Lesson One;Rock Superstars譯文.doc

Lesson One Rock Superstars關(guān)于我們和我們的社會(huì)，他們告訴了我們些什么？What Do They Tell Us About Ourselves and Our Society?搖滾樂(lè)是青少年叛逆的音樂(lè)。搖滾樂(lè)評(píng)論家約相?羅克韋爾Rock is the music of teenage rebellion.- John Rockwell, rock music critic知其崇拜何人便可知其人。小說(shuō)家羅伯特?佩恩?沃倫By a mans heroes ye shall know him.- Robert Penn Warren, novelist1972年6月的一天，芝加哥圓形劇場(chǎng)擠滿了大汗淋漓、瘋狂搖擺的人們。It was mid-June, 1972, the Chicago Amphitheater was packed, sweltering, rocking.滾石搖滾樂(lè)隊(duì)的邁克?賈格爾正在臺(tái)上演唱“午夜漫步人”。Mick Jagger of the Rolling Stones was singing “Midnight Rambler.”演唱結(jié)束時(shí)評(píng)論家唐?赫克曼在現(xiàn)場(chǎng)。Critic Don Heckman was there when the song ended.他描述道：“賈格爾抓起一個(gè)半加侖的水罐沿舞臺(tái)前沿邊跑邊把里面的水灑向前幾排汗流浹背的聽(tīng)眾。聽(tīng)眾們蜂擁般跟隨著他跑，急切地希望能沾上幾滴洗禮的圣水?！癑agger,” he said, “grabs a half-gallon jug of water and runs along the front platform, sprinkling its contents over the first few rows of sweltering listeners. They surge to follow him, eager to be touched by a few baptismal drops”.1973年12月下旬的一天，約1.4萬(wàn)名歌迷在華盛頓市外的首都中心劇場(chǎng)尖叫著，亂哄哄地?fù)硐蚺_(tái)前。It was late December, 1973, Some 14,000 screaming fans were crunching up to the front of the stage at Capital Center, outside Washington, D.C.美國(guó)的恐怖歌星艾利絲?庫(kù)珀的表演正接近尾聲。Alice Cooper, Americas singing ghoul, was ending his act.他表演的最后一幕是假裝在斷頭臺(tái)上結(jié)束自己的生命。He ends it by pretending to end his life with a guillotine.他的“頭”落入一個(gè)草籃中。His “head” drops into a straw basket.“哎呀！”一個(gè)黑衣女孩子驚呼道：“啊!真是了不起，不是嗎？”?！癘oh,” gasped a girl dressed in black. “Oh, isnt that marvelous?”當(dāng)時(shí)，14歲的邁克珀力也在場(chǎng)，但他的父母不在那里。Fourteen-year-old Mick Perlie was there too, but his parents werent.“他們覺(jué)得他惡心，惡心，惡心，”邁克說(shuō)，“他們對(duì)我說(shuō)，你怎么受得了那些？”“They think hes sick, sick, sick,” Mike said. “They say to me, How can you stand that stuff?”1974年1月下旬的一天，在紐約州尤寧谷城拿騷體育場(chǎng)內(nèi)，鮑勃?狄倫和“樂(lè)隊(duì)”樂(lè)隊(duì)正在為音樂(lè)會(huì)上要用的樂(lè)器調(diào)音。It was late January, 1974. Inside the Nassau Coliseum in Uniondale, New York, Bob Dylan and The Band were tuning for a concert.館外，搖滾歌迷克利斯?辛格在大雨中等待著入場(chǎng)。Outside, in the pouring rain, fan Chris Singer was waiting to get in.“這是朝圣，”克利斯說(shuō)，“我應(yīng)該跪著爬進(jìn)去?！薄?This is pilgrimage,” Chris said, “I ought to be crawling on my knees.”對(duì)于這一切好評(píng)及個(gè)人崇拜，你怎么看？How do you feel about all this adulation and hero worship?當(dāng)米克?賈格爾的崇拜者們把他視為上帝的最高代表或是一個(gè)神時(shí)，你是贊成還是反對(duì)？When Mick Jaggers fans look at him as a high priest or a god, are you with them or against them?你也和克利斯?辛格一樣對(duì)鮑勃?狄倫懷有幾乎是宗教般的崇敬嗎？Do you share Chris Singers almost religious reverence for Bob Dylan?你認(rèn)為他或狄倫是步入歧途嗎？Do you think he or Dylan is misguided?你也認(rèn)為艾利絲?庫(kù)珀令人惡心而拒不接受嗎？Do you reject Alice Cooper as sick?難道你會(huì)莫名其妙地被這個(gè)奇怪的小丑吸引，原因就在于他表達(dá)出你最狂熱的幻想？Or are you drawn somehow to this strange clown, perhaps because he acts out your wildest fantasies?這些并不是閑談。These arent idle questions.有些社會(huì)學(xué)家認(rèn)為對(duì)這些問(wèn)題的回答可以充分說(shuō)明你在想些什么以及社會(huì)在想些什么也就是說(shuō)，有關(guān)你和社會(huì)的態(tài)度。Some sociologists say that your answers to them could explain a lot about what you are thinking and about what your society is thinking in other words, about where you and your society are.社會(huì)學(xué)家歐文?霍洛威茨說(shuō)：“音樂(lè)表現(xiàn)其時(shí)代?！薄癕usic expressed its times,” says sociologist Irving Horowitz.霍洛威茨把搖滾樂(lè)的舞臺(tái)視為某種辯論的論壇，一個(gè)各種思想交鋒的場(chǎng)所。Horowitz sees the rock music arena as a sort of debating forum, a place where ideas clash and crash.他把它看作是一個(gè)美國(guó)社會(huì)努力為自己的感情及信仰不斷重新進(jìn)行解釋的地方。He sees it as a place where American society struggles to define and redefine its feelings and beliefs.他說(shuō)：“重新解釋是一項(xiàng)只有青年人才能執(zhí)行的任務(wù)。只有他們才把創(chuàng)造與夸張、理性與運(yùn)動(dòng)、言語(yǔ)與聲音、音樂(lè)與政治融為一體?！薄癟he redefinition,” Horowitz says, “is a task uniquely performed by the young. It is they alone who combine invention and exaggeration, reason and motion, word and sound, music and politics.”作曲兼演唱家托德?倫德格倫對(duì)這個(gè)觀點(diǎn)表示贊同。Todd Rundgren, the composer and singer, agrees.他說(shuō)：“搖滾樂(lè)與其說(shuō)是一種音樂(lè)力量不如說(shuō)是一種社會(huì)心理的表現(xiàn)。就連埃爾維斯?普雷斯利也并非是一種偉大的音樂(lè)力量，他只不過(guò)是體現(xiàn)了50年代青少年那種心灰意冷的精神狀態(tài)?！薄癛ock music,” he says, “is really a sociological expression rather than a musical force. Even Elvis Presley wasnt really a great musical force. Its just that Elvis managed to embody the frustrated teenage spirit of the 1950s.”毫無(wú)疑問(wèn)，普雷斯利震驚了美國(guó)的成人世界。Of course Presley horrified adult America.報(bào)紙寫(xiě)社論攻擊他，電視網(wǎng)也禁止播他，但也許埃爾維斯證實(shí)了霍洛威茨和倫德格倫的看法。Newspapers editorialized against him, and TV networks banned him. But Elvis may have proved what Horowitz and Rundgren believe.當(dāng)他通過(guò)電視上埃德?沙利文的星期日晚間的綜藝節(jié)目出現(xiàn)在千百萬(wàn)人面前時(shí)，就引起了某種辯論。When he appeared on the Ed.Sullivan Sunday night variety show in front of millions, a kind of “debate” took place.多數(shù)年紀(jì)大的觀眾眉頭緊皺，而大多數(shù)年輕觀眾則報(bào)以掌聲歡迎。Most of the older viewers frowned, while most of the younger viewers applauded.搖滾樂(lè)評(píng)論家們說(shuō)，從埃爾維斯到艾利絲，許多歌星幫助我們的社會(huì)解說(shuō)其信仰與態(tài)度。Between Elvis and Alice, rock critics say, a number of rock stars have helped our society define its beliefs and attitudes.鮑勃?狄倫觸動(dòng)了對(duì)現(xiàn)狀不滿的神經(jīng)，他唱到民權(quán)、核散落物以及孤獨(dú)。Bob Dylan touched a nerve of disaffection. He spoke of civil rights, nuclear fallout, and loneliness.他唱到變革和老一代人的迷茫，他在歌聲中唱道：“這兒正發(fā)生著什么事，你不知道是什么事，對(duì)嗎，瓊斯先生？”He spoke of change and of the bewilderment of an older generation. “Somethings happening here,” he sang. “You dont know what it is, do you, Mr.Jones?”其他人也加入了這場(chǎng)辯論。Others entered the debate.霍洛威茨說(shuō)，甲殼蟲(chóng)樂(lè)隊(duì)以幽默的方式，或許還借助麻醉品的力量來(lái)倡導(dǎo)和平與虔誠(chéng)。傲慢無(wú)理、打架斗毆的滾石樂(lè)隊(duì)成員要求革命。杰斐遜飛機(jī)樂(lè)隊(duì)的歌曲“我們能夠聯(lián)合”和“志愿者”（有一場(chǎng)革命）則是激進(jìn)青年的更進(jìn)一步的兩項(xiàng)聲明。The Beatles, Horowitz said, urged peace and piety, with humor and maybe a little help from drugs. The Rolling Stones, arrogant street-fighting men, demanded revolution. The Jefferson Airplanes “We Can Be Together” and Volunteers (Got a Revolution)” were two further statements of radical youth.但政治并不是60年代強(qiáng)硬派搖滾樂(lè)所辯論的惟一主題，始終作為任何音樂(lè)永恒組成部分的情感也是一個(gè)重要題目。But politics wasnt the only subject debated in the hard rock of the sixties. Feelings, always a part of any musical statement, were a major subject.詹妮絲?喬普林用歌聲表達(dá)自己的悲哀。Janis Jophin sang of her sadness.甲殼蟲(chóng)樂(lè)隊(duì)揭示出愛(ài)與恨之間的一系列的感情。The Beatles showed there were a range of emotions between love and hate.以后又出現(xiàn)了“樂(lè)隊(duì)”樂(lè)隊(duì)把鄉(xiāng)村音樂(lè)和西部音樂(lè)所表達(dá)的較為傳統(tǒng)的觀念與強(qiáng)硬派搖滾樂(lè)較為激進(jìn)的“都市”觀念結(jié)合在一起。Then came The Band, mixing the more traditional ideas of country and western music into the more radical ”city” ideas of the hard rock.霍洛威茨認(rèn)為這一成分的鄉(xiāng)村音樂(lè)幫助聽(tīng)眾表達(dá)了一種“擺脫這一切”，“重返過(guò)去時(shí)光”的強(qiáng)烈愿望。This country element, Horowitz feels, helped its audience express an urge to “get away from it all,” to “go back to the old day.當(dāng)前最能說(shuō)明霍洛威茨看法的例子之一就是約翰?丹佛，他最著名的歌曲陽(yáng)光照在我肩上、高高的落基山和鄉(xiāng)間小路把民間搖滾樂(lè)的音樂(lè)靈魂與力量結(jié)合了起來(lái)，而歌詞則贊美了“往日美好時(shí)光”的樸素的歡樂(lè)。.” One of the best current examples of what Horotwitz is talking about is John Denver. His most notable songs “Sunshine on My Shoulders”, “Rocky Mountain High”, and “Country Road” combine the musical drive and power of folk rock, while the lyrics celebrate the simple joys of “the good old days.”這樣的例子不勝枚舉。The list could go on and on.這些搖滾樂(lè)音樂(lè)家們和所有的藝術(shù)家一樣反映出我們借以認(rèn)識(shí)并形成屬于自己的感情與信念。Like all artists, these rock musicians mirror feelings and beliefs that help us see and form our own.我們以什么來(lái)回報(bào)他們呢？當(dāng)然是掌聲和贊美。What do we give them in return? Applause and praise, of course.在1972年的一次全國(guó)民意測(cè)驗(yàn)中，10的男高中生和30以上的女高中生都說(shuō)他們最崇拜的人是超級(jí)搖滾歌星。In one 1972, national opinion poll, more than 10 percent of the high school boys and 20 percent of the girls said their hero was a rock superstar.此外我們給他們金錢， 商業(yè)雜志福布斯認(rèn)為，“當(dāng)今成為百萬(wàn)富翁的捷徑是當(dāng)搖滾歌星?！盬e