December 18, 2008
hico
在天空部落發表於01:56:50 |
英格利鬚
這是摘取自Rickford, John R and Russell John Rickford. 2000. "Singers, Toasters and Rappers" In Spoken soul : The story of black english . New York : Wiley的幾段文章。
For black men, who have been physically and psychologically castrated during their intern in North America, assertions of manhood--of strength, of potency and of bravado--must be larger-than-life. The badmen of toasts thus represent irreverent heroes of redemptive proportions. They're immortal, and they're worth mentioning in a chapter on singers because they help us to understand 1) the continuum of oral dexterity that blurs the mediums of black speech and song, and 2) the wicked self-aggrandizement found in the new folklore: hip hop:
對於黑人來說，他們曾經在生理上和心理上喪失力量當他們在北美被拘留的時候，他們的男子氣概像是力量潛力和虛張聲勢一定充滿著英雄色彩，讓人印象深刻。那個被敬酒的壞人代表著拯救的部分的無所畏懼的英雄。他們是不朽的，並且他們值得在Singers這個章節被提及，因為他們幫助我們了解1)混淆了黑人說話和歌唱的媒介的口頭敏捷的連續，並且2)在新的民俗裡發現的過度的自我擴張，即嘻哈。
The precise origins of hip hop are hazy, but there is no doubt that the originators were New York City youths who, in the mid and late 1970's, with nothing more than turn tables and their imagination, began mixing old-school jams by funk prophets such as James Brown and George Clinton. The parents of the new hip hoppers (who were themselves of the Dolomite generation) must have groused when their Ohio Players, Isley Brothers, O'Jays and Sly and the Family Stone records were returned all scratched-up. But by the time pioneers such as The Sugarhill Gang dropped "Rapper's Delight" ("I don't mean to brag, I don't mean to boast, but we like hot butta on our breakfast toast") in 1979, and Grandmaster Flash and the Furious Five had released "The Message" ("It's like a jungle sometimes, it makes me wonder how I keep from going under") in 1982, rap culture was oozing, no, spilling from the streets of urban America.
嘻哈的精確起源是模糊的，無庸置疑的嘻哈是由紐約的年輕人開始的。在70年代的中晚期左右，當時他們沒有並任何東西，只有桌子和他們的想像力，他們開始藉著放克樂(Funk)的宣揚者像是詹姆斯‧布朗(James Brown)和喬治‧克林頓(George Clinton)來混合old-school jams這系列專輯裡的音樂。新嘻哈客(Dolomite世代的一份子)的父母們一定曾經抱怨，當俄亥俄州的音樂人艾斯里兄弟合唱團、歐傑斯合唱團、史萊和史東家族合唱團的錄音都回到了湊錢的年代。但是藉著那時期的先鋒像是Sugarhill Gang的1979年的金曲Rapper's Delight ("I don't mean to brag, I don't mean to boast, but we like hot butta on our breakfast toast")，還有Grandmaster Flash and the Furious Five這個團體曾經在1982年時發行"The Message")這張專輯("It's like a jungle sometimes, it makes me wonder how I keep from going under")，說唱文化從此滲出，不，從美國都會區的街道上拼出。
The Howard University crowd that found itself swept up in the spiritual's sentiment had unwittingly paid its respects to the language of "soul power." Some members of that audience must have experienced a flash of genetic déjà vu, a starburst of emotion from ancestral experience. If so, we should acknowledge that the disposition, the very organization of the phrase "I don' don'" helped trigger those feelings. And if the students in that audience had listened, really listened, to their own music, perhaps they would have found not only the growl of Muddy Waters, the vibrato of Mahalia Jackson and the wail of James Brown somehow embedded there, but the talk of the spirituals, as well. Examine Lauryn Hill's "Lost Ones," a hybrid hip-hop and reggae tune that did some serious radio rotation in 1998:
哈佛大學將焦點聚在發現當它自己在精神的情緒裡打掃時，它是沒有寫下地對於語言的精神力量付出它的尊重。觀眾裡的部分成員一定會從傳統的經驗裡經歷過一個基因的記憶幻覺的閃現，一個情緒光芒四射的亮光。如果真是這樣，我們應該承認這個傾向──這個非常有組織性的片語"I don' don'"幫助了觸發這些感覺。並且如果學生聽了，真的很認真的聽了，聽了他們自己的音樂，或許他們將會發現不但馬迪‧沃特斯(Muddy Waters)的咆哮、瑪哈莉雅傑克森(Mahalia Jackson)的顫音和詹姆斯‧布朗(James Brown)的慟哭會莫名的留在腦中，而且精神的對話也是一樣──會深埋在記憶中。再看看羅倫希爾1998的"Lost Ones"，一個混合的嘻哈和雷鬼曲調使得一些電台不停的播送：
As Hill herself submits, "not a game new under the sun." Her use of dialect features such as the completive tense (done done), and her deletion of the conjunctive "s" (it so silly), are natural, accepted, even appreciated elements of a linguistic convention that has sustained the soul. Of course, there are many black singers, including Nat King Cole and Sam Cooke, who produced exhilerating, beloved music in "proper" English. But if the Rolling Stones flattered the language of our black ancestors with constant imitation, why must the heirs to that language disparage it on the street? Why indeed, when the next hip hop generation busies itself sampling and re-sampling James Brown, and the parlance of soul crowns the pop charts?
就像她自己所說的"not a game new under the sun." ，她的個人用語特徵的使用像是完成式(done done)，還有刪除了連接詞的” "s"(那是很愚蠢的)，都是很自然的、可接受的、甚至是一個支持精神很久的語言傳統的讚賞元素。當然，有很多黑人歌手包括納京高(Nat King Cole)和山姆‧酷克(Sam Cooke)，他們用”適當的”英文生產出了令人振奮、令人喜愛的音樂。但如果滾石合唱團用不斷的模仿來諂媚我們黑人前輩的強烈的詞語，為什麼繼承這個語言的人必須在街頭貶低它？又真正地為什麼，當下一個嘻哈世代使它忙於從詹姆斯‧布朗(James Brown)那兒取樣時，靈魂的詮釋會在流行音樂排行榜中奪冠？
這是我翻過不錯的作品。
