Avicii传记翻译P66—72 中英对照
Klas Bergling stood in front of the ironing board in Tim’s childhood room on Linnégatan and fiddled with a crumpled strip of paper he had found in one of his son’s pockets.
Klas Bergling站在Linnégatan的Tim童年房间里的熨衣板前，摆弄着他在儿子口袋里发现的一张皱巴巴的纸条。
Tim had turned out to be an administrative nightmare. For the most part, he forgot to ask for a receipt at all, and the ones he still collected, he immediately wrinkled and shoved into his pocket. With the iron on low heat, Klas straightened out proofs of purchase for burnable CDs, sound cards and train tickets.
Tim成为了一场行政噩梦。他大多数时候都忘记了索取收据，而他收集到的那些收据，都被他直接揉皱塞进口袋里。Klas用低温熨斗把录音过的CD、声卡和火车票的购买证明烫平。
Everything had gone so dizzyingly fast in the last year. One day Arash had just been sitting there at the kitchen table and Tim had signed a contract with At Night, Pournouri’s start-up management company. Now Tim had someone who could negotiate and book and highlight him, and it was certainly lucky.
在过去的一年里，一切都发生得如此迅猛。有一天，Arash只是坐在厨房桌前，而Tim已经与Pournouri的初创管理公司At Night签订了合同。现在，Tim有了一个可以为他谈判、预定和宣传的人，这当然是幸运的。
The old man Bergling was by this point sixty-four years old, had sold his office supplies company and set himself up for a quiet life as a pensioner without too much work, apart from the small side-business he had spent his time on in recent years. From his ex-brother-in-law’s porcelain factory in Alexandria, Klas imported materials for building furniture, including metal tables with ceramic tops.
Bergling老人当时已经64岁了，他卖掉了办公用品公司，为自己安排了平静的养老生活，除了他近年来花时间经营的小型副业，没有太多工作。Klas从他前姐夫在亚历山大的瓷器工厂进口建造家具的材料，包括带有陶瓷桌面的金属桌子。
But his company, called Egyptian Warehouse, had quickly got a new core business and Klas had become some kind of unpaid accountant. He paid a salary of twenty-five thousand Swedish crowns a month to Avicii – since there was already another Avici on the music site Myspace, Tim had by now added a letter at the end of his artist name.
但是他的公司Egyptian Warehouse很快就找到了新的核心业务，Klas成为了一种无偿会计。他每个月支付给Avicii 25,000瑞典克朗的薪水 - 因为在音乐网站Myspace上已经有了另一个Avici，所以Tim现在在他的艺名末尾加了一个字母。
They had begun to develop a new kind of relationship, Tim and Klas, a small family business in the entertainment industry. In the spring of 2009, Tim sent a summary of the income:
他们开始建立一种新的关系，Tim和Klas，一个在娱乐产业中的小家族企业。2009年春天，Tim发送了一份收入汇总：
1000 dollars for the first single
500 Euros for remix
800 dollars for remix
500 Euros for remix
about 3000 kronor for 2 gigs
第一支单曲1000美元，混音500欧元，混音800美元，混音500欧元，两场演出约3000瑞典克朗。
Of course, Klas did not recognise a single one of the names his son worked with. Tim had remixed a song for some German named Roman Salzger, another for the Spaniard David Tort. He had made his own song called ‘Sound Of Now’, which apparently did well. ‘Street Dancer’ was another, a somewhat strange concoction of a breakdance song from the mid-80s, digital synths and elated flutes. Tim was represented on a compilation album called Clubbers Guide to 2009, where Avicii stood next to Sebastian Ingrosso and Laidback Luke, something Tim was clearly proud of.
当然，Klas不认识与他儿子合作的任何一个人。Tim 为一位名为Roman Salzger的德国人混音，为另一位名为David Tort的西班牙人混音。他还创作了自己的歌曲Sound Of Now，显然很不错。Street Dancer是另一首歌曲，是80年代中期的霹雳舞歌曲、数字合成器和欢快的长笛的奇怪混合。Tim的作品被收录在一张名为《Clubbers Guide to 2009》的合集专辑中，Avicii与Sebastian Ingrosso和Laidback Luke并列，这显然是Tim引以为豪的。
After the first taste in Miami, more offers had begun to come from promoters outside of Sweden, for example in Zurich and Toulouse.
在迈阿密的第一次演出后，来自瑞士苏黎世和图卢兹等瑞典境外的推广人开始提供更多的演出机会。
It was noticeable that Tim was working himself up as the trips approached. The stress seemed to take hold in his stomach – recently he had complained that he was in pain and wanted to be examined. However, the doctors had found nothing wrong.
值得注意的是，随着巡演的临近，Tim正在努力工作。压力似乎在他的胃中扎根，最近他抱怨自己感到疼痛并想接受检查。然而，医生们没有发现任何问题。
The anxiety could also take other forms. When his parents were to drive Tim to the airport in May 2009, Anki found her son lying on the hall floor, smelling of alcohol and with his clothes half-shoved into a broken suitcase. At check-in, Tim discovered that he had left his computer in the car; Klas had to rush off and pick it up.
焦虑也可能表现为其他形式。2009年5月，当他的父母要开车送Tim去机场时，Anki发现她的儿子躺在走廊地板上，酒气熏人，衣服半塞进破旧的行李箱里。在办理登机手续时，Tim发现他把电脑落在了车里；Klas不得不匆匆赶去把它取回来。
Part of it was probably about the fear of flying. But Klas also saw his son’s stress as a sign of something more fundamental. Tim seemed to get nervous about simply leaving the safe neighbourhoods in Stockholm, anxious from being thrown out of his bubble in the messy apartment. He knew he would soon be seen under the bright stage lights and, not least, was worried that the audience would see his spots.
部分原因可能是对飞行的恐惧。但是Klas也把儿子的压力看作是更根本问题的迹象。Tim似乎对于离开斯德哥尔摩安全的社区感到紧张，害怕被扔进凌乱的公寓里。他知道自己很快就会站在明亮的舞台灯光下，而且，他还担心观众会看到他的痘痘。
But on the other hand – once Tim got on stage and got into his groove, he was all right. And afterwards he was always proud, a little boastful in an adorable way.
但另一方面，一旦Tim上台并进入状态，他就没问题了。之后，他总是感到自豪，以一种可爱的方式夸夸其谈。
For Klas, it was clear that Tim had found his calling in the music. Not only did Arash believe in this, so did Tim. Klas wanted to let his son grow, not deny him anything at all.
对于Klas来说，Tim在音乐方面找到了自己的使命。不仅Arash相信这一点，Tim自己也是如此。Klas希望让他的儿子自由成长，不想剥夺他任何东西。
And Tim’s goal was the top of the mountain, no lower altitude.
Tim的目标是登上山顶，不接受任何低海拔的选择。
Towards the end of the summer of 2009, Tim Bergling sat alone in front of the computer in his flat on Kammakargatan. In the darkness behind him the blanket protruded from the unmade bed, out in the hall the bathroom door stood ajar. His shirt was wrinkled, he looked newly woken.
2009年夏末，Tim Bergling独自坐在Kammakargatan街上的公寓电脑前。在他身后的黑暗中，毛毯从没整理的床上探出来，在走廊里，浴室门敞开着。他的衬衫皱巴巴的，看起来像刚醒过来。
Only a few short sentences were to be read out, but by this time he had done over ten takes.
只有几句短小的话需要朗读，但此时他已经进行了十多次尝试。
‘Hey, this is Avicii. I will be playing at the Techno Parade in Paris, Saturday the nineteenth of September—’
“嘿，这里是Avicii。我将在9月19日星期六在巴黎的Techno Parade上演出——”
He came to a halt, looked down from the camera lens, embarrassed. He reminded himself not to look too happy. He had tried to read from the script a few days earlier, but Arash thought those recordings were completely unusable.
他停了下来，在相机镜头里低头，感到尴尬。他提醒自己不要显得太开心。几天前他曾试图照着剧本读，但Arash认为那些录音完全没法使用。
Tim had made a peace sign with his fingers, something that was apparently never allowed to be repeated. Neither was puckering his lips or winking with one eye. It looked childish, Arash said, as if Tim were fourteen years old.
Tim用手指做出了一个和平的手势，显然这是不允许重复的。嘴巴噘起或眨一只眼睛也是不允许的。Arash说，这看起来很幼稚，就像Tim才十四岁一样。
Things became increasingly serious month by month. ‘Alcoholic’, the song that Tim had made with Filip Åkesson as a model, had just been released by Joia, a Swedish record label run by Sebastian Ingrosso’s uncle, and it started to spread online. The Australian company Vicious had released the songs ‘Muja’ and ‘Record Breaker’. Tim had remixed ‘We Are’ for Dirty South and worked with the Frenchman Sebastien Drums. He had done one of his first interviews with a French magazine. ‘Not even 20 years old, this young Swede is already stirring up excitement at all his gigs, with or without his partner Philgood,’ wrote Only For DJs. ‘The summer of 2009 will undoubtedly confirm the potential of this electrohouse talent.’
事情逐月变得越来越受重视。Alcoholic，这首由Tim创作和，Filip Åkesson为样本的歌曲刚刚由Sebastian Ingrosso的叔叔经营的瑞典唱片公司Joia发行，并开始在网上传播。澳大利亚公司Vicious发行了歌曲Muja和Record Breaker。Tim为Dirty South的We Are做了混音，并与法国人Sebastien Drums合作。他与一家法国杂志做了他的第一次采访。“这位不到20岁的年轻瑞典人已经在他的所有演出中激起了轰动，无论有没有他的搭档Philgood在”，《Only For DJs》写道，“2009年夏天无疑将证实这位电子浩室音乐才华的潜力。”
So now Tim was on his way to Paris, where he would play from a truck slowly driving along the avenues, surrounded by people dancing and making out.
现在，Tim正前往巴黎，在那里他将从一辆慢慢行驶在大街上的卡车上演出，周围有人跳舞和接吻。
For Arash, the situation was clear as day. It was time to start building a brand, and the emerging social media ecosystem was made for it. No longer would an entrepreneur have to wait for a reporter to come out with a photographer and give one’s product half a page in the newspaper.
对于Arash来说，情况非常明确。是时候开始打造品牌了，而新兴的社交媒体生态系统正是为此而生。创业者不再需要等待记者带着摄影师前来，给自己的产品在报纸上占据半个版面。
Online, you became your own publisher, and because the readers and viewers who started following you had made an active choice, it was possible to build a particularly strong loyalty.
在网上，你成为了自己的出版商，因为那些开始关注你的读者和观众是有意识地做出了选择，所以可以建立起特别强的忠诚度。
The crucial thing about Facebook and Twitter was that it was not a mute one-way communication. Avicii would be built up to be a star, but still feel attainable. Behind the idol was a humble guy, one who gladly took the help of his fans – that was the impression that was to be communicated. On social media, there was a unique opportunity to interact with the audience, which was proved a success when Avicii’s followers on Facebook competed to make the official video for ‘Alcoholic’.
Facebook和Twitter的关键在于它们不是单向的沉默传播。Avicii成为了一个明星，但仍然可以被接触到。在这个偶像背后是一个谦虚的人，他很乐意接受粉丝的帮助 - 这是要传达的印象。在社交媒体上，有与观众互动的独特机会，当Avicii的Facebook粉丝们竞相制作Alcoholic官方视频时，这种机会得以证明是成功的。
The fans showed both creativity and craftsmanship. A Swiss guy dressed up as a depressed fox and filmed as he drank his way through the streets of St Gallen, but the winner was a fan from Stockholm who documented a drunken night illuminated by streetlights. The winner was invited as a VIP guest to France, and in the comments section was exactly the discussion that Arash wanted.
粉丝们展现了创意和技术。一位来自瑞士的男子扮成一只沮丧的狐狸，在圣加仑的街头饮酒并拍摄了整个过程。但最终的获胜者是一位来自斯德哥尔摩的粉丝，他记录了一夜的酒醉和街灯下的光影。获胜者被邀请作为贵宾前往法国，并在评论区引发了Arash想要的讨论。
Sick video!!!
好炫酷的视频！！！
awesome.
酷
great editing.
编辑得很棒。
What’s happening with your prize? Are you getting a song named by you . . . and did you meet Avicii?
你的奖品怎么样了？你有没有得到一首以你的名字命名的歌曲？你见过 Avicii 吗？
Hey man, yes I went on a whole weekend with Avicii to France and 2 gigs! It was awesome man!
嘿，伙计，是的，我和Avicii一起去了法国，度过了一整周，参加了两场演出！太棒了！
Tim felt that they were lucky that Arash knew how to work that brand, because he himself was not really made for it.
Tim觉得他们很幸运，Arash知道如何运作那个品牌，因为他自己并不是真的适合这个。
Musically, however, he continued to develop at a furious pace. At the end of January 2010, he sat in front of the chord blocks in FL Studio and sensed that he had something very special going on. It was an arrangement that took its time. Thick, sweeping chords that climbed up into the sky. He built and embroidered, had found digital marimbas, a West African xylophone-like instrument, which gave the music a pleasant and light Caribbean tone.
然而，在音乐方面，他继续以惊人的速度发展。在2010年1月底，他坐在FL Studio的和弦方块前，感觉自己正在创作一些非常特别的东西。这是一个需要时间的编排。浓密、横扫天际的和弦。他建立并加工，找到了数字马林巴琴、一种类似西非木琴的乐器，使音乐具有令人愉悦和轻松的加勒比风格。
This song had the potential to be the sickest super banger, Tim felt it. He emailed Arash for help moving forward.
这首歌有成为最棒的超级热门单曲的潜力，Tim感受到了。他给Arash发了电子邮件，请求帮助推进。
So as it looks now, it’s first marimbas during the break, very calm and kinda like an orgasm of sound, then what I want, or what I’m thinking in my head, is what it already does now, that it quickly changes to those fast stabbing strings etc and creates the sickest build up etc, so like that the song’s gimmick should be a bit in that it changes so quickly in some way.
现在看来，在歌曲休息期间首先出现了马林巴琴的声音，非常平静，有点像声音的高潮，然后我想要的，或者说我在脑海中想象的，就是现在已经实现的那样，它迅速转变成快速，有穿刺感的弦乐，创造出最强烈的高潮等等，所以说这首歌的噱头应该是在某种程度上快速地转变。
The tranquillity was torn by some really fat synth riffs – Tim thought they were reminiscent of the ones Axwell used in his remix of TV Rock’s song ‘In The Air’. It was the collision between the soft and the hard that made the song, the clash that made the music feel enchanting. The composition went under the working name ‘Bro’, as in brother. ‘Fuck, I believe in this melody,’ Tim wrote. ‘You should see how people react to it already now when I play it and no one has like even heard it before!’
宁静被一些非常厚实的合成器旋律撕裂 - Tim认为它们让人想起Axwell在他混音的TV Rocks歌曲In The Air中使用的旋律。正是软和硬的碰撞成就了这首歌，冲突使音乐更加迷人。这首曲子的工作名称为Bro，即兄弟。“我相信这个旋律，”Tim写道，“你应该看看在我播放这首歌时人们的反应，即使没有人听过它！”
Overall a lot was starting to fall into place now, at the beginning of 2010. It was noticeable in how Tim let the bass lines interact with the melodies, in how he built layer upon layer without any element feeling out of place. The musical lack of direction that Arash Pournouri had talked about two years earlier, at the beginning of their collaboration, was gone. Now there was a clear musical identity. It was audible in Tim’s remix of the Frenchman Bob Sinclar’s ‘New New New’ or in ‘Blessed’, a collaboration with the Dutch sibling duo Shermanology.
2010年初，很多事情开始变得清晰明朗。在音乐方面，人们可以注意到Tim是如何让低音线与旋律互动，如何逐层构建，而没有任何元素感觉不协调。两年前，与Arash Pournouri合作开始时，他所谈到的音乐缺乏方向感已经不复存在。现在Avicii有了明确的音乐风格。这可以在Tim为法国人Bob Sinclar的New New New的混音或与荷兰兄弟组合Shermanology合作的Blessed中听到。
The satisfaction that Tim felt while working in front of the screen was reflected in his elated melodies. The euphoria that washed through him as all the parts acted with each other was transferred to his playful drops, which in somersaults and turns jumped towards the sky.
Tim在屏幕前工作时感到的满足感体现在他高兴的旋律中。当所有部分相互作用时，他感到的欣喜洋溢转化为俏皮的音符，翻滚着跳向天空。
Avicii had started to sound like Avicii.
Avicii开始听起来像Avicii了。
