对于他的工作，拉塞尔-威斯布鲁克并无太多话可说。这使他成为了精英运动员中的一个异类。当被问及描述一场比赛的细节时，威斯布鲁克只会用小声且单调的声音给予泛泛的回答。

　　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.

　　在过去八年里，每当被问及与自己身为雷霆队的一员这一身份有关的问题时，威斯布鲁克总会给予这样简洁却唐突无礼的回答，而这与全世界对他与凯文-杜兰特之间的关系所展现出的极大兴趣产生了直接的对立关系。

　　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.

　　拉塞尔或许会说他在球场上将自己的言行付诸行动。这并无道理。（在扣篮之后，他几乎每次都说些人们听不懂的话。）我认为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.

　　八月与雷霆队签下8500万美金续约合同的威斯布鲁克在上星期身着白色T恤、白色牛仔裤和鲜艳的橙色工装裤上身——“官方摄像师”几个字显眼地用纹章刻在上面——大步跨入甲骨文球馆。

　　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.

　　与威斯布鲁克同处一队八年的前队友凯文-杜兰特对摄影的兴趣广为人知，他也作为球星看台网八月虚拟页面的新闻摄影记者参加了超级碗50周年的决赛。

　　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，杜兰特离开了俄克拉何马城，转投湾区。（在那个漫长的假期周末里，不断喷涌的新闻达到了顶峰的产出量。）他通过短信告知了威斯布鲁克这一消息。

　　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，他否认他的外衣含有任何隐藏的潜台词。“我在马德里时学会了时装打扮，”他说道。“这些装扮的背后没有任何寓意。”

　　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.

　　当你忽略威少对时尚的热情和对服饰上的符号的本能理解时，这样的想法才能够被理解。在俄克拉何马城雷霆队2016年的季后赛征程中，威斯布鲁克在每一场雷霆队手握赛点的比赛中都会身着黑色的葬礼服，除了（真的吗？）与勇士队的抢七大战。

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

　　“我一直都很喜欢打扮我自己的造型，”2015年威斯布鲁克如是告诉彭博社。

　　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.

　　在对阵热火队的2012年总决赛第一战过后，身着印有卡通人物的Prada短袖和亮红色眼镜框（无镜片）的威斯布鲁克无精打采地对着麦克风，单手便将运动员的职业生活的世俗抛之脑后，又立即投身于他热衷的男装打扮。

　　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.

　　多年来球员们一直受限于NBA制定的着装规范，但随后威斯布鲁克出现了：他把在酒店里身着的整洁商务装扔到了一旁，使这被迫充满恶意的着装消失在他的生活中。

　　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.

　　正是因为威斯布鲁克的存在，NBA球员才敢在重要比赛前大摇大摆地走在破烂的煤渣转座间通道上；正是因为威斯布鲁克的存在，NBA在全明星周末期间才会举办时尚秀。

　　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.

　　尽管身着2000美金的衬衫和145美金的眼镜，当威少通过时尚打扮表达自己的性格时，此时的他是最易近人的。他本能的比赛风格并没有使他成为别人的仿制品。甚至在人们的想象中他也并非这样的人。

　　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.

　　威斯布鲁克的天赋真的是人人都梦寐以求的；通过怒吼来宣泄情感的方式令人毛骨悚然。除非你能观察到威少出于某种原因地把怒火转化成难以耗竭的体力的过程，否则你没有任何办法能够模仿他的打法。

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

　　在球场上，威斯布鲁克的标志性动作就是肆无忌惮的破坏。他在接受采访时可以给予简短的回答，但他的全套服装意义非凡。

　　威少与杜兰特

　　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.

　　有些人在第一天上学前会在卧室的晨曦中对自己有一番谨慎的审视，而这些人都明白穿着在特定场合中的重要性。

　　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.

　　尽管对于杜兰特和威少而言，他们的真实生活往往都是球迷们猜测的主题。毫无疑问，长久以来球员们一直在寻求在自主陈述方面的更多控制权。2016年，他们获得了这方面的更多权利。

　　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.

　　如今球员们能够通过特殊渠道发表带有自己特定语气的信息。如果一名球员想要发表一篇品牌校准且第一人称的文章，他们可以使用他们的个人网站或者是运动员创建给同行的网站，例如德里克-杰特的球星看台网。

　　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).

　　传统的媒体渠道仍扮演着具备广泛吸引力的权威人士（以及坚实的球迷基层和每天都幻想的狂热爱好者们需要的休赛季新闻的稳定输出者）。

　　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.

　　杜兰特和威斯布鲁克都在夏季接受了主要出版社的采访，以发表各自的声明——杜兰特接受了《滚石》杂志的采访，而威斯布鲁克接受了GQ杂志（理所当然啦）和体育画报的采访。

　　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."

　　话语权的控制会一直是个有争议性的问题。在接受了《滚石》杂志的采访后，杜兰特对于出版社关于描述他和威斯布鲁克之间的“工作朋友”关系的文段表达了不满。

　　"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."

　　“当你为《滚石》杂志编写一个故事时，”杜兰特在接受圣荷西水星报的采访时说道，“我们聊完后，他就按照他的意愿来编写这个故事。他自己创造了那样的说法。这就造成了整篇文章给读者们带来的误导。”

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

　　不同之处在于，杜兰特在接受采访时表现得比较坦诚——甚至更易受到人们的批评。威斯布鲁克在接受采访时则几乎没有表达出真实的自我。

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

　　当你考虑到他对帘幕的热爱和极强的控制欲时，威斯布鲁克的符号学便成为了迅速发展的行业。

　　Take his February Air Jordan commercial.

　　例如，二月份的AJ广告中他的穿着。

　　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."

　　这则广告嘲讽了斯蒂芬-库里：“你们都曾期盼着什么，”一个穿着Nike衣服的未满青春期的儿童哀嚎着，脸上挂着一副说着“说泥mb”的傲慢表情，“成为另一个唱诗班男孩？不是。”也有包含针对勒布朗的台词：“注意你的数据统计。注意你的”——此时这个小孩想象着一个大帐篷，并张开了他的双手——“发际线。”

　　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月底放出了最新广告——威少睁大的眼神似在对着凯文-杜兰特和所有鲁莽地打扰他跳舞的人说“再见，费利西亚”。（走开，查理-维兰纽瓦）

　　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，尽管威少可以轻而易举地在一个受运动员群体控制的网站上发表一份第一人称的故事，他却至今为止都没有这么做过。

　　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.

　　威斯布鲁克拒绝公开评论杜兰特。他甚至否认11月3日对阵凯文和勇士队的比赛具有任何特殊的意义。“我的比赛方式不会随着不同的比赛而发生改变，”他说道。

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

　　他不必承认这一点。他有着其他表达自己的方式