解讀時尚的拉塞爾威斯布魯克

Russell Westbrook doesn't do a lot of talking about his work. This makes him an outlier among elite athletes. When asked to expound on the details of a game, Westbrook generally responds in a minimal monotone.

對於他的工作，拉塞爾-威斯布魯克並無太多話可說。這使他成爲了精英運動員中的一個異類。當被問及描述一場比賽的細節時，威斯布魯克只會用小聲且單調的聲音給予泛泛的回答。

For the past eight years, that laconic curtness on topics pertaining to being a member of the Thunder has been in direct opposition to the world's overwhelming interest in his relationship with Kevin Durant.

在過去八年裏，每當被問及與自己身爲雷霆隊的一員這一身份有關的問題時，威斯布魯克總會給予這樣簡潔卻唐突無禮的回答，而這與全世界對他與凱文-杜蘭特之間的關係所展現出的極大興趣產生了直接的對立關係。

Russell would probably say he does his talking on the court. Which is fair. (He practically speaks in tongues after dunks.) I would argue that he also does a lot of talking in code.

拉塞爾或許會說他在球場上將自己的言行付諸行動。這並無道理。（在扣籃之後，他幾乎每次都說些人們聽不懂的話。）我認爲他的打扮也很有寓意。

Westbrook, who signed an $85 million extensions with the Thunder in August, strode into Oracle Arena last week wearing a white tee, white jeans, and a blaring orange work bib with the words "Official Photographer" emblazoned across it.

八月與雷霆隊簽下8500萬美金續約合同的威斯布魯克在上星期身着白色T恤、白色牛仔褲和鮮豔的橙色工裝褲上身——“官方攝像師”幾個字顯眼地用紋章刻在上面——大步跨入甲骨文球館。

Kevin Durant, Russ's former teammate of eight years, has a well-known interest in photography and attended Super Bowl 50 as a photojournalist for the august virtual pages of The Players' Tribune.

與威斯布魯克同處一隊八年的前隊友凱文-杜蘭特對攝影的興趣廣爲人知，他也作爲球星看臺網八月虛擬頁面的新聞攝影記者參加了超級碗50週年的決賽。

On the Fourth of July, KD split Oklahoma City for the Bay Area. (Dumping news during a long holiday weekend is elite-level news dumping.) He informed Russ via text message.

七月四日，杜蘭特離開了俄克拉何馬城，轉投灣區。（在那個漫長的假期週末裏，不斷噴涌的新聞達到了頂峯的產出量。）他通過短信告知了威斯布魯克這一消息。

Russ being Russ, he denied there was any subtextual shade to his outerwear. "I got that when I was in Madrid," he said. "There's no story behind it."

威少就是威少，他否認他的外衣含有任何隱藏的潛臺詞。“我在馬德里時學會了時裝打扮，”他說道。“這些裝扮的背後沒有任何寓意。”

Which tracks only if you ignore Russ's passion for fashion and instinctive understanding of the semiotics of wardrobe. During OKC's 2016 playoff run, Westbrook wore funereal black to every closeout game. Except (tellingly?) Game 7 against the Warriors.

當你忽略威少對時尚的熱情和對服飾上的符號的本能理解時，這樣的想法才能夠被理解。在俄克拉何馬城雷霆隊2016年的季後賽征程中，威斯布魯克在每一場雷霆隊手握賽點的比賽中都會身着黑色的葬禮服，除了（真的嗎？）與勇士隊的搶七大戰。

I've always liked to curate my own look," Westbrook told Bloomberg in 2015.

“我一直都很喜歡打扮我自己的造型，”2015年威斯布魯克如是告訴彭博社。

When Westbrook slouched to the microphone after Game 1 of the 2012 Finals against the Heat, clad in a cartoon-character-print Prada shirt and bright red eyeglass frames (sans lenses), he single-handedly turned the mundanities of athlete work life into opportunities for wild sartorial cdth.

在對陣熱火隊的2012年總決賽第一戰過後，身着印有卡通人物的Prada短袖和亮紅色眼鏡框（無鏡片）的威斯布魯克無精打采地對着麥克風，單手便將運動員的職業生活的世俗拋之腦後，又立即投身於他熱衷的男裝打扮。

Players had been riffing within the limitations of the NBA's dress code for years, but then Westbrook came along and dunked the enforced illusion of post–Malice at the Palace business-wear docility into earth-toned irrelevance.

多年來球員們一直受限於NBA制定的着裝規範，但隨後威斯布魯克出現了：他把在酒店裏身着的整潔商務裝扔到了一旁，使這被迫充滿惡意的着裝消失在他的生活中。

Westbrook is the reason that NBA players peacock through shabby cinderblock gangways before big games; he is the reason the NBA has a fashion show during All-Star Weekend.

正是因爲威斯布魯克的存在，NBA球員纔敢在重要比賽前大搖大擺地走在破爛的煤渣轉座間通道上；正是因爲威斯布魯克的存在，NBA在全明星週末期間纔會舉辦時尚秀。

The $2,000 shirts and $145 eyeglasses notwithstanding, Russ is actually at his most relatable when expressing his personality through fashion. His visceral style of play doesn't lend itself to imitation. Not even in the imagination.

儘管身着2000美金的襯衫和145美金的眼鏡，當威少通過時尚打扮表達自己的性格時，此時的他是最易近人的。他本能的比賽風格並沒有使他成爲別人的仿製品。甚至在人們的想象中他也並非這樣的人。

Westbrook's gifts are purely aspirational; roaring catharsis made flesh. Unless you count the process by which Russ somehow turns anger into overwhelming physical force, there's no craft to emulate.

威斯布魯克的天賦真的是人人都夢寐以求的；通過怒吼來宣泄情感的方式令人毛骨悚然。除非你能觀察到威少出於某種原因地把怒火轉化成難以耗竭的體力的過程，否則你沒有任何辦法能夠模仿他的打法。

On the court, Westbrook's signature move is inchoate destruction. His interview responses can be terse, but his outfits speak loudly.

在球場上，威斯布魯克的標誌性動作就是肆無忌憚的破壞。他在接受採訪時可以給予簡短的回答，但他的全套服裝意義非凡。

And everyone who has ever cast wary glances at themselves in the dawn light of their bedrooms before the first day of school understands dressing for an occasion.

有些人在第一天上學前會在臥室的晨曦中對自己有一番謹慎的審視，而這些人都明白穿着在特定場合中的重要性。

For KD and Russ, though, their actual lives are the subject of conjecture. No wonder, then, that players have long sought more control over their own narratives. In 2016, they can actually have it.

儘管對於杜蘭特和威少而言，他們的真實生活往往都是球迷們猜測的主題。毫無疑問，長久以來球員們一直在尋求在自主陳述方面的更多控制權。2016年，他們獲得了這方面的更多權利。

There's now a channel for the specific tone of every message. If a player wants to release a brand-calibrated, first-person essay, they can use their personal website or an athlete-owned outlet like Derek Jeter's Players' Tribune.

如今球員們能夠通過特殊渠道發表帶有自己特定語氣的信息。如果一名球員想要發表一篇品牌校準且第一人稱的文章，他們可以使用他們的個人網站或者是運動員創建給同行的網站，例如德里克-杰特的球星看臺網。

Traditional media outlets still act as arbiters of mass appeal (and as the spaces of record for the steady stream of hot stove information needed by hardcore sports junkies and daily-fantasy aficionados).

傳統的媒體渠道仍扮演着具備廣泛吸引力的權威人士（以及堅實的球迷基層和每天都幻想的狂熱愛好者們需要的休賽季新聞的穩定輸出者）。

Both Durant and Westbrook followed their respective summer announcements with interviews at major publications — KD at Rolling Stone and Westbrook at (of course) GQ and Sports Illustrated.

杜蘭特和威斯布魯克都在夏季接受了主要出版社的採訪，以發表各自的聲明——杜蘭特接受了《滾石》雜誌的採訪，而威斯布魯克接受了GQ雜誌（理所當然啦）和體育畫報的採訪。

Narrative control will always be an issue. After his Rolling Stone profile, Durant objected to the way the piece characterized his relationship with Westbrook as "work friends."

話語權的控制會一直是個有爭議性的問題。在接受了《滾石》雜誌的採訪後，杜蘭特對於出版社關於描述他和威斯布魯克之間的“工作朋友”關係的文段表達了不滿。

"When you do a story for Rolling Stone," Durant told The Mercury News, "we talk and then he writes the story how he wants to write it. He came up with that term on his own. That got kind of miscommunicated through the entire thing."

“當你爲《滾石》雜誌編寫一個故事時，”杜蘭特在接受聖荷西水星報的採訪時說道，“我們聊完後，他就按照他的意願來編寫這個故事。他自己創造了那樣的說法。這就造成了整篇文章給讀者們帶來的誤導。”

The difference is, Durant is quite open — even vulnerable — in his profile. Westbrook says practically nothing in his.

不同之處在於，杜蘭特在接受採訪時表現得比較坦誠——甚至更易受到人們的批評。威斯布魯克在接受採訪時則幾乎沒有表達出真實的自我。

When you consider his penchant for curation and overall control freak tendencies, the field of Westbrook Symbology is a growth industry.

當你考慮到他對簾幕的熱愛和極強的控制慾時，威斯布魯克的符號學便成爲了迅速發展的行業。

Take his February Air Jordan commercial.

例如，二月份的AJ廣告中他的穿着。

There's a jab at Steph Curry: "What did y'all expect," the preteen Nike hypeman yowls, with a look of utter fuck-you-talking-about dismissiveness on his face, "another CHOIR BOY running point? Nah." There's a shot at LeBron: "Taking your stats. Taking your" — here the kid spreads his hands as if imagining a marquee — "HAIRLINE."

這則廣告嘲諷了斯蒂芬-庫裏：“你們都曾期盼着什麼，”一個穿着Nike衣服的未滿青春期的兒童哀嚎着，臉上掛着一副說着“說泥mb”的傲慢表情，“成爲另一個唱詩班男孩？不是。”也有包含針對勒布朗的臺詞：“注意你的數據統計。注意你的”——此時這個小孩想象着一個大帳篷，並張開了他的雙手——“髮際線。”

The Nike ad released at the end of October — scans as nothing less than Russ's extended "Bye, Felicia" to Kevin Durant and anyone else with the temerity to interrupt him while he's fucking dancing. (Step down and step off, Charlie V.)

Nike公司在10月底放出了最新廣告——威少睜大的眼神似在對着凱文-杜蘭特和所有魯莽地打擾他跳舞的人說“再見，費利西亞”。（走開，查理-維蘭紐瓦）

It's notable that, though Russell could easily commission a first-person profile at an athlete-controlled website, he's thus far, chosen not to.

值得注意的是，儘管威少可以輕而易舉地在一個受運動員羣體控制的網站上發表一份第一人稱的故事，他卻至今爲止都沒有這麼做過。

On the record, Westbrook refuses to comment on Durant. He did not even acknowledge that the game against Kevin and the Warriors on November 3 would hold any special meaning. "I play every game the same," he said.

威斯布魯克拒絕公開評論杜蘭特。他甚至否認11月3日對陣凱文和勇士隊的比賽具有任何特殊的意義。“我的比賽方式不會隨着不同的比賽而發生改變，”他說道。

He doesn't have to acknowledge it. He has other ways of talking.

他不必承認這一點。他有着其他表達自己的方式

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