1、bleaker

bleaker發(fā)音

英：　　美：

bleaker中文意思翻譯

常見(jiàn)釋義：

adj.荒涼的；陰郁的；令人沮喪的（bleak的比較級(jí)）

bleaker雙語(yǔ)使用場(chǎng)景

1、After Pickwick, Dickens plunged into a bleaker world.───在《匹克威克》之后，狄更斯陷入了一個(gè)更加灰暗的世界。

2、He tends to paint a bleaker picture of the nation and apologize for past behaviors in foreign affairs.───他似乎展現(xiàn)了這個(gè)國(guó)家毫無(wú)希望的一個(gè)圖景，并且為以前的一些國(guó)際事務(wù)上的行為道了歉。

3、For the Palestinians the prospect of a real state now looks bleaker than ever.───從巴勒斯坦方面看，現(xiàn)在要建立一個(gè)真正國(guó)家的前景更加渺茫。

4、Second, the bleaker and more deflationary forecasts seem to ignore trends in the major developing economies.───其次，更黯淡和更強(qiáng)的通縮預(yù)期似乎忽略了主要發(fā)展中經(jīng)濟(jì)體的趨勢(shì)。

5、But in bleaker circumstances, a small pot of savings may be all that stands between homeownership and foreclosure.───但是在經(jīng)濟(jì)慘淡的情況下，一點(diǎn)點(diǎn)資金的節(jié)約就關(guān)系到房子還是不是你的。

6、The longer budget view is far bleaker.───長(zhǎng)期的預(yù)算計(jì)劃看起來(lái)更加暗淡。

7、A bleaker story emerges, however.───然而，有一個(gè)較為陰暗的故事。

8、After one of the most tumultuous weekends Wall Street has ever seen, how much bleaker is the outlook for the U.───在華爾街經(jīng)歷了有史以來(lái)最為動(dòng)蕩的一個(gè)周末之后，美國(guó)經(jīng)濟(jì)前景會(huì)變得有多黯淡？

9、You put these bits in your pocket, however, to see you through the bleaker passages.───然而把這些片段塞進(jìn)你的口袋，它們可以幫助你穿過(guò)那些更加陰郁的篇章。

bleaker相似詞語(yǔ)短語(yǔ)

1、adjustable wall brackets───可調(diào)壁支架

2、cognizable tort───可認(rèn)定侵權(quán)行為

3、differentiable function───[數(shù)]可微函數(shù)

4、peevishly disagreeable 7 little words───暴躁不愉快的7個(gè)小字

5、lamentable definition───可悲的定義

6、excusable delay───可原諒的延誤

7、growable ores───可生長(zhǎng)礦石

8、ordinal scaled variable───序數(shù)標(biāo)度變量

9、absorbable b3───可吸收b3

10、cards on the table───公開(kāi)的計(jì)劃；攤在桌面上的牌

2、請(qǐng)解釋朋克，重金屬的意思，謝謝

朋克 PUNK 搖滾樂(lè)的一種風(fēng)格，其形式是追求簡(jiǎn)單直接快速，舍棄花哨，可以認(rèn)為是反技術(shù)的。

重金屬 Heavy Metal 搖滾樂(lè)的一種風(fēng)格，倚重失真吉他和復(fù)雜鼓擊制造出隆隆之聲，有“金屬”感，所以叫重金屬?，F(xiàn)在的金屬樂(lè)已經(jīng)分得很細(xì)，所謂重金屬只是傳統(tǒng)的，老牌的金屬搖滾樂(lè)。重金屬崇尚技術(shù)，尤其是吉他，沒(méi)有花哨的吉他solo幾乎就不能叫做重金屬。

PUNK和METAL是有矛盾的，這是兩個(gè)陣營(yíng)，一下子很難解釋清楚。如果找個(gè)例子，比如說(shuō)在中國(guó)，早期的唐朝樂(lè)隊(duì)，就是重金屬，他們每首歌都不短而且都有大段大段的solo，地下嬰兒樂(lè)隊(duì)就是朋克，他們的歌都不長(zhǎng)，而且都沒(méi)什么solo，有也很簡(jiǎn)潔。重金屬給人的感覺(jué)就是很重，有凝重感和秩序感。punk給人的感覺(jué)就是很躁，鬧哄哄的

你要插上一把吉他開(kāi)個(gè)失真效果全掃開(kāi)放和弦，就是punk，你要是只掃power chord還帶悶音就是重金屬...

而所有這些解釋其實(shí)都不準(zhǔn)確

甚至也沒(méi)有什么解釋是準(zhǔn)確的

搖滾樂(lè)不去聽(tīng)光看文字是很難理解的

這里有比較理性的解釋

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.

懶得翻了，自己慢慢譯吧。來(lái)自AMG