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By Yenni Djahidin GrowBroadcast: January 2, 2005(THEME)VOICE ONE:I’m Shirley Griffith.VOICE TWO:And I’m Steve Ember with the VOA Special English program, PEOPLE IN AMERICA. Every week, we tell the story of someone important in the history of the ed States. Today we will tell about Nat King Cole, one of America’s most popular singers.(THEME)VOICE ONE:Nat King Cole was born in the southern city of Montgomery, Alabama, in Nineteen-Nineteen. His parents named him Nathaniel Adams Coles. His father was a Christian minister.When Nathaniel was four years old, his parents moved the family north to Chicago, Illinois. Nat learned to play the piano when he was very young. His mother was the only piano teacher he ever had. He gave his first public performance when he was four. By the time he was twelve, Nat was playing piano at his father’s church. VOICE TWO:Nat played piano in New York City and in Los Angeles, California when he was a young man. In Nineteen Thirty-Seven, he formed a group that played jazz music. Oscar Moore played the guitar and Wesley Prince played the bass. The trio reportedly did not need a drummer because Nat’s piano playing kept the beat so well. They named the group, The King Cole Trio. At the same time, Nat also changed his name into Nat King Cole. The trio soon became very popular. Nat sang some songs, but mostly played the piano.VOICE TWO(cont):By the middle Nineteen-Forties, Nat King Cole was beginning to be known as a popular singer as well as a jazz piano player. He was one of the first musicians to record with new Capitol Records. The first song he recorded for Capitol was “Straighten Up and Fly Right.” He wrote the song. The words were based on his father’s teachings. The song became one of the biggest hits of Nineteen-Forty-Three. It sold more than five-hundred-thousand copies.(MUSIC)VOICE ONE:Nat recorded hundreds of songs. Some of the most popular include “Sweet Lorraine,” “Nature Boy,” “Those Lazy-Hazy-Crazy Days of Summer,” “When I Fall in Love,” and “Mona Lisa.” In Nineteen-Fifty, the American film industry gave him an award for his recording of “Mona Lisa.” That song made him famous as a singer.(MUSIC)VOICE TWO:By Nineteen-Fifty Six, Nat King Cole was known internationally. He signed an agreement to appear for a lot of money at the Sands Hotel in Las Vegas, Nevada. Nat often performed in places that only admitted white people. Black leaders criticized him. Nat said he attempted to take legal action against those places but often failed. Nat earned more money and moved to California. He bought a house in an area where white people lived. At that time, many white Americans did not want to live near blacks. White home owners nearby protested the purchase of a house by a black family. Nat and his family refused to leave and lived in the house without problems. VOICE ONE:Nat was the first black man to have his own television show. His show began on N-B-C Television in Nineteen-Fifty-Six. N-B-C agreed to support The Nat King Cole Show for a while. It hoped American companies would pay to sell their products on the show. However, major companies were not willing to advertise on a show that had a black performer. They were concerned that white people in the southern part of the ed States would not buy their products. Many Americans watched the show, but N-B-C halted production after a year. Nat King Cole also acted in movies. The best known one is Saint Louis Blues. He acted the part of the jazz composer W.C. Handy. He also appeared in a film about himself called The Nat King Cole Story. In the Nineteen-Fifties, he sang with some of the best known orchestras of the time. Here Nat King Cole sings “When I Fall in Love” with the Gordon Jenkins orchestra: Article/200802/28037。

The Fairy-Tale Castle of Mad King Ludwig 令国王痴迷的童话城堡Nestled in the mountains of Bavaria, the fairy-tale castle of Neuschwanstein (New Swan Castle) stands as a king's tribute to the chivalry and magic of a mythical age.The castle was the brainchild of Bavaria's “mad” King Ludwig Ⅱ. Inspired by Richard Wagner's operas, the young King Ludwig sought to re-create the legendary dreamworld of medieval knights and heroes. Accordingly, he employed scenic artists, sculptors, and stonemasons to turn that dreamworld into concrete reality.In consultation with Wagner and various theatrical designers, plans for the castle were drawn up and the foundations laid in 1869. No expense was spared. Fourteen sculptors spent four-and-a-half years to complete the wood carvings in the king's bedroom. The floor of the throne room was composed of no fewer than 2 million stones. In all, 15 rooms were completed. Most depict scenes from the king's favorite operas---especially “Lohengrin,” the “Swan Knight.”Like many an opera, Ludwig's life ended in tragedy.His fascination with castles led government officials to rebel. They accused him of neglecting his duty and forced him to abdicate. The following day, Ludwig was found drowned---in six inches of water. But the mad king's unfinished dream lives on---a tribute to a “once upon a time” that never was. It became everyone's idea of a fairy-tale castle, and the prototype for Walt Disney's Castle of the Sleeping Beauty.1. chivalry n. 骑士(精神) 2. brainchild n. 创作品,脑力创造物3. depict v. 描绘4. abdicate v. 让位 新天鹅堡,一座童话般的城堡,座落在巴伐利亚山,它是一位国王对骑士精神的颂扬,也展现了神话时代的魅力。这座城堡是巴伐利亚(对城堡)“着迷”的国王路德维希二世奇想的产儿。年轻的路德维希国王受到瓦格纳歌剧的启发,想要再造传说中中世纪骑士英雄们的奇幻世界。因此,他雇了制造景观的艺术家、雕刻家和石匠,来將这个梦幻世界变为现实。在与瓦格纳及多位剧场设计师商议后,画出了城堡的平面图,并于1869年奠基,不惜耗费巨资。14位雕刻家花了4年半的时间完成了国王卧室里的木雕品。王宫的地板至少由两百万块石头砌成。共建造了15个房间。多数绘画取材于国王最喜爱的歌剧场景,特別是“罗格恩林”,即“天鹅骑士”。路德维希的生活就像许多歌剧一样,最终以悲剧告终。他对城堡的痴迷引起了政府官员们的反对。官员们谴责他荒废国事,并迫使他退位。第二天,有人发现路德维希溺死在6英寸深的水中。然而这位“痴迷”的国王没有做完的美梦──对一个从未存在的“很久以前”(的童话)的颂扬,保存了下来。它成为所有人心目中童话城堡的形象,也成为了迪斯尼睡美人城堡的原型。 Article/200803/30284。

But the HEPA filter for Oliver’s Vibe got dirty very quickly. And, it was not cleanable—it was simply replaceable. When it turned filthy brown, Oliver went back to Target to buy a new filter.Oddly, Target sold the F15 belt for the Vibe, but not the filter. He informed the store manager. She said she would e-mail this discrepancy to Target headquarters. She told him to try Sears or Wal-Mart. If they didn’t have it, he could try the Dirt Devil web site. He drove to Wal-Mart and to Sears, but neither carried the filter. The Sears salesman told him to try the vacuum cleaner repair shop on East Colorado.Oliver drove to the address, but the shop was closed. A note on the door said, “Because of car problems, the store is not open today. We will be open on Monday, if we can get the car fixed.” If they had car problems, how did they leave the note on the door, Oliver wondered.When he got home, he went online to Dirt Devil. The F15 filter was only .99. But shipping (5-7 days) was an extra .95. Express shipping (1-2 days) was .70.Including driving time, Oliver figured that he had spent two irritating hours that day looking for one stupid filter. He wondered how much of his life he had wasted just searching for things. Article/201108/149241。

Learning is one of the most important things we do in life. It starts pretty much when we’re born. In fact, many scientists say learning begins earlier. We listen to the outside sounds. This is when we first start learning a language. Our ears get used to the different patterns of intonation. Learning is a lifelong process. We spend our childhood years doing nothing but learning. We learn a language before we are two. We learn how to play and do all the everyday things people do. Most people think learning only begins at school. I’m not sure about this. Are we really learning, or are we just memorizing things? I think a lot of learning happens outside school. We learn more from our hobbies and interests than what we learn from school books. Article/201105/137543。

A basketball game ended abruptly Saturday afternoon when 18-year-old Damon Miller was fatally shot at a recreation center. The gunman, who called himself Ace, ran south on Oak Street after the shooting and remains at large. Miller was pronounced dead at the scene by the paramedics. He died from two gunshot wounds to his chest. The paramedics did not arrive immediately because they were tied up at a four-car crash a mile away. This was the second such shooting during a basketball game, apparently by the same gunman.According to witnesses, Miller did a little dance after making a game-winning 3-point basket. When Ace told him to stop celebrating, Miller ignored him. Then Ace pulled a small gun out of his baggy shorts and fired two quick shots. Everyone else backed away. Instead of running immediately, Ace picked up the basketball and made a 3-pointer himself. Then he did a little dance next to the victim’s head and fled.A police officer said the suspect will be charged with "a lot more than unsportsmanlike conduct" when arrested. Eyewitnesses said Ace is a white male, 5'11", about 200 pounds, with a small scar on his left cheek.Local activists criticized the police for dragging their feet in their search for the suspect. “You can bet if it was two white men who had been shot by a black man, there’d be a policeman on every basketball court in town till he was caught,” said one activist. Article/201107/143970。

I just don’t understand why we have poverty today. There is so much money in the world. We are rich enough to really make poverty history. My government talks about making a better society while there are thousands of people living on the streets. My government says it is making a more equal society. Rubbish. This is all words. Many people say religion is very important to them but do little to help poor people. In fact, many religious people I know don’t like poor people. And then there are multinational companies who give very little to the poor. They even take away their land and water. The people with the most power to reduce poverty are those doing the least. How can they live in such big houses and drive such fancy cars? Article/201107/143981。

How TV violence Affects Kids For more than a quarter of a century, evidence has been increasing that children's exposure to violence on television has long-lasting effects on their behavior. Between 1982 and 1986, the amount of television time allocated each week to violent programs increased significantly. And the number of violent acts on television in the past years has increased from about 19 to 27 per hour. Given the amount of time that children watch television, it has become one of the most powerful models they want to follow.The Position Statement on Media Violence in Children's Lives, recently adopted by the National Association for the Education of Yong Children, points out that preschool children are particularly easily affected by the media because they are not yet fully able to distinguish fantasy from reality and their understanding of the underlying motives for behavior and the subtleties of moral conflicts is not yet well developed. For example, the rapid recoveries of people on TV from violent attacks give children an unrealistic picture of the injuries that have been suffered.Effects on PlayChildren naturally often want the toys shown on and advertised during these programs. And with these toys, their play tends to be more imitative than imaginative. Children simply imitate the behavior observed during the program, thus undermining both the imaginative and the expressive functions of play. The narrow range of most violence-related toys advertised on television jeopardizes the role of play in helping children make better sense of their own feelings and interpret their world. Some research even suggests that children apply the behaviors observed on TV programs to their real-life situations.Parents Can HelpIt is a good idea for parents to monitor the amount as well as the kind of television their preschool child watches. If your child appears to be crazy about war play and weapons, it would be a good idea to control his viewing. Controlling viewing is easier to do during the preschool years than during the school years, so you should initiate a pattern of restricted television watching now.Help your child to interpret what she sees - to think of explanations for the events depicted and to imagine how the show is put together. Make simple critiques of a show without implying that her fascination with the drama and the weapons makes her guilty by association.Ask the teachers of your child's preschool about their policy on war play and toy weapons. Many preschool teachers do not like to have commercially made toy weapons brought into the classroom and welcome hearing your concerns about this matter. Look for other parents who share your views. Work together to control the amount of violent programs watched and the number of violent toys found in the home. Try to arrange play dates for the children as an alternative to TV viewing. Or look for s of healthy, nonviolent programs for children, and encourage their use as an attractive alternative to violent television programs. 电视中的暴力内容是怎样影响孩子们的在最近这四分之一世纪还多的时间里,出现了越来越多的据,那就是把电视上的暴力内容暴露在孩子们的面前,对孩子们的行为产生了深远的影响。在1982-1986年间,每周电视花在暴力节目上的播出时间总数有了惊人的增长。每小时在电视上播出的暴力节目上的播出时间总数有了惊人的增长。每小时在电视播出的暴行的次数在过去这些年中由19次增加到27次。从孩子们看电视总共所花的时间这一角度来看,暴行已经成为孩子们想要模仿的最具有偶像性质的行为之一。最近全国幼儿教育委员会在公布的《关于传播媒介中的暴力内容在獐生活中的影响的声明》中指出,学龄前的儿童特别容易受到传播媒介的影响,因为他们不能把虚构的东西跟现实生活区别开来,因为他们还不能充分理解某一行为的潜在的动机,还不能充分了解道德情操上的冲突的复杂性。例如:在电视上人们受到暴力袭击之后很快就痊愈了,这让孩子们对伤者所受的折磨痛苦有一种不真实的理解。对玩耍产生的影响当然,孩子们经常很想要这些节目中出现的那些玩具,很想要在那些节目中间穿插的广告上的玩具。孩子们只是单纯模仿在节目进行中所观察到的动作行为,因而既不能挖掘出或体会出这一电视剧令人深思的地方,也不能理解这一电视剧的感动人的地方。电视广告里介绍的大部分与暴力有关的玩具对儿童起不到好作用。这些玩具不能更好地帮助儿童理解自己的感情,也起不到帮助儿童来解释周围世界的作用。一些调查研究的结果表明了,孩子们把他们在电视节目中所看到的一些动作行为应用到他们的现实生活的环境中来了。父母或家长应该帮助由父母来监控学龄前儿童看电视的时间长短和看哪一类电视片子,这倒是个好主意。如果你觉得你的孩子狂热地喜欢看战争题材的电视剧,醉心于玩弄武器,那么控制他看电视倒是个好主意。在学龄彰控制儿童看电视比起上学以后再去控制他要容易一些,所以现在你应开始实行一套严格控制儿童看电视的规矩。设法让你的孩子来解释她看到的事物(原文如此:由"他"转换成"她"--译者著)--即让她对电视中所描述的种种事件想出一些解释的方法,还要让她想象出来这个节目是怎样拼凑编辑到一起的。对电视演出节目作一些简短的,不必暗示要让她通过联想使她因迷恋电视剧和武器而感到内疚。向你的孩子所在的学前班的教师们就对待战争片和玩具武器的办法征询一下意见。很多学前班的老师们都不喜欢把以商业为目的制造的玩具武器带进教室来,他们很喜欢聆听你对此事的关心所发表的意见。去找一些跟您有共同观点共同看法的其他一些家长。大家共同协作去控制孩子们所看的暴力节目的时间,去控制在家中所发现的暴力玩具的件数。尽量设法给孩子们安排几次到一起玩的聚会,用这种儿童聚会来代替看电视。或者去找一些供儿童看的健康的非暴力节目的录像带,鼓励孩子们用这些很有吸引力的节目去代替那些暴力的电视节目。 Article/200802/27820。

Diane Arbus: Revolutionary Photographer of Unusual PeopleWritten by Dana Demange (MUSIC)VOICE ONE:I’m Faith Lapidus.VOICE TWO:And I’m Steve Ember with People in America in VOA Special English. Today, we tell about Diane Arbus, a revolutionary modern photographer. (MUSIC)VOICE ONE:Diane Arbus is known for creating intense black and white photographs of very unusual people. She used a special camera that produced square shaped images. Often her subjects look sad, conflicted or physically abnormal. But they do not try to hide their insecurities. They openly stare at the camera. One art expert said Diane Arbus turned photography inside out. Instead of looking at her subjects, she made them look at her. "Identical Twins" by Diane Arbus, 1967 Arbus learned to mix the realistic nature of photography with its expressive possibilities. She explored how people live with sameness and difference as well as acceptance and rejection. These combinations created very interesting art that was often disputed.(MUSIC)VOICE TWO:Diane Arbus was born in nineteen twenty-three to a wealthy family in New York City. Her father David Nemerov, owned a large clothing store in a costly area near Fifth Avenue. Her parents collected art and were part of the “high society” of New York. The family traveled often to Europe. They helped their children express their artistic goals. Diane’s brother was the famous poet, Howard Nemerov. Her sister became a sculptor. After finishing high school at the age of eighteen, Diane married Allan Arbus. Mister Arbus worked in the advertising department of her father’s store. VOICE ONE:It was Mister Arbus who gave Diane her first camera. Diane soon decided to take a class with the famous photographer Berenice Abbott. The Arbuses eventually started taking photographs of clothing. These images were used as advertisements for Diane’s father’s store. After the birth of their daughter, Doon, the Arbuses started a business together. Their purpose was to photograph clothing fashions. Diane Arbus was the stylist. She would prepare the hair and faces of the fashion models who wore the clothing being photographed. Allan Arbus took the pictures. VOICE TWO:The couple soon had jobs from important fashion magazines such as “Vogue” and “Harper’s Bazaar”. Their work was very successful during the nineteen fifties. They became part of a group of artists that were helping to redefine visual culture. They were breaking with past traditions to create a new look for a new decade, the sixties. VOICE ONE:But Diane was not satisfied with her secondary role. She wanted a more active part in making photographs. She wanted to explore her own artistic expression and freedom. To do this, she stopped working with her husband. Then she started taking photography classes at the New School in New York City. Arbus’ teacher, Lisette Model, influenced her in many ways. She showed Diane how to use a camera like an expert. She also taught Diane to use her art to face her doubts and fears. Miz Model once said that Diane soon started “not listening to me but suddenly listening to herself.”(MUSIC)VOICE TWO:Diane Arbus chose her subjects very carefully. She photographed many of these people in or near New York City. She often chose to photograph unusual people living on the edge of acceptable society. But she showed the common and recognizable side of such unusual people. For example, she took pictures of extremely short and extremely tall people. She photographed men dressed as women, circus performers, and even patients with severe mental limitations. She once said: “My favorite thing is to go where I’ve never been.” VOICE ONE:One of her famous photographs was taken in nineteen sixty- six. It is of a young transvestite. A transvestite is a man who dresses and acts like a woman. This man is wearing plastic objects in his hair to curl and shape it. He is also wearing makeup on his face to make it look more like a woman. The picture is taken from close up with severe lighting effects. In the dark centers of his eyes you can see the light from Arbus’ camera. You can see every detail and imperfection of his pale skin. He looks directly at you as though he has nothing to hide. His look is one of interest and acceptance. VOICE TWO:Another photograph like this is called “Mexican Dwarf in His Hotel Room in N.Y.C.” It was taken in nineteen seventy. Here, Arbus uses similar dramatic lighting. She shows a close-up view of the upper body and face of this extremely small man. He looks directly at the camera with the suggestion of a smile. You can see all the lines on his small short fingers. The hair on his chest and face seems very close. You can almost smell the alcohol on the table beside him. You can almost feel the smooth cloth sheets on his bed. It is as though you have entered the personal world of this small stranger.The expressions of these men are so honest that it is almost unpleasant to observe. Diane Arbus explored this tension in her work. She caught her subjects in positions where they show themselves completely. They do not seem afraid to show their imperfections and strangeness. They do not hide the parts of themselves that are not beautiful. They openly show their bodies and souls. Seeing the pictures, you sometimes feel you are interfering in the private lives of these strange people. You feel like maybe you are not supposed to be looking. (MUSIC)VOICE ONE:Some art critics believe Diane Arbus photographed such unusual people as a result of her background. She grew up in a safe and wealthy environment. In photographing the strange and imperfect people in society, she rejected her own social group. She revolted against her upbringing to prove that she was artistically independent. She chose to explore the unusual sides of society instead of accepting common subjects to photograph. Arbus also photographed everyday people in a way that made them look very unusual. She was able to take the most recognizable people and environments and make them seem strange. For example, she took pictures of couples and families and even of female twins, sisters born at the same time. VOICE TWO:One of her most famous photographs is called “Identical Twins.” It was taken in nineteen sixty-seven in Roselle, New Jersey. Two little girls take up the entire center of the photograph. Their faces and bodies are exactly alike. They are wearing the same dark dresses and white bands in their hair. The girls look calmly at the camera with large, pale eyes. Although they are young, they look very wise, like they are intense little adults. VOICE ONE:This image of the twins became the cover of an important book of photography titled “Diane Arbus.” The book was published in nineteen seventy-two. It became one of the best-selling photography books in history. The photograph of the twins was also part of a major exhibition of Arbus’ work at the Museum of Modern Art in New York City that same year. This show set new records in attendance numbers. Sadly, Diane Arbus did not live to see this show. She had killed herself the year before. She was forty-eight years old. VOICE TWO:The photographs of Diane Arbus remain very popular in America. In March of two thousand five, the Metropolitan Museum in New York had a major exhibit of her work. The museum curators gathered many of her important photographs for the show. They also exhibited many less well-known works. But they also tried to show the personal side of this famous woman. They showed her letters, cameras and books. The book “Diane Arbus Revelations” documents this special exhibition. VOICE ONE:Diane Arbus once said: “A photograph is a secret about a secret. The more it tells you the less you know.” This comment helps explain what is so powerful about Diane Arbus’s work. The people in her photos show themselves, but a great deal about them remains hidden as well. Her images make you ask what you might show about yourself -- and what you might try to hide. VOICE TWO:Today, Diane Arbus’ images remain as fresh and intense as they were forty years ago. Experts say her revolutionary way of capturing people on film has produced some of the most important images in twentieth century photography. (MUSIC)VOICE ONE:This program was written and produced by Dana Demange. I’m Faith Lapidus.VOICE TWO:And I’m Steve Ember. Join us again next week for PEOPLE IN AMERICA in VOA Special English. Article/200803/29892。

A Refusal To Mourn The Death, By Fire, Of A Child In LondonNever until the mankind makingBird beast and flowerFathering and all humbling darknessTells with silence the last light breakingAnd the still hourIs come of the sea tumbling in harnessAnd I must enter again the roundZion of the water beadAnd the synagogue of the ear of cornShall I let pray the shadow of a soundOr sow my salt seedIn the least valley of sackcloth to mournThe majesty and burning of the child's death.I shall not murderThe mankind of her going with a grave truthNor blaspheme down the stations of the breathWith any furtherElegy of innocence and youth.Deep with the first dead lies London's daughter,Robed in the long friends,The grains beyond age, the dark veins of her mother,Secret by the unmourning waterOf the riding Thames.After the first death, there is no other. Article/200909/83253。