| Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers. |
尽管华盛顿特区是著名音乐家的故乡，从Duke Ellington(艾灵顿公爵)、Marvin Gaye(马文·盖伊)到Jim Morrison(吉姆·莫里森), 从Mama Cass到Nils Lofgren(尼尔斯·拉夫格伦)，而直到20世纪60年代，华盛顿特区几乎没有基础音乐设施来支持当地的音乐家，这些音乐家后来都在全国享有盛名。当地大多数为追求成功或影响力的音乐家都去了大城市，诸如纽约、底特律或洛杉矶，去追求他们自己的事业。 |
| Gaye, for instance, became an innovator and global star of R&B but went to Motown Records before achieving major renown. |
例如，Gaye (盖伊)后来成为R&B的创新者和全球明星，在成名之前，他先去了Motown Records (摩城唱片)。 |
| One rare example of a local scene at the time was the Takoma Park folk scene, centered on the independent self-releases of John Fahey, an acoustic-based artist with both a traditional orientation and an experimental inclination. |
在当时，一个很罕见的例子是Takoma Park（塔科马公园) 的民俗场地，是以John Fahey（约翰·费伊) 的独立自我释放风格为中心。费伊是一位既有传统倾向、又有实验创新精神的声学艺术家。 |
| This scene had little commercial impact at the time, even in the D.C. area, and its artistic influence on underground musicians such as Sonic Youth occurred over a longer term. |
这一场景在当时几乎没有商业影响。即使在华盛顿地区，而它的艺术影响对那些地下音乐家，诸如Sonic Youth（音速青年）则是长期的。 |
| In the 1970s, however, the majority African American city and its surrounding suburbs such as Prince George's County, Maryland developed a homegrown type of dance-oriented, African-influenced funk music called Go-go, which became highly popular among local residents, though it failed to attract significant national or global attention as compared with other forms of dance music at the time. |
然而，在20世纪70年代，在以非裔美国人为主的城市及其周边郊区，如马里兰州Prince George’s County(乔治王子郡)，发展出一种家乡风格的本土舞蹈，一种非洲风格的放克音乐，被称为Go-go，在当地居民中非常流行。 尽管与当时其他形式的舞蹈音乐相比，Go-go并没有明显地吸引全国或全球的关注。
|
| Go-go artists of major importance in its early years included Rare Essence, Trouble Funk and E.U., with Chuck Brown being a figure commonly associated with the movement from then to the present. |
一些早期Go-go非常重要的艺术家，包括Rare Essence, Trouble Funk和eu. ,从那时到现在，Chuck Brown（查克.布朗）一直是一位重要人物。 |
| A local infrastructure of independent stores and labels released Go-go music, and local radio stations played it. |
当地有很多独立的商店和唱片公司发行Go-go音乐，当地的广播电台也播放Go-go音乐。 |
| The late 1970s and early 1980s also marked the birth of a punk rock-inspired independent music scene in the nation's capital which would prove highly influential on other musicians around the country and the world, providing the first independent rock scene in Washington, D.C. and one of the earliest in the U.S. Bad Brains helped to put D.C. on the map with a sound that merged reggae and soul with hard guitars to develop the musically and politically subversive genre of hardcore punk. |
在20世纪70年代末和80年代初，同时也标志着在美国首都，那些具有朋克摇滚风格的独立音乐场景的诞生。这对美国和全世界的其他音乐家都产生了巨大的影响，并为华盛顿特区提供了第一个独立摇滚舞台， Bad Brains（坏头壳乐团）是美国最早的乐队之一，他们将雷鬼音乐、灵魂乐和硬吉他融合在一起，发展出了在音乐和政治上都具有颠覆性的硬核朋克风格，这一音乐风格让华盛顿特区声名大噪。
|
| D.C. resident Henry Rollins, who also came out of the hardcore punk scene, joined the highly influential band Black Flag and became their frontman. |
来自华盛顿特区的Henry Rollins （亨利·罗林斯)也是出身于硬核朋克乐坛，他加入了极具影响力的 band Black Flag（黑旗乐队)，并成为乐队的主唱。 |
| Ian Mackaye and Jeff Nelson founded Dischord Records, originally to release their own groundbreaking hardcore punk recordings with bands such as Teen Idles and Minor Threat. |
Ian Mackaye (伊恩·麦凯)和Jeff Nelson (杰夫·纳尔逊) 创立了Dischord Records，最初是为了与Teen Idles和Minor Threat等乐队发行他们开创性的硬核朋克唱片。 |
| By the later 1980s, Dischord had maintained its firmly independent ethic even as it became a D.C. institution. |
到20世纪80年代后期, 即使当Dischord 已经成为华盛顿特区的一家机构时，仍保持着其坚定的独立标准。 |
| Meanwhile, its bands such as Embrace and Rites of Spring had developed beyond the hardcore sound to an emotionally raw and more melodic, but still abrasive music which eventually attracted the tag "emo-core" or "emo," which would widely influence alternative rock music in the 1990s and 2000s. |
与此同时，像Embrace和Rites of Spring这样的乐队已经发展起来，甚至超越了硬核音乐，发展成为一种情感上更原始、更有旋律，但仍然伤感的音乐，最终成为吸引“emo-core”或“emo”并成为其标签，这对20世纪90年代和21世纪前十年的另类摇滚音乐，产生了广泛的影响。 |
| The first wave of D.C. independent musicians gradually moved on to developing post-hardcore styles. |
华盛顿的第一波独立音乐人逐渐转向发展成为后硬核风格。 |
| Members of different Dischord bands were united in the MacKaye-fronted Fugazi, who existed from the 1980s to early 2000s and became a prototypical independent band in their business model. |
一些不同的Dischord乐队的成员组成了由mackay领衔的Fugazi（富戈齐乐队），该乐队出现于20世纪80年代，直至21世纪初，其商业模式使他们成为了一个典型的独立乐队。 |
