马丁大夫的官方介绍

When the Dr. Martens boot first catapulted from a working-class essential to a counter-cultural icon back in the 1960s, the world was pre-internet, pre-MTV, pre-CD, pre-mp3s, pre-mobile phones... hey, they'd only just invented the teenager. In the years before the boot's birthday, 1st April, 1960, kids just looked like tribute acts to their parents, younger but the same. Rebellion was only just on the agenda for some - for most kids of the day, starved of music, fashion, art and choice, it was not even an option.

But then an unlikely union of two kindred spirits in distinctly different countries ignited a phenomenon.

In Munich, Germany, Dr Klaus Maertens had a garage full of inventions, including a shoe sole almost literally made of air; in Northampton, England, the Griggs family had a history of making quality footwear and their heads were full of ideas. They met, like a classic band audition, through an advert in the classified pages of a magazine. A marriage was born, an icon conceived of innovation and self-expression.

Together they took risks.

They jointly created a boot that defined comfort but was practical, hard-wearing and a design classic. At first, like some viral infection, the so-called 1460 stooped near to the ground, kept a low profile, a quiet revolution.

But then something incredible started to happen.

The postmen, factory workers and transport unions who had initially bought the boot by the thousand, were joined by rejects, outcasts and rebels from the fringes of society.

At first, it was the working-classes; before long it was the masses.

Skinheads were the first subculture to adopt the boot in the early 1960s, spilling out of the East End of London, then across Britain and the world; initially non-racist and obsessive about their fashion, by the time the skinhead movement was corrupted with elements of right-wing extremism, Dr Martens had already morphed into a torchbearer for a brave new world.

The late 1960s and 1970s saw the boot adopted by - not thrust upon - nearly all the 'tribes': Mods, glam, punks, ska, psychobillies, grebos, Goths, industrialists, nu-metal, hardcore, straight-edge, grunge, Britpop...

Then pop started to eat itself.

The internet spread like an epidemic, reaching fifty million users in eighteen months - a feat that took radio forty years. The first mobile phone text was sent in 1992; within three years, email was like oxygen. Everything had changed.

There were no tribes anymore. At least, not like they used to make 'em.

You don't see one tribe fighting another anymore, a haircut does not define a person to four albums by three bands.

The tribe is down to one person.

You.

A one-man army.

The personal revolution manifests itself in a million ways. So-called 'indie' and 'punk' record labels of the 1970s and 1980s were created to cut out the suits. They were called 'labels' because of the round adhesive label smack bang in the middle of the vinyl.

Vinyl?

CDs?

Now, you don't even need a label.

Record, mix, master and post on the web from your own empire.

Hit the charts from downloads alone.

There is no one left to cut out. It's all down to you.

Of course, just because we can all now 'create', doesn't mean we are all actually any good. But the cream floats to the top, whatever the mode of transport.

Same with Dr. Martens.

Decades have come and gone, brands have exploded and then imploded, but the 1460 is still there, unique, individual, original. Anti-fashion defined in eight holes.

What's seen as information overload to the older generation is just everyday surfing to the new generation. In one weekend edition of The New York Times, there is more information than a seventeenth century man was exposed to in his entire life. Dr. Martens haven't been around since the 1600s, but in terms of 钬?brands' that mean something, that last, that reinvent and evolve, they pre-date pretty much everything.

By the mid-1990s, Dr. Martens had festered in the minds of youth without a single penny of 'marketing spend', longer than the majority of global brands had even existed. There is no comparison. This is not a brand, it is a way of thinking, a mode of expression.

The problem with 'brands' is that they dictate. They might offer the must-have item of the

season, but they design it, shape it, form it and sell it. You have no say, other than handing over your money. Look at the word: 'brand'. That's what they do to cattle.

Rebel.

Create your own brand.

Dr. Martens have always been different. No other brand has been mutated, customised, fucked up and freaked out like DM's. Without asking or being able to stop it. It happened to them. They were just fascinated bystanders on a journey that has raced through every crevice of subculture, every twist and turn of youthful creativity and now, here, with a generation who have always had email, mp3s and downloads, it is as relevant and vibrant as ever.

Because although the tribes no longer stride through London or New York, although individuality is the music for the masses, although fashion is just another way of defining yourself, the Dr. Martens 'brand' has come full circle, it is a blank canvas on which a generation can paint their personality. You can wear your grunge shorts, your emo hair, your punk tatts, your metal piercings and your pride on your sleeve, all at the same time, there are no limits, no boundaries, no pigeon-holes to fit into.

To be creative sometimes you have to rebel.

To rebel you have to have something to rebel against.

Driving fast, drinking cheap beer and smashing windows isn't rebellion. The best form of rebellion is individualism. Thinking for yourself.

Information overload is the most fantastic element of modern life. You can have it all. You don't need to align yourself with one band, one tribe, one venue, one gig; you can share your console with a complete stranger twenty thousand miles away; you can post your demo on a site that has a greater population than most countries.

But you need anchors in this sea of creativity.

You need things you can rely on.

Things you can recruit to your army.

Friends, whether they add you or not.

Tunes loaded, down.

Ideas loaded, up.

Fashions that express.

Possessions that matter.

Things that inspire self-expression, not commodities that spoon-feed an identity.

Dr. Martens anchor you, liberate your creativity, inspire and fuel your identity. Our heritage fits your future; your future is our future. 当第一次启动一跃马滕斯博士从工人阶级必不可少的反文化偶像，在20世纪60年代，世界前互联网，预MTV音乐台，预光盘，预MP3歌曲，预先移动电话.. 。嘿，他们会才刚刚发明的少年。在几年前启动的生日，1960年4月1号，孩子只是看着像他们的父母致敬行为，但同样年轻。叛乱被刚上的一些议程只 - 对于大多数的孩子在一天的音乐，时尚，艺术和选择饿死，它甚至不是一种选择。

但后来一两个志同道合的国家不可能在完全不同的联盟点燃的现象。

在慕尼黑，德国，克劳斯博士梅尔滕斯了包括鞋底几乎从字面上的空气使车库发明充分;在北安普顿，英国，格里格斯家有鞋的制作质量和他们的头被充满创意的历史。他们见面，就像一个乐队的经典面试通过广告，在一本杂志的分类页面。婚姻是出生，创新和自我表达的构思一个图标。

他们一起冒着危险。

他们共同创造了舒适的定义，但很实用，耐磨损和一个经典设计引导。起初，像一些病毒感染，即所谓的1460弯腰靠近地面，保持低姿态，一场静悄悄的革命。

但后来发生的事情令人难以置信的开始。

邮差，工厂工人和运输谁最初购买千引导工会，也加入了拒绝，从社会的边缘弃儿和反政府武装。

首先，它是工薪阶层，没多久，这是群众。

光头党是第一个采用亚文化在60年代初启动，溢出的伦敦东区出来，然后在英国，对世界最初的非种族主义和关于他们的时尚迷恋，由光头运动的损坏时间的元素右翼极端主义，马滕斯医生已经蜕变成火炬手为一个勇敢的新世界。

60年代末和70年代，启动的通过 - 而不是强加 - 几乎所有的'部落'：MODS的华丽，朋克，斯卡，psychobillies，grebos，哥特人，企业家，女，金属，硬核，直边，垃圾，英伦摇滚...

然后弹出开始吃自己。

像传染病一样蔓延互联网，达到五千万用户在十八个月 - 一个壮举，广播用了四十多年。第一移动电话发送文本1992年三年内，电子邮件像氧气。一切都变了。

目前还没有部落了。至少，“不喜欢他们用来制造它们。”

你不会看到一个部落的战斗另一个了，理发没有定义一个人的乐队由三至四个专辑。

这个部落已经降到了一个人。

你。

一个人的军队。

革命的个人表现在一万元的方式本身。所谓'独立'和'朋克'的20世纪70年代和80年代唱片公司的建立是为了削减了西装。因为他们被称为圆不干胶标签'标签'嫌在乙烯中间爆炸。

乙烯？

CD吗？

现在，你甚至不需要一个标签。

记录，混合，硕士，就从你自己的帝国网站发布。

打从下载单独的图表。

有没有人留下来裁剪。这一切都落在你身上。

当然，仅仅因为我们现在都'创造'，这并不意味着我们实际上都没有益处。但奶油浮到顶部，无论运输方式。

同样的，马滕斯博士。

几十年来来去去，品牌已经爆炸，然后引爆，但1460年仍然存在，独特的，个人，原始。反时尚的定义在八洞。

最新的信息超载对老一辈看到的只是每天上网的一代新人。于一体的纽约时报周末版节目，还有更多的信息多于十七世纪的人暴露在他的整个生活。马滕斯博士尚未出现自17世纪，但在钬？品牌'这意味着什么，那最后的改造和发展，他们早于几乎所有条款。

到了90年代中期，有溃烂马滕斯博士在青年心中没有一个一分钱的营销花费，超过了全球大多数品牌，甚至存在。没有比较。这不是一个品牌，它是一种思想，一种表达方式方法。

用'品牌'的问题是，他们支配。他们可能会提供必须具备的项目

季节，但他们设计的，它的形状，形式和出售。你有没有发言权，你的钱比其他移交。看看这个词：'品牌'。这就是他们做的牛。

叛乱。

创建自己的品牌。

马滕斯博士一直是不同的。没有其他品牌已突变，个性化，性交和不祥的感觉像DM的了。不问或能阻止它。它发生在他们身上。他们只是着迷的旅程已经通过各种比赛的亚文化，每一个扭曲和创造力的年轻缝隙转，现在，这里一直有一个谁电子邮件，下载MP3和一代，旁观者，这是由于没有相关的和以往一样充满活力。

因为虽然没有通过部落伦敦或纽约时间跨度，但个性是为群众音乐，虽然风只是自己的另一种定义方式，马滕斯博士'品牌'来了一圈，这是一个空白的画布这一代人可以画自己的个性。你可以穿短裤的垃圾，你的情绪的头发，你朋克tatts，您的金属穿孔放在你的袖子，在同一时间所有的骄傲，没有任何限制，没有界限，没有鸽子洞适应。

为了要有创意，有时你必须反抗。

要反叛你必须有什么反抗。

开快车，喝廉价的啤酒，打破Windows不是叛乱。叛乱的最好形式是个人主义。为自己的思考。

信息超载是现代生活中最精彩的元素。你可以拥有一切。你并不需要将一个乐队，一个部落，一个场地，一个演出你自己，你可以分享你的一个完全陌生的控制台二万英里吧，你可以发布的网站上，有一个更大的人口比你演示最国家。

但是你需要在这个创意海锚。

你需要的东西，你可以依靠。

事情你可以招募到你的军队。

朋友们，无论他们加入你的钱。

曲调加载下来。

思想载入了。

时尚的表达。

财产这一问题。

事情激发自我表现，而不是商品，填鸭式的饲料身份。

马滕斯博士锚你，解放你的创造力，激发和燃料你的身份。我们的传统适合你的未来，你的未来是我们的未来。

天空之城的英文简介

“CREATIVE”指新加坡创新公司。

创新科技有限公司创建于1981年的新加坡创新科技有限公司（Creative Technology Ltd.)是在世界多媒体及数码娱乐领域享有盛誉的领导厂商，Creative已在中国、美国、日本、澳大利亚、英国等多个国家及地区建立了全资子公司或合资公司。

在全世界80多个国家和地区建立了销售及售后服务网络。Creative于1992年在美国NASDAQ正式挂牌上市，使Creative成为新加坡第一家越洋在美国NASDAQ上市公司。

IT业发展

为Creative提供了广阔的市场空间。声音、图像及其相关技术的不断进步，也开辟了崭新的商业领域。Creative正在进军、开拓数码娱乐领域的市场，并在这一领域处于世界领先地位。Creative的MP3数码音频播放机系列、PC-CAM数码相机、WebCam摄像头、电脑音乐键盘Prodikeys等数码娱乐产品在国际上都享有盛誉。

特别是在MP3市场Creative引领MP3技术不断进步，推出全球若干第一，从第一款硬盘式MP3——NOMAD JukeBox到第一款微硬盘MP3——MuVo2，从2003年全球最薄的MuVo Slim MP3到全球第一款MP3与U盘二合一产品MuVo。

2004年创新提出个人媒体中心概念，将移动娱乐拓展到影片、欣赏，为此创新公司的数码娱乐顶级产品在美国CES消费电子展上获得年度最佳产品奖。

额。。好难。。 我给你：

The city of the sky "(the sky and ラ city ピ ュ タ) is Japanese studio ghibli in 1986 release the animated film. The sky city, supervision, and the original script character set is by hayao miyazaki, make this work from beginning to end the concept is filled with him. In the sky in the city of castles in the air, Laputa (at) are generally considered from British writer Jonathan swift well-known novel gulliver's travels (published in the fly in 1726). Therefore developed after the online.

中文意思就是：

《天空之城》（天空の城ラピュタ）是日本吉卜力工作室于1986年推出的一部动画**。《天空之城》的原作、监督、脚本和角色设定都是由宫崎骏来担任，使得这部作品从头到尾都充满了宫崎骏的理念。出现在《天空之城》中的空中城堡拉普达（Laputa）一般被认为是来自于英国作家乔纳森·斯威夫特的知名小说《格列佛游记》（出版于1726年）中的飞岛国。后因此开发出同名网游。