I am no designer, nope, no way. My dad was, which is kind of an interesting way to grow up. I had to figure out what it is my dad did and why it was important.
我不是設計師,不,絕不 不過我的爸爸是 也因此我的成長的過程挺有趣的 我需要了解我爸爸做的東西到底是什麼 和其重要性何在
Dad talked a lot about bad design when we were growing up, you know, "Bad design is just people not thinking, John," he would say whenever a kid would be injured by a rotary lawn mower or, say, a typewriter ribbon would get tangled or an eggbeater would get jammed in the kitchen.
從小到大我們聽父親說了很設計不良的東西 他總是說:約翰 人不去動腦筋才有糟糕的設計啊 當有小孩被旋轉式割草機弄受傷時 或打字機的色帶卡住 或廚房的打蛋機卡住時
You know, "Design -- bad design, there's just no excuse for it. It's letting stuff happen without thinking about it. Every object should be about something, John. It should imagine a user. It should cast that user in a story starring the user and the object.
糟糕的設計是沒有藉口的 這是不經思考的結果 每樣物品都應當有它的意義啊 它應當跟使用者相關 以使用者和物品為主角的故事
Good design," my dad said, "is about supplying intent." That's what he said.
我爸說:好的設計展現目的性 他是這麼說的
Dad helped design the control panels for the IBM 360 computer. That was a big deal; that was important. He worked for Kodak for a while; that was important. He designed chairs and desks and other office equipment for Steelcase; that was important. I knew design was important in my house because, for heaven's sake, it put food on our table, right?
父親幫忙設計IBM 360電腦的控制面板 很了不起,也很重要 他也在柯達工作一陣子,也很重要 他幫Steelcase設計椅子、書桌 和其他的辦公設備,很重要 我早就知道設計的重要 因為那是我家的經濟來源
And design was in everything my dad did. He had a Dixieland jazz band when we were growing up, and he would always cover Louis Armstrong tunes. And I would ask him every once in a while,
我父親做得每件事都攸關設計 他在我們小時候組了一個爵士樂團 他總是詮釋Louis Armstrong的歌 而我三不五時就會去問我爸
"Dad, do you want it to sound like the record?" We had lots of old jazz records lying around the house. And he said, "No, never, John, never. The song is just a given, that's how you have to think about it. You gotta make it your own. You gotta design it. Show everyone what you intend," is what he said. "Doing that, acting by design, is what we all should be doing. It's where we all belong."
"爸,你要它聽起來跟唱片一樣嗎?" 我們家擺了很多老舊的爵士樂唱片 而他總是說:"不,約翰,絕對不要 你應該想,歌是既有、給予的 你要讓它有你的風格,你要設計它 讓所有的人看到你的目的 讓一舉一動都出於設計 是我們都應當做的事情 這就是我們的歸宿"
All of us? Designers? Oh, oh, Dad. Oh, Dad.
我們所有人嗎?我們都是設計師? 喔,爸。喔,爸
The song is just a given. It's how you cover it that matters. Well, let's hold on to that thought for just a minute. It's kind of like this wheelchair I'm in, right? The original tune? It's a little scary.
歌曲是已經存在的 如何去詮釋才是重點 讓我們思考一下剛剛說的 這有點像我現在坐的輪椅,對吧? 原始故事?有點可怕
"Ooh, what happened to that dude? He can't walk. Anybody know the story? Anybody?"
"喔!那老兄怎麼了? 他不能走路。有誰知道為什麼嗎? 有人知道嗎?"
I don't like to talk about this very much, but I'll tell you guys the story today. All right, exactly 36 years ago this week, that's right, I was in a poorly designed automobile that hit a poorly designed guardrail on a poorly designed road in Pennsylvania, and plummeted down a 200-foot embankment and killed two people in the car. But ever since then, the wheelchair has been a given in my life. My life, at the mercy of good design and bad design.
我不是很喜歡說這個故事 但我今天會告訴你們 正是36年前的這個星期 我在一部設計不良的車子裡 撞上了設計不良的護欄 在設計不良的賓州道路上 從200英呎高的築堤跌了下去 車上兩人因此罹難 自那時起,輪椅成為我生命的一部分 我的生命,任由好和壞設計所主宰
Think about it. Now, in design terms, a wheelchair is a very difficult object. It mostly projects tragedy and fear and misfortune, and it projects that message, that story, so strongly that it almost blots out anything else.
這樣想吧,用設計的術語來說 輪椅是一件很難設計的物品 它通常投射出悲劇、恐懼和不幸的感覺 而這個訊息是如此強烈 蓋過其它的觀感
I roll swiftly through an airport, right? And moms grab their kids out of the way and say, "Don't stare!" The poor kid, you know, has this terrified look on his face, God knows what they think. And for decades, I'm going, why does this happen? What can I do about it? How can I change this? I mean there must be something. So I would roll, I'd make no eye contact -- just kinda frown, right? Or I'd dress up really, really sharply or something. Or I'd make eye contact with everyone -- that was really creepy; that didn't work at all. (Laughter) You know anything, I'd try. I wouldn't shower for a week -- nothing worked.
我在機場裡恣意的坐輪椅行動 母親們會把小孩抓離我的面前並說: "不要瞪著他看" 可憐的孩子,臉上流露出驚恐的表情 不知他在想什麼 幾十年來我一直想 發生了什麼事?我能做什麼? 我一定能做些什麼來改變這樣的事 所以我滑輪椅時試著不看別人 低頭皺眉之類的 或我會精心打扮整齊 或我會與所有人四目交接 這方法有點詭異,一點都沒用 (笑聲) 我試過所有方法了 甚至一個禮拜不洗澡
Nothing whatsoever worked until a few years ago, my six-year-old daughters were looking at this wheelchair catalog that I had, and they said,
但都沒用,直到幾年前 我六歲的女兒們看到我的輪椅目錄,她們說:
"Oh, Dad! Dad! Look, you gotta get these, these flashy wheels -- you gotta get 'em!"
"爸!你看!你一定要買這種輪子會發光的輪椅!"
And I said, "Oh, girls, Dad is a very important journalist, that just wouldn't do at all."
而我說:"孩子們,我是位很有份量的記者 這跟我身份不符"
And of course, they immediately concluded,
當然,她們馬上說:
"Oh, what a bummer, Dad. Journalists aren't allowed to have flashy wheels. I mean, how important could you be then?" they said.
"爸,好可惜喔,你不被允許有發光的輪子 那你怎麼還能算有份量的記者呢?"
I went, "Wait a minute, all right, right -- I'll get the wheels." Purely out of protest,
為了反駁她們我說: "等等,好啦,我會買這種"
I got the flashy wheels, and I installed them and -- check this out. Could I have my special light cue please? (Laughter) Look at that! Now ... look at, look at this! Look at this!
我買了這台輪椅,裝上發光輪子 然後,你看看 可以把燈光暗下來嗎 (笑聲) 你看! 然後,你在看!
So what you are looking at here has completely changed my life, I mean totally changed my life. Instead of blank stares and awkwardness, now it is pointing and smiling!
你眼前看到的 完全改變我的生活 徹底的改變 以前我面對的是呆滯的眼神和尷尬 現在是指指點點和微笑
People going, "Awesome wheels, dude! Those are awesome! I mean, I want some of those wheels!" Little kids say, "Can I have a ride?" (Laughter)
人們說:老兄,這輪子超讚的 我也要有這種輪子! 小孩說:我可以坐坐看嗎? (笑聲)
And of course there's the occasional person -- usually a middle-aged male who will say, "Oh, those wheels are great! I guess they're for safety, right?" (Laughter) No! They're not for safety. No, no, no, no, no.
當然有時候有些人 通常是中年男子,會說: "喔!這輪子看起來超棒! 是有安全警示的作用對吧?" (笑聲) 不!它們不是安全警示 錯了錯了
What's the difference here, the wheelchair with no lights and the wheelchair with lights? The difference is intent. That's right, that's right; I'm no longer a victim. I chose to change the situation -- I'm the Commander of the Starship Wheelchair with the phaser wheels in the front. Right? Intent changes the picture completely. I choose to enhance this rolling experience with a simple design element. Acting with intent. It conveys authorship. It suggests that someone is driving. It's reassuring; people are drawn to it. Someone making the experience their own. Covering the tragic tune with something different, something radically different. People respond to that.
所以這兩者的差別 沒有發亮輪子的輪椅 和有發亮輪子的輪椅 差別在於設計目的 沒錯!這讓我不再是受難者 我決定改變現狀,我是星光輪椅艇的艦長 前有閃亮的輪子 設計目的徹底改變輪椅給人的感受 我選擇改善 坐輪椅的經驗 透過簡單的設計元素 行出它的設計目的 它展現自主性 表示我是駕駛 它讓人心安,吸引人 讓他們有不同的感受 掩蓋原本的悲劇觀感 而給人不同 極度不同的感受 人們會對此有所回應
Now it seems simple, but actually I think in our society and culture in general, we have a huge problem with intent. Now go with me here. Look at this guy. You know who this is? It's Anders Breivik. Now, if he intended to kill in Olso, Norway last year, dozens and dozens of young people -- if he intended to do that, he's a vicious criminal. We punish him. Life in prison. Death penalty in the United States, not so much in Norway. But, if he instead acted out of a delusional fantasy, if he was motivated by some random mental illness, he's in a completely different category. We may put him away for life, but we watch him clinically. It's a completely different domain. As an intentional murderer, Anders Breivik is merely evil. But as a dysfunctional, as a dysfunctional murderer/psychotic, he's something much more complicated. He's the breath of some primitive, ancient chaos. He's the random state of nature we emerged from. He's something very, very different.
看似簡單,但我認為 在我們的文化和社會中 我們在設計目的這部分有很大的問題 聽我說,這個人,你知道他是誰嗎? 他是前陣子的挪威殺人魔 如果他去年 在挪威奧斯陸 意圖殺死許多年輕人 如果這是他的意圖 他是個兇殘的兇手,我們會制裁他 判終生監禁 不像美國,挪威沒有死刑 但如果這是患妄想症下的行為 如果他是因為患了精神疾病才這樣做 這就完全不同了 我們也許會將他終生隔離 但我們會對它醫療監控 與刑罰完全不同 如果他是是意圖殺人犯 Anders Breivik是個極度兇殘的人 但如果他患有精神疾病 是個精神患者殺人犯 那這件事就更複雜了 他是某種 原始、古老混亂的產物 他的內在性格十分混亂 不像我們能控制本能 他是非常特殊的人
It's as though intent is an essential component for humanity. It's what we're supposed to do somehow. We're supposed to act with intent. We're supposed to do things by design. Intent is a marker for civilization.
目的性是人性中非常重要的一環 我們都必須根據其而做出反應 我們必須根據目的而行事 我們也必須根據設計而行事 目的性是文明的里程碑
Now here's an example a little closer to home: My family is all about intent. You can probably tell there are two sets of twins, the result of IVF technology, in vitro fertilization technology, due to some physical limitations I won't go into. Anyway, in vitro technology, IVF, is about as intentional as agriculture. Let me tell you, some of you may have the experience. In fact, the whole technology of sperm extraction for spinal cord-injured males was invented by a veterinarian. I met the dude. He's a great guy. He carried this big leather bag full of sperm probes for all of the animals that he'd worked with, all the different animals. Probes he designed, and in fact, he was really, really proud of these probes.
這是從我家舉的一個例子 我家人做什麼都與目的相關 你可以看得出來這裡有兩對雙胞胎 是試管受精科技的產物 是因為我個人的身體限制 細節就不說了 總之試管受精 其目的跟農業差不多 你也許也有這樣的經驗 事實上,從脊椎受傷的男子身上抽取精子的技術 是由一位獸醫發明的 我有見過這位老兄,是個很棒的人 他攜帶著一個大皮袋 裡頭充滿從種動物身上 抽取精子的用具 這些用具是他設計的 他也非常引以為傲
He would say, "You're right between horse and squirrel, John." (Laughter) But anyway, so when my wife and I decided to upgrade our early middle age -- we had four kids, after all -- with a little different technology that I won't explain in too much detail here -- my urologist assured me I had nothing whatsoever to worry about.
他會說:沒錯,馬跟松鼠基本上的用具都一樣 (笑聲) 總之,當我妻子和我決定 要讓我們中年生活更有品質 畢竟我們已經有四個小孩了 我們試了一種新的技術 細節我想我也不需要多談 我的泌尿科醫師說我什麼都不用擔心
"No need for birth control, Doc, are you sure about that?"
"醫生,你確定我不需要避孕嗎?"
"John, John, I looked at your chart. From your sperm tests we can confidently say that you're basically a form of birth control."
"約翰,我看了你的病例 由你精子的檢測結果 我們可以很有信心的說 你的基本上可以自體避孕"
Well! (Laughter) What a liberating thought! Yes! And after a couple very liberating weekends, my wife and I, utilizing some cutting-edge erectile technology that is certainly worthy of a TEDTalk someday but I won't get into it now, we noticed some familiar, if unexpected, symptoms. I wasn't exactly a form of birth control. Look at that font there. My wife was so pissed.
是嗎! (笑聲) 多麼令人鬆口氣的想法呀!太好了! 過了幾個快活的週末 我太太和我 使用了某些先進的勃起技術 這技術某天一定有成為TEDTalk主題的價值 但我今天沒辦法說 我們發現某些似曾相似 意料之外的徵象 我並沒有自體避孕的功能 你看那個字,我太太氣壞了
I mean, did a designer come up with that? No, I don't think a designer did come up with that. In fact, maybe that's the problem. And so, little Ajax was born. He's like our other children, but the experience is completely different. It's something like my accident, right? He came out of nowhere. But we all had to change, but not just react to the given; we bend to this new experience with intent. We're five now. Five. Facing the given with intent. Doing things by design. Hey, the name Ajax -- you can't get much more intentional than that, right? We're really hoping he thanks us for that later on. (Laughter)
我是說,這是設計師想出來的嗎? 不,我不認為這是設計師的主意 事實上,也許這才是問題所在 因此,小Ajax誕生了 他就像我們其他的小孩 但整個過程完全不同 這像是意外事件,對吧? 他莫名其妙就來了 但我們都需要改變 不要根據既成的事而反應 我們要讓新的經驗充滿目的性 我們現在有五個小孩了 將目的置入已給予的事物 依據設計行事 他的名字Ajax(各種技術混合體的意思) 充滿目的和意圖對吧 我們真希望他以後會感謝我們 (笑聲)
But I never became a designer. No, no, no, no. Never attempted. Never even close. I did love some great designs as I was growing up: The HP 35S calculator -- God, I loved that thing. Oh God, I wish I had one. Man, I love that thing. I could afford that. Other designs I really couldn't afford, like the 1974 911 Targa. In school, I studied nothing close to design or engineering; I studied useless things like the Classics, but there were some lessons even there -- this guy, Plato, it turns out he's a designer. He designed a state in "The Republic," a design never implemented. Listen to one of the design features of Plato's Government 4.0:
但我從未成為設計師 從沒試過,本行也離設計師很遠 但我的確成長過程中喜歡一些好的設計: 我超愛HP 35S計算機 老天,我多麼希望也有一台 超愛這玩意兒的 這是我買得起的 其它我買不起的設計是 1974年的保時捷911 Targa 我的教育背景離設計和工程學很遠 我學得是沒用的東西像是經典文學 但我還是有學到一些知識 這老兄,柏拉圖 原來也是設計師 他設計一種叫「理想國」的狀態 是一種從未被施行的設計 聽聽他設計的的一項特色 柏拉圖之政府4.0:
"The State in which the rulers are most reluctant to govern is always the best and most quietly governed, and the State in which they are most eager, the worst."
"當一個國家的統領者不願去統治時 是最理想跟最祥和的統治狀態 而當統治者野心勃勃時,國家狀態最慘"
Well, got that wrong, didn't we? But look at that statement; it's all about intent. That's what I love about it. But consider what Plato is doing here. What is he doing? It's a grand idea of design -- a huge idea of design, common to all of the voices of religion and philosophy that emerged in the Classical period. What was going on then? They were trying to answer the question of what would human beings do now that they were no longer simply trying to survive? As the human race emerged from a prehistoric chaos, a confrontation with random, brutal nature, they suddenly had a moment to think -- and there was a lot to think about. All of a sudden, human existence needed an intent. Human life needed a reason. Reality itself needed a designer. The given was replaced by various aspects of intent, by various designs, by various gods. Gods we're still fighting about. Oh yeah.
我們現在都做錯了,對吧? 但你看,這句話都與目的相關 這就是我愛它的地方 讓我們想想柏拉圖試圖要做什麼 這是個有宏大想法的設計 與大部分的宗教和哲學相似 從經典時期誕生 那時發生了什麼事呢? 他們試圖解答這個問題 人類若生活不只是單單為了求生存 該做些什麼 當人類過了史前混亂期後 與隨機、兇殘的的內在產生了衝突 人們開始思考 而有太說事情需要思考了 突然間,人類的存在需要目的性 人生在世是需要原因的 現實世界需要一位設計師 原本被賦予的 被各類不同的目的所取代 被設計取代 或被神明取代 是的,我們仍然與神爭戰
Today we don't confront the chaos of nature. Today it is the chaos of humanity's impact on the Earth itself that we confront. This young discipline called design, I think, is in fact the emerging ethos formulating and then answering a very new question: What shall we do now in the face of the chaos that we have created? What shall we do? How shall we inscribe intent on all the objects we create, on all the circumstances we create, on all the places we change? The consequences of a planet with 7 billion people and counting. That's the tune we're all covering today, all of us. And we can't just imitate the past. No. That won't do. That won't do at all.
如今我們不須面對混亂的內在 我們如今面對的混亂是人類對自然的影響 我認為,設計這個新興的領域 是新興的社會精神 組成並回答了一個新問題: 我們現在應該怎麼做 當我們面臨我們所創造的亂象 我們該怎麼做? 我們如何將目的性 置入我們創造的所有物品 不管在任何我們造成的情況 或我們所改變的地點? 70億甚至更多人口對地球所造成的後果 是我們全部人現今都必須面對的問題 而我們無法效仿過去 不,這是無法解決問題的 一點都沒有辦法
Here's my favorite design moment: In the city of Kinshasa in Zaire in the 1990s, I was working for ABC News, and I was reporting on the fall of Mobutu Sese Seko, the dictator, the brutal dictator in Zaire, who raped and pillaged that country. There was rioting in the middle of Kinshasa. The place was falling apart; it was a horrible, horrible place, and I needed to go and explore the center of Kinshasa to report on the rioting and the looting. People were carrying off vehicles, carrying off pieces of buildings. Soldiers were in the streets shooting at looters and herding some in mass arrests. In the middle of this chaos, I'm rolling around in a wheelchair, and I was completely invisible. Completely. I was in a wheelchair; I didn't look like a looter. I was in a wheelchair; I didn't look like a journalist, particularly, at least from their perspective. And I didn't look like a soldier, that's for sure. I was part of this sort of background noise of the misery of Zaire, completely invisible. And all of a sudden, from around a corner, comes this young man, paralyzed, just like me, in this metal and wood and leather pedal, three-wheel tricycle-wheelchair device, and he pedals up to me as fast as he can.
這就是我最愛的設計時機: 在1990年代薩伊的金夏沙城 我任職於ABC新聞台 正在報導Mobutu Sese Seko的垮台 他是薩依殘暴的獨裁者 他掠奪洗劫了薩伊 當時在金夏沙城中有場暴動 那城市正在瓦解,情況很糟糕 而我必須前往並探查金夏沙城中心 以報導那場暴動與掠奪 那裡的人因車輛或建築物碎片而喪命 士兵在街道上射擊搶匪並逮捕許多人 在這場動亂中,我坐著輪椅四處移動 而我就像隱形似的不受注意 我坐在輪椅上,我並不像搶匪 我坐輪椅,也太不像記者 至少從他們的觀點而言 而我當然也不像士兵 我在薩伊這場不幸的事件中像背景一樣 完全隱形 而突然之間,從某個角落 出現一個像我一樣癱瘓的年輕人 在由金屬、木頭和皮革所做成 一種有踏板的三輪輪椅裝置 他極快速的踩著踏板到我面前
He goes, "Hey, mister! Mister!"
他說:嘿!先生!先生!
And I looked at him -- he didn't know any other English than that, but we didn't need English, no, no, no, no, no. We sat there and compared wheels and tires and spokes and tubes. And I looked at his whacky pedal mechanism; he was full of pride over his design. I wish I could show you that contraption. His smile, our glow as we talked a universal language of design, invisible to the chaos around us. His machine: homemade, bolted, rusty, comical. My machine: American-made, confident, sleek. He was particularly proud of the comfortable seat, really comfortable seat he had made in his chariot and its beautiful fabric fringe around the edge. Oh, I wish I'd had those sparkly wheels back then to have shown him, man! He would have loved those! Oh yeah. He would have understood those; a chariot of pure intent -- think about it -- in a city out of control. Design blew it all away for a moment. We spoke for a few minutes and then each of us vanished back into the chaos. He went back to the streets of Kinshasa; I went to my hotel. And I think of him now, now ...
而我看著他 他除了這句外不會講其他的英文 但我們也不需要英文 我們坐在那比較輪子、輪胎、輪輻和內胎 而我看著這怪異的踏板裝置 那年輕人對這項設計十分驕傲 我真希望我能給你看看那玩意兒 他的笑容,我們散發的光采 當我們用全球共通的語言溝通 也就是設計 讓我們無視周邊的混亂 他的機器:自製、粗糙、生鏽又古怪 我的機器:美國製造、自信、時髦 他對他舒服的座椅感到非常自豪 是他為這座駕親自打造 美麗的布製流蘇點綴著邊緣 喔!我當時多希望我有發光的輪子可以秀給他看 他一定會很喜歡這個 他一定會了解 一台專為目的而打造的座駕 你想想 在這失去控制的城市 設計讓這一切暫時消失 我們聊了一下子 然後各自隱身回到那場動亂中 他回到金夏沙城的街道 我回到我的旅館 而我現在想到他
And I pose this question. An object imbued with intent -- it has power, it's treasure, we're drawn to it. An object devoid of intent -- it's random, it's imitative, it repels us. It's like a piece of junk mail to be thrown away. This is what we must demand of our lives, of our objects, of our things, of our circumstances: living with intent. And I have to say that on that score, I have a very unfair advantage over all of you.
現在,我提出這個問題 一項充滿目的性的物品 它是很有能力的 很寶貴,我們都被吸引 一項沒有目的性的物品 它是隨機、學人家的 他讓我們感到厭惡 像是被我們丟棄的垃圾信件 這是我們生命中必須要求的 不論是物品、我們的事物、環境 都要活在目的中 而我必須說 講到這,我有一項比你們都還要好的優點
And I want to explain it to you now because this is a very special day. Thirty-six years ago at nearly this moment, a 19-year-old boy awoke from a coma to ask a nurse a question, but the nurse was already there with an answer.
我現在想向你們解釋 因為這是很特別的一天 大約36年前的這個時刻 一位19歲的男孩從昏迷中醒來 問了護士一個問題 但那護士早已在那預備好回答
"You've had a terrible accident, young man. You've broken your back. You'll never walk again."
"年輕人,你遇上一場不幸的意外 你的脊椎斷了 你從此以後都不能走路了"
I said, "I know all that -- what day is it?" You see, I knew that the car had gone over the guardrail on the 28th of February, and I knew that 1976 was a leap year.
我說:"我知道--今天是幾日?" 我當時知道我的車在2月28日衝出了護欄 而我知道1976年是閏年
"Nurse! Is this the 28th or the 29th?"
"護士! 今天是28還是29日?"
And she looked at me and said, "It's March 1st."
而她看著我說 "今天是3月1號"
And I went, "Oh my God. I've got some catching up to do!" And from that moment, I knew the given was that accident; I had no option but to make up this new life without walking. Intent -- a life with intent -- lived by design, covering the original with something better. It's something for all of us to do or find a way to do in these times.
而我說:"我的天啊 我必須趕緊跟上進度" 從那刻起,我知道 那場意外是被給予的 我沒有選擇 只能讓我不能走路的新生命更好 目的 一個有目的的生命 活在設計中 用更好的事物 掩蓋原始的狀態 我們在這種狀況中都必須設法這麼做
To get back to this, to get back to design, and as my daddy suggested a long time ago,
回到這裡 回到設計 就像我父親很久以前建議的
"Make the song your own, John. Show everybody what you intend."
"約翰,讓這首歌充滿你的風格吧 讓大家看到你的目的是什麼"
Daddy, this one's for you. (Music)
爸 這是為你而演奏的 (音樂)
♫ Jo Jo was a man who thought he was a loner ♫ ♫ but he was another man. ♫ ♫ Jo Jo left his home in Tucson, Arizona to attend a California bash. ♫ ♫ Get back, get back, ♫ ♫ get back to where you once belonged. ♫ ♫ Get back, get back, ♫ ♫ get back to where you once belonged. ♫ (Applause)
♫ Jo Jo認為自己是個孤單的人 ♫ ♫ 但他其實不是 ♫ ♫ Jo Jo離開亞利桑那的土桑市 去加州參加一場聚會 ♫ ♫ 回去吧,回去吧 ♫ ♫ 回到曾經屬於你的地方 ♫ ♫ 回去吧,回去吧 ♫ ♫ 回到曾經屬於你的地方 ♫ (掌聲)