乔迁新居的请柬怎么写:请解释朋克，重金属的意思，谢谢

摇滚分类之-重金属

Heavy Metal（重金属）
在众多摇滚的类型中，重金属是在音量，男子气概和戏剧化风格上最为极端的。在重金属声音的体裁上有很多的变种，但是他们都通过在喧吵的效果，失真吉他的演奏（通常演奏重复段）和简单，重击旋律上尽量取得共识。重金属自从它存在那天开始就不断引起争论---批评家从传统上抨击了那种故意吸引大部分青少年的舞台剧效果，还有一些保守的组合经常抗议他们所感到的包含有害，邪恶意味的歌词。尽管有重重困难，重金属从它的诞生就还是成为了稳定流行的摇滚音乐形式，有足够的能力去适合这个时期，仍能保持它完美的未被侵蚀的核心吸引力。尽管如美国在声道选择上的叛逆的形式，重金属在很大程度上还是英国的创造物。最初重金属的种子是在60年代英国蓝调运动中被播下的，特别是在那些发觉已很难适应美国蓝调natural swing的乐队中。这种韵律更加没有规则，增强了电子乐器的使用成为更加重要的特点，特别是通过像the Kinks, the Who, Jimi Hendrix, Cream和the Jeff Beck Group这些创新的乐手。然而，正如可提出证据加以证明的那样，最初真正的金属乐队是Led Zeppelin。最开始，Zep演奏蓝调曲调比任何人都更为沉重和喧吵，并且通过获取许多音乐源极很快创造一种以大规模，有质感为代表的重型摇滚。更少精细但是可能更大影响力的是Black Sabbath，他的黑暗，沉闷的吉他重复段创造了一种幻想中的世界末日，充满了毒品，死亡和超自然的迷惑。接下来被Zep和Sabbath所丢弃的这种风格，很多美国的乐队在70年代把重金属更改为更易接近的的形式；Alice Ccooper和Kiss易记的曲调和残暴的舞台表演；Aerosmith的sleazy boogie；Van Halen的浮华吉他引子和狂热的派对摇滚。在70年代末期，一些隐藏的英国乐队号成为英国重金属新浪潮（包括Judas Priest, Iron Maiden, Motorhead）开始演奏金属更为快速，倾斜和使用更多恐吓。他们的出现为80年代新的美国金属---鞭挞金属提供了影响力，这个新事物定性于对金属新主流流行的突破，它的出现是以Def Leppards Pyromania为代表的。金属在80年代的辉煌期里是最为享受的，由于大量的glammed-up流行金属乐队，除了鞭挞金属乐队激烈演奏复杂的重复段外，有时会融入些柔美的声乐作品。像Metallica和Megadeth这样的鞭挞乐队形成了狂热的歌迷从而在车库脱去了他们流行金属外衣的同一时间推动他们进入了主流。90年代的主流金属以一种新的叫做另类金属的混合物为中心，它（在它有效的商业形式上）通过hip-hop和工业的繁荣期结合了grinding trash和grunge的影响力。其间，地下以更粗糙，阴冷的风格成长，产生了两种类似的，起源于鞭挞的风格，被叫做死亡金属和黑暗金属，他们创作了一些最为重要的研磨，剧烈，超速的音乐和金属世界从未展示的graphic shock tactics。

朋克：

朋克, 又叫庞克 punk 歌词中传达某些叛逆思想及对生活环境、文化、社会、政治等的不满情绪，而音乐缺乏协调性无特定风格，是一种相当嘈杂的音乐，通常一群能将乐器弄出声音来的人就可以组一个朋克乐队。 代表性乐队clash, sex pistols 朋克文化（punk culture）是一穘起源于1970年代的次文化。最早源起于音乐界，但逐渐辒搎成一穘整合音乐、服装与个人意譺主张的弙义文化飙格。 今天我们所见到的庞克文化始于1970年代，最初的时候它是一穘音乐上的叛逆?动，主旨是在抗拒反对一些包括前卫摇漧（progressive rock）、重金属（heavy metal）在内，已经既存的流行音乐形式。在庞克文化的诐求中，这些流行音乐的歌手们早已因为过分英雄崇拜式的偶像塑造，而与他们的歌迷们疏离太远。庞克文化的追杂者以地下音乐（underground）、干简摇漧（minimalist rock）等音乐形式为基砻，发展出他们自己反乌托邦飙格的音乐。在庞克摇漧颈域，性手枪（sex pistol）与雷蒙合唱坒（the ramones）是庞克音乐启蒙时期较为人所熟悉的代表性乐坒。 渐渐的，庞克变得更加多样化乲且更少最低限要求主义，这是杂着象the clash这样的乐队融入了如ska和rockabilly甚或hip-hop这样的其它地下音乐影响而发生的，但是音乐所散发的讯息还是一样的；它带有颠覆性、叛逆性、政治上错误乲且经常无政府主义。它取材于谦如面对社会的问题、下层隺级的被压迫等等这样的主题。庞克文化是对社会的一个讯息，也就是，不是所有人都过得很好、不是所有人都一样。 英国的庞克文化在1980年代和1990年代弥漫到了北美，在那里人们创造了一穘新的音乐飙格，穛为硬核庞克(硬核，hardcore),因为比归洲的同类音乐更快和更富适攻性的节奏而着穛。从这一新流派产生的飙格包括滑板庞克(skate punk)和straight edge(直线边缘). 从庞克的开始时起，主流唱片公司就试坉从地下庞克文化获利≤多时候这遇到了詓多阻力，因为庞克的伦理在于音乐的纯洁性，而庞克常常觞得这受到了唱片公司牟利动檆的威胁。 从1980年代晚期开始，美国西北太平洋地区(pacific northwest)的庞克音乐作为垃圾音乐(grunge)上市。成功的垃圾乐队，例如涅盘(nirvana)和pearl jam在他们的音乐中展示出大量庞克飙格的影响。这些早期的商榠成功导致了另一庞克飙格在主流中的成功，它被穛为强力流行乐或者流行庞克。强力流行乐的乐队的例子有simple plan, good charlotte, 和sum 41. 很多初期庞克亚文化的追杂者觞得庞克的商榠化带来幻灭的感觞。他们声穛庞克按照定义就应该是不流行的(把流行庞克视为自相矛盾)，所以应该保持这个状慑，因为它给主流文化带来了所需的挑战。 摇滚分类 (4802字节) 20 anarchist punk( 无政府主义朋克 ) 32 british punk( 英国朋克 ) 70 garage punk( 车库朋克 ) 108 new york punk( 纽约朋克 ) 118 post-punk( 后朋克 )

朋克 PUNK 摇滚乐的一种风格，其形式是追求简单直接快速，舍弃花哨，可以认为是反技术的。
重金属 Heavy Metal 摇滚乐的一种风格，倚重失真吉他和复杂鼓击制造出隆隆之声，有“金属”感，所以叫重金属。现在的金属乐已经分得很细，所谓重金属只是传统的，老牌的金属摇滚乐。重金属崇尚技术，尤其是吉他，没有花哨的吉他solo几乎就不能叫做重金属。
PUNK和METAL是有矛盾的，这是两个阵营，一下子很难解释清楚。如果找个例子，比如说在中国，早期的唐朝乐队，就是重金属，他们每首歌都不短而且都有大段大段的solo，地下婴儿乐队就是朋克，他们的歌都不长，而且都没什么solo，有也很简洁。重金属给人的感觉就是很重，有凝重感和秩序感。punk给人的感觉就是很躁，闹哄哄的
你要插上一把吉他开个失真效果全扫开放和弦，就是punk，你要是只扫power chord还带闷音就是重金属...
而所有这些解释其实都不准确
甚至也没有什么解释是准确的
摇滚乐不去听光看文字是很难理解的

这里有比较理性的解释
HeavyMetal
Of all rock & roll's myriad forms, heavy metal is the most extreme in terms of volume, machismo, and theatricality. There are numerous stylistic variations on heavy metal's core sound, but they're all tied together by a reliance on loud, distorted guitars (usually playing repeated riffs) and simple, pounding rhythms. Heavy metal has been controversial nearly throughout its existence — critics traditionally dismissed the music as riddled with over-the-top adolescent theatrics, and conservative groups have often protested what they perceive as evil lyrical content. Still, despite — or perhaps because of — those difficulties, heavy metal has become one of the most consistently popular forms of rock music ever created, able to adapt to the times yet keep its core appeal intact. For all its status as America's rebellion soundtrack of choice, heavy metal was largely a British creation. The first seeds of heavy metal were sown in the British blues movement of the '60s, specifically among bands who found it hard to adjust to the natural swing of American blues. The rhythms became more squared-off, and the amplified electric instruments became more important, especially with the innovations of artists like the Kinks, the Who, Jimi Hendrix, Cream, and the Jeff Beck Group. Arguably the first true metal band, however, was Led Zeppelin. Initially, Zep played blues tunes heavier and louder than anyone ever had, and soon created an epic, textured brand of heavy rock that drew from many musical sources. Less subtle but perhaps even more influential was Black Sabbath, whose murky, leaden guitar riffs created a doomy fantasy world obsessed with drugs, death, and the occult. Following the blueprint laid down by Zep and Sabbath, several American bands modified heavy metal into more accessible forms during the '70s: the catchy tunes and outrageous stage shows of Alice Cooper and Kiss; the sleazy boogie of Aerosmith; and the flashy guitar leads and wild party rock of Van Halen (not to mention the distinctively minimalist grooves of Australia's AC/DC). In the late '70s, a cache of British bands dubbed the New Wave of British Heavy Metal (including Judas Priest, Iron Maiden, and Motorhead) started playing metal faster, leaner, and with more menace than ever before. They helped influence a new American metal scene known as thrash in the '80s, which took shape as a reaction to metal's new mainstream pop breakthrough, which came courtesy of Def Leppard's Pyromania. Metal enjoyed its greatest presence on the charts during the '80s, thanks to a raft of glammed-up pop-metal bands, but thrash bands played complex riffs at breakneck speed, sometimes dispensing with vocal melody altogether. Thrashers like Metallica and Megadeth built rabid cult followings that pushed them into the mainstream around the same time that grunge wiped pop-metal off the charts. Mainstream metal in the '90s centered around a new hybrid called alternative metal, which (in its most commercially potent form) combined grinding thrash and grunge influences with hip-hop and industrial flourishes, though it broke with metal's past in downplaying the importance of memorable riffs. Meanwhile, the underground grew harsher and bleaker, producing two similar, thrash-derived styles known as death metal and black metal, which produced some of the most abrasive, intense, hyperspeed music and graphic shock tactics the metal world had yet witnessed.

Punk
Punk Rock returned rock & roll to the basics — three chords and a simple melody. It just did it louder and faster and more abrasively than any other rock & roll in the past. Although there had been several bands to flirt with what became known as punk rock — including the garage rockers of the '60s and the Velvet Underground, the Stooges, and the New York Dolls — it wasn't until the mid-'70s that punk became its own genre. On both sides of the Atlantic, young bands began forsaking the sonic excesses that distinguished mainstream hard rock and stripping the music down to its essentials. In New York, the first punk band was the Ramones; in London, the first punk band was the Sex Pistols. Although the bands had different agendas and sounds — the Ramones were faster and indebted to bubblegum, while the Pistols played Faces riffs sloppier and louder than the Faces themselves — the direct approach of the bands revolutionized music in both the U.K. and the U.S. In America, punk remained an underground sensation, eventually spawning the hardcore and indie-rock scenes of the '80s, but in the UK, it was a full-scale phenomenon. In the U.K., the Sex Pistols were thought of as a serious threat to the well-being of the government and monarchy, but more importantly, they caused countless bands to form. Some of the bands stuck close to the Pistols' original blueprint, but many found their own sound, whether it was the edgy pop of the Buzzcocks, the anthemic, reggae-informed rock of the Clash, or the arty experiments of Wire and Joy Division. Soon, punk splintered into post-punk (which was more experimental and artier than punk), new wave (which was more pop-oriented), and hardcore, which simply made punk harder, faster, and more abrasive. Throughout the '80s, punk was identified with the hardcore scenes in both America and England. In the early '90s, a wave of punk revivalists — led by Green Day and Rancid — emerged from the American underground. The new wave of punk rockers followed the same template as the original punks, but they tended to incorporate elements of heavy metal into their sound.

懒得翻了，自己慢慢译吧。来自AMG

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摇滚分类之-重金属

Heavy Metal（重金属）
在众多摇滚的类型中，重金属是在音量，男子气概和戏剧化风格上最为极端的。在重金属声音的体裁上有很多的变种，但是他们都通过在喧吵的效果，失真吉他的演奏（通常演奏重复段）和简单，重击旋律上尽量取得共识。重金属自从它存在那天开始就不断引起争论---批评家从传统上抨击了那种故意吸引大部分青少年的舞台剧效果，还有一些保守的组合经常抗议他们所感到的包含有害，邪恶意味的歌词。尽管有重重困难，重金属从它的诞生就还是成为了稳定流行的摇滚音乐形式，有足够的能力去适合这个时期，仍能保持它完美的未被侵蚀的核心吸引力。尽管如美国在声道选择上的叛逆的形式，重金属在很大程度上还是英国的创造物。最初重金属的种子是在60年代英国蓝调运动中被播下的，特别是在那些发觉已很难适应美国蓝调natural swing的乐队中。这种韵律更加没有规则，增强了电子乐器的使用成为更加重要的特点，特别是通过像the Kinks, the Who, Jimi Hendrix, Cream和the Jeff Beck Group这些创新的乐手。然而，正如可提出证据加以证明的那样，最初真正的金属乐队是Led Zeppelin。最开始，Zep演奏蓝调曲调比任何人都更为沉重和喧吵，并且通过获取许多音乐源极很快创造一种以大规模，有质感为代表的重型摇滚。更少精细但是可能更大影响力的是Black Sabbath，他的黑暗，沉闷的吉他重复段创造了一种幻想中的世界末日，充满了毒品，死亡和超自然的迷惑。接下来被Zep和Sabbath所丢弃的这种风格，很多美国的乐队在70年代把重金属更改为更易接近的的形式；Alice Ccooper和Kiss易记的曲调和残暴的舞台表演；Aerosmith的sleazy boogie；Van Halen的浮华吉他引子和狂热的派对摇滚。在70年代末期，一些隐藏的英国乐队号成为英国重金属新浪潮（包括Judas Priest, Iron Maiden, Motorhead）开始演奏金属更为快速，倾斜和使用更多恐吓。他们的出现为80年代新的美国金属---鞭挞金属提供了影响力，这个新事物定性于对金属新主流流行的突破，它的出现是以Def Leppards Pyromania为代表的。金属在80年代的辉煌期里是最为享受的，由于大量的glammed-up流行金属乐队，除了鞭挞金属乐队激烈演奏复杂的重复段外，有时会融入些柔美的声乐作品。像Metallica和Megadeth这样的鞭挞乐队形成了狂热的歌迷从而在车库脱去了他们流行金属外衣的同一时间推动他们进入了主流。90年代的主流金属以一种新的叫做另类金属的混合物为中心，它（在它有效的商业形式上）通过hip-hop和工业的繁荣期结合了grinding trash和grunge的影响力。其间，地下以更粗糙，阴冷的风格成长，产生了两种类似的，起源于鞭挞的风格，被叫做死亡金属和黑暗金属，他们创作了一些最为重要的研磨，剧烈，超速的音乐和金属世界从未展示的graphic shock tactics。

朋克：

朋克, 又叫庞克 punk 歌词中传达某些叛逆思想及对生活环境、文化、社会、政治等的不满情绪，而音乐缺乏协调性无特定风格，是一种相当嘈杂的音乐，通常一群能将乐器弄出声音来的人就可以组一个朋克乐队。 代表性乐队clash, sex pistols 朋克文化（punk culture）是一穘起源于1970年代的次文化。最早源起于音乐界，但逐渐辒搎成一穘整合音乐、服装与个人意譺主张的弙义文化飙格。 今天我们所见到的庞克文化始于1970年代，最初的时候它是一穘音乐上的叛逆?动，主旨是在抗拒反对一些包括前卫摇漧（progressive rock）、重金属（heavy metal）在内，已经既存的流行音乐形式。在庞克文化的诐求中，这些流行音乐的歌手们早已因为过分英雄崇拜式的偶像塑造，而与他们的歌迷们疏离太远。庞克文化的追杂者以地下音乐（underground）、干简摇漧（minimalist rock）等音乐形式为基砻，发展出他们自己反乌托邦飙格的音乐。在庞克摇漧颈域，性手枪（sex pistol）与雷蒙合唱坒（the ramones）是庞克音乐启蒙时期较为人所熟悉的代表性乐坒。 渐渐的，庞克变得更加多样化乲且更少最低限要求主义，这是杂着象the clash这样的乐队融入了如ska和rockabilly甚或hip-hop这样的其它地下音乐影响而发生的，但是音乐所散发的讯息还是一样的；它带有颠覆性、叛逆性、政治上错误乲且经常无政府主义。它取材于谦如面对社会的问题、下层隺级的被压迫等等这样的主题。庞克文化是对社会的一个讯息，也就是，不是所有人都过得很好、不是所有人都一样。 英国的庞克文化在1980年代和1990年代弥漫到了北美，在那里人们创造了一穘新的音乐飙格，穛为硬核庞克(硬核，hardcore),因为比归洲的同类音乐更快和更富适攻性的节奏而着穛。从这一新流派产生的飙格包括滑板庞克(skate punk)和straight edge(直线边缘). 从庞克的开始时起，主流唱片公司就试坉从地下庞克文化获利≤多时候这遇到了詓多阻力，因为庞克的伦理在于音乐的纯洁性，而庞克常常觞得这受到了唱片公司牟利动檆的威胁。 从1980年代晚期开始，美国西北太平洋地区(pacific northwest)的庞克音乐作为垃圾音乐(grunge)上市。成功的垃圾乐队，例如涅盘(nirvana)和pearl jam在他们的音乐中展示出大量庞克飙格的影响。这些早期的商榠成功导致了另一庞克飙格在主流中的成功，它被穛为强力流行乐或者流行庞克。强力流行乐的乐队的例子有simple plan, good charlotte, 和sum 41. 很多初期庞克亚文化的追杂者觞得庞克的商榠化带来幻灭的感觞。他们声穛庞克按照定义就应该是不流行的(把流行庞克视为自相矛盾)，所以应该保持这个状慑，因为它给主流文化带来了所需的挑战。 摇滚分类 (4802字节) 20 anarchist punk( 无政府主义朋克 ) 32 british punk( 英国朋克 ) 70 garage punk( 车库朋克 ) 108 new york punk( 纽约朋克 ) 118 post-punk( 后朋克 )
回答者：Leopgias - 魔法学徒 一级 7-5 08:21

朋克 PUNK 摇滚乐的一种风格，其形式是追求简单直接快速，舍弃花哨，可以认为是反技术的。
重金属 Heavy Metal 摇滚乐的一种风格，倚重失真吉他和复杂鼓击制造出隆隆之声，有“金属”感，所以叫重金属。现在的金属乐已经分得很细，所谓重金属只是传统的，老牌的金属摇滚乐。重金属崇尚技术，尤其是吉他，没有花哨的吉他solo几乎就不能叫做重金属。
PUNK和METAL是有矛盾的，这是两个阵营，一下子很难解释清楚。如果找个例子，比如说在中国，早期的唐朝乐队，就是重金属，他们每首歌都不短而且都有大段大段的solo，地下婴儿乐队就是朋克，他们的歌都不长，而且都没什么solo，有也很简洁。重金属给人的感觉就是很重，有凝重感和秩序感。punk给人的感觉就是很躁，闹哄哄的
你要插上一把吉他开个失真效果全扫开放和弦，就是punk，你要是只扫power chord还带闷音就是重金属...
而所有这些解释其实都不准确
甚至也没有什么解释是准确的
摇滚乐不去听光看文字是很难理解的

这里有比较理性的解释
HeavyMetal
Of all rock & roll's myriad forms, heavy metal is the most extreme in terms of volume, machismo, and theatricality. There are numerous stylistic variations on heavy metal's core sound, but they're all tied together by a reliance on loud, distorted guitars (usually playing repeated riffs) and simple, pounding rhythms. Heavy metal has been controversial nearly throughout its existence — critics traditionally dismissed the music as riddled with over-the-top adolescent theatrics, and conservative groups have often protested what they perceive as evil lyrical content. Still, despite — or perhaps because of — those difficulties, heavy metal has become one of the most consistently popular forms of rock music ever created, able to adapt to the times yet keep its core appeal intact. For all its status as America's rebellion soundtrack of choice, heavy metal was largely a British creation. The first seeds of heavy metal were sown in the British blues movement of the '60s, specifically among bands who found it hard to adjust to the natural swing of American blues. The rhythms became more squared-off, and the amplified electric instruments became more important, especially with the innovations of artists like the Kinks, the Who, Jimi Hendrix, Cream, and the Jeff Beck Group. Arguably the first true metal band, however, was Led Zeppelin. Initially, Zep played blues tunes heavier and louder than anyone ever had, and soon created an epic, textured brand of heavy rock that drew from many musical sources. Less subtle but perhaps even more influential was Black Sabbath, whose murky, leaden guitar riffs created a doomy fantasy world obsessed with drugs, death, and the occult. Following the blueprint laid down by Zep and Sabbath, several American bands modified heavy metal into more accessible forms during the '70s: the catchy tunes and outrageous stage shows of Alice Cooper and Kiss; the sleazy boogie of Aerosmith; and the flashy guitar leads and wild party rock of Van Halen (not to mention the distinctively minimalist grooves of Australia's AC/DC). In the late '70s, a cache of British bands dubbed the New Wave of British Heavy Metal (including Judas Priest, Iron Maiden, and Motorhead) started playing metal faster, leaner, and with more menace than ever before. They helped influence a new American metal scene known as thrash in the '80s, which took shape as a reaction to metal's new mainstream pop breakthrough, which came courtesy of Def Leppard's Pyromania. Metal enjoyed its greatest presence on the charts during the '80s, thanks to a raft of glammed-up pop-metal bands, but thrash bands played complex riffs at breakneck speed, sometimes dispensing with vocal melody altogether. Thrashers like Metallica and Megadeth built rabid cult followings that pushed them into the mainstream around the same time that grunge wiped pop-metal off the charts. Mainstream metal in the '90s centered around a new hybrid called alternative metal, which (in its most commercially potent form) combined grinding thrash and grunge influences with hip-hop and industrial flourishes, though it broke with metal's past in downplaying the importance of memorable riffs. Meanwhile, the underground grew harsher and bleaker, producing two similar, thrash-derived styles known as death metal and black metal, which produced some of the most abrasive, intense, hyperspeed music and graphic shock tactics the metal world had yet witnessed.

Punk
Punk Rock returned rock & roll to the basics — three chords and a simple melody. It just did it louder and faster and more abrasively than any other rock & roll in the past. Although there had been several bands to flirt with what became known as punk rock — including the garage rockers of the '60s and the Velvet Underground, the Stooges, and the New York Dolls — it wasn't until the mid-'70s that punk became its own genre. On both sides of the Atlantic, young bands began forsaking the sonic excesses that distinguished mainstream hard rock and stripping the music down to its essentials. In New York, the first punk band was the Ramones; in London, the first punk band was the Sex Pistols. Although the bands had different agendas and sounds — the Ramones were faster and indebted to bubblegum, while the Pistols played Faces riffs sloppier and louder than the Faces themselves — the direct approach of the bands revolutionized music in both the U.K. and the U.S. In America, punk remained an underground sensation, eventually spawning the hardcore and indie-rock scenes of the '80s, but in the UK, it was a full-scale phenomenon. In the U.K., the Sex Pistols were thought of as a serious threat to the well-being of the government and monarchy, but more importantly, they caused countless bands to form. Some of the bands stuck close to the Pistols' original blueprint, but many found their own sound, whether it was the edgy pop of the Buzzcocks, the anthemic, reggae-informed rock of the Clash, or the arty experiments of Wire and Joy Division. Soon, punk splintered into post-punk (which was more experimental and artier than punk), new wave (which was more pop-oriented), and hardcore, which simply made punk harder, faster, and more abrasive. Throughout the '80s, punk was identified with the hardcore scenes in both America and England. In the early '90s, a wave of punk revivalists — led by Green Day and Rancid — emerged from the American underground. The new wave of punk rockers followed the same template as the original punks, but they tended to incorporate elements of heavy metal into their sound.

懒得翻了，自己慢慢译吧。来自AMG

我知道性枪手~~里面的SID