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EMILY GOLDBERG FLOATED in the mornings. Being a student at George Washington University had been fun recently, and now, in the spring of 2011, she had only a few months left before she would finish her bachelor’s degree in art history. Carefree and open, the twenty-one-year-old danced over to the next lecture. In her headphones thumped Skrillex’s ‘Scary Monsters And Nice Sprites’, a high-octane song that was a sign of something new. Skrillex was a DJ from Los Angeles who took dubstep, the style that had been developed in London, and made it less murky, more efficient and crisper. Gently scattered trance melodies torn by a roaring bass – music that was shuddering like a chainsaw in quicksand, as music magazine Spin wrote in a report on what was happening in the United States at this time.

早晨，Emily Goldberg悠閑地散步。作為喬治·華盛頓大學(xué)的一名學(xué)生，最近的生活非常有趣?，F(xiàn)在，2011年的春天，她只剩下幾個(gè)月就能完成她的藝術(shù)史本科學(xué)位。21歲的她自由自在、開放心扉，跳著舞步走向下一堂課。她戴著耳機(jī)，聽著Skrillex的Scary Monsters And Nice Sprites，這是一首高能量的歌曲，代表了一些新的東西。Skrillex是來自洛杉磯的一名DJ，他將在倫敦發(fā)展起來的dubstep風(fēng)格變得更加清晰、高效、而不那么模糊。正如音樂雜志Spin在對此時(shí)美國發(fā)生的事情進(jìn)行報(bào)道時(shí)所寫的那樣，這是一種輕柔的、散發(fā)著迷幻旋律的音樂，被一聲聲咆哮的低音撕裂開來——就像一把在流沙中震顫的電鋸。

Because something was bubbling, there was no doubt about it. If David Guetta and the Swedish House Mafia had cracked the door for European house music a few years earlier, through their collaborations with American pop stars, it was now about to be opened wide. Rihanna had hired the Scottish producer Calvin Harris to get just enough of a screaming drop in her hit ‘We Found Love’ and even Britney Spears had made a song with a flickering sequence of dubstep.

因?yàn)橐恍〇|西正在醞釀，這是毫無疑問的。如果說幾年前David Guetta和瑞典浩室黑手黨通過與美國流行歌星的合作為歐洲電子音樂打開了一扇門，那么現(xiàn)在這扇門即將被敞開。Rihanna曾聘請?zhí)K格蘭制作人Calvin Harris為她的熱門單曲We Found Love加入了足夠的尖叫式drop，甚至連Britney Spears也推出了一首帶有Dubstep節(jié)奏的歌曲。

Emily felt that the music suited her in some way. It kind of captured who she was, or maybe who she wanted to be.

Emily感覺這種音樂在某種程度上很適合她。它有點(diǎn)捕捉到了她是誰，或者說她想成為誰的樣子。

It was not a particularly promising time to enter adulthood in the United States. A few years earlier, a severe financial crisis had begun. Banks had crashed, economists said the country was experiencing the deepest crisis since the Depression of the 1920s. In three years, the number of long-term unemployed people had gone from just under two million to over six. Rather than a secure job, the adult world seemed to mean short-term gigs for low wages. Rather than buying their own homes, Emily’s peers took fast loans to pay the rent on sublet apartments.

在美國，進(jìn)入成年并不是的一個(gè)特別有前途的時(shí)期。幾年前，一場嚴(yán)重的金融危機(jī)爆發(fā)。銀行崩潰了，經(jīng)濟(jì)學(xué)家稱該國正在經(jīng)歷自20世紀(jì)20年代大蕭條以來最深的危機(jī)。在三年內(nèi)，長期失業(yè)人數(shù)從不到兩百萬增加到六百萬以上。成年世界似乎意味著短期低工資工作，而不是一個(gè)穩(wěn)定的工作。Emily的同齡人不是買自己的房子，而是借快速貸款來支付租賃公寓的租金。

There seemed to be a halt in development. Would the young people of today be worse off than previous generations?

發(fā)展似乎停滯了。今天的年輕人會(huì)比以前的一代更糟嗎？

But at least the house music was throbbing with energy and spoke of its time. Knife Party’s song ‘Internet Friends’ was about when someone unfriended you on Facebook and you wanted to kill the idiot. In Skrillex’s biggest hit, he had sampled a young girl from Portland who shouted out her joy at having managed to balance cups in a trick on YouTube.

但至少浩室音樂充滿了能量，代表了它的時(shí)代。Knife Party的歌曲Internet Friends是關(guān)于當(dāng)有人在Facebook上取消關(guān)注你時(shí)，你想殺了那個(gè)白癡。在Skrillex最成功的單曲中，他采樣了一位來自波特蘭的年輕女孩，她在YouTube上高興地喊出她成功地用技巧平衡了杯子。

Emily loved the warm, friendly atmosphere of the clubs and festivals that played house music. It was sweaty and primal, but since so many were tripping on Ecstasy, the atmosphere was also cuddly and cosy. The security guards received handshakes and homemade bracelets instead of threats.

Emily喜歡那些播放浩室音樂的俱樂部和音樂節(jié)的溫暖、友好氛圍。雖然人們很容易出汗，但由于許多人在服用搖頭丸，氣氛也變得親密而舒適。保安們收到的是握手和自制手環(huán)，而不是威脅。

And maybe no one was as hopeful and euphoric as Avicii, the young guy from Sweden whose music always carried a promise that everything would work out fine.

也許沒有人像來自瑞典的年輕人Avicii一樣充滿希望和欣喜，他的音樂總是帶著一種承諾，即一切都會(huì)變得美好。

The song ‘Silhouettes’, for example, which Avicii now included in his sets – an optimistic coming-of-age saga in a few lines:

比如，Avicii現(xiàn)在在他的演出中包含的歌曲Silhouettes——一個(gè)樂觀的成長傳奇，只用幾行歌詞：

So we will never get back to

所以我們永遠(yuǎn)不會(huì)回到過去。

to the old school

回到舊的時(shí)代

to the old rounds, it’s all about the newfound

回到舊時(shí)場景，那都是新的回憶

we are the newborn, the world knew all about us

我們是新生兒，世界都知道我們。

we are the future and we’re here to stay

我們是未來，我們會(huì)留下

Perhaps the most important thing wasn’t the lyrics. The rock generation was obsessed with words and symbols, with deciphering the message of a lyric – the duller the descriptions, the more important it was considered to be. Self-pity and melancholy were deemed excellent qualities.

也許最重要的不是歌詞。搖滾一代癡迷于文字和符號(hào)，試圖解密歌詞中的信息——描述越無聊，歌詞就越重要。自我憐憫和憂郁被認(rèn)為是極好的品質(zhì)。

That was not a bit interesting for Emily Goldberg. What mattered to her was how the songs felt, what they did to her body. The lovely vibrations in her chest.

對于Emily Goldberg來說，那并不有趣。重要的是歌曲給她帶來的感覺，它們對她身體的影響。在她的胸腔里美妙的共鳴。

She had just discovered Avicii’s latest song, which he had included in a mix broadcast by Pete Tong on the BBC a few months earlier. It was called ‘Levels’, a distillation of happiness, with a riff so instant that it was impossible to get out of your skull. And then that old blues voice, the raspy and full-bodied one that came in at the chorus and sang about how fantastic you could feel.

她剛剛發(fā)現(xiàn)了Avicii的最新歌曲，幾個(gè)月前，他在Pete Tong的BBC混音廣播中播放過這首歌曲。這首歌叫做Levels，這是一種幸福的精華，它重復(fù)的旋律是如此緊迫，以至于它不可能從你的腦海中消失。然后是那個(gè)老藍(lán)調(diào)嗓音，粗糙而飽滿，在合唱部分唱著關(guān)于你能感受到多么棒的歌詞。

Emily Goldberg had noticed that Avicii was playing more and more in the US and saw that in the summer of 2011 he would perform in Washington, DC, at a club with room for three thousand guests.

Emily Goldberg注意到Avicii在美國的演出越來越多，她發(fā)現(xiàn)在2011年夏天，他將在華盛頓特區(qū)的一家能容納三千名客人的俱樂部表演。（譯者注：指2011年6月25日Avicii在Club Glow的演出）

Emily was familiar with the promoter and had made sure to be at the venue early. When she was hanging out backstage, she had shaken hands with the Swedish star, who seemed absent-minded and embarrassed.

Emily與推廣員很熟悉，并確保早早來到了場館。當(dāng)她在后臺(tái)閑逛時(shí)，她與這位瑞典明星握手了，他似乎心不在焉，感到尷尬。

But now they were standing on the balcony, she and her best friend, and Avicii played Swedish House Mafia’s bootleg of a Depeche Mode song.

但現(xiàn)在，她和她最好的朋友站在陽臺(tái)上，Avicii播放著瑞典浩室黑手黨的Depeche Mode歌曲混音版。

Emily looked out over the sweaty crowd on the floor below. Girls on their boyfriends’ shoulders, the smell of perfume, sweat and alcohol.

Emily俯視著樓下汗流浹背的人群。女孩們騎在男友的肩膀上，香水、汗水和酒精的氣味彌漫著整個(gè)空間。

Three-quarters into the set came the song everyone had been waiting for, the one that was gaining traction on YouTube. The whole club sang in ‘Levels’ synth riff.

在演出進(jìn)行四分之三的時(shí)候，終于演奏了大家一直期待的歌曲，也是在YouTube上越來越受歡迎的歌曲。整個(gè)俱樂部都跟著Levels合成器旋律一起歌唱。

DO-DO-DO-DO-DO-DO-DO-DOOO-DO-DOOO-DO! DO-DO-DO-DO-DO-DO-DO-DOOO-DO-DOOO-DO!

DO-DO-DO-DO-DO-DO-DO-DOOO-DO-DOOO-DO！DO-DO-DO-DO-DO-DO-DO-DOOO-DO-DOOO-DO！

After Etta James’s chorus, the strings filled the room. Emily closed her eyes and without thinking about it, she brought her right arm in front of her, as if she was playing the violin herself. When she looked down again, Avicii had raised his arm up into the air. He looked so incredibly happy and as the synth roared again, the spotlights moved upwards and Avicii looked towards the balcony – right at Emily, it seemed – and she felt as if her chest was about to explode.

在Etta James的合唱之后，弦樂填滿了整個(gè)房間。Emily閉上眼睛，不假思索地將右臂伸到面前，仿佛她自己在拉小提琴。當(dāng)她再次低頭看去時(shí)，Avicii已經(jīng)將他的手臂高高舉起。他看起來非常開心，當(dāng)合成器再次咆哮時(shí)，聚光燈向上移動(dòng)，Avicii朝著陽臺(tái)看去，似乎直接看向了Emily，她感覺自己的胸口快要爆炸了。

A few minutes later, when Tim had gone into a version of Adele’s ‘Rolling In The Deep’, the star’s tour manager came up. He took the girls with him, led them down the stairs and through the crowd on the dance floor. A red rope was pulled aside and suddenly Emily stood in the middle of the stage and was dancing right next to the Swede.

幾分鐘后，當(dāng)Tim播放阿黛爾的Rolling In The Deep時(shí)，巡演經(jīng)理走了過來。他帶著女孩們走下樓梯，穿過舞池中的人群。一條紅繩被拉開，突然Emily站在舞臺(tái)中央，在這位瑞典人旁邊跳舞。

Tim made a transition to his own ‘My Feelings For You’ and handed Emily a shot glass.

Tim過渡到他自己的My Feelings For You，并遞給Emily一只小酒杯。

A few hours later, they were sitting in a suite at the Donovan Hotel. Someone overturned a bottle of Dom Pérignon and ran to get a towel.

幾個(gè)小時(shí)后，他們坐在唐諾萬酒店的套房里。有人打翻了一瓶多姆·培利農(nóng)香檳，趕緊跑去拿毛巾。

‘You’re a towel,’ Tim laughed in a squeaky voice.

“你就是毛巾，”Tim尖聲笑著說。

It was a reference to the South Park character Towelie, a living piece of cloth whose only interest was to constantly be as high and fucked up as possible. No one else in the room seemed to pick up the reference, but Emily shouted Towelie’s second standard phrase in falsetto: ‘You wanna get high?’

這出自《南方公園》中的角色Towelie，他是一塊有生命的布料，唯一的興趣就是不斷地追求更高和更瘋狂的狀態(tài)。房間里沒有其他人注意到這個(gè)參考，但Emily尖聲喊出了Towelie的第二個(gè)標(biāo)志性臺(tái)詞：“你想HIGH嗎？”

Tim nodded at Emily, impressed. He sat down closer and began to loudly discuss which South Park episode was the best ever.

Tim對Emily點(diǎn)了點(diǎn)頭，感到印象深刻。他靠近坐下，開始大聲討論哪一集《南方公園》是最好的。

Later in the morning, just before Tim passed out on the couch, he and Emily had exchanged numbers and agreed that they should be in touch again soon.

早上稍晚時(shí)候，就在Tim在沙發(fā)上睡著之前，他和Emily交換了電話號(hào)碼，并同意很快再聯(lián)系。

The wave of house music that swept across the United States had indeed begun to be picked up by the established music magazines. But if you wanted to follow the development in close-up, you needed to look online. Newly launched sites such as We Rave You and Dancing Astronaut wrote ecstatic articles about the shockwaves that the music sent through their writers’ bodies. According to the online magazines, virtually every track was epic, huge, a BANGER. Dutchmen such as Afrojack, Chuckie and Hardwell were described as the great masters of modern times, and when Swedish House Mafia sold out Madison Square Garden in nine minutes, it appeared to be a triumph for humanity.

席卷美國的浩室音樂浪潮確實(shí)開始受到正規(guī)音樂雜志的關(guān)注。但如果你想近距離關(guān)注其發(fā)展，你需要上網(wǎng)查看。新推出的網(wǎng)站，如We Rave You和Dancing Astronaut，寫下了狂熱的文章，講述了這種音樂帶來的沖擊。根據(jù)在線雜志的說法，幾乎每首曲子都是史詩級、巨大的、炸裂的。荷蘭人Afrojack、Chuckie和Hardwell被描述為現(xiàn)代大師，而當(dāng)瑞典浩室黑手黨在九分鐘內(nèi)售罄麥迪遜廣場花園時(shí)，這似乎是人類的勝利。

In Las Vegas, one of the reporters for Dancing Astronaut recounted a weekend when the new song ‘Levels’ had been heard at every pool party throughout the city: ‘Avicii is a god,’ he wrote, and said that he did not know what to do with his joyous body when he heard the Swede’s song. ‘Should I embrace the person right next to me because I am so uncontrollably happy that I need to share the moment with someone?’ he wondered, before finally deciding on another option – to spray beer all around him.

在拉斯維加斯，Dancing Astronaut的一位記者回憶了一個(gè)周末，當(dāng)新歌Levels在整個(gè)城市的每個(gè)泳池派對上都被播放時(shí)：Avicii是上帝，他寫道，并說當(dāng)他聽到瑞典人的這首歌時(shí)，他不知道該怎么做才能控制自己的興奮?！拔覒?yīng)該擁抱旁邊的人，因?yàn)槲姨_心了，需要與他人分享這一刻嗎？”他想知道，最終決定選擇另一個(gè)選項(xiàng)——向周圍噴灑啤酒。

Las Vegas was perhaps the one place in the United States where the growing popularity of dance music was most evident. The casino city was rapidly evolving, from a place where fading musical stars ended their careers, to the epicentre of a new youth culture.

拉斯維加斯或許是美國最能反映舞曲音樂日益普及的地方。這座賭城正在快速演變，從一個(gè)讓過氣歌星結(jié)束職業(yè)生涯的地方，變成了新青年文化的中心。

At the end of June 2011, tens of thousands of young people made a pilgrimage to a speedway stadium north of the city. They came from all over the continent, in buses and caravans and their mothers’ Ford Explorers. The girls had sewn butterfly wings on their neon-coloured tops and glued feathers on their bras, the boys came with battle paintings on their chests and glow sticks like wreaths in their hair. Others wore panda hats, fox tails and luminous tulle skirts. Alongside the stages built inside the arena, roller coasters and swings flashed in all the colours of the rainbow as acrobats sprayed fire and walked on stilts.

2011年6月底，成千上萬的年輕人朝著城市北部的賽車場朝圣。他們來自整個(gè)歐洲，乘坐巴士、房車，或是母親的福特探險(xiǎn)者。女孩們在霓虹色的上衣上縫上蝴蝶翅膀，胸罩上粘上羽毛，男孩們則在胸前涂上戰(zhàn)斗圖案，頭發(fā)上戴著發(fā)光的花環(huán)。其他人則戴著熊貓帽子、狐貍尾巴和發(fā)光的薄紗裙。除了競技場內(nèi)建造的舞臺(tái)外，過山車和秋千也以彩虹般的色彩閃耀，雜技演員在上面噴火走鋼絲。

Around seventy thousand people came every day to join this psychedelic event, the Electric Daisy Carnival, to make out to Swedish House Mafia’s fireworks and pump their hands in the air to European stars such as Laidback Luke, David Guetta, Ti?sto and Nicky Romero. In many ways it was like a high-pitched version of the raves outside London in 1988 – the same dizzying feeling of reality being elevated to something magical. The organisers had realised that the word ‘rave’ had become impossible to use in the United States, but when they hired enough security personnel and instead called the spectacle a ‘festival’, it all became politically viable.

每天約有七萬人來參加這場迷幻活動(dòng)，雛菊電音嘉年華（EDC)，，向Laidback Luke、David Guetta、Ti?sto和Nicky Romero等歐洲明星揮舞著手。在許多方面，這就像是1988年倫敦外面的狂歡派對的高音版本——令人眩暈的現(xiàn)實(shí)感被提升到了某種奇妙的感覺。組織者已經(jīng)意識(shí)到在美國使用狂歡派對這個(gè)詞已經(jīng)不可能了，但當(dāng)他們雇用了足夠的安保人員，改稱這場盛會(huì)為音樂節(jié)，一切都變得政治可行了。

Tim went on stage on the third and final night. From his place behind the decks, he watched the beautiful madness. From above, it was impossible to distinguish any single face, the bodies spreading out like a sparkling coral reef swaying on the seabed. It was easy to think that this huge production would put the nerves to the test, but it was actually much nicer to play here than to confront the scrutinising gazes at one of the small clubs in France or Germany. In the sea of glowing phone cameras, it was impossible to see if anyone was staring sceptically or choosing to go to the bar in the middle of a drop. Here was a riot fence and distance from the crowd. Besides, Tim had worked up a damn good set, he knew it himself. Apart from a Nicky Romero remix, a Dirty South tune and a song by the Swede Henrik B, he was now able to do an hour and twenty minutes with only his own songs.

Tim在第三個(gè)也是最后一個(gè)晚上登上了舞臺(tái)。站在碟機(jī)后面，他看著美妙的混亂。從上面看，不可能分辨出任何一個(gè)單獨(dú)的面孔，人們散開，像海底搖曳的閃爍珊瑚礁。人們很容易認(rèn)為這樣龐大的場景會(huì)讓人緊張不安，但實(shí)際上在這里表演要比在法國或德國的小俱樂部面對苛刻的目光要舒適得多。在閃光的手機(jī)相機(jī)的海洋中，不可能看到有人持懷疑態(tài)度或選擇在音樂高潮時(shí)去酒吧的情況。在這里有防暴柵欄，與觀眾有距離。此外，Tim的混音很棒，他自己也知道。除了一首Nicky Romero的混音、一首Dirty South的歌曲和一首瑞典人Henrik B的歌曲，他現(xiàn)在能夠在一個(gè)小時(shí)二十分鐘內(nèi)只用自己的歌曲混音。

The steady rhythm pulsed through Tim Bergling’s jerking legs. Damp with perspiration, his upper body bobbed over the decks, behind him flashed almost a hundred screens that together wrote out AVICII in purple and turquoise. Tim put on a majestic hymn he called ‘Edom’ – simply the word mode spelled backwards – and looked out over the people who were crackling in red, white and blue. They had become a single body reacting at the same time, hovering in a state unlike anything else.

穩(wěn)定的節(jié)奏穿過Tim Bergling搖擺的雙腿。他的上半身沾滿了汗水，在他身后閃爍著近百個(gè)屏幕，一起用紫色和青色拼出了AVICII。Tim放了一首他稱之為Edom的莊嚴(yán)贊歌——只是單詞mode倒過來拼寫——他望著那些穿著紅、白、藍(lán)閃爍的人們。他們已經(jīng)變成了一個(gè)同時(shí)反應(yīng)的整體，在一種前所未有的狀態(tài)中飄蕩。

If there was ever a moment when Avicii conquered the United States, it was probably now, 26 June 2011. Tim did not think any more, he just raised his right arm and played the chords to ‘Levels’ in the air.

如果說有一個(gè)時(shí)刻，Avicii征服了美國，那很可能是在此時(shí)，2011年6月26日。Tim不再思考，他只是舉起右臂，在空中演奏Levels的和弦。

One of the people behind the rapid change in Las Vegas was Jesse Waits, a thirty-six-year-old with sparkling white teeth who was responsible for the evenings at XS, the latest addition to the giant clubs in the desert. One Friday afternoon, the managing partner showed Tim through a lavish entrance with gold-coloured textiles on the walls, into a hall shaped like a crescent moon with collections of soft, golden-brown sofas scattered on plateaus surrounding the shiny dance floor. These booths were the basis of the business model: eighty per cent of the revenue came from alcohol sales at the private tables. Here, an ordinary bottle of vodka could cost around four hundred dollars, a drink made from aged champagne and brandy went for ten thousand. The biggest players hugged champagne bottles as big as toddlers and would pay an average monthly wage for ice buckets filled with bottles of liquor and grog.

在拉斯維加斯迅速變化的背后，有一位名叫Jesse Waits的三十六歲男子功不可沒。他擁有一口閃亮的白牙，并負(fù)責(zé)XS俱樂部的夜間活動(dòng)，這是沙漠中最新的大型俱樂部之一。一個(gè)星期五的下午，管理合伙人帶Tim穿過一個(gè)豪華的入口，墻上掛著金色的織物，進(jìn)入一個(gè)月牙形的大廳，周圍散布著軟軟的金棕色沙發(fā)，環(huán)繞著閃亮的舞池。這些包廂是業(yè)務(wù)模式的基礎(chǔ)：80％的收入來自私人包廂的酒精銷售。在這里，一瓶普通的伏特加酒可能要花費(fèi)約四百美元，一杯由陳年香檳和白蘭地制成的飲料則要價(jià)一萬美元。最大的玩家們擁著像嬰兒一樣大的香檳瓶，會(huì)為裝滿酒和飲料的冰桶支付平均月工資的費(fèi)用。

Jesse Waits himself was fairly new to house music. He had been to Paris and visited the classic gay club Le Queen and David Guetta’s own nightclub. The American had fallen in love with the fluffy compositions, the filter effects that made the music sound as if it was tumbling underwater. Jesse had come home hungover and inspired – if house music had worked in Europe, where Ti?sto sold out arenas in half an hour and had received a medal from the Queen of the Netherlands, why wouldn’t it in the United States?

Jesse Waits本人對電子舞曲還比較陌生。他曾去過巴黎，并參觀了經(jīng)典的同志俱樂部Le Queen和David Guetta自己的夜店。這位美國人愛上了那些輕盈的作品，過濾效果使音樂聽起來就像在水下翻滾。Jesse喝醉酒回到家，卻充滿了靈感——如果電子舞曲在歐洲行得通，在那里，像Ti?sto一樣的藝人能在半小時(shí)內(nèi)售罄體育館，并獲得荷蘭女王的勛章，為什么在美國就不行呢？

In the spring of 2011, Jesse Waits had booked Deadmau5, a Canadian DJ who, in addition to his progressive beats, had made himself known for always performing in a bulky, globular mouse mask. Waits had received unexpected help to prove that house music attracted a coveted audience when a notorious poker player had offered $200,000 to get permission to go up on stage and jump to the tunes of Jon Bon Jovi’s ‘Livin’ On A Prayer’, a song everyone in the audience was ashamed to like. Having Deadmau5 in the booth had attracted three times as many guests as usual and drawn in around $400,000 in one night, which made Waits’s managers open their wallets and ask him to book more house artists. Avicii was a given for Jesse Waits – it felt like ‘Levels’ was taking over everything at the time.

2011年春季，Jesse Waits預(yù)定了Deadmau5，這位加拿大DJ以他的漸進(jìn)節(jié)拍和總是戴著笨重的球形老鼠面具而聞名。Waits意外得到幫助，以證明浩室音樂吸引了令人垂涎的觀眾，一位臭名昭著的撲克玩家提供20萬美元，以獲得上臺(tái)跟著on Bon Jovi的Livin On A Prayer的曲子跳舞的許可，這是所有觀眾都羞于承認(rèn)自己喜歡的歌曲。而當(dāng)Deadmau5在碟機(jī)上表演時(shí)，吸引了平常三倍的客人，并在一個(gè)晚上獲得大約40萬美元的收入，這讓W(xué)aits的經(jīng)理們打開了他們的錢包，請他預(yù)定更多的浩室藝術(shù)家。對于Jesse Waits來說，Avicii是必然的選擇 - 因?yàn)楫?dāng)時(shí)歌曲Levels正在席卷一切。

When Jesse picked Tim up at the airport, he noticed that the Swede was unusually nervous. He decided to try to soften up his guest by ordering sole at his favourite restaurant and tentatively starting a conversation. A little puzzled, he looked at Tim’s frizzy and sprawling hair that didn’t seem to have had a shower in more than a week, but instinctively Jesse felt that he liked the Swede. Tim seemed unrefined and sincere – it was far off from what you could say about most people, especially in this city. Maybe Jesse felt a special kinship with Tim because he, too, in a lot of ways felt like an outsider. Sure, on the surface, Waits was the city’s nightclub king, the guy who was featured in fashion reports and showed off his Louis Vuitton shoes and cars.

當(dāng)Jesse去機(jī)場接Tim時(shí)，他注意到這位瑞典人異常緊張。他決定嘗試通過在他最喜歡的餐廳訂購比目魚，并試探性地開始一次談話來緩和他的客人。他有些困惑地看著Tim卷曲而凌亂的頭發(fā)，似乎已經(jīng)有一周沒有洗澡了，但本能地，Jesse覺得他喜歡這個(gè)瑞典人。Tim似乎未經(jīng)雕琢但真誠 - 這與大多數(shù)人，特別是這個(gè)城市的大多數(shù)人所說的完全不同。Jesse覺得他與Tim可能有特殊的親緣關(guān)系，因?yàn)樵诤芏喾矫?，他也感覺自己像個(gè)局外人。當(dāng)然，在表面上，Waits是這個(gè)城市夜總會(huì)的王者，是時(shí)尚報(bào)道中的主角，展示他的路易威登鞋子和汽車。

Very few, however, knew of Jesse Waits’ background. Since he did not want anyone to feel sorry for him, he avoided talking about growing up on one of Hawaii’s most desolate islands, in a part of the jungle where there was a total of eight houses. His mother, father and uncle had been young and good-looking surfers who had left California and moved to Hawaii to play music as loud as they wanted. Quickly, the free-spirited life had been derailed by addiction and darkness. Jesse’s father had started abusing he/ro/in and his mother had committed suicide when he was just a boy. The only memories he had of her were some photographs and four cassette tapes where she had recorded small reflections for herself. Jesse had still not been able to listen to the recordings, he didn’t dare hear his mother’s voice.

然而，很少有人知道Jesse Waits的背景。由于他不想讓任何人為他感到難過，他避免談?wù)撛谙耐淖罨臎龅膷u嶼之一長大的經(jīng)歷，在一個(gè)只有八棟房子的叢林區(qū)。他的母親、父親和叔叔曾經(jīng)是年輕而英俊的沖浪者，他們離開了加利福尼亞，搬到夏威夷，想要大聲演奏自己喜歡的音樂。很快，這種自由奔放的生活被癮癥和黑暗所擾亂。Jesse的父親開始濫用白粉，他的母親在他還是個(gè)孩子的時(shí)候就自殺了。他僅有的對她的紀(jì)念是一些照片和四盒錄有她自己反思的磁帶。Jesse仍然無法聽這些錄音，他不敢聽他母親的聲音。

Deep below the surface, he hid a vulnerability that he also saw in Tim Bergling.

在內(nèi)心深處，他隱藏著一種脆弱，這也是他在Tim Bergling身上看到的。