再看一遍<The Dreamers>，美帝惧怕共产主义的最根本原因，应该是它所许诺的美好前景，毫无疑问，所有的共产主义先驱里面，列宁同志是最帅的，但是毛泽东同志对西方世界的影响更为深远，其实毛选很大程度上就是一部造反和起义的思想指导手册，人民并不介意采用何种社会制度，因为于底层的社会民众而言，社会制度的不同，日常生活并没有太大差异，生产过剩，劳动力剥削，在资本主义国家和今天的社会主义国家，同样存在，不同的是，在毛选思想下成长起来的一代又一代，受毛选的影响日益微弱，恰恰是没有机会接触到毛选的那样一些人，才能真正领会其中的精髓，所谓和平演变，不太可能在中国发生，有人热衷于这样一个逻辑，拥有的越多，便越是害怕失去，便不会有所妄为，就像美帝，那些个国土安全部的警报等级，在九一一之后时刻让人绷紧神经，小平同志先发展经济的改革开放，大概也是源于这样的逻辑，不过基地组织让美帝意识到这个逻辑并不是放之四海而皆准的真理，拥有的一切，是完全不能衡量一个人的道德水平的，衡量一个人的道德水平，只能是看他，失去过什么，在一个社会中可能造反和起义的中坚力量，并不是社会底层的那些人，所以每个国家对于来自底层的骚乱均是采用镇压而不是对话的方式，因为很显然他们并没有一个可以讨论的前提，同情那些被镇压者，只能是一种徒劳，共产主义没有一个正确的对于人自身的描述，我有时候甚至怀疑共产主义理论来自于马克思在理解工业化社会是如何高效运作的过程中产生的，人，必须作为社会的一个零件，服从组织的安排，人，不能作为独立的个体存在，在工业化社会中，这种理论行之有效，就像机器的每一个部位都必须配合起来才能良好的运转，但是共产主义描述的远景太过虚幻，而且极具侵略性，使得很多人认为，不可能。一件事物，如果普遍被怀疑，那么我们可以认为在相当长的时间内，这是假的，虽然事物的真假，并无定论，然而，我们本来就没有以人，或者说自我为中心，这唯一的，或者说被造就为唯一的信仰被认为是假的，就会出现很多奇怪的事情了，比如XX功之类，一个人类社会，是需要一个神的，不管这个神是什么东西，没有神的人类社会，就是没有恐惧的人类社会，没有了恐惧，人就没有继续活下去的理由。共产主义描述了一个人人以工作为乐，物质极大丰富的美好前景，这是一个很彻底的很清晰的完全抹杀人类情感的模型，在这种预设的前景下，惩罚没有被体现出来，这种前景发生的可能只有一个，那就是人，不再有思想。

在这个世界上，只有人，会屠戮自己的同类，其它任何物种都不会有这样的行为。

TOUS LES GAR&Ccedil;ONS ET LES FILLES
ALL BOYS AND GIRLS

Tous les gar&ccedil;ons et les filles de mon &acirc;ge
All boys and girls of my age

Se promènent dans la rue deux par deux
To walk through the streets in pairs

Tous les gar&ccedil;ons et les filles de mon &acirc;ge
All boys and girls of my age

Savent bien ce que c’est qu’être heureux
Savent well what it is to be happy

Et les yeux dans les yeux
And the eyes in the eye

Et la main dans la main
And hand in hand

Ils s’en vont amoureux
They go lovers

Sans peur du lendemain
Without fear of the future

Oui mais moi, je vais seule
Yes, but I am only

Par les rues, l’&acirc;me en peine
On the streets, the soul in sorrow

Oui mais moi, je vais seule
Yes, but I am only

Car personne ne m’aime.
Because nobody likes me.

Mes jours comme mes nuits
My days as my nights

Sont en tous points pareils
Have similar in all respects

Sans joie et pleins d’ennui
Without joy and full of boredom

Personne ne murmure &laquo;je t’aime&raquo; à mon oreille
Nobody whispers, “I love you” in my ear

Tous les gar&ccedil;ons et les filles de mon &acirc;ge
All boys and girls of my age

Font ensemble des projets d’avenir
Font all future plans

Tous les gar&ccedil;ons et les filles de mon &acirc;ge
All boys and girls of my age

Savent très bien ce qu’aimer veut dire
Savent very well what qu’aimer means

Et les yeux dans les yeux
And the eyes in the eye

Et la main dans la main
And hand in hand

Ils s’en vont amoureux
They go lovers

Sans peur du lendemain
Without fear of the future

Oui mais moi, je vais seule
Yes, but I am only

Par les rues, l’&acirc;me en peine
On the streets, the soul in sorrow

Oui mais moi, je vais seule
Yes, but I am only

Car personne ne m’aime.
Because nobody likes me.

Mes jours comme mes nuits
My days as my nights

Sont en tous points pareils
Have similar in all respects

Sans joie et pleins d’ennui
Without joy and full of boredom

Oh! Oh! quand donc pour moi brillera le soleil?
Oh! Oh! So for me when the sun shines?

Comme les gar&ccedil;ons et les filles de mon &acirc;ge
As boys and girls of my age

Conna&icirc;trai-je bient&ocirc;t ce qu’est l’amour?
Conna&icirc;trai-je soon what is love?

Comme les gar&ccedil;ons et les filles de mon &acirc;ge
As boys and girls of my age

Je me demande quand viendra le jour
I wonder when the day will come

Où les yeux dans ses yeux
Where the eyes in his eyes

Et la main dans sa main
And hand in hand

J’aurai le coeur heureux
It will be my heart happy

Sans peur du lendemain
Without fear of the future

Le jour où je n’aurai
The day I will

Plus du tout l’&acirc;me en peine
More than any soul in sorrow

Le jour où moi aussi
The day I too

J’aurai quelqu’un qui m’aime
I will have someone who loves me

The U.S.S.R. Is Back (on Clothing Racks)

07-11-28 星期三
MOSCOW, Nov. 26 — Empowered by an oil boom that pushed the country’s trade surplus past $94 billion this year, Russia has been flexing its muscles abroad. At home, meanwhile, young and trendy Muscovites are in the throes of nostalgia for the staples of Soviet childhoods, relics of a time when the U.S.S.R. was at the height of superpower status.
That may explain why one of the most popular fashion designers this fall is Denis Simachev, who is selling overcoats fastened with hammer-and-sickle buttons, gold jewelry minted to look like Soviet kopecks and shirts festooned with the Soviet coat of arms, complete with embroidered ears of wheat.
“People in their 30s see these kinds of symbols as reminders of happy memories, like going to pioneer camp where they lived together, ate breakfast together and played sports,” said Mr. Simachev, 33, who wears his hair in a Samurai-style ponytail. He insists he is no Communist — for one thing, his overcoats sell for about $2,100 and his T-shirts for about $600. His boutique is sandwiched between Hermès and Burberry stores on a pedestrian lane, Stoleshnikov, that is one of the capital’s most expensive shopping streets.
Mr. Simachev first attracted notice with a collection of retro Olympic tracksuits emblazoned with C.C.C.P., the Cyrillic initials for the U.S.S.R., and T-shirts printed with the likeness of President Vladimir V. Putin, which served as a wink at the cult of personality forming around the leader.
By tapping into a generation that is experiencing an identity crisis, Mr. Simachev, who is also known here as a D. J., a Ducati motorcycle rider and a snowboarder, has quickly become the epitome of Russian cool for a subset of gilded Moscow youth. They throng the pub underneath his store for lunch and on weekend evenings when it transforms into a nightclub.
Victoria Tirovskaya, 24, says she wears the designer’s clothes because they are chic and a bit audacious. “I have a classic blouse and shorts from Simachev but I also have a U.S.S.R. sweatshirt,” Ms. Tirovskaya, an interior designer, said. “Before Simachev, nobody dared to use the symbol of our country as a fashion icon.”
The designer’s rise as the commissar of Soviet kitsch neatly dovetails with Russia’s current embrace of retrograde politics and resurgent nationalism. A billboard just off Red Square advertises the results of the parliamentary elections, scheduled for early December, as if they were a fait accompli: “Moscow votes for Putin!”
After more than a decade of Westernization, in which international brands have flooded the Russian market and the Russian elite have taken to wearing designers from Valentino to Louis Vuitton, a “Back to the U.S.S.R.” movement among consumers seems a logical step, some social observers here say.
“At first, the people of my generation wanted to try those things that our parents could not, but now that we have seen everywhere, we are coming back to our roots,” said Evelina Khromtchenko, the editor in chief of the Russian edition of L’Officiel, a French fashion magazine.
Mr. Simachev has developed a swaggering fashion lexicon typified in his men’s wear by fur hats, fur boots, jackets with muscular shoulders and slim-hipped, low-slung trousers. “We are from Russia, from the former Soviet Union,” he said. “It’s what I know about, it’s what inspires me, and now, after years of Russians trying to live a Western lifestyle and forget they are Russian, other people are getting it.”
Unlike the Americana of Ralph Lauren, with his easeful style informed by the Ivy League, Mr. Simachev’s evocation of motherland style often provocatively incorporates jingoistic elements. In the past four years, he has designed collections inspired by the war in Chechnya, the boycotted 1980 Moscow Olympics, the Soviet Navy and, this season, Moscow criminal gangs of the 1990s.
Critics have interpreted his collections as endorsements of, or protests against, past and current regimes. But Mr. Simachev described himself as apolitical. “I am a mirror for what is going on around me,” he said.
He added: “Nobody wants to go back to Communism. But it had certain attributes and symbols which for younger people are not associated with the regime, but with our own personal memories.”
Russians more steeped in Soviet history say they are appalled at the merchandising of the symbols of totalitarianism. “Personally, I would never wear something by Denis Simachev because, for me, those symbols mean Stalinist terror, Communism, a K.G.B. spy system and the cold war,” said Alexandre Vassiliev, a fashion historian who has published 14 books here. “I disapprove completely.”
The designer’s fans say his motives are purely commercial. “Why did Andy Warhol paint Mao Zedong or Lenin? Because they are easily recognizable symbols,” said Nicolas Iljine, who specializes in Russian-American cultural exchange for the Solomon R. Guggenheim Foundation. “This is all pop nostalgia in a light-handed way. It doesn’t have deeper meaning.”
Mr. Simachev’s fashions are reminiscent of the tongue-in-cheek use of Mao references by the Hong Kong retailer David Tang, who sold his versions of retro Communist kitsch in the late ’90s, just as China was embracing the global capitalist economy.
For now, the Simachev label appears to be attracting more attention than revenue. With Russians earning an average of about $550 a month, few can afford Mr. Simachev’s wares. The designer’s clothes sell at about 30 multibrand boutiques in Russia and about 15 stores abroad, said Anna Dyulgerova, the development director of the brand.
The investors behind the label are two Moscow businessmen, Vadim and Vyacheslav Aminov, who declined to reveal annual sales or the size of their share in the company. Vadim Aminov, 38, said the two hope to make Simachev the first Russian brand to win worldwide recognition. Mr. Simachev already shows his men’s wear collections on the runways of Milan. His Web site,www.denissimachev.ru, is in English.
Vyacheslav Aminov, 48, said the brand was famous enough that it attracted imitators. “When I was on the beach in Sardinia, I saw hawkers selling fake Simachev T-shirts,” he said. “I am sure that Simachev is the only Russian designer who has knockoffs.”
Copyright 2007 The New York Times Company
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