About 10 years ago, the playwright John Guare got a call asking if he wanted to meet DavidBowie to discuss a theater project.
約莫十年前，劇作家約翰·瓜爾(John Guare)接到一個手機，問他是不是樂意跟大衛·鮑伊(David Bowie)會晤商談一個劇目。
As Mr. Guare remembered it, Mr. Bowie was “in a very dark place” (it was shortly after he hadhad a heart attack onstage in Berlin), and a mutual friend, the English producer Robert Fox,was trying to coax him back to a creative life. Mr. Guare immediately said yes.
瓜爾回想說，其時正值鮑伊性命中的“陰郁時代”(不久前他在柏林表演時在舞台上突發心臟病)。英國制片人羅伯特·福克斯(Robert Fox)是他們兩人配合的同夥。他正在想法說服大衛·鮑伊重回一種富有發明力的生存。瓜爾立即準許下來。
He and Mr. Bowie met at each other’s homes in New York to throw around ideas, andsometimes they went out. “We would take walks around the East Village,” Mr. Guare said. “AndI was always praying somebody would run into us so I could say, ‘Do you know my friend DavidBowie?’”
他和大衛·鮑伊在紐約相互的家中會晤，相互商量交換，偶然他們也會出門。“咱們會在東村落(East Village)鄰近漫步。”瓜爾談到，“我常常願望會有人碰著咱們，如許我就能夠先容說：‘你熟悉大衛·鮑伊嗎?他是我的同夥。’”
It never happened.
但是，他一向也沒有這個機遇。
Mr. Guare was at first puzzled and then amazed at how Mr. Bowie — the stage creature, thepersona, the guy he saw command an audience at Radio City Music Hall in 1973 with his spikyorange hair and snow-white tan — could walk the city streets unrecognized.
1973年，瓜爾曾親眼目擊了鮑伊在播送城音樂廳(Radio City)以橙色蓬起的發型、蒼白膚色的形象令無數歌迷傾倒。像他如許一個舞台巨星，怎樣大概走在紐約的街道上而鮮為人知呢?這讓瓜爾百思不解，而又驚訝萬分。
“He traveled with this cloak of invisibility — nobody saw him,” Mr. Guare said. “He just eradicatedhimself.”
“他猶如披上了一件隱身衣——讓人們對他置若罔聞。”瓜爾說，“的確就像從世上完全消逝了。”
People often forgot, but up until his death, on Sunday at age 69, Mr. Bowie was a New Yorker.He said so himself, emphatically. “I’m a New Yorker!” he declared to SOMA magazine in 2003,after he’d been here a decade.
人們經常會忘卻，實在直到周日他逝世的那天為止，69歲的鮑伊一向是個紐約客。他本身也曾如許誇大過。在2003年他曾對SOMA雜誌說：“我是一個紐約客!”當時他已在紐約棲身了十年。
He and his Somali-born wife, Iman, who is a model fluent in five languages, spent almost theirentire marriage, more than 20 years, as residents of the city. Anyone will tell you they were oneof New York’s most glamorous, graceful couples, made all the more so by the dignified andprivate way they lived.
他的老婆伊曼是在索馬裏出身的名模，精曉五門外語。他們伉儷在紐約市渡過了20多年的時間，可以說險些全部的婚姻時間都花在了這個都會裏。任何人都邑告知你，他們是紐約最優雅迷人的伉儷之一，高尚穩重而不事聲張的生存方法使他們更有魅力。
And though Mr. Bowie was enormously wealthy, he wasn’t one of those rich guys who kept anapartment in the city, along with a portfolio of global real estate holdings, and flew in. Asidefrom a mountain retreat in Ulster County, N.Y., his Manhattan apartment was his only home.
固然鮑伊極其富有，但他並非那種在環球各地都置有家當，偶然才會飛到城裏公寓呆上一天兩天的那種財主。除在紐約州阿爾斯特縣(Ulster)的那套山間別墅之外，處於曼哈頓的公寓便是他獨一的家了。
You may not have considered all this because Mr. Bowie was an apparition in the city, rarelyglimpsed. You heard it mentioned that he lived here. Somewhere downtown, someone thought.But seeing him out? Good luck.
你大概從未留意到過這些。這是由於鮑伊是個很少在城裏現身的鬼魂。大概，有人告知過你他住在這兒，又有人說是在市中間的某個處所。但是，想看他一眼可就沒那末輕易了。
Michael Musto, the veteran night life columnist (and occasional New York Times contributor),met him at a party in the 1970s but saw him very few times after that, he said. Gerard Malanga,the poet and Warhol associate, who lived three blocks from Mr. Bowie and had friends incommon, described himself as “one of the millions who never encountered David on the streetor anywhere.”
老牌夜生存專欄作家邁克爾·慕斯拖(Michael Musto，他偶然也在《紐約時報》發文)曾在70年月的一個晚會上碰到過他，但是他說，在那以後就很少再有那樣的好運了。沃霍爾的助理、墨客傑拉德·馬蘭(GerardMalanga)住之處與鮑伊家只有三個街區之隔，他們也有些配合的同夥。馬蘭加說，和無數人同樣，本身也從未在陌頭巷角碰到過大衛·鮑伊。
Mr. Bowie wasn’t a Garbo-level recluse. He got around enough to avoid the terrible fate ofhaving his privacy draw more attention to him. But if people did spot him at Lincoln Center orout to dinner with Iman, they usually gave him wide berth, out of respect and also a sense ofintimidation.
鮑伊其實不像葛麗泰·嘉寶那樣尋求與世隔斷的生存。他會時時露面，以防過火尋求豹隱反而會給他帶來更多的"大眾,"留意。不外，假如有人發明他在林肯中間湧現，大概和伊曼出來就餐，出於尊重，並且也每每是出於畏敬，一樣平常會給他很大的空間。
“I had always thought he was unapproachable,” Mr. Musto said. “But he was quite lovely andaccessible.”
“我一向認為他不太好靠近，”慕斯拖說，“但實在他是個很藹然可親的人。”
“The fabulous identities he had,” Mr. Guare said — meaning Ziggy Stardust and Aladdin Saneand the Thin White Duke and even the Bowie of the ’80s, who looked like the world’s mostelegantly dressed serial killer — “bore no reflection on the person who was carrying them.”
他批評道：“那些光怪陸離、出色絕倫的舞台形象，”——包含獨特的Ziggy Stardust(大衛·鮑伊塑造的舞台形象之一，是個太虛幻想生物，以火紅的頭發和千奇百怪的衣服湧現——譯註)、起義的AladdinSane(1973年的專輯。在內裏大衛·鮑伊給本身的臉上畫出閃電狀的赤色油彩作為標識——譯註)和冰涼的Thin White Duke(1976年出書的《Station To Station》裏塑造的形象，冰涼的痩白條——譯註)，乃至80年月看上去像個衣冠楚楚的系列殺手的鮑伊，“全部這些舞台形象與它們暗地裏的藝術家本人毫無配合點。”
“I think he had complete access to David Jones,” Mr. Guare added, referring to Mr. Bowie’s birthname. “And that’s who I knew.”
“我認為他完整堅持了大衛·瓊斯(David Jones)的本質，”慕斯拖提到鮑伊的原名。他接著說：“這才是我所真正熟悉的大衛·鮑伊。”
Mr. Bowie heard New York before he ever saw it. When he was 19 and still living in England, hismanager, back from the States, gave him an acetate record of “The Velvet Underground andNico,” obtained directly from Andy Warhol.
在鮑伊尚未見到紐約以前，他就已“聽”到它的聲音了。那年他19歲，還住在英格蘭。他的掮客人從美國返來，從安迪·沃霍爾手裏拿到了一張《地下絲絨和尼科》(The Velvet Underground and Nico)的唱片給他。
“I was hearing a degree of cool that I had no idea was humanly sustainable,” he later wrote inan essay for New York magazine.
他厥後在一篇為《紐約雜誌》(New York magazine)寫的文章裏說：“我認為似乎聽到了天籟之聲。”
He traveled to New York in 1971, around the time he released “Hunky Dory,” his fourth album.One of the first New Yorkers he encountered was Moondog, the blind, flowingly bearded streetperformer who dressed in a homemade robe and a horned Viking helmet and planted himselfon West 54th Street. On that trip, Mr. Bowie visited the Factory; touchingly, he wanted to playhis song “Andy Warhol” for the man himself.
1971年，他來到了紐約。他的第四部專輯《Hunky Dory》也就在當時刊行。在他第一批碰到的紐約客當中，有一個藝名叫“玉輪狗”(Moondog)，留著一副大胡子的瞽者藝術家。他身穿克己長袍，頭戴尖角的維京海盜頭盔，經常在西54街陌頭演出。在那趟旅途中，鮑伊還觀光了沃霍爾的事情室——“工場”。使人激動的是，他想要親身為沃霍爾演唱“安迪·沃霍爾”這首歌。
When he came for an extended stay in 1972, he was accompanied by his first wife, Angie, andhis new manager, Tony DeFries. Mr. DeFries, a cigar-chomping, Col. Tom Parker-like showbizslickster, believed in success by way of publicity-generating spectacle. Back then, Mr. Bowie didnot pass through the city in a cloak of invisibility. He took limos everywhere and presentedhimself like an abstract canvas.
1972年，他再次來到紐約並待了較長的一段時光，他的第一任老婆安吉(Angie)和他的新掮客人托尼·德弗萊斯(Tony DeFries)與他同業。德弗萊斯是個叼著雪茄、像湯姆·派克(Tom Parker，荷蘭裔美國掮客人，曾是“貓王”的掮客人——譯註)同樣的娛樂界老狡黠。他深信"大眾,"宣揚是得到勝利的需要前提。當時候，鮑伊可不是披著隱身衣在城裏走動。他不管去哪兒都是乘坐奢華轎車，全部的行為都裸露在"大眾,"面前。
Here’s Bebe Buell, the musician and rock star paramour, recalling Mr. Bowie’s arrival at Max’sKansas City: “He walked in wearing a powdered-blue suit with orange hair, and just bedazzledus all.”
熱愛與音樂家和搖滾歌星拍拖的貝貝比爾(Bebe Buell)如許描寫鮑伊到臨“麥克斯的堪薩斯城”(Max’sKansas City)夜總會的景象：“他身著粉藍色西裝，搭配著橙色的頭發，就如許走了進來，讓咱們每小我都如醉如癡。”
After he became Ziggy Stardust, and a huge star, Mr. Bowie found refuge at the West 20thStreet apartment of his publicist, Cherry Vanilla. In her memoir, “Lick Me,” she recounts how hewould do brain-sizzling amounts of cocaine and drink milk for nourishment (no solid food inthose years), and they’d rap about “power, symbols, communication, music, the occult,Aleister Crowley and Merlin the Magician.”
鮑伊成為“Ziggy Stardust”並一鳴驚人以後，其公關談話人雪莉·範妮拉(Cherry Vanilla)在西20街上的公寓成為了他的逃亡所。在她的列傳《Lick Me》一書中，她談到，他其時吸食大批的可卡因，靠牛奶保持性命(那些年裏他一點固體食品都不吃)。他們一路天南地北地泛論：“權利、形象、宣揚、音樂、宗教狂熱、阿萊斯特·克勞利(Aleister Crowley)、邪術師莫林。”
Like a lot of rock stars, Mr. Bowie lived in hotels: first the Gramercy Park Hotel, then the Sherry-Netherland until the room-service bill became obscene. Throughout the 1970s, he was less acitizen of New York than a debauched tourist, directing his limo to Max’s, Paradise Garage andReno Sweeney. Socially deft and curious, he transited between Studio 54 and CBGB, and hungout with Mick and Bianca Jagger and Iggy Pop.
和很多搖滾歌星同樣，鮑伊一向在旅店裏長住：先是格萊美西公園旅店(Gramercy Park Hotel)，厥後是荷蘭雪梨旅店(Sherry-Netherland)，直到積聚了天文數字的客服用度。在70年月，與其說他是個紐約市住民，不如說他是個放浪形骸的旅客，乘坐奢華轎車穿梭於“麥克斯的堪薩斯城”、勝地車庫(Paradise Garage)和裏諾斯威尼(Rino Sweeney)幾個夜總會之間。他擅長來往，充斥好奇心，在54號事情室和CBGB(紐約的一個酒吧，被公以為是朋克音樂的出生地——譯註)之間來往，與搖滾明星米克·賈格爾(Mick Jagger)及老婆夜店女王碧安卡(Bianca)，另有朋克搖滾音樂家伊基·波普(Iggy Pop)混在一路。
In the New York magazine essay, Mr. Bowie wrote of that period, “I rarely got up before noonand hit the sack again around four or five in the morning.” He saw the city with “multicoloredglasses.”
在為《紐約雜誌》撰寫的那篇文章中，鮑伊說道：在那段日子裏“我很少在正午以前起床，到清晨四五點才會睡覺”.他猶如戴著“五彩眼鏡”，看到的是一個千奇百怪的都會。
As had been widely chronicled, Mr. Bowie left America for Berlin, partly to flee his druggielifestyle.
以後，正如媒體的普遍記錄，為了從那種癮正人的生存中逃離，鮑伊分開了美國，前去柏林。
In 1980, after recording the albums “Low,” “Heroes” and “Lodger” — which became known ashis Berlin trilogy — he was back in New York, this time as the Elephant Man at the BoothTheater on Broadway. (“He is splendid” The Times wrote.) In 1982, with Nile Rodgers producing,he recorded the album “Let’s Dance” at the Power Station on West 53rd Street, a sonic andcommercial triumph. But for all his victories and nocturnal good times in the city, Mr. Bowieseemed unable to commit to it.
1980年，錄制完《Low》、《Heroes》及《Lodger》——它們被稱為他的“柏林三部曲”，他回到了紐約，在百老匯展位劇場(Booth Theater)主演《象人》(Elephant Man)(《泰晤士報》對他演出的批評是：“棒極了”)。1982年，由尼爾·羅傑斯(Nile Rodgers)擔負制造，他在西53街的Power Station灌音事情室錄制了新的專輯《Let’s Dance》。不管從聲樂照樣貿易上，這張專輯都獲得了偉大的勝利。然則，全部這些勝利和夜生存的美好都沒能讓鮑伊下刻意在紐商定居下來。
When Iman met Mr. Bowie at a dinner party in 1990, he was living in Switzerland as a tax exile,a citizen of the world. She wasn’t having it, she once told The Guardian: “I’m a New Yorker. Iwas like, ‘Let’s go home.’”
1990年，在一個晚飯聚首上，伊曼碰見了鮑伊。其時他作為一個逃稅者、一個天下國民住在瑞士。這可不可，她厥後對英國《衛報》說：“我是個紐約客。我對他說：‘我們回家吧。’”
The couple married in 1992 and moved into a conventional prewar apartment on Central ParkSouth. They had a daughter, Lexi. In 1999, they paid $4 million for two penthouses (anupstairs-downstairs) on Lafayette Street in SoHo, where they remained. That’s also where fansgathered in the numbing cold after he died to lay flowers, many unaware, until that day, thathe’d been a fellow New Yorker.
他和伊曼於1992年結為連理，而且搬進了中心公園南方的一個傳統的戰前公寓。他們育有一女，名叫萊西(Lexi)。1999年，他們用400萬美元，在蘇豪區拉法葉特街(Lafayetter)買下了一套左右兩層的頂層公寓，一向在那邊住到如今。在他逝世今後，他的歌迷們頂著砭骨的北風來到這裏向他獻上鮮花。直到那天，很多他的歌迷還其實不曉得，他一向和他們同樣，是個紐約客。
Over time, Mr. Bowie did become a real New Yorker. He absorbed the city’s attitude and culturalquirks, and had trouble catching a cab. He wrote a song (“Slip Away”) about Uncle Floyd, thehost of a weird, low-budget, quasi-children’s TV show that aired locally back in the UHF days.
跟著時光的推移，鮑伊逐步成了一個真實的紐約客。他接收了紐約人的處世立場和文化習氣，釀成了一個連出租車都打不到的通俗人。他曾寫過一支歌《溜走》(Slip Away)，寫的是弗洛伊德大叔，他是曩昔在UHF頻道播出確當地一個獨特、低本錢的準兒童節目標主持人。
After the Sept. 11 attacks, he performed movingly at the Concert for New York City at MadisonSquare Garden. He covered Simon and Garfunkel’s “America” and announced from the stage,before singing “Heroes”: “I’d particularly like to say hello to the folks from my local ladder. Youknow where you are.”
9·11事宜產生以後，他曾在麥迪遜廣場花圃紐約音樂會上舉行了動民氣弦的表演。他演唱了西蒙和加芬克爾的歌曲“美國”(America)，而且演唱了“豪傑”(Heroes)。在唱這支歌以前，他在舞台上宣告說：“我想要特殊地對我故鄉的救火員們問聲好。你們曉得你們身處何方。”
In photographs, you can see how subdued and grown-up Mr. Bowie’s second go-round in thecity was. “He did the ballet, all the fun cultural stuff,” said Patrick McMullan, who photographedhim over the years, though much less after Mr. Bowie’s heart attack in Berlin.
經由過程照片，咱們可以看出鮑伊的第二次紐約之旅有何等低折衷成熟。“他會去看芭蕾，加入全部那些故意思的文化運動。”帕特裏克·邁克馬倫(Patrick McMullan)說。他這些年來一向用拍照機跟蹤鮑伊的蹤影，然則鮑伊在柏林心臟發病作以後，就不太有機遇了。
He was always in a sharp suit or tux. Regularly at the Met Gala or the Council of FashionDesigners of America Awards to support his wife. Never caught stumbling out of the hot club at4 a.m. He’d already been to a lifetime’s worth of parties.
為了支撐老婆的奇跡，他老是身穿精細的西裝或制服，按期加入大都會博物館的年度捐獻晚宴(Met Gala)和美國時裝計劃師理事會頒獎儀式(the Council of Fashion Designers of America Awards)。你不再會看到他在清晨4點從一個夜總會裏趔趔趄趄地出來。曩昔加入過的派對已夠他用一生了。
Iman once described Mr. Bowie as a “homebody”; The Onion imagined him as a “pansexual alien”staying in to “do lasagna for dinner.” He led a pretty normal-seeming life. He shopped forgroceries once a week at Dean & DeLuca. He loved the chicken sandwich with watercressand tomatoes at Olive’s on Prince Street. He liked to rise at 6 a.m. and get his “buzz” by walkingthe still-empty streets of Chinatown.
伊曼曾把鮑伊描寫為“居家好漢子”。《洋蔥報》(The Onion)將他想象為一個愛好留在家裏吃意式千層面晚飯的“泛性外星人”。他的生存相稱平常。每周他會去Dean & DeLuca食物阛阓購物。他愛好王子街(Prince Street)奧利弗餐廳(Olive’s)的番茄豆瓣菜雞肉三明治。他愛好早上6點起床後，在唐人街空闊的街道上散步的感到。
He read a lot. He collected art. He painted. He and Iman socialized with the parents of theirdaughter’s friends at school. He spent his remaining time meaningfully and productively, andlargely here.
他熱愛念書、網絡藝術品、畫油畫。他和伊曼會和女兒同窗的怙恃來往。他的余生充分非凡，險些全體在紐約渡過。
Mr. Bowie stopped touring in 2004. He left New York only when work demanded, and during hisstunning end-of-life creative burst, he found a way to never leave his neighborhood.
自2004年起，鮑伊停滯了巡演。只有當事情須要時他才會分開紐約。在末了的幾個月裏，他迸發了使人驚奇的興旺發明力，同時，他找到了方法始終不消分開本身生存的街區。
“Lazarus,” the show for which Mr. Bowie composed songs and resurrected the displaced alienhe played in the 1976 film “The Man Who Fell to Earth,” was staged at New York TheaterWorkshop, on East Fourth Street, less than 10 blocks from his house.
不久以前，鮑伊創作詞曲的《拉薩路》(Lazarus)在東4大道的紐約劇場事情室(New York TheaterWorkshop)上演，間隔他家只有十個街區。在這部音樂劇裏，鮑伊在1976年片子《天外來客》(The ManWho Fell to Earth)中飾演的外星人得以更生。
Both his 2013 album, “The Next Day,” and the demos for his final record, “Blackstar” — whichwas released, incidentally, on his birthday and just two days before he died — were recordedat the Magic Shop recording studio on Crosby Street — 283 steps from his front door.
在他逝世以前兩天，也便是他誕辰之際，他宣布了2013專輯《The Next Day》和末了錄制的小樣《黑星》(Blackstar)樣本。它們都是在克洛斯比街(Crosby)The Magic Shop灌音事情室錄制的，據他家大門唯一283步之遙。
Mr. Bowie would have ridden the elevator down from his penthouse, exited his building,crossed Lafayette Street, slipped through the little alley called Jersey Street and walked oncobblestones until he came to the studio’s unmarked metal doors.
鮑伊會乘電梯從他的頂層公寓下來，分開大樓，橫穿拉法葉特街，再穿過一條叫做澤西街(Jersey)的小胡同，順著鵝卵石鋪就的街道，一向走到事情室那沒有標誌的金屬門前。
Brian Thorn, a recording engineer for the “Next Day” sessions, said Mr. Bowie worked “veryhumane hours,” as rock stars go. “We’d start by 10,” Mr. Thorn said. “He would get there withor before the musicians. The studio would have his coffee order ready,” a double macchiatofrom La Colombe.
《The Next Day》的灌音工程師布萊恩·索恩(Brian Thorn)說，鮑伊的事情時光就搖滾明星而言，“異常人道化”。“咱們會從10點開端，”他說。“他會比樂工們先到，大概和他們一路到來。事情室會把他的咖啡事前預備好。”他喝的是La Colombe咖啡店的雙倍瑪奇朵咖啡。
Mr. Thorn remembered overhearing Mr. Bowie and his guitarist talking one day. The guitaristwas going on about an art exhibit, and how much Mr. Bowie would love it. Then he caughthimself, realizing whom he was talking to, and said, “Oh, you can never go there; there’s toomany people.”
索恩記得有一天聽到鮑伊和吉他手的對話。誰人吉他手在大談一個藝術展，說鮑伊必定會特殊愛好。然後，他溘然想起他的發言工具是誰，急速打住話頭，說：“噢，你不克不及去那處所，人太多了。”
Mr. Bowie answered, slyly, “You’d be surprised the places I’m able to go.”
鮑伊帶著一絲滑頭答復說：“我去過之處你猜也猜不到。”
Have you seen the photo that’s been circulating on Twitter of Mr. Bowie out in the city in cargoshorts and sneakers and carrying Uncut magazine? He’s very normcore. You can see whynobody recognized him, why an international superstar was able to move through the cityunseen.
你有無見過Twitter上哄傳的那張照片?在照片裏鮑伊身著工裝短褲、活動鞋，手持一本Uncut雜誌，在市裏散步，看上去非常通俗。你如今應當明確了，為何沒有人能認出他來，為何一個大牌明星可以或許大搖大擺地穿行入市而仍然避人眼目。
He understood that in our minds we all held a picture of David Bowie, or Ziggy, or the ThinWhite Duke. It allowed him to walk among us disguised as himself, David Jones.
由於他曉得，在咱們全部民氣目中，都有一個大衛·鮑伊，大概Ziggy, 大概the Thin White Duke的形象。這就使得他得以做回自我，以大衛·瓊斯的模樣，在咱們身旁自由收支。
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