?（原文評于2020.3.15）

In the mid-1990s, when alternative was the new pop, there were all sorts of subgenres duking it out for dominance. The success of grunge put everything from Bush to Blind Melon on the radio, but perhaps the most curious alt offshoot to emerge in one corner of the mainstream was the ska revival.

?90年代中期，正是另類音樂成為流行新趨勢的時候，各式各樣的曲風龍爭虎斗，力爭上游。車庫垃圾搖滾的成功讓Bush樂隊（雞瘟前夫的樂隊），芒瓜樂隊等樂隊頻繁在電臺出現(xiàn)，但最小眾的ska曲風的復興卻出乎意料。

The third-wave ska scene ran the gamut from Reel Big Fish’s cornball, horn-driven antics to Less Than Jake’s emo-tinged losercore to Rancid’s gritty take on the Specials to Sublime’s frat-boy-and-420-friendly strain, not to mention the peppy breakthrough of longtime stalwarts the Mighty Mighty Bosstones.

隨著第三次浪潮出現(xiàn)的ska曲風 從鄉(xiāng)巴佬，滑稽小丑的印象到 比Jack的表情大戰(zhàn)失敗者的風格，到Rancid樂隊的堅韌不拔，再到Sublime樂隊呈現(xiàn)的 兄弟會與420-friendly的風格，更不用提t(yī)he Mighty Mighty Bosstones這支ska樂隊中堅力量取得的長期性的突破了。

?But there was no ’90s ska figure quite like Gwen Stefani, the movement’s Dickies-clad poster-girl turned culturally roving ’00s hitmaker turned People Magazine staple. There is also no pop star origin story quite like hers.

但沒有90年代的ska樂隊與Gwen的形象相似，從穿著Dickies的海報女郎風 轉(zhuǎn)型至 影響00年代文化的熱單制造者，再變?yōu)镻eople雜志上的?？汀Ａ餍忻餍侵蠫wen也是獨樹一幟的存在。

At the urging of Gwen’s keyboardist brother Eric, the Stefanis performed at a school talent show in their native Anaheim, California in the mid-’80s. Their song of choice was “On My Radio,” the 1979 hit by the two-tone ska band the Selecter. Gwen wore a homemade dress that resembled one worn by Julie Andrews in The Sound of Music, her favorite musical.

80年代中期，在雞瘟哥哥Eric的督促下，雞瘟一家參加了在加州阿納海姆市（老家）的學校才藝秀，他們表演曲目選的是“On My Radio”，一首發(fā)行于1979年由雙音ska樂隊the Selecter演繹的熱門單曲。雞瘟穿了自己做的裙子，很像她本人最愛的音樂劇《音樂之聲》女主Julie Andrews穿的那條。

Showtune theatrics and Selecter singer Pauline Black (who mixes a hyper-feminine chirp with an operatic warble) would go on to influence Gwen’s early vocal style, and set her on the path of pursuing hybrid sounds and aesthetics.

戲劇夸張的表演風格和Selecter樂隊女主唱Pauline Black（極具女性化的啁啾聲與歌劇般的顫音結(jié)為一體） 長期影響了雞瘟早期嗓音的風格，并使雞瘟走上追求多元化音樂與美學的道路。

In 1986, Gwen and Eric formed a band alongside John Spence, their classmate and co-worker at the local Dairy Queen. Spence, whose go-to response—“No doubt!”—gave the group its name, shared vocal duties with Gwen and served as her gruff-voiced foil.

1986年，雞瘟與她的哥哥Eric和?他們的同學John Spence也是一起在本地Dairy Queen冰淇淋店打工的伙伴組成了樂隊。成員Spence提議樂隊名“No doubt!”，他也與雞瘟一起擔當主唱身份，作為比雞瘟聲音更粗獷的陪襯。

They were just kids in love with the way British bands like the Selecter, Madness, and the Specials made everyday frustrations feel lively, and they were trapped in sunny Orange County, the home of Disneyland and suburban punk ennui. No Doubt played the house-party circuit, quickly found a local following, and picked up members,

他們當時還是孩童，喜歡像?Selecter，Madness，the Specials那樣化挫折為樂觀的英國樂隊時，他們一直都呆在老家橘子郡(也是Disneyland與無聊的郊區(qū)朋克的故鄉(xiāng))。No Doubt在家庭派對上不斷的巡回表演中，很快地收獲了一批粉絲，并在其中招募成員，

including bassist Tony Kanal, who would soon start dating Gwen in secret. But tragedy struck when, in 1987, Spence took his own life. It was the first of three destabilizing events that would change the course of No Doubt, a band forever defined by its interpersonal drama.

其中包括元老人物Tony Kanal，一位即將與雞瘟進行秘密約會的人物。但1987年飛來橫禍，成員Spence結(jié)束了自己的生命。這是動搖No Doubt樂隊發(fā)展方向的三件事中發(fā)生的第一件，一個永遠被內(nèi)部矛盾定義的樂隊。

After trumpet-player-turned-co-vocalist Alan Meade exited No Doubt, Gwen was ready to front the band on her own. By 1990, the lineup was solidified with fan-turned-drummer Adrian Young, local metal guitarist Tom Dumont, and a robust horn section.

在號手，之后轉(zhuǎn)為主唱的Alan Meade離開樂隊后，雞瘟便準備一個人撐起樂隊了。到1990年，隨著從粉絲轉(zhuǎn)為鼓手的Adrian Young與本地金屬吉他手Tom Dumont和一只強健號角的加入，樂隊又團結(jié)起來了。

?Their popularity around Southern California clubs and colleges grew until finally, they caught the eye of Interscope A&R Tony Ferguson. In 1991, he brought famed record executive Jimmy Iovine to one of No Doubt’s shows, where “Jimmy told someone, ‘That girl will be a star in five years,’” recalled Gwen (and corroborated by Iovine) in a 1996 SPIN cover story.

他們在加州南部的俱樂部，大學里攢積的名氣越來越大，終引起了環(huán)球Interscope星探Tony Ferguson的注意。在1991年，他將廠牌首席執(zhí)行官Jimmy Iovine帶到了No Doubt其中一場現(xiàn)場演出，當場Jimmy便斷言：“這個女孩五年內(nèi)肯定會紅?！保ㄟ@是雞瘟在1996年Spin雜志里的回憶，Jimmy也證實了這段話）。?

Over the next five years, Gwen would go from singing two-tone covers and her brother’s originals for devoted local crowds, to zig-zagging the globe with her own tales of heartache and rage. She would have to lose the two men closest to her first.

接下來的五年里，雞瘟將從?為本地的粉絲賣力表演?一個人負責兩人份的主唱工作?的身份，轉(zhuǎn)變?yōu)?帶著自己心碎憤怒的心事在地球上蜿蜒前行，她將不得已失去兩個最親近她的男人。

No Doubt’s debut for Interscope, a 1992 self-titled LP, was mostly (but not entirely) devoid of hooks, and partially informed by Eric’s cabaret flair and goofy sense of humor (they gave away kazoos at the album release party, if that explains anything).

No Doubt的Interscope廠牌的出道作，同名專輯，全專幾乎沒有抓耳的地方，但不是完全缺少靈氣，而那部分是因為Eric歌舞天賦與充滿傻氣的幽默感（專輯發(fā)行會上的贈品是卡祖笛，如果這可以解釋一切的話）。

Poor sales made Interscope hesitant to dive right into a follow-up, and the label took a stronger hand in guiding the group’s sound, namely with producer Matthew Wilder. Eric didn’t like that, and over time he isolated himself from the band, despite practice being held at his house.

由于差勁的銷量，Interscope猶豫是否要進行宣傳工作，廠牌也在插手指導樂隊的音樂，即與制作人Matthew Wilder合作，Eric不喜歡這樣的行為，而且隨著時間推移，他將自己與樂隊孤立開，除非樂隊的排練地點在他家里。

After he quit in 1994 to work as an animator on The Simpsons, the other members took over songwriting duties on the album that would become Tragic Kingdom. Right around the same time, Kanal called it off with Gwen, after seven years together.

在1994年他退出樂隊，轉(zhuǎn)而擔當動畫片《辛普森一家》的制作人，其他人則分擔了他在樂隊的主導地位，分擔起寫歌的工作，這也成就了專輯《Tragic Kingdom》。與之同時Tony Canal與雞瘟7年的戀情長跑結(jié)束。

Gwen had never really written her own lyrics, but it helped that she was suddenly filled with pain and confusion. She was, in many ways, a girl with traditional values: In interviews from this era, she marveled at the fact that she got famous instead of starting a family, and her songs sometimes yearn for a “simple kind of life.”

Gwen在此之前從未給自己寫過歌詞，但突如其來的的痛楚與迷惑讓她靈感泉涌。以前在很多方面，她都是一個秉持傳統(tǒng)價值觀的女孩，她對自己的成名感到驚奇，而不是對成立家庭這件事，她的歌曲里也隱隱約約透露著對“簡樸生活”（“simple kind of life.”）的渴望。

But this is perhaps not the impression you’d get from the initial wallop of Tragic Kingdom, featuring one of the decade’s fieriest opening four-song runs, all of which were singles: “Spiderwebs,” a new-wave rafter-shaker about a girl screening her calls;

但這也許不是你從《Tragic Kingdom》的重擊中得到的第一印象，因為專輯前四首開場曲都是那個十年中最爆炸熱烈的歌。單曲“Spiderwebs,”新浪潮曲風的延續(xù)，關于一個女孩屏蔽她電話的歌曲。

?“Excuse Me Mr.”, a dramatic ska-punk number about a girl confronting a dude who’s avoiding her;

“Excuse Me Mr.”一首戲劇性的斯卡朋克歌曲，講的是一個女孩與一個躲著她的男人對峙的故事.

?“Just a Girl,” a fun-but-menacing-sounding hit about a girl just trying to live;

“Just a Girl”一首有趣但極具威脅力的熱單，講述了一個女孩努力生活的故事。

and “Happy Now?”, an ever-shifting rock song about a girl chiding her ex. The point was made: girl mad

.“Happy Now?”一首不斷變化的搖滾歌曲，講的是一個女孩責備她的前任，重點是女孩發(fā)狂。

Following the surge of third-wave feminism in the early ’90s, the mid-’90s became the peak of the “angry white female” era in rock and pop. It was a time when feminized aggression—from Hole and riot grrrl to Liz Phair and Alanis Morissette—was suddenly perceived as being on-trend, as if women haven’t been furious forever. Stefani, girly tomboy ultra, arguably benefited from this kind of branding, even while she maintained the fun, energetic personality that led Courtney Love to dub her a “cheerleader” and others to call her the “anti-Courtney Love.”

隨著90年代早期，中期中的第三波女權運動的興起，搖滾與流行領域中的“憤怒白女”達到巔峰。一個女性化全面侵略的時代，從Hole到riot grrrl到Liz Phair再到Alanis Morissette?---突然被視作一種潮流，好像女人永遠不會生氣一樣。雞瘟，一個假小子一樣的女孩，可以說從這樣的標簽中受益，盡管她保持著有趣，活力四射的個性，這也使得Courtney Love給她起“拉拉隊長”的外號，其他人則稱她為“anti-Courtney Love.”

Lead single “Just a Girl” was Gwen’s bridge to planet angry. Upon its release in September 1995, it became a theme song for any girl fed up with living in a boy’s world—with the emphasis once again being on girl. Spice Girls would soon turn “girl power” into a full-on marketing technique, but “Just a Girl” was some kind of magic middle-ground in the context of ’90s pop-feminism: sassy, addictively sweet and sour, yet still accessible.

首單“Just a Girl”為雞瘟的憤怒埋下伏筆。單曲1995年9月發(fā)行后，便成為女性不滿男性主宰世界的主題曲，歌曲不斷地在強調(diào)“女孩”的存在。Spice Girls之后很快地把“女性力量”包裝成市場營銷策略，但“Just a Girl”是90年代流行樂女權運動中奇妙的中間產(chǎn)物：大膽，活躍，令人上癮的酸甜，但聽眾卻能接受。

?Dumont’s indelible looping riff adds a taunting feeling, while the lyrics leave interpretation conveniently ajar with lines like “I’m just a girl/So don’t let me have any rights.” Never has Stefani’s vocal style—with its forays into babydoll voice and its breathless, swooping belts—felt more intentional as a performance technique meant to amplify her message.

吉他手Tom Dument談奏的重復樂段讓人流連忘返，增添了嘲弄感，而歌詞含義則顯得不協(xié)調(diào)，如“I’m just a girl/So don’t let me have any rights.”雞瘟的歌唱風格—對娃娃音，突襲式的抽打----作為一種旨在擴充她想表達的信息的演唱技巧，從未讓人感到刻意造作。

“Just a Girl” is not a subtle song, but what it’s doing is quietly masterful: The sarcasm subverts the underlying victimhood in a sneering way, but victimhood is also something girls (particularly white or privileged girls) quickly understand as a tool for getting what they want.

?“Just a Girl” 不是首精心打磨的歌曲，但它卻呈現(xiàn)了悄無聲息下的駕馭力，技藝精湛：用嘲笑譏諷的方式顛覆了潛在的受害者身份，但受害者仍是女孩們（尤其是特權白女）常被看作是牟利的工具。

Gwen’s Tragic Kingdom-era pain was incandescent because it felt off the cuff, uninhabited, and barely removed from its cause. You saw that up close in “Don’t Speak,” the breakup ballad that pushed No Doubt’s success over the edge, topping the Billboard airplay chart for 16 weeks.

Gwen在Tragic Kingdom時期的痛苦是熾熱的，因為這份痛苦像是突如其來的，荒涼的，幾乎沒有甩脫它的理由。在Don’t Speak中可以很清晰地看到這一點，這首分手抒情將No Doubt的事業(yè)推向頂峰，霸占Billboard電臺Air Play榜16周榜首。

Starting in late 1996 and continuing for much of 1997, flutters of Spanish guitar and angelic whispers of “hush hush, darling” were inescapable; for those listening across radio formats or watching MTV at the time, the song’s ubiquity reached “if I hear this one more time…” levels.

從1996年末一直持續(xù)到1997年幾乎整年時間，西班牙吉他拍動聲與天使般的低語“hush hush, darling”處處可聽。對于當時聽電臺和看MTV的觀眾，這首歌的爛大街程度無異于“再也不想聽一遍”的程度，

But people also could not look away from the saga of Gwen and Tony, SoCal ska’s Stevie and Lindsey. Every night they’d hit the stage and seemingly be forced to relive their split through “Don’t Speak,” a song musically at odds with nearly everything in their upbeat catalog.

但人們也無法將目光從Gwen與Tony之間的故事移開。他們是斯卡俱樂部的Stevie and Lindsey。每晚他們都會登臺表演，似乎被迫通過“Don’t Speak,”回顧他們的分手歷程，一首幾乎與他們其他積極向上的音樂作品格格不入的歌曲。

Not every song on Tragic Kingdom is overtly about the breakup or the frustrations of girlhood—this is ’90s California ska, after all, a few mostly positive chillers are required. But the album tracks skew cheesy, especially now. Ska bands of the era would sometimes show off their funk chops with a disco cut on their LPs,

《Tragic Kingdom》的歌曲并不全都公開描述了少女時代的分手與沮喪，這是張90年代的加州ska，終竟還是需要些積極精神的冷卻，但這張專輯曲目?尤其是現(xiàn)在看來?偏俗氣。那個年代的ska樂隊有時會在專輯封面上 通過迪斯科舞廳來展現(xiàn)他們的funk風范。

but No Doubt’s take, “You Can Do It,” is plagued by fake disco strings and a guitar jangle that borders on musical clip art. “Different People,” a brass-and-keyboard-led ska track about how the world is big and diverse, has the tension of a child’s picture book, and the depth of one too.

但No Doubt的 “You Can Do It,”采用了假disco琴弦和吉他刺耳聲發(fā)出的幾近音樂剪輯藝術的困擾?！癉ifferent People,” 是一首以銅管樂器鍵盤主導的ska歌曲，講述了世界之大，無奇不有，既有兒童繪本的張力，也有兒童繪本的深度。

Eric’s musical-theater-strikes-back closer “Tragic Kingdom” is cringeworthy in highly specific ways: the sampling of theme-park announcements, the egregiously drawn-out tempo changes, the fact that it seems to be about how evil Walt Disney is. (Besides, on an album like this, the most tragic of kingdoms is actually Gwen and Tony’s love story, not the suburbia surrounding Mickey’s castle.)

Eric在《Tragic Kingdom》中音樂劇式的彈奏極度令人厭煩，具體表現(xiàn)在以下幾個方面：對主題公園公告的采樣，爛炸了的冗長節(jié)奏變化，像是在陳述Walt Disney的邪惡罪行一般（另外，在這樣一張專輯中，“王國”中最“悲慘”的地方在于Gwen與Tony的愛情故事，而不是圍繞著米奇城堡的郊區(qū)故事）。

The rush of energy you get from Tragic Kingdom’s opening run is enough to keep the album within spitting distance of the ’90s canon, emblematic of a specific time and place. Other highs include sixth single “Sunday Morning,” where the seasoned band easily finds the pocket with nimble, driving percussion, reggae rhythms, and overdubbed harmonies.

你從《Tragic Kingdom》開頭中感受到的急促感?足以讓它達到接近90年代的經(jīng)典之作的地位，象征著特定的時間和地點，專輯其他亮點也包括六單?“Sunday Morning,”?在歌曲中，這支老練的樂隊很快找到了一個百寶箱，里面有著敏銳強烈的打擊樂器，雷鬼節(jié)奏和新錄音軌上的和聲。

“End It On This,” one of the only songs credited to Dumont, Kanal, and both Stefanis, is low-key pummeling: Gwen, in all her high-low vocal glory, recalls the last kiss with Tony while the band fires on all cylinders. Every player gets to show off a little with their “thing,”

“End It On This,” 是Tom Dument?，Tony Canal，雞瘟與她歌共同創(chuàng)作出的僅有歌曲之一，歌曲為低調(diào)的重擊，Gwen也在她高低音的光環(huán)榮耀下，回憶起與Tony的最后一吻，當時樂隊正全力運轉(zhuǎn)。每名成員都賣弄了下他們的“小東西”，

?but Dumont is the secret all-star: His tough opening riff sets the song into intricate lockstep. Dumont, much like fellow unlikely-’90s-rock-star Rivers Cuomo, was a Kiss fan and longtime metalhead; you can hear that in his guitar hooks, which lent Tragic Kingdom a fizzy edge.

但Dumont卻秘密完成了高水平的演奏，開頭中重復樂段很是強硬，造就了該歌的環(huán)環(huán)相扣，緊密相連。Dument很像另一位同類90s搖滾明星（可能是）Rivers Cuomo。Dument是Kiss樂隊的粉絲，也是名資深的重金屬迷，你可以從他吉他抓耳的旋律聽出，這給Tragic Kingdom帶來了泡沫般的邊際。

If Weezer were politely challenging the post-grunge alternative landscape with moves copped from the Cars, No Doubt were more like Blondie: a band that came out of a distinct regional punk scene, hit it big with a hybrid new-wave sound, and faced both adoration and criticism largely centered around its platinum-blonde singer. This last factor became a central tension in the narrative of No Doubt once Tragic Kingdom began its long ascent up the charts (it was a diamond-seller by the decade’s end).

如果Weezer樂隊禮貌地挑戰(zhàn)由the Cars引領的車庫另類搖滾的領域，No Doubt變得像Blondie樂隊一樣，走出獨特地域性的punk領域，用new-wave的混合曲風震撼樂壇，面對著集中在金發(fā)女主唱的批評與贊美。后者因素成為了No Doubt在專輯《Tragic ?Kingdom》的敘事張力點。專輯在排行榜上緩慢攀升，在90年代末認證鉆石專輯。

There was this recursive interview cycle where the band would discuss how Stefani was always the solo cover star, which said magazine would also do; then the band would complain about that in their next interview. They portrayed the meta “photographer singles out Gwen” plotline in the “Don’t Speak” video, and to an extent did it themselves on the album cover, where Gwen poses in front offering up an orange while the guys scatter in the desolate grove behind her.

接踵不斷的采訪不難免會讓團隊內(nèi)部討論起雞瘟獨占封面的話題，一般雜志都只讓雞瘟一個人登封面，其他隊員們又會在之后的采訪中反復抱怨，他們在“Don’t Speak”mv中描繪了“雞瘟被攝影師單獨挑出”的情節(jié)，專輯封面上也強調(diào)了這一情節(jié)：雞瘟在前面凹造型，男人們則散在后面荒涼的小樹林里，為雞瘟提供柑橘。

But Gwen’s solo career was always more a question of when. After Tragic Kingdom’s follow-up, 2000’s new-wave coming-of-age Return of Saturn, Stefani struck out on her own with duets alongside techno star Moby and rapper Eve, which suggested she was defined less by a specific sound than a particular attitude.

但回到當初看，雞瘟的單飛事業(yè)的開啟只是時間問題。?《Tragic Kingdom》的下一張專輯，2000年發(fā)行的新浪潮重磅回歸專輯《Return of Saturn》之后，雞瘟與Techno歌手Moby與說唱女星Eve進行了二重唱合作，更表明了她更多特立獨行的態(tài)度，而不是單靠獨特的嗓音，

?It would take years, well after she appropriated Japanese Harajuku street style and scored more hip-hop hits, for people to recognize the pattern: the Orange County girl with a bindi between her Chola eyebrows had always been borrowing from other cultures and using it to form her identity in messy ways. Taking its cues from two-tone, where Jamaican rhythms met a punk point of view,

幾年后挪用日本原宿街頭文化，創(chuàng)造了更多hip-hop風的熱單，讓人們認清了其中的模式。這個有著朱羅眉毛，眉心紅點的橘郡女孩在對其他文化的借鑒吸收中混亂地形成了自己的風格。這也使得雞瘟可以從牙買加節(jié)奏與punk的雙音對撞中得到啟發(fā)，?

Tragic Kingdom was only the beginning for Gwen. Back then, she was just an It Grrrl full of contradictions, pulling a little from everywhere and figuring out where to land.

Tragic Kingdom只是Gwen事業(yè)的啟程。曾經(jīng)，她只是一個充滿矛盾的女孩，從矛盾點出發(fā)，在矛盾點著陸。