翻译 庄馥瑄 / 刘育如 / 李信融
社会责任
任何一个拿着麦克风讲话的人都能对每一位听众产生影响。我的童年在不断地聆听音乐中度过，我在那时听的音乐仍然影响着我今日的思想及人生态度。
九岁那年，有天爸爸下班回家带了一张包装套上印着“We Are the World”的黑胶唱片，包装的背面，是一群歌手的照片，有Michael Jackson、Stevie Wonder、Elton John、Cyndi Lauper、Willie Nelson……还有一些我不认识的歌手。在这之前，我家所有的唱片都是古典音乐。贝多芬、德弗扎克、柴可夫斯基和萧邦都是我爸爸最喜欢的音乐家；但是这一张和其他的唱片不一样。
我第一次打开唱片听时，虽然它有两个地方跳针，但是这首歌仍然让我觉得不可思议，好像这首歌里的每一位歌手都直接地告诉我一个清楚的信息：“We are the world, we are the children, we are the ones to make a brighter day, so let’s start giving …we’re saving our own lives … we’ll make a better day, just you and me.”哇！就是你和我……就是Michael和我，就是Stevie和我……我心里想着 是的，我最期盼做到的就是能让这个世界更好。
继之而来的是强烈的节拍、DJ刷唱片的摩擦声、韵脚的押韵……嘻哈先锋Rick Rubin在他的音乐制作中引领开创了一种新的声音。我还记得十岁时，在杰弗逊小学操场上听着随身听里Beastie Boys的“有权使坏”，我一边跟着歌词唱，一边想着：“这些家伙是全世界最酷的饶舌歌手。”Beastie Boys充满感染力的态度以及无法无天的歌词给我无限的活力。在五年级时，我开始接触到嘻哈的世界。
那个时期，街边墙上涂鸦、霹雳舞、口技合奏及手提音响开始流行，嘻哈在这段时期也逐渐成型并影响一般年轻人每天的生活。我跟同学们会在排队领取午餐的时候来一段Rap，也会围绕在人行道上看着在铺满压平纸箱上跳着街舞的b-boys，口中嚷着：“Go, go, go, Paul, it’s ya birthday, go Tommy, it’s ya birthday.” 那时还没有拿着手枪、喝着高级香槟酒的“流氓饶舌歌手”，这时的嘻哈仍保有它刚萌芽时的单纯，音乐是它的本质，这也是我爱上它的原因。
一年之后，另一位出色的歌手拿起了她的麦克风。
那是南韩举办奥运的那一年，全世界都见证了这历史性的体育盛事，同时听到Whitney Houston唱的那首启发人心的奥运主题曲“One Moment in Time”。这首歌深深地感动了那些渴望成就大事、超越自我的人。“One Moment in Time”这首歌让我意识到音乐结合媒体对群众影响的潜力。在这之后，无论我是在棒球赛里投球、或是在准备重要考试之前、在每天送报的时候、在学校的歌舞剧甄试时，这首歌总会在我的脑海里盘旋，鼓励我付出全心全力。
所以你看，我总是认为音乐有一种能感动灵魂的力量，它可以启发我们、激励我们努力上进。现在我仍然相信音乐有这个能量，我也从来没有放弃音乐所禀赋的这种潜力，这也是为甚么当我看到有的华语流行歌曲沦为加工厂制品，如儿童连连看游戏般的自助式卡拉OK伴唱歌曲时会那么的失望。音乐不该只是这样，它可以发挥更大的作用。这也就是为甚么在我自己创作的歌曲里，我对“我要”、“梦想被冷冻”、“Nature”、“Love Love Love”、“你和我”、“龙的传人”、“W-H-Y”和“手牵手”这些歌有着强烈的感觉。我相信这些歌曲所传达的社会讯息，我也相信“心中的日月”这张专辑里Chinked-out曲风所清楚表达的情操，这种情操简单的来说就是“要看得起自己，也要看得起自己的文化”。
媒体向大众传达的讯息，会成为孩子们教育的一部分。当黄金时段的新闻播送着台湾立法委员在国会里打架，我们如何能期待我们的儿童不会倾向暴力？当电视上有声有色的描述着可怕的犯罪事件时，又如何能期待我们的儿童不会变的麻木不仁？有时候媒体渴望耸动的新闻传递了一个讯息：“越病态的新闻收视率越高”。新闻越是怪异反常，市场价值越大，媒体的业绩也越好。媒体工作者似乎已经忘掉媒体的力量，也忘记了伴随这份力量而来应有的责任感；难道我们不能给孩子们更好的内容？也许一些能够滋养心灵的事物，或是可以启发心志、鼓励一般孩子尽力做到他能力所及的最好？这是我想帮忙传达给时下年轻人的讯息。
Whitney Houston的歌里平凡却真切地这样说：“我相信儿童是我们的未来，好好地教导他们让他们能够引导未来，使他们了解他们与生俱来的美好特质，赋予他们能引以为傲的自尊。”儿童就是我们的未来，而他们的未来就掌握在我们的手里。
翻譯 莊馥瑄 / 劉育如 / 李信融
社會責任
任何一個拿著麥克風講話的人都能對每一位聽眾產生影響。我的童年在不斷地聆聽音樂中度過，我在那時聽的音樂仍然影響著我今日的思想及人生態度。
九歲那年，有天爸爸下班回家帶了一張包裝套上印著「We Are the World」的黑膠唱片，包裝的背面，是一群歌手的照片，有Michael Jackson、Stevie Wonder、Elton John、Cyndi Lauper、Willie Nelson……還有一些我不認識的歌手。在這之前，我家所有的唱片都是古典音樂。貝多芬、德弗扎克、柴可夫斯基和蕭邦都是我爸爸最喜歡的音樂家；但是這一張和其他的唱片不一樣。
我第一次打開唱片聽時，雖然它有兩個地方跳針，但是這首歌仍然讓我覺得不可思議，好像這首歌裡的每一位歌手都直接地告訴我一個清楚的信息：「We are the world, we are the children, we are the ones to make a brighter day, so let’s start giving …we’re saving our own lives … we’ll make a better day, just you and me.」哇！就是你和我……就是Michael和我，就是Stevie和我……我心裡想著 是的，我最期盼做到的就是能讓這個世界更好。
繼之而來的是強烈的節拍、DJ刷唱片的摩擦聲、韻腳的押韻……嘻哈先鋒Rick Rubin在他的音樂製作中引領開創了一種新的聲音。我還記得十歲時，在傑弗遜小學操場上聽著隨身聽裡Beastie Boys的「有權使壞」，我一邊跟著歌詞唱，一邊想著：「這些傢伙是全世界最酷的饒舌歌手。」Beastie Boys充滿感染力的態度以及無法無天的歌詞給我無限的活力。在五年級時，我開始接觸到嘻哈的世界。
那個時期，街邊牆上塗鴉、霹靂舞、口技合奏及手提音響開始流行，嘻哈在這段時期也逐漸成型並影響一般年輕人每天的生活。我跟同學們會在排隊領取午餐的時候來一段Rap，也會圍繞在人行道上看著在鋪滿壓平紙箱上跳著街舞的b-boys，口中嚷著：「Go, go, go, Paul, it’s ya birthday, go Tommy, it’s ya birthday.」 那時還沒有拿著手槍、喝著高級香檳酒的「流氓饒舌歌手」，這時的嘻哈仍保有它剛萌芽時的單純，音樂是它的本質，這也是我愛上它的原因。
一年之後，另一位出色的歌手拿起了她的麥克風。
那是南韓舉辦奧?#092;的那一年，全世界都見證了這歷史性的體育盛事，同時聽到Whitney Houston唱的那首啟發人心的奧?#092;主題曲「One Moment in Time」。這首歌深深地感動了那些渴望成就大事、超越自我的人。「One Moment in Time」這首歌讓我意識到音樂結合媒體對群眾影響的潛力。在這之後，無論我是在棒球賽裡投球、或是在準備重要考試之前、在每天送報的時候、在學校的歌舞劇甄試時，這首歌總會在我的腦海裡盤旋，鼓勵我付出全心全力。
所以你看，我總是認為音樂有一種能感動靈魂的力量，它可以啟發我們、激勵我們努力上進。現在我仍然相信音樂有這個能量，我也從來沒有放棄音樂所稟賦的這種潛力，這也是為甚麼當我看到有的華語流行歌曲淪為加工廠製品，如兒童連連看遊戲般的自助式卡拉OK伴唱歌曲時會那麼的失望。音樂不該只是這樣，它可以發揮更大的作用。這也就是為甚麼在我自己創作的歌曲裡，我對「我要」、「夢想被冷凍」、「Nature」、「Love Love Love」、「你和我」、「龍的傳人」、「W-H-Y」和「手牽手」這些歌有著強烈的感覺。我相信這些歌曲所傳達的社會訊息，我也相信「心中的日月」這張專輯裡Chinked-out曲風所清楚表達的情操，這種情操簡單的來說就是「要看得起自己，也要看得起自己的文化」。
媒體向大眾傳達的訊息，會成為孩子們教育的一部分。當黃金時段的新聞播送著台灣立法委員在國會裡打架，我們如何能期待我們的兒童不會傾向暴力？當電視上有聲有色的描述著可怕的犯罪事件時，又如何能期待我們的兒童不會變的麻木不仁？有時候媒體渴望聳動的新聞傳遞了一個訊息：「越病態的新聞收視率越高」。新聞越是怪異反常，市場價值越大，媒體的業績也越好。媒體工作者似乎已經忘掉媒體的力量，也忘記了伴隨這份力量而來應有的責任感；難道我們不能給孩子們更好的內容？也許一些能夠滋養心靈的事物，或是可以啟發心志、鼓勵一般孩子盡力做到他能力所及的最好？這是我想幫忙傳達給時下年輕人的訊息。
Whitney Houston的歌裡平凡卻真切地這樣說：「我相信兒童是我們的未來，好好地教導他們讓他們能夠引導未來，使他們了解他們與生俱來的美好特質，賦予他們能引以為傲的自尊。」兒童就是我們的未來，而他們的未來就掌握在我們的手裡。
Social Responsibility
Anyone with a microphone is in a position to influence anyone who’s listening. My childhood was a period of constant listening, and the music I heard then is still a big part of who I am today.
I was nine years old when my father came home from work with a thin, floppy vinyl record with the words “We Are the World” printed on the glossy sleeve jacket. On the back, there was a group photo of Michael Jackson, Stevie Wonder, Elton John, Cyndi Lauper, Willie Nelson…I didn’t recognize any of the others artists. Up until this point, every record in our house was classical music. Beethoven, Dvorak, Tchaikovsky and Chopin were some of my father’s favorites. But this was something different!
I played the record for the first time and listened. Even though the record skipped in two places, it was still unbelievable. It was as if each soloist was speaking directly to me with a clear message: “We are the world, we are the children, we are the ones to make a brighter day, so let’s start giving…we’re saving our own lives…we’ll make a better day, just you and me.” Wow. Just you and me…just Michael and me, just Stevie and me! I thought. Yes, I wanted nothing more than to make the world a better place.
Then there were beats, DJ record scratches, rhymes, a new sound led by the ingenious productions of hip-hop pioneer Rick Rubin. I can remember being 10 years old on the playground of Jefferson Road elementary school with the Beastie Boys’ “License to Ill” album blasting in my walkman. I lip-synced along with every lyric, thinking, “These dudes are the coolest rappers in the world!” The Beasties energized me with their infectious attitude and lawless lyrics. In the fifth grade, I was introduced to the world of hip-hop.
It was during this period that graffiti, break-dancing, beatboxing and boomboxes, hip-hop culture began taking form and effecting the everyday lives of the average kid. My classmates and I rapped in the lunch lines, circled around the b-boys who danced on flattened cardboard boxes spread out on the pavement chanting, “Go, go, go, Paul, it’s ya birthday, go Tommy, it’s ya birthday!” There were no thugged-out gangsta rappers slinging gats and drinking cristal. At that point, still in its nativity, hip-hop was about the music, and that’s what I fell in love with.
A year later, another awesome artist took the microphone.
It was an Olympics year, and South Korea hosted, as the world witnessed an historic athletic event paired with an inspirational theme song, “One Moment in Time” sung by Whitney Houston. This one song touched the hearts of people yearning to achieve great things, pushing themselves to be the best they can be. “One Moment in Time” was the song that made me realize the potential that music combined with the media has to inspire the masses. Whether pitching a baseball game, or before an important test, delivering the daily newspaper, or preparing for a school play audition, I remember having this song in my head, encouraging me to be my best.
So you see, music to me has often had the power to touch souls, inspire, and make us aspire to better things. I still believe music has this ability, and have never given up on its potential. That’s why it disappoints me to see Chinese pop songs sometimes reduced to factory produced instructions to a D.I.Y. karaoke connect-the-dots game, when they can be so much more. That’s why among my own compositions, I’ve always felt strongest about songs like “Wo Yao”, “Frozen Dreams”, “Nature”, “Love, Love, Love”, “You and Me”, “Descendents of the Dragon”, “W-H-Y”, and “Hand in Hand”. I believe in the social messages of these songs, and also, in the sentiment behind the “Chinked-out” movement expounded in “Shangri-la”, which can be simply summed up with, “Respect yourself, respect your own culture”.
What the media displays to the public, is all part of our children’s education. When primetime news airs footage of violent brawls among legislators in the Taiwanese parliament, how can we expect young children to be non-violent? When we are graphically exposed to heinous crimes no TV, how can the children not be desensitized? Sometimes the media’s thirst for shocking news gives out the message: the sicker the better. The more perverse, the greater the market value and the better it sells. It seems to have forgotten the power of the media, and the responsibilities that must come along with that power. Can’t we give our children something better? Perhaps something nourishing to the soul? Perhaps, inspiring to the spirit, to encourage the average kid to be the best he can be? That’s what I want to help give to today’s youth.
In the trite but true words of Whitney Houston, “I believe the children are our future, teach them well and let them lead the way. Show them all the beauty they possess inside. Give them a sense of pride.” The children are our future…but THEIR future is in our hands.
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力凯文章
翻译 徐旻莉 / 徐稳贵
只要一想到“西藏”，涌现在我脑海里的第一印象便是它如诗如画的山川景色：无垠的黄色原野以及尚未被人类发展所污染的巍峨高山。我仍然记得当地的人穿着色彩鲜艳的衣袍，在淙淙徐流的小溪和石崖峭的景色前简单而优美地舞蹈。
尽管西藏的景色是如此的美丽，西藏留给我最深刻的印象还是那里的孩子们。正如世界上的每一个文化，儿童是带给我们希望的象征；透过儿童我们可以看到未来的模样；但是多数的西藏人是如此的贫穷，以致于在我与当地孩子们的接触中，让我充满欢乐的同时，心中也有着相同的感伤。
当我们的飞机在拉萨降落，我所遇见的第一个儿童，就是帮我们将行李装卸上车的那个小孩，虽然我们有足够的人手能自己处理行李，这孩子却在我们没有邀请的情况下主动来帮忙；行李安置完毕之后，他站在车旁伸出期盼施舍的手，露出你必须给我钱的眼神。我看他褴褛的衣衫、肮脏的脸庞，就我所见，这是他整年来每天都在做的事。没有上学，没有时间和朋友们玩耍，甚至很可能没有人在照顾他。环顾四周，有许许多多的孩子们正和他做着相同的事，尽他们所能的从观光客的同情中赚取一两个铜板。
驱车而行，我们所经之处都会看见更多像他一样的孩童站在路边，跑着要当第一个摸到车边的人，当他们伸出手的时候，有的时候手里甚么也没有、有的时候拿着在地上检到的东西，通常是别人丢弃的废物；当然，世界各地都有贫穷困苦的人，但是我从来没有见过有一个地方有这么多的孩子是乞丐。这些孩子仰赖观光客作为收入的来源，除了观光客外，附近没有其他可以乞讨的对象。
在一个村落中我看到一个比较幸运的情况。这个村落有好几户人家住在一起，他们这小小的社区过着大部份自给自足的生活。当我们到达时，男人们正在盖房子，女人们在烹煮食物，孩子们在草地上玩耍着。我为这群孩子们拍了一些照片，他们立刻对我的数位相机感到极大的兴趣。当我教他们怎样用照相机拍照后，他们很快地就学会了，并试着用我的相机替彼此拍照。这群孩子对我们带去的每一样东西都觉得新鲜好奇，不停地跟着我们，在我们身旁嘻笑玩耍，面带笑容地跑来跑去。年纪稍长的孩子永远记得抱着年幼的孩子，所以没有一个孩子会被遗落在后面。
回想起来，就在那时，我多么希望我可以让他们看看我所居住的世界，提供给他们我从小就被给予的环境。当然，在这同时，我可以感觉到我所受的开放式教育在我的脑后提醒我：“你怎么可以自认为你的生活比他们好？”、“你一个外来的人，有甚么权力评论他们的生活方式？”但是，就像所有的伪善者一样，我认为我的想法是有正当的理由：在这里，他们与世界其他的文明隔离，注定要在他们小小的村落度过一生，其中有些人，有这么些人，可能有极大的潜力可以改进这世界。身为一个理工学院的学生，我仅能想像可能有廿个小拉马努金（注：Srinivasa Aaiyangar Ramanujan，印度数学家）、廿个未被发现的爱因斯坦被孤立在这儿，与世界其他的地方没有联系，他们的天分也永远地被埋没了。
我想知道在十年前，力宏是否有类似的经验引导他走向了音乐生涯。我知道当他在我这个年纪的时候，并不完全确定自己未来的人生要做些甚么，但是一定有甚么样的领悟驱使他下定决心找出正确的路。如今我真的还不知道自己将来要做甚么，但是看见这些孩子让我心里一阵抽痛；我想要教育他们、想要将他们从孤立和贫穷中解脱、想要给他们每一个人与生俱来所应拥有的机会 -- 一个选择自己命运的机会。
翻譯 徐旻莉 / 徐穏貴
只要一想到「西藏」，湧現在我腦海裡的第一印象便是它如詩如畫的山川景色：無垠的黃色原野以及尚未被人類發展所污染的巍峨高山。我仍然記得當地的人穿著色彩鮮艷的衣袍，在淙淙徐流的小溪和石崖峭的景色前簡單而優美地舞蹈。
儘管西藏的景色是如此的美麗，西藏留給我最深刻的印象還是那裡的孩子們。正如世界上的每一個文化，兒童是帶給我們希望的象徵；透過兒童我們可以看到未來的模樣；但是多數的西藏人是如此的貧窮，以致於在我與當地孩子們的接觸中，讓我充滿歡樂的同時，心中也有著相同的感傷。
當我們的飛機在拉薩降落，我所遇見的第一個兒童，就是幫我們將行李裝卸上車的那個小孩，雖然我們有足夠的人手能自己處理行李，這孩子卻在我們沒有邀請的情況下主動來幫忙；行李安置完畢之後，他站在車旁伸出期盼施捨的手，露出你必須給我錢的眼神。我看他襤褸的衣衫、骯髒的臉龐，就我所見，這是他整年來每天都在做的事。沒有上學，沒有時間和朋友們玩耍，甚至很可能沒有人在照顧他。環顧四周，有許許多多的孩子們正和他做著相同的事，盡他們所能的從觀光客的同情中賺取一兩個銅板。
驅車而行，我們所經之處都會看見更多像他一樣的孩童站在路邊，跑著要當第一個摸到車邊的人，當他們伸出手的時候，有的時候手裡甚麼也沒有、有的時候拿著在地上檢到的東西，通常是別人丟棄的廢物；當然，世界各地都有貧窮困苦的人，但是我從來沒有見過有一個地方有這麼多的孩子是乞丐。這些孩子仰賴觀光客作為收入的來源，除了觀光客外，附近沒有其他可以乞討的對象。
在一個村落中我看到一個比較幸?#092;的情況。這個村落有好幾戶人家住在一起，他們這小小的社區過著大部份自給自足的生活。當我們到達時，男人們正在蓋房子，女人們在烹煮食物，孩子們在草地上玩耍著。我為這群孩子們拍了一些照片，他們立刻對我的數位相機感到極大的興趣。當我教他們怎樣用照相機拍照後，他們很快地就學會了，並試著用我的相機替彼此拍照。這群孩子對我們帶去的每一樣東西都覺得新鮮好奇，不停地跟著我們，在我們身旁嘻笑玩耍，面帶笑容地跑來跑去。年紀稍長的孩子永遠記得抱著年幼的孩子，所以沒有一個孩子會被遺落在後面。
回想起來，就在那時，我多麼希望我可以讓他們看看我所居住的世界，提供給他們我從小就被給予的環境。當然，在這同時，我可以感覺到我所受的開放式教育在我的腦後提醒我：「你怎麼可以自認為你的生活比他們好？」、「你一個外來的人，有甚麼權力評論他們的生活方式？」但是，就像所有的偽善者一樣，我認為我的想法是有正當的理由：在這裡，他們與世界其他的文明隔離，註定要在他們小小的村落度過一生，其中有些人，有這麼些人，可能有極大的潛力可以改進這世界。身為一個理工學院的學生，我僅能想像可能有廿個小拉馬努金（註：Srinivasa Aaiyangar Ramanujan，印度數學家）、廿個未被發現的愛因斯坦被孤立在這兒，與世界其他的地方沒有聯繫，他們的天分也永遠地被埋沒了。
我想知道在十年前，力宏是否有類似的經驗引導他走向了音樂生涯。我知道當他在我這個年紀的時候，並不完全確定自己未來的人生要做些甚麼，但是一定有甚麼樣的領悟驅使他下定決心找出正確的路。如今我真的還不知道自己將來要做甚麼，但是看見這些孩子讓我心裡一陣抽痛；我想要教育他們、想要將他們從孤立和貧窮中解脫、想要給他們每一個人與生俱來所應擁有的機會 -- 一個選擇自己命?#092;的機會。
Whenever I think of Tibet, the first images that spring to mind are always the beauteous landscapes: the endless yellow plains and gargantuan mountains not yet tainted by human development. I remember the simple and elegant grace of the dances of the natives, dressed in brightly colored robes, salient against the tranquil backdrop of gently flowing streams and rocky escarpments.
But despite the exquisiteness of the scenery, my most lasting impressions of Tibet are of the children. As in every culture, children give us hope; they show us what the future will be like. But many of the Tibetan people are so impoverished that my encounters with their children filled me as much with sorrow as with joy.
When our plane touched down in Lhasa, the first child I met was one who helped us load our luggage into our car. Even though we have enough people so we could unload the luggage ourselves, one child just came up to help without our solicitation. Afterwards, he stood next to the car and held out his expectant hand with a demanding expression in his eyes. I looked at him, clothes tattered and face covered with dust. As far as I could tell, this was what he did every day of the year. He did not go to school, he did not spend his time playing with friends, and there may not have been anyone to take care of him. Glancing around I saw plenty of other children doing as he was doing, trying their best to earn a buck or two out of the tourists’ pity.
As we drove down the road, everywhere we looked there were more children like him standing on the side of the street, running to be the first to touch the side of the car and hold out a hand, sometimes empty and sometimes offering a stray object they had found discarded on the ground, somebody else’s trash. Of course, there are people condemned to fates like this everywhere in the world, but never before I seen a place where so many beggars were children. They relied on tourists as a source of income; there was hardly anyone else around to beg.
In one village I did catch a glimpse of more fortunate circumstances. A bunch of families lived together here, and their small society was mostly self-sustaining. When we arrived, the men were constructing a building, the women were making food, and the children were playing on the grass. I took a few pictures of the children and they became fascinated with my digital camera. When I showed them how to use it, they caught on quickly, trying to take pictures of each other. They were extremely curious about every new thing we had brought with us, and followed us around playfully, laughing and running with smiles on their faces. The older kids would always remember to pick up the younger ones in their arms so that no one was ever left behind.
This was the moment, reflecting back, that I wished I could show them the world I lived in, offer them what I had been offered since I was young boy. Of course, I could feel in the back of my mind a hint of warning from my liberal education: “How can you say that your life is better than theirs?” it asked. “What right do you have as an outsider to judge their way of life?” But, like all hypocrites, I felt justified in my opinions. Here they were, isolated from the rest of civilization, destined to remain in their little village for the rest of their lives. Some of these people, these human beings, could have great potential to make a difference in the world. Being a student at a technological school, I could only imagine twenty little Ramanujans, twenty undiscovered Einsteins isolated here, disconnected from the rest of the world, their talents to lie hidden forever.
I wonder if ten years ago Leehom had a similar experience that directed him into a music career. I know at my age he didn’t know for sure what he wanted to do with the rest of his life, but something gave him that determination to find the right path. I certainly don’t know what I’m going to do with my life, but watching these children gave me a sharp pang; I wanted to teach them, to free them from their isolation and poverty, to give them the opportunity that should be every human being’s birthright: the opportunity to choose her or his own destiny.
Article written by Leekai Wang
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翻译 徐旻莉 / 徐稳贵
舞台闪起一道道耀眼的强光，隆隆的低音鼓声盖过了群众们的尖叫声。此时，力宏的脸突然出现在舞台上方的荧幕中，紧接着，仿佛全身充满光芒的力宏从天降落在舞台的中央，就像是动作片中的英雄一样。
自从多年前曾看过我的哥哥和范晓萱在综艺节目“龙兄虎弟”上合唱“雪人”之后，这次在北京的演唱会（注：2004年8月21日）是我第一次在亚洲观赏我哥哥的表演。在这十年的变迁中，力宏把理想付诸实行，完成了许多抱负，他的成绩真令我赞叹！在过去几周我和力宏的旅行中，让我学到以不同角度来看他：他不仅仅是我的玩伴、我的榜样，更不用说是我的哥哥，但对成千上万的人来说，力宏带给他们的是激励和启发，这让我对他有说不出的敬佩。
当然，我其实知道力宏是有名气的人，但没料到他的名气这么大，好比说飞机上的空服员递给他的水瓶上就印着他的照片。看着人山人海的歌迷呐喊着力宏的名字，那真是一个令我激动兴奋的经验，别提因为是他的弟弟而使我也变得小有名气，特别是那天他在演唱会中为我献唱一首歌之后（演唱会当天正好是我的生日）。
这是一个令我终生难忘的经验：我的哥哥在数以万计的观众面前，对我唱“生日快乐”，无数的镁光灯闪过我的脸，四面八方的观众对着我微笑。对事前被蒙在鼓里的我，这完全是个惊喜，也让我再次确定了一件事，那就是无论怎么样，家人在力宏的心中永远是最重要的。从小我们就是被如此地教导，让我感到欣慰的是即使他的名气再大，这点是不会改变的。
另外难忘的一刻发生在演唱会的隔天，在我们下榻的饭店有一位工作人员认出了我并祝我生日快乐，显然她一定有参加昨天的演唱会。当然，被自己所不认识的人认出来的确令我感到兴奋，但是这却让我清楚的了解到为甚么名人们和陌生人及媒体之间存在着“爱恨纠结”的关系 -- 因为名人们必须时常面对这类的跟踪和监视。当我和力宏在一起时，不管是近在离家不远的曼哈顿，或是远到欧洲的希腊都有人认出他。我知道有的时候力宏多么希望可以保有一点私人的空间，让他能够像平常人一样去看场电影，上街买本书或是CD，如果他和一个女孩子一起在外面散散步，也不用担心隔天的报纸会出现他们的照片。
但是对力宏而言，丧失一点隐私也许是值得的，因为伴随知名度而来的是影响力，我知道我那理想主义的哥哥渴望这个可以改变社会带给世界正面影响的机会。他的每一张新专辑都代表着他想要丰富华人流行音乐精髓的企图。这个构想已经使他兴奋了好长一段时间，因为中国在世界的地位正快速的崛起茁壮，吸引着全球的目光，力宏这样的想法也变得越来越迫切。他最大的心愿就是希望有朝一日世界各国能以尊重与钦佩的眼光，来看待华人的流行音乐。我衷心希望他与多重文化接触的独特经验能够帮助他成就他心中计划的蓝图。
我一直都很崇拜力宏，然而与他同游亚洲后，让我对他产生了一股新的敬意，不是因为他的高知名度，而是因为我从他身上学到一个努力认真工作的榜样。除了维持艺人形象每天必须进行的例行工作外（比如健身），力宏时时刻刻都在思考着自己的音乐、思考着要如何在曲子中融入新的声音、思考着工作的方向。
在与他同游云南和西藏的各个村落时，我不仅看到了崭新的风光，听到了全新的声音，令我无法置信的是，这些村民有的是屠夫、有的是木匠、有的是工人，但当他们拿起自己的乐器时，每一个人都立即转变成音乐家。对我来说这是趟丰富奇妙的假期，但对力宏来说，旅程中的每一天都是工作；然而最可贵的是他在其中所获得的乐趣似乎跟我一样多，这真正反映出他是多么热爱自己的工作。我清楚的看到，力宏这趟旅行是为了向这些村民们学习音乐，当他们在讨论着古老的技巧与音乐传统时，力宏的手总是不停地写着笔记；而当他们一起演奏时，彼此的默契之佳，会让你以为力宏天天和他们一起练琴。在音乐的世界中，每个人都是平等的，没有你我之分。
如果要我说我最想从力宏那里学到哪一点，那就是他在做每一件事情时所保持的决心与热情，而这一点就是让我知道他值得歌迷们崇拜的最佳证据。
翻譯 徐旻莉 / 徐穏貴
舞台閃起一道道耀眼的強光，隆隆的低音鼓聲蓋過了群眾們的尖叫聲。此時，力宏的臉突然出現在舞台上方的螢幕中，緊接著，彷彿全身充滿光芒的力宏從天降落在舞台的中央，就像是動作片中的英雄一樣。
自從多年前曾看過我的哥哥和范曉萱在綜藝節目「龍兄虎弟」上合唱「雪人」之後，這次在北京的演唱會（註：2004年8月21日）是我第一次在亞洲觀賞我哥哥的表演。在這十年的變遷中，力宏把理想付諸實行，完成了許多抱負，他的成績真令我讚歎！在過去幾週我和力宏的旅行中，讓我學到以不同角度來看他：他不僅僅是我的玩伴、我的榜樣，更不用說是我的哥哥，但對成千上萬的人來說，力宏帶給他們的是激勵和啟發，這讓我對他有說不出的敬佩。
當然，我其實知道力宏是有名氣的人，但沒料到他的名氣這麼大，好比說飛機上的空服員遞給他的水瓶上就印著他的照片。看著人山人海的歌迷吶喊著力宏的名字，那真是一個令我激動興奮的經驗，別提因為是他的弟弟而使我也變得小有名氣，特別是那天他在演唱會中為我獻唱一首歌之後（演唱會當天正好是我的生日）。
這是一個令我終生難忘的經驗：我的哥哥在數以萬計的觀眾面前，對我唱「生日快樂」，無數的鎂光燈閃過我的臉，四面八方的觀眾對著我微笑。對事前被蒙在鼓裡的我，這完全是個驚喜，也讓我再次確定了一件事，那就是無論怎麼樣，家人在力宏的心中永遠是最重要的。從小我們就是被如此地教導，讓我感到欣慰的是即使他的名氣再大，這點是不會改變的。
另外難忘的一刻發生在演唱會的隔天，在我們下榻的飯店有一位工作人員認出了我並祝我生日快樂，顯然她一定有參加昨天的演唱會。當然，被自己所不認識的人認出來的確令我感到興奮，但是這卻讓我清楚的了解到為甚麼名人們和陌生人及媒體之間存在著「愛恨糾結」的關係 因為名人們必須時常面對這類的跟蹤和監視。當我和力宏在一起時，不管是近在離家不遠的曼哈頓，或是遠到歐洲的希臘都有人認出他。我知道有的時候力宏多麼希望可以保有一點私人的空間，讓他能夠像平常人一樣去看場電影，上街買本書或是CD，如果他和一個女孩子一起在外面散散步，也不用擔心隔天的報紙會出現他們的照片。
但是對力宏而言，喪失一點隱私也許是值得的，因為伴隨知名度而來的是影響力，我知道我那理想主義的哥哥渴望這個可以改變社會帶給世界正面影響的機會。他的每一張新專輯都代表著他想要豐富華人流行音樂精髓的企圖。這個構想已經使他興奮了好長一段時間，因為中國在世界的地位正快速的崛起茁壯，吸引著全球的目光，力宏這樣的想法也變得越來越迫切。他最大的心願就是希望有朝一日世界各國能以尊重與欽佩的眼光，來看待華人的流行音樂。我衷心希望他與多重文化接觸的獨特經驗能夠幫助他成就他心中計劃的藍圖。
我一直都很崇拜力宏，然而與他同遊亞洲後，讓我對他產生了一股新的敬意，不是因為他的高知名度，而是因為我從他身上學到一個努力認真工作的榜樣。除了維持藝人形象每天必須進行的例行工作外（比如健身），力宏時時刻刻都在思考著自己的音樂、思考著要如何在曲子中融入新的聲音、思考著工作的方向。
在與他同遊雲南和西藏的各個村落時，我不僅看到了嶄新的風光，聽到了全新的聲音，令我無法置信的是，這些村民有的是屠夫、有的是木匠、有的是工人，但當他們拿起自己的樂器時，每一個人都立即轉變成音樂家。對我來說這是趟豐富奇妙的假期，但對力宏來說，旅程中的每一天都是工作；然而最可貴的是他在其中所獲得的樂趣似乎跟我一樣多，這真正反映出他是多麼熱愛自己的工作。我清楚的看到，力宏這趟旅行是為了向這些村民們學習音樂，當他們在討論著古老的技巧與音樂傳統時，力宏的手總是不停地寫著筆記；而當他們一起演奏時，彼此的默契之佳，會讓你以為力宏天天和他們一起練琴。在音樂的世界中，每個人都是平等的，沒有你我之分。
如果要我說我最想從力宏那裡學到哪一點，那就是他在做每一件事情時所保持的決心與熱情，而這一點就是讓我知道他值得歌迷們崇拜的最佳證據。
The light flashed blindingly from above as a bass drum’s thunder drowned out thousands of screaming voices. Leehom’s face suddenly appeared on the screens towering overhead, and glorified he dropped down into the center of the stage as if it were some action movie and he were the hero.
It was the first time I had seen my brother in a concert in Asia since he was singing 雪人with 范曉萓and appearing on 龍兄虎弟. It was amazing to see how much had changed in the last ten years. He had accomplished so much. Over the past few weeks traveling together I had learned to see him differently: not just as a playmate, a role model, and above all a brother, but as an inspiration to literally hundreds of thousands of people. I was in awe.
Of course I’d known that Leehom was famous. But I hadn’t expected, for example, to see the flight attendants in airplanes giving him bottles of water with his own image on them. And seeing thousands of fans screaming his name was surely a breathtaking experience, not to mention that my identity as his brother earned me the rank of a minor celebrity, especially after he sang to me during his Beijing concert on my birthday.
That is one experience I will never forget: my brother, singing “Happy Birthday” to me in front of thousands upon thousands of people, with the lights of a dozen cameras in my face and people smiling at me from every direction. It took me completely by surprise and reassured me that, no matter what, our family comes foremost in his mind. That’s the way we were raised, and it’s comforting to know that no amount of fame will ever change that.
Another memorable moment occurred the next day in our hotel, when one of the staff there recognized me and wished me a happy birthday. Apparently she had been at the concert the night before! It’s definitely exhilarating being recognized by people I don’t know, but it’s easy to see how celebrities can develop a love-hate relationship with strangers and the media, having to deal with their constant scrutiny. I’ve been with Leehom when he’s been recognized as close to home as Manhattan and as far away as Greece. I know that sometimes he wishes he could just get a little bit of privacy, that he could go out to the movies or go shopping for some books or CDs like a normal person, that he could take a walk outside with a girl without it appearing in the newspapers the next day.
But it’s worth it for him because with celebrity comes influence. I know my idealistic brother cherishes that chance to make a difference, to make a positive impact on the world. Each new album of his represents his attempt to enrich the very essence of popular Chinese music. The idea has excited him for a long time and it has only become more urgent in his mind now that China’s place in the world is fast becoming stronger and China is drawing the attention of the globe. His greatest desire is that the rest of the world will look upon the state of popular music in China with respect and admiration. I hope that his uniquely cosmopolitan experiences enable him to accomplish what he is setting out to do.
I have always admired Leehom, but traveling with him in Asia I developed a new sense of respect for him, not because of the extent of his fame, but because of what a hard worker I learned him to be. Besides the granted keeping up of appearances that goes along with being a celebrity, Leehom also spends every moment of every day thinking about his music, thinking of how he might be able to incorporate new sounds into his craft, thinking about what directions his work should pursue.
I traveled with him to various villages in Yunnan and Tibet, seeing many new sights and hearing many new sounds. It was incredible to see how these villages – butchers, carpenters, hard laborers during the day – transformed into musicians as soon as they picked up their instruments. But while for me it seemed like a wondrous vacation, Leehom was at work the whole time. And the best part of it was that it was so obvious that he was having as much fun as I was: that’s how much he loves his work. It was clear that he was there to learn from them. He took notes while they discussed age-old techniques and musical traditions. And when they played together, it was as if they had always played together; in music there are no individuals and everyone is equal.
If there’s one thing I wish I could learn from him, it’s the determination and passion that he has in everything he does. That is enough proof for me to know that he deserves every bit of admiration that his fans give him.
August 21, 2004 Leehom Beijing Concert
Article written by Leekai Wang
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