Lesson One Rock Superstars

　　对于咱们和咱们的社会，他们告诉了咱们些什么？

　　What Do They Tell Us About Ourselves and Our Society？

　　摇滚乐是青少年纳降的音乐。

　　——摇滚乐褒贬家约相？罗克韦尔

　　Rock is the music of teenage rebellion.

　　—— John Rockwell， rock music critic

　　知其珍摄何东谈主便可知其东谈主。

　　——演义家罗伯特？佩恩？沃伦

　　By a man's heroes ye shall know him.

　　—— Robert Penn Warren， novelist

　　1972年6月的一天，芝加哥圆形戏院挤满了大汗淋漓、跋扈扭捏的东谈主们。

　　It was mid-June， 1972， the Chicago Amphitheater was packed， sweltering， rocking.

　　滚石摇滚乐队的迈克？贾格尔正在台演出唱“午夜踱步东谈主”。

　　Mick Jagger of the Rolling Stones was singing “Midnight Rambler.”

　　演唱箝制时褒贬家唐？赫克曼在现场。

　　Critic Don Heckman was there when the song ended.

　　他态状谈：“贾格尔捏起一个半加仑的水罐沿舞台前沿边跑边把内部的水洒上前几排汗如雨下的听众。听众们簇拥般跟跟着他跑，孔殷地但愿能沾上几滴浸礼的圣水。

　　“Jagger，” 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，约1.4万名歌迷在华盛顿市外的王人门中心戏院尖叫着，闹哄哄地拥向台前。

　　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.

　　好意思国的恐怖歌星艾利丝？库珀的饰演正接近尾声。

　　Alice Cooper， America's singing ghoul， was ending his act.

　　他饰演的更后一幕是假装在断头台上箝制我方的生命。

　　He ends it by pretending to end his life – with a guillotine.

　　他的“头”落入一个草篮中。

　　His “head” drops into a straw basket.

　　“哎呀！”一个黑衣女孩子惊呼谈：“啊！真的了不得，不是吗？”。

　　“Ooh，” gasped a girl dressed in black. “Oh， isn't that marvelous？”

　　那时，14岁的迈克珀力也在场，但他的父母不在哪里。

　　Fourteen-year-old Mick Perlie was there too， but his parents weren't.

　　“他们以为他恶心，恶心，恶心，”迈克说，“他们对我说，你何如受得了那些？”

　　“They think he's sick， sick， sick，” Mike said. “They say to me， 'How can you stand that stuff？'”

　　1974年1月下旬的一天，在纽约州尤宁谷城拿骚透露场内，鲍勃？狄伦和“乐队”乐队正在为音乐会上要用的乐器调音。

　　It was late January， 1974. Inside the Nassau Coliseum in Uniondale， New York， Bob Dylan and The Band were tuning for a concert.

　　馆外，摇滚歌迷克利斯？辛格在大雨中恭候着入场。

　　Outside， in the pouring rain， fan Chris Singer was waiting to get in.

　　“这是朝圣，”克利斯说，“我应该跪着爬进去。”

　　“ This is pilgrimage，” Chris said， “I ought to be crawling on my knees.”

　　对于这一切好评及个东谈主珍摄，你何如看？

　　How do you feel about all this adulation and hero worship？

　　当米克？贾格尔的珍摄者们把他视为天主的更高代表或是一个神时，你是颂扬还是反对？

　　When Mick Jagger's fans look at him as a high priest or a god， are you with them or against them？

　　你也和克利斯？辛格同样对鲍勃？狄伦怀有确切是宗教般的防范吗？

　　Do you share Chris Singer's almost religious reverence for Bob Dylan？

　　你认为他或狄伦是步入邪路吗？

　　Do you think he – or Dylan – is misguided？

　　你也认为艾利丝？库珀令东谈主恶心而拒不汲取吗？

　　Do you reject Alice Cooper as sick？

　　难谈你会难熬其妙地被这个奇怪的懦夫诱骗，原因就在于他抒发出你更狂热的幻想？

　　Or are you drawn somehow to this strange clown， perhaps because he acts out your wildest fantasies？

　　这些并不是闲聊。

　　These aren't idle questions.

　　有些社会学家认为对这些问题的回复不错充分阐明你在想些什么以及社会在想些什么——也即是说，干系你和社会的作风。

　　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.

　　社会学家欧文？霍洛威茨说：“音乐进展其期间。”

　　“Music expressed its times，” says sociologist Irving Horowitz.

　　霍洛威茨把摇滚乐的舞台视为某种辩说的论坛，一个各式念念想交锋的场面。

　　Horowitz sees the rock music arena as a sort of debating forum， a place where ideas clash and crash.

　　他把它看作是一个好意思国社会勉力为我方的心思及信仰束缚从头进行解释的处所。

　　He sees it as a place where American society struggles to define and redefine its feelings and beliefs.

　　他说：“从头解释是一项惟有后生东谈主才气实施的任务。惟有他们才把创造与夸张、感性与透露、语言与声息、音乐与政事水乳交融。”

　　“The 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？伦德格伦对这个不雅点暗意赞同。

　　Todd Rundgren， the composer and singer， agrees.

　　他说：“摇滚乐与其说是一种音乐力量不如说是一种社会容貌的进展。就连埃尔维斯？普雷斯利也并非是一种伟大的音乐力量，他只不外是体现了50年代青少年那种凉了半截的精神景色。”

　　“Rock music，” he says， “is really a sociological expression rather than a musical force. Even Elvis Presley wasn't really a great musical force. It's just that Elvis managed to embody the frustrated teenage spirit of the 1950s.”

　　毫无疑问，普雷斯利战栗了好意思国的成东谈主世界。

　　Of course Presley horrified adult America.

　　报纸写社论抨击他，电视网也不容播他，但也许埃尔维斯证明了霍洛威茨和伦德格伦的观念。

　　Newspapers editorialized against him， and TV networks banned him. But Elvis may have proved what Horowitz and Rundgren believe.

　　当他通过电视上埃德？沙利文的日曜日晚间的综艺节目出现在千百万东谈主面前时，就引起了某种辩说。

　　When he appeared on the Ed.Sullivan Sunday night variety show in front of millions， a kind of “debate” took place.

　　大王人年岁大的不雅众眉头紧皱，而大大王人年青不雅众则报以掌声接待。

　　Most of the older viewers frowned， while most of the younger viewers applauded.

　　摇滚乐褒贬家们说，从埃尔维斯到艾利丝，好多歌星匡助咱们的社会解释其信仰与作风。

　　Between Elvis and Alice， rock critics say， a number of rock stars have helped our society define its beliefs and attitudes.

　　鲍勃？狄伦轰动了对近况不悦的神经，他唱到民权、核洒落物以及孤独。

　　Bob Dylan touched a nerve of disaffection. He spoke of civil rights， nuclear fallout， and loneliness.

　　他唱到变革和老一代东谈主的迷濛，他在歌声中唱谈：“这儿正发生着什么事，你不知谈是什么事，对吗，琼斯先生？”

　　He spoke of change and of the bewilderment of an older generation. “Something's happening here，” he sang. “You don't know what it is， do you， Mr.Jones？”

　　其他东谈主也加入了这场辩说。

　　Others entered the debate.

　　霍洛威茨说，甲壳虫乐队以幽默的阵势，约略还借助麻醉品的力量来倡导和平与虔敬。自豪乖张、打架打仗的滚石乐队成员条款改动。杰斐逊飞机乐队的歌曲“咱们能够蚁合”和“志愿者”（有一场改动）则是激进后生的更进一步的两项声明。

　　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 Airplane's “We Can Be Together” and Volunteers （Got a Revolution）“ were two further statements of radical youth.

　　但政事并不是60年代强硬派摇滚乐所辩说的唯一主题，永久手脚任何音乐不朽构成部分的情愫亦然一个弘大题目。

　　But politics wasn't the only subject debated in the hard rock of the sixties. Feelings， always a part of any musical statement， were a major subject.

　　詹妮丝？乔普林用歌声抒发我方的悲痛。

　　Janis Jophin sang of her sadness.

　　甲壳虫乐队揭示出爱与恨之间的一系列的心思。

　　The Beatles showed there were a range of emotions between love and hate.

　　以后又出现了“乐队”乐队把乡村音乐和西部音乐所抒发的较为传统的不雅念与强硬派摇滚乐较为激进的“王人市”不雅念归拢在一齐。

　　Then came The Band， mixing the more traditional ideas of country and western music into the more radical “city” ideas of the hard rock.

　　霍洛威茨认为这一身分的乡村音乐匡助听众抒发了一种“解脱这一切”，“重返夙昔时光”的浓烈愿望。

　　This country element， Horowitz feels， helped its audience express an urge to “get away from it all，” to “go back to the old day.

　　现时更能阐明霍洛威茨观念的例子之一即是约翰？丹佛，他更著名的歌曲《阳光照在我肩上》、《高高的落基山》和《乡间小径》把民间摇滚乐的音乐灵魂与力量归拢了起来，而歌词则嘉赞了“往日好意思好时光”的朴素的舒坦。

　　。“ 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.“

　　这么的例子不堪胪列。

　　The list could go on and on.

　　这些摇滚乐音乐家们和所有的艺术家同样反应出咱们借以意识并酿成属于我方的心思与信念。

　　Like all artists， these rock musicians mirror feelings and beliefs that help us see and form our own.

　　咱们以什么来去报他们呢？虽然是掌声和嘉赞。

　　What do we give them in return？ Applause and praise， of course.

　　在1972年的一次宇宙民心锻真金不怕火中，10％的男高中生和30％以上的女高中生王人说他们更珍摄的东谈主是超等摇滚歌星。

　　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.

　　此外咱们给他们财富， 贸易杂志《福布斯》认为，“面前成为百万大亨的捷径是当摇滚歌星。”

　　We also give them money. “The fastest way to become a millionaire these days，” says Forbes， a business magazine， “is to become a rock 'n' roll star.”

　　今天的英雄们——至少其中一部分东谈主——告诉咱们，他们很心爱所获取的报偿。

　　Today's heroes – some of them， anyway – tell us they enjoy their rewards.

　　“我私下讪笑这些先生们和女士们，他们从没料到过咱们会成为金娃娃。”演唱这支歌曲的是“文化英雄”艾利丝？库珀。

　　“And I laughed to myself at the men and the ladies. Who never conceived of us billion-dollar babies.” The particular “culture hero” who sings that is Alice cooper.

　　然而，仍然存在着一个大问题：为什么他是文化英雄？

　　The big question remains： Why is he a culture hero？

　　他，或者面前任何其他走红的摇滚歌星能告诉咱们些什么干系他们的歌迷的事情？

　　What does he – or any other current rock success – tell us about his fans？

　　对于咱们我方和咱们的社会有些什么了解？现在若何，夙昔如何，畴昔又将向何处去？

　　About ourselves and our society？ Where it is， where it was， where it's heading？