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青岛那家看妇科医院便宜久久新闻青岛哪里做无痛人流比较出名

2019年12月16日 07:19:33    日报  参与评论()人

山东省青岛第二人民医院男科专家青医附院东院有四维彩超吗青岛市崂山区妇幼保健院不孕不育科 CHONGQING, China — ZHANG XIAOTAO, one of China’s leading animation artists, grew up in a village in western China where the ferocity of the Cultural Revolution left indelible marks on everyone. His father, a leader of the local Red Guards, emerged with his spirit broken by what he saw and did.中国重庆——中国顶尖动画艺术家张小涛在中国西部的一个村庄长大,残暴的文化大革命给这里的每个人都留下了不可磨灭的印记他的父亲是当地红卫兵的领袖,他所看到及所做的事情,令他的精神受挫But that is not what Mr. Zhang remembers from his childhood. Instead of the violence, he recalls the imposing Catholic church near his home, 30 miles north of here, built by French missionaries at the turn of the th century. Its broad verandas and colonnades, encrusted with moss in the clammy summer months, remained after the violence, and tall stands of bamboo provided swaths of shade.但张小涛对儿时的记忆不是这样他想起的不是暴行,而是位于他家以北30英里处的壮观的天主教堂教堂由法国传教士在世纪初建造,在文革动荡中得以留存,有着宽阔的走廊,廊柱在粘湿的夏季长满苔藓,高耸的竹林提供了大片的阴凉Mr. Zhang, 5, remembers the church so vividly because he would play on the grounds there. And by the time he was , when his parents had abandoned him to find work far away, it had become a place of dreams where he would take his sketchbook and paint.由于曾在那里玩耍,5岁的张小涛清楚地记得这座教堂在他岁的时候,他的父母留下他到远方务工,教堂成为一个梦想之地,他会带着速写本到那里画画Nostalgia the big whitewashed building infuses a number of Mr. Zhang’s award-winning digital animation films, which explore China’s rush to modernization. In sometimes surreal ways, the films try to show what the intense pressure to achieve wealth and success does to the soul.张小涛创作的很多部获奖的数字动画电影,都体现了他对这栋宏伟的白色建筑的怀念之情这些电影探索了中国匆忙的现代化之路,时而以超现实的方式展示寻求获得财富和成功的重压对心灵造成的影响It is not so much the church’s physical structure that appears in his work, although it does occasionally. Rather, it is the building’s sense of calm that, he says, contrasts with the almost intolerable intensity of contemporary urban China.他的作品在很大程度上不是呈现教堂的实体结构,尽管实体结构偶尔会出现他表示,这栋建筑给人的平静与中国当代城市几乎让人无法忍受的紧张形成鲜明反差“I have deep memories from the church as a child,” he said in his studio at the Sichuan Fine Arts Institute, where he studied as a young man and now heads the new media department. Around him, dozens of young digital artists labored over computer screens to help complete one of his new works. “When I was playing there as a child I could see people praying, and I felt a profound sense of religion.” Those who prayed were not organized by priests or nuns. The official church had long been expelled from China. They were men and women who were too old to be dragged into the madness of the Cultural Revolution, and who turned to the church in his village as a place of solace, much as Mr. Zhang does today.“小时候这个教堂给我留下了深深的记忆,”他在自己位于四川美术学院的工作室说道,他年轻的时候曾在这所学校学习,目前担任其新媒体艺术系主任在他身旁,数十名年轻的数字艺术家在电脑屏幕前努力工作,协助完成他的新作“我小时候在那儿玩的时候,能看到人们祈祷,让我对宗教有一种深刻感受 ”在那里祈祷的人不是由神父或修女组织的正规的教会早已被驱逐出中国那些祈祷的男人和女人年纪太大,没有被卷入疯狂的文化大革命,他们将村中的教堂视作一个可以寻求安慰的地方,就像张小涛现在做的那样Mr. Zhang ’s latest work, “Spring in Huangjueping,” is a two-hour digital animation movie that he has entered into the Berlin International Film Festival. He was elated that the film had made the jury’s first cut.张小涛的最新作品——长两个小时的数字动画电影《黄桷坪的春天——已经提交至年柏林国际电影节(Berlin International Film Festival)让他欣喜万分的是,影片已经通过评委会的第一轮评审The idea of the film, he said, is to draw parallels between the Cultural Revolution and the dismal period nearly years later when he sought entry to the institute. He failed the entrance exam three times, an experience that still haunts him.他表示,这部电影是想将文化大革命与年后的黯淡时期做个对比,他那时候设法进入四川美术学院但他考了三次,都没成功,这段经历仍然困扰着他The movie is cast with figures drawn in the style of a graphic novel: skinny young men and women from Mr. Zhang’s student days are dressed in basic T-shirts and pants, while Red Guards from the earlier era appear in drab olive unims with rifles. The landscape resembles the gritty parts of the industrial city of Chongqing, and its outskirts in Huangjueping, where the art institute and his studio are. “The brutal college entrance exam and the frenetic beliefs of my father’s generation: How similar are they?” Very, he concludes.电影中的人物以漫画书的形式呈现:张小涛学生时代的那些骨瘦如材的年轻男女穿着简单的短袖衫和裤子,早年的红卫兵则穿着土黄色制,携带步场景很像工业城市重庆市的一些破旧地方以及郊区黄桷坪,四川美术学院和张小涛的工作室都位于该区“残酷的高考和我父亲那一代的狂热信仰有多相似?”他断定,极其相似LIKE many artists in China who are known in the West, Mr. Zhang seems to be in perpetual motion. He shuttles between Chongqing and Beijing, the commercial center of China’s art world where he shows up at gallery exhibits, does deals and still paints in a studio in the 798 complex, the contemporary art area. There, in the entrance to his studio hang two paintings with distinctly religious motifs: a copy of El Greco’s “The Burial of the Count of Orgaz” and a contemporary version of Buddha, the kind of images that are perfectly acceptable in China as long as they are not flaunted.就像很多在西方驰名的中国艺术家一样,张小涛似乎在不停奔波他往来于重庆和北京之间,在北京——中国艺术领域的商业中心,他现身画廊展览,达成交易,还在一个位于798当代艺术区的工作室画画该工作室的入口处挂着两幅明显以宗教为主题的画作: 埃尔·格列柯(El Greco) 的《奥尔加斯伯爵的葬礼(The Burial of the Count of Orgaz)的复制品及一幅当代风格的佛像,只要没有情色意味,这种图像在中国是完全可以接受的As a child, Mr. Zhang showed a knack making money to support his painting, a skill that serves him now as he plunges into animation, one of the more expensive ms of contemporary art.孩童时期,张小涛展示出了通过自己赚钱来获得画画所需的费用的本领,在他投身动画产业这种成本较高的当代艺术形式的时候,相关技能给他带来帮助“I bought comic books and rented them to classmates,” he said. “And from sixth grade, when I was living by myself because my parents went away, the business grew from renting 50 comic books to 1,000 comic books.”“我买了漫画书,然后租给同学,”他说“从六年级开始,我就开始独自生活,因为父母不在,租书的规模从50册增加至00册“When he finally conquered the exam and got into art school, he found himself in the tumult of the ’90s art scene, when Chinese artists were the newest fad in the West. At the time, the Sichuan institute’s oil painting department, whose graduates include Zhang Xiaogang, now one of China’s most sought-after contemporary painters, was a crucible of experimentation.当他最终通过考试,进入艺术学院时,他发现自己处于90年代艺术领域的骚动之中,当时中国艺术家在西方风靡一时当时,四川艺术学院的油画系成为了实验艺术的熔炉,从该系毕业的张晓刚现在已经成为中国最受追捧的当代画家之一In the late ’90s, Meg Maggio, an American lawyer who ran a contemporary gallery in Beijing, met Mr. Zhang when he was showing his work in Beijing, Shanghai and Hong Kong.90年代末,在北京开设当代艺廊的美国律师马芝安(Meg Maggio)遇到了张小涛,那时他会在北京、上海及香港展示自己的作品“He was painting surreal fantasy paintings of candy-colored condoms,” said Ms. Maggio, who still represents Mr. Zhang through her gallery Pékin Fine Arts in Beijing. “Later, he became well known painting a long series of overripe, slightly rotten, occasionally moldy strawberries.” In , she sold a number of his paintings to the British collector, Charles Saatchi, including a six-foot painting of a drowning rat.“他画了一些以糖果色安全套为主题的超现实的奇妙画作,”马芝安说“后来,他因为一系列呈现熟透、有点腐烂,偶尔发霉的草莓的画作而成名”年,她将张小涛的一些画作卖给了英国收藏家查尔斯·萨奇(Charles Saatchi),其中包括一幅六英尺长的描绘溺水老鼠的画作现在,马芝安仍通过自己位于北京的画廊——北京艺门(Pékin Fine Arts)代理出售他的作品But Mr. Zhang was moving on from oil painting. He studied photography a while in Europe, and then in 00 in San Francisco he fell into animation. “It changed my life,” he said. He easily adapted to the skills of animation, and though he was tempted to set up shop in New York, a city he finds exhilarating, he decided to return to China to establish his own company.但张小涛当时正从油画创作转向其他领域他在欧洲学了一段时间摄影,然后于00年在旧金山转入动画创作“它改变了我的人生,”他说他很容易就掌握了动画技术尽管他觉得纽约这个城市让人为之振奋,一时曾想常驻那里,最终还是决定回中国创建自己的公司“I came back to China because the cost animation is very low — you can hire a complete team not very much,” he said. His first eft, though, was a failure. “I hired four oil painting students. They were not capable.”“我回来中国,是因为在这里进行动画创作的成本非常低——不用花太多钱就可以雇一整个团队,”他说不过,他的第一次尝试失败了“我找了四名画油画的学生他们做不了动画”HIS first big splash with animation came with “Mist,” a 3-minute film that took two years to make. The film features armies of red glossy ants and dinosaurlike creatures marching in militaristic unison, and eventually waging bloody battles that leave a trail of destruction and blood. In one scene, a truck filled with human skeletons carrying a red flag, symbolic of China, floats across the screen.他的第一部有影响力的动画作品是《迷雾(Mist),花了两年时间制作完成,时长3分钟这部影片的主角是由红色蚂蚁和形状如恐龙的生物组成的大军,它们如军队般整齐行进,最终陷入血战,留下一片废墟和斑斑血迹在其中一个场景里,一辆装满人类骸骨的列车掠过屏幕,列车上飘扬着一面象征中国的红旗The film, criticized by some of his colleagues as too Hollywood, was intended as a metaphor the frenzy around the Beijing Olympics in when China, he said, was “building things, and then tearing them down.” At the end of the film, an image of Buddha hints at serenity amid madness.这部影片被他的一些同事指责太过好莱坞化,但它其实是对年中国举办奥运会期间笼罩于北京的那种狂热气氛的一种隐喻,他说当时中国“大搞建设,然后又拆掉它们”在影片的最后,出现了一个佛陀的形象,暗喻一片疯狂之中存在的安宁His next film, “Sakya,” which together with “Mist” was shown at the Venice Biennale in , is named after a Buddhist monastery in Tibet. It uses 3-D modeling software to create a celestial mood of pilgrims and Tibetan mandalas, and won praise its exploration on the limitations on freedom of religion.他接下来创作的影片《萨迦(Sakya)和《迷雾都于年在双年展上展出《萨迦这个片名取自西藏一座佛寺的名字,这部影片通过3-D建模软件营建了一种围绕着朝圣者和西藏坛场的神圣气氛,因对宗教自由所受的限制进行了探讨,它赢得了赞誉 his next venture, Mr. Zhang plans to leave the Sichuan Fine Arts Institute and take the helm of a Beijing gallery, the Kylin Center of Contemporary Art. There, he said, he will show art from around the world and send Chinese art abroad.谈及下一步的计划,张小涛打算离开四川美院,前往北京,担任麒麟当代艺术中心的负责人他说他会在那里展示来自世界各地的艺术,并把中国的艺术介绍到国外But most of all, he says, he looks ward to having more time to spend with his son, Liang-liang. “My parents did not spend much time with me,” he said. “I feel guilty that I have not seen enough of my son, and I miss him. I have promised to take him to New York to see the great art.”但他也表示,最重要的是,他希望能有更多时间陪伴儿子亮亮“我小的时候,父母就没有太多时间陪我,”他说“和儿子在一起的时间比较少,我感到内疚,而且我很想念他我已经答应他,要带他去纽约看伟大的艺术” 00青岛哪个医院无痛人流好点

蓬莱妇科检查价格Victoria Justice维多利亚·嘉蒂丝海阳市妇幼保健院体检 used between the 19s and 1950s, is among props from the movie up sale next week.美国在线零售商吉尔特集团上周五表示,这艘救生艇是根据世纪年代到50年代期间真实存在的救生艇复制而来的从下周开始,这一电影道具将与其它影片中的道具一起出售The lifeboat is priced at ,000 in the sale starting on November 19. Proceeds will go toward the Orangutan Foundation International, in recognition of one of the other animals who initially survives with title character Pi in the film.售价为万美元的救生艇已于月19日正式发售所得收益将捐赠给国际红毛猩猩基金会,用来纪念在电影中最初与少年派一起生存的其它动物们Other items up sale include movie posters signed by the director Ang Lee, a collection of vibrant saris, and other props valued between almost a decade, Taylor Swift has been waging, and winning, a war, smiling all the while.近十年来,泰勒·斯威夫特(Taylor Swift)一直都在一边作战一边微笑,而且不断取得胜利Country music has been — was — a natural enemy her: hidebound, slow moving, lousy with machismo. She could break the rules and make people nervous simply by showing up. And yet country was also a hospitable host body. She faced almost no direct competition there, and it a genre that embraces success, grudgingly if need be.乡村音乐一直是——曾经是——她的天敌:它守旧、动作慢、充满大男子主义她可以打破这些陈规,只凭她的出现就能让人感到不安然而乡村乐也同样是个好客的东道主她在这个领域几乎没有直接竞争对手,而且这个音乐类型欢迎成功者,如果有必要的话也可以带上一丝勉强Most important, country gave Ms. Swift context. It made her a transgressor, which means even her most benign songs could be with mischievous intent. From the outside, she looked like a conquering titan. But from the inside looking out, even as the genre biggest star, she was always something of an underdog, multiplatinum albums and accolades be damned.最重要的是,乡村乐给了斯威夫特一个语境,令她成为叛逆者,也就是说,就连她最温和的歌都可以被解读为带有恶作剧的意图从外界看来,她像是一个征的泰坦巨人但从内部看来,作为乡村乐中最大的明星,她永远都是某种失败者,不管唱片拿多少白金销量、奖项,都受到诅咒That she would one day abandon country has long been clear. It a big box, and a porous one, but a box all the same. ;1989; (Big Machine), though, her fifth album and the first that doesnt at all bother with country, manages to find a new foe.很早以前,人们就知道她早晚有一天会抛弃乡村乐它是一个大盒子,虽然通风良好,但毕竟是个盒子《1989(大机器[Big Machine]公司出品)是她的第五张专辑,也是她第一张完全没有乡村乐的专辑,它为她树立了新的敌人Full of expertly constructed, slightly neutered songs about heartbreak, ;1989,; which is to be released on Monday, doesnt announce itself as oppositional. But there is an implicit enemy on this breezily effective album: the rest of mainstream pop, which ;1989; has almost nothing in common with. Modern pop stars — white pop stars, that is — mainly get there by emulating black music. Think of Miley Cyrus, Justin Timberlake, Justin Bieber. In the current ecosystem, Katy Perry is probably the pop star least reliant on hip-hop and Ramp;B to make her sound, but her biggest recent hit featured the rapper Juicy J; she not immune.《1989将于周一(年月7日——编注)发行,里面有大量结构娴熟、略带中性色的伤心歌曲,它并没有摆出对抗的姿态但这张给人感觉很温和的专辑有一个毫无疑问的敌人:那就是主流流行乐,《1989与它格格不入现代流行歌星——更确切地说,是白人流行歌星——大都是模仿黑人音乐起家的想想麦莉·塞勒斯(Miley Cyrus)、贾斯汀·汀布莱克(Justin Timberlake)和贾斯汀·比伯(Justin Bieber)吧在当前音乐的生态系统里,凯蒂·佩里(Katy Perry)或许是对嘻哈乐和Ramp;B依赖最少的流行歌手,但她最近的大热歌曲里也有饶舌乐手杰西·J(Juicy J)献声,她也不能免疫Ms. Swift, though, is having none of that; what she doesnt do on this album is as important as what she does. There is no production by Diplo or Mike Will Made-It here, no guest verse by Drake or Pitbull. Her idea of pop music harks back to a period — the mid-1980s — when pop was less overtly hybrid. That choice allows her to stake out popular turf without having to keep up with the latest microtrends, and without being accused of cultural appropriation.但斯威夫特却完全不受影响;她在这张专辑里没有做什么和她做了什么一样重要它不是由迪普洛(Diplo)或者Mike Will Made-It制作,也没有德雷克(Drake)或皮特布尔(Pitbull)客串她对流行音乐的概念回溯到了世纪80年代中期,那时候流行乐还没杂交得这样厉害这个选择令她可以纵观流行乐的全局,而不必去追逐最新的小风尚,也不会被指责为“文化盗用”That Ms. Swift wants to be left out of those debates was clear in the this album first single, the spry ;Shake It Off,; in which she surrounds herself with all sorts of hip-hop dancers and bumbles all the moves. Later in the , she surrounds herself with regular folks, and they all shimmy un-self-consciously, not trying to be cool.斯威夫特希望置身这些争端之外,这表现在专辑首发单曲《甩掉它(Shake It Off)的音乐录像里这是一首活泼的歌,录像中她被各种嘻哈舞者所包围,她自己笨手笨脚地做着每个动作,后来她身周换成了普通人,他们不自觉地摇摆身体,并不是想要摆酷See what Ms. Swift did there? The singer most likely to sell the most copies of any album this year has written herself a narrative in which she still the outsider. She is the butterfingers in a group of experts, the approachable one in a sea of high post, the small-town girl learning to navigate the big city.看出斯威夫特做了什么吗?这位有可能成为今年唱片销量最高的歌手为自己写下一个故事,在其中她仍然是个局外人在一群专家中间,她是个笨拙的人,是一群高高在上的人当中可亲的一个,是学着在大城市生活的小镇女孩In that sense, the most important decision Taylor Swift made in the last couple of years had nothing to do with music: She bought a pad in New York, paying about $ million a TriBeCa penthouse.在这种意义上,泰勒·斯威夫特在最近几年间做的最重大的决定和音乐没有关系:她在纽约的翠贝卡买了一处公寓,这个屋顶套房花了00万美元It was a molting, the culmination of several years of outgrowing Nashville combined with interest in Ms. Swift that placed her in tabloid cross-hairs just like any other global star.这是一种蜕变,连续几年,她都处在过度膨胀的纳什维尔的顶点,再加上对她个人的兴趣,这令她和所有全球明星一样,无时无刻不处在小报的关注之下But it also afded her the opporty once again to be seen as a na?f. In Nashville, shed learned all the rules, all the back roads. Now, with that place more or less in the rear view, she is free to make the John Hughes movie of her imagination. That ;1989,; which opens with ;Welcome to New York,; a shimmery, if slightly dim celebration of the freedom of getting lost in Gotham: ;Everybody here was someone else beeAnd you can want who you want.; (As a gesture of tolerance, this is about steps behind Kacey Musgraves ;Follow Your Arrow.;)但这也给了她机会,让她可以再度被视为一个天真无邪的人在纳什维尔,她学会了所有规则,所有背后的门路现在,纳什维尔已经多少被她抛在脑后了,她可以自由自在地拍出自己想象中的约翰·休斯(John Hughes)式电影这就是《1989,第一首歌是《纽约欢迎你(Welcome to New York),这是一首轻快的歌,对于沉迷在哥谭市的自由表示一丝模糊的庆祝之意:“这儿的所有人以前都是别的人你可以渴望你想要的人”(作为一种宽容的姿态,这首歌比凯西·马斯格雷福斯[Kacey Musgraves]的《跟随你的箭[Follow Your Arrow]后退了大概有十步那么远)Ms. Swift hasnt been the type to ask permission in her career, but she has long seen herself as a stranger to the grand-scale fame that New York signifies. ;Someday Ill be living in a big ol city; she taunted a critic on ;Mean,; from her album ;Speak Now;; now here she is, making the New York spotlight her backlight.斯威夫特并不是那种在事业发展中要问别人该做什么的人,但她长久以来始终视自己为纽约所代表的盛大名利场中的异类“有一天我会住进一座巨大的老城市,”她在《贱(Mean)这首歌里嘲笑一个家,这首歌来自她年的专辑《现在就说(Speak Now);现在她来了,纽约的聚光灯正从背后照亮她On this new stage, Ms. Swift is thriving. And crucially, she is more or less alone, not part of any pop movement of the day. She has set herself apart and, implicitly, above.置身这个崭新的舞台,斯威夫特充满渴望重要的是,她多少是孤单一人,并不依附当今的任何流行音乐运动她让自己置身事外,而且,毫无疑问地是置于各种运动之上The era of pop she channels here was a collision of sleaze and romanticism, of the human and the digital. But there barely any loucheness in Ms. Swift voice. Her take on that sound is sandpapered flat and polished to a sheen. The album, named the year she was born, is executive produced by Ms. Swift and Max Martin, and most of the songs are written with Mr. Martin and his fellow Swede Shellback. Both men have helped shape the last decade of pop but what notable here is their restraint. (Mr. Martin also did almost all the vocal production on the album.) Ms. Swift old running buddy Nathan Chapman produced ;This Love,; a mournful ballad that would have been at home of the ;Hunger Games: Catching Fire; soundtrack, and the only song here that could be mistaken a concession to country.她所置身的这个流行时代是一片污秽与浪漫主义的融合,是人类与数码的融合但斯威夫特的声音里却没有一丝颓废她把握住这个声音,把它打磨平滑,令它熠熠生辉这张专辑以她出生的年份命名,由她和马克斯·马丁(Max Martin)共同制作,大多数歌都是马丁与合作伙伴斯维德·谢尔巴克(Swede Shellback)合写两人对过去十年流行音乐的面貌都有贡献,但这里值得注意的是他们的克制(马丁几乎担任了专辑中所有人声部分的制作)斯威夫特的老伙伴内森·查普曼(Nathan Chapman)制作了《这份爱(This Love),这是一首悲伤的歌谣,假如作为《饥饿游戏:星火燎原(Hunger Games: Catching Fire)也挺合适,这也是专辑中唯一一首可能会被认为带有乡村色的歌曲The best country-defying songs on her last album, ;Red; — especially ;I Knew You Were Trouble,; another collaboration with Mr. Martin and Shellback — were also a move toward ward-sounding pop. Ms. Swift has many charms but stylistic envelope pushing has not always been among them. And yet those songs showed her to be more of a risk taker than shed ever been, and savvy enough to know her fans would follow.她的上一张专辑《红(Red)也是向流行乐前进的一步,其中有几首向乡村乐表示挑战的歌,特别是《我知道你很棘手(I Knew You Were Trouble),也是马丁和谢尔巴克合作创作的斯威夫特有很多种魅力,但并不总是擅长打破音乐类型的界限然而《红中的歌曲表明她比以往更乐于冒险,也清楚地知道歌迷会跟随她That vanguard attitude, though, isnt to be found on ;1989,; which is largely filled with upbeat, tense songs on which the singer stomps out much of whatever was left of her youthful innocence. The Taylor Swift of this album is savage, wry, and pointed. The high mark is ;Style,; which recalls something from the original ;Miami Vice; soundtrack, all warm synths and damp vocals. ;MidnightYou come and pick me upNo headlights,; she oozes at the beginning of the song. By the chorus, she flirty, but back in the verses, she skeptical and a little bedraggled.《1989中却没有这种先驱者的态度,里面大都是欢快、紧张的歌曲,歌手大步走出了年轻时残余的大部分天真无邪这张专辑里的泰勒·斯威夫特是凶猛、嘲弄、尖锐的专辑中的佳作是《风格(Style),令人回忆起最早的《迈阿密风云(Miami Vice)的原声带,全都是温暖的合成器与低沉的人声“午夜你来带上我没有照明灯”,她在歌曲一开头慢慢唱着在副歌部分,她显得轻浮,但回到主歌,她又变得多疑,还有一丝凌乱Ms. Swift has often sung in a talky manner, emphasizing intimacy over power and nuance, but on ;1989; she uses her voice — processed more than ever — in different ways than bee: the coy confidence of how she shifts gears leading up to the bridge in ;Shake It Off,; slithering out the line, ;But I keep cruising,; immediately changing the song from gum-snapping glee to powerful release. Or the way she sweetly drags out the long e in ;beat; on ;Welcome to New York;; or the bratty background chorus chants on ;All You Had to Do Was Stay.;斯威夫特经常以一种谈话式的方式唱歌,强调亲密而非力量和细微区别但在《1989中,她用了和之前不同的声音方式,比以往更加精心处理:在《甩掉它里那种开车变速冲上大桥的腼腆自信在歌中蔓延着,“但我在继续巡行”这句突然把这首歌从街头混混的欢乐合唱变成了强有力的释放还有她在《纽约欢迎你中用甜蜜的长音唱“beat”这个字,以及在《你只需要留下(All You Had to Do Was Stay)里不肯从的背景合唱Her most pronounced vocal tweak is on ;Wildest Dreams,; a sweaty and dark tale of dangerous love. In the verses, Ms. Swift sings drowsily, as if seducing or just waking up: ;I said ‘No one has to know what we do His hands are in my hair His clothes are in my room.; Then, at the bridge, she skips up an octave, sputtering out bleats of ecstasy, bee retreating back under the covers.《最疯狂的梦(Wildest Dreams)是一个性感黑暗的故事,唱的是危险的爱情,这首歌里她的声音有最显著的改变在主歌里,她懒洋洋地唱着,仿佛在诱惑,要不就是刚睡醒:“我说,‘没人知道我们在干什么他的手放在我的头发里她的衣在我房间里”然后,在过渡段,她的声音升高了八度,迸发出狂喜的诉说,之后又退回到隐蔽之中On this album, Ms. Swift songwriting isnt as microdetailed as it has been, instead approaching heartbreak with a wider lens, as on ;This Love;:在这张专辑里,斯威夫特自己写的歌不像以前那样充满细节,而是以更广阔的视角看待伤心,比如《这份爱:Tossing, turning, struggled through the night with someone new辗转反侧,勉强与新人读过长夜And I could go on and on, on and on我可以一再这样,一再这样做Lantern, burning, flickered in my mind only you灯罩,燃烧,闪烁在我心里的只有你But you were still gone, gone, gone但你还是走了,走了,走了And while there are certainly references to some of Ms. Swift high-profile relationships, the album on the whole feels less diaristic than her previous work.这肯定是和斯威夫特与某位名人的恋情有关,但专辑的整体感觉不像她以前的专辑那样,好像写日记了But dont be distracted by whom the belle trolls; she trolls with glee, and that what matters. Take the clever ;Blank Space,; a metanarrative about Ms. Swift reputation as a dating disaster:但是别分心去想这个美女唱的是谁;她唱得很欢乐,这才是重要的听听这首聪明的《空白空间(Blank Space)吧,这是关于斯威夫特“约会灾星”恶名的元叙事:Saw you there and I thought看见你在那儿我就想Oh my God, look at that face啊天哪,看这张脸You look like my next mistake你看上去就像我的下一个错误Love a game, want to plaaaaaay?爱情就是游戏,想玩吗?This is Ms. Swift at her peak. It funny and knowing, and serves to assert both her power and her primness. By contrast, the songs where she sounds the least jaded — ;How You Get the Girl,; ;Welcome to New York; — are among the least effective.这是巅峰的斯威夫特它既有趣又世故,强调她的力量,也强调她的一本正经相比之下,那些听上去最不倦怠的歌,比如《你怎样得到那女孩(How You Get the Girl)和《纽约欢迎你是最不动人的几首It hard Ms. Swift to still sell na?veté; she too well-known and too good at her job. That likely at least part of the reason that the bonus edition of this album includes three voice memos recorded by Ms. Swift on her telephone that showcase bits of songs in their early stages. Theyre there as gifts obsessives, but also as boasts, flaunting her expertise and also her aw-shucks demeanor. ;I Wish You Would; shows her singing without any vocal manipulation, and though the lyrics to ;I Know Places; and ;Blank Space; changed a bunch from this stage to the final version, it clear that the melodies were intact, and sturdy, from the beginning.斯威夫特很难再摆出天真无邪了,她太出名,太擅长自己的工作至少可能部分是出于这个原因,专辑的附加歌曲部分收入了三首人声小样,是斯威夫特通过电话录下来的,展示她在写歌早期的片段它们是送给迷恋者们的礼物,但也像是夸耀,炫耀自己的技能,以及她质朴的态度《我希望你能(I Wish You Would)展现出她怎样不控制声音地唱歌,尽管《我知道一些地方(I Know Places)和《空白空间(Blank Space)的歌词最终版本比起这里的版本改动了很多,但显然旋律从一开始就没怎么改动,非常可靠There are a few songs in which production dominates: the two songs written and produced with Jack Antonoff (of fun and Bleachers). ;Out of the Woods; and ;I Wish You Would,; which burst with erupting drums, moody synths and sizzling guitars; and ;Bad Blood,; which has booming drums reminiscent of the Billy Squier ones often sampled in hip-hop.还有一些歌是制作占了主导地位,比如杰克·安托诺夫(Jack Antonoff,“有趣”[Fun]乐队和“漂白者”[Bleachers]乐队)创作和制作的两首歌:《树林之外(Out of the Woods)和《我希望你能,它们爆发出激烈的鼓点、无常的合成器和嘶声作响的吉他;《坏血(Bad Blood)这首歌有轰鸣的鼓声,令人想起比利·斯奎尔(Billy Squier)经常被嘻哈乐采样的那些乐段But these are outliers. Ms. Swift has always been melody first, and if she wanted to give herself over to a producer and sound of the moment, she could have gone several different, more obvious routes, or even stayed in country, which is as hip-hop inflected as pop is these days. ( the record, there are a few sort-of-modern phrases sprinkled through the lyrics — ;this sick beat,; ; mad love; and the chorus of ;Shake It Off,; where she squeaks ;the players gonna play, play, play, play, playand the haters gonna hate, hate, hate, hate, hate; — though they are mostly there to underscore just how out of place Ms. Swift sounds singing them.)但这些都是的东西,斯威夫特一向最注重旋律,如果她希望把自己交给制作人和当下流行的声音,那么她可能会尝试其他几种不同的、更明显的方式,甚至有可能留在乡村乐里,如今乡村乐和流行乐一样,都已经深受嘻哈乐影响了(在这张专辑里,歌词中分布着几个有点时尚的句子——‘恶心的节拍、‘疯狂的爱以及《甩掉它的副歌,她尖声唱道“乐手要演奏,演奏,演奏,演奏憎恨的人要去恨,恨,恨,恨,恨”——但是它们主要都是为了强调斯威夫特唱这些句子的时候有多么脱离时代)But by making pop with almost no contemporary references, Ms. Swift is aiming somewhere even higher, a mode of timelessness that few true pop stars — aside from, say, Adele, who has a vocal gift that demands such an approach — even bother aspiring to. Everyone else striving to sound like now will have to shift gears once the now sound changes. But not Ms. Swift, who waging, and winning, a new war, one shed never admit to fighting.斯威夫特做的是几乎不涉及当代的流行乐,目标更为高远,就连真正的流行巨星也很少有人会去渴望这种模式——或者阿黛尔(Adele)除外,她声音的天赋就需要这样的方式其他人都在努力让自己听上去更有当下的感觉,当下流行的声音变了,他们也得跟着变但斯威夫特不是这样,她要展开一场新的战争,她要赢,但她永远不会承认自己在打这一仗 139 and more than ,000.其它出售的物品当中还包括有李安导演亲笔签名的电影海报,一批色鲜艳的莎丽,还有一些其它电影中出现的重要道具这些物品大部分在0美元左右,少数部分超过了6千美元Life of Pi , which stars newcomer Suraj Sharma, opens in US movie theaters on November 1 and is set to screen on the Chinese mainland on November .电影将于月1日在美国上映,中国内地的上映时间为月日,本片启用了新人Surai Sharma担当男主角The movie is based on the best-selling novel of the same name by Canadian novelist Yann Martel. The book won the Man Booker Prize Fiction in .这部电影是根据加拿大小说家扬·马特尔的同名畅销小说改编,此书曾获得年英国布克奖It tells the adventure of an Indian boy Pi, the story protagonist, who spends over 0 days with a Bengal tiger on a lifeboat, drifting in the Pacific Ocean, after experiencing a shipwreck.本书讲述的是一个名叫Pi的印度男孩和一只孟加拉虎经历海难之后一起在太平洋上漂流了0多天的故事 6青岛治疗慢性盆腔炎哪家好

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