题目内容
"I was a lover, before this war". Those are the fast words sung on TV on the Radio"s "Return to Cookie Mountain", one of the most widely praised albums of 2006. Whatever the line means within the band"s cryptic lyrics, it could also apply to the past year"s popular music. Thoughts of romance, vice and comfort still dominated the charts and the airwaves. But amid the entertainment, songwriters—including some aiming for the Top 10—were also grappling with a war that wouldn"t go away. Pop"s political consciousness rises in every election year, and much as it became clear in November that voters are tired of war, music in 2006 also reflected battle fatigue. Beyond typical wartime attitudes of belligerence, protest and yearning for peace, in 2006 pop moved toward something different: a mood somewhere between resignation and a siege mentality. Songs that touched on the war in 2006 were suffused with the mournful and resentful knowledge that—s Nell Young titled the album he made and rush-released in the spring—we are "Living With War", and will be for some time. Awareness of the war throbs like a chronic headache behind more pleasant distractions. The cultural response to war in Iraq and the war on terrorism—one protracted, the other possibly endless—doesn"t have an exact historical parallel. Unlike World War Ⅱ, the current situation has brought little national unity; unlike the Vietnam era, ours has no appreciable domestic support for America"s opponents. Iraq may be mining into a quagmire and civil war like Vietnam, but the current war has not inspired talk of generation wide rebellion (,perhaps because there"s no draft m pit young against old) or any colorful, psychedelically defiant counterculture. The war songs of the 21st century have been sober and earnest, pragmatic rather than fanciful. Immediate responses to 9/11 and to the invasion of Iraq arrived along familiar lines. There was anger and saber-rattling at first, particularly in country music: the Dixie Chicks" career was upended in 2003 when Natalie Maines disparaged the president on the eve of the Iraq invasion. There were folky protest songs about weapons and oil profiteering, like "The Price of Oil" by Billy Bragg; in a 21st-century touch, there were denunciations of news media complicity from songwriters as varied as Merle Haggard, Nellie McKay and the punk-rock band Anti-Flag. Rappers, who were already slinging war metaphors for everything from rhyme battles to tales of drag-dealing crime soldiers, soon exploited the multitude of rhymes for Iraq. While some, like Eminem and OutKast, also bluntly attacked the president and the war. In 2006 songwriters who usually stick to love songs found themselves paying attention to the war as well. "A new year, a new enemy/another soldier gone to war", John Legend sings in "Coming Home", the song that ends his 2006 album, "Once Again". It"s a soldier"s letter home, wondering if his girlfriend still cares. "It seems the wars will never end, but we"ll make it home again", Mr. Legend croons, more wishful than confident. The mood of the song "Coming Home" is______.
查看答案
搜索结果不匹配？点我反馈
更多问题
At the end of last year, a town called Friendship Heights, in Maryland"s Montgomery County, approved America"s (and thus the world"s) strictest tobacco policy. Town officers courageously banned smoking on all public property, including streets, pavements and public squares. "It"s a public health issue", said the mayor, Alfred Muller, who is also a doctor. "We don"t have the right to outlaw tobacco, but we"re doing what we can within our rights". This newspaper has expressed disgruntlement with the element of intolerance that is increasingly manifesting itself within America"s anti-tobacco movement. It must be said, however, that brave Friendship Heights has discovered an approach that liberals can embrace. Private property is its owners" sanctuary, but the public rules in public spaces. Undeniably, the streets belong to the government; what happens in them, therefore, is the government"s business. On this worthy principle, smoking should be merely the beginning. For example, it is clear that the consumption of fatty foods contributes to heart disease, strokes and other deadly disease. Besides, eating junk makes you fat and ugly. What people do at home is their own affair, but why allows them to abuse the public streets for this gluttony America"s pavements and boardwalks are overridden with persons, many of them overweight, who amble along licking ice cream or gobbling chips. In many cities, hot dogs are spread, quite openly, on the pavement itself. All this should be stopped. Not just in Friendship Heights but in other enlightened districts, it should be illegal to eat anything but low-fat foods in public zones. Because Americans consume too little by way of fruits and vegetables, in time (it is best to move slowly, because people"s rights must be respected) streets should become strictly vegetarian. More can be done. Shrieking newspaper headlines create stress for those who may not wish to view them. People who want to buy and read papers should therefore be required to do so in private. America has long and justly sought to prevent the entanglement of religion with public life. What people do in church or at home is their business. However, praying, sermonizing or wearing religious garb in the streets surely compromises the requirement that the public will not be dragooned into supporting religion. There is the environment to consider, as well. That people exhale carbon dioxide in public places, thus contributing to global warming, is probably inevitable, and America"s politicians would be wise to permit it. But methane, too, is a greenhouse gas, and an odiferous one. Its emission in public places, where it can neither be avoided nor filtered, seems an imposition on both planetary hygiene and human comfort. Breakers of wind, surely, can be required to wait until they can answer their needs in private; and prosecuted when they fail. Fame, then, to Friendship Heights. Other towns should take note. If they intend to fulfill their responsibilities to the health and welfare of citizens, to public order, and above all to the public streets and parks whose rights the authorities are sworn to uphold, then the way ahead is clear. Which is NOT the people"s private thing
实现法的形式的规范化应当坚持哪些基本要求
"I was a lover, before this war". Those are the fast words sung on TV on the Radio"s "Return to Cookie Mountain", one of the most widely praised albums of 2006. Whatever the line means within the band"s cryptic lyrics, it could also apply to the past year"s popular music. Thoughts of romance, vice and comfort still dominated the charts and the airwaves. But amid the entertainment, songwriters—including some aiming for the Top 10—were also grappling with a war that wouldn"t go away. Pop"s political consciousness rises in every election year, and much as it became clear in November that voters are tired of war, music in 2006 also reflected battle fatigue. Beyond typical wartime attitudes of belligerence, protest and yearning for peace, in 2006 pop moved toward something different: a mood somewhere between resignation and a siege mentality. Songs that touched on the war in 2006 were suffused with the mournful and resentful knowledge that—s Nell Young titled the album he made and rush-released in the spring—we are "Living With War", and will be for some time. Awareness of the war throbs like a chronic headache behind more pleasant distractions. The cultural response to war in Iraq and the war on terrorism—one protracted, the other possibly endless—doesn"t have an exact historical parallel. Unlike World War Ⅱ, the current situation has brought little national unity; unlike the Vietnam era, ours has no appreciable domestic support for America"s opponents. Iraq may be mining into a quagmire and civil war like Vietnam, but the current war has not inspired talk of generation wide rebellion (,perhaps because there"s no draft m pit young against old) or any colorful, psychedelically defiant counterculture. The war songs of the 21st century have been sober and earnest, pragmatic rather than fanciful. Immediate responses to 9/11 and to the invasion of Iraq arrived along familiar lines. There was anger and saber-rattling at first, particularly in country music: the Dixie Chicks" career was upended in 2003 when Natalie Maines disparaged the president on the eve of the Iraq invasion. There were folky protest songs about weapons and oil profiteering, like "The Price of Oil" by Billy Bragg; in a 21st-century touch, there were denunciations of news media complicity from songwriters as varied as Merle Haggard, Nellie McKay and the punk-rock band Anti-Flag. Rappers, who were already slinging war metaphors for everything from rhyme battles to tales of drag-dealing crime soldiers, soon exploited the multitude of rhymes for Iraq. While some, like Eminem and OutKast, also bluntly attacked the president and the war. In 2006 songwriters who usually stick to love songs found themselves paying attention to the war as well. "A new year, a new enemy/another soldier gone to war", John Legend sings in "Coming Home", the song that ends his 2006 album, "Once Again". It"s a soldier"s letter home, wondering if his girlfriend still cares. "It seems the wars will never end, but we"ll make it home again", Mr. Legend croons, more wishful than confident. The pop music about war in 2006 is different from the former ones in that______.
Watching a three-and-a-half-pound chicken roast in 14 minutes, time loses all meaning. The skin turns gold and crisp, juices immediately rise to the surface, and the flesh firms before your eyes. It"s dizzying and seductive, like the home makeovers on TV that compress as "Wow". you think "I could do this every single night". The makers of the TurboChef, a super-fast oven, used at Subway and Starbucks and, recently, by chefs like Charlie Trotter and Gray Kurtz, are banking on that reaction. Speed ovens made by TurboChef, Merrychef. Electrolux and others are common in commercial kitchens: they generally use some layering of microwave, convection, steam and infrared technologies, which provides even cooking, moistness and browning, all at high speed. No single technology has been able m produce all of those traits. The combination ovens are also mining up. in more limited roles, in some fine-dining kitchens. Mr. Trotter installed a commercial TurboChef in his upscale takeout cafe, Trotter"s to go in Chicago about six years ago. Mr. Kurtz says that his speed oven is used mostly for soufflés, reducing the cooking time from 25 minutes to 2. "I liked taking that line off the menu where you have to order the souffi6 at the beginning of the meal", he said. This is hardly an everyday concern for home cooks. But manufacturers are unable to resist the lure of the lucrative residential market: companies like Electrolux. G.E. and Sharp already sell speed ovens for home cooks. TurboChef, however, has put an unusual amount of research and design energy into adapting its product for residential use. It will be introduced next month, priced at $5,995 for a solo unit and $7,895 for a TurboChef combined with a conventional oven. The company is pitching—hard—the notion that its appliance will do no less than revolutionize American home cooking. "I can"t imagine a home cook who wouldn"t respond to the speed of this oven", said Mr. Trotter, who has become a consultant and spokesman for TurboChef. "But speed alone wouldn"t validate it. The results are glorious". Glorious is a strong word. So last week, I hauled raw chickens and a jug of soufflé batter over to TurboChef"s New York office for a road test. Three hours later, it was clear that the technology used by TurboChef—a combination of high-speed convection for rapid heat transfer and browning, plus "controlled bursts" of microwave for moist, even cooking—is far more successful for actual cooking than a microwave alone The word "lucrative"(Para. 4) implies______.
微信支付 
支付宝支付