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Tom Staggs, chief operating officer of Walt Disney, is to leave the company after losing the support of the board to succeed Bob Iger, its chairman and chief executive, in 2018. The move threatens a repeat of Disney’s troubles with succession under Michael Eisner, Mr Iger’s predecessor, which culminated in a shareholder revolt in 2004. 华特迪士尼公司(Walt Disney)首席运营官汤姆#8226;斯塔格斯(Tom Staggs)在失去董事会对自己2018年接替鲍勃#8226;伊格尔(Bob Iger)出任公司董事长兼首席执行官的持后,将选择离开迪士尼。此举可能使伊格尔的前任迈克尔#8226;艾斯纳(Michael Eisner)执掌迪士尼时期的继任者人选难题再次上演,上次危机最终在2004年招致了股东的反抗。 Mr Eisner’s cultivation and then rejection in turn of Jeffrey Katzenberg and Mike Ovitz as his second-in-command at Disney in the mid-1990s marred his tenure. In his 2005 book about the period, ‘DisneyWar’, James Stewart described the company as a place “deeply rooted in a culture of fantasy” where executives “take on the aura of hereditary royalty”. Mr Iger’s departure date has been put back three times. 上世纪90年代中期,艾斯纳先是栽培,随后又连续否决了杰弗里#8226;卡岑伯格(Jeffrey Katzenberg)、迈克#8226;奥维茨(Mike Ovitz)担任自己在迪士尼的副手,这成为其任期内的污点。在2005年出版的讲述这一时期故事的《迪士尼战争》(DisneyWar)一书中,詹姆斯#8226;斯图尔特(James Stewart)将迪士尼形容为一个“深深地植根于幻想文化”的地方,这里的高管“都戴着世袭王室的光环”。伊格尔的离任日期已经三次被推迟。 Once upon a time in Disneyland, content was king but the king was not content. 曾几何时,在迪斯尼王国,内容为王,但“国王”并不满足。 The magic kingdom had prospered during King Bob’s reign, multiplying severalfold in value and extending its rule over various make-believe empires such as Pixar Animation and Marvel Entertainment. King Bob grasped the value of a franchise better than anyone else. But the crown now sat heavily on the monarch’s head. His past was coming back to haunt him. 这个魔幻王国在“鲍勃大王”(King Bob)的领导下兴旺发展,公司价值翻了好几番,并且收购了多个虚幻帝国,如皮克斯动画(Pixar Animation)、漫威公司(Marvel Entertainment)。鲍勃大王比其他任何人都更好地实现了特许经营权的价值。但如今,他头上的王冠更加沉重了。过去的经历正回过头来困扰着他。 King Bob thought of his days of struggle as a prince in the court of King Michael, trying discreetly to ascend the throne. Oh, Lord, King Michael had been a piece of work. Bob remembered one bitter day in Sun Valley, where rival monarchs gathered for jousts each year, when the king had promised to introduce Bob as his successor. He had promised! The guy never kept his word. 鲍勃大王回想起自己作为“亲王”在“迈克尔大王”麾下奋斗的日子,小心翼翼地设法登上王位。噢,上帝,迈克尔大王曾经只是一份工作。鲍勃记得在太阳谷令人痛苦的一天(每年的这一天各商业帝国的君主聚在一起进行比拼),那天,迈克尔大王事先承诺要宣布鲍勃为他的继任者。他承诺过!但他从不信守诺言。 Prince Jeffrey, the hot-blooded pretender whom King Michael called his “golden retriever” (perhaps Jeffrey should have taken the hint), and Prince Mike, a chilly Hollywood courtier, had both been discarded. It had taken every ounce of Prince Bob’s self-control and charm to outlive the curse on the princes of Disneyland. 热情洋溢、觊觎王位并被迈克尔大王称为自己的“金毛猎犬”的“杰弗里亲王”(或许杰弗里本应理解这一提示)以及冷面、好莱坞式的侍臣“迈克亲王”都被抛弃了。“鲍勃亲王”凭借全副的自制力和魅力才战胜了迪士尼亲王们身上所背负的诅咒。 When he looked in the Wall Street mirror each morning and asked, “Who is the fairest ruler of them all?” it always answered, “King Bob”. It did not once mention Prince Tom, or even hesitate. Becoming king was not like being Winnie the Pooh and borrowing a magic blue balloon from Christopher Robin in order to float up and take honey from the beehive. You had to climb the Disneyland tree yourself. 每天早上他看着华尔街魔镜,问道:“谁是世界上最公正的统治者?”魔镜总是回答“鲍勃大王”。从未提到过汤姆亲王,甚至从未犹豫过。要成为国王并不像当小熊维尼(Winnie the Pooh)那样简单——后者可以向克里斯托弗#8226;罗宾(Christopher Robin)借一个有魔力的蓝色气球,让自己漂浮起来,然后从蜂巢窃取蜂蜜。你不得不自己爬上迪士尼的大树。 The king could feel his courtiers gazing at him oddly and whispering in corners, as if the mess were his fault and he had turned into King Michael. He recalled the scene in Toy Story when Buzz Lightyear falls from a window and the other toys think that Woody — solid, likeable Woody — got jealous and deliberately pushed Buzz out. It was an accident! 鲍勃大王可以感觉到侍臣们用奇怪的眼神打量着他,并在角落里窃窃私语,好像这件麻烦事都是他造成的,好像他已经变成了迈克尔大王。他想起了《玩具总动员》(Toy Story)中的一幕,巴斯光年(Buzz Lightyear)从窗户跌落,而其他玩具认为是结实、可爱的伍迪(Woody)出于嫉妒,故意将巴斯推出窗外。那只是一场意外! Selecting a potential successor last year from between Prince Tom and some other prince whose name now slipped the king’s mind had been like making a choice between two dwarfs called Happy and Grumpy. Sure, Tom was happy and he played the trumpet but what could King Bob say? Tom did not grow into the job. 去年,从汤姆亲王和一些如今国王连名字都不记得的其他亲王之间挑选一位接班人选,就像在叫做“欢乐”(Happy)和“暴躁”(Grumpy)两个小矮人之间做出选择。当然,汤姆很欢乐,吹起了小喇叭,但鲍勃大王说了些什么呢?汤姆最终没能成为继任者。 The problem was that Disneyland was a vast empire, stretching far and wide. It took a big guy to run it, if King Bob said so himself. Long ago, the kingdom had been ruled jointly by its founding brothers, King Walt and King Roy. Walt did the creative alchemy and Roy handled the money. That had worked out very well. But King Michael had insisted on ruling over everything and Bob did, too. 问题在于,迪士尼王国是一个庞大的帝国,幅员辽阔。迪士尼王国需要一位强人驾驭,鲍勃大王认为自己就是这样的人。从前,这个王国由其创始人兄弟——“沃尔特大王”(King Walt)和“罗伊大王”(King Roy)共同管理。沃尔特负责为公司带来创造性的魔力,罗伊掌管财务。他们干得非常好。但迈克尔大王坚持自己裁决公司一切事宜,鲍勃也是如此。 King Michael had warned that if a financial wizard were ever put in charge, Disneyland would freeze over and spring never come. Running a creative kingdom was hard. Animators were like princesses: you had to keep kissing them or they fell asleep. 迈克尔大王曾警告称,如果让一名金融奇才来掌管迪士尼,那迪士尼王国将会陷入冰封,而且春天永远不会到来。领导一个创造性的王国很困难。动漫设计师就像公主:你必须不断地亲吻她们,否则她们就会睡着。 King Bob’s thoughts often turned to princesses. It struck him that most princes in Disneyland films were either evil or just phoning it in. 鲍勃大王脑海里的念头经常转向公主们。他意识到,迪士尼电影里的王子们大多或者邪恶,或者只会自以为是。 They thought that it was sufficient to be handsome and unattainable until the time came for them to ride up on a horse and sweep their conquests off their feet. Meanwhile, most of the hard work was being done behind the scenes by the Disney princesses. 他们认为,只要英俊且高不可攀就足够了,直至他们骑上骏马,引人坠入爱河。与此同时,大部分艰苦工作都是由迪士尼的公主们在幕后完成。 That was the problem, King Bob realised. He had remained foolishly blind to the moral of his stories — that women are the true overachievers. They might be dressed in rags, spending their days and nights cleaning up the mess in the scullery, but put them in glass slippers and they are good to go. 这正是问题所在,鲍勃大王意识到。他一直愚蠢地对自己亲身经历的故事的寓意——女人是真正的成功者——视而不见。她们或许衣着破烂,昼夜在后厨清洗碗筷,但如果让她们穿上水晶鞋,她们会表现得很好。 Prince Tom had not filled King Bob’s shoes but perhaps there was someone else who could. Bob knew a princess in the kingdom of Facebook called Sheryl. He had admired Princess Sheryl as she strode through Sun Valley, and had gained permission from King Mark of Facebook to recruit her to his privy council. Bob liked Princess Sheryl’s style; he liked it a lot. 汤姆亲王未能接替鲍勃大王,但或许有人能够。鲍勃知道Facebook王国有位公主名叫谢里尔#8226;桑德伯格(Sheryl Sandberg)。当谢里尔公主大步穿过太阳谷时,鲍勃对她大加赞赏。他还得到了Facebook“马克大王”(King Mark)的许可将她招募至自己的枢密院。鲍勃喜欢谢里尔公主的风格,非常喜欢。 No one seemed to believe King Bob but he really did want to retire. Every night, he wished upon a star for his puppets to turn into leaders but he had to keep pulling their strings. Princess Sheryl might be the answer to his prayers. Everyone would applaud if she inherited his crown. Good King Bob is truly enlightened, they would exclaim. What a wise sovereign! 似乎没人相信鲍勃大王会退休,但他真的想要退休。每天晚上,他向星星许愿,希望他的木偶变成领袖,但他不得不继续拉住木偶的提线。谢里尔公主可能就是他祈祷的。如果她继承了他的王冠,所有人都会鼓掌。他们会欢呼,我们伟大的鲍勃大王真是开明。多么英明的君主! If the queen thing worked, Bob would still be the best king Disneyland had ever known. And if not, he could always rule a little longer. 如果迪士尼能迎来一位女王,鲍勃仍然会是迪士尼王国历史上最伟大的国王。如果不能的话,他总能再统治一段时间。 /201604/436614Throughout this fashion season, I’ve been asking anyone and everyone what they think will be the future of fashion and specifically, the shows. The question was precipitated by announcements from Burberry and Tom Ford that they would be shifting their runway presentations in future to a “y-to-buy” model whereby, rather than the normal six-month interval, items seen on the catwalk will go on sale immediately online and in store. If widely adopted, it would mark a huge shift in the industry towards a more commodity-based show schedule. It also presents many questions of what the fashion show should be — or whether we even need one.在今年的时装季期间,我就时尚、尤其是时装周的未来问遍了业内各色人以及各家品牌,立马得到了柏利(Burberry)与汤姆#8226;福特(Tom Ford)的反馈:它们未来将把重心从T型台发布会转向“展后即卖”( “y-to-buy”)模式,即时装从秀场展示到销售不再有6个月时间差,而是在T型台展出后、直接在网店及实体门店销售。如果这种做法广为推行,则标志着时尚界的惊天巨变——着眼于更注重产品销售的时装秀模式;这同样引发诸多问题:时装周该何去何从、抑或甚至说我们是否还需要它。From designer to chief executive, and from buyer to publicist, the responses have been as varied as the many different business models that might allow for the new world order. Some have embraced the idea as a necessary step to keep fashion moving forward and the customer engaged. Others have been alarmed: they argue that the time it takes for stock to arrive in store is vital in building desire in the consumer, and that the new approach would crush the wholesale system — and thereby the nascent fashion labels which depend on those early orders that make production possible.无论从设计师到创意总监、还是从买家到公关人员,他们的反馈形形色色,就如同因应时尚界全新格局而派生出的商业模式一样五花八门。有些人赞同上述理念,认为这是让时尚业不断发展以及消费者深度参与其中的必由之路;其他人则感到恐慌:他们认为货源从预订到门店销售的时间差对于巩固消费者的需求至关重要,并认为新的销售模式会摧毁整个批发体系——因而祸及那些初创品牌,而它们的生产与这些先期订单相向而行。Some designers can’t wait to have a more immediate dialogue with their clients. Others worry that without the final deadline of a show which everyone attends, and the introduction instead of a rolling schedule of presentations for the different buyers, journalists, magazine editors and stylists that must see the clothes, their work may never be done.有些设计师心急火燎地想让自己设计的时装“直通”消费者;而其他设计师则担心:如果没有人人参与的有时间限期的时装周和吹风会(应向不同买家、记者、时尚杂志主编以及设计师同行一场接一场地举行时装发布会),他们的设计工作永远无法完成。“It’s a mess,” said Karl Lagerfeld in Milan. “I need a final deadline in order to keep my creative sanity,” said Coach creative head Stuart Vevers in New York. “I need to protect my wholesale orders,” said designer Christopher Kane in London.身在米兰的老佛爷(Karl Lagerfeld)说:“这样做会乱了套”。身在纽约的蔻驰(Coach)创意总监图尔特#8226;维佛斯(Stuart Vevers)说:“我需要时装周的时间表以保持自己永不衰竭的创造活力。”而身在伦敦的克里斯托弗#8226;凯恩(Christopher Kane)则说:“我得确保自己的批发订单。”I write this at day 25 of the season. At this point, I’ve seen around 160 shows, and about 8,000 looks. I’m not so fool as to think that everything I see will end up in a store: I’m as complicit as anyone in this industry subterfuge that pretends we’re all about to wear this stuff. But the show is about so much more than product.今年的时装周,我观看了大约160场发布会,欣赏了约8000款时装。我还不至于如此愚钝:自己看到的所有时装最后都会拿到门店销售:我与大家一样对业界的骗人鬼话“沆瀣一气”——谎称自己有朝一日都会穿这些时装。但时装周的意义远远超过时装本身。Michael Burke, chief executive of Louis Vuitton, was emphatic on the sanctity of the show when I met with him last week. “Our model of business is aly y-to-buy in that most of our sales are in the pre-collections which go in store without a show,” he argued of the huge commercial collections never seen on a catwalk that arrive in shops in May and December and make up the vast majority of sales.我不久前采访路易威登CEO迈克尔#8226;伯克(Michael Burke)时,他认为时装周的至高无上地位不容置疑。“我们的经营模式早已是展后即卖,原因就在于我们销售的大多数时装是不经过秀场展示而直接在门店销售的季前系列。”他为去年五月与12月大量从未在T型台展示而直接进店销售、占据绝大多数销售份额的时装如此争辩道。Louis Vuitton is one of the handful of brands which presents some off-schedule pre-collections (known as “cruise”). Most other brands quietly slip their pre-collection orders in-store after negotiating independently with the buyers.路易威登(Louis Vuitton)是推出计划外季前系列装(即“cruise”季)的其中一家品牌(真正饯行者屈指可数)。多数品牌与买家单独谈妥后,往往把季前装订单悄无声息“塞进”门店付诸实施。The trouble is, y-to-buy is boring. Do you want to see a show featuring 60 black cashmere sweaters? Neither do I. As Burke explains, for Louis Vuitton, “only 5 to 10 per cent of store merchandise is presented on the runway, and our catwalk collections are by definition more fashion forward and not immediately commercial when they first appear”.问题是:展后即卖模式容易让人腻烦。诸位会爱看一场展示60款黑色羊绒衫的时装发布会吗?我也一样。正如伯克如此为路易威登辩解道,“门店销售产品只有5-10%在T型台上展示过,而我们在T型台上首次展出的时装更趋前卫,并不着眼于即时销售。”“For us, the show is not about commercial product. It’s about being transgressive and remaining interesting. So that we have something to talk about. So that it presents a total vision that will then filter down through to the consumer through to the various dialogues that are then had — in print, within the ad campaigns and in magazines.”“对我们来说,秀场并非注重销售类时装。它关乎大胆前卫的同时又让时尚拥趸痴迷不已;其目的就是娓娓道出时尚故事,呈现时尚总体画卷,而后潜移默化影响消费者,再借助专著、广告造势活动以及时尚杂志不断引发时尚观点的交流互动。”“Fashion is the most contemporary form of art,” said Carlo Capasa, president of the Camera Nazionale della Moda Italiana (Italy’s chamber for fashion). The show is fashion’s theatre: a 10-minute vignette of what a brand represents and where it’s going next. It’s quick, short, powerful and when done well, or especially badly, it sears an image on to your brain in a way that can’t be replicated on a screen or in a showroom.“时尚是最新的艺术形式。”意大利时尚协会(Camera Nazionale della Moda Italiana)主席卡洛斯#8226;卡帕斯(Carlo Capasa)说。时装周是展示时尚的舞台:短短10分钟就清晰展示了该品牌的时尚内涵以及其未来走向。它简短、生动而高效;一旦策划成功(或者说演砸了),就会让时尚拥趸“刻骨铭心”,广告片与样品陈列室的效果根本无法与其相提并论。This weekend in Paris, I saw an autobahn-set fairytale at Chalayan, an exploration of all thing “Teutonic” where models wore severed ponytails from their ear lobes, dresses embroidered with dashboard details and silks printed with old German sewing patterns; at Junya Watanabe’s “Hyper Construction”, I watched a slowly choreographed maths lesson involving geometric dresses folded in a spongy bonded polyurethane and accessorised with rubber caps and bizarrely shaped headwear.时装季中,我在巴黎观看了以德国高速公路为背景的卡拉扬(Chalayan)时装专卖场:对各种“日耳曼”时尚风格进行了尝试——走秀的模特戴着挂在耳垂的半截马尾辫、穿着绣有详尽仪表盘信息图案的裙子以及印有昔日德国针线活图纹的真丝装;在渡边淳弥(Junya Watanabe)的Hyper Construction时装发布会,我犹如看了一堂精心编排的数学课——用富有弹性的粘接型聚氨酯面料交叠而成的各种几何造型时装,再用橡胶帽以及奇形怪状的头饰来搭配。At Comme des Gar#231;ons, the models wore armadillo-type layers of material body armour and panniers all covered in beautiful, antiquey brocades. The brand’s 73-year-old designer Rei Kawakubo called the collection 18th Century Punk, “because the 18th century was a period of change and revolution. This is how I imagine punks would look like if they had lived in this century”.在Comme des Gar#231;ons发布会上,模特身穿类似犰狳的一层层盔甲面料装以及撑裙(外用复古风格的漂亮织锦覆盖)。旗下73岁的设计师川久保玲(Rei Kawakubo)称此系列为18世纪的朋克艺术,“因为18世纪是风起云涌的变革年代。这就是我设想朋克生活在18世纪的模样”。Comme des Gar#231;ons’s annual revenues currently stand at 0m. And that’s not because the brand’s about to sell a lot of brocade cocoons or vast layered pink vinyl jackets. It sells a lot of quirky black clothes, stripy T-shirts and esoteric fragrances. Many features of this punk collection will percolate through into the commercial offering seen in store: the pink suit jacket will be stripped back; the brocades turned into blouses. But people will buy those simpler commercial pieces because they believe in the authenticity of Kawakubo’s art, and want a piece of her vision. To my mind, delivering that vision in 17 extraordinary, outlandish looks is the simplest, most effective way of doing business.Comme des Gar#231;ons目前的年销售额高达2.6亿美元。这并非由于他们打算大量售卖织锦料“茧形装”(cocoon)以及乙烯基面料的粉色层状夹克装。相反,他们的销售额来自于大卖风格怪异的黑色装、条纹T恤衫以及千奇百怪的香水。这个朋克系列时装的诸多时尚特点会潜移默化渗透至门店销售的各款时装中去:粉色西外套会退场,织锦会做成短上衣。但消费者会出手购买门店销售的那些简约装,原因是他们喜欢真正的川久保玲风格,希望拥有体现其其设计理念的款式。在本人看来,用17种不同寻常的另类款式展现自己的设计理念是最经济、也是最有效的行销模式。Yet not all shows are so removed from their commercial outcome. At Isabel Marant, 44 early-1980s punk rockers walked out in shiny red leathers, oversized tweed coats and big cat prints; clothes and accessories that will surely be exactly the same when they arrive in store. Marant is an expert merchandiser and her clothes are designed to walk off the catwalk into the closet. Her collection was highly marketable, and a little less memorable for it.然而,并非所有时装秀场都如此不接实际销售的地气。在伊莎贝尔#8226;玛兰(Isabel Marant)的发布会上,44位朋克摇滚乐手身穿红色闪亮皮装、特型粗花呢大衣以及印有大猫图案的时装走秀;所售装款式与配饰都与门店完全一样。玛兰是经营方面的行家里手,她设计的装就是为了让消费者“接盘”;她设计的时装供不应求,其纪念意义则稍逊一筹。At Céline, however, designer Phoebe Philo has brilliantly occupied the space in which artistic and commercial currency coexist. Her show, staged between tiered neon seats at the Tennis Club de Paris, was full of editors wearing items from her SS16 collection, often the exact kind of difficult designs — bovver boots, curve-waisted coats in a mustardy tweed — that take a while to reach maturation in the consumer mind.但在Céline的秀场,设计师菲比#8226;菲罗(Phoebe Philo)完美地实现了艺术效果与商业效益兼得。她的时装秀在巴黎网球俱乐部(Tennis Club de Paris)一排排荧光座椅间举办,各路时尚主编身穿其设计的2016年春夏季时装济济一堂,她们常常身穿那些需要一定时日才能让普通拥趸首肯的另类装束——长至小腿的厚重靴、用深黄色粗花呢料做的弧形高腰大衣。Ironic, perhaps, that since an in-house statement stipulating Philo will be staying at Céline for the immediate future, her AW16 show was a study in “possibilities: the possibilities inherent in the wardrobe, in the woman, and in life”. The palette was stripped right back to blacks, beiges and yellow: a canary coloured furry coat provided the only real clout of colour, while the silhouette was trapezoid, layered and liberated. Tunic dresses, sheer and oversized, were worn over wide-flared trousers and silky, 10-denier knit tops wrapped over shirts. As with Balenciaga, there were lots of trenchcoats. Many were sleeveless, and left strappy and flapping. The bags were tactile, their straps wrapped around the hand like bandages.也许颇具讽刺意味的是:因为Céline正式宣称菲罗将在不久的将来继续留任创意总监一职,而她的2016年秋冬季时装秀则探讨了“时装、女性以及生活中与生俱有的可能性”。时装颜色回归黑色、浅褐色以及黄色:浅黄色毛皮大衣成了唯一真正有影响力颜色的明,而造型则呈现了不规则四边形、节层状以及无拘无束的时尚风格。轻薄的束腰特型装搭配宽喇叭裤,而极轻薄的10D真丝针织上衣(1套在内穿衬衣上。与巴黎世家(Balenciaga)一样,Céline推出了多款风衣,而很多是带有飘逸带子的无袖款风衣;推出的手袋手感好,包带可以象绷带一样缠绕于手上。“Every one of the looks was touched by hand,” said Philo, who places great emphasis on the slow build of her design process, and cares deeply about whether clothes “feel right”.“每一款装束手感都不错。”菲罗说,她特别强调精打细造,特别在意时装的“好手感”。Feeling right, doesn’t always look quite right at first. That huge silhouette, the Big Bird robe coat, the exaggerated jagged collars, the flesh-toned polo necks — they weren’t designed to be immediately accessible. It’s transgressive, but only very gently so. And thank God for that. You’ve got six months to catch up.手感好并不一定看着养眼。打造那些特型款式(Big Bird长袍外套、夸张的锯齿状衣领、以及肉色高圆领)的目的并非为了立即被消费者接受。它们显得前卫,但只是略微超前一些而已。谢天谢地,诸位还有6个月的时间去适应它们。 /201605/441913It#39;s in Manhattan#39;s bustling Washington Square Park.事情发生在曼哈顿熙熙攘攘的华盛顿广场公园。At different points in the park, DailyMail.com placed two children - a six-year-old boy and girl - as well as a dog and a cat, as part of a social experiment.在公园的不同地点,《每日邮报》的工作人员放置了两个小孩--一个六岁小男孩和一个六岁小女孩,此外还有一只小、一只小猫,作为社会实验的一部分。All four were being monitored by carers and secretly filmed.他们四个都有监护人的监视,并被秘密拍摄下来。So who do you think was the first to be #39;rescued#39; by a stranger in the least amount of time alone? The results of the test were both shocking and, to some degree, expected.那么你认为谁最先在最短的时间内得到陌生人的帮助呢?实验结果令人震惊,但是从某种程度上来说,这也是意料之内的。Interestingly, each person to stop and try and help was female. Most surprising, however, was that six-year-old boy Sam did not catch the attention of one passer-by, even as he sat with his head in his hands for a long 45 minutes.有趣的是,每一个驻足试图提供帮助的都是女性。然而,最有意思的是,六岁的男孩山姆却没有引起路人的注意,即使是他坐在地上用双手抱着头长达45分钟。Sam even started saying: #39;Help me. Someone, help me.#39;山姆甚至开始哭闹:“帮帮我,来个人帮帮我。”Conversely, our six-year-old girl subject, Carly, was tended to first, after just three minutes.相反的是,六岁的女孩卡莉仅仅在三分钟后便第一个得到了帮助。Rescue No. 1 : The girl第一个获得帮助的:女孩The six-year-old girl that took part in the experiment, Carly, was approached by a female passer-by first after just over three minutes.参与该实验的六岁女孩卡莉,在仅仅三分钟过后就有一位女性路人靠近了她。#39;I was watching the playground and I saw her standing by herself, and then I looked around to see who was with her and I didn#39;t see anybody. So I went over and said #39;are you ok?#39; and she said that she couldn#39;t find her mom,#39; the woman said.这位女性说道:“我当时看着运动场,注意到她一个人孤零零地站在那儿,然后我四周望了望是否有人跟她一块儿,结果没有。所以我走了过来问她#39;还好吗?#39;她说她找不到妈妈了。”Rescue No.2: The dog第二个获得帮助的:小Coming in second was Charlie the pug, who is a rescue dog.排在第二位的是名为查理的哈巴,它是一只救援犬。Charlie was left alone and wandering with his leash attached for 4 minutes and 36 seconds when a woman stopped to check if he had an owner.查理孤零零地呆在那儿,脖子上还带着皮带,在4分钟36秒的时候,一位妇女停了下来看看它是否有主人。Rescue No.3: The cat第三个获得帮助的:小猫Our cat subject, Mrs Parberry, was left sitting in the middle of the park sidewalk in a cat kennel, to stop her from running away.名为帕贝莉的小猫被扔在了公园人行道中央的一个猫笼,无法四处走动。A woman stopped after 10 minutes and 17 seconds. #39;When I saw the animal carrier with an animal in it, I was very upset,#39; she said. #39;It#39;s hot.#39;一位妇女在10分17秒后停下了脚步。她说道:“当我看到有只动物在这个笼子里面时,心里十分难过,里面太热了。”Meanwhile...Sam, the six-year-old boy who took part in the experiment, was not approached once after 45 minutes.而与此同时…山姆,这个参与实验的六岁小男孩,在45分钟之后都没有人走近他。#39;I#39;m not surprised that people don#39;t stop,#39; said Sam#39;s mother, Michelle. #39;This is New York. It#39;s busy. Everyone is deep in their thoughts and phone conversations.#39;山姆的妈妈米歇尔表示:“人们没有驻足,我并不感到惊讶。这是在纽约,大家都很忙。每一个人都沉浸于他们的心事和电话交流之中。” /201608/462982

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