参考译文：(鲍勃.迪伦上)

鲍勃.迪伦：他音乐的根和他所受到的教育都来自纽约格林尼治村

我们将分两期向你介绍一位美国最伟大的音乐家及其浪漫抒情的思想，今天我们讲述第一部分。这位歌唱家和歌曲作家最近获得一个特殊的普利策奖，颁奖委员会说他那“非凡的诗歌力量”的歌曲标志着他对流行音乐和美国文化的影响。

这位艺术家就是鲍勃.迪伦。

二十世纪六十年代是社会剧烈变化的时代。鲍勃.迪伦被人称之为是他那个时代的声音，然而，对此他予以否认，而且他的音乐之旅已经超出了他的歌迷所希望他演唱的范围，他最新的专辑< Modern Times>(<现代>)于2006年发行，这张专辑成为三十年来第一张最好的专辑。

鲍勃.迪伦出生时叫罗伯特.艾伦.齐默曼，他于1941年5月24日出生在美国中西部的明尼苏达州德卢斯。年轻时，他的父亲身患小儿麻痹症，因此，他家搬到明尼苏达州的希宾小镇，他家是当地一个小型犹太社区的成员。在高中期间，这位年轻的罗伯特.齐默曼开始组建他自己的乐队，这些乐队包括Shadow Blasters和Golden Chords，他演唱通俗的摇滚歌曲，他特别喜欢利特尔.理查德的音乐。

在1959年，他到明尼阿波利斯，在明尼苏达大学上学，虽然他只上一年大学便离开了学校，但正是在明尼阿波利斯，他开始对民歌感兴趣。下面这首歌曲来自他1960年的一张唱片，这首民歌叫< Rambler, Gambler>(迷茫的赌徒)。

也正是在明尼阿波利斯，他开始叫自己鲍勃.迪伦，在一本他自己所写的书< Chronicles>(<像一块滚石>这是鲍勃.迪伦的回忆录)中说，他想叫自己罗伯特.艾伦，但后来他看到威尔士诗人迪伦.托马斯所写的一些诗，随之他决定叫鲍勃.迪伦。

他同时改变了他的人生方向。在1961年，他搬到了纽约市，他来到纽约的一个原因就是想去拜访一位对他年轻音乐事业有着最大影响的人，这位民歌手叫伍迪.加斯里，正因身患亨廷顿病(一种神经性疾病)而在新泽西的一所医院等死。鲍勃.迪伦多次去看望他，后来还专门为他创作了一首歌曲，下面就是这首< Song to Woody>(献给伍迪的歌曲)。

纽约的艺术生活为年轻的鲍勃.迪伦提供了别处所无法得到的丰富的音乐教育，这种教育绝大部分来自倾听纽约市格林尼治村民歌手的演唱。他的记性非常好，他能够记住许多人，他能够记住用吉他演奏的方法。他在酒巴和俱乐部里演唱，从而成为一个松散演出团体的一员。他们共同分享传统的歌曲，同时在歌曲中增添他们自己的感觉，从而创作一种鲜活的音乐形式。 不到一年时间，鲍勃.迪伦就得到了哥伦比亚唱片公司约翰.哈蒙德所提供的一份录制唱片合同。他的第一张唱片就叫< Bob Dylan>(鲍勃.迪伦) ，这张唱片于1962年发行，该唱片绝大多数歌曲都是学来的。

同样在1962年，罗伯特.齐默曼正式将他的名字改为罗伯特.迪伦，鲍勃是罗伯特的缩写。第二年，他发行了第二张唱片，这张唱片叫< The Freewheelin' Bob Dylan>(自由飞翔的鲍勃.迪伦)，这次，他自己创作了该唱片的绝大多数歌曲，有一首是写给当时他的女朋友苏士.鲁特罗的，这首歌曲名叫< Don't Think Twice, It's All Right>(不要再考虑了，就这样吧)。

该唱片的另一首歌曲的歌词有力地反映了二十世纪六十年代美国社会日益动荡的局势。整个美国六十年代，主要的运动有黑人争取民权法律保护的运动和**美国扩大在越南战争行动的运动。彼得、保罗和玛丽乐队录制他们自己演唱的鲍勃.迪伦的歌曲< Blowin' in the Wind>(在风中飘荡)在国际上取得了成功。

随后几年，鲍勃.迪伦进入了创作的高峰期，他的一些歌曲达到了顶峰。例如，他的第三张专辑中有一首歌曲，这首歌曲是根据一个真实的故事创作的，这个真实的故事就是一个白种烟草农民杀死了一位黑人工人。这张专辑于1964年1月发行，它叫< The Times They Are A-Changin>(他们正经历一个变革的时代)，这首歌曲叫< The Lonesome Death of Hattie Carroll>(哈蒂.卡洛尔无声的死去)。

1963年3月，鲍勃.迪伦与民歌手琼.贝兹一同在华盛顿演出，这里是民权运动**的地方，这里是马丁.路德.金发表著名演说<我有个梦想>的地方。对于民权运动早期的听众而言，鲍勃.迪伦正在唱出他们那个时代所面临的问题。媒体称他是一个诗人和他那个时代的先觉者。生存的压力与日俱增，正如他对音乐的兴趣越来越广，他要探寻新的音乐声音。

在1963年，罗得岛纽波特民间文化节邀请鲍勃.迪伦、皮特.西格、琼.贝兹和菲尔.奥科斯参加，摇滚名人堂将这次民间文化节称之为**民歌运动的关键时刻，但，鲍勃.迪伦在他音乐事业中另一次从民歌转向的关键时刻是在1965年的音乐节里，大家都想听到他演唱民歌，然而，他却带着一把电吉它和一支布鲁斯乐队走向舞台。

许多观众都不赞成他的新的音乐方向，他们在他离开舞台之前一直嘘声不断。皮特.西格威胁说要将这支布鲁斯乐队的电源给切断。这一天是1965年7月25日，正是从此时此刻开始，鲍勃.迪伦再也没有回到演唱民歌的路上来。

简评：

拿定主意，坚定不移，不为外界所扰!

如此，也许会失败。

但这却是成功所必须的。

否则，只能是平平庸庸，碌碌无为，

终将一事无成。

Bob Dylan: His Musical Roots, and His Education in Greenwich Village

Today we have the first of two programs about one of America's greatest musical and lyrical minds. This singer and songwriter recently won a special Pulitzer Prize. The prize committee said works of "extraordinary poetic power" mark his influence on popular music and American culture.  

The artist is Bob Dylan.

The nineteen sixties were a time of great social change. Bob Dylan was called the voice of his generation. Yet he rejected that idea, and his musical journey has taken him beyond the music his fans expected him to play. His most recent album, "Modern Times," was released in two thousand six. It became his first number one album in thirty years.  

Bob Dylan was born Robert Allen Zimmerman. He was born on May twenty-fourth, nineteen forty-one, in Duluth, Minnesota, in the Midwest. When he was young, his father became sick with polio. As a result, his family moved to the small town of Hibbing, Minnesota. His family was part of a small Jewish community there. In high school, the young Robert Zimmerman started his own musical groups. These included the Shadow Blasters and the Golden Chords. He played popular rock and roll songs. He especially liked the music of Little Richard.

In nineteen fifty-nine, he went to Minneapolis to attend the University of Minnesota. He left college after one year, but in Minneapolis he became interested in folk music. Here is a recording of him from nineteen sixty, playing a version of the folk song "Rambler, Gambler."   

It was also in Minneapolis that he started calling himself Bob Dylan. In his book "Chronicles" he writes that he wanted to call himself Robert Allyn. But then he saw some poems by the Welsh poet Dylan Thomas, and that settled it. 

He also changed the direction of his life. In nineteen sixty-one he moved to New York City. One of the reasons he went was to visit the biggest musical influence on his young career. The folk singer Woody Guthrie was slowly dying of Huntington's disease at a hospital in New Jersey. Bob Dylan visited him many times and later wrote a song about him. Here is "Song to Woody."  

The artistic life of New York provided a rich musical education that the young Bob Dylan could not have received anywhere else. Much of it came from listening to folk performers in the Greenwich Village area of the city. He had an excellent memory. He remembered people, and ways of playing the guitar. He played in bars and clubs, and became part of a loose community of performers. They shared traditional songs and added their own touches to create a living art form.  In less than a year, Bob Dylan was offered a recording contract by John Hammond of Columbia Records. His first album, in nineteen sixty-two, was simply called "Bob Dylan." Mostly it was songs he had learned.  

Also in nineteen sixty-two, Robert Zimmerman officially changed his name to Robert Dylan. Bob is short for Robert. The following year, he released his second album, called "The Freewheelin' Bob Dylan."   This time, he wrote most of the songs himself. One was a song about his girlfriend at the time, Suze Rotolo, called "Don't Think Twice, It's All Right."   

Another song offered powerful words as social unrest grew in America in the nineteen sixties. The sixties brought major civil-rights legislation for blacks, and protests against American expansion of the war in Vietnam. The group Peter, Paul and Mary had an international hit when they recorded their own version of Bob Dylan's "Blowin' in the Wind." 

In the next few years, Bob Dylan entered a period of intense creativity. Some of his songs were topical. For example, his third album included a song based on a true story, the killing of a black worker by a white tobacco farmer.  The album, released in January of nineteen sixty-four, was called "The Times They Are A-Changin'." The song was "The Lonesome Death of Hattie Carroll." 

Bob Dylan performed with folk singer Joan Baez at the nineteen sixty-three March on Washington. That was the big civil-rights demonstration where Martin Luther King Junior gave his "I Have a Dream" speech. For many listeners in those early years, Bob Dylan was singing about the problems and issues that defined their time. The press called him a poet and prophet of his generation. The pressure to live up to that image grew, even as his own musical interests expanded and he explored new sounds.

In nineteen sixty-three the Newport Folk Festival in Rhode Island featured Bob Dylan, Pete Seeger, Joan Baez and Phil Ochs. The Rock and Roll Hall of Fame calls it a defining moment in the folk-protest movement. But another defining moment in Bob Dylan's career came at the nineteen sixty-five festival. The crowd expected him to play his folk music. Instead, he came on stage with an electric guitar and a blues band.

Many in the crowd disapproved of his new musical direction. They booed him until he left the stage. Pete Seeger threatened to cut off the electricity to the band's instruments. The date was July twenty-fifth, nineteen sixty-five. It was a point from which Bob Dylan never turned back.  

 http://www.wwenglish.com/m07/voa/spec/2008/06/wwenglish.com_tia080609.mp3