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The SOUNDS of SILENCE

机译：沉默的声音

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The rock era and the space age exist on parallel time lines. The Soviets launched Sputnik in October 1957, the same month Elvis Presley hit #1 with -'Jailhouse Rock." The first Beatles single, "Love Me Do," was released 23 days after John F. Kennedy declared that America would go to the moon (and not because it was easy, but because it was hard). Apollo 11 landed the same summer as Woodstock. These specific events are (of course) coincidences. Yet the larger arc is not. Mankind's assault upon the heavens was the most dramatic achievement of the 20th century's second half, simultaneous with rock's transformation of youth culture. It does not take a decon-structionist to see the influence of the former on the latter. The number of pop lyrics fixated on the concept of space is massive, and perhaps even predictable. It was the language of the era. But what's more complicated is what that concept came to signify, particularly in terms of how the silence of space was somehow supposed to sound.
机译：岩石时代和空间年龄存在于并行时间线上。苏维埃于1957年10月推出了Sputnik，同月Elvis Presley击中了＃1与-'jailehouse摇滚。“第一个披头士队”单身“爱我”，在约翰F.肯尼迪宣称美国会去的时候23天发布了23天月亮（而不是因为它很容易，而是因为它很难）。阿波罗11像伍德斯托克一样落在同一夏天。这些具体的事件是（当然）巧合。然而，较大的弧度不是。人类在天上的攻击是最多的20世纪下半年的戏剧性成就，同时掌握了青年文化的转变。它不采取欺骗结构主义，看看前者对后者的影响。固定在空间概念上的流行歌词的数量是大规模的，甚至可能是可预测的。这是时代的语言。但是更复杂的是这个概念来表示，特别是在空间的沉默方式是某种方式应该发出声音。

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