跟讀練習: Halsey: 'Without Me' Interview | Apple Music - 通過影片學習英語口語
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200 句
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Well, you've been on the road now supporting your amazing second album,
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but it's been a long tour.
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You know, I don't mind it though.
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It's cool.
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I'm gonna go my birthday is at the end of the month.
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Great.
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So I'm gonna go after the tour.
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I'm gonna go spend some time like in Italy.
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Yeah.
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Alone for a while, but it's such a weird time for me because like
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my 20 I'm turning 24
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and I was 19 when I wrote Badlands and it's like I blinked and And it just feels so insane.
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And, you know, it's really interesting to this record because it's going to come right after my 24th birthday.
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This is such a weird thing for me.
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It's so complicated because there's so much to unpack here.
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But the first thing is that,
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like, it's the most raw thing I've ever made and not just because of the content,
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because I make concept albums.
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So I have these comic book universes where I'm playing a fantasy character.
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And each song is protected by the next.
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It all makes sense.
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Yeah, there's like a five part video series and I'm not really myself,
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I'm playing someone else.
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And now this song is not attached to an album.
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It's a standalone record.
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And that's the interesting thing about music is I was supposed to be taking a break
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and then I wrote this song and it's like,
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music doesn't care about your schedule.
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It's like, if the timing's right,
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you need to- Set it free.
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Yeah, you need to put it out.
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And so here I have this record where it's like,
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it's just me, you know,
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no wig, no colorful hair, no character.
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And it's about my life and about my relationship
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that the world has watched so closely and so vehemently in the past year and a half.
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My fans are really going to be like, whoa.
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You know, all the video content,
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everything behind the song is like me.
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It's just me.
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It's like me in a white t-shirt with normal hair,
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just singing to the camera.
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No character, no cinematography, no gunfight,
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car explosion, stuff like I usually do.
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Is this the first song you've ever written as Ashley and not as Horsey?
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I think that's the point.
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Yeah, I think that's what I'm kind of getting at.
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It's not protected by some character or some subplot or some,
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you know what I mean?
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It's like, this is really me talking about my life and letting people.
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I've always...
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It kind of gave me an existential crisis as an artist a little bit, because I've like...
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For so long I've prided myself on being an artist who's authentic and writes about her life and stuff.
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And then when I made this,
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I felt just how bad it hurt.
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So you wondered whether or not you'd even gone there before?
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Yeah!
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And it made me question myself as an artist and be like,
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as an artist and be like,
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have you even been accessing this part of you?
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Here's the good news.
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Every artist I've ever interviewed in my life who's gone there has asked that question of themselves.
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You know, I mean, if you'd gone there right at the very start,
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who knows where you'd be now?
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I mean, you've got to warm up.
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You've got to live a life.
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You were 19 when you started.
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I know.
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You're 24, you're still incredibly young,
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and you've lived a life.
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I mean, you know, debut album, hard work, check.
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Second album, ambitious, concert record, check.
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You know, hustle for your success,
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put in the graph, check public relationship.
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Big check.
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Yeah.
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You know, big check.
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I mean, these are all things you've achieved,
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and so it makes sense that you're going to go ahead and you're going to write this song now,
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because what would you have said before?
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How would you have even gotten this out of your system?
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No, we would have cared.
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That's the most important thing,
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is that now they care.
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And they want to know what's behind the curtain.
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Nah, you are different, man.
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And I've said this so many times.
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No one, I mean, here's a compliment for you.
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I'm irrespective of the writing.
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No one, when it comes to stepping on the microphone to do a take on any song in any situation,
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and I've talked to Benny about this.
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I've talked to PND about this.
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I've talked to anyone who's actually had the guts to step in the room with you.
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When you step in there and take your first statement of your verse,
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it's over for anybody else in the room.
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And Benny's like, oh, she's the greatest.
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The first three seconds of any takes she does,
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the tone she has, it's just forget about it.
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It's done.
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I think it's
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because I don't even put my mouth in front of a microphone until I'm absolutely positive about what I want to say.
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How do you even get there?
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Because a lot of people have to warm up to that.
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You know, I'm just like,
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I think a lot of people,
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there's two ways of looking at it is some people are comfortable improv-ing in the room.
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That means one of two things, and they're opposite things.
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It either means that they're so comfortable with whatever they're making or whatever they're saying,
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they don't care if someone hears them mess up.
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Or it means they're so uncomfortable that they need improv in the room to wait for the person to say,
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that's good, that's good.
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Yeah, they're looking for feedback.
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So it's one or the other.
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It's either that they don't need any validation or they so desperately need validation.
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And I'm like a completely different type of writer where I,
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when I first started writing and people weren't familiar with my work
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or was like my workflow or I hadn't found the people I'm comfortable with yet.
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When I first started writing,
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I would sit in the room and like be in my phone and I could feel like producers being like,
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is she even going to do anything?
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And then I'd leave the room to go smoke a cigarette or do whatever and they'd be like,
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is she even going to do anything?
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You're in the wrong game.
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The patience is the whole point.
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30 minutes later, I'd come back in and I'd sing a whole song,
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top to bottom, and they'd be like,
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when did you write that?
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And I'd be like, when you were wondering if I was ever going to do anything.
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And then I'd come back in and they cut it.
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And so I think what it is is,
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I mean, I think I'm a perfectionist in
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that way where I don't get in front of a mic unless I know what I'm going to say.
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I only have like three demos the world's never heard.
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Most artists have like a hundred.
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And that's because I don't even start a song unless I know I'm going to finish it.
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Wow, interesting.
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So like I've only ever made basically the songs that you've heard.
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No vault.
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No, not really.
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No vault.
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Because I know what I want to make before I make it and I kind of reserve.
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I reserve that instead of trying to like Frankenstein stuff.
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Look, my first message is like,
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you know, you are not bound to anything besides yourself.
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I've said that in 2015 when I put out Hurricane,
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I said, you know, don't belong to no city,
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don't belong to no man.
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That's always been my MO,
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is you don't belong to anybody but yourself.
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And then of course, situations like this complicate things when you love someone almost as much as you love yourself, maybe more.
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Yeah.
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Well, that's what's interesting about that line,
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because when I first heard it,
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I felt like you were talking to him as much as to yourself.
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Yeah.
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And in the past, it's like,
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oh, you're talking to yourself,
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like stand up for who you are
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and don't necessarily put your self-esteem in the hands of any situation is not in your control.
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This time it was almost like a gift as well.
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It was like you were saying,
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it's not about you belonging to me or me belonging to you.
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That's what I took from it.
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100%.
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100%.
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And there's like a double entendre in that as well
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because I think the most important message for me with this is like,
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you know you don't belong to anybody but yourself
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and you know you're not bound to anything that doesn't serve you
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but the second message
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that I want to just remind everyone through this process is
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like we're people we're people you know what I mean like you text your best friend
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and you're like I'm done with them I'm never talking to them ever again
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and then your dumb sorry ass is back hanging out with them again next week too
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and if you're doing it so am I everyone's like you know people don't change people don't and that's not true.
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That's not true.
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And I think that it's especially convoluted when your image of yourself or your perception of yourself,
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look, basic sociology is looking glass self.
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We define ourselves based on how the people around us see us.
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That's how we define ourselves.
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So now imagine if the people around you isn't ten people, it's ten million.
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Yeah, and it's through the eyes and lens of social media which is immediate and direct.
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And the news is fit to print.
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The news is fit to print.
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So now you have this like warped
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idea of who you are because of 10 million strangers who are trying to tell you who they think you are.
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And it's like that completely...
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It's like there's an exception there.
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That's an exception.
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My development of my identity and my self-perception and my higher self and self-awareness,
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I kind of get a pass to experiment with it and to mess up and to figure,
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and so does he and so does everyone else you know you're being fed self-reflection from
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so many different So start Uninformed star says I think it's the only thing that I've experienced in the past couple years
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that made me put my phone down
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and say I don't care what they think
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and I've you know me you've known me for a while now and you know I've beaten myself up
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about what people think about me and about what people think about it and
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so in a weird way like this relationship has been the
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one of the most liberating thing that's ever happened to me
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because it made me put my phone down and go I don't care what you think because this makes me happy
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本課介紹
在這一節中，學習者將通過對Halsey的訪談內容進行反覆練習，專注於理解和模仿她的語音語調。這段訪談不僅揭示了藝術家的內心世界，還提供了豐富的詞彙和表達方式，適合進行雅思口語練習。通過這種方式，學習者可以更好地掌握口語表達，並增強對自然對話的理解。
關鍵詞彙與短語
- 獨立音樂 (independent music) - 不依賴於大型唱片公司的音樂作品。
- 複雜 (complicated) - 有許多層次或困難的事務。
- 真誠 (raw) - 真實、不加修飾的感情或表達。
- 時間安排 (schedule) - 活動的計劃或時間表。
- 釋放 (set it free) - 放開某物或某事，使其不再被限制。
- 體驗 (experience) - 個人生活中的感受和經歷。
- 角色扮演 (playing a character) - 在藝術創作中展現不同的身份或形象。
- 私生活 (personal life) - 與個人生活相關的事情，通常不向公眾展示。
練習技巧
在進行shadowing練習時，建議學習者專注於Halsey的語速和語調。她在訪談中語速適中，語句清晰，非常適合進行模仿。通過不斷重複，可以幫助你在口語表達中找到自信和流利度。同時，注意她在個人表達中的情感變化，嘗試捕捉這些細微的情感細節以增強你的語言真實感。建議使用shadowspeak的方式進行練習，模仿她的語音語調，逐步提升雅思口語能力。
確保在每次練習時都能完整聽完一個小節，再進行重複。通過shadowing site的幫助，你可以利用各種影片和音訊資料來找到合適的練習材料。持之以恆，你的口語能力一定會有所增強。
影片中的語法
說話人最常用的結構，並附上影片中的原話：
| 結構 | 影片中的用法 |
|---|---|
| 現在完成時 have/has + 過去分詞 — 過去發生但與現在仍有關聯的事 | you've been · it's been · I've ever made |
| 被動語態 be + 過去分詞 — 強調發生了什麼，而不是誰做的 | is protected · is not attached · are not bound |
什麼是跟讀法？
跟讀法 (Shadowing) 是一種有科學依據的語言學習技巧，最初開發用於專業口譯員的培訓，並由多語言者Alexander Arguelles博士普及。這個方法簡單而強大：您在聽英語母語原聲的同時立即大聲重複——就像是一個延遲1-2秒緊跟說話者的影子。與被動聽力或語法練習不同，跟讀法強迫您的大腦和口腔肌肉同時處理並模模擬實的講話模式。研究表明它能顯著提高發音準確性，語調，節奏，連讀，聽力理解和口語流利度——使其成為雅思口語備考和真實英語交流最有效的方法之一。