大聯盟道奇棒球在台北

精選轉載
Torre holds managerial forum in Taiwan
Tells group of baseball officials to lead with common sense


By Ken Gurnick / MLB.com



03/12/10 11:20 PM EST


TAIPEI, Taiwan — Joe Torre’s managerial philosophy, evolving from motherly advice at home as much as his 6,300 games in uniform, was passed along to 50 coaches and baseball officials Saturday morning in the Joe Torre Forum held at Tienmou Stadium.

If the Dodgers’ three-game goodwill series in Taiwan is nothing else, it is a chance for baseball to further its growth in Asia. Taiwan has already produced a handful of Major Leaguers — Torre having managed three in New York and Los Angeles — and MLB sees the nation as a growth market.

And the nation’s baseball leadership views Torre as the manager’s manager, the ideal teacher for those trying to prepare the next wave of exports to the Major Leagues.

Despite the quick turnaround from night game to morning seminar, Torre’s sense of humor was sharp when asked the secret to being a good coach.

“Have good players,” he said.

He opened his presentation with what he called simple, basic principles of managing people.

“I try to deal with players the way I wanted to be managed as a player,” he said. “There’s no magic formula. Manage with common sense. Don’t ever forget what it was like as a player. They are all different people with one goal. You can treat them differently, but fairly.”

Torre said managers have the right to expect hard work, preparation and a team approach from their players.

“My mom used to say that you earn everything you get and nobody gives you anything for nothing,” he said. “I tell my players, ‘You don’t always control wins and losses, but you can control how you go about your business.’ I always felt you play for the player in the locker next to you. Perform and think as a team. When you win, everybody gets the same ring.”

Drawing a comparison to a parent raising a child in today’s society, Torre said managers have had to change in the way they interact with their players.

“You used to tell them to do something and when they’d ask why, you’d say, ‘Because I told you so.’ With free agency, that doesn’t work anymore,” he said. “The manager needs to have the ability to tell a player what to do and explain why, so if the same situation comes up again, you don’t want them not to know what to do. You develop trust that way. And respect. There’s no magic dust. It’s hard work.”

In explaining his success, Torre not only drew from his years with the Yankees, where he managed four World Series championships, but from some of the lean years with the Mets, Braves and Cardinals.

“The Yankees won four World Series when I was there, but I learned my managing skills long before the Yankees,” he said. “I got to the Yankees and the work ethic that I believed in started to be successful for me. Most of the work was done before I got there.”

Torre mentioned Atlanta’s Bobby Cox, St. Louis’ Tony La Russa and the Angels’ Mike Scioscia among the managers he admires because of “the way their teams behave.”

Torre said he tells his players to “think small and big things happen. We get excited with players who hit home runs or pitchers that get a lot of strikeouts. The game is won by the team that makes the fewest mistakes. Our team made some mistakes last night and that’s why we came out on the short end.”

In Friday night’s series opener, a team of Chinese Professional Baseball League All-Stars defeated a Dodgers split-squad, 5-2, with the Dodgers getting only three singles. Included in Torre’s morning audience was W.S. Lu, introduced as the manager of the winning CPBL All-Stars.

“He should be sitting up here,” Torre suggested.

Torre praised the “disciplined” play of the Taiwan All-Stars Friday night and suggested that the level of play in this island nation was “better than Triple-A.”

“They played very flawless in the way they beat us. Stay with us. We’ll win a game here sooner or later,” Torre joked. “I told our players they are representing our country and MLB, and we want to show people how we play the game. We are proud to wear the uniform of the Los Angeles Dodgers.”

Told that the Taiwan national team was ranked No. 5 in the world, with the United States third, Torre said: “Based on last night’s game, I’m surprised we’re third.”

Torre was questioned on his communication skills, which he boiled down to one word.

“Honesty,” he said.

While Torre was speaking, two of his players did an autograph signing at the MLB Store downtown. Friday night starting pitcher Eric Stults and infielder Jamey Carroll were met by a mob scene when they arrived for the hour session.

About 300 fans were in line for the event, and the players were presented glass statues as gifts for their appearance.

城市空間裡的音樂人生:洪一峰焦點訪談

城市空間裡的音樂人生:洪一峰焦點訪談

用戶插入圖片

洪一峰焦點訪談(台北/敦化南路,洪榮良工作室,2010,02,04)

⊙ 洪一峰焦點訪談參與人員,由右到左:洪榮良(洪一峰之子),邱婉婷(台大音樂所碩士生,撰寫洪一峰碩士論文,研究助理),石計生(東吳大學社會系副教授,台灣歌謠與流行歌研究者),紀建良(台大城鄉所博士班,東吳大學GIS中心資深研究助理),李瑞明(洪一峰傳記作者),章蓁薰(洪一峰紀錄片導演)與張喻涵(國立台北教育大學音樂所碩士生,也是撰寫洪一峰碩士論文)。

這次到敦化南路洪榮良工作室,是為了參加這個我既是受訪者也是訪問者的洪一峰焦點訪談,算是過去做台灣歌謠研究裡比較特別的訪談形式,有點像相關有興趣或研究人員的交換情報過程,經由討論看清疑點。我因為主要是想從城市空間瞭解洪一峰老師的音樂生命史裡的住所據點,所以除了常帶的研究助理邱婉婷(她的碩士論文正是處理洪一峰的音樂分析,指導教授是台大音樂所所長王櫻芬教授)外,還請台大城鄉所博士候選人紀建良(夏鑄九教授高徒)來幫忙處理GIS的現場定位事宜,現場還有洪一峰紀錄片導演章蓁薰小姐,與另一位寫洪一峰論文的國北師研究生張喻涵。通過主要受訪者洪一峰傳記作者李瑞明先生的陳述和我過去訪談研究的交叉比對,我們大概釐清了洪一峰的在台南縣鹽水,台南市,台北市與台北縣三重等地的住所據點。延續我過去訪談的習慣,只要情況許可,會隨手抓一張紙紀錄受訪者的吉光片羽,幫助記憶與作為將來逐字稿整理好的對照。我聆聽時在紙上寫著大致上洪一峰音樂生命空間史中年前可分為三期:台南-台北時期(1927-1956)、三重時期(1956-1959)和台北-日本時期(1960-1975)。

第一期洪一峰主要是台北(演唱事業地點)與台南老家(洪榮宏,洪榮良等小孩住在台南市青年路與公園路一帶,鹽水則為早逝的父親洪文龍老家)兩頭跑,真正洪一峰的出生時地應該是日治時期(1927年)台北市堀江町335番地,是洪一峰外婆家,而非一般認為的鹽水,這部分還需比對昭和年間的台北市町圖才能完全定出位置。其他洪一峰台北住過的地方,基本上都是在艋舺:包括西園路一段的阿姑家,貴陽街二段青山宮附近(非常接近紀露霞老家),環河南路二段一帶等,做個GIS環域大概會都在100公尺內。1947-55年左右,青年洪一峰在西門町圓環的橢圓公園唱那卡西,他可能是台灣第一個今日所謂的街頭藝人,與他的愛侶小鳳一起組織走唱班,也曾經在淡水河的露天歌廳唱過。洪一峰也於1955-60年間在台北西門町一帶的民本電台擔任歌手,指揮與樂師。從空間看,更加釐清了我過去的學術推論:紀露霞於1955年在貴陽街老家外聽收音機唱歌,被洪一峰樂隊的姓蔣的樂師路過時發掘進入民本開始唱歌,這事情並不是偶然,而是空間上的必然。因為當時西門町正是台北流行音樂的核心,大量電台,歌舞廳,唱片行,出版社等媒介迴路均聚集於此,而且,音樂人也有許多居住在這個空間,可能成為某種人際網絡,弱關係或強關係的網絡,有趣的事極可能在1955-56年間,寶島歌王洪一峰與寶島歌后紀露霞很可能曾經在萬華(艋舺)的貴陽街是鄰居!這點還需要時間點上更為細緻的考證。這時期洪一峰主要作品有蝶戀花(1946),幸福的歌聲(1954),台北春宵,台北樂園,台南春宵(1953,於中廣台南台駐唱時作品,均由黃敏作詞,洪一峰作曲)和山頂的黑狗兄(1957,由台聲唱片,女王,亞洲唱片等灌製,其中亞洲乃於是年開始灌錄台語黑膠專輯)等。

第二期的三重市時期雖然只有短短三年(1956-1959),住在三重這城市空間,卻是洪一峰音樂人生裡最重要的時刻,因為他認識了同樣住在三重的台灣著名作詞家葉俊麟(1921-1988),成為好朋友與一生最重要的創作伙伴,聯手為台灣歌謠寫出無數台灣人自己作詞作曲的傑作,擺脫了只是日歌台唱的混血狀態。洪一峰住過的地方包括正義南路34巷,文化南路24?巷附近。事實上,不僅僅和葉俊麟是鄰居,離台灣當時產量最豐富,著名的編曲家林禮涵也很近,另外一些著名台灣歌謠歌星林英美,陳芬蘭都住在三重。連現在的約四十幾位歌手都住在三重。三重市奇特的魅力有其空間基礎:1960年代三重作為台北的腹地,那時只有一條台北橋聯繫兩端,台北這端是首善之地,房租貴,重環保,而三重那端房租便宜,工廠林立,是流浪到台北大都市的外地人最佳落腳處。這個「流浪到三重」的歷史印記,物換星移五十年,仍然是一樣,三重,不只是現在台北配角般的衛星城市,它其實是生產音樂家的地方,充滿藝術潛能的城市空間,邊陲,底層,工作,茶店,奮力爭上游,無秩序裡的生命之光,創作,關於愛裡常常帶著些理性,理性中往往還帶著些瘋狂,無產階級的歌舞廳裡的滿足歌聲,流浪的心在歌的傳唱裡得到靠岸的感覺,看到了這些,感受到了這些,洪一峰,用他的大名與台灣歌謠上的成就證明了三重城市的無名磁鐵般吸納有才華的人聚集的偉大。這個時期洪一峰時常與葉俊麟在茶館裡創作台灣歌謠,有時還會相偕搭車過台北橋到台北圓環賣歌仔本,教人家唱歌。1957年,因為灌錄唱片不暢銷,接受葉俊麟帶去算命的算命師白文惠建議,本名洪文昌的歌手改名為洪一峰。這時期的作品幾乎都是洪一峰的經典代表作:舊情綿綿,淡水暮色,寶島四季謠,放浪人生,思慕的人,男人哀歌和寶島曼波等。特別是舊情綿綿,淡水暮色等,是大概凡是台灣人沒有人不知道的經典名曲。1960年台南亞洲唱片行為洪一峰出版第一張台語創作曲黑膠唱片專輯,主要就是洪一峰曲,演唱,葉俊麟作詞。

1959年底,洪一峰又搬至台北市,住在延平北路二段靠近第一劇場對面附近。1959-1975年這第三期主要是來回於台北與日本之間。其中夾雜的疑點是:究竟洪一峰是因為演唱歌曲在中視被禁唱才去日本,還是本來就因為哥哥洪德成留學日本常聽關於日本之事而心生嚮往去日本?李瑞明,我和洪榮良討論的結果極可能都有關連。這才能支撐洪一峰在這階段兩次去日本的觀點:第一次就是因為嚮往哥哥口中,日記中記載的上國,所以1959年他搬到台北後可能就去了日本看看;第二次則是在1968-1975年間,原因極可能如我2008年對洪一峰老師的訪談記錄,是因為1968年左右去中視上節目去在門口看到今日禁歌公告裡有兩首他要唱的歌曲(可憐的戀花再會啦,快樂的牧場)後的失望離開台灣,去日本發展。無論如何,洪一峰在這十六年間音樂事業主要是在日本,回台灣時就拍電影,錄黑膠,仍然是紅極一時,人民心中的寶島歌王。1962-1967年間洪一峰錄製了舊情綿綿等非常受歡迎的電影。當然,電視崛起,廣播與歌舞廳逐漸沒落是大趨勢,群星會國語歌曲成為主流,台灣歌謠被限定電視播出時間與節目都是事實(1968年台語歌節目寶島之歌,綠島之夜均遭停播命運,亞洲唱片可能也在這年因市場考量放棄出台語歌黑膠,這點還要研究),洪一峰的「隱蔽知識」迂迴抵抗權力擁有者的藝術意識型態與語言政策,就是堅持台灣歌謠創作與演唱!從日本盛名而歸只有為他的寶島歌王聲譽更為加分,但究竟在日本時曾經在東京,大阪,京都,名古屋等城市空間如何巡迴演出,其路線如何,因為洪一峰老師目前的昏迷臥床,可能會成為公案,但也可以去日本訪談相關人士進行二度空間建構。最好是耶穌基督聽到洪家人的禱告,與我們這些景仰洪一峰的歌迷的心願感動上蒼,讓他醒來,為台灣保留這一些記憶。

整個焦點訪談的最後是這樣未完成地完成著,會後洪榮良說要去北醫看洪一峰老師,說這兩天情況不是很穩定,我看了看婉婷,這個認真耐苦用心做洪一峰研究潛力無窮的碩士生,與我兩次招手請她入座卻羞澀謙遜坐於一隅的國北師音樂所研究生張喻涵,知道某種時機已到,就說讓學生們去看洪一峰老師好了,為他禱告禱告。我和建良就先告辭了。我緊握李瑞明先生的手,我緊握章蓁薰小姐的手,我緊握洪榮良的手,我緊握學生們的手道別,我就緊握住了一群為洪一峰紀錄一生傳奇的人無私奉獻的手,一種接近信仰的團體力量於焉形成。下了樓,一樣車水馬龍的台北城,沒有月光,微雨,老師你怎麼都放假了看來還比上課時忙,建良問我。我報以慣常的笑而不語。餓了,我就說走,我們就到另一學生陳真安家附近的大安夜市吃麵去,台北城這時沒有月光,微雨 (石計生後記,2010.02.03)。


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