I think it was in my second grade that I was caught drawing the bust of a nude by Michelangelo. I was sent straight away to my school principal, and my school principal, a sweet nun, looked at my book with disgust, flipped through the pages, saw all the nudes -- you know, I'd been seeing my mother draw nudes and I'd copy her -- and the nun slapped me on my face and said, "Sweet Jesus, this kid has already begun."
我想,我是在二年級的時候,被老師發現 我在摹繪米開朗基羅的裸女半胸畫像。 我被立即送往校長室。 我的校長是一個很慈祥的修女, 她看著我的書本,一臉厭惡的翻著書本。 看到的全是裸體畫。 你要知道,我曾看見我媽媽在畫裸體畫,而我只是模仿她。 那個修女打了我一巴掌,然後說: 「親愛的耶和華呀! 這個孩子已經開始了!」
I had no clue what she was talking about, but it was convincing enough for me never to draw again until the ninth grade. Thanks to a really boring lecture, I started caricaturing my teachers in school. And, you know, I got a lot of popularity. I don't play sports. I'm really bad at sports. I don't have the fanciest gadgets at home. I'm not on top of the class. So for me, cartooning gave me a sense of identity. I got popular, but I was scared I'd get caught again. So what I did was I quickly put together a collage of all the teachers I had drawn, glorified my school principal, put him right on top, and gifted it to him. He had a good laugh at the other teachers and put it up on the notice board. (Laughter) This is a part of that. And I became a school hero. All my seniors knew me. I felt really special.
我不明白她在說什麼, 但這足夠使我不再畫畫了。 直到九年級, 要感謝一門非常無聊的課, 我開始將老師們畫成漫畫人物。 你知道嗎?從那時開始我愈來愈受歡迎了。 我不從事任何運動,我的體育非常差。 我家裏沒有昂貴的電子產品。 我在班上沒有名列前茅。 所以對我來說,畫漫畫帶給我一些認同感。 我變得受歡迎,但我怕再次被逮著。 因此我很快地把所有我畫過的老師 集結成美術拼貼, 彰顯我的校長,把他放在最頂端, 然後把這送給他。 他對其他老師的卡通人物大笑, 然後把它貼在公告欄上。 (笑聲) 這是其中的一部分。 因此我成為學校裡的英雄。 所有學長都認識我,我感覺自己是個特別的人。
I have to tell you a little bit about my family. That's my mother. I love her to bits. She's the one who taught me how to draw and, more importantly, how to love. She's a bit of a hippie. She said, "Don't say that," but I'm saying it anyway. The rest of my family are boring academics, busy collecting Ivy League decals for our classic Ambassador car. My father's a little different. My father believed in a holistic approach to living, and, you know, every time he taught us, he'd say, "I hate these books, because these books are hijacked by Industrial Revolution."
我要告訴你一些關於我家庭的事。 這是我的媽媽,我愛她的一切。 她教我如何繪畫,更重要的,如何去愛。 她有點嬉皮。 她會說:「不要這樣說我。」 但我還是要說。 其餘的家庭成員都是沉悶的學院派。 他們忙於為我們經典的大使牌汽車收集長春藤聯盟的校徽。 我的父親有些不同。 我的父親相信全人生活哲學。 你知道,每一次他教導我們, 他會說:「我不喜歡這些書, 因為這些書被工業革命所綁架。」
While he still held that worldview, I was 16, I got the best lawyer in town, my older brother Karthik, and I sat him down, and I said, "Pa, from today onwards I've decided I'm going to be disciplined, I'm going to be curious, I'm going to learn something new every day, I'm going to be very hard working, and I'm not going to depend on you emotionally or financially." And he was very impressed. He was all tearing up. Ready to hug me. And I said, "Hold that thought." I said, "Can I quit school then?"
當他仍保有那個世界觀時,我當年十六歲。 我得到全城鎮最好的律師。 我的哥哥,Karthik。 我讓他跟我一起坐下然後說,爸爸 從今天起我決定 我會守規舉, 我會保持好奇心, 我會每天學習新知, 我會很努力工作, 不論情感上或經濟上, 我都不會再依賴你, 他非常感動,淚流滿面,還準備擁抱我。 而我說:「慢著!」 我說:「那麼我可以退學嗎?」
But, to cut a long story short, I quit school to pursue a career as a cartoonist. I must have done about 30,000 caricatures. I would do birthday parties, weddings, divorces, anything for anyone who wanted to use my services. But, most importantly, while I was traveling, I taught children cartooning, and in exchange, I learned how to be spontaneous. And mad and crazy and fun. When I started teaching them, I said let me start doing this professionally. When I was 18 I started my own school. However, an 18 year-old trying to start a school is not easy unless you have a big patron or a big supporter.
長話短說, 我退學,朝著成為職業卡通插畫家邁進。 我應該畫過約三萬幅漫畫。 我會為生日派對、婚禮、離婚、 或任何需要我服務的人畫畫。 但最重要的事情是,當我在旅行時, 我會教導孩子們漫畫。 作為交換的是,我學到了慷慨, 憤怒,瘋狂及嬉戲。 當我開始教導他們時,我說:讓我以此為正職。 當我十八歲時,我開辦我自己的學校。 但是,作為一個十八歲的青少年,嘗試開辦學校 是不容易的,除非你有一個大財團 或大贊助者。
So I was flipping through the pages of the Times of India when I saw that the Prime Minister of India was visiting my home town, Bangalore. And, you know, just like how every cartoonist knows Bush here, and if you had to meet Bush, it would be the funnest thing because his face was a cartoonist's delight. I had to meet my Prime Minister. I went to the place where his helicopter was about to land. I saw layers of security. I caricatured my way through three layers by just impressing the guards, but I got stuck. I got stuck at the third. And what happened was, to my luck, I saw a nuclear scientist at whose party I had done cartoons. I ran up to him, and said, "Hello, sir. How do you do?" He said, "What are you doing here, Raghava?" I said, "I'm here to meet the Prime Minister." He said, "Oh, so am I." I hopped into his car, and off we went through the remaining layers of security. (Applause) Thank you. I sat him down, I caricatured him, and since then I've caricatured hundreds of celebrities.
因此我翻閱著印度時報, 當我看到印度總理 正在參觀我的故鄉邦加洛時, 你知道,就好像是 在美國,所有漫畫家都知道布希一樣。 而如果你能和布希會面, 這應該會是最有趣的事情,因為 他的臉孔是漫畫家的至愛。 我一定要見我的總理。 我去了那個 他的直昇機將會降落的地方, 我看到了多層的警衛, 我用我的漫畫買通那些保全人員, 因此通過了三層保安線。 但我還是被擋住了,我在第三層保安線被阻。 接著發生的事是,我很幸運地, 見到了一位核子科學家, 我曾在他的派對中過漫畫。 我跑到他的身旁然後說:「你好,先生。你最近好嗎?」 他回答說:「Raghava,你在這幹什麼呀?」 我說:「我要與總理見面。」 他說:「噢,我也是。」 我跳上他的車,然後前進, 通過剩下的保全警衛圈。 (掌聲) 謝謝。 我讓總理在我面前坐下,開始畫畫。 從那以後,我畫過數百名的名人。
This is one I remember fondly. Salman Rushdie was pissed-off I think because I altered the map of New York, if you notice. (Laughter) Anyway, the next slide I'm about to show you -- (Laughter) Should I just turn that off? The next slide I'm about to show you, is a little more serious. I was hesitant to include this in my presentation because this cartoon was published soon after 9/11. What was, for me, a very naive observation, turned out to be a disaster. That evening, I came home to hundreds of hate mails, hundreds of people telling me how they could have lived another day without seeing this. I was also asked to leave the organization, a cartoonists' organization in America, that for me was my lifeline. That's when I realized, you know, cartoons are really powerful, art comes with responsibility.
這一個令我印象最深刻。 我想 Salman Rushdie 會很忿怒, 因為如果你有發現的話,我更動了紐約的地圖。 (笑聲) 無論如何,我的下一張投影片 (笑聲) 我是不是應該把它關掉? 我的下一張投影片, 有一些嚴肅。 我曾猶豫是否應把它加進我的演講中, 因為這個漫畫出版時, 剛好九一一事件發生不久。 這是對我來說是一個天真的觀察, 結果演變成一個災難。 那一個晚上,當我回到家,上百封充滿憤怒的電子郵件等著我。 數百人告訴我, 看到這幅漫畫讓他們活不下去。 我亦被要求離開公司, 一個在美國的漫畫家機構。 它就像是我的生命。 從那時候起,我發現漫畫是如此的具有威力, 藝術也需要承擔責任。
Anyway, what I did was I decided that I need to take a break. I quit my job at the papers, I closed my school, and I wrapped up my pencils and my brushes and inks, and I decided to go traveling. When I went traveling, I remember, I met this fabulous old man, who I met when I was caricaturing, who turned out to be an artist, in Italy. He invited me to his studio. He said, "Come and visit." When I went, I saw the ghastliest thing ever. I saw this dead, naked effigy of himself hanging from the ceiling. I said, "Oh, my God. What is that?" And I asked him, and he said, "Oh, that thing? In the night, I die. In the morning, I am born again." I thought he was koo koo, but something about that really stuck. I loved it. I thought there was something really beautiful about that. So I said, "I am dead, so I need to be born again."
無論如何,我當時決定 我需要休息一段時間。 我放棄我在報社的工作,我關閉我的學校, 我把我的鉛筆,畫具及彩墨都封起來。 而我決定去旅行。 當我去旅行時,我記得 我遇見這位優秀的老人。 遇見他時我正在畫漫畫。 原來他是在意大利的一位藝術家。 他邀請我去他的工作室。他說:「來參觀吧!」 當我到那邊的時候,我見到有生以來看到最恐怖的東西。 我見到這個死去的,裸體的他的肖像 從天花板懸掛下來。 我說:「噢,我的天呀,這是什麼?」 我問他。他回答說: 「噢,那個東西? 在晚上,我死去 在早上,我重生。」 我想他有點詭異。 但某個東西在我腦袋中深植不去。 我很喜歡。我想那之中某個東西是美麗的。 所以我說:「我死了,所以我必須重生。」
So, I wanted to be a painter like him, except, I don't know how to paint. So, I tried going to the art store. You know, there are a hundred types of brushes. Forget it, they will confuse you even if you know how to draw. So I decided, I'm going to learn to paint by myself. I'm going to show you a very quick clip to show you how I painted and a little bit about my city, Bangalore. (Music) They had to be larger than life. Everything had to be larger. The next painting was even bigger. And even bigger. And for me it was, I had to dance while I painted. It was so exciting. Except, I even started painting dancers. Here for example is a Flamenco dancer, except there was one problem. I didn't know the dance form, so I started following them, and I made some money, sold my paintings and would rush off to France or Spain and work with them. That's Pepe Linares, the renowned Flamenco singer.
我希望成為一個像他那樣的畫家。 但是,我不懂怎樣畫畫。 因此,我嘗試走訪畫具店。 你知道,那裡有上百種的畫筆。 忘記它吧!它們會讓你糊塗的, 最算你懂得如何繪畫。 因此我決定了,我要自學畫畫。 我要給你們看一段短片, 讓你們看看我如何畫畫及關於 我的故鄉邦加洛的一些東西。 (音樂) 它們必須要比生命還大。 所有東西都要很大。 下一幅畫更大, 再更大。 對我來說,我需要跳舞來作畫。 我非常的興奮。 除此以外,我也開始去畫舞者。 舉例來說,這是一位佛朗明哥舞者。 但是這裡有一個問題。 我不懂那些舞蹈,所以我開始跟隨著他們。 我賺了一些錢。 我把我的畫賣掉,然後衝往 法國或西班牙與他們一起工作。 這是一位有名的佛朗明哥歌手。
But I had one problem, my paintings never danced. As much energy as I put into them while making them, they never danced. So I decided -- I had this crazy epiphany at two in the morning. I called my friends, painted on their bodies, and had them dance in front of a painting. And, all of a sudden, my paintings came alive. And then I was fortunate enough to actually perform this in California with Velocity Circus. And I sat like you guys there in the audience. And I saw my work come alive. You know, normally you work in isolation, and you show at a gallery, but here, the work was coming alive, and it had some other artists working with me.
但我有一個問題,我的畫不能跳舞。 不論我在畫中注入多少能量, 它們也不能跳舞。 所以我決定 — 我在某天凌晨兩點突然有一個瘋狂的點子。 我打電話給我的朋友,在他們身上繪畫, 然後要他們在一幅畫前面跳舞。 突然間我的畫有了生命, 而我幸運地, 能在加州與 Velocity 馬戲團一起表演。 我像你們一樣坐在觀眾席中 看見我的作品彷彿有了生命。 你知道的,通常你獨立創作, 然後你在畫廊裡展出作品。 但在這裡,作品鮮活了起來。 而且有其他不同的藝術家與我一起合作。
The collaborative effort was fabulous. I said, I'm going to collaborate with anybody and everybody I meet. I started doing fashion. This is a fashion show we held in London. The best collaboration, of course, is with children. They are ruthless, they are honest, but they're full of energy and fun. This is a work, a library I designed for the Robin Hood Foundation. And I must say, I spent time in the Bronx working with these kids. And, in exchange for me working with them, they taught me how to be cool. I don't think I've succeeded, but they've taught me. They said, "Stop saying sorry. Say, my bad." (Laughter)
這樣的合作成效是極好的。 我說:從現在起我將會與所有我遇見的人合作。 我開始從事時裝設計。 這是在倫敦舉行的時裝展。 最好的合作當然是和小朋友。 他們是無情的,他們是誠實的, 但他們充滿活力及趣味。 這個作品是我為羅賓漢基金會設計的圖書館。 我必須要說,我花時間在布隆克斯區 與孩子一起工作。 與他們一起工作換來的是, 他們教我如何變酷。 我不認為我學會了,但他們教我, 他們說:「不要說對不起。說:我的錯。」 (笑聲)
Then I said, all this is good, but I want to paint like a real painter. American education is so expensive. I was in India, and I was walking down the streets, and I saw a billboard painter. And these guys paint humongous paintings, and they look really good. And I wondered how they did it from so close. So, one day I had the opportunity to meet one of these guys, and I said, "How do you paint like that? Who taught you?" And he said, "Oh, it's very easy. I can teach you, but we're leaving the city, because billboard painters are a dying, extinct bunch of artists, because digital printing has totally replaced them and hijacked them." I said, in exchange for education in how to paint, I will support them, and I started a company. And since then, I've been painting all over the place. This is a painting I did of my wife in my apartment. This is another painting. And, in fact, I started painting on anything, and started sending them around town.
然後我說,這些全部都很好。 但我想畫得像個真正的畫家。 美國的教育是很昂貴的。 我當時在印度時,我在街上行走時, 我見到一位大型廣告板的畫家。 這些傢伙畫著巨型的畫。 而它們看起來非常好。 我不禁懷疑他們是如何能在這麼近距離去完成它。 所以,當有一天我有機會與他們其中一個見面。 我問:「你們是如何的能夠畫成那樣? 誰教你的?」 他說:「噢,這很容易,我可以教你。 但我們即將離開這個城市, 因為廣告板畫家正逐漸式微, 很多藝術家沒了飯碗。 因為數位印刷完全地取代了他們及劫持了他們。」 我說,為了能學會如何繪畫我將會 支持他們及成立一間公司作為回報。 自此以後, 我在很多地方畫畫。 這是在我公寓一幅我所畫的我太太的畫像。 這是另一幅畫。 事實上,我開始在所有東西上畫畫, 亦開始把它們運到不同的城鎮去。
Since I mentioned my wife, the most important collaboration has been with her, Netra. Netra and I met when she was 18. I must have been 19 and a half then, and it was love at first sight. I lived in India. She lived in America. She'd come every two months to visit me, and then I said I'm the man, I'm the man, and I have to reciprocate. I have to travel seven oceans, and I have to come and see you. I did that twice, and I went broke. So then I said, "Nets, what do I do?" She said, "Why don't you send me your paintings? My dad knows a bunch of rich guys. We'll try and con them into buying it, and then..." But it turned out, after I sent the works to her, that her dad's friends, like most of you, are geeks. I'm joking. (Laughter) No, they were really big geeks, and they didn't know much about art. So Netra was stuck with 30 paintings of mine.
既然我提到了我的太太, 最重要的合作 就是與她, Netra。 Netra 和我認識時,她十八歲。 我當時應該是十九歲半吧。 那是一見鍾情。 我住在印度,她住在美國。 她每兩個月來印度看我一次。 而我說,我是男人, 我是男人,我應該付出。 我應該綜橫七海,所以應該是我來見你的。 我去了兩次,然後我就破產了。 然後我問:「Nets, 我應該怎樣做呢?」 她說:「你何不將你的畫寄給我? 我的父親認識很多有錢人, 我們可以嘗試誘惑他們去買, 然後 ...」 但到最後, 當我把作品寄給她, 她的父親的朋友, 跟你們多數一樣,都是怪胎。 我開玩笑的。 (笑聲) 不,他們真的都是大怪胎。 而且他們不懂藝術。 Netra 就這樣囤積了三十幅我的畫作。
So what we did was we rented a little van and we drove all over the east coast trying to sell it. She contacted anyone and everyone who was willing to buy my work. She made enough money, she sold off the whole collection and made enough money to move me for four years with lawyers, a company, everything, and she became my manager. That's us in New York. Notice one thing, we're equal here. Something happened along the line. (Laughter)
因此我們便租了一個小貨車。 我們跑遍全美國東岸嘗試把它們賣掉。 她聯絡所有 願意買我的作品的人。 她賺了足夠的錢,她賣掉了整個蒐藏。 賺了足夠的錢,可以讓我搬過來住四年, 律師費,公司,所有的東西 她也成為我的經理人。 這是我倆在紐約, 注意一件事, 我們在這裡是平等的。 有些事情藏在字裡行間。 (笑聲)
But this brought me -- with Netra managing my career -- it brought me a lot of success. I was really happy. I thought of myself as a bit of a rockstar. I loved the attention. This is all the press we got, and we said, it's time to celebrate. And I said that the best way to celebrate is to marry Netra. I said, "Let's get married." And I said, "Not just married. Let's invite everyone who's helped us, all the people who bought our work." And you won't believe it, we put together a list of 7,000 people, who had made a difference -- a ridiculous list, but I was determined to bring them to India, so -- a lot of them were in India. 150 artists volunteered to help me with my wedding. We had fashion designers, installation artists, models, we had makeup artists, jewelry designers, all kinds of people working with me to make my wedding an art installation. And I had a special installation in tribute to my in-laws. I had the vegetable carvers work on that for me.
有 Netra 在管理我的事業 讓我非常成功。 我非常高興。 我想像自己就好像一個搖滾巨星。 我喜歡被注意。 這是所有媒體上的報導,我們說, 是時候慶祝了! 而我說最好的慶祝方式是迎娶 Netra。 我說:「我們結婚吧!」 我說,不只是結婚而已。讓我們邀請所有幫過我們的人。 所有買過我們作品的人。 你不會相信的,我們列了一張七千人的名單。 那些改變我的人生的人,一張很滑稽的名單。 但我決心帶他們到印度, 很多人本來就在印度。 一百五十位藝術家自願幫忙籌辦婚禮。 我們有時裝設計師,裝置藝術家, 模特兒,我們亦有化妝師,珠寶設計師 所有人與我一起, 讓我的婚禮成為一個藝術裝置。 我有一個特別的裝置獻給外父外母。 那是一個蔬菜雕刻家為我製作的。
But all this excitement led to the press writing about us. We were in the papers, we're still in the news three years later, but, unfortunately, something tragic happened right after. My mother fell very ill. I love my mother and I was told all of a sudden that she was going to die. And they said you have to say bye to her, you have to do what you have to do. And I was devastated. I had shows booked up for another year. I was on a high. And I couldn't. I could not.
但所有的熱情也讓 傳播媒體報導我們。 我們上了當時的報紙,三年後新聞上仍有關於我們的報導。 但,不幸地,有一些悲劇隨後發生, 我媽媽病得非常嚴重。 我愛我的媽媽, 忽然間,我被告知她將會死去, 且他們要我跟她告別, 你要做你應該要做的事。 我身心交瘁。 我的畫展已經被預約到來年, 我正在事業的頂峰。 而我不能, 不能。
My life was not exuberant. I could not live this larger than life person. I started exploring the darker abscesses of the human mind. Of course, my work turned ugly, but another thing happened. I lost all my audiences. The Bollywood stars who I would party with and buy my work disappeared. The collectors, the friends, the press, everyone said, "Nice, but thank you." "No thank you," was more like it. But I wanted people to actually feel my work from their gut, because I was painting it from my gut. If they wanted beauty, I said, this is the beauty I'm willing to give you. It's politicized. Of course, none of them liked it.
我的生命不是生氣勃勃的, 我不能繼續實現我的雄心壯志, 我開始探索人類思想黑暗的膿瘡。 當然, 我的作品變得醜陋。 但另一件事發生了。 我失去了所有的聽眾。 那些與我一起開派對的寶萊塢明星 及我的工作隨之而消失。 那些收藏家,朋友,傳媒, 所有人都說, 好,但謝了 不,謝謝你,可能更恰當。 但我希望人們能真正 從他們的內心感受我的作品, 因為我的畫是發自我內心的。 如果他們要的是美麗, 而我說,這是我願意給你的美麗。這太政治化了。 當然,沒有人喜歡它。
My works also turned autobiographical. At this point, something else happened. A very, very dear friend of mine came out of the closet, and in India at that time, it was illegal to be gay, and it's disgusting to see how people respond to a gay person. I was very upset. I remember the time when my mother used to dress me up as a little girl -- that's me there -- because she wanted a girl, and she has only boys. (Laughter) Anyway, I don't know what my friends are going to say after this talk. It's a secret.
我的作品也變成自傳式的。 在這一刻,有另一些事發生了, 有一個我非常、非常親密的朋友, 出櫃了。 在印度,當時同性戀是非法的, 看著別人對待這些同性戀者是非常令人討厭。 我非常的失落。 我記得母親通常把我打扮成 一個小女孩 — 那個就是我了 — 因為她好想要一個女兒,但她只有兒子。 (笑聲) 無論如何, 我不知道我的朋友在這個演講之後會說些什麼, 這是一個秘密。
So, after this, my works turned a little violent. I talked about this masculinity that one need not perform. And I talked about the weakness of male sexuality. This time, not only did my collectors disappear, the political activists decided to ban me and to threaten me and to forbid me from showing. It turned nasty, and I'm a bit of a chicken. I can't deal with any threat. This was a big threat.
在這之後,我的作品轉趨暴力。 我討論這個不一定要採行的男性象徵, 我討論男性性別上的軟弱。 在這時,不但我的收藏家消失了, 那些政治活動家亦決定禁止我、 恐嚇我 和阻止我展覽。 這變得有點骯髒,我有點兒退縮。 我不能應付任何威脅,而這是一個很大的威脅。
So, I decided it was time to end and go back home. This time I said let's try something different. I need to be reborn again. And I thought the best way, as most of you know who have children, the best way to have a new lease on life, is to have a child. I decided to have a child, and before I did that, I quickly studied what can go wrong. How can a family get dysfunctional? And Rudra was born. That's my little son.
因此我認為這是時候, 把一切告一段落,然後回家去。 這一次,我說,我要嘗試一些不同的東西, 我需要再次重生。 我想,相信大家有孩子的都知道, 最好的方法就是與生命立下一個新的契約, 就是有一個孩子。 我決定要一個孩子。 我這麼做之前,我很快地研究什麼地方可能會出錯, 怎樣會令一個家庭功能失調。 然後 Rudra 出生了。 他是我的兒子,
And two magical things happened after he was born. My mother miraculously recovered after a serious operation, and this man was elected president of this country. You know I sat at home and I watched. I teared up and I said that's where I want to be. So Netra and I wound up our life, closed up everything we had, and we decided to move to New York. And this was just eight months ago.
在他出生後有兩件奇妙的事情發生了, 我媽媽經過一連串的手術後, 奇蹟似地康復了。 而這個人當上了這個國家的總統, 你知道我坐在家中看著選舉結果, 我感動地流淚, 我說那是我想生活的地方。 因此, Netra 和我將我們的生命結清, 把我們所有的事情告一段落, 我們決定搬到紐約去。 這只是八個月前的事,
I moved back to New York, my work has changed. Everything about my work has become more whimsical. This one is called "What the Fuck Was I Thinking?" It talks about mental incest. You know, I may appear to be a very nice, clean, sweet boy. But I'm not. I'm capable of thinking anything. But I'm very civil in my action, I assure you. (Laughter) These are just different cartoons.
我搬回紐約, 我的作品改變, 所有有關我的作品變得更異想天開。 這個叫做:「我究竟在想什麼?」 它表達有關心理的亂倫。 你知道, 我看起來好像是一個友善,清潔,可愛的男孩 但我不是,我有能力想像任何東西, 但我的行為是非常文明的,我向你們保證。 (笑聲) 這些只是不同的漫畫。
And, before I go, I want to tell you a little story. I was talking to mother and father this morning, and my dad said, "I know you have so much you want to say, but you have to talk about your work with children." So I said, okay.
在我結束之前, 我想告訴你們一個小故事。 今天早上我和我爸媽在談話, 我爸爸說:「我知道你有很多東西想要說, 但你要分享你和孩子們一起工作的事情。」 我說,好。
I work with children all over the world, and that's an entirely different talk, but I want to leave you with one story that really, really inspired me. I met Belinda when she was 16. I was 17. I was in Australia, and Belinda had cancer, and I was told she's not going to live very long. They, in fact, told me three weeks. I walk into her room, and there was a shy girl, and she was bald, and she was trying to hide her baldness. I whipped out my pen, and I started drawing on her head and I drew a crown for her. And then, we started talking, and we spent a lovely time -- I told her how I ended up in Australia, how I backpacked and who I conned, and how I got a ticket, and all the stories. And I drew it out for her. And then I left. Belinda died and within a few days of her death, they published a book for her, and she used my cartoon on the cover. And she wrote a little note, she said, "Hey Rags, thank you for the magic carpet ride around the world."
我在全世界不同的地方和孩子工作。 這將會是另一場演講, 但最後我想講一個故事, 它大大的啟發了我。 我認識 Belinda 時她十六歲, 我十七歲。 我在澳洲。 Belinda 得了癌症, 我被告知她不能活多久了。 事實上,他們告訴我,她只剩三星期。 我步入她的房間, 她是個害羞的女孩。 她沒有頭髮,她嘗試遮掩它。 我拿出我的筆, 然後在她的頭上作畫。 我畫了一個皇冠給她。 跟著我們說起話來。我們有一段美好的時光 — 我告訴她,我如何來到澳洲, 我如何當個背包客,一些與我不合的人和我如何得到票, 所有故事。 我把它畫出來給她。 然後我走了。 Belinda 死了。 在她死去的幾天內, 他們為她出版了一本書。 她用了我的漫畫作為封面。 她寫了一個小便條給我。她說: 嗨! Rags ,謝謝你的魔毯帶我環遊世界。」
For me, my art is my magic carpet ride. I hope you will join me in this magic carpet ride, and touch children and be honest. Thank you so much. (Applause)
對我來說, 我的藝術就是我的魔毯旅程。 我希望你們也會加入我的魔毯旅程, 去感動孩子和保持真誠。 謝謝各位。 (掌聲)