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?辛格在大雨中等待着入场。
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人崇拜,你怎么看?
How do you feel about all this adulation and hero worship?
当米克?贾格尔的崇拜者们把他视为上帝的最高代表或是一个神时,你是赞成还是反对? 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?辛格一样对鲍勃?狄伦怀有几乎是宗教般的崇敬吗?
Do you share Chris Singer‘s almost religious reverence for Bob Dylan?
你认为他或狄伦是步入歧途吗?
Do you think he – or Dylan – is misguided?
你也认为艾利丝?库珀令人恶心而拒不接受吗?
Do you reject Alice Cooper as sick?
难道你会莫名其妙地被这个奇怪的小丑吸引,原因就在于他表达出你最狂热的幻想? Or are you drawn somehow to this strange clown, perhaps because he acts out your wildest fantasies?
这些并不是闲谈。
These aren‘t idle questions.
有些社会学家认为对这些问题的回答可以充分说明你在想些什么以及社会在想些什么——也就是说,有关你和社会的态度。
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. 社会学家欧文?霍洛威茨说:―音乐表现其时代。‖
―Music expressed its times,‖ says sociologist Irving Horowitz.
霍洛威茨把摇滚乐的舞台视为某种辩论的论坛,一个各种思想交锋的场所。
Horowitz sees the rock music arena as a sort of debating forum, a place where ideas clash and crash.
他把它看作是一个美国社会努力为自己的感情及信仰不断重新进行解释的地方。
He sees it as a place where American society struggles to define and redefine its feelings and beliefs.
他说:―重新解释是一项只有青年人才能执行的任务。只有他们才把创造与夸张、理性与运动、言语与声音、音乐与政治融为一体。‖
―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?伦德格伦对这个观点表示赞同。
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心理的表现。就连埃尔维斯?普雷斯利也并非是一种伟大的音乐力量,他只不过是体现了50年代青少年那种心灰意冷的精神状态。‖
―Rock music,‖ he says, ―is really a sociological expression rather than a musical force. Even Elvis
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