美国文化代名词 特立独行转战电子音乐人鲍勃迪伦（在线收听）

美国文化代名词 特立独行转战电子音乐人鲍勃迪伦

In the mid-1960s the times they were indeed a-changin.

在20世纪60年代中期,他们确实曾发生过改变。

One of the places those changes were being felt was the world of folk music, says rock historian Elijah Wald, author of a new book, “Dylan Goes Electric.”

新书《Dylan Goes Electric》的作者摇滚人艾丽·瓦尔德表示感受这些改变的一个地方就是民谣。

“There was a moment in the early 60s where you could look at the Billboard chart and seven of the top 10 albums were folk records.And Joan Baez, Peter Paul and Mary, the Kingston Trio, all had huge, huge, huge number-one records.”

“在60年代早期曾有一段时期,如果你关注下欧美流行音乐排行榜，就会发现位居前10的专辑中有7张是民谣。而琼·贝兹，彼得保罗和玛丽及琼·贝兹, 金斯顿三重奏乐队都曾获得过巨大的成功。”

And then all that changed.

然而一切都发生了改变。

In 1964, the Beatles had hit and by the summer of 1965 a lot of people in the folk scene were sort of feeling like their world was threatened.”

1964年,甲壳虫乐队开始一炮走红,而截至1965年夏天,民谣圈中的很多人都感受到了威胁。”

They were hoping that Bob Dylan would come to the rescue.

他们希望鲍勃·迪伦能站出来力挽狂澜。

Dylan had become a legend in folk music circles, both as a powerful songwriter and a distinctive singer.

当时的迪伦已经成为民谣音乐的传奇,歌曲创作表现强势而且歌唱表演方面特立独行。

Most of the crowd at the Newport Folk Festival on the evening of July 25, 1965 were expecting to hear this,instead when Dylan took the stage,this is what they got.

1965年7月25日晚的新港民谣节上，大多数人曾期望听到的是这样的歌曲,但迪伦登台时,他们耳中传来的却是大不相同的音乐。

Dylan had gone electric, and the folk purists didn't like it one bit.

迪伦那时候转战电子音乐,这是纯民谣主义者所不喜欢的。

“And when Dylan went electric, I think one of the issues was the feeling that-wait a minute, he's gone over to the enemy.”

“迪伦转战电子音乐时,我想的一个问题是人们对他的感觉，等等,他是我们的死对头。”

Once they recovered from the shock of it, the audience expressed their displeasure-they booed.

一旦从这种打击中恢复,观众通过一片嘘声诉说着自己的不满。

Folk fans had looked to Dylan to save their movement from the rock'n' roll onslaught, but "Dylan had always liked rock'n roll and Dylan didn't think of rock-n-roll as stupid music.”

民谣粉丝们曾指望救世主迪伦从摇滚的冲击中挽救他们,但迪伦一直钟爱着摇滚乐而且他从未想过摇滚是愚蠢之极的音乐。

In fact, Dylan was a Beatles fan.

事实上,迪伦曾是披头士的一位乐迷。

He would later say that from the first time he heard the Beatles he knew “they were pointing to the direction where music had to go.”

后来他曾回忆在自己第一次听到披头士后他就心知肚明，“披头士指引着未来音乐必须经历的发展方向。”

“Honestly, once the Beatles hit, I think the writing was on the wall. But when Dylan went with the Beatles on that one, that was that… That was essentially the end of the folk scene as a huge mainstream pop trend.”

“老实说,一旦甲壳虫乐队开始走红,我认为词曲创作就是表面上的事情。但当迪伦和甲壳虫乐队开始时,一切就代表着…这是本质上身为巨大主流流行趋势民谣歌曲的终结。”

Beyond the music, Dylan's performance that night also marked a turning point in American culture.

而抛开音乐，迪伦那晚的表现也标志着美国文化上的一个转折点。

"There are two halves to the 1960s.”

“对于20世纪60年代而言有两半。”

What he meant was: just picture Martin Luther King, Jr.'s March on Washington in 1963-most of the protesters are wearing suits.

他的意思是:想想马丁·路德·金，他在1963年3月在华盛顿的游行—当时大多数抗议者都身着西装。

You'd never see that in the hippie days of the late 60s.

这样的场景永远不会让你联想到60年代末满大街嬉皮士的日子。

“Before 1965 was really a different world, and it's the 60s of the Civil Rights Movement,and of folk music and of joining arms across the generations and across the races. And after 1965 it's the world of rock…I'm not saying that Dylan created that change,but I do think that the confrontation at Newport happened because it was symbolic of that much larger confrontation,and has been remembered because it really is sort of the moment of rupture where the new 60s emerged.”

“在1965年前是一个截然不同的世界,那时是60年代的民权运动,还有民乐及各世代种族间的杀戮。而1965年以后的世界摇滚…我不是想说迪伦一手创造了这种变革,但我确实认为,新港的对立的确有所关系,因为它象征着更大规模的对立,而且它一直被人铭记,因为它确实是告别旧时代，迎接新世代的截点。”