第十五章: 跳吧希特勒！ Go Hitler!
I got to know Bolo because he was one of my tuck-shop clients. Bolo’s parents were professional pirates. They pirated videogames and sold them at flea markets. As the son of pirates, Bolo did the same thing — he started selling bootleg PlayStation games around school. Kids would give him their PlayStation, and he’d bring it back a few days later with a chip in it that enabled them to play pirated games, which he would then sell them. Bolo was friends with this white kid and fellow pirate named Andrew, who traded in bootleg CDs. Andrew was two grades above me and a real computer geek; he even had a CD writer at home, back when nobody had CD writers.
博洛是我的小卖部客户之一，所以我和他变得很熟。博洛的父母是职业盗版商。他们制作盗版游戏，在跳蚤市场上贩卖。身为盗版商的儿子，博洛继承了家业——他开始在学校里贩卖盗版游戏。同学会将游戏机给他，让他带回家，几天后，他就带着一个装有内置芯片的游戏机回来了，里面全是游戏，然后再将游戏卖掉。博洛有个朋友叫安德鲁，安德鲁是白人，也是盗版贩子，卖的是盗版CD。安德鲁比我高两个年级，是个真正的电脑极客：他家里甚至有刻录机——那个年代，没人有刻录机。
When I was in grade nine, three Chinese kids transferred to Sandringham: Bolo, Bruce Lee, and John. They were the only Chinese kids in the school, out of a thousand pupils. Bolo got his nickname because he looked like Bolo Yeung from the Jean-Claude Van Damme movie Bloodsport. Bruce Lee’s name really was Bruce Lee, which made our lives. Here was this Chinese guy, quiet, good-looking, in great shape, and his name was Bruce Lee. We were like, This is magic. Thank you, Jesus, for bringing us Bruce Lee. John was just John, which was weird because of the other two.
我九年级的时候，桑德林汉姆中学转来了三个中国学生，他们是博洛、李小龙和约翰。他们是学校里上千名学生中仅有的几个中国小孩。博洛之所以被叫作博洛，是因为他很像尚格云顿主演的那部《血点》里的杨博洛。李小龙的名字则本来就叫李小龙，这简直令全校为之沸腾。这个中国男孩，安静、帅气，体格很壮，而且他叫李小龙。我们都觉得这简直是奇迹。感谢你，耶稣，给我们带来了李小龙。约翰就是约翰，和其他两位比起来，他的名字无聊到爆。
One day on my tuck-shop rounds, I overheard Andrew and Bolo complaining about the black kids at school. They’d realized that they could take Andrew’s and Bolo’s merchandise, say “I’ll pay you later,” and then not pay, because Andrew and Bolo were too scared of black people to go back to ask for the money. I leaned in to their conversation and said, “Listen, you shouldn’t get upset. Black people don’t have any money, so trying to get more stuff for less money is just what we do. But let me help. I’ll be your middleman. You give me the merchandise and I’ll sell it, and then I’ll handle getting the money. In return, you give me a cut of the sale.” They liked the idea right away, and we became partners.
有一天，我正分发小卖部客户的午餐，偶然听到安德鲁和博洛在抱怨学校里的黑人小孩。他们先从安德鲁和博洛那拿货，嘴上说着“过会儿再给钱”，可转身就不付账了，而安德鲁和博洛因为害怕黑人小孩的抱团势力，从来不敢去要。我插进他们的对话里，说：“听着，不要不开心了。黑人就是没钱，所以我们就是喜欢用最少的钱得到最多的东西。不过我来帮你们吧，我可以当你们的中间人。你们把货给我，我来卖，我来负责要账。你们只要给我一点儿分成就行了。”他们立刻同意了这个主意，我们成了生意伙伴。
As the tuck-shop guy, I was perfectly positioned. I had my network set up. All I had to do was tap into it. With the money I made selling CDs and videogames, I was able to save up and add new components and more memory to my own computer. Andrew the computer geek showed me how to do it, where to buy the cheapest parts, how to assemble them, how to repair them. He showed me how his business worked, too, how to download music, where to get rewritable CDs in bulk. The only thing I was missing was my own CD writer, because it was the most expensive component. At the time a CD writer cost as much as the rest of the computer, nearly 2,000 rand.
身为小卖部男孩，我在卖盗版碟这件事上有着得天独厚的优势。我已经有了人脉网络，只需要把盗版碟的生意插进去就好了。有了卖CD和游戏的钱，我就可以攒钱给我的电脑买新的组件和内存条。电脑极客安德鲁教了我应该怎么做，去哪里买最便宜的部件，如何组装，如何修理。他还给我展示了他的工作流程，如何下载音乐，去哪里批发可重写的光盘。我唯一缺的就是自己的刻录机了，因为这是最贵的组件。那时，一台刻录机几乎和整台电脑的价格差不多，大约需要2000兰特。
I worked as a middleman for Bolo and Andrew for a year. Then Bolo left school; the rumor was that his parents got arrested. From that point on I worked for Andrew, and then as he was about to matriculate he decided to quit the game. “Trevor,” he told me, “you’ve been a loyal partner.” And, as thanks, he bequeathed unto me his CD writer. At the time, black people barely had access to computers, let’s start there. But a CD writer? That was the stuff of lore. It was mythical. The day Andrew gave it to me, he changed my life. Thanks to him, I now controlled production, sales, distribution — I had everything I needed to lock down the bootleg business.
我给博洛和安德鲁当了一年的中间商后，博洛离开了学校，有传言说，是因为他父母被逮捕了。从那一刻起，我便开始只为安德鲁工作，但当时他已经快要毕业，所以决定退出这项事业。“特雷弗，”他对我说，“你是个很可靠的合作伙伴。”为了感谢我，他把自己那台刻录机送给了我。让我们先说清楚，那个时候，黑人几乎接触不到电脑，所以，一台刻录机？那简直是传奇，是神话。安德鲁把那台刻录机送我的那天，我的人生从此改变了。感谢安德鲁，我现在掌控了生产线、销售线和配送线——我拥有了垄断整个盗版事业的一切条件。
I was a natural capitalist. I loved selling stuff, and I was selling something that everybody wanted and nobody else could provide. I sold my discs for 30 rand, around $3. A regular CD in the store cost 100 to 150 rand. Once people started buying from me, they wouldn’t buy real CDs ever again — the deal was too good.
我是个天生的资本家。我喜欢卖东西，而且我喜欢卖那些所有人都想要但是没有人能提供的东西。我的碟售价只要30兰特，约为3美元。商店里的正常CD价格是100到150兰特。一旦人们开始从我手里购买，他们就再也不会去买正版碟了——我的价格实在太划算。
I had an instinct for business, but at the time I knew nothing about music, which was odd for someone running a music-pirating business. The only music I knew, still, was Christian music from church, the only music allowed in my mother’s house. The CD writer Andrew gave me was a 1x CD writer, which meant it copied at the speed it played. Every day I’d leave school, go to my room, and sit for five to six hours, copying CDs. I had my own surround-sound system built with old car speakers I’d salvaged from the junkers Abel kept in the yard, and I strung them up around the room. Even though I had to sit there while each CD played, for a long time I didn’t really listen to them. I knew it was against the dealer’s code: Never get high on your own supply.
我生来就会做生意，但是那时我对音乐毫无概念，这对一个做盗版音乐生意的人来说，大概是很奇怪的事。我所了解的唯一音乐类型，就是教堂的基督教音乐，这是我妈允许在家里播放的音乐。安德鲁给我的是LX刻录机，只能按照播放的速度同步刻录。每天我放学回家，就会在自己的房间里坐上五六个小时，刻录CD。我从院子里亚伯的那堆废铁里挑出一些能用的老旧车载播放器，把它们绑在房间的各个角落，做成了我自己的环绕立体声音响系统。尽管每张CD在播放的时候我都坐在一旁，但我并不会认真去听它们在放什么。我了解毒贩子的法则：不能嗑你自己卖的药。
Thanks to the Internet, I could get anyone anything. I never judged anyone’s taste in music. You wanted the new Nirvana, I got you the new Nirvana. You wanted the new DMX, I got you the new DMX. Local South African music was big, but black American music was what people were desperate for, hip-hop and R&B. Jagged Edge was huge. 112 was huge. I sold a lot of Montell Jordan. So much Montell Jordan.
感谢因特网，让我满足了所有人的需求。我不会对他们的音乐品味做任何评价。你想要涅槃的新专辑，我给你涅槃的新专辑。你想要DMX的新专辑，我给你DMX的新专辑。本地的南非音乐很多，但是人们真正趋之若鹜的是美国黑人音乐，嘻哈、蓝调这些。锯齿边缘合唱团很红。112也很红。我卖了好多张蒙特尔·乔丹的碟。好多好多张蒙特尔·乔丹。
When I started, I had a dial-up connection and a 24k modem. It would take a day to download an album. But technology kept evolving, and I kept reinvesting in the business. I upgraded to a 56k modem. I got faster CD writers, multiple CD writers. I started downloading more, copying more, selling more. That’s when I got two middlemen of my own, my friend Tom, who went to Northview, and my friend Bongani, who lived in Alex.
刚起步的时候，我用的是拨号上网和一个24k的调制解调器。下载一张专辑需要花一天的时间。但科技在进步，所以我也一直在给我的事业进行投资。我把调制解调器换成了56k的，买了一个速度更快、支持多重录制的刻录机。我开始下载得更多，盗版得更多，卖得更多。这时，我拥有了两个为我干活的中间商，一个是我的朋友汤姆，他负责在北景一带贩售，还有一个是我朋友邦哈尼，他负责亚历山德拉一带。
One day Bongani came to me and said, “You know what would make a lot of money? Instead of copying whole albums, why don’t you put the best tracks of different albums onto one CD, because people only wanna hear the songs they like.” That sounded like a great idea, so I started making mix CDs. Those sold well. Then a few weeks later Bongani came back and said, “Can you make the tracks fade into one another so the music moves from track one to track two without a break and the beat carries on? It’ll be like a DJ playing a complete set the whole night.” That sounded like a great idea, too. I downloaded a program called BPM, “beats per minute.” It had a graphical interface that looked like two vinyl records side by side, and I could mix and fade between songs, basically everything a DJ can do live. I started making party CDs, and those started selling like hotcakes, too.
有一天邦哈尼来找我，对我说：“你知道怎么才能赚更多钱吗？与其直接刻录整张专辑，你为什么不把不同专辑的主打歌刻进同一张碟里呢？反正人们只喜欢听自己中意的那几首。”这听上去是个不错的主意，我开始制作混曲CD。这些碟卖得很不错。几周后，邦哈尼又来找我，说：“你可以让一首歌的结尾慢慢淡出，直接融入下一首歌的开头吗？这样每首歌之间就没有间隙了，而鼓点一直不会间断，就好像是DJ整晚打碟那样。”这听上去也是个不错的主意。我下载了一个叫BPM的软件——“分钟节拍”——它的图标就是两张黑胶唱片叠在一起，我用这个软件可以进行混曲，将两首歌的首尾连在一起。基本上就是DJ在现场做的所有事情，我都可以用这个软件实现。我开始制作派对音乐CD，这些碟也成了香饽饽。
For the first time in my life I had money, and it was the most liberating thing in the world. The first thing I learned about having money was that it gives you choices. People don’t want to be rich. They want to be able to choose. The richer you are, the more choices you have. That is the freedom of money.
那是我人生第一次体会到有钱的感觉，那是世界上最自由的事情。有钱后，我了解到的第一件事就是，钱给了你选择的权利。人们不是想要变得多富有，人们是想要选择的权利。你越有钱，你面前的选择就越多。这就是金钱带给你的自由。
Business was booming. By matric I was balling, making 500 rand a week. To put that in perspective, there are maids in South Africa who still earn less than that today. It’s a shit salary if you’re trying to support a family, but as a sixteen-year-old living at home with no real expenses, I was living the dream.
我的生意越做越大。到毕业的时候，我已经可以尽情享乐，因为我每周能挣到500兰特。客观来看，在现在的南非，依然有女佣的周工资达不到这个标准。可能这些钱养活一大家子人不够，但是作为一个住在家里、没有任何大开销的16岁少年，我简直是生活在美梦之中。
With money, I experienced freedom on a whole new level: I went to McDonald’s. People in America don’t understand, but when an American chain opens in a third-world country, people go crazy. That’s true to this day. A Burger King opened for the first time in South Africa last year, and there was a queue around the block. It was an event. Everyone was going around saying, “I have to eat at Burger King. Have you heard? It’s from America.” The funny thing was that the queue was actually just white people. White people went bat-shit crazy for Burger King. Black people were like, whatever. Black people didn’t need Burger King. Our hearts were with KFC and McDonald’s. The crazy thing about McDonald’s is that we knew about it long before it came, probably from movies. We never even dreamed we would ever get one in South Africa; McDonald’s seemed to us like one of those American things that is exclusively American and can’t go anywhere else. Even before we ever tasted McDonald’s, we knew we’d love it, and we did. At one point South Africa was opening more McDonald’s than any other country in the world. With Mandela came freedom — and with freedom came McDonald’s. A McDonald’s had opened up just two blocks from our house not long after we moved to Highlands North, but my mom would never pay for us to eat there. With my own money I was like, Let’s do this. I went all in. They didn’t have “supersize” at the time; “large” was the biggest. So I walked up to the counter, feeling very impressed with myself, and I put down my money and said, “I’ll have a large number one.”
有了钱，我对自由的体会上升了一个新高度：我可以去吃麦当劳了。美国人民大概并不了解，每当一个美国连锁店在第三世界国家开业的时候，人们都会趋之若鹜。直到今天也是一样的。去年，南非第一家汉堡王开业了，队伍一直排到街角。这是大事件。每个人都奔走相告：“我要去吃一下汉堡王。你听说了吗？是美国来的。”不过好笑的是，排队的大部分都是白人。白人为汉堡王而疯狂。黑人却觉得一般般。黑人并不需要汉堡王。我们的心是属于肯德基和麦当劳的。在麦当劳进到南非来以前，我们就知道它了，也许是从电影里吧。我们从来没有梦想过南非也能有麦当劳；麦当劳给人感觉就像那种只在美国才有的东西，不会到别处开店。甚至在我们尝到麦当劳以前，我们就已经爱上了它，而且事实是，我们也的确爱它。有一段时间，在南非开业的麦当劳，比世界任何一个国家都多。曼德拉带来了自由，自由带来了麦当劳。我们搬去高地北后，离我们家两个街区的地方有一家麦当劳，但是我妈从来不带我们去那里吃。而手里攥着我自己挣的钱，我心想，来吧。我鼓足了干劲。那时候他们还没有“超大份”餐，“大份”就是最大的了。我走到柜台前，深深为自己感到骄傲，放下钱，说：“我要大份一号餐。”
Once I’d had a taste of America, I never ate at home. I only ate McDonald’s. McDonald’s, McDonald’s, McDonald’s, McDonald’s. Every night my mother would try to cook me dinner.
尝到美国的味道后，我再也不在家吃饭了。我只吃麦当劳。麦当劳。麦当劳。麦当劳。麦当劳。每天晚上，我妈都想给我做晚饭。
I fell in love with McDonald’s. McDonald’s, to me, tasted like America. McDonald’s is America. You see it advertised and it looks amazing. You crave it. You buy it. You take your first bite, and it blows your mind. It’s even better than you imagined. Then, halfway through, you realize it’s not all it’s cracked up to be. A few bites later you’re like, Hmm, there’s a lot wrong with this. Then you’re done, you miss it like crazy, and you go back for more.
我爱上了麦当劳。对我来说，麦当劳就是美国的味道。你看它的广告，会觉得那感觉超级棒。你很想吃，你买了一份，你咬了一口，你嗨翻天了，比你想象得还要好吃。然后你吃到一半，意识到它也不是那么好吃。又咬了几口，你觉得，呃，好像哪里不太对。然后你就不吃了，然后你又疯狂地想吃，然后你又回去买更多。
“No, I’m gonna have McDonald’s.”
“不，我要去吃麦当劳。”
“Tonight we’re having chicken livers.”
“今晚我们吃鸡肝。”
“I think I’m gonna go with McDonald’s again.”
“我觉得我应该还会去吃麦当劳。”
“Hmmmmm… Okay, I’m in. But tomorrow I’m eating McDonald’s.”
“好吧…我吃。但明天我要吃麦当劳。”
“Tonight we’re having dog bones.”
“今晚我们吃骨头汤。”
“Tonight we’re having chicken feet.”
“今晚我们吃鸡爪。”
The money kept rolling in and I was balling out of control. This is how balling I was: I bought a cordless telephone. This was before everyone had a cellphone. The range on this cordless phone was strong enough that I could put the base outside my window, walk the two blocks to McDonald’s, order my large number one, walk back home, go up to my room, and fire up my computer, carrying on a conversation the whole time. I was that dude walking down the street holding a giant phone to my ear with the aerial fully extended, talking to my friend. “Yeah, I’m just goin’ down to McDonald’s…”
钱越赚越多，我的享乐越发失控。我是这么花钱的：我买了一个无绳电话。那时还没人有手机。这个无绳电话的信号很强，我把基站放在窗外的话，可以拿着电话走两个街区到麦当劳，点好我的大份一号餐，走回家，进房间，打开电脑，而全程不间断地讲电话。我就是那个耳边举着超大电话机，天线伸到最长，在街上一边闲逛，一边和朋友煲电话粥的家伙。“是啊，我在去麦当劳的路上呢…”
People love to say, “Give a man a fish, and he’ll eat for a day. Teach a man to fish, and he’ll eat for a lifetime.” What they don’t say is, “And it would be nice if you gave him a fishing rod.” That’s the part of the analogy that’s missing. Working with Andrew was the first time in my life I realized you need someone from the privileged world to come to you and say, “Okay, here’s what you need, and here’s how it works.” Talent alone would have gotten me nowhere without Andrew giving me the CD writer. People say, “Oh, that’s a handout.” No. I still have to work to profit by it. But I don’t stand a chance without it.
人们总是说，“授人以鱼，受用一天，授人以渔，受用一生。”但他们却没说，“如果你能顺手再给他一个钓竿就更好了。”这就是缺失的那一环。和安德鲁一起合作，让我第一次意识到，你需要有个来自特权社会的人告诉你：“好的，这些是你需要的，而你只需要这样做就好了。”如果安德鲁没有给我那台刻录机，就算我空有一身销售才能，也一事无成。人们会说：“哦，这是一份施舍。”并不是这样的。有了它以后，我仍需要努力才能赚到钱。但如果没有它，我连赚钱的机会都没有。
Life was good, and none of it would have happened without Andrew. Without him, I would never have mastered the world of music piracy and lived a life of endless McDonald’s. What he did, on a small scale, showed me how important it is to empower the dispossessed and the disenfranchised in the wake of oppression. Andrew was white. His family had access to education, resources, computers. For generations, while his people were preparing to go to university, my people were crowded into thatched huts singing, “Two times two is four. Three times two is six. La la la la la.” My family had been denied the things his family had taken for granted. I had a natural talent for selling to people, but without knowledge and resources, where was that going to get me? People always lecture the poor: “Take responsibility for yourself! Make something of yourself!” But with what raw materials are the poor to make something of themselves?
生活是如此美好，而这一切的发生都是因为安德鲁。如果没有他，我就无法一手创建盗版音乐的帝国，并能吃上无穷无尽的麦当劳。在一定程度上，他所做的一切都使我意识到，经历了长期压迫后，谋生技能对于那些无权无势的贫苦大众来说有多么重要。安德鲁是白人。他的家庭可以让他接受良好的教育，享受各种资源，拥有电脑。他的家族一代代都上过大学，而我的家族则挤在狭小的茅草屋里唱着“二二得四，三二得六，啦啦啦啦”。他的家庭唾手可得的东西，我的家庭一样都得不到。我有销售的天分，但是如果没有知识和资源，我有天分又能怎样？人们总是想要这样教育穷人：“为你自己负责！自己要学会创造！”但是请问，穷人拿什么原始材料来创造东西？
One afternoon I was in my room making a CD when Bongani came over to pick up his inventory. He saw me mixing songs on my computer.
有一天下午，我在房间里刻碟，邦哈尼来找我拿货。他看到我在电脑上混歌。
“This is insane,” he said. “Are you doing this live?”
“这太厉害了，”他说，“这个你当场就可以做？”
Bongani lived in Alexandra. Where Soweto is a sprawling, government-planned ghetto, Alexandra is a tiny, dense pocket of a shantytown, left over from the pre-apartheid days. Rows and rows of cinder-block and corrugated-iron shacks, practically stacked on top of one another. Its nickname is Gomorrah because it has the wildest parties and the worst crimes.
邦哈尼住在亚历山德拉。如果说索韦托是政府规划出来的超大规模贫民窟，那么亚历山德拉就是一个狭小又拥挤的棚户区，是从种族隔离时期以前就存在的那种贫民窟。用煤渣砖和波状钢建造的棚屋一排连着一排，几乎彼此堆叠在一起。它的外号是蛾摩拉城[8]，因为在那里，最癫狂的派对和最黑暗的犯罪并存。
“Yeah.”
“是啊。”
Street parties are the best thing about Alexandra. You get a tent, put it up in the middle of the road, take over the street, and you’ve got a party. There’s no formal invitations or guest list. You just tell a few people, word of mouth travels, and a crowd appears. There are no permits, nothing like that. If you own a tent, you have the right to throw a party in your street. Cars creep up to the intersection and the driver will see the party blocking their way and shrug and make a U-turn. Nobody gets upset. The only rule is that if you throw a party in front of somebody’s house, they get to come and share your alcohol. The parties don’t end until someone gets shot or a bottle gets broken on someone’s face. That’s how it has to end; otherwise, it wasn’t a party.
亚历山德拉的街头派对是最棒的。你拿个帐篷，把它支在道路中间，把整条道都占上，你的派对就开始了，并不需要正式的邀请函或宾客名单。你只需要告诉几个人，口口相传之后，一大群人就会涌过来。你也不需要申请许可或类似的什么证。你只要有一个帐篷，就有权在街道上开派对。如果有车开到路口，司机发现这个派对堵了前面的路，他们也只是耸耸肩，掉头换一条路开而已。没人会生气。唯一的条件是，如果你的派对开在某家人的门口，那他们有权过来喝你的酒。若非有某个人中弹了，或者有酒瓶砸在某人脸上了，那么派对就不会结束。当然，派对也只能像那样结束，否则，它就称不上一个派对。
“Trevor, I don’t think you understand; you’re sitting on a gold mine. We need to do this for a crowd. You need to come to the township and start DJ’ing gigs. No one has ever seen a DJ playing on a computer before.”
“特雷弗，我觉得你还不明白，你简直是坐在金山上啊。我们得去给别人做这个。你得到镇上来，表演你的DJ才华。还没人见过有人用电脑做现场DJ的。”
“How much music do you have?” he asked.
“你一共有多少音乐？”他问我。
“Winamp says I can play for a week.”
“音频软件显示，我大概能连续播上一周。”
Back then, most DJs could spin for only a few hours; they were limited by the number of vinyls they could buy. Since parties went all night, you might need five or six DJs to keep the dancing going. But I had a massive hard drive stuffed with MP3s, which is why Bongani was excited when he saw me mixing — he saw a way to corner the market.
那个时候，大多数的DJ都只能坚持上几个小时，因为他们手上只有那么几张唱片。但派对都要通宵，所以你就需要请五六个DJ过来，才能把它持续开下去。但是我有一个很大的硬盘，里面全是MP3音乐，这也是为什么当邦哈尼看到我混曲时会那么兴奋——他看到了垄断DJ市场的可能。
Our first gig was a New Year’s Eve party the summer we graduated from Sandringham. Bongani and I took my tower, my giant monitor, and all the cables and the keyboard and the mouse. We loaded everything up in a minibus and brought it over to Alex. We took over the street in front of his house, ran the electricity out of his place, set up the computer, set up speakers, and borrowed a tent, and people came. It was explosive. By midnight the whole street was packed from one end to the other. Ours was the biggest New Year’s Eve party in Alexandra that year, and to have the biggest party in Alexandra is no joke. All night, from far and wide, people kept coming. The word spread: “There’s a light-skinned guy who plays music on a computer. You’ve never seen anything like it.” I DJ’d by myself until dawn. By then me and my friends were so drunk and exhausted that we passed out on the lawn outside Bongani’s house. The party was so big it made our reputation in the hood, instantly. Pretty soon we were getting booked all over.
我们的第一场演出，是从桑德林汉姆毕业的那个夏天的跨年派对。邦哈尼和我带上机箱。超大的显示屏。电线键盘鼠标，把它们塞进小巴，带去了亚历山德拉。我们占了他家门口的街道，从他家里接出电线，装好电脑，设好喇叭，借了个帐篷，人们就来了。那天的情形堪称爆炸。到午夜时分，整条街从这一头到另一端全部挤满了人。我们是那年亚历山德拉最大的跨年派对，能成为亚历山德拉最大的派对可不是闹着玩的。整个夜晚，从远处慕名赶来的人络绎不绝。大家都在谈论：“有个浅色皮肤的人在电脑上播音乐。你从未见过这样的事。”我一个人做DJ嗨翻全场，一直到天亮。到最后，我和朋友们已经醉倒，精疲力竭地昏厥在邦哈尼屋外的草坪上。那次的派对盛况直接让我在当地出了名。很快，各地的邀约纷至沓来。
“We’ll make a fortune.”
“我们要发大财了。”
There was a low brick wall running down the middle of the road in front of Bongani’s house in Alex, and every day Bongani and I and our crew would go sit on the wall. I’d bring my CDs. We’d play music and practice dance moves. We hustled CDs all day and DJ’d parties at night. We started getting booked for gigs in other townships, other hoods.
邦哈尼家门口的路中央有一道矮砖墙，每天，邦哈尼、我和我们的伙伴们都会坐在墙上玩。我会带上CD，我们播着音乐，练习舞步。我们白天卖碟，晚上去别人的派对上当DJ。很快，我们开始接到别的小镇和街区的演出邀请。
Which was a good thing.
这当然很棒。
When Bongani and I graduated from high school, we couldn’t get jobs. There were no jobs for us to get. The only ways I had to make money were pirating CDs and DJ’ing parties, and now that I’d left Sandringham, the minibus drivers and corner kids in Alexandra were the single biggest market for my CDs. It was also where I was playing the most gigs, so to keep earning I naturally gravitated that way. Most of the white kids I knew were taking a gap year. “I’m going to take a gap year and go to Europe.” That’s what the white kids were saying. So I said, “I, too, am going to take a gap year. I am going to take a year and go to the township and hang out on the corner.” And that’s what I did.
邦哈尼和我从高中毕业之后，我们都找不到工作。也没有什么我们能做的工作。我赚钱的唯一渠道就是卖盗版CD，以及在别人的派对上当DJ。既然我已经离开了桑德林汉姆，那么亚历山德拉的小巴司机和当地小孩就成了我唯一的客源。我也经常在那边当DJ，所以我选择继续这样赚钱。我认识的大多数白人小孩都准备休个“间隔年”。“我准备休个间隔年，去趟欧洲。”白人小孩都会这样说。所以我回道：“我也要休个间隔年。我准备这一年就在小镇上的街角闲逛。”事实上，我正是这么做的。
Hitler was a great friend of mine, and good Lord could that guy dance. He was mesmerizing to watch. He had a looseness and a fluidity that defied physics — imagine a jellyfish if it could walk on land. Incredibly handsome, too, tall and lithe and muscular, with beautiful, smooth skin, big teeth, and a great smile, always laughing. And all he did was dance. He’d be up in the morning, blasting house music or hip-hop, practicing moves the whole day.
希特勒是我的好朋友，老天，他舞跳得真好。看他跳舞的样子很容易让人着迷。他的动作放松且流畅，简直违反了物理原则——你可以想象一只水母在陆地上走路的样子。而且他还特别帅气，高个子，身体柔韧，肌肉发达，皮肤亮泽光滑，大大的牙齿，笑起来很好看，而且他总是在笑。他每天唯一做的事就是跳舞。他早晨一起床就开始大声播放各种浩室音乐[9]或嘻哈音乐，跳上一整天。
Thanks to my computer and modem I was getting exclusive tracks few people had access to, but that created a problem for me. Sometimes I’d play the new music at parties and people would stand around going, “What is this? How do you dance to it?” For example, if a DJ plays a song like “Watch Me (Whip/Nae Nae)”– yes, it’s a catchy song, but what is a whip? What is a nae nae? For that song to be popular you have to know how to do the whip and the nae nae; new music works at parties only if people know how to dance to it. Bongani decided we needed a dance crew to show people the steps to the songs we were playing. Because we spent our days doing nothing but listening to CDs and coming up with dance moves, our crew from the corner already knew all the songs, so they became our dancers. And hands down the best, most beautiful, most graceful dancer in the crew was Bongani’s neighbor, Hitler.
多亏了我的电脑和调制解调器，我可以下到很多没多少人听过的独家音乐，但这对我来说也是个问题。有时候我在一些派对上放新歌，人们会站在原地一脸迷惑：“这是啥？这该怎么跳？”譬如，假设DJ播了一首歌，叫《看我（摆动/耐耐）》”（Watch Me [Whip/Nae Nae]），这首歌非常朗朗上口，但是该怎么摆动？耐耐又是什么？为了让这首歌流行起来，你得知道怎么摆动以及怎么跳耐耐舞。只有当人们知道如何跟随音乐舞动，派对上的新音乐才能得以流行开来。邦哈尼决定，我们得组建一个舞蹈团队，给人们展示怎么跟着我们的音乐跳舞。因为我们整天都无所事事，只是在听CD，想舞蹈动作而已，我们那些街头玩伴对这些歌已经很熟悉，所以现在他们成为了我们的舞者。而其中最棒、最帅、最厉害的舞者，就是邦哈尼的邻居——希特勒。
When Bongani and I put together a routine for our dance crew, there was no question who was going to be the star attraction. We built the whole set around Hitler. I’d warm the crowd up with a few songs, then the dancers would come out and do a couple of numbers. Once they’d gotten the party started, they’d fan out to form a semicircle around the stage with a gap in the back for Hitler to enter. I’d crank up Redman’s “Let’s Get Dirty” and start whipping the crowd up even more. “Are you ready?! I can’t hear you! Let me hear you make some noise!” People would start screaming, and Hitler would jump into the middle of the semicircle and the crowd would lose it. Hitler would do his thing while the guys circled around him, shouting him on. “Go Hit-ler! Go Hit-ler! Go Hit-ler! Go Hit-ler!” And because this was hip-hop, the crew would do that thing where you shoot your arm out in front of you with your palm flat, bopping it up and down to the beat. “Go Hit-ler! Go Hit-ler! Go Hit-ler! Go Hit-ler!” We’d have the whole crowd in a frenzy, a thousand people in the street chanting along with their hands in the air. “Go Hit-ler! Go Hit-ler! Go Hit-ler! Go Hit-ler!”
邦哈尼和我为我们的舞队设计舞步的时候，毫无疑问，希特勒将会是队伍中最耀眼的明星。我们的整套流程都围绕着希特勒来设计。我会先用几首歌暖场，几个舞者会上来跳几首，一旦场子开始热络起来，他们就会呈扇形散开，在舞台中央组成一个半圆形，在最后留出一个空位给希特勒切入。这时我会调高音量，开始播雷德曼的《让我们燥起来》，并且继续煽动现场观众：“准备好了吗？！我听不到你的声音！让我听到你们的尖叫！”这时人们开始尖叫，希特勒跳进半圆形的中央，所有人都疯狂了。希特勒开始跳他的标志性舞步，其他人会围在他的身边，为他打气。“跳吧希特勒！跳吧希特勒！跳吧希特勒！跳吧希特勒！”由于是跟随嘻哈音乐起舞，舞团其他成员都会做这样一个动作：把胳膊伸在身体前方，手掌摊平，跟随着节拍上下摆动胳膊。“跳吧希特勒！跳吧希特勒！跳吧希特勒！跳吧希特勒！”这时所有人都会疯狂舞动起来，街道上有一千人将双手举在空中，口中呼喊着：“跳吧希特勒！跳吧希特勒！跳吧希特勒！跳吧希特勒！”
In the hood, everybody knows who the best dancer in the crew is. He’s like your status symbol. When you’re poor you don’t have cars or nice clothes, but the best dancer gets girls, so that’s the guy you want to roll with. Hitler was our guy. There were parties with dance competitions. Kids from every neighborhood would come and bring their best dancers. We’d always bring Hitler, and he almost always won.
附近所有人都知道我们的舞团里谁跳得最好。他就是我们的头牌。你要是很穷的话，会买不起车和漂亮衣服，但最棒的舞者还是能交到女朋友，所以你得和他搞好关系。希特勒就是我们的人。有时候，派对上会有舞蹈比赛。左邻右里的小孩都会带着他们心中最棒的舞者前来斗舞，我们总是会带上希特勒，而且他一般都能赢。
Westerners are shocked and confused by that, but really it’s a case of the West reaping what it has sown. The colonial powers carved up Africa, put the black man to work, and did not properly educate him. White people don’t talk to black people. So why would black people know what’s going on in the white man’s world? Because of that, many black people in South Africa don’t really know who Hitler was. My own grandfather thought “a hitler” was a kind of army tank that was helping the Germans win the war. Because that’s what he took from what he heard on the news. For many black South Africans, the story of the war was that there was someone called Hitler and he was the reason the Allies were losing the war. This Hitler was so powerful that at some point black people had to go help white people fight against him — and if the white man has to stoop to ask the black man for help fighting someone, that someone must be the toughest guy of all time. So if you want your dog to be tough, you name your dog Hitler. If you want your kid to be tough, you name your kid Hitler. There’s a good chance you’ve got an uncle named Hitler. It’s just a thing.
西方人对这样的取名方式感到震惊且迷惑，但是，这其实是西方人自食其果的典例。殖民者瓜分了非洲，让黑人变成劳动力，但与此同时，却并没有给予他们应得的教育。白人也不会和黑人交流，所以黑人怎么会了解白人世界发生了什么？正因为如此，很多南非的黑人并不知道希特勒是谁。我自己的外公就以为“希特勒”是那种帮助德国赢得了战争的军用坦克，所以他会说“一台希特勒”。因为那是他从新闻里捕捉到的零碎信息。对于很多南非黑人来说，“二战”的故事梗概就是有个叫希特勒的人，让同盟国输掉了战争。希特勒太强大了，以至于到了某个阶段，黑人要去帮白人打仗——如果白人会屈尊请黑人帮自己打什么人，那这个人肯定是史上的最强者。如果你希望自己的狗变得威风凛凛，你可以给自己的狗起名叫希特勒。如果你希望你自己的小孩变得坚韧顽强，就给你的小孩起名叫希特勒。所以很有可能你会拥有一个叫希特勒的舅舅。这只是一种起名习惯罢了。
Hitler, although an unusual name, is not unheard-of in South Africa. Part of it has to do with the way a lot of black people pick names. Black people choose their traditional names with great care; those are the names that have deeply personal meanings. But from colonial times through the days of apartheid, black people in South Africa were required to have an English or European name as well — a name that white people could pronounce, basically. So you had your English name, your traditional name, and your last name: Patricia Nombuyiselo Noah. Nine times out of ten, your European name was chosen at random, plucked from the Bible or taken from a Hollywood celebrity or a famous politician in the news. I know guys named after Mussolini and Napoleon. And, of course, Hitler.
希特勒虽然不是个寻常名字，但在南非也并非闻所未闻，这主要是由于黑人取名的方式造成的。黑人取自己的传统名字时会非常用心，往往会选择那种包含深刻个人意义的名字。但是从殖民统治以来，到了种族隔离的阶段，南非的黑人被要求还要取一个英文名或欧洲名字——那种白人可以轻松念出来的名字。所以你会有一个英文名，一个传统名，还有你的家族姓氏，组成你的全名：帕特莉莎·努拜伊赛罗·诺亚。十次有九次，那些欧洲名字都是随便取的，要么从《圣经》里摘一个，要么挑一个好莱坞名人的名字，再或是新闻里某个著名政治家的名字。比如，我就认识一个墨索里尼，一个拿破仑，当然了，还有一个希特勒。
At Sandringham, we were taught more about World War II than the typical black kids in the townships were, but only in a basic way. We weren’t taught to think critically about Hitler and anti-Semitism and the Holocaust. We weren’t taught, for instance, that the architects of apartheid were big fans of Hitler, that the racist policies they put in place were inspired, in part, by the racist policies of the Third Reich. We weren’t taught how to think about how Hitler related to the world we lived in. We weren’t being taught to think, period. All we were taught was that in 1939 Hitler invaded Poland and in 1941 he invaded the Soviet Union and in 1943 he did something else. They’re just facts. Memorize them, write them down for the test, and forget them.
在桑德林汉姆，学校教了我们第二次世界大战的历史，使我们比在小镇长大的典型黑人小孩懂得要多，但学校教的也仅是皮毛而已。学校并没有教我们如何批判性地去思考希特勒、反犹太主义，还有大屠杀之间的关系。以此类推，学校也没有告诉我们，种族隔离制度的构建者就是希特勒的铁杆粉丝，这些种族歧视的法规正是受到了纳粹德国那些种族主义法规的启发。学校没有教我们思考希特勒和我们所生活的这个世界之间的联系。综上所述，学校并没有教我们如何去思考。他们教我们的只是1939年，希特勒入侵波兰，1941年，他入侵了苏联，1943年，他还干了些别的。这些都是史实。把它们背下来，在考试的时候把它们写下来，然后把它们忘了。
There is also this to consider: The name Hitler does not offend a black South African because Hitler is not the worst thing a black South African can imagine. Every country thinks their history is the most important, and that’s especially true in the West. But if black South Africans could go back in time and kill one person, Cecil Rhodes would come up before Hitler. If people in the Congo could go back in time and kill one person, Belgium’s King Leopold would come way before Hitler. If Native Americans could go back in time and kill one person, it would probably be Christopher Columbus or Andrew Jackson.
还需要考虑到的是：希特勒这个名字之所以不会激怒南非黑人，也是由于希特勒并不是南非黑人心目中最可怕的恶人。每个国家都觉得自己的历史是最重要的，在西方世界尤其如此。但如果南非的黑人可以坐时光机回到过去，选择杀掉一个历史人物，他们会选择先杀死塞西尔·罗兹[10]，而不是希特勒。如果刚果的黑人可以坐时光机回到过去，选择杀掉一个人，那么比利时国王利奥波德将会是首选，排在希特勒前面的前面。如果美国原住民可以坐时光机回到过去，选择杀掉一个人，那应该是哥伦布，或者安德鲁·杰克逊[11]。
I often meet people in the West who insist that the Holocaust was the worst atrocity in human history, without question. Yes, it was horrific. But I often wonder, with African atrocities like in the Congo, how horrific were they? The thing Africans don’t have that Jewish people do have is documentation. The Nazis kept meticulous records, took pictures, made films. And that’s really what it comes down to. Holocaust victims count because Hitler counted them. Six million people killed. We can all look at that number and rightly be horrified. But when you read through the history of atrocities against Africans, there are no numbers, only guesses. It’s harder to be horrified by a guess. When Portugal and Belgium were plundering Angola and the Congo, they weren’t counting the black people they slaughtered. How many black people died harvesting rubber in the Congo? In the gold and diamond mines of the Transvaal?
我遇见的西方人，一定都坚称纳粹大屠杀是人类历史上最可怕的暴行，毋庸置疑。是的，那场灾难确实非常恐怖。但我常常在想，刚果历史上经历过的那些屠杀暴行，会是多恐怖呢？犹太死难者和非洲死难者不同的地方在于，犹太死难者被记录了下来。纳粹分子记录了所有的细节，他们给受害者拍了照片，留了影像资料。归根结底就是这点不同。纳粹屠杀的受难者有死亡总数，是因为希特勒清点了人数。六百万人被杀。我们看着这个数字，一定都会觉得毛骨悚然。但当你看看非洲屠杀暴行的历史，没有数字，只有猜测。但是，让你对猜测的史实感到恐惧，可能就要难一些了。当葡萄牙和比利时在安哥拉和刚果大肆烧杀抢掠的时候，他们没有清点过自己杀了多少黑人。又有多少刚果黑人死于收割橡胶？多少死在德兰士瓦的金矿和钻石矿里？
So in Europe and America, yes, Hitler is the Greatest Madman in History. In Africa he’s just another strongman from the history books. In all my time hanging out with Hitler, I never once asked myself, “Why is his name Hitler?” His name was Hitler because his mom named him Hitler.
在欧洲和美国，是的，希特勒是历史上最可怕的疯子。在非洲，他只是历史书上的某个铁腕人物。每当我和希特勒在一起玩，我从来没有问过自己：“他为什么叫希特勒？”他叫希特勒，是因为他妈妈给他取名希特勒。
One kid we knew from the township, his mother was involved in creating cultural programs for schools. In America they’d be called “diversity programs.” They were springing up all over South Africa because we were supposed to be learning about and embracing one another in this post-apartheid era. This kid’s mom asked us if we wanted to play at a cultural day at some school in Linksfield, the wealthy suburb south of Sandringham where my pal Teddy had lived. There was going to be all sorts of different dancing and music, and everyone was going to come together and hang out and be cultural. She offered to pay, so we said sure. She sent us the information with the time and place and the name of the school: the King David School. A Jewish school.
我们在小镇上认识了一个孩子，他妈妈参与了一个学校的文化项目。在美国，这种项目被称为“多元文化项目”。在南非，这类项目逐渐增多，因为在种族隔离制度结束后，我们要做的就是学习和拥抱彼此的文化。这个小孩的妈妈问我们，是否愿意去林克斯菲尔德的某所学校的文化日上表演，林克斯菲尔德是一个非常富有的郊区，在桑德林汉姆南边，我的好朋友泰迪曾经住在那里。在文化日上，会有各种唱歌跳舞的活动，所有人都会聚在一起玩耍，了解彼此的文化。她说这个活动是有偿的，我们便答应了下来。她给我们发来时间和地点信息，以及学校的名字：大卫王学校。一所犹太人学校。
Once Bongani and I added the dancers to our DJ sets, we blew up. We called our group the Black and White Boys. The dancers were called the Springbok Boys. We started getting booked everywhere. Successful black families were moving to the suburbs, but their kids still wanted to have block parties and stay connected to the culture of the townships, so they’d book us to play their parties. Word of mouth traveled. Pretty soon we were getting booked more and more in the suburbs, meeting white people, playing for white people.
邦哈尼和我在DJ团队中加入了舞者之后，取得了前所未有的成功。我们的团队名叫“黑白男孩”，而舞者队伍名为“跳羚男孩”。各地的邀约纷至沓来。有钱的黑人家庭搬去了白人郊区，但是他们的孩子依然想办街区派对，保存自己的小镇文化，所以会邀请我们去他们的派对上表演。口口相传之后，我们在郊区的订单量越来越多，也开始和越来越多的白人接触，为白人表演。
I got on the mic. “Are you ready to rock out?!”
我接好话筒。“准备好了吗？！”
The day of the event, we booked a minibus, loaded it up with our gear, and drove over. Once we arrived we waited in the back of the school’s assembly hall and watched the acts that went onstage before us, different groups took their turns performing, flamenco dancers, Greek dancers, traditional Zulu musicians. Then we were up. We were billed as the Hip Hop Pantsula Dancers — the South African B-Boys. We set up our sound system onstage. I looked out, and the whole hall was nothing but Jewish kids in their yarmulkes, ready to party.
到了文化日那天，我们订了一辆小巴，装上我们的设备，开了过去。到了以后，我们待在学校礼堂后面候场，同时观看了在我们之前登台的表演。有弗拉明戈舞蹈、希腊舞蹈、传统祖鲁音乐轮番上阵。接着轮到了我们。我们被宣传为嘻哈喷特拉舞团——南非街舞男孩。我们把音响系统在舞台上装好后，我望向台下，看到整个大厅里都坐满了头戴圆顶小帽的犹太孩子，跃跃欲试准备开派对。
I started the song, the dancers fanned out in their semicircle, and I got on the mic.
我开始播那首歌后，舞者们扇形散开，组成半圆，我打开话筒。
“Yeahhhhhh!”
“耶！！！”
“Make some noise!”
“让我听到你们的尖叫！”
“Yeahhhhhh!”
“耶！！！！”
I started playing. The bass was bumping, my crew was dancing, and everyone was having a great time. The teachers, the chaperones, the parents, hundreds of kids — they were all dancing like crazy. Our set was scheduled for fifteen minutes, and at the ten-minute mark came the moment for me to play “Let’s Get Dirty,” bring out my star dancer, and shut shit down.
我开始播放音乐。贝斯的节奏开始撞击大厅，我的舞团开始跳舞，所有人都特别兴奋。老师、监护人、家长和几百个孩子——他们都疯了一样地跟着音乐舞动起来。我们的节目时长限制为十五分钟，到第十分钟时，我会开始播《让我们燥起来》这首歌，我们的明星舞者也将闪亮登场，嗨翻天。
“Yeahhhhhh!”
“耶！！！！”
“All right! Give it up and make some noise for HIIIIIITTTTLLLLEERRRRRRRRRR!!!”
“好了！让我们鼓掌欢迎——希——特——勒——！！！！！！！！！！！！”
“You guys are not ready! Are you ready?!”
“你们还没有准备好！你们这下准备好了吗？”
“Are you guys ready?!”
“你们准备好了吗？”
“Yeeeaaahhhhhhhh!”
“耶！！！！！！！”
Hitler jumped out to the middle of the circle and started killing it. The guys around him were all chanting, “Go Hit-ler! Go Hit-ler! Go Hit-ler! Go Hit-ler!” They had their arms out in front of them, bouncing to the rhythm. “Go Hit-ler! Go Hit-ler! Go Hit-ler! Go Hit-ler!” And I was right there on the mic leading them along. “Go Hit-ler! Go Hit-ler! Go Hit-ler! Go Hit-ler!”
希特勒跳到了半圆队伍的中央，开始了他的步伐。其他舞者围在他周围开始呼号，“跳吧希特勒！跳吧希特勒！跳吧希特勒！跳吧希特勒！”他们把胳膊举在身前，跟随节奏上下摆动。“跳吧希特勒！跳吧希特勒！跳吧希特勒！跳吧希特勒！”我则开着话筒，带领着他们大声喊着。“跳吧希特勒！跳吧希特勒！跳吧希特勒！跳吧希特勒！”
A teacher ran up behind me and yanked the plug for my system out of the wall. The hall went dead silent, and she turned on me and she was livid. “How dare you?! This is disgusting! You horrible, disgusting vile creature! How dare you?!”
一位老师从我背后冲过来，一把从墙上拔掉了电源。整座礼堂突然变得死一般沉寂。她转向我，面色铁灰。“你怎么敢这样？！这太恶心了！你这个可怕的令人作呕的肮脏东西！你怎么敢这样？！”
The whole room stopped. No one was dancing. The teachers, the chaperones, the parents, the hundreds of Jewish kids in their yarmulkes — they froze and stared aghast at us up on the stage. I was oblivious. So was Hitler. We kept going. For a good thirty seconds the only sound in the room was the beat of the music and me on the mic yelling, “Go Hit-ler! Go Hit-ler! Go Hit-ler! Put your hands in the air for Hitler, yo!”
整个大礼堂都静止了下来。没人跳舞了。老师、监护人、家长和几百个戴着圆顶小帽的犹太小孩，呆呆地站在原地，看着在台上的我们。我正在忘我表演，希特勒也是，所以我们没有停下。大概有30秒的时间，全礼堂唯一的声音就是音乐的节奏，以及我在麦克风里声嘶力竭的吼声：“跳吧希特勒！跳吧希特勒！跳吧希特勒！跳吧希特勒！把你们的双手为希特勒高高举起，哟！”
“I will not calm down! How dare you come here and insult us?!”
“我冷静不了！你们怎么敢这样过来侮辱我们？！”
“Lady,” I said, “I think you need to calm down.”
“这位女士，”我说，“我想你要冷静下来。”
“This is not insulting anyone. This is who we are!”
“我们没有侮辱任何人。我们就是这样的人。”
My mind was racing, trying to figure out what she was talking about. Then it clicked. Hitler had a special dance move called o spana va. It means “where you work” and it was very sexual: His hips would gyrate and thrust, like he was fucking the air. That was the move he was doing at the moment the teacher ran out, so clearly the dance was the thing she found so disgusting. But this was a move that African people do all the time. It’s a part of our culture. Here we were sharing our culture for a cultural day, and this woman was calling us disgusting. She was offended, and I was offended by her taking offense.
我的大脑飞速运转，试图理解她说这话到底什么意思。突然灵光一现，希特勒有一个特殊的舞步，叫作欧斯巴纳瓦，意思是“你干事的地方”，这个动作非常性感：他的胯会扭动并向前推，就好像他在和空气做爱。那老师跑上来的时候，他正在做这个动作，很显然，她是觉得这个舞蹈很令人作呕。但是这个动作非洲人成天都会做啊，这是我们文化的一部分。我们只是在文化日分享我们的文化，而这个女人却说我们令人作呕。她被冒犯了，然后我因为她被冒犯而感觉被冒犯了。
“Get out of here! You people are disgusting.”
“滚出去！你们这群人太恶心了。”
And there it was. You people. Now I saw what the deal was: This lady was racist. She couldn’t see black men dancing suggestively and not get pissed off. As I started packing up my gear, we kept arguing.
这个词出现了——你们这群人。现在我知道了，这位女士肯定是个种族主义分子，她看黑人跳舞就会觉得动作有暗示性，就会发脾气。我一边收拾我们的器材，一边继续和她理论。
She was talking, of course, about stopping the Nazis in World War II, but that’s not what I was hearing. Jews in South Africa are just white people. All I was hearing was some white lady shouting about how white people beat us before and they’ll beat us again. I said, “You will never stop us again, lady”– and here’s where I played the trump card –“You’ll never stop us, because now we have Nelson Mandela on our side! And he told us we can do this!”
当然了，她指的是在“二战”中打败了纳粹，但听在我耳朵里就不是这样了。南非的犹太人就是白人。我耳中听到的是，某个白人女士正在大叫着说白人以前怎么打败了我们，而且她们还要继续打败我们。我说：“你永远也不会再打败我们，这位女士。”这时我甩出了王牌：“你永远无法阻碍我们的脚步，现在我们这方拥有了纳尔逊·曼德拉，是他告诉我们，我们可以这样做！”
“Listen, lady. We’re free now. We’re gonna do what we’re gonna do. You can’t stop us.”
“听着，这位女士。我们现在自由了。我们想做什么做什么。你无法阻止我们。”
She was so confused. I’d had it. I started cussing her out. “Fuck you, lady. Fuck your program. Fuck your school. Fuck your whole people. Let’s go, guys! We’re out!”
她完全蒙了。我乘胜追击，开始骂她。“去你妈的，这位女士。去你妈的文化项目。去你妈的学校。去你妈的所有人。我们走，伙计们！我们不干了！”
“I’ll have you know that my people stopped people like you before, and we can stop you again.”
“我要让你知道，我们的人曾经打败了像你们这样的人，我们还能再打败你们一次。”
“What?!”
“什么？！”
We didn’t walk out of that school. We danced out. We danced down the street pumping our fists in the air. “Go Hit-ler! Go Hit-ler! Go Hit-ler! Go Hit-ler!” Because Hitler had shut shit down. Hitler had the most gangster dance moves ever, and those white people didn’t know what hit them.
我们并不是走着离开的，我们是跳着舞出去的。我们在街上跳着舞前进，拳头举在空中。“跳吧希特勒！跳吧希特勒！跳吧希特勒！跳吧希特勒！”希特勒已经圆满结束了演出，他跳出了史上最邪恶的舞步，而那些白人根本不知道到底是什么击中了他们。
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