[翻譯] 認識金屬樂（譯自英文維基）[4]

看板RockMetal (金屬音樂板)作者coolfly (]v[EGADET]-[)時間14年前 (2012/01/01 15:27)推噓19(19推 0噓 6→)

留言25則, 18人參與討論串1/1

樂迷次文化 Fan subculture Deena Weinstein argues that heavy metal has outlasted many other rock genres largely due to the emergence of an intense, exclusionary, strongly masculine subculture. While the metal fanbase is largely young, white, male, and blue-collar, the group is "tolerant of those outside its core demographic base who follow its codes of dress, appearance, and behavior." Identification with the subculture is strengthened not only by the shared experience of concert-going and shared elements of fashion, but also by contributing to metal magazines and, more recently, websites. Deena Weinstein主張金屬樂之所以能比許多其他類別的搖滾樂長命，很大程度上是因為其產生了一種緊密、排他、極度陽剛的次文化。雖然金屬樂的歌迷群主要是藍領階級的年輕白種男性，但這個群體「也接納核心族群以外，能夠依循其穿衣、打扮、行為規範的人」。對重金屬次文化的認同感，不僅來自於演唱會參加經驗和衣著元素的共享，也來自投稿到重金屬音樂雜誌，或是更近期的媒體平台：網站。 The metal scene has been characterized as a "subculture of alienation", with its own code of authenticity. This code puts several demands on performers: they must appear both completely devoted to their music and loyal to the subculture that supports it; they must appear uninterested in mainstream appeal and radio hits; and they must never "sell out".For the fans themselves, the code promotes "opposition to established authority, and separateness from the rest of society." Musician and filmmaker Rob Zombie observes, "Most of the kids who come to my shows seem like really imaginative kids with a lot of creative energy they don't know what to do with" and that metal is "outsider music for outsiders. Nobody wants to be the weird kid; you just somehow end up being the weird kid. It's kind of like that, but with metal you have all the weird kids in one place." Scholars of metal have noted the tendency of fans to classify and reject some performers (and some other fans) as "posers" "who pretended to be part of the subculture, but who were deemed to lack authenticity and sincerity." 金屬樂的圈子向來被描繪為一種「疏離的次文化」，有著自成一格的認證規範。這套規範對表演者提出幾項要求：他們必須表現出完全忠於自己音樂以及支持它的這個次文化、他們必須表現出對受主流歡迎和在電台上熱播毫無興趣，並且他們必須永不「變節（sell out）」。對歌迷本身而言，這套規範宣揚「對抗既有的權威，並且脫離社會上的其他人」。音樂家與電影工作者Rob Zombie觀察到，「大多數來看我演唱會的年輕人，似乎都是想像力豐富，不知如何處理他們豐沛創造力的孩子」。金屬樂學者們注意到，樂迷們傾向去將某些表演者（和其他樂迷）歸類為「Poser」並加以排斥；即「假裝是這種次文化的一份子，但被視為缺乏誠懇與熱誠」的人。語源 Etymology The origin of the term "heavy metal" in a musical context is uncertain. The phrase has been used for centuries in chemistry and metallurgy. An early use of the term in modern popular culture was by countercultural writer William S. Burroughs. His 1962 novel The Soft Machine includes a character known as "Uranian Willy, the Heavy Metal Kid." Burroughs's next novel, Nova Express (1964), develops the theme, using heavy metal as a metaphor for addictive drugs: "With their diseases and orgasm drugs and their sexless parasite life forms—Heavy Metal People of Uranus wrapped in cool blue mist of vaporized bank notes—And The Insect People of Minraud with metal music." 「重金屬」作為一個音樂語彙的起源尚無法確定。這個詞彙化學和冶金學中已經使用了好幾個世紀；早期將它使用於現代流行文化中之一的，是反文化作家William S. Burroughs ，他1962年小說《The Soft Machine》中的一個角色名叫「重金屬小子Uranian Willy」。Burroughs的下一本小說《Nova Express (1964)》，繼續發展了這個主題，將「重金屬」作為毒癮的隱喻：「以他們的疾病與至福狂喜的藥物，以及他們無性的寄生體形態── 天王星的重金屬民族包圍在鈔票蒸發的冰涼藍色迷霧中──而麥諾德星蟲族則是以金屬樂」。 Metal historian Ian Christe describes what the components of the term mean in "hippiespeak": "heavy" is roughly synonymous with "potent" or "profound," and "metal" designates a certain type of mood, grinding and weighted as with metal. The word "heavy" in this sense was a basic element of beatnik and later countercultural slang, and references to "heavy music"—typically slower, more amplified variations of standard pop fare—were already common by the mid-1960s. British psychedelic art experimenters Hapshash and the Coloured Coat released a record in 1967 titled Featuring the Human Host and the Heavy Metal Kids. Iron Butterfly's debut album, released in early 1968, was titled Heavy. The first recorded use of "heavy metal" is a reference to a motorcycle in the Steppenwolf song "Born to Be Wild", also released that year: "I like smoke and lightning/Heavy metal thunder/Racin' with the wind/And the feelin' that I'm under." A late, and disputed, claim about the source of the term was made by "Chas" Chandler, former manager of the Jimi Hendrix Experience. In a 1995 interview on the PBS program Rock and Roll, he asserted that heavy metal "was a term originated in a New York Times article reviewing a Jimi Hendrix performance," in which the author likened the event to "listening to heavy metal falling from the sky." A source for Chandler's claim has never been found. 金屬樂史學家Ian Christe以「嬉皮行話」描述這個詞彙的意涵組成：「『重』概略等同與『強烈』或『深刻』，而『金屬』表示一種情緒，彷彿以金屬加工般苦惱沉重。」『重』這個詞彙在此是垮掉的一代與之後的反文化運動俚語中的基本元素；而用來指涉『重音樂』──其基本上比標準的流行音樂更緩慢、更強調變異性──在1960年代中期時已經很普遍。英國的迷幻藝術實驗者Hapshash與Coloured Coat在1967年推出了一張名為《 Featuring the Human Host and the Heavy Metal Kids》的專輯。Iron Butterfly在 1968年初推出的處女作，就叫做《Heavy》。前者使用『重金屬』一詞乃是指涉同年推出的Steppenwolf歌曲〈Born to Be Wild〉裡的摩托車：『我愛煙霧與閃電／重金屬雷聲／與疾風和快感／狂飆同行』。晚近一個具有爭議的說法是，這個詞彙是由Jimi Hendrix Experience的前任經紀人"Chas" Chandler所創。在1995年的PBS電視台節目Rock and Roll的一個訪談中，他聲稱重金屬一詞「源自某篇《紐約時報》評論Jimi Hendrix一場演出的文章」，在該文中作者把那場表演比喻為「像是聽著重金屬自天空墜落」。但 Chandler所說的這篇文章始終未被找到。 The first documented use of the phrase to describe a type of rock music identified to date appears in a review by Barry Gifford. In the May 11, 1968, issue of Rolling Stone, he wrote about the album A Long Time Comin' by U.S. band Electric Flag: "Nobody who's been listening to Mike Bloomfield—either talking or playing—in the last few years could have expected this. This is the new soul music, the synthesis of white blues and heavy metal rock."In January 1970 Lucian K. Truscott IV reviewing Led Zeppelin II for the Village Voice described the sound as "heavy" and made comparisons with Blue Cheer and Vanilla Fudge. Other early documented uses of the phrase are from reviews by critic Mike Saunders. In the November 12, 1970, issue of Rolling Stone, he commented on an album put out the previous year by the British band Humble Pie: "Safe as Yesterday Is, their first American release, proved that Humble Pie could be boring in lots of different ways. Here they were a noisy, unmelodic, heavy metal-leaden shit-rock band with the loud and noisy parts beyond doubt. There were a couple of nice songs...and one monumental pile of refuse." He described the band's latest, self-titled release as "more of the same 27th-rate heavy metal crap." In a review of Sir Lord Baltimore's Kingdom Come in the May 1971 Creem, Saunders wrote, "Sir Lord Baltimore seems to have down pat most all the best heavy metal tricks in the book." Creem critic Lester Bangs is credited with popularizing the term via his early 1970s essays on bands such as Led Zeppelin and Black Sabbath. Through the decade, heavy metal was used by certain critics as a virtually automatic putdown. In 1979, lead New York Times popular music critic John Rockwell described what he called "heavy-metal rock" as "brutally aggressive music played mostly for minds clouded by drugs," and, in a different article, as "a crude exaggeration of rock basics that appeals to white teenagers." 目前所知最早將這個詞彙用於描述一個搖滾樂類型，而見諸文字者，是Barry Gifford（譯按：一位美國作家、詩人，及劇作家）的一篇評論。在1968年5月11日這期的《滾石》雜誌上，他評論美國樂團Electric Flag的專輯《A Long Time Comin》，寫道，「沒有一個在過去幾年中聆聽──還有談論或演奏──Mike Bloomfield音樂的人，料得到會有這樣的作品。這是新的靈魂樂，白色藍調與重金屬搖滾的綜合體。」1970年1月，Lucian K. Truscott四世為《村聲》雜誌所寫的《Led Zeppelin II》評論中，用「重」一詞形容它的音樂，並與Blue Cheer和Vanilla Fudge比較。其他在早期使用這個詞彙，還有樂評 Mike Saunders的文章。在1970年11月12日號的《滾石》雜誌中，他評論英國樂團Humble Pie在前一年推出的一張專輯：「他們在美國推出的第一張專輯《Safe as Yesterday Is 》，證明了Humble Pie的音樂在各方面都是很無趣。他們是個吵雜、沒有旋律性、重金屬般沉重的垃圾搖滾樂團，專輯的很多部分都無疑地既吵又鬧。上面是有幾首好歌啦……和為數可觀的垃圾歌。」他評論該團當時推出的同名新專輯「更多相同的二十七流（譯按：『三流』的九倍）重金屬垃圾」。在1971年《Creem》雜誌上一篇評論Sir Lord Baltimore《Kingdom Come》的文章中，Saunders寫道，「Sir Lord Baltimore似乎對所有最棒的重金屬手法無不嫻熟。」據信《Creem》樂評Lester Bangs在1970年代早期評論 Led Zeppelin和Black Sabbath的文章，將這個詞彙推廣了開來。在那十年間，「重金屬」一詞被特定樂評自動當作一種貶義詞使用著。在1979年，《紐約時報》的首席流行音樂評論家John Rockwell，將他稱為「重金屬搖滾」的音樂描述為「極具侵略性的音樂，由一群喀藥喀昏頭的人所演奏」。而在另一篇文章中，他寫道，「一種根源於搖滾樂，粗糙誇張的音樂，吸引著白人青少年。」 Coined by Black Sabbath drummer, Bill Ward, "downer rock" was one of the earliest terms used to describe this style of music and was applied to acts such as Sabbath and Bloodrock. Classic Rock magazine described the downer rock culture revolving around the use of Quaaludes and the drinking of wine. Later the term would be replaced by "heavy metal." 由Black Sabbath鼓手Bill Ward所創的辭彙「鎮定劑搖滾（downer rock）」，是最早用來稱呼這種風格音樂的辭彙之一，並且為Sabbath和Bloodrock等團所使用。《Classic Rock》雜誌寫道，鎮定劑搖滾的文化圍繞著使用安眠酮（譯按：一種鎮定劑）與飲酒。這個詞彙之後會被「重金屬」所取代。 The terms "heavy metal" and "hard rock" have often been used interchangeably, particularly in discussing bands of the 1970s, a period when the terms were largely synonymous. For example, the 1983 Rolling Stone Encyclopedia of Rock & Roll includes this passage: "known for its aggressive blues-based hard-rock style, Aerosmith was the top American heavy-metal band of the mid-Seventies." 「重金屬」和「硬式搖滾」兩個詞彙在使用上常常是可以替換的，尤其是談及1970年代的樂團時；在那個時期，兩個詞彙大同小異。舉例而言，在1983年《滾石》雜誌的《搖滾樂百科》中有這樣一段話：「以其富有侵略性、以藍調為基礎的硬式搖滾風格而聞名， Aerosmith是美國70年代中期頂尖的重金屬樂團。」（待續） -- Glory is yours, Vengeance is mine. 光榮屬你，復仇屬我。 -- ※ 發信站: 批踢踢實業坊(ptt.cc) ◆ From: 114.41.115.128 ※ 編輯: coolfly 來自: 114.41.115.128 (01/01 15:30)

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