作业帮john是什么意思
来源：学生作业帮助网 编辑：作业帮 时间：2024/09/23 17:22:32 体裁作文
篇一：john the Ripper使用简介
John the Ripper使用简介
步骤说明
unshadow /etc/passwd /etc/shadow >password.txt
根据john规则合并/etc/passwd及/etc/shadow文件内容并输出到password.txt文件，此password.txt是john工具要破解的密码文件 注意只有root才能执行unshadow
chmod 600 password.txt
变更password.txt访问权限，一般情况下/etc/passwd、/etc/shadow两个文件只允许读，600代表password.txt文件root用户有可读及可写权限
john –w:password.txt password.txt
执行john命令对password.txt进行暴力破解。-w代表以密码字典模式进行爆破，-w:后的password.txt是密码字典文件，最后面的password.txt是我们上面用unshadow命令转换出来的文件。
john –show password.txt
执行john命令显示爆破成功的用户及密码
Linux密码文件爆破尝试
利用字典模式进行爆破
利用简单模式进行爆破
Windows密码文件爆破尝试
获取密码文件
C:\WINDOWS\repair\SAM
C:\WINDOWS\system32\config\SAM（此文件有可能被锁，复制不了）
开始破解
先用bkhive从system文件生成一个keys文件，需要安装
bkhive
再用keys和SAM文件通过samdump2生成一个密码hashes文件
然后使用john爆破hashes文件，及类似unix下的passwd文件
爆破模式
「字典档」破解模式（Wordlist Mode）
这在John所支援的破解模式中是最普遍的一种，你要做的唯一工作就是告诉John字典档在哪（字典档就是文字档，内容每行一个单字代表试验的密码），好 让它可以取出破解。在「字典档」破解模式里可以使用「字词变化」功能，来让这些规则自动的套用在每个读入的单字中，以增加破解的机率。
例：john –w:password.txt passwd1.txt
「简单」破解模式（Single Crack）
「简单」破解模式是专门针对「使用帐号当作密码」的懒人所设计的；所谓「使用帐号当作密码」的意思是，如果一个使用者帐号是「john」，它的密码也取为 「john」。在「简单」破解模式里john会拿密码档内的「帐号」栏位等相关资讯来破解密码，并且使用多种「字词变化」的规则套用到的「帐号」内，以增加破解的机率。如帐号「john」，它会尝试用「john」、「john0」、「njoh」、「j0hn」?.等规则变化来尝试密码的可能性。 例：john –single passwd1.txt
「增强」破解模式（Incremental Mode）
这个选项会以目前已破解出的密码为基础，来产生「字元频率表」（注：John会把已破解出的密码记录在JOHN.POT档案 内，）。如果所指定档名的档案已经存在的话，会被覆写。此选项产生出来的档案，可以用在「增强」破解模式上。
例：john -makechars:ownchars
「外挂模组」破解模式（External Mode）
这个破解模式是让使用者可以自己用C语言写一些【破解模组程式】，然后挂在john里面使用。其实所谓的【破解模组程式】就是一些用C语言涉及好的副函示，然后它的功能就是产生出游戏i额单字来让john尝试破解。而在执行john程式时，它在载入这些【破解模组程式】时会自动编译这些C语言副函示然后来使用。
命令参数
参数：-single
说明：使用『简单』 （Single Crack）破解模式破解，主要是根据使用者的『帐号』产生变化来猜测破解，其变化规则记录在JOHN.INI档案的
[List.Rules:Single]区域内。
范例：john -single passwd
参数： -wordfile：[字典档案名] -stdin
说明：使用『字典档』破解模式破解，由字典档内读取单字来破解；或是可以加上-stdin参数，代表由键盘输入单字来破解。
范例：john -wordfile:bigdict.dic passwd
参数： -rules
说明：在『字典档』破解模式下，开启字词规则变化功能，如『字典档』读入单字cook，则开启字词变化下，程序可能会尝试cook、c00k、cook0...等其他字词。详细变化规则记录在JOHN.INI档案的[List.Rules:Wordlist]区域内。
范例：john -wordfile:bigdict.dic -rules passwd
参数：-incremental [:模式名称]（参数也可以简写成 -i[模式名称]）
说明：使用『增强』破解模式破解，就是组合所有可能的字元当作密码来破解。在JOHN.INI档案的[Incremental:*****]区域里定义好许多的模式名称，可以指定使用哪一个模式来破解。
范例： john -i:all passwd
参数：-stdout[:LENGTH]
说明：这个选项跟破解没有任何关系，只是单纯显示John所产生出来的单字到屏幕上。
范例： john -i:all -stdout
参数：-restore[:恢复档案名称]
说明：继续上次中断的破解工作。John在执行破解密码工作时，可以按下
范例：john -restore
参数：-session[:记录档名称]
说明：这个选项是让你设定幕墙能够做记录档（sessionfile）的档名。所谓的工作记录档就是可以用『restore』参数恢复工作的档案。另外，在使用John做(来自:www.sMHaiDa.com 海 达范文网:john是什么意思)多工破解工作时，使用『-session』参数可以为每个工作设定个别的记录档，而不会混在一起。
范例：john -wordfile:bigdict.dic -session:work1 passwd
参数：-status[：记录档名称]
说明：显示工作记录档里面的工作状态。
范例：john -status:restore
参数：-makechars:[档名]
说明：制作『字元频率表』。这个选项会以目前以破解出的密码为基础，来产生『字元频率表』（注：John会把已破解出的密码记录在JOHN.POT文档内）。如果所指定档名的文档已经存在的话，会被复写。此选项产生出来的文档，可以用在『增强』破解模式上。
范例：john -makechars:ownchars
* `- G4 ]. L+ ?$ B `
参数：-show
说明：显示目前已经破解出的密码。因为JOHN.POT文档内并不储存『帐号』资料，所以使用是你应该同时输入相对应的密码文件。
范例：john -show passwd
参数：john -test
说明：测试目前机器执行John各类型密码破解时的速度。
范例：john -test
参数：-users:[-]LOGIN | UID [,..]
说明：只破解某个『帐号』的密码，如只针对root或拥有root权限UID=0的用户。（若在LOGIN| UID 名称前加上‘“-”符号则是相反，表示不要破解这个『帐号』的密码）
范例：john -i:all -users:root passwd
参数：-groups:[-]UID [,..]
说明：只破解某个『群组』内用户的密码。（若在UID 名称前加上‘“-”符号则是相反，表示不要破解这个『群组』内用户的密码）
范例：john -i:all -groups:100
参数：-shels:[-]SHELL [,..]
说明：和上面两个参数一样，这个选项是只指针对所有可以使用shell的用户进行破解密码工作，对其他用户不予理会。（若在SHELL 名称前加上‘“-”符号则是相反，表示不要破解可以使用这个SHELL的用户的密码）。指定SHELL时，你可以省略绝对路径，但如果你指定的是『-shells:/bin/csh』则只会包含『/bin/csh』这个SHELL名称。
范例：john -i:all -shells:csh passwd
参数：-salts:[-]COUNT
说明：只破解『salts』大于『COUNT』的帐号的密码，可以使用你得到较佳破解速度（所谓『salts』是指UNIX拿来作为『密码』编码基础的单位）。举例来说，你可以先只破解某部分用户的密码『-salts:2』来获得较佳的速度，然后有时间时才破解剩余用户的密码『-salts:-2』。
范例：john -i:all -salts:2 passwd
参数：-format:NAME与-savemem:LEVEL
说明：这两个参数是有关John内部运作的设定，跟破解本身没有直接关系，所以省略不介绍。
篇二：dear john
A "Dear John letter" is a letter written to a husband or boyfriend to inform him their relationship is over, usually because the author has found another lover. Dear John Letters are often written out of an inability or unwillingness to inform the man in person. The reverse situation, in which someone writes to his wife or girlfriend to break off the relationship, is referred to as a "Dear Jane letter".所谓“Dear John letter”是指一个女子写给丈夫或男友表示分手的信件，通常是在写信人另有所爱的情况下所写，且往往写信人不能够或不想要当面告知男方这一情况。反之，如果是写给妻子或女友告知分手的信，则被称作“Dear Jane letter”。
词语来历编辑
关于Dear John等于分手信的来历其实说法不一，但是人们普遍认为这个说法是从美国流传而来的。在第二次世界大战期间，无数的美国士兵远赴重洋去打仗，一去就是好几个月甚至几年。随着时间的流逝，很多士兵的妻子或者女朋友都决定不再等待他们的回归，而选择开始一段新的爱情。
（While the exact origins of the phrase are unknown, it is commonly believed to have been coined by Americans during World War II. Large numbers of American troops were stationed overseas for many months or years, and as time passed many of their wives or girlfriends decided to begin a relationship with a new man rather than wait for their old one to return.）
分手信编辑
确切的起源还真不可考证，但人们普遍认为这个词由美国人缔造于二战时期。当时大量的美军部队被派往海外，短则数月，长则多年。光阴流转，军嫂们或者在家的女朋友不愿再独守空闺，盼着良人归来，决定开始一段全新的感情。As letters to servicemen from wives or girlfriends back home would typically contain affectionate language (such as "Dear Johnny", "My dearest John", or simply "Darling"), a serviceman receiving a note beginning with a curt "Dear John" would instantly be aware of the letter's purpose.
而这些服役军人们的妻子女友通常都是以充满爱意的称谓，比方“亲爱的强尼”、“我最亲爱的约翰”或者“达令”，开始她们残酷的分手信，军人们收到这样子生硬开头的信件，往往都有所警觉：是不是要分手了？
A writer in the Democrat and Chronicle of Rochester, NY, summed it up in August 1945:1945年八月，一位作家总结道："Dear John," the letter began. "I have found someone else whom I think the world of. I think the only way out is for us to get a divorce," it said. They usually began like that, those letters that told of infidelity on the part of the wives of servicemen... The men called them "Dear Johns".“亲爱的约翰，”信是这么开头的，“我找到了另一个人，我愿意与他共度一生。唯一的解决方案就是，咱俩离婚吧。”这类信通常都是这么写的，这些军嫂们婉转坦白自己背叛的信件。而那些被一脚踢开的男人们，称自己为“亲爱的约翰们。”
绝交信编辑
There are a number of theories on why the name John is used rather than any other. John was a common name in America at the time the term was coined. John is also the name used in many other terms that refer to an anonymous man or men, such as "John Doe" or "John Smith".为什么偏偏是约翰而不是迈克或者理查德呢？因为约翰在美国实在是一个超级大众的名字，尤其在这个词组诞生的时候格外普遍。另外呢，约翰这个名字也往往被用来指示无名人士，比方很常见的John Doe或者John Smith。
篇三：John Masefield梅斯菲尔德简介
Early life His mother died giving birth to his sister when Masefield was only six, and he went to His father died soon after. After an unhappy education at the King's School in Warwick, he left to board the 英国皇家海军舰艇(His Britannic Majesty's
Ship)(Both to train for a life at sea, and to break his addiction to reading, of which his aunt thought little.)
He spent several years aboard this ship and found that he could spend much of his time reading and writing. While on the ship, he listened to the stories told about sea lore. He continued to read, and felt that he was to become a writer and story teller.
In 1894, Masefield destined for , this first voyage bringing him the experience of sea sickness and a taste of fierce weather. He recorded his experiences while sailing through the extreme weather: (it was obvious from his journal entries that he delighted in viewing flying fish, porpoises, and birds, and and was hospitalized. He eventually writer and the hopelessness of life as a sailor overtook him, and .( He lived as a for several months, before returning to New York City, he did many where he was able to find work as an assistant to a bar keeper.)
For the next two years, Masefield was employed in a , where long hours were expected and conditions were far from ideal. Heclassical literature. His interests at this time were diverse and his reading included works by Du Maurier, Dumas, Thomas Browne, Hazlitt, Dickens, Kipling, and R. L. Stevenson. Chaucer also became very important to him during this time, as well as poetry by Keats and Shelley.
When Masefield was 23, he met , Constance, who was 35. Educated in classics and English Literature, and a mathematics teacher, Constance was a perfect match for Masefield despite the (Judith, born in 1904, and Lewis, in 1910).
By 24, Masefield’s poems were being published in periodicals and his first collected works,
"Salt-Water Ballads" was published. "Sea Fever" appeared in this book. Masefield then wrote two novels, "Captain Margaret" (1908) and "Multitude and Solitude" (1909). In 1911, after a long drought of poem writing, he composed "The Everlasting Mercy".
"" was the first of his narrative poems, and within the next year, Masefield produced two more narrative poems, "The Widow in the Bye Street" and "". As a result of the writing of these three poems, Masefield became widely known to the public and was praised by critics.
World War I to appointment as Poet Laureate
When World War I began, he is old enough to be exempted from military service. Masefield joined the staff of a British hospital, serving briefly in 1915 as a hospital orderly, later publishing his own account of his experiences.
After returning home, Masefield was invited to theAlthough Masefield's primary purpose was to lecture on English Literature, a secondary purpose was to collect information on the mood and views of Americans regarding the war in Europe. As a result, Masefield wrote somewhat from the disappointment they had felt as a result of the Allied losses in the Dardanelles.
In 1918, Masefield . Masefield spent much of his time speaking and lecturing to American soldiers waiting to be sent to Europe. (These speaking engagements were very successful, and on one occasion, a battalion of all Black soldiers danced and sang for him after his talk.) During this tour, he matured as a and realized his ability to touch the emotions of his audience with his style of speaking, learning to speak publicly with his own heart, rather than from dry scripted speeches. Towards the end of his trip, both Yale and Harvard Universities
Masefield entered the 1920s as an accomplished and respected writer. His family was able to settle in a somewhat, and Masefield took up beekeeping, goat-herding and poultry-keeping.
Masefield continued to meet with success.
In 1921, Masefield received an Honorary Doctorate of Literature from Oxford University, and in 1923, organized the , an annual contest whose purpose was "to discover good speakers of verse and to encourage ‘the beautiful speaking of poetry.’" Masefield began to question however, whether the Recitations should continue as a contest, believing that the event should become more of a festival. In 1929, Masefield broke with the contest concept, and the Recitations came to an end.
Later years
In 1930, King George V appointed Masefield, who remained in office until his death in 1967. The only person to remain in the office for a longer period was Tennyson.
Although the requirements of Poet Laureate had changed, and those in the office were rarely
required to write verse for special occasions, Masefield took his appointment large quantity of verse. Poems composed in his official capacity were sent to The Times. Masefield’s was shown by his inclusion of a stamped envelope with each submission so that his composition could be returned if it were found unacceptable for publication.
After his appointment, Masefield received George V. He was the recipient of many more honorary degrees from Universities throughout the United Kingdom, and in 1937 he was elected President of the Society of Authors.
It was not until about the age of 70, that Masefield continued to after a long illness. Masefield was , and although her death was
heartrending to him, he had spent a very tiring year watching the woman he adored die. He"In Glad Thanksgiving", was published when he was 88 years old.
According to his wishes, he was cremated and his ashes placed in Poets’ Corner in Westminster Abbey. Later, the following was discovered, written by Masefield, addressed to his ‘Heirs, Administrators, and Assigns’:
Let no religious rite be done or read
In any place for me when I am dead,
But burn my body into ash, and scatter
The ash in secret into running water,
Or on the windy down and let none see;
And then thank God that there’s an end of me.
In 2007 a man opened a pub in New Ferry, with the name John Masefield. It caused a certain amount of sign to that of Adolf Hitler.
Oxford has a maritime temperate climate. The lowest temperature ever recorded in Oxford was ?16.6 °C (2.1 °F) in January 1982. The highest temperature ever recorded in Oxford is 35.6 °C (96 °F) in August 2003.
Oxford is a city, and the county town of Oxfordshire, in South East England. The city, made prominent by its medieval university, has a population of just under 165,000, with 153,900 living within the district boundary. The rivers Cherwell and Thames run through Oxford.
Buildings in Oxford demonstrate an example of every English architectural period since the arrival
of the Saxons,. Oxford is known as the "city of dreaming spires". The University of Oxford is the oldest university in the English-speaking world.[1]
Brief introduction
Beverley Nichols (1898-1983), born in London,was an author, playwright, journalist, composer, and public speaker.
Career
Between his first book, the novel Prelude, published in 1920, and his last, a book of poetry, Twilight, published in 1982, Nichols wrote more than 60 books and plays. Besides novels, mysteries, short stories, essays and children's books, he wrote a number of non-fiction books on travel, politics, religion, cats, parapsychology, and autobiography.
He wrote for a number of magazines and newspapers throughout his life
Personal life
?He went to Balliol College, Oxford University, and was President of the Oxford Union and editor of Isis.
?Nichols' life partner was Cyril Butcher. Nichols died in 1983.
Selected bibliography
Gardening, homes and restoration
Down the Garden Path (1932)
A Thatched Roof (1933)
A Village in a Valley (1934)
Novels
Prelude (1920)
Patchwork (1921)
Self (1922)
Mysteries
No Man's Street (1954)
The Moonflower (1955)
Cats
Beverley Nichols' Cats A.B.C. (1960)
Beverley Nichols' Cats X.Y.Z. (1961)
Religion
The Fool Hath Said (1936)
A Pilgrim's Progress (1952)
Plays
The Stag - produced 1929, published 1933
Avalanche - produced 1931, published 1933
When the Crash Comes - produced &
published 1933
Autobiographies
Twenty-Five (1926)
All I Could Never Be (1949)
The Sweet and Twenties (1958)
Political
Cry Havoc! (1933) News of England (1938) Biography A Case of Human Bondage (1966) Children's Books The Tree that Sat Down (1945) Travel No Place Like Home (1936) The Sun In My Eyes (1969) ---In Collaboration--- Yours Sincerely (1947). Collaboration with Monica Dickens Experts and Quotes "Being a bachelor is the first requisite of the man who wishes to form an ideal home." ?“Marriage is a book of which the first chapter is written in poetry and the remaining chapters in prose." 婚姻——就是一本第一章以优美的诗篇书写，而其余的篇章则是散文的书。——英国剧作家贝弗利·尼科尔斯（1898—1983） "It is only to the gardener that time is a friend, giving each year more than he steals."
篇四：约翰·洛克(John Locke)简介
约翰·洛克（John Locke），于1632年出生于英国的一个清教徒家庭。 洛克的父亲也叫做约翰·洛克，是一名在萨默塞特郡担任地方法官书记的律师，曾经在英国内战时担任议会派部队的军官。
洛克的母亲艾妮丝·金恩则是一名制革工匠的女儿，据传长的相当漂亮。
1646年，在父亲的友人的资助下，洛克被送至伦敦就读威斯敏斯特学校。在那里，洛克接受了传统的古典文学基础训练。
1652年，洛克就读于牛津大学基督教会学院。在学习法学和语言学的同时，对医学颇有研究。
1660年封建王朝复辟时，洛克担任牛津大学的讲师。
在牛津期间，洛克对当时盛行的经院哲学并不感兴趣，反而比较喜欢笛卡尔的哲学以及自然科学。他在36岁时曾被入选英国皇家学会。也正是由于洛克的哲学观点不受欢迎，他最后决定从师医学研究。这一时期他还结识了著名的化学家罗伯特波义耳。
1667年洛克成为艾希利勋爵，即后来的沙夫茨伯里伯爵的医学顾问。在长达十五年的时间里，他多次在伯爵手下担任政府职务，和伯爵的有着密切的关系。并在此期间开始了其一生中最重要的哲学著作《人类理解论》的创作。
1681年，洛克因受沙夫茨伯里的牵连而遭到迫害。
1684年（？），逃亡荷兰，直到1688年“光荣革命”确立了君主立宪制度，洛克才重获自由。
1689年2月，他和威廉王妃即后来的女王玛利二世一同回到英国，先后担任了高等法院法官、贸易、垦殖部专员等职务。
在抵达英国后不久洛克开始将大量的草稿出版成书，包括了《人类理解论》、《政府论》、以及《论宽容》都在这段时期接连出版。
在1689年和1690年，洛克分别写了两篇《政府论》，1690年的那篇在政治思想史上有重要地位。
从1691年开始洛克一直住在玛莎姆女士的家中，健康状况不断恶化。 1704年10月28日，因病去世,阖然长逝，终生未娶。
篇五：John Lydon我从不是一个魔鬼崇拜者
John Lydon我从不是一个魔鬼崇拜者
采访John Lydon的前夜Q还真挺紧张的，生怕问出傻问题来，被老朋克隔着越洋电话线给骂了。后来证明，这种担忧完全是多余的：老爷子其实是个平易近人的大话痨，而且一身正气一腔大爱几乎像是个传教士。在采访才进行到不到5分钟的时候就发现自己冲着电话说：“屎。对，听起来就像shit但是没有那个t。”
如果说英国朋克有两个代表形象的话，许多人可能会立刻想到以下答案：其中之一是被安全别针插的伊丽莎白二世，另一个就是穿着破衬衫瞪着眼睛发型出位的Johnny Rotten。即使Sex Pistols乐队的寿命仅有短短四五年，依然是最有影响的英国朋克乐队之一，单凭这一点，就足以让所有相关之人青史留名。但Johnny Rotten显然不满足于此。在1978年退出Sex Pistols之后，他换回自己的本名John Lydon组建了Public Image Ltd乐队，并在同年就发行了《Public Image》专辑。而这张专辑及一年之后的《Metal Box》，一直被看做是直接促成了后朋克这种流派的诞生。
从性手枪愤世嫉俗、叛逆危险的青春期问题少年到Public Image Ltd阴郁低沉、尖锐但充满智慧的黑暗先知，无论在哪个阶段，John Lydon的形象都似乎过于鲜明过于具有戏剧性，与其说是一个永远保持前卫的艺术家，倒不如说更像一个另类文化用心塑造出来的cult偶像。从在女皇加冕25年庆典当天在泰晤士河上大唱“God Save the Queen”被警察逮捕、乐队单曲和专辑在各地被禁封，再到拒绝承认“摇滚名人堂”的封号，在接近40年的音乐生涯中，John Lydon所引发的争议之多几乎不亚于他在音乐方面的创举。他的乐队也一直深陷在经济纠纷中，债务连连以至于难以发行专辑。但所有这些都没有动摇Lydon的音乐决心，2009年他宣布Public Image Ltd重组，目前的成员包括之前就曾在乐队中的乐手Bruce Smith、Lu Edmonds，并终于在2012年发行了乐队20年以来的第一张新专辑《This Is PiL》。
Q：PiL就要来中国演出了，有什么感想？有什么想说的吗？
John Lydon：当然很激动啊！在过去五六十年里中国都只是一个阴沉的谜团，尤其是对于我来说，几乎不敢想象自己能终于来到中国。你知道的，我可是Johnny Rotten，这个名字本身就构成巨大的阻力了。但我心里其实对中国很有好感啊，因为你们和我一样，都是不被西方主流文化认可的嘛，都是“受压迫的”。
Q： 您不必因为我们是中国就说这种话的??
JL： 哈哈，可是我是说真的！我是Johnny Rotten，是真正的Johnny Rotten，我是绝对真诚的。30年前可能媒体把我塑造成一个摇滚谎言，好像不过是一个荒诞发型和着装的怪胎。但我从不是一个魔鬼崇拜者，我是真正的朋克。真正的朋克是对自由的信仰，是对所有既定规则的反叛。我不相信革命，我此生的偶像是甘地，他倡导的就是“非暴力不合作”，我相信这是对所有“屎系统（shit-stem）”最有力的反抗。
Q：PiL经过了这么多任的成员变换，现在乐队状态如何？
JL：在PiL 30年的历史中我们一共有过49名成员。这种成员更替并不是由于我们的关系，而是出于乐队面临的财政问题。我无力支付乐队成员薪酬，所以很多人迫不得已离开乐队。目前的成员都是在乐队里时间最长的几位，我们完全在音乐产业的框架之外进行独立运作，之所以进行下去完全是出于对音乐的真爱。在过去三年里我们一直在不断进行巡演，现在乐队成员之间几乎默契到心灵相通的地步，随时可以进行即兴演出。我觉得我们现在的状态就是对朋克精神最好的诠释：完全DIY嘛。我们最接近的音乐风格大概是民谣吧！想象一下，村子里一小群人纯粹是因为爱好聚集在一起，对音乐的可能性进行探索，创作关于身边的人、真实的生活、生老病死的歌曲??当然，少不了大量的酒精！这就是我们！ Q：你曾经说过：“The Sex Pistols是摇滚乐的终结者”，这是什么意思？
JL： 摇滚乐是一套媒体塑造出来的虚假意识形态，在吸取了黑人文化精髓的同时将黑人拒之门外。摇滚乐是以金钱为中心的。你看看现在格莱美评的奖，每年获奖的不都是一样的人、一样的几个厂牌吗？我凭The Sex Pistols和PiL两次改变了音乐大潮的发展方向，谁给我颁奖了呢？我也根本不稀罕！朋克精神是对这种金钱崇拜的根本挑战。永远，永远都会有人为了钱而创作，但在朋克之后，不管情况有多困难，总会有人真正进行独立的创作。独立创作和经营音乐，这在之前是完全不可想象的，这个概念的出现彻底改变了音乐产业。 Q：你是什么时候意识到创作音乐将会成为你毕生的事业的？你加入The Sex Pistols乐队有许多巧合的因素，在此之前你和音乐的关系如何？
JL：我小的时候上的是天主教教会学校，一直受到修女们的约束。当时我简直恨透那里了，拒绝参加唱诗班，但这种对宗教音乐的否定反而奠定了音乐在我生命里的地位。我参加The Sex Pistols的确实属偶然。但我通过它也证明自己并非毫无天分，我能够抓住乐队所蕴含的一些更深的潜能，把他们带到一个不可企及的地方去。我会写作。文字具有的能量是最巨大的。我一直想成为一名作家，但我同时也觉得，单纯的文字是不够的。但当我也拥有音乐的时候，它就终于完美了：音调、想法再加上词汇的融合，这才是最棒最有效的表达方式。
Q： 你的歌词创作随着年龄的变化似乎也变得更加晦涩和深沉??
JL：并没有很晦涩吧！当我刚开始创作的时候，攻击的对象当然是我的直接敌人，政府、阶级系统等等。随着年龄的增长我对自己的内心和头脑关注的得越来越多。在创作动机方面来说，仇恨是一个很有效的工具，但当你更了解自己更了解世界以后这个工具就没有什么用处了。我想，那只是我成长的一个阶段吧。我从来没有两张专辑风格是相同的，我总是在尝试着进行更多的自我分析。我自己有一张专辑叫《Psycho’s Path》，这张专辑就是以一个连环杀手写的情歌为比喻，实际上是关于自己对自己的批判和裁决的。我意识到我所追求的是关于人生的一些终极智慧，至于那究竟是什么，也许我到死也不会理解，但我觉得我还是在不断接近的。我已经50多岁了，并且还在不断进步。我一直相信音乐是会改变社会的，并且是向积极的方向。
Q： 你的观点好像很积极，但歌词里却满溢着犬儒主义，这难道不相互矛盾吗？
JL：啊，我可不是犬儒主义（cynicism）！犬儒主义是廉价的幽默，而我的歌词里使用的是反讽（Irony）。反讽在英国和爱尔兰文化里很重要，就是表面上说一句话但实际上表达相反的意思。比如在PiL的首张专辑里有一首歌叫“Theme”，里面唱道：“多希望我可以死去”。但实际上我当然并不想死！我渴望的是有意义的生活。再比如The Sex Pistols的“Pretty Vacant”，实际上我正好相反，长得既不好看（pretty），头脑也并不空虚（vacant）。 Q：这么说来，PiL的“This Is Not A Love Song”实际上是一首情歌咯？
JL：绝对的啊！这首歌是彻头彻尾的情歌，以至于一年之后Paul McCartney还模仿了它呢！当然，人家的版本比我可名气大多了。我似乎总是这样，被各种各样的人模仿，而且人们倒会反过来以这些二流的仿制品来批评我。“This Is Not A Love Song”的主题是对现状的反抗，拒绝沦于安逸，这是一首对自己的生活的情歌。
Q：在你合作过的诸多著名乐手中，你最欣赏哪一位？
JL：他们中每一个人，这是我发自心底的话。每个人都在音乐中注入了极强的能量。目前乐队里的Bruce和Lu简直是了不起。在这次重组之前我联系到他们，上一次和他们一起合作是那么遥远的事情，我觉得他们一定已经忘了我！没想到他们欣然同意，这让我极为感动。新贝斯手Scott也极其优秀，他非常好相处，而且永远对新想法抱着开放的态度。我花了足足35年才学到这一点：你不是非得憎恨和你共事的人！现在是PiL状态最好的时候，毫无疑问。不要想着“Anarchy In The UK”！ 当然，作为一个广义的“民谣”乐队，演还是要演的，谁让我们的必演曲目比较多呢！
Q：你来到中国最想去什么地方？
JL：我们首先会去乐器店，见识见识中国的民乐乐器！我们对传统乐器的喜爱远胜过对高科技的喜爱。我们的专辑也都是使用真实乐器在现场表演同期以模拟方式录制的，也就是说你在专辑上听到的效果，就是我们演奏的真实效果。
Q： 实话说，我们国内绝大多数你的歌迷都是通过盗版接触到你的音乐的??你对此怎么看？
JL：哎，你们没有其他的选择嘛！我绝对支持！如果你要是生活在西方的话，那我一定会恨你的。但背景和缘由是不一样的，我以前经历过类似的场合。我曾经去爱沙尼亚做过演出，当时它还是前苏联的一部分呢。我单枪匹马在当地创建了一整个音乐环境，而我所做的，仅仅是出现在那里，向他们证明其他可能性的存在。单纯凭借我的存在就足以掀起文化运动。我这样说并不是自吹自擂，而是真实发生过多次的。虽然我生活在西方，但却根本不需要他们的钱。我是一个天生的叛逆者。我是真正的Johnny Rotten，我是马桶盖上的烂白菜。
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