover between human and robotic voices. They weren’t the first mainstream pop act to go there—Stevie Wonder notably used a talk box on his 1972 album Music of My Mind, which predated Kraftwerk’s “Ananas Symphonie” by a year and a half—but they really dug in, using tools like the Vocoder as part of their standard musical palette, wringing soul and compassion out of something that was largely seen as a musical novelty. In 1990, Shneider patented the Robovox, a “system for and method of synthesizing singing in real time”; apparently the tool was first used on The Mix, the band’s 1991 remix album, where its elastic and slightly haunting tone drove the new version of “The Robots.”

Perhaps most unlikely of all was the humor that Schneider brought to Kraftwerk, a band whose sly wit on songs like “The Model” makes a mockery of their poe-faced image. Schneider rarely gave interviews, leaving the talking up to Hütter, but when he did, the results were spectacular. Particularly worth seeking out is the wonderfully dry interview he gave to Brazilian TV in 1998 (excitable journalist: “what are the songs that you are going to play tonight?”; poker-faced Florian, after long, hard stare: “all”), or an interview he gave in 2001 as “Don Schneider,” riffing on Kraftwerk’s history in broken Spanish behind dark glasses and a fake moustache, to an interviewer dressed as Che Guevara.
[244 words]

[Time 6]
Why, you might wonder, would a man of Schneider’s impeccable credentials and intellectual renown do such a thing? But maybe the better question is: why not? We are at risk of seeing Kraftwerk as a perfect musical jewel that arrived flawless and gleaming with “Autobahn.” The band itself has encouraged this, refusing to reissue those first three albums and taking Wolfgang Flür to court to try to avoid the publication of his wonderfully warts-and-all biography Ich war ein Roboter.

But the members of Kraftwerk were never robots—they were flawed, funny, grouchy, brilliant, and even partial to the flute. For me, that makes Kraftwerk even more special, their imperfect humanity beaming through their perfect robotic outer core. Unlike robots, though, humans pass away. And now we have to say goodbye to Florian.
[132 words]

Source: Pitchfork

Part III: Obstacle

X Æ A-12: Elon Musk and Grimes confirm baby name
- The bookcase has become the preferred background for applying a patina of authority to an amateurish video feed.
US & Canada, May 6th 2020

[Paraphrase 7]
Elon Musk and singer Grimes have confirmed they have named their baby X Æ A-12.

The Space X CEO announced the birth of their son on Monday. "Mom & baby all good," he said on Twitter. He posted that the child would be called X Æ A-12 Musk and his girlfriend later offered an explanation to her followers on social media. The name X Æ A-12 has been trending on Twitter with many asking how the name will be pronounced.

What does the name mean?
When Musk, known to joke on Twitter, announced the name, many people questioned whether he was being serious.

However, Canadian singer Grimes, real name Claire Boucher, explained the name's meaning to her fans.

Æ, a ligature of a and e known as ash, appeared in Latin and Old English but has mostly fallen out of use. However, in some languages such as Danish, Norwegian and Icelandic, Æ is classed as a letter.

The singer has used Æ before, naming a song on her latest album 4ÆM. The A-12 is a Lockheed plane built for the CIA. It was known by designers during its development as Archangel. She also claims Archangel is her favourite song but does not explain who the song is by.

It remains unclear how the name is pronounced. However, when someone on Twitter asked Musk whether it could be X Ash Archangel, Musk liked the comment, giving the biggest clue as to how it might sound.

Is it legal?
It's thought that Grimes may have given birth in California where certain names cannot be registered.

The rules there stipulate that no pictographs, ideograms and diacritical marks for example è, ñ, ē, ç can be used when registering the birth. Names have to consist of the 26 letters of the alphabet.

California isn't the only place in the world with regulations on baby names. In New Zealand, the name 4Real fell foul of authorities because names cannot start with a number. A couple went to the high court in Sweden after tax officials deemed their child's name Metallica "inappropriate".

Under Swedish law, both first names and surnames need to win the approval of authorities before they can be used. However, in 2014, three babies in Scotland were named M, R and T. Other names people have chosen, according to the National Records of Scotland, include Daiquiri and Spartacus.

Unusual names aren't new. Census records during the 18th and 19th Centuries revealed people named King's Judgement, Noble Fall and Cholera Plague.
[419 words]

Source: BBC


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发表于 2020-5-9 22:46:35 发自手机 Web 版 | 显示全部楼层
T2: 1’11
发表于 2020-5-9 22:58:53 发自手机 Web 版 | 显示全部楼层
T2: 1’22
OB 5:45
发表于 2020-5-9 23:35:31 | 显示全部楼层
Time 1

BBC journalist interviewed Hong Huang about the different responses to the covid-19. Hong explained why the west and China responded differently to the pandemic due to the history and culture. She is very supportive of the government's actions and call for collective measures to fight against the virus.

Time 2
Electronic instruments can help the band to live on, with the co-founders leaving.

Time 3

Time 4

Time 5

Time 6

Time 7
发表于 2020-5-10 10:45:20 | 显示全部楼层
[Time 2] 2:37
Kraftwerk, the sonic perfectionist band, influenced many musicians from Kanye West to Coldplay.
[Time 3] 6.24
[Time 4] 3:10
[Time 5] 2:35
[Time 6] 2.19
发表于 2020-5-10 13:08:11 | 显示全部楼层
The cultural values which vary between the east and west lead to different response to the outbreak of the coronavirus pandemic and policy of the government like lockdown and app’s access to their geographic information. Huang Hung indicated that in terms of the incident of Doctor Lee, Chinese people opposed the act of the government but they never have thought to change the system partly because they have never ever known how the other system operates. What’s more, she argued that everyone should work in solidarity to against the epidemic.

Huang Hung sheds light on how Chinese and American cultural values shaped their responses to the outbreaks
Antagonistic: actively opposing or showing unfriendliness towards sth or someone
Antagonistic rhetoric 对立的煽动性语言

Kraftwerk has a profound impact to the field of pop music. The death of the Florian Schneider- the band’s co-funder, sonic perfectionist, and erstwhile flute player-is a shock to us.
Scheider and Hutter, the cofounder, are the cornerstone of the team. They created the realm together. Then the author highly praise the role of Schneider play in their works. First, the importance of the flute he play.
Furthermore, Scheider was a perfectionist. His strict control of their team’s work contribute to their success and bring aesthetic enjoyment to the audience.
Scheider’ interest in speech synthesis also drove their music integrate human and robotic voices which contribute significantly to the emergence of “The Robots”.
Let us memorize what Scheider contributed and say goodbye to him.

Sonic 音速的
Fusion: 融合
Human incarnation: 人类化身
Revue: a show with songs, dances, and jokes and short plays often about recent events
It hurts like hell 疼得要命
Tinker: to make small changes to sth
Jaw-dropping: very surprising or shocking. Their live sound was so jaw-shocking in its crystalline perfection that it felt like it was cleansing your ears.
Impeccable: perfect , with no problems or bad parts

[Obstacle] 5’44
Elon Musk, The Space X CEO,  and singer Grimes have confirmed their baby’s name, X Æ A-12. How strange the name is ! However, Grimes gave the explanation of the name on her tweeter. X means the unknown variable. Grimes indicated that Æ , combined by a and e known as ash, is her elven spelling of Ai. A-12 is a Lockheed plane built for the CIA. But how the name is pronounced remains unknown. On the other hand, the name might not be legal in California where rules stipulate that name have to consist of the 26 letters of the alphabet.

Patina:1, 物体表面薄层,2,假象
Amateurish: having no skill, or showing no skill 外行的
Ligature:sth that is used to bind
Diacritical mark: 变音符
Arch[angel ] 大天使

发表于 2020-5-10 16:04:48 | 显示全部楼层
T2: [160 words] 0'53
T3: [328 words] 2'22
T4: [187 words] 1'03
T5: [244 words] 1'10
T6: [132 words] 0'40
发表于 2020-5-10 16:07:58 | 显示全部楼层
incarnation: the person who embodies in the flesh a spirit
erstwhile: former
flute: 长笛
endeavor: n. an attempt to achieve a goal / v. try hard to achieve sth

The co-founder of an influencial band died.

uninhibited: expressing one's feeling unconsciously and without restraint
subsume: include or absorb in sth else

what Schneider did in Kraftwerk

arguably: it may be argued
hobble: vi. walk in an awkward way, typically because of injury / vt.cause sb limb, restrict the activity or development of
pristine: in its original condition, unspoiled
bog: n. wet muddy ground too soft to support heavy things / vt (bog down) cause sth stuck in the mud, unable to make progress
mend: repair
tinker: n. a person travels from place to place mending metal utensils to mak a living / v. repair

What Schneider brought to the band, and a live show experience by the author

robot sound in music, Schneider's humor in interview

robotic outer, human core
发表于 2020-5-10 21:39:06 | 显示全部楼层
T2: 1'51
T3: 3'16
T4: 1'43
T5: 1'06
T7: 30'
发表于 2020-5-10 21:39:37 | 显示全部楼层
T2: 1'51
T3: 3'16
T4: 1'43
T5: 1'06
T7: 30'
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