POP MUSIC CULTURE
流行音樂文化
Pop culture would arguably never have materialized in the first place without music to propel it into the social spotlight. Pop music and pop culture are virtual synonyms. Trends in pop music have, in fact, defined each era of pop culture, becoming descriptors of the eras themselves (as in the Jazz Age, the swing era, the rock era, the rap era, and so on). From the jazz music of the Roaring Twenties and the swing music of the 1930s to the techno music of the 2000s and the current eclectic music scene, pop music genres have always attracted large audiences, whose devotion to the music-makers sometimes borders on obsession.
可以說，如果沒有音樂將流行文化推向社會聚光燈下，它永遠不會成為現實。流行音樂和流行文化實際上是同義詞。事實上，流行音樂的趨勢定義了流行文化的每個時代，成為時代本身的描述符（如爵士時代、搖擺時代、搖滾時代、說唱時代等）。從咆哮的二十年代的爵士樂和 1930 年代的搖擺音樂到 2000 年代的電子音樂和當前不拘一格的音樂場景，流行音樂流派一直吸引著大量觀眾，他們對音樂製作人的熱愛有時近乎癡迷。
Although different pop musical styles have been fashionable in different eras, they share a common goal—bringing music to the people. This does not mean that pop music is not artistic in any traditional aesthetic-critical sense or, vice versa, that so-called serious music did not appeal broadly. Many pop music works have risen (and continue to rise) to the level of what is traditionally called “musical art.” As discussed throughout this book, pop culture is definable as a pastiche culture with admixture of levels. Alongside the rush of new songs with a very short shelf life throughout the different eras, one finds the jazz works of Louis Armstrong, the rock music of Procol Harum, the rap music of Tupac Shakur, the film scores of Philip Glass, and the songs of Alicia Keys, to mention but a few—all of which have lasting power. It is music that, once heard, never leaves us. The British conductor Sir Thomas Beecham (1879–1961) aptly put it as follows (in Cardus 1961): “Great music is that which penetrates the ear with facility and leaves the memory with difficulty. Magical music never leaves the memory.”
儘管不同的流行音樂風格在不同的時代很流行，但它們有一個共同的目標——將音樂帶給人們。這並不意味著流行音樂在任何傳統的審美批判意義上都不是藝術性的，或者反之，所謂的嚴肅音樂沒有廣泛的吸引力。許多流行音樂作品已經上升（並繼續上升）到傳統上被稱為「音樂藝術」的水準。正如本書中所討論的，流行文化可以定義為一種混合了多個層次的模仿文化。除了在不同時代匆匆忙忙地出現保質期很短的新歌之外，人們還可以發現路易士·阿姆斯特朗 （Louis Armstrong） 的爵士樂作品、普羅科爾·哈魯姆 （Procol Harum） 的搖滾樂、圖派克·沙庫爾 （Tupac Shakur） 的說唱音樂、菲力浦·格拉斯 （Philip Glass） 的電影配樂和艾麗西亞·凱斯 （Alicia Keys） 的歌曲，僅舉幾例——所有這些都具有持久的力量。這種音樂一旦聽到，就永遠不會離開我們。英國指揮家湯瑪斯·比查姆爵士（Sir Thomas Beecham，1879-1961）在《卡杜斯》（Cardus，1961）中說得恰當：“偉大的音樂是那些能巧妙地穿透耳朵，而艱難地離開記憶的音樂。神奇的音樂永遠不會離開記憶。
This chapter will focus on the role of music in the birth, rise, and spread of pop culture. Pop music is a central target of pop culture analysis not only because it has always been a source of mass entertainment but also because it has stimulated protest and incited social change, and it has often risen to the level of art, transcending the era in which it was created.
本章將重點介紹音樂在流行文化的誕生、興起和傳播中的作用。流行音樂是流行文化分析的中心目標，不僅因為它一直是大眾娛樂的源泉，還因為它激發了抗議和煽動社會變革，並且它經常上升到藝術的水準，超越了它誕生的時代。
THE ADVENT OF POP MUSIC
流行音樂的出現
Thomas Edison invented the first phonograph (record player) in 1877; a decade later, in 1887, the German-born American inventor Emile Berliner improved Edison’s device, producing the flat-disc phonograph, called the gramophone (figure 6.1). Around 1920,Berliner’s invention was further refined by newer electrical recording and reproduction technologies whereby the vibrations of the phonograph needle were amplified by electromagnetic devices. Pop music had found its first technological medium for widespread diffusion.
湯瑪斯·愛迪生 （Thomas Edison） 於 1877 年發明瞭第一台留聲機（電唱機）;十年後，即 1887 年，出生於德國的美國發明家埃米爾·伯林納 （Emile Berliner） 改進了愛迪生的設備，生產出稱為留聲機的平板留聲機（圖 6.1）。1920年左右，Berliner 的發明通過更新的電子記錄和複製技術進一步完善，其中留聲機針的振動被電磁裝置放大。流行音樂找到了它的第一個廣泛傳播的技術媒介。
Historical Sketch
歷史素描
Music historians actually trace the roots of contemporary pop music to late eighteenth-century America, when catchy, tuneful songs were composed by professional musicians for performances in parks in front of large gatherings (generally on Sunday afternoons). By the early nineteenth century, such songs, along with famous arias from Italian opera, became popular throughout the United States, leading to the birth of a soft, mellifluous, and sentimental type of music known as crooning. Before the advent of sound recordings, the primary medium for disseminating such music was printed sheet music, which turned the style into a flourishing music-publishing business centralized in New York City in an area of lower Manhattan called Tin Pan Alley. The first Tin Pan Alley printed music to sell one million copies was “After the Ball” (1892) by Charles K. Harris.
音樂歷史學家實際上將當代流行音樂的根源追溯到 18 世紀末的美國，當時專業音樂家在大型集會前（通常在周日下午）為公園的表演創作了朗朗上口、優美的歌曲。到 19 世紀初，這些歌曲以及義大利歌劇中著名的詠歎調風靡美國各地，導致了一種柔和、悅耳動聽、感傷的音樂類型的誕生，這種音樂被稱為低吟。在錄音出現之前，傳播此類音樂的主要媒介是印刷樂譜，這使這種風格成為一項蓬勃發展的音樂出版業務，集中在紐約市曼哈頓下城一個名為 Tin Pan Alley 的地區。第一本售出 100 萬冊的 Tin Pan Alley 印刷音樂是查理斯·哈裡斯 （Charles K. Harris） 的《舞會之後》（After the Ball，1892 年）。
The songs were memorable and appealing. By the 1930s and 1940s, crooners such as Bing Crosby and Frank Sinatra became pop music icons through their records, the radio, public concerts, and movies. Crosby actually performed his most famous song, “White Christmas,” in the movie Holiday Inn (1942); he won an Academy Award in 1944 for his performance as a singing priest in Going My Way. Alongside crooning music, jazz emerged as a major strain of pop music by the 1920s—the term Jazz Age became a synonym of the Roaring Twenties. By the 1930s, jazz developed derivative genres, such as swing, a style that defined the big band era, becoming the most popular genre of music up until World War II. After the war, the migration of jazz and blues musicians to northern urban areas from the southern American states, the advent of the electric guitar, the spread of a jazz style known as boogie-woogie, and the honky-tonk country music genre popular in many states set the stage for rock and roll to emerge as a blend of these styles, becoming the dominant pop music genre of the 1950s.
這些歌曲令人難忘且吸引人。到 1930 年代和 1940 年代，Bing Crosby 和 Frank Sinatra 等低吟歌手通過他們的唱片、廣播、公開音樂會和電影成為流行音樂偶像。克羅斯比實際上在電影《假日旅館》（1942 年）中演唱了他最著名的歌曲「白色耶誕節」;他因在 Going My Way 中飾演歌唱牧師而於 1944 年獲得奧斯卡金像獎。除了低吟音樂，爵士樂在 1920 年代成為流行音樂的主要流派——爵士時代一詞成為咆哮的二十年代的同義詞。到 1930 年代，爵士樂發展出衍生流派，例如搖擺樂，這種風格定義了大樂隊時代，成為二戰之前最受歡迎的音樂流派。戰後，爵士樂和藍調音樂家從美國南部各州遷移到北部城市地區，電吉他的出現，被稱為 boogie-woogie 的爵士樂風格的傳播，以及在許多州流行的 honky-tonk 鄉村音樂流派，為搖滾樂作為這些風格的混合出現奠定了基礎， 成為 1950 年代佔主導地位的流行音樂流派。
Promoted by radio impresarios and announcers such as Alan Freed and recorded by small, independent labels, rock and roll attracted at first a newly affluent youth audience in the mid-1950s. The pioneers of the new and exciting music came from varied backgrounds. Bill Haley and His Comets, whose “Rock around the Clock” (1955) became the first rock anthem, was initially a country-and-western band; Fats Domino was a rhythm and blues artist; Chuck Berry was a hairdresser; and Elvis Presley was a truck driver. The golden era of rock and roll—defined by the exuberant recordings of artists such as these—lasted from 1954 to 1959. The music was mainly about the coming-of-age period in postwar society. In the early 1960s, distinctive regional styles emerged, such as the music of the southern California band called the Beach Boys and the Greenwich Village urban folk movement that included the musical styles of Bob Dylan, the Kingston Trio, and Peter, Paul, and Mary. Rock was becoming the musical voice of larger and larger segments of society, as well as a new voice of protest (discussed later in the chapter).
搖滾樂由艾倫·弗裡德 （Alan Freed） 等廣播電臺主持人和播音員推廣，並由小型獨立唱片公司錄製，起初在 1950 年代中期吸引了新富裕的青年聽眾。新的和令人興奮的音樂的先驅來自不同的背景。比爾·黑利和他的彗星樂隊（Bill Haley and His Comets）的《全天候搖滾》（Rock around the Clock，1955 年）成為第一首搖滾歌曲，最初是一支鄉村和西部樂隊;Fats Domino 是一位節奏藍調藝術家;查克·貝瑞 （Chuck Berry） 是一名美髮師;貓王 （Elvis Presley） 是一名卡車司機。搖滾樂的黃金時代——由這些藝術家的熱情洋溢的唱片所定義——從 1954 年持續到 1959 年。音樂主要是關於戰後社會的成年時期。在 1960 年代初期，出現了獨特的地方風格，例如南加州樂隊 Beach Boys 的音樂和格林威治村城市民間運動，其中包括鮑勃·迪倫、金斯頓三重奏以及彼得、保羅和瑪麗的音樂風格。搖滾樂正在成為越來越大的社會階層的音樂聲音，以及一種新的抗議聲音（在本章後面討論）。
Rock’s spread and social influence became especially noticeable when the so-called British Invasion began in 1964 with the arrival of the Beatles in New York City, which invigorated the steadily declining popularity of golden-era rock and roll at the time, reinterpreting its early classics in new and exciting ways—for example, the Beatles revisited Chuck Berry’s guitar-based rock and roll; the Animals adopted rhythm and blues styles to produce a hard-driving musical sound of their own; and the Rolling Stones incorporated aspects of both early rock and blues into a distinctive, thrusting sound.The mid- to late 1960s became a period of expansion and diversification of the rock idiom. The music included not only the broadly influential music of the Beatles but also the following: San Francisco psychedelic rock; guitar-based rock, as exemplified by Jimi Hendrix and Eric Clapton; jazz rock and folk rock; and other styles. Soul music emerged in the same time frame with a wide range of its own styles, including the gospel-based songs of Aretha Franklin, the funk music of James Brown, and the soulful melodies of Marvin Gaye. Country music, centered in Nashville, Tennessee, also produced a new generation of stars who combined elements of old country-and-western style with rock and roll. Johnny Cash, Waylon Jennings, and Patsy Cline helped contribute to the rising popularity of such music.
當 1964 年披頭士樂隊抵達紐約市時，所謂的英國入侵開始時，搖滾樂的傳播和社會影響力變得尤為明顯，這激發了當時黃金時代搖滾樂逐漸下降的受歡迎程度，以新的和令人興奮的方式重新詮釋了其早期的經典——例如，披頭士樂隊重新審視了查克·貝瑞 （Chuck Berry） 以吉他為基礎的搖滾樂;Animals 採用節奏和布魯斯風格來製作他們自己的硬核音樂聲音;滾石樂隊將早期搖滾和藍調的各個方面融合成一種獨特、充滿衝擊力的聲音。1960 年代中後期成為搖滾成語的擴張和多樣化的時期。音樂不僅包括披頭士樂隊具有廣泛影響力的音樂，還包括以下內容：三藩市迷幻搖滾;以吉他為基礎的搖滾，以 Jimi Hendrix 和 Eric Clapton 為代表;爵士搖滾和民謠搖滾;和其他樣式。靈魂音樂在同一時間出現，具有廣泛的自己的風格，包括 Aretha Franklin 的福音歌曲、James Brown 的放克音樂和 Marvin Gaye 的深情旋律。以田納西州納什維爾為中心的鄉村音樂也培養了新一代明星，他們將舊鄉村和西部風格的元素與搖滾樂相結合。約翰尼·卡什 （Johnny Cash）、韋倫·詹寧斯 （Waylon Jennings） 和帕西·克萊恩 （Patsy Cline） 為此類音樂的日益流行做出了貢獻。
In the 1970s, a plethora of distinctive derivative styles—disco, glam rock, punk rock, new wave, and reggae, for example—were promoted by both the big and the independent record labels. As a consequence, rock became highly fragmented and thus much less profitable for record companies to market to large homogeneous audiences as sales of records dropped dramatically between 1978 and 1982. But a number of factors contributed to an economic revival in the mid-1980s. Among these was the advent of the music video, with the debut in 1981 of Music Television (MTV). A year later, the video-album Thriller (1982) by Michael Jackson became the biggest-selling album in pop music history up to that time, prompting a pattern by which record companies relied upon a few big hits to generate profits, promoting them through videos and regular recordings in tandem. Popular musicians of the period include Bruce Springsteen, the working-class bar-band hero; the artist known as Prince, whose 1984 single “When Doves Cry” was the first song in decades to have topped all the pop music charts; and Madonna, the iconoclastic performer from a working-class background who presented herself as a controversial erotic persona through her music videos. MTV and its subsidiary channels VH1 and MTV2 functioned both as critics of music trends and as purveyors of the same trends, parsing pop music history in programs such as Behind the Music and Beavis and Butt-Head. Today, with internet music sites, MTV has receded to the margins and become another television channel with regular programming, having lost its function as a new music venue.
在 1970 年代，大唱片公司和獨立唱片公司都推廣了大量獨特的衍生風格——例如迪斯可、華麗搖滾、朋克搖滾、新浪潮和雷鬼。因此，搖滾變得高度分散，因此隨著1978年至1982年間唱片銷量急劇下降，唱片公司向大量同質觀眾推銷的利潤要低得多。但許多因素促成了 1980 年代中期的經濟復甦。其中包括音樂視頻的出現，音樂電視 （MTV） 於 1981 年首次亮相。一年後，邁克爾傑克遜的視頻專輯 Thriller （1982） 成為當時流行音樂史上最暢銷的專輯，促使唱片公司依靠一些熱門歌曲來產生利潤，並通過視頻和定期錄音來推廣它們。那個時期的流行音樂家包括工人階級酒吧樂隊英雄布魯斯·斯普林斯汀（Bruce Springsteen）;被稱為 Prince 的藝術家，他 1984 年的單曲「When Doves Cry」是幾十年來第一首登上所有流行音樂排行榜榜首的歌曲;以及麥當娜（Madonna），這位來自工人階級背景的反傳統表演者，通過她的音樂視頻將自己塑造成一個有爭議的色情角色。MTV 及其附屬頻道 VH1 和 MTV2 既是音樂趨勢的批評者，也是相同趨勢的傳播者，在 Behind the Music 和 Beavis and Butt-Head 等節目中解析流行音樂的歷史。今天，隨著互聯網音樂網站的出現，MTV 已經退居邊緣，成為另一個定期節目的電視頻道，失去了作為新音樂場所的功能。
Audiences for pop music genres became more and more fragmented in the 1990s, although several main trends rose to the surface. Bands such as Blur, Oasis, Pearl Jam, REM, and Radiohead continued the tradition of counterculture rock music, but it was rap that surfaced to dominate the pop music stage (to be discussed later in the chapter). Today, it is apparent that no significant new trend lasts for very long. This does not imply that there are no works of artistic merit in the new digital pastiche; however, never in the history of pop music have there been so many contrasting elements in this pastiche, making dominant trends virtually impossible to emerge as in the past. The term that might best describe it is mishmash music culture, where even retro-musical trends have emerged to compete with constant new trends. A renewed interest in jazz crystallized within the admixture, highlighted by a ten-part documentary on PBS by director Ken Burns in early 2001. The main point made by the program was that the jazz phenomenon not only shaped all subsequent pop music trends but also functioned as a key to understanding twentieth-century musical art. From the outset, jazz was emblematic of a need for freedom from racial injustice. Jazz thus fostered an unconscious need for counteracting biases at the same time that it became America’s homegrown musical art form.
流行音樂流派的聽眾在 1990 年代變得越來越分散，儘管幾個主要趨勢浮出水面。Blur、Oasis、Pearl Jam、REM 和 Radiohead 等樂隊延續了反主流文化搖滾音樂的傳統，但說唱才浮出水面，主導了流行音樂舞臺（將在本章後面討論）。今天，很明顯，沒有一個重大的新趨勢會持續很長時間。這並不意味著新的數位模仿中沒有具有藝術價值的作品;然而，在流行音樂的歷史上，這種模仿中從未有過如此多的對比元素，這使得主導趨勢幾乎不可能像過去那樣出現。最能描述它的術語是mishmash music culture，甚至復古音樂趨勢也出現了，與不斷的新趨勢競爭。對爵士樂的新興趣在這種混合中具體化，導演肯·伯恩斯 （Ken Burns） 於 2001 年初在 PBS 上製作的十集紀錄片突出了這一點。該節目的主要觀點是，爵士樂現象不僅塑造了後來的所有流行音樂趨勢，而且是理解 20 世紀音樂藝術的關鍵。從一開始，爵士樂就象徵著擺脫種族不公正的需要。因此，爵士樂在成為美國本土音樂藝術形式的同時，也培養了一種無意識的抵消偏見的需求。
In the millennium, eclecticism and an ever-expanding pastiche of styles, musicians, and distribution sources have come to rule the world of pop music. Radio stations, websites, streaming media, and other digital venues offer a wide array of genres to increasingly fragmented audiences. Through streaming services and social media platforms, one can locate any style or genre of music in cyberspace, as well as check playlists and popularity ratings on specific sites. Music blogs and social media posts discuss new music, having largely replaced the traditional music critic of the print world. While technology has made access to music more varied and personalized, musical trends tend to become popular in a more lasting way for the same reason as in previous eras—namely, because the music is moving and enjoyable.
在千禧年裡，折衷主義和不斷擴大的風格、音樂家和發行來源的模仿已經統治了流行音樂的世界。廣播電臺、網站、流媒體和其他數位場所為日益分散的受眾提供了各種類型的內容。通過流媒體服務和社交媒體平臺，人們可以在網路空間中找到任何風格或類型的音樂，以及查看特定網站上的播放清單和人氣評級。音樂博客和社交媒體帖子討論新音樂，在很大程度上取代了印刷界的傳統音樂評論家。雖然技術使音樂的訪問更加多樣化和個人化，但音樂趨勢往往以更持久的方式流行起來，原因與以前時代相同——即因為音樂動人且令人愉快。
Decoding Pop Music
解碼流行音樂
By and large, pop music genres come and go and are enjoyed primarily by the generation of audiences with whom they were once popular. To this day, there are niche (and sometimes substantial) audiences for jazz, blues, early rock and roll, counterculture rock, swing, punk, rap, grunge, metal, and so on. Whatever the style, music bears great significance to people because it speaks to them emotionally, stimulating feelings. When individuals who grew up in the 1950s hear songs by the Platters or Roy Orbison, for instance, they tend to be particularly moved by them, evidenced in part by the many views of these artists on YouTube. Their artistic relevance becomes more conspicuous with the passage of time. Similarly, when those who grew up in the 1960s and 1970s hear the music of the Beatles or the Rolling Stones, they are projected back in time to the era in which such music resonated with both aesthetic and sociopolitical meaning. The reasons why music is so powerful have been debated since antiquity. The philosophers of classical Greece believed that music originated with the gods Apollo and Orpheus and that it reflected in its melodic and harmonic structure the laws that rule the universe. They also believed that music influences human thoughts and actions because it is experienced emotionally. In some African societies, music is considered the faculty that sets humans apart from other species. Among some Native American cultures, music is thought to have originated as a way for spirits to communicate with humans.
總的來說，流行音樂流派來來去去，主要受到曾經流行的一代觀眾的喜愛。直到今天，爵士樂、藍調、早期搖滾樂、反主流文化搖滾、搖擺樂、朋克、說唱、垃圾搖滾、金屬等都有小眾（有時是大量）觀眾。無論哪種風格，音樂對人們都有著重要的意義，因為它能與人們產生情感對話，激發情感。例如，當在 1950 年代長大的人聽到 Platters 或 Roy Orbison 的歌曲時，他們往往會特別被這些歌曲打動，這些藝術家在 YouTube 上的多次觀看次數部分證明瞭這一點。隨著時間的推移，它們的藝術相關性變得更加突出。同樣，當那些在 1960 年代和 1970 年代長大的人聽到披頭士樂隊或滾石樂隊的音樂時，他們會被投射到這些音樂與美學和社會政治意義產生共鳴的時代。音樂如此強大的原因自古以來就一直存在爭議。古典希臘的哲學家認為，音樂起源於阿波羅神和俄耳甫斯神，它在其旋律和和聲結構中反映了支配宇宙的法則。他們還認為，音樂會影響人類的思想和行為，因為它是通過情感體驗的。在一些非洲社會，音樂被認為是將人類與其他物種區分開來的能力。在一些美洲原住民文化中，音樂被認為起源於靈魂與人類交流的一種方式。
The question of what constitutes musical art is not an easy one to answer. Why do we still listen and react to Beethoven’s Ninth Symphony and his last string quartets, even though the music was composed long before we were born? To paraphrase Theodor Adorno (1998)—the Frankfurt School scholar (see chapter 3)—it can be said that a musical form is perceived as having artistic merit when it transcends the times in which it was created, striking a resounding chord (no pun intended) in subsequent generations, no matter who they are or in what era they are born. This premise can be applied not only to Beethoven but also to the jazz, rock, and rap works that move us today. The question becomes the following one: Has pop music reached a critical point, as audiences have become fragmented and as new musical trends that spread broadly are becoming increasingly rare? This question has implications for the survival of pop culture itself because pop music has always been its fuel. If it wanes, then logically one can infer that so will the pop culture experiment. The lack of unifying trends within pop music weakens the ability of music to engender social changes; increasingly, these may have to be brought about in other ways through other artistic forms.
什麼是音樂藝術的問題不是一個容易回答的問題。為什麼我們仍然聆聽貝多芬的第九交響曲和他最後的弦樂四重奏並做出反應，即使這些音樂是在我們出生之前很久就創作的？套用法蘭克福學派學者西奧多·阿多諾（Theodor Adorno，1998）的話（見第3章）——可以說，當一種音樂形式超越了它創造的時代時，它就被認為具有藝術價值，在後代中引起了響亮的共鳴（沒有雙關語的意思），無論他們是誰，也無論他們出生在哪個時代。這個前提不僅適用於貝多芬，也適用於今天感動我們的爵士樂、搖滾樂和說唱作品。問題就變成了以下問題：隨著觀眾變得碎片化，隨著廣泛傳播的新音樂趨勢變得越來越罕見，流行音樂是否已經達到了一個臨界點？這個問題對流行文化本身的生存有影響，因為流行音樂一直是它的燃料。如果它減弱，那麼從邏輯上講，人們可以推斷流行文化實驗也會減弱。流行音樂中缺乏統一的趨勢削弱了音樂引發社會變革的能力;這些可能越來越多地不得不通過其他藝術形式以其他方式實現。
Genres
流派
Although music genres change constantly, strong continuities can be detected within the history of pop music. As in other domains of pop culture, music genres have broad appeal because they engage people emotionally. From the Charleston and jazz to swing, rock, rap, and techno, a genre tends to become popular if it embodies a recognizable melodic-harmonic style that grabs people’s attention and interest broadly and is diffused through various media to reach large segments of the population in tandem. Today, it is niche-music programming that dominates the pop culture landscape, as most genres now have their own radio stations, websites, and social media fan bases. While these allow for a community of listeners to form around the music, the larger community that was once attracted to the same genre of music may no longer be there.
儘管音樂流派不斷變化，但在流行音樂的歷史中可以檢測到強烈的連續性。與流行文化的其他領域一樣，音樂流派具有廣泛的吸引力，因為它們在情感上吸引人們。從查爾斯頓和爵士樂到搖擺樂、搖滾樂、說唱和 techno 音樂，如果一種流派體現了一種可識別的旋律和聲風格，廣泛吸引人們的注意力和興趣，並通過各種媒體傳播以串聯接觸大部分人群，那麼它往往會變得流行。今天，小眾音樂節目主導了流行文化景觀，因為大多數流派現在都有自己的廣播電臺、網站和社交媒體粉絲群。雖然這些允許圍繞音樂形成一個聽眾社區，但曾經被同一類型的音樂所吸引的更大社區可能已經不復存在。
The spread of multiple music genres today, without a mainstream style uniting audiences in a communal way—as did, for example, the swing music of the big bands in the 1930s and 1940s, the early rock and roll of the 1950s, and rap of the 1980s and 1990s—is a sign that the power of pop music as a trend-setting force across the realms of pop culture may have become somewhat attenuated. Whereas once a single style or genre grabbed broad audience attention, today everything from rock and jazz to opera, rap, and gospel has its own audience, recording artists, radio stations, websites, accompanying fan social media networks, magazines, and so on. In effect, as pop music evolved over the decades, it progressively lost its force as a unifying voice among all sectors of society. Perhaps, as will be discussed further in subsequent chapters, like other cultural experiments in history, pop culture may also be either receding to the margins or evolving into something different.
今天多種音樂流派的傳播，沒有主流風格以公共方式將觀眾團結起來——例如，1930 年代和 1940 年代大樂隊的搖擺音樂、1950 年代的早期搖滾樂以及 1980 年代和 1990 年代的說唱——這表明流行音樂作為流行文化領域的引領潮流的力量可能已經有所減弱。曾經單一的風格或流派吸引了廣泛的觀眾注意力，而今天，從搖滾和爵士到歌劇、說唱和福音，一切都有自己的觀眾、唱片藝術家、廣播電臺、網站、伴隨的粉絲社交媒體網路、雜誌等。實際上，隨著流行音樂幾十年的發展，它逐漸失去了作為社會各界統一聲音的力量。也許，正如後續章節將進一步討論的那樣，就像歷史上的其他文化實驗一樣，流行文化也可能退居邊緣或演變成不同的東西。
In addition to an American-based typology of genres, the music styles of other countries have gained widespread appeal through satellite technology and the internet, leading increasingly to a global audience for pop music, which is being created by any artist around the globe. In a way, however, this has always been the case. The Argentine tango, for instance, gained popularity in the United States (and elsewhere) during the 1910s, initiating a craze for Latin ballroom dancing in Paris, London, and New York City. The Cuban rumba became popular around the world in the 1930s primarily through recordings and radio. In the internet era, such styles have made a comeback, attracting new audiences across the world and being highlighted on television programs such as Dancing with the Stars. Indian film music, produced in studios in New Delhi and Mumbai, has also gained the attention of multiethnic audiences around the world, as has traditional African music, which includes a number of distinctive regional styles, such as the juju music of Nigerian bandleader King Sunny Adé; central African soukous, a blend of indigenous songs and dance rhythms with Afro-Cuban music; and South African isicathamiya, the Zulu choral singing style performed by Ladysmith Black Mambazo. Never before has the popular music of different cultures been so broadly available to anyone who wants to listen to it. The internet has literally brought music massively to the people, no matter where they live or what their backgrounds are.
除了以美國為基礎的流派類型外，其他國家的音樂風格還通過衛星技術和互聯網獲得了廣泛的吸引力，導致流行音樂的全球觀眾越來越多，全球任何藝術家都在創作流行音樂。然而，在某種程度上，情況一直如此。例如，阿根廷探戈在 1910 年代在美國（和其他地方）流行起來，在巴黎、倫敦和紐約市掀起了拉丁交際舞的熱潮。古巴倫巴在 1930 年代主要通過錄音和廣播風靡全球。在互聯網時代，這種風格捲土重來，吸引了世界各地的新觀眾，並在 Dancing with the Stars 等電視節目中得到強調。在新德里和孟買的工作室製作的印度電影音樂也獲得了世界各地多種族觀眾的關注，傳統的非洲音樂也是如此，其中包括許多獨特的地區風格，例如奈及利亞樂隊領隊 King Sunny Adé 的 juju 音樂;中非 soukous，將土著歌曲和舞蹈節奏與非洲古巴音樂融為一體;以及南非 isicathamiya，由 Ladysmith Black Mambazo 表演的祖魯合唱風格。不同文化的流行音樂從未像現在這樣廣泛地提供給任何想聽的人。互聯網確實將音樂大規模地帶給了人們，無論他們住在哪裡或背景如何。
From the birth of pop culture as a distinctive culture in the Roaring Twenties, music has also functioned as a “support art form” used in movies and TV programs, frequently defining them symbolically. The William Tell Overture gallop movement by Italian composer Gioachino Rossini, for instance, has become so closely linked with the Lone Ranger radio and TV series of the 1940s and 1950s that the two are hardly ever perceived as separate by those who grew up in that era. Similarly, another Rossini overture, the one he composed for his opera The Barber of Seville, has become so broadly associated with a famous Bugs Bunny cartoon episode that the two are now inseparable in many people’s minds.
從咆哮的 20 年代流行文化作為一種獨特文化誕生以來，音樂也作為電影和電視節目中使用的“支持藝術形式”發揮作用，經常以象徵性的方式定義它們。例如，義大利作曲家喬阿基諾·羅西尼 （Gioachino Rossini） 的威廉·泰爾序曲馳騁樂章與 1940 年代和 1950 年代的獨行俠廣播和電視連續劇密切相關，以至於在那個時代長大的人幾乎從未認為這兩者是分開的。同樣，羅西尼的另一首序曲，即他為歌劇《塞維利亞理髮師》創作的序曲，已經與著名的兔八哥卡通片情節有著如此廣泛的聯繫，以至於這兩者現在在許多人的心目中已經密不可分。
SOCIAL CHANGE
社會變革
The swing music that became broadly popular in the mid-1930s and early 1940s reflected the spread of a new, open lifestyle in the United States that had emerged in the Roaring Twenties, a tacit and unconscious breaking away from the puritanical past of America. Swing was also a form of escapism, as people saw it as a way to cope with the stark economic realities of the Depression and post-Depression eras, as well as with the moral ravages of world war. But, as with any other dominant musical style, in those eras swing culture was already showing a tendency to develop in different directions. In 1942, for example, Frank Sinatra gave a performance at the Paramount in New York City that indicated how the swing style was evolving into rock and roll—a genre that was just around the corner. By the mid-1950s, rock and roll had replaced swing and its derivatives, gaining popularity at first with adolescents of the era.
在 1930 年代中期和 1940 年代初廣泛流行的搖擺音樂反映了一種新的、開放的生活方式在美國的傳播，這種生活方式是在咆哮的二十年代出現的，一種默契和無意識的脫離美國清教徒式的過去。Swing 也是一種逃避現實的形式，因為人們將其視為應對大蕭條和後大蕭條時代嚴峻經濟現實以及世界大戰道德蹂躪的一種方式。但是，與任何其他佔主導地位的音樂風格一樣，在那個時代，搖擺文化已經顯示出向不同方向發展的趨勢。例如，1942年，弗蘭克·辛納屈 （Frank Sinatra） 在紐約市派拉蒙 （Paramount） 進行了一場表演，表明搖擺樂風格如何演變成搖滾樂——一種指日可待的流派。到 1950 年代中期，搖滾樂已經取代了搖擺樂及其衍生物，起初在那個時代的青少年中流行起來。
What stands out about the history of pop music is that each new trend signaled a social movement. It is unlikely that the social changes that have come about since the 1920s would have taken place at all without the music to both support and instigate them (discussed later in this chapter).
流行音樂歷史的突出之處在於，每一種新趨勢都標誌著一場社會運動。如果沒有音樂的支援和煽動，自 1920 年代以來發生的社會變革不太可能發生（本章稍後將討論）。
Jazz and Swing
爵士樂和搖擺樂
To reiterate, there is no pop culture without music to give it emotional substance. Jazz was the fuel that propelled the Roaring Twenties. It was the music of choice of the flappers, the flaming youth, and those in their milieu. It was new and exciting, breaking radically from previous musical traditions. In a racially problematic environment, it came out of the souls of African Americans—it was America’s first masterful art form. Elders condemned it; the flappers, along with writers and artists, embraced it unabashedly. It should be mentioned that the direct predecessor of jazz was a musical idiom called ragtime, popular between 1895 and 1919. It was named this way because of its syncopated, “ragged” rhythm. The best-known composer of the genre is Scott Joplin (1868–1917), whose works “Maple Leaf Rag” (1899) and “The Entertainer” (1902) are being played to this day by contemporary artists.
重申一下，沒有音樂賦予它情感內涵，就沒有流行文化。爵士樂是推動咆哮的二十年代的燃料。這是那些放蕩不羈的人、火熱的年輕人和他們所處的環境中的人所選擇的音樂。這是新的和令人興奮的，與以前的音樂傳統完全不同。在一個種族問題重重的環境中，它來自非裔美國人的靈魂——它是美國第一種精湛的藝術形式。長老們譴責了它;Flappers 以及作家和藝術家毫不掩飾地接受了它。值得一提的是，爵士樂的直接前身是一種叫做拉格泰姆的音樂成語，流行於 1895 年至 1919 年間。它之所以這樣命名，是因為它的切分音、“參差不齊”的節奏。該流派最著名的作曲家是斯科特·喬普林（Scott Joplin，1868-1917 年），他的作品《楓葉抹布》（Maple Leaf Rag，1899 年）和《藝人》（The Entertainer，1902 年）至今仍被當代藝術家演奏。
After the Civil War, significantly, it was the American South that became a locus for the emergence of African American music. As a distinct style, jazz made its appearance, in fact, in New Orleans around 1900, blending blues and gospel music in a new creative way. The music was powerful and provocative, socially and aesthetically. The first recordings of jazz were made in 1917 by a group of white musicians called the Original Dixieland Jass Band. One of the key elements of jazz is improvisation, which empowers performers to extemporize spontaneously within a harmonic and melodic frame. Improvisation had instant mass appeal since it implicitly broke down preestablished structures. Radio broadcasts of live performances by jazz musicians put on display the energetic power of improvisation, leading to an increasing demand for the music. One of the first leaders of the ever-broadening jazz culture was Louis Armstrong (1901–1971). Armstrong made some of his most famous recordings with his Hot Five and Hot Seven combos. They rank among the early masterpieces of jazz.
值得注意的是，南北戰爭后，美國南方成為非裔美國音樂出現的發源地。事實上，爵士樂作為一種獨特的風格，於 1900 年左右在新奧爾良出現，以一種新的創造性方式將藍調和福音音樂融合在一起。音樂在社交和審美上都是有力和挑釁性的。1917年，一群名為 Original Dixieland Jass Band 的白人音樂家錄製了第一張爵士樂唱片。爵士樂的關鍵元素之一是即興創作，它使表演者能夠在和聲和旋律框架內自發地即興創作。即興創作立即引起了大眾的吸引力，因為它隱含地打破了預先建立的結構。爵士音樂家現場表演的無線電廣播展示了即興創作的活力，導致對音樂的需求不斷增加。路易士·阿姆斯壯（Louis Armstrong，1901-1971年）是爵士樂文化不斷擴大的第一批領導者之一。阿姆斯壯用他的 Hot Five 和 Hot Seven 組合製作了一些他最著名的唱片。他們是爵士樂的早期傑作之一。
The Jazz Age gave way to the swing era, which set the transference cycle in motion (see chapter 1)—whereby a trend would start among young people and gradually get adopted and normalized by the mainstream culture, leading to derived subsequent trends. An early leader of the swing era was Paul Whiteman (1890–1967), whose recordings were so successful that press notices referred to him as the “King of Jazz.” Another leader was Benny Goodman, who became known instead as the “King of Swing.” Starting in 1934, Goodman’s bands and combos brought swing to nationwide audiences through ballroom performances, recordings, and radio broadcasts. He was one of the first bandleaders to feature African American and white musicians playing together in public—an incredible event for the times. From swing, another major musical trend emerged, called “boogie-woogie.” The music had an intense rhythm that created excitement through the repetition of a single phrase and a moving bass line, giving it an edge that was very appealing.
爵士時代讓位於搖擺時代，搖擺時代啟動了移情循環（見第 1 章）——一種趨勢將從年輕人開始，並逐漸被主流文化採用和正常化，從而導致衍生的後續趨勢。搖擺時代的早期領袖是保羅·懷特曼（Paul Whiteman，1890-1967 年），他的唱片非常成功，以至於新聞通知稱他為“爵士樂之王”。另一位領導者是本尼·古德曼 （Benny Goodman），他後來被稱為“搖擺之王”。從 1934 年開始，Goodman 的樂隊和組合通過舞廳表演、錄音和無線電廣播為全國觀眾帶來了搖擺樂。他是第一批以非裔美國人和白人音樂家在公共場合一起演奏的樂隊領隊之一——這在當時是一個令人難以置信的事件。從搖擺樂中，出現了另一種主要的音樂趨勢，稱為“boogie-woogie”。音樂具有強烈的節奏，通過重複單個樂句和移動的低音線營造出興奮感，賦予它非常吸引人的優勢。
Jazz vocalists came into prominence as the first celebrities, including Ella Fitzgerald, Billie Holiday, Nat “King” Cole, Carmen McRae, and Sarah Vaughan; all of them were young when they started out. Several writers of the Roaring Twenties were among the first to sense the power of jazz to change society. The best known is F. Scott Fitzgerald (1896–1940). Fitzgerald was a participant in the decadent life he wrote about, as well as a detached observer of its changing worldview and social ethos. His early readers saw only the light side of Fitzgerald, as the critical reviews show, putting him in the same realm as pulp fiction writers, thus leaving him generally unrecognized as an important literary figure until much later, when people came to realize that Fitzgerald’s works were penetrating narrative portraits of what was happening to American society as it moved toward modernized lifestyles shaped by jazz culture. His first novel, This Side of Paradise (1920), anticipated the changes that were about to come. He followed it up with The Beautiful and Damned (1921) and two collections of short stories, Flappers and Philosophers (1920) and Tales of the Jazz Age (1922). As the titles themselves reveal, Fitzgerald not only understood what was going on but also may have been the one to name the role players (flappers) and the era ( Jazz Age) himself. But it was through The Great Gatsby (1925) that Fitzgerald captured the soul of the era. The novel centers on Jay Gatsby, a wealthy bootlegger, through whom Fitzgerald offers up a biting criticism of the moral emptiness of the affluent society of the period and its many contrasts—it was decadent, yet exciting; it was immoral, yet still in the grasp of moralism; and, above all else, it was youthful, yet also mature. In his later Tender Is the Night (1934), we get a glimpse into the origins of nightlife culture and what it entailed for American society. Fitzgerald’s characters attempt to discover life not through sacrifice but through pleasure.
爵士歌手作為第一批名人而聲名鵲起，包括 Ella Fitzgerald、Billie Holiday、Nat “King” Cole、Carmen McRae 和 Sarah Vaughan;他們剛開始的時候都很年輕。咆哮的二十年代的幾位作家是最早感受到爵士樂改變社會的力量的人之一。最著名的是 F. Scott Fitzgerald （1896-1940）。菲茨傑拉德是他所描寫的頹廢生活的參與者，也是對其不斷變化的世界觀和社會風氣的超然觀察者。正如評論家所顯示的那樣，他的早期讀者只看到了菲茨傑拉德光明的一面，將他與低俗小說作家置於同一領域，因此他通常不被認為是一個重要的文學人物，直到很久以後，人們才意識到菲茨傑拉德的作品是美國社會在爵士樂文化塑造的現代化生活方式中正在發生的事情的深刻敘事肖像。他的第一部小說《天堂的這一邊》（This Side of Paradise，1920 年）預見了即將發生的變化。隨後，他又出版了《美麗與詛咒》（The Beautiful and Damned，1921 年）和兩本短篇小說集《飛濺者與哲學家》（Flappers and Philosophers，1920 年）和《爵士時代的故事》（Tales of the Jazz Age，1922 年）。正如標題本身所揭示的那樣，菲茨傑拉德不僅了解發生了什麼，而且可能是自己命名角色球員（flappers）和時代（爵士時代）的人。但正是通過《了不起的蓋茨比》（The Great Gatsby，1925 年），菲茨傑拉德抓住了那個時代的靈魂。小說以傑伊·蓋茨比 （Jay Gatsby） 為中心，傑伊·蓋茨比 （Jay Gatsby） 是一位富有的私酒販子，菲茨傑拉德通過他對當時富裕社會的道德空虛及其許多對比提出了尖銳的批評——它頹廢，但令人興奮;它是不道德的，但仍然在道德主義的掌控之中;而且，最重要的是，它是年輕的，但也是成熟的。 在他後來的《溫柔的夜晚》（Tender Is the Night，1934 年）中，我們得以一窺夜生活文化的起源及其對美國社會的影響。菲茨傑拉德筆下的人物試圖通過快樂而不是通過犧牲來發現生活。
Today, jazz is revived by retro-artists and expanded in new ways by amalgamating it with other musical idioms, such as rap and rock. YouTube has played a major role in revitalizing interest in jazz as a powerful musical art form. Its importance to America was brought out by Ken Burns’s ten-part miniseries on PBS, Jazz (2001). In it, we can see how the music emerged in the context of a racialized country while, in the process, trans- forming it radically. As the series asserts, jazz is not just about having a good time; it is also America’s main contribution to musical art, and it is likewise about the struggle for civil rights.
今天，爵士樂被復古藝術家復興，並通過將其與其他音樂習語（如說唱和搖滾）融合以新的方式擴展。YouTube 在重振人們對爵士樂作為一種強大的音樂藝術形式的興趣方面發揮了重要作用。肯·伯恩斯 （Ken Burns） 在 PBS 上發表的十集迷你劇《爵士樂》（Jazz，2001 年）揭示了它對美國的重要性。在這部作品中，我們可以看到音樂是如何在一個種族化國家的背景下出現的，同時在這個過程中，它又是如何徹底地改變它的。正如該系列所斷言的那樣，爵士樂不僅僅是為了玩得開心;它也是美國對音樂藝術的主要貢獻，同樣是關於爭取民權的鬥爭。
Rock and Roll
搖滾樂
The Jazz Age of the 1920s heralded a change in the way Americans experienced music. It was music created and played at first by African American musicians, but young white people took to it from the outset, despite negative reactions by many in society at the time. The music was too engaging to ignore, catching on broadly through recordings and radio play. Jazz was a gauge of change to come.
1920 年代的爵士時代預示著美國人體驗音樂的方式發生了變化。它最初是由非裔美國音樂家創作和演奏的音樂，但年輕的白人從一開始就接受了它，儘管當時社會上許多人對此持負面反應。音樂太吸引人了，不容忽視，通過錄音和廣播播放廣泛流行起來。爵士樂是衡量未來變化的尺規。
Followed by swing and boogie-woogie, by the mid-1950s the confluence of these styles with country music led to the emergence of rock and roll as a major new trend in the pop music realm. At first, rock artists were recorded by independent record labels and promoted by local radio stations. The term rock and roll was used by the Boswell Sisters as early as 1934 in their song “Rock and Roll,” from the film Transatlantic Merry-Go-Round, referring in the song to “the rolling rocking rhythm of the sea” rather than a specific musical genre. By the time Elvis Presley recorded “Good Rockin’ Tonight” in 1954, rock and roll had emerged as a major trend and a new independent voice of young people. Shortly thereafter, in 1955, Bill Haley and His Comets recorded “Rock around the Clock,” which epitomized what rock and roll was all about at first—teenagers coming of age in the 1950s and “rebelling without a cause,” as the 1955 movie Rebel without a Cause captured on film.
緊隨其後的是搖擺樂和布吉伍吉，到 1950 年代中期，這些風格與鄉村音樂的融合導致搖滾樂成為流行音樂領域的主要新趨勢。起初，搖滾藝術家由獨立唱片公司錄製，並由當地廣播電臺進行推廣。早在 1934 年，博斯韋爾姐妹就在電影《跨大西洋旋轉木馬》中的歌曲“搖滾樂”中使用了搖滾一詞，在歌曲中指的是“大海的滾動搖滾節奏”，而不是特定的音樂流派。到 1954 年貓王 （Elvis Presley） 錄製《Good Rockin' Tonight》時，搖滾樂已成為一種主要趨勢和年輕人新的獨立聲音。此後不久，在 1955 年，比爾·黑利和他的彗星樂隊錄製了“Rock around the Clock”，這首歌最初是搖滾樂的縮影——青少年在 1950 年代成年，正如 1955 年的電影《無因的反叛》所捕捉的那樣。
In 1968, Elvis Presley attempted a comeback on television—the most powerful medium at the time. The program, known subsequently as Elvis’s Comeback Special, was a huge success, encouraging him to resume touring and to embark on new recording ventures. He performed regularly in Las Vegas with older audiences, regaining some of his previous celebrity status as the King of Rock and Roll, but many of his initial fans saw him as a caricature of his previous self. The garish white costume that he donned at his performances was more reminiscent of the glitzy costumes of circus performers than of a rock and roll hero. To those who cared about his music, all this was seen as the tragic descent of a fallen hero who died tragically at his home in Memphis, Tennessee, at the age of forty-two. Like a mythic figure, Presley became even more celebrated after his death, with the devotion of his fans becoming zealous in intensity. Although this faded considerably at the turn of the millennium, Graceland—Presley’s mansion in Memphis—is still a tourist attraction.
1968 年，貓王 （Elvis Presley） 試圖在電視上捲土重來，這是當時最強大的媒體。這個節目後來被稱為 Elvis's Comeback Special，取得了巨大的成功，鼓勵他恢復巡演並開始新的錄音事業。他經常在拉斯維加斯與年長的觀眾一起演出，恢復了他以前作為搖滾之王的一些名人地位，但他的許多最初的粉絲將他視為對以前自己的諷刺漫畫。他在表演時穿的花哨白色服裝更讓人想起馬戲團表演者的華麗服裝，而不是搖滾英雄。對於那些關心他的音樂的人來說，這一切都被視為一位倒下的英雄的悲劇性下降，他在田納西州孟菲斯的家中不幸去世，享年 42 歲。就像一個神話人物一樣，普雷斯利在他死後變得更加著名，他的粉絲們的奉獻變得更加熱烈。儘管這在千禧年之交已經大大消失了，但普雷斯利在孟菲斯的豪宅 Graceland 仍然是一個旅遊景點。
There is little doubt that Elvis Presley would not have been deified without the type of music he championed—rock and roll. Early 1950s rock was a huge success among young people because it literally “rocked and rolled” them, allowing them to set themselves apart from the adult society of the era. As mentioned, television jumped on the bandwagon, further entrenching its appeal, on August 5, 1957, when American Bandstand was seen by more than eight million viewers (a huge number for the era). The announcer, Dick Clark, became himself an icon of rock and roll culture, remaining so until his death in 2012. The program came on in the late afternoon, after school, allowing young people to gather around the TV screen not only to keep up with the new songs and artists but also to participate in an imaginary community of social peers. Knowing what new songs were “in” through the program constituted crucial information to those who wanted to be part of the community.
毫無疑問，如果沒有他所倡導的音樂類型——搖滾樂，貓王就不會被神化。1950 年代初期的搖滾樂在年輕人中取得了巨大的成功，因為它確實“搖滾”了他們，讓他們將自己與那個時代的成人社會區分開來。如前所述，電視也加入了這一潮流，進一步鞏固了它的吸引力，1957 年 8 月 5 日，超過 800 萬觀眾觀看了 American Bandstand（在那個時代這是一個巨大的數位）。播音員迪克·克拉克 （Dick Clark） 成為搖滾文化的偶像，直到 2012 年去世。該節目在下午晚些時候放學後開始，讓年輕人聚集在電視螢幕前，不僅可以跟上新歌和新藝術家的步伐，還可以參與一個想像中的社會同齡人社區。通過該計劃瞭解哪些新歌“進入”對於那些想成為社區一員的人來說構成了關鍵資訊。
The link between rock and roll and young people was visible from the outset, recalling an identical linkage from the Jazz Age. Rock widened the generation gap as adults reacted negatively to rock and roll at first, with some calling it the “devil’s music.” But the adult world could not stem the tide; rock was seemingly “here to stay,” as a 1958 song by a rock band of the era, Danny and the Juniors, so aptly put it. The fervent popularity of rock and roll caught the attention of media moguls and the entertainment and celebrity-making industries in tandem. Hollywood jumped on the bandwagon early on, producing movies that were all about the growing social and political power of young people in the world, featuring rock and roll as the voice of the new generation; this development can be seen in the 1955 movie Blackboard Jungle, which uses rock and roll in its soundtrack and puts the spotlight on African American actor Sidney Poitier as a rebellious but musically gifted student. Some movies, however, were nothing more than rock videos. The 1956 movie Rock, Rock, Rock, for instance, includes acts by rock stars and groups of the era and features an appearance by disc jockey Alan Freed. Similarly, Rock, Baby, Rock It (1957) and Go, Johnny, Go! (1958)
搖滾樂與年輕人之間的聯繫從一開始就顯而易見，讓人想起爵士時代的相同聯繫。搖滾擴大了代溝，因為成年人起初對搖滾樂反應消極，有些人稱其為“魔鬼音樂”。但成人世界無法阻止這股浪潮;正如那個時代的搖滾樂隊 Danny and the Juniors 在 1958 年創作的一首歌所說，搖滾似乎“在這裡留下來”，恰如其分地表達了這一點。搖滾樂的狂熱流行引起了媒體大亨以及娛樂和名人製作行業的注意。好萊塢很早就加入了這一潮流，製作了關於世界上年輕人日益增長的社會和政治力量的電影，以搖滾樂為新一代的聲音;這種發展可以在 1955 年的電影《黑板叢林》中看到，該電影在配樂中使用了搖滾樂，並將焦點放在非裔美國演員西德尼·波蒂埃 （Sidney Poitier） 身上，他是一名叛逆但有音樂天賦的學生。然而，有些電影只不過是搖滾視頻。例如，1956 年的電影《搖滾，搖滾，搖滾》包括搖滾明星和那個時代樂隊的表演，並由唱片騎師艾倫·弗裡德 （Alan Freed） 出演。同樣，Rock， Baby， Rock It （1957） 和 Go， Johnny， Go！(1958)
are nothing more than screen concerts.
只不過是銀幕音樂會。
As mentioned, the British Invasion began in 1964 with the arrival of the Beatles in New York City—becoming the opening chapter in the counterculture movement that was fomenting at the time. By 1966, the movement was shaped by hallucinogenic drugs, psychedelic art, light shows, antiwar protests, sit-ins demanding change at universities and in society at large, and, above all else, a new form of aesthetically powerful music. Counterculture musicians such as Jerry Garcia and the Grateful Dead experimented with long, improvised stretches of music called jams. The Grateful Dead is one of the most successful touring bands in rock history, attracting thousands of devoted fans (Deadheads) who followed the band around from 1965 to 1995. Even today bands that are direct musical descendants of the Grateful Dead, like Dead and Company and Phil Lesh and Friends, still bring in large crowds.
如前所述，英國入侵始於1964年披頭士樂隊抵達紐約市——成為當時煽動的反文化運動的開篇。到 1966 年，這場運動受到致幻藥物、迷幻藝術、燈光秀、反戰抗議、大學和整個社會要求變革的靜坐抗議，以及最重要的是，一種具有審美力量的新形式的音樂。Jerry Garcia 和 Grateful Dead 等反主流文化音樂家嘗試了稱為果醬的長而即興的音樂。The Grateful Dead 是搖滾史上最成功的巡演樂隊之一，吸引了成千上萬的忠實粉絲 （Deadheads），他們從 1965 年到 1995 年一直關注樂隊。即使在今天，像 Dead and Company 和 Phil Lesh and Friends 這樣是 Grateful Dead 的直接音樂後裔的樂隊，仍然吸引了大量觀眾。
The new music spearheaded and sustained a political movement whose objective was the rejection of traditional bourgeois consumerist society. It came into favor with intellectuals such as Herbert Marcuse of the Frankfurt School (see chapter 3) and psychologists such as Timothy Leary, who became a promoter of consciousness-altering drugs. The movement denounced the business, military, and political complex as the cause of all social ills. The rock concert became an ideological happening, spurring youths to social activism. At concerts such as the Monterey International Pop Festival (1967) and Woodstock (1969), drugs were consumed openly to induce or heighten the aesthetic experience of the music. But the movement had faded by the early 1970s. Various analyses have been put forth to explain its demise—the end of the Vietnam War (a major reason for protests in the 1960s and early 1970s), effective social changes brought about by the movement itself, and the aging of counterculture youths. Whatever the reasons, the music entered the realm of nostalgia and was relegated to pop culture history.
新音樂引領並維持了一場政治運動，其目標是拒絕傳統的資產階級消費主義社會。它受到法蘭克福學派的赫伯特·瑪律庫塞 （Herbert Marcuse） 等知識份子（見第 3 章）和心理學家的青睞，例如蒂莫西·利里 （Timothy Leary），後者成為改變意識的藥物的推動者。該運動譴責商業、軍事和政治復合體是所有社會弊病的根源。搖滾音樂會成為一種意識形態事件，刺激年輕人進行社會活動。在蒙特雷國際流行音樂節（1967 年）和伍德斯托克音樂節（1969 年）等音樂會上，人們公開吸食藥物以誘導或增強音樂的審美體驗。但到 1970 年代初，該運動已經消失了。人們提出了各種分析來解釋它的消亡——越南戰爭的結束（1960 年代和 1970 年代初抗議的主要原因）、運動本身帶來的有效社會變革以及反主流文化青年的老齡化。不管是什麼原因，音樂進入了懷舊的領域，並被貶低到流行文化的歷史中。
In the mid-1970s, a plethora of new trends appeared, as audiences were splitting more and more into distinctive musical communities and subcultures. One of these was disco, which drew upon African American dance genres of the past, attracting a large following. After the release of the motion picture Saturday Night Fever (1977) and its hugely successful soundtrack featuring the Bee Gees, disco rose to dominance, remaining a popular genre to this day. Around 1976, punk rock originated in London and New York as a reaction against the supposed high-brow nature of counterculture rock and the perceived superficiality of disco culture. Punk rock was raw, a throwback to the abrasive, exciting sounds of Little Richard and Chuck Berry, transforming them into an angry, shrill style made popular by American rockers such as Patti Smith and the Ramones. Punk rockers matched their subversive-sounding music with corresponding fashion, including spiked hair, dog collars, army boots, and ripped clothing, exemplified by band members of the Sex Pistols and the Clash. At first, punk rock attracted teens from the poorer working classes or young people in general who either felt alienated from mainstream society or found it too boring and superficial. Punk music and its lifestyle provided a channel for young people to mock and inveigh against society and its hypocritical stances. The performances of punk musicians were deliberately provocative. The themes of many of the bands had political and social meaning. Eventually, punk developed a softer, more melodic style, called new wave.
在 1970 年代中期，出現了大量新趨勢，因為觀眾越來越多地分裂成獨特的音樂社區和亞文化。其中之一是迪斯科，它借鑒了過去的非裔美國舞蹈流派，吸引了大批追隨者。在電影《週六夜狂熱》（1977 年）上映后，以 Bee Gees 為主角的配樂大獲成功，迪斯科佔據了主導地位，至今仍是一種流行的類型。1976 年左右，朋克搖滾起源於倫敦和紐約，作為對反主流文化搖滾的所謂高雅本質和迪斯可文化膚淺的回應。朋克搖滾是原始的，是對 Little Richard 和 Chuck Berry 粗暴、令人興奮的聲音的回歸，將它們轉變為一種憤怒、尖銳的風格，由 Patti Smith 和 Ramones 等美國搖滾樂手流行起來。朋克搖滾樂手將他們聽起來具有顛覆性的音樂與相應的時尚相匹配，包括尖刺頭髮、狗項圈、軍靴和破衣服，Pistols 和 Clash 的樂隊成員就是例證。起初，朋克搖滾吸引了來自較貧窮工人階級的青少年或一般的年輕人，他們要麼感到與主流社會疏遠，要麼覺得它太無聊和膚淺。朋克音樂及其生活方式為年輕人提供了一個嘲笑和譴責社會及其虛偽立場的管道。朋克音樂家的表演是故意挑釁的。許多樂隊的主題具有政治和社會意義。最終，朋克發展出一種更柔和、更旋律的風格，稱為新浪潮。
At the same time that punk rock was spreading, reggae music—developed by musicians in Jamaica—began to draw the attention of a sizable number of young people, especially after the release of the 1972 film The Harder They Come, which starred reggae singer Jimmy Cliff in the role of an underclass person. The superstar of the style was Bob Marley, who by the time of his death in 1981 had become one of the most popular musicians in the world. In the same era, so-called pop emerged, promoted by superstars such as Michael Jackson and Madonna.
在朋克搖滾傳播的同時，由牙買加音樂家開發的雷鬼音樂開始引起相當多年輕人的注意，尤其是在 1972 年電影上映後 他們更難來了，該電影由雷鬼歌手吉米·克里夫 （Jimmy Cliff） 主演，扮演下層階級。這種風格的超級明星是鮑勃·馬利 （Bob Marley），到 1981 年去世時，他已成為世界上最受歡迎的音樂家之一。在同一時代，在邁克爾傑克遜和麥當娜等超級巨星的推動下，出現了所謂的流行音樂。
Jackson was actually dubbed the “King of Pop,” influencing artists across various music genres. He devised and popularized dance moves such as the moonwalk and the robot. Starting in the late 1980s, Jackson became a figure of controversy due to his constantly changing appearance through plastic surgery. In 2009, while preparing for a series of comeback concerts, Jackson died from an overdose of propofol administered by his personal physician, who was convicted of involuntary manslaughter. With his many eccentricities, Jackson extolled both male and female gender characteristics at once, blurring the line between the two. His 1980s album Bad (1987) was a deconstruction of traditional gender roles, giving expression to transgendered identity in musical form for perhaps the first time.
傑克遜實際上被稱為「流行音樂之王」，影響了各種音樂流派的藝術家。他設計並推廣了月球漫步和機器人等舞蹈動作。從 1980 年代後期開始，傑克遜因整容不斷改變外表而成為爭議人物。2009 年，在準備一系列復出演唱會時，傑克遜死於他的私人醫生服用過量的異丙酚，後者被判犯有過失殺人罪。傑克遜有許多怪癖，他同時讚美了男性和女性的性別特徵，模糊了兩者之間的界限。他 1980 年代的專輯《Bad》（1987 年）是對傳統性別角色的解構，也許是第一次以音樂形式表達跨性別身份。
Madonna was Jackson’s female counterpart, often referred to as the “Queen of Pop.” After performing as a drummer, guitarist, and vocalist in rock bands, she gained solo stardom with her debut album, Madonna (1983), followed by bestsellers such as Like a Virgin (1984) and True Blue (1986). Her popularity was enhanced by roles in movies such as Desperately Seeking Susan (1985), A League of Their Own (1992), and Evita (1996). Like Michael Jackson, Madonna also introduced a broader view of gender. In her “material girl” persona, which she adopted in her hit song “Material Girl” (1985), Madonna put on display the power of the female persona. The song was from her classic album and video Like a Virgin (1984)—a double entendre on her name. The album became the first by a woman artist to sell more than seven million copies.
麥當娜是傑克遜的女性對手，通常被稱為「流行音樂女王」。在搖滾樂隊中擔任鼓手、吉他手和歌手后，她憑藉首張專輯《麥當娜》（1983 年）獲得了獨唱明星地位，隨後又推出了《Like a Virgin》（1984 年）和《True Blue》（1986 年）等暢銷書。她在《絕望尋找蘇珊》（1985 年）、《他們自己的聯盟》（1992 年）和《艾薇塔》（1996 年）等電影中的角色提高了她的知名度。和邁克爾傑克遜一樣，麥當娜也引入了更廣泛的性別觀。麥當娜在她的熱門歌曲《Material Girl》（1985 年）中採用了她的“物質女孩”角色，展示了女性角色的力量。這首歌來自她的經典專輯和視頻 Like a Virgin （1984）——她名字的雙關語。這張專輯成為第一張銷量超過 700 萬張的女藝術家專輯。
Decoding Rock
解碼岩石
Early rock and roll had two basic styles—the fast, hard type, which was louder and more intensely rhythmic than previous music, and the ballad type, which continued, in many ways, the tradition of crooning music. These have defined most subsequent rock genres, with some exceptions. The electric guitar was the instrument that set rock apart from all previous pop music, influenced initially by the guitar styles of Charley Patton (1891–1934), considered the “Father of the Delta Blues”; Robert Johnson (1911–1938); and Huddie William Ledbetter (1888–1949), known by the stage name Lead Belly. Beginning in the late 1960s, a new generation of rock guitarists, including Jimi Hendrix, Eric Clapton, and Carlos Santana (figure 6.2), experimented with more amplification, extending the excitement potential of the
早期的搖滾樂有兩種基本風格——快速、硬朗的類型，它比以前的音樂更響亮、節奏更強烈，以及民謠類型，它在許多方面延續了低吟音樂的傳統。這些定義了大多數後來的搖滾流派，但也有一些例外。電吉他是使搖滾樂與之前所有流行音樂區分開來的樂器，最初受到被認為是「三角洲藍調之父」的查理·巴頓（Charley Patton，1891-1934 年）的吉他風格的影響;羅伯特·詹森 （1911–1938）;和哈迪·威廉·萊德貝特（Huddie William Ledbetter，1888-1949 年），藝名 Lead Belly。從 1960 年代後期開始，包括 Jimi Hendrix、Eric Clapton 和 Carlos Santana（圖 6.2）在內的新一代搖滾吉他手嘗試了更多的放大，擴展了
instrument considerably.
工具相當多。
The simplest 1950s rock and roll piece relies on a basic beat and a few chord progressions. But in its structural simplicity, it allows for a wide range of emotions to be compressed subtly within it. The early songs dealt with such themes as cars, the heartbreak of romance, and the joy of being young. Rock and roll dances, known as sock hops, became part of teenage life. By the end of the 1950s, rock had established itself firmly across North America and Europe as the musical idiom of the new generation. The cultural revolution it brought along is rarely emphasized today. Nick Johnstone (2007, pp. 2–3) puts it in the following perceptive way:
最簡單的 1950 年代搖滾樂曲依賴於基本節拍和一些和弦進行。但在其結構的簡單性中，它允許在其中巧妙地壓縮廣泛的情感。早期的歌曲涉及汽車、浪漫的心碎和年輕的快樂等主題。搖滾舞，被稱為襪子舞，成為青少年生活的一部分。到 1950 年代末，搖滾樂已經在北美和歐洲牢固地確立了自己作為新一代音樂習語的地位。它帶來的文化革命在今天很少被強調。尼克·約翰斯通（Nick Johnstone，2007 年，第 2-3 頁）以以下敏銳的方式提出：
So, 1956 was the rock ‘n’ roll year, the year in which popular music history had its greatest musical upheaval, revolution and transformation. In the events of that one year, music changed the landscape of the world in a way it hadn’t before and hasn’t since. . . . It was a reflection of a changing world, an expression of the post-Second World War American landscape. Yes, punk, hip hop and grunge all later brought their own mini-youth revolutions, made their mark in the way we live, the way we talk, the way we think, but not on the scale in which Elvis Presley et al stormed charts and minds in 1956.
因此，1956 年是搖滾年，這一年流行音樂史上發生了最大的音樂劇變、革命和變革。在那一年的事件中，音樂以前所未有的方式改變了世界的面貌，此後也沒有。它反映了一個不斷變化的世界，表達了二戰後美國的景觀。是的，朋克、嘻哈和垃圾搖滾後來都帶來了他們自己的迷你青年革命，在我們的生活方式、我們的談話方式、我們的思維方式中留下了自己的印記，但並沒有像貓王等人在 1956 年席捲排行榜和思想那樣的規模。
The 1970s TV sitcom Happy Days revisited the importance of early rock and roll to both the youth of the era and society in general. After school, the adolescents in the sitcom congregated in a diner that featured a jukebox, which blurted out 1950s rock tunes. This put the characters in a frame of mind to interact socially and romantically.
1970 年代的電視情景喜劇《快樂的日子》重新審視了早期搖滾樂對那個時代的年輕人和整個社會的重要性。放學后，情景喜劇中的青少年聚集在一家餐廳里，餐廳裡有一個點唱機，脫口而出 1950 年代的搖滾曲調。這使角色處於社交和浪漫互動的心態中。
It is widely agreed that the Beatles’ 1967 album, Sgt. Pepper’s Lonely Hearts Club Band, signaled a paradigm shift in rock musical art, prefigured in their 1965 album, Rubber Soul. Previously, an album would contain a collection of songs by an artist or band, with no thematic link among them.But Sgt. Pepper’s changed all that; it is a musical text in the semiotic sense, much like a classical opera. The cover itself is revolutionary. It was designed by two pop artists, Peter Blake and Jann Haworth, from a sketch by Paul McCartney (the bass guitarist of the band and one of its main singers). It is a collage in pop art style featuring the band standing behind a drum skin. In front there is an arrangement of flowers spelling out the name “Beatles.” The group members are dressed in glowing multicolored military-style uniforms. There are also wax sculptures of the band members, as if they were already in a “wax museum,” along with photographs depicting famous people—from actors and sports figures to scientists, religious and political leaders, and great writers—in classic pop art collage style (figure 6.3).
人們普遍認為，披頭士樂隊 1967 年的專輯《Sgt. Pepper's Lonely Hearts Club Band》標誌著搖滾音樂藝術的範式轉變，這在他們 1965 年的專輯《Rubber Soul》中有所預示。以前，專輯會包含藝術家或樂隊的歌曲集，它們之間沒有主題連結。但 Sgt. Pepper 改變了這一切;它是符號學意義上的音樂文本，很像古典歌劇。封面本身就是革命性的。它是由兩位流行藝術家 Peter Blake 和 Jann Haworth 根據 Paul McCartney（樂隊的貝斯吉他手和主要歌手之一）的草圖設計的。這是一幅波普藝術風格的拼貼畫，樂隊站在鼓皮後面。前面有一束鮮花，拼出了“披頭士樂隊”這個名字。小組成員穿著發光的五顏六色的軍裝。還有樂隊成員的蠟像，彷彿他們已經在「蠟像館」中，還有以經典波普藝術拼貼風格描繪名人的照片——從演員和體育人物到科學家、宗教和政治領袖以及偉大的作家（圖 6.3）。
In its lyrics and musical texture, the album signals that rock had become much more than dance music. The focus had shifted away from the individual rock celebrity to the content of the music as an aesthetic text. It was also a sign that the hippie movement had arrived, as the album became a kind of canonical text for the movement.
從歌詞和音樂質感來看，這張專輯表明搖滾已經不僅僅是舞曲。重點已經從個人搖滾名人轉移到作為美學文本的音樂內容。這也是嬉皮士運動已經到來的標誌，因為這張專輯成為該運動的一種規範文本。
Many social leaders decried the hippie movement at first. Even those who were favorable to it at the time acknowledged that it tended to veer off into nihilism and even violence, instilling in young people a worldview that challenged the moral foundations of American society, from the family to religion. The hippies were supported by intellectuals such as the so-called New Left movement, which demanded sweeping and fundamental changes to such injustices as sexism, poverty, racial discrimination, and class distinctions. They favored civil disobedience, which often led to clashes with the authorities. The Rolling Stones foreshadowed the new, abrasive music in their now iconic 1965 song “Satisfaction,” which decries the hypocrisy and superficiality of society, emblemized by “the man on the radio,” who gives nothing but “useless information,” and the man on TV, who does nothing more than tell us “how white [his] shirts can be.”
許多社會領袖起初譴責嬉皮士運動。即使是當時支援它的人也承認，它往往會轉向虛無主義甚至暴力，向年輕人灌輸一種挑戰美國社會道德基礎的世界觀，從家庭到宗教。嬉皮士得到了知識份子的支援，例如所謂的新左翼運動，該運動要求對性別歧視、貧困、種族歧視和階級差異等不公正現象進行徹底和根本的改變。他們贊成公民不服從，這經常導致與當局的衝突。滾石樂隊（The Rolling Stones）在他們1965年發行的標誌性歌曲《滿意》（Satisfaction）中預示了新的、粗獷的音樂，這首歌譴責了社會的虛偽和膚淺，以“收音機裡的人”為代表，他只提供“無用的資訊”，而電視上的男人只告訴我們“[他的]襯衫可以有多白”。
Counterculture rock gradually evolved in subsequent decades into derivative subgenres, such as grunge, promoted by Nirvana, the first grunge group to reach a wide audience, with the album Nevermind (1991). One of the songs from the album, “Smells Like Teen Spirit,” helped the band gain a huge following. Nine Inch Nails made another derivative, called alternative rock, popular by mixing angry lyrics with heavy metal sounds. Other groups originating in the 1990s include Green Day, No Doubt, the Prodigy, and Oasis, a British group that adapted a Beatles-style melodic and harmonic structure to a pulsating beat.
在隨後的幾十年裡，反主流文化搖滾逐漸演變成衍生的子流派，例如由 Nirvana 推廣的垃圾搖滾，這是第一個擁有廣泛觀眾的垃圾搖滾樂隊，專輯 Nevermind （1991）。專輯中的一首歌曲“Smells Like Teen Spirit”幫助樂隊獲得了大量追隨者。Nine Inch Nails 製作了另一種衍生產品，稱為另類搖滾，通過將憤怒的歌詞與重金屬聲音混合而流行起來。其他起源於 1990 年代的樂隊包括 Green Day、No Doubt、the Prodigy 和 Oasis，這是一個英國樂隊，將披頭士風格的旋律和和聲結構改編為脈動的節拍。
Although rock is no longer dominant, like jazz, it has left an indelible imprint on society. It influenced lifestyles and contributed to the gender equality and civil rights movements. Many observers, in fact, saw counter-culture rock as leading the way to racial integration by encouraging cooperation and shared artistic experiences on the musical stage. Regardless of whether the movement was successful in any lasting way in bringing about radical change, the point is that it at least encouraged change.
雖然搖滾不再像爵士樂那樣佔據主導地位，但它在社會上留下了不可磨滅的印記。它影響了人們的生活方式，併為性別平等和民權運動做出了貢獻。事實上，許多觀察家認為，反文化搖滾通過鼓勵音樂舞臺上的合作和分享藝術經驗，引領了種族融合的道路。無論這場運動是否以任何持久的方式成功地帶來了根本性的變化，關鍵是它至少鼓勵了變革。
Hip-Hop and Rap
嘻哈和說唱
As rock started fading from center stage in the mid-1970s, a new musical voice called hip-hop emerged, created by African Americans in the Bronx. The musical part is more precisely called rapping and the music genre itself rap.
隨著搖滾樂在 1970 年代中期開始從舞臺中央消失，一種稱為嘻哈的新音樂聲音出現了，由布朗克斯區的非裔美國人創造。音樂部分更準確地稱為說唱，音樂流派本身就是說唱。
Rap was initially performed as rhythmic speech, accompanied by music snippets, called samples, from prerecorded material or material created on purpose for the rap song. The first rap records were made in the late 1970s by small labels. Although rap groups such as Sugarhill Gang had nation- wide hits during the early 1980s, rap did not enter the broader pop music mainstream until 1986 when rappers Run-DMC and the hard-rock band Aerosmith collaborated on the song “Walk This Way,” creating interest in rap among enlarged audiences. By the end of the 1980s, MTV had launched a program dedicated solely to rap, and the records of rap artists such as MC Hammer and the Beastie Boys achieved multiplatinum status.
說唱最初是作為有節奏的演講表演的，並伴有音樂片段，稱為樣本，來自預先錄製的材料或專門為說唱歌曲創建的材料。第一張說唱唱片是在 1970 年代後期由小唱片公司製作的。儘管 Sugarhill Gang 等說唱團體在 1980 年代初期在全國範圍內大受歡迎，但直到 1986 年說唱歌手 Run-DMC 和硬搖滾樂隊 Aerosmith 合作創作了歌曲“Walk This Way”，才進入更廣泛的流行音樂主流，在擴大的觀眾中引起了對說唱的興趣。到 1980 年代末，MTV 推出了一個專門針對說唱的節目，MC Hammer 和 Beastie Boys 等說唱藝術家的唱片獲得了多白金唱片。
The spread of rap beyond New York City started in 1979 when Kurtis Blow signed with a major label and had a gold record within a year. Sugarhill Gang recorded the first major rap anthem, “Rapper’s Delight,” in the same year. By the end of the 1980s, hip-hop culture started expanding considerably. As in the case of rock and roll, the rest of the world was listening and adapted the new musical idiom to their own versions by the end of the decade. The music initially generated controversy since it dealt abrasively with social issues. But eventually the abrasiveness subsided as the music gained social prominence, retaining its social justice subtext nonetheless.
說唱音樂在紐約市以外的傳播始於 1979 年，當時 Kurtis Blow 與一家主要唱片公司簽約，並在一年內獲得了金唱片。同年，Sugarhill Gang 錄製了第一首主要說唱歌曲“Rapper's Delight”。到 1980 年代末，嘻哈文化開始大幅擴張。與搖滾樂一樣，世界其他地方都在傾聽，並在十年結束時將新的音樂習語改編成他們自己的版本。這種音樂最初引起了爭議，因為它粗暴地處理了社會問題。但最終，隨著音樂在社會上受到關注，這種粗暴情緒消退了，仍然保留了其社會正義的潛臺詞。
Rap and hip-hop are terms that are frequently used interchangeably. But the former, which was spread broadly by “Rapper’s Delight,” refers more specifically to the musical style itself, whereas the latter refers to the attendant lifestyle and culture associated with the music. The word hip has been around since the Jazz Age to describe the allure of the lifestyle associated with the music; hop was also used in the same era to refer to a form of dancing, also known as jitterbug, that became broadly popular especially among African Americans. The latter word was also used to describe 1950s fast rock dancing, as captured by Danny and the Juniors in their 1958 hit “At the Hop.” Early rap emphasized lyrics and rhythm. Its themes can be broadly categorized under three headings: those that brought sex to the forefront; those that chronicled the plight of people who lived in decaying conditions in inner cities; and those that addressed issues related to African American history, including racism and social exclusion. By the mid-1990s, rap artists started moving somewhat away from this code, incorporating other themes.
說唱和嘻哈是經常互換使用的術語。但前者通過“Rapper's Delight”廣泛傳播，更具體地指的是音樂風格本身，而後者則指的是與音樂相關的隨之而來的生活方式和文化。時髦這個詞自爵士時代以來就已經存在，用來描述與音樂相關的生活方式的魅力;Hop 在同一時代也被用來指代一種舞蹈形式，也稱為 Jitterbug，這種舞蹈在非裔美國人中尤其廣泛流行。後一個詞也被用來描述 1950 年代的快速搖滾舞，正如 Danny 和 Juniors 在他們 1958 年的熱門歌曲“At the Hop”中捕捉到的那樣。早期的說唱強調歌詞和節奏。它的主題大致可以分為三個標題：那些將性推向前沿的主題;那些記錄了生活在內城腐朽條件下的人們的困境的文章;以及那些涉及與非裔美國人歷史相關的問題，包括種族主義和社會排斥的論文。到 1990 年代中期，說唱藝術家開始在某種程度上遠離這一準則，融入其他主題。
Rap emerged at first to allow African Americans to voice their rage over social inequalities. In the song “Changes” (1998), Tupac Shakur emphasized the need for change to occur not only in the larger society but also in African American communities themselves. With lines such as “Tired of being poor and even worse I’m black, my stomach hurts so I’m looking for a purse to snatch,” Tupac encapsulated the tragedy of the situation facing many African Americans. He suggested that poor communities were allowed access to guns and drugs so that they could destroy themselves: “First ship them dope and let them deal the brothas, give them guns step back and watch them kill each other.” When basic survival needs such as food become unattainable, antisocial behaviors surface.
說唱最初是為了讓非裔美國人表達他們對社會不平等的憤怒。在歌曲“Changes”（1998 年）中，Tupac Shakur 強調變革不僅發生在更大的社會中，而且也發生在非裔美國人社區本身。圖帕克用「厭倦了貧窮，更糟糕的是我是黑人，我的肚子疼，所以我正在尋找一個錢包來搶奪」等臺詞概括了許多非裔美國人面臨的悲劇。他建議允許貧困社區獲得槍支和毒品，這樣他們就可以自毀：「首先給他們運送興奮劑，讓他們處理妓院，給他們槍支，退後一步，看著他們自相殘殺。當食物等基本生存需求變得遙不可及時，反社會行為就會浮出水面。
Today, rap has spread throughout the global village. It has been able to build up a large international following through online venues. Rap concerts continue to attract huge audiences, and rap artists have enormous numbers of social media followers, changing its tone somewhat to promote peace and racial harmony and, at the same time, acknowledge the persistence of social injustices. The progression of rap mirrors the progression of the civil rights movement more broadly. As rapper Missy Elliott so aptly observes in speaking to current generations (cited in The Source, 2016):
今天，說唱已經傳遍了整個地球村。它已經能夠通過在線場所建立大量國際追隨者。說唱音樂會繼續吸引著大量的觀眾，說唱藝術家在社交媒體上擁有大量的追隨者，他們在一定程度上改變了它的語氣，以促進和平與種族和諧，同時承認社會不公正的持續存在。說唱的發展更廣泛地反映了民權運動的發展。正如說唱歌手 Missy Elliott 在與當代人交談時恰當地觀察到的那樣（引自 The Source，2016 年）：
I want kids of this generation to see that everything is cool, that there’s some kind of unity in hip-hop. We all found something that’s really important to us, and music is all we’ve really got.
我想讓這一代的孩子看到，一切都很酷，嘻哈音樂中有某種統一性。我們都找到了對我們來說真正重要的東西，而音樂就是我們真正擁有的一切。
MUSIC IN THE INTERNET AGE
互聯網時代的音樂
Since the 1920s, countries around the world have been developing their own pop music industries, which remained largely localized within those different nations until the millennium. In the Internet Age, a global pop music culture has come into existence, allowing virtually anyone with access to recording devices to showcase their music online, no matter what country they come from. Amateur YouTube musicians can post their music alongside the music of established musicians of any nationality.
自1920年代以來，世界各國一直在發展自己的流行音樂產業，直到千禧年，這些產業在很大程度上仍然局限於這些不同的國家。在互聯網時代，一種全球流行音樂文化已經出現，幾乎任何可以使用錄音設備的人都可以在線展示他們的音樂，無論他們來自哪個國家。業餘 YouTube 音樂家可以將他們的音樂與任何國籍的知名音樂家的音樂一起發佈。
The new cadre of online indie musicians, however, may garner international attention occasionally, but the attention is typically short-lived. Only sporadically does the fledgling musician cross over to the larger mass culture world and the mass communications media, including television, which is still as crucial in showcasing new talent as it was in the past with programs such as America’s Got Talent. Interestingly, the genres that have been popular in the past continue to attract massive interest, from jazz to hip-hop, many of which now have new followers.
然而，新的在線獨立音樂家骨幹可能偶爾會引起國際關注，但這種關注通常是短暫的。這位初出茅廬的音樂家只是偶爾涉足更大的大眾文化世界和大眾傳播媒體，包括電視，電視在展示新人才方面仍然與過去《美國達人秀》等節目一樣重要。有趣的是，過去流行的流派繼續吸引著人們的大量興趣，從爵士樂到嘻哈音樂，其中許多現在都有新的追隨者。
Indie Music
獨立音樂
The term indie has several meanings today: (1) music produced independently of major record labels; (2) music published in online venues by anyone, anywhere; (3) music that aims to set itself apart from major trends; and (4) record labels that claim to promote artists and trends that the major labels might ignore at first.
獨立一詞在今天有幾層含義：（1） 獨立於主要唱片公司製作的音樂;（2） 任何人、任何地方在網上發佈音樂;（3） 旨在將自己與主要趨勢區分開來的音樂;（4） 聲稱推廣藝術家和趨勢的唱片公司，而主要唱片公司一開始可能會忽略這些。
Originally, the term was used in the early era of cinema by movie producers who resisted being controlled by the Motion Picture Patents Company, also known as the Edison Trust, which covered the patents on almost all American-produced films. It was put in place in order to create cooperation among film studios, but it ended up being a monopoly over the production and distribution of movies. The trust required that all producers, distributors, and exhibitors pay licensing fees. In 1909, the Fox and Universal studios started illegally distributing foreign films and making movies by importing films and cameras not covered in the patents. In 1912, a court decision allowed the “independents” to use standard cameras, despite objection by the Motion Picture Patents Company.
最初，這個詞在電影的早期被電影製片人使用，他們拒絕被電影專利公司（也稱為愛迪生信託）控制，該公司幾乎涵蓋了所有美國製作的電影的專利。它的實施是為了在電影製片廠之間建立合作，但最終壟斷了電影的製作和發行。該信託要求所有製片人、發行商和放映商支付許可費。1909 年，福克斯和環球影城開始非法發行外國電影，並通過進口專利未涵蓋的膠片和相機來製作電影。1912年，一項法院裁決允許「獨立人士」使用標準攝像機，儘管電影專利公司反對。
Indie music started out in the 1980s in parts of the United States and the United Kingdom, having since evolved into a music universe parallel to the mainstream music scene, with its own genres and artists. It is to be distinguished from underground music, although there are many points of contact between the two. Underground music started in the hippie era to designate styles that were unlikely to become highly popular. One of the first bands to be designated in this way is the Velvet Underground, founded in 1964.
獨立音樂於 1980 年代在美國和英國的部分地區開始，此後發展成為一個與主流音樂場景平行的音樂世界，擁有自己的流派和藝術家。它與地下音樂區分開來，儘管兩者之間有很多接觸點。地下音樂始於嬉皮士時代，用於指定不太可能變得非常流行的風格。最早以這種方式命名的樂隊之一是成立於 1964 年的 Velvet Underground。
Underground and indie music are typically perceived as involving more freedom of creative expression compared to formulaic or commercially driven music trends. Today, performances of underground music are readily accessible on the internet, which itself is paradoxically an “overground” medium in which all things that were “under” the music scene in the past are now out in the open for everyone to access. Given the millions of uploads on YouTube and streaming services such as iTunes, involving all kinds of artists and musical genres, it is obvious that dominant trends within music are becoming harder and harder to identify. But pop music, as Joe Karaganis (2011, p. 43) observes, continues to be good for the marketplace overall: “The shift from a high-margin industry . . . to a lower-margin business with more emphasis on performance and related rights [does not] point to an existential threat to the music business, much less to music culture.”
與公式化或商業驅動的音樂趨勢相比，地下和獨立音樂通常被認為涉及更多的創意表達自由。今天，地下音樂的表演很容易在互聯網上獲得，而互聯網本身就是一種“地上”媒介，過去“在音樂界下”的所有東西現在都公開供所有人訪問。鑒於YouTube和iTunes等流媒體服務上上傳的數百萬次，涉及各種藝術家和音樂流派，很明顯，音樂界的主導趨勢越來越難以識別。但正如 Joe Karaganis（2011 年，第 43 頁）所觀察到的那樣，流行音樂繼續對整個市場有利：“從高利潤行業的轉變......對一個更強調表演和相關權利的低利潤企業來說，[並不]意味著對音樂行業的生存威脅，更不用說對音樂文化了。
Whither Pop Music?
流行音樂何去何從？
Pop music history has been characterized by the transference cycle, whereby a previous genre feeds into subsequent ones, moving from a particular locale to mainstream culture (see chapter 1). The internet may have interrupted this cycle, at least in some ways. One can easily upload homemade songs and albums on YouTube, which may then be inserted alongside those of label artists, thus creating a pastiche that blurs every possible line of artistic demarcation of the past. Those who become celebrities through YouTube, such as Psy with his “Gangnam Style” video that went viral in 2012, tend to gain ephemeral fame (as discussed previously). This has clouded the pop music world with ambiguities and a new type of expectation on the part of audiences, which Roland Barthes (1957) called neomania—a constant need for something new in shorter and shorter periods of time. But it can be argued that this has always been a part of pop music culture, with its “one-hit wonders.”
流行音樂史的特點是轉移迴圈，即前一種流派與隨後的流派相輔相成，從特定地區轉移到主流文化（見第 1 章）。互聯網可能至少在某些方面打斷了這個迴圈。人們可以很容易地將自製的歌曲和專輯上傳到 YouTube 上，然後可以將它們與唱片公司藝術家的歌曲和專輯一起插入，從而創造出一種模糊過去藝術界限的每一條可能的模仿。那些通過YouTube成為名人的人，例如 Psy 在 2012 年憑借他的「江南 Style」視頻走紅，往往會獲得短暫的名氣（如前所述）。這給流行音樂世界蒙上了一層陰影，觀眾們產生了一種新型的期望，羅蘭·巴特（Roland Barthes，1957）稱之為“新狂熱”（neomania）——在越來越短的時間內對新事物的持續需求。但可以說，這一直是流行音樂文化的一部分，具有“一擊奇跡”。
While the internet has made it possible for anyone to promote and sell their music without intermediaries such as record labels, it is still the artists who create meaningful music and rise to a longer-lasting celebrity status. This means that the world of pop music, as the voice of pop culture, has not changed that much. It remains to be seen whether new forms of music will continue to emerge as a unifying voice of future pop culture trends (discussed in the final chapter).
雖然互聯網使任何人都可以在沒有唱片公司等仲介的情況下推廣和銷售他們的音樂，但仍然是藝術家創作了有意義的音樂並獲得了更持久的名人地位。這意味著流行音樂世界作為流行文化的聲音，並沒有發生太大變化。新形式的音樂是否會繼續出現，成為未來流行文化趨勢的統一聲音，還有待觀察（在最後一章中討論）。