删了我很多文章

言论自由在中国果然是很遥远的事

我要滚到外国去了

大家祝福我

blog@sina jiu dao ci wei zhi ba

1985–1995: Power Station and MTV success   Power Station和MTV 成功时期

1985 was a milestone year for Palmer. After Duran Duran went on hiatus, their guitarist Andy Taylor and bassist John Taylor joined renowned session drummer and former Chic member Tony Thompson and Palmer to form the band Power Station. Their eponymous album, recorded mostly at the New York studio for which the band was named, reached the Top 20 in the UK and the Top 10 in the US and spawned two hit singles with 'Some Like It Hot' and a cover of the T. Rex song 'Get It On (Bang a Gong)'. Palmer performed live with the band only once that year, on Saturday Night Live. The band toured, and even played Live Aid, with singer Michael Des Barres after Palmer bowed out at the last moment to go back into the studio to further his newly revitalized solo career. It proved to be a good choice for Palmer.

1985年对帕玛来说是一个里程碑。

Palmer recorded the album Riptide in 1985, recruiting Thompson and Andy Taylor to play on some tracks and Power Station producer Bernard Edwards, who worked with Thompson in the group Chic, to helm the production. Robert recruited Wally Badarou, another Compass Point Star who had laid synthesizer tracks on the Power Station album, plus his long-term drummer, Dony Wynn, for this production as well.

Riptide featured the #1 single 'Addicted to Love'. The song was originally cut with Chaka Khan sharing lead vocals but due to contractual problems Chaka was removed for the final mix. The single was accompanied by a memorable and much-parodied music video, directed by Terence Donovan, in which Palmer is surrounded by a bevy of near-identically clad, heavily made-up female 'musicians,' either mimicking or mocking the painting of Patrick Nagel. The singles 'Hyperactive' and his cover of Cherrelle's 'I Didn't Mean to Turn You On' also performed well, with the latter being a #2 US and #9 UK hit single. Another song, 'Trick Bag' was written by one of his major influences, New Orleans jazz artist Earl King. In 1987, he won the Grammy Award for Best Male Rock Vocal Performance for his song 'Addicted to Love'.

In 1987, Palmer moved to Lugano, Switzerland and set up his own recording studio. Producing Heavy Nova in 1988, Palmer again returned to experimenting, this time with bossa nova rhythms, heavy rock, and white soul balladeering. He repeated his previous success with 'Addicted to Love' with the video of 'Simply Irresistible', again Palmer with a troupe of female 'musicians'. The ballad 'She Makes My Day' also proved to be a hit in the UK, peaking at #6. In 1989, he won a second Grammy for 'Simply Irresistible', which would later be featured in the Tony Award-winning musical Contact. Rolling Stone magazine voted Palmer the best-dressed rock star for 1990.

Palmer stretched his wings even further for his next album, the eclectic Don't Explain. Released in 1990, it covered diverse musical styles including rock, R&B, jazz and Bahamian influences. It, also, featured the Bob Dylan-penned Top 10 single 'I'll Be Your Baby Tonight', in a collaboration with UB40, that secured a #6 placing in the UK and the Top 20 Marvin Gaye cover 'Mercy Mercy Me'. Throughout the 1990s, Palmer ventured further into diverse material. The 1992 album Ridin' High was a tribute to the Tin Pan Alley era.

In 1994, Palmer released the tropical album Honey to mixed reviews and commercial success. While the album failed to spawn any hit singles in the United States, he did find success in Britain with the release of three hit singles 'Girl U Want', 'Know By Now' and 'You Blow Me Away'.

In 1995, Palmer reunited with other members of The Power Station to record a second album. Bassist John Taylor eventually backed out of the project (because of personal problems), to be replaced by old colleague Bernard Edwards. Palmer and the rest of the band completed the album Living In Fear (released in 1996), and had just begun touring when Edwards died of pneumonia.

1996–2003: Late solo work and the blues

The next few years saw more touring and more compilations; the next release of new material, Rhythm and Blues (1999), contained a mixture of Little Feat influenced songs, rock, and pop. Palmer released 'True Love', a single from the album Rhythm and Blues; the song was a minor hit in Britain.

His final release, Drive (2003), was critically hailed as the grittiest and most heartfelt album of his career. Inspired by a previous collaboration with Carl Carlton on a Robert Johnson tribute album, Drive featured covers of fifteen blues standards, plus the original track 'Lucky'. He also conducted smaller scale tours, mostly around the lucrative casino circuit.

Literature
 Palmer's favourite author was Jack Vance and he was specially fond of Cugel. Jack Vance paid homage to Robert Palmer in his novel 'Night Lamp', whose first lines are: 'Toward the far edge of the Cornu Sector of Ophiuchus, Robert Palmer's Star shone brilliant white, its corona flaring with films of blue, red and green colour.'.

 Death
Palmer, who made his home in Lugano, Switzerland for his last 15 years, died in Paris, France in 2003 of a sudden heart attack at the age of 54. He is interred at the cemetery in Lugano.

Robert Allen Palmer (19 January 1949 – 26 September 2003), born in Batley, Yorkshire, was an English singer-songwriter. He was known for his soulful voice and the eclectic mix of musical styles on his albums, combining soul, jazz, rock, pop and blues.

罗伯特艾伦帕玛（1949.1.19-2003.9，26）英国歌手兼词曲创作人，生于约克郡，巴特利。他因专辑里灵魂乐唱腔和电子混音的音乐风格而知名。包括了灵魂乐，爵士，摇滚，流行以及蓝调。

1964-1973: Early bands 早期乐队时期

Palmer's father was a British naval intelligence officer stationed in Malta, Palmer moved with his family to Scarborough, Yorkshire in 1959. Influenced as a child by blues, soul, and jazz music on American Forces Radio, Robert Palmer joined his first band, The Mandrakes, at the age of 15 while still at Scarborough Boys' High School. His first major break came with the departure of singer Jess Roden from the band The Alan Bown Set in 1969, after which Palmer was invited to London to sing on their single 'Gypsy Girl'. The vocals for the album The Alan Bown Set, originally recorded by Roden (and released in the US that way), were re-recorded by Palmer after the success of the single.

帕玛的父亲是驻扎在马耳他的英国海军情报人员。1959年帕玛随家人搬至约克郡的斯卡布罗。童年受来自美国军方电台的蓝调，灵魂，爵士的音乐影响.15岁还在就读斯卡布罗男子高中时，加入了他人生中的第一个乐队，the mandrakes.帕玛事业上第一个转折点是，1969年他接替了Jess Roden在乐队the Alan Bown set里的主唱完位置。（上图所示）之后帕玛被邀请到伦敦灌唱了他们的单曲“gypsy girl”。the Alan Bown set专辑里的人声原本是由Roden所灌录的（并在美国发行）。但在单曲的成功之后，改由帕玛重新录制。

In January 1970, Palmer married Suzan Eileen Thatcher. That same year, Palmer joined the 12-piece jazz-rock fusion band Dada, which featured singer Elkie Brooks. The band lasted a year, after which Brooks and Palmer formed the critically acclaimed but commercially unsuccessful rhythm and blues group, ; Palmer sang and played rhythm guitar. Signed to the Island Records label, they released three albums: Vinegar Joe (1972), Rock 'n' Roll Gypsies (1972), and Six Star General (1973).

1970年1月，帕玛与Suzan Eileen Thatcher结婚。同年加入了12人混合爵士摇滚乐队Dada,由此开始和歌手Elkie Brooks合作。乐队存在一年。之后，Brook和Palmer组成了受评论界推崇却在商业失败的节奏蓝调（R&B）组合，Vinegar Joe；帕玛主唱并演奏节奏吉他。组合与厂牌Island Records签约，发行了三张专辑，分别是 Vinegar Joe (1972), Rock 'n' Roll Gypsies (1972), and Six Star General (1973).

1974–1984: Early solo career 早期职业独唱生涯

On the basis of his youthful looks, strong stage presence, and soulful voice, Island Records signed Palmer to a solo deal. His first solo album Sneakin' Sally Through the Alley recorded in New Orleans, Louisiana in 1974, was heavily influenced by the music of Little Feat and the funk fusion of The Meters who acted as backing band along with producer/guitarist Lowell George of Little Feat. His first single was a cover of Little Feat's 'Sailin' Shoes.' Although moderately successful in the UK, both the album and single reached the Top 100 in the US. Notably, 'Sailin' Shoes' (the album's first track), Palmer's own 'Hey Julia' and the Allen Toussaint-penned title track carry virtually the same rhythm, and are packaged on the CD as a 'trilogy' without a pause between them.

因为他青春的形象，稳健的台风，充满灵魂乐感到唱腔。 Island 唱片签下帕玛成为独唱歌手。1974年，首张独唱专辑Sneakin' Sally Through the Alley在新奥尔良所录制。音乐风格深受乐队little feat和funk独立组合the meters影响。后者是little feat的制作人兼吉他手Lowell George的乐队伴奏。帕玛的首支单曲是翻唱little feat所打造的“sailin shoes.”虽然在英国的反响并不强烈，却在美国打入单曲和专辑榜前百名。值得一提的是，“sailin shoes”(专辑里的第一首歌)，帕玛自己的'Hey Julia'以及allen toussaint写的开场曲事实上有着相同的节奏，并且被冠以“三部曲”放在一起，中间没有任何间断。

Subsequently relocating from London to New York City with his wife, Palmer released Pressure Drop in 1975 (featuring famed Motown bassist James Jamerson). An album infused with his interests in reggae and rock music, it was noted for its cover art of a nude girl on a balcony rather than any commercially successful songs. (The lead single 'Give Me An Inch' did win critical plaudits for Palmer's note-perfect delivery and its chord changes, which surprised George during the recording process.) He toured with Little Feat to promote that album.

随后，和妻子从伦敦移居至纽约，帕玛在1975年发行了pressure drop专辑（与当时知名的Motown贝司手James Jamerson合作),这张专辑充满了他所喜欢的雷鬼和摇滚曲风。专辑最值得一提的是唱片封面上一个在露台上的裸体女孩，瞩目程度超过里面任何一首商业成功的歌。（因为帕玛完美的音阶转换和和声变化，主打歌'Give Me An Inch'赢得评论的喝彩,这使George在他的唱片生涯中感到惊奇。）他和Little feat一起做专辑的巡回宣传。

However, with the failure of the follow-up Some People Can Do What They Like , Palmer decided to move to the Bahamas; after that, his 'expatriate lifestyle' was likely to receive more coverage than his music in British newspapers.

然而随着接下来的单曲“Some People Can Do What They Like “的失败，帕玛决定搬到Bahamas，之后他自我放逐的生活方式比他的音乐更受到英国报纸的报道。

In 1978, he released Double Fun, a collection of Caribbean-influenced rock, including a down-tempo and syncopated cover of 'You Really Got Me'. The album reached the Top 50 on the US Billboard charts and scored a Top 20 single with the Andy Fraser-penned 'Every Kinda People'. With its blend of Caribbean steel pan, violins and moving lyrics, 'Every Kinda People'. has become one of Palmer's best-loved songs, covered multiple times by other artists (including Chaka Demus and Pliers, Randy Crawford and Amy Grant) and cited by music fans and spiritual groups for its positive message.

1978年他发行了加勒比摇滚风格的专辑double fun，包括对“You Really Got Me”这首a down-tempo，syncopated单曲的方唱。专辑登上美国Billboard排行榜前五十，与Andy Fraser共同创作的'Every Kinda People'进到了单曲榜前20.因为混合加勒比金属鼓，小提琴以及感人的歌词，'Every Kinda People'成为帕玛最受欢迎的歌曲之一。被许多艺术家所翻唱。(包括Chaka Demus and Pliers, Randy Crawford and Amy Grant)。因为传递正面的信息被歌迷和宗教团体备受传唱。

Palmer's next album was an artistic departure, concentrating on a rockier direction. 1979's Secrets produced his second Top 20 single with Moon Martin's 'Bad Case of Loving You (Doctor, Doctor)', which like 'Every Kinda People' became one of his signature tunes.

接下来帕玛的专辑缺乏艺术性，注重摇滚走向。1979的Secrets专辑里与 moon martin合作的'Bad Case of Loving You (Doctor, Doctor)'成为与'Every Kinda People' 相似的成功歌曲。

The 1980s saw 'Compass Point Star' Palmer find an increasing amount of commercial success. The album Clues, produced by Palmer and featuring Chris Frantz and Gary Numan, generated hits on both sides of the Atlantic, first with the radio-friendly single 'Johnny and Mary' and then 'Looking for Clues'. Catchy music videos matching the synth pop stylings of New Wave gave him much needed exposure to a younger audience. The success was repeated with the 1982 EP release of Some Guys Have All the Luck.

80年代的被视为流行指标的帕玛取得了更多的商业成功。Clues专辑由帕玛以及Chris Frantz and Gary Numan所制作。在大西洋两岸都大为成功。首先'Johnny and Mary'在广播电台走红，接着是'Looking for Clues'。惹眼的音乐录影带配上流行的new wave音乐风格满足更年轻的听众。1982的EP Some Guys Have All the Luck再复了当年的成功。

1983 saw Palmer blend techno beats, early sampling and more of the island music of his adopted Bahamas (including steel pan) into the adventurous album Pride. Though the album wasn't the smash Clues was, it did feature standout tracks in the title song and Palmer's cover of The System's 'You Are In My System', with The System's David Frank contributing keyboard tracks to the latter song.

1983年帕玛融合了techno节奏，早期音乐片段，更多的他迁到的巴哈马海岛音乐风格（包括铁皮鼓），一起放进了有些冒险的专辑pride。虽然专辑没有Clues那么引领风潮。不过标题歌却很出色。palmer翻唱了System乐队的单曲'You Are In My System'，并在之后歌曲中与乐队的键盘手 David Frank合作。

'You Are In My System' was an example of Palmer's passion for R&B covers. He jammed the song onto the Pride album after the other tracks were finished. Hearing the track in a Paris club, Palmer rushed back to his Bahamas hometown, where the reconvened band (co-composer Frank included) put together the number. Esquire magazine recounted the tale of the last-minute addition later that year. Palmer did the same in liner notes for his 1992 Addictions Volume 2 CD, which included his re-voiced version of 'You Are In My System.'

单曲'You Are In My System'显示了帕玛对的R&B的热情。再专辑里别的歌都完成之后，他又把这首歌加了进去。在巴黎的一个club听到这首歌之后，帕玛立即赶回他在巴哈马的家，与乐队成员完成这首歌（包括合作者frank）。Esquire杂志在同年稍后的时候描述了在最后增加这首歌的故事。帕玛在1992年的专辑Addictions Volume 2 的专辑引言上也叙述了这个故事，这张专辑也收录了他重录的'You Are In My System' 。

 音乐是来自化学兄弟 非常棒的一个电子乐乐队 有空的时候再抒发我对他们的敬仰之情。

       莱杰的家人带领奥斯卡最佳男配角奖

   其实这一两年看的电影并不多，忙得时候没有时间，闲的时候又没有那个心境。印象深刻的是在电影院看了《赤壁》，和《通缉令》，因为是自己出钱。

   开玩笑了，两部电影都不是什么好片，《赤壁》里印象深刻的也只有赵薇那残的脸和很囧的台词，《通缉令》里安吉丽娜朱莉真的漂亮外，别的一无所获。

   扯得远了。

   今年看到的最让人印象深刻的表演，就是西斯莱杰在《蝙蝠侠》里的小丑。我没看过《断背山》，所以对他并不印象深刻，而且在看电影之前，觉得大家对他的一众好评只是本着死者为大地原则。其实如果这样说，那真的是他的不尊重。

  相信所有看过这个电影的人都会觉得，《蝙蝠侠》里最大主角不是成奸除恶的蝙蝠侠，而是那个神经病却神经病到魅力四射的小丑。和小丑相比，蝙蝠侠竟然像个窝囊废。虽然小丑的戏份在电影里可能都排不到前三，但每次出场都是让人印象深刻。无论是造型，台词，说话的声调，躲厚厚油彩的表情，夸张却又恰到好的表演，把这个复杂的角色诠释的完美。没有西斯莱杰的接触表演，《蝙蝠侠》真的只是一部二流的英雄电影，没有《钢铁侠》风流倜傥，没有《蜘蛛人》能打，没《超人》能打，没《X战警》时髦。虽然导演在人性刻画上花了一点功夫，但是悬念剧情都比较乏善可陈。

   所以横扫各大电影节的配角奖，实至名归。听说，去年在香港的万圣节大家都抢着扮小丑。相信今年北京也会这样。

   reading the words i wrote in the past always makes me wanna kill myself.such naive ,unmature and selfcentered thoughts have been described in such a pretended way.ok ok,i must accept that i m a little bit overreactive.

   maybe i m a pnuemantic hammer like alessandro said,even it definitely is not a compliment.

   now i wonder why in the past i liked it so much to write pretentious articals about my life.maybe that time i dont have so much friends to speak,or i dont have the brave to let my depression out.that is the point,if you dont have the ordinary ways to make yourself less anxious,you must find another way to cheer you up.

   obviously at present i have pretty a good way to compose myself.instead of being alone and desperate myself,i begin to bother others.ah,poor alessandro,poor my little joy and poor my mam.i think talking is very useful way to delight negative moods.arbitray nonsence words can let your pressure come out easily.

   that is the reason why in the past i updated the blog so frequently and most of them are the oppsite of passion and possitve emotions.it is kinda like a therapy of psycho.maybe it is not the best but at least i havent made many misdemeanors.

   look,i still got my sence of humor,which also shows why i dont wanna write essay agian.coz i dont have the feeling and desire to express.i m not gonna have a comfession on the dance floor.that is a little bit odd and pathetic,better i choose to bother others.

kidding,anyway,it will be an adversed news for my audiences and fans,which i havent had.it is like a kinda responcebility but not a pleasure.sigh,so poor my fans.hahaha

 ok,i admit i write this essay just wanna practice my writen english,which is sth i m lack of.sorry to write a long and blablabla boring artical to kill your guys time.another time apologys.

 bye

翻以前的校内网 发现这两张照片 蛮有意思的

    我觉得到了这个年纪，很多人就不知不觉的开始焦虑起来，这种焦虑不完全是出于对某一件具体的事情。而正是因为不是出于具体的某一件事，所以才让这种焦虑没有一种很具体的解决方法。

    或者是因为我们的教育的问题吧，中国式的家庭总是从小到大在灌输我们，“你不够好，你需要再进步，如果你没做的一个相对好的地步，你需要对此负有愧疚感。”然后我们就把这种扭曲的消极思维习以为常，并误解其为上进心。

    为什么这样的，成功并不是一个必需的东西，比别人好也不是一个必需的东西，我们的幸福和快乐并不是需要一个比我们不幸福不快乐来参照而获得的。我们为什么不能把懒惰一次当作是享受生命，把颓废一次当作青少年时期的叛逆行为，为什么我们不能给自己犯错学习的机会，为什么我们要对自己的快感感到负罪？

    这个世界很物化，好像所有事情都可以拿来丈量和比较，可是我们是活生生的人啊，如果别人拿来物化也就罢了，为什么自己还要给自己不必要的消极情绪呢。就像教堂里的牧师说的，主就是爱，爱就是主，我们本身已经是伟大的生灵(God is love,love is God,we all are great creatures.)。并不是想传经布道，只是觉得有些很虚无缥聊的话，仔细想来必然有它存在的意义。

   我一直想找到一种平静不浮躁的状态，这种状态不是说你信宗教或者听交响乐就可以得到的，更重要的是要有某种程度的豁达。有足够的自信和自量，然后用对待自己朋友的态度来对待自己，从某种角度上来说，这就是我这个阶段所能达到和理解的淡定。

   或者文章的题目应该改为幸福是什么。如果幸福的定义可以等同于幸福感的话，那我觉得幸福是一种对生活的态度，不管你在人生过程中的哪个状态你都会是幸福的。

   《立春》结尾的王彩玲是幸福的，《duchess》里的Georgiana最后也获得了internal peace。Joy无依无靠在香港也是幸福的，朱玄同学潇潇洒洒也是幸福的。