Vertigo - The Rise and Fall of Weimar Germany. Chapter 7: The Charleston Years
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第七章，“查尔斯顿时代”，深入探讨了魏玛共和国时期德国20年代充满活力且复杂的舞蹈文化，探索其社会、政治和艺术维度。在战后焦虑、经济不稳定和美国爵士乐的诱惑下，舞蹈成为一种现象，反映了那个时代的矛盾：自由和绝望，传统和现代，兴奋和幻灭。
本章首先突出了“舞男”的形象，即受雇的男性舞者，年轻时的比利·怀尔德就是一个例子。这种做法突显了当时改变的性别动态，女性可以付费在舞池里获得陪伴。舞男象征着权力关系的转变，女性行使了更多的经济自主权。这篇文章强调了这种职业背后的实用主义，以及怀尔德本人作为舞男后来所写的社会评论。
然后，文本转向席卷德国的更广泛的舞蹈热潮，特别是西米舞和查尔斯顿舞。这些起源于非裔美国人文化的舞蹈，在舞池中提供了一种新的自由和个人主义的感觉，打破了僵化的传统舞蹈形式。人们不再受固定舞步或正式训练的束缚，可以通过即兴动作来表达自己。然而，这种“对舞蹈自由的滥用”受到了传统舞蹈教师的批评，反映了一种文化冲突。
虽然被许多人视为解放，但新的舞蹈风格也受到了保守派的怀疑和蔑视。批评家认为，这种疯狂的能量和“原始”动作表明社会道德正在衰落，一种“在火山上跳舞”的心态，忽视了国家根深蒂固的问题。例如，奥托·迪克斯和乔治·格罗斯将舞厅描绘成在普遍苦难中放纵的令人厌恶的表现。克劳斯·曼将舞蹈热潮等同于一种遗忘的形式。
本章接着探讨了德国人与非裔美国人文化之间的复杂关系。像约瑟芬·贝克这样的黑人音乐家和舞者在德国非常受欢迎，体现了异国情调和“野蛮”的能量。然而，贝克的成功带有一丝种族主义色彩，因为她经常被简化为关于她“黑人精神”的刻板印象。本节还阐明了黑人德国人的经历，包括前殖民士兵，他们面临歧视和“黑人耻辱”运动，尽管他们为德国社会做出了贡献。
本章重点介绍了从大型舞厅到主题场馆的出现，这些场馆提供各种主题空间，从西部牛仔到土耳其咖啡馆。这些空间突出了全球世界越来越容易被游客访问的主题，但通过主题公园的视角扭曲了。在像英嘉·冯·瓦根海姆这样的人看来，这些空间代表了资本主义的地狱，充满了腐败和伪艺术家。本章最后重点介绍了对舞蹈热潮的批评，如文化布尔什维主义和美国主义，以及一个深刻分裂和腐朽的文化的象征。同样地，它也突出了音乐如何解决贫困、住房、消费主义、自我剥削和战争，并有助于缓解痛苦。
Chapter 7, "The Charleston Years," delves into the vibrant and complex dance culture of Weimar Republic Germany in the 1920s, exploring its social, political, and artistic dimensions. Fueled by post-war anxieties, economic instability, and the allure of American jazz, dance became a phenomenon that reflected the era's contradictions: freedom and despair, tradition and modernity, exhilaration and disillusionment.
The chapter begins by highlighting the figure of the "jiggalo," a male dancer for hire, as exemplified by a young Billy Wilder. This practice highlights the altered gender dynamics of the time, where women could pay for companionship on the dance floor. The jiggalo symbolized a shift in power relations, where women exercised more economic agency. The article underscores the pragmatism behind this profession, and the social commentary Wilder, himself a jiggalo, would later write.
The text then shifts to the broader dance craze that swept Germany, particularly the shimmy and the Charleston. These dances, originating in African American culture, offered a new sense of freedom and individualism on the dance floor, breaking away from rigid traditional dance forms. No longer bound by fixed steps or formal training, people could express themselves through improvised movements. However, this "misuse of dancing freedom" was criticized by traditional dance instructors, reflecting a cultural clash.
While embraced by many as liberating, the new dance styles were also viewed with suspicion and disdain by conservative elements. Critics saw the frenetic energy and "primitive" movements as indicative of a society in moral decay, a "dancing on the volcano" mentality that ignored the country's deep-seated problems. Otto Dix and George Grosz, for example, depicted the dance halls as repulsive displays of indulgence amidst widespread suffering. Klaus Mann equated the dance craze to a form of oblivion.
The chapter then explores the complex relationship between Germans and African American culture. Black musicians and dancers, like Josephine Baker, became immensely popular in Germany, embodying exoticism and "savage" energy. Baker's success, however, was tinged with racism, as she was often reduced to stereotypes about her "Negro spirit." This section also sheds light on the experiences of Black Germans, including former colonial soldiers, who faced discrimination and the "black shame" campaign, despite their contributions to German society.
The chapter highlights the emergence of venues from grand dance halls, offering a variety of themed spaces from Westerns to Turkish cafes. These spaces underscore the theme of a global world becoming increasingly available to tourists, yet distorted through the theme park lens. From the perspective of people like Inga von Wagenheim, these spaces represented a capitalistic inferno, filled with corruption and pseudo-artists. The chapter ends by highlighting the criticism leveled against the dance craze, as cultural bolshevism, and americanism, and a sign of a deeply divided and decaying culture. By the same measure, it highlights how music addressed poverty, housing, consumerism, self-exploitation and war and helped to address suffering.
中英文字稿 
第七章 查尔斯顿年代
在这里，两个年轻女孩一起跳舞，有时甚至是两个年轻男孩。对此，他们并不在意。——托马斯·曼，1925年
他们付钱，你就得跳舞。在比利·怀尔德意识到他将来会住在好莱坞并被认为是全球最伟大的电影导演之一之前，他在柏林做过舞伴。作为一名按行计酬为尤尔施泰因报纸撰写评论和报道的年轻记者，他经济拮据。由于像当时成百上千的人一样，他对跳舞充满热情，因此这似乎是一个显而易见的赚钱方式。然而，这个梦想有其阴暗面。1926年，有两个月的时间，他每天都去伊甸酒店跳舞，傍晚5点半到7点时穿着深色西装，晚上9点半则换上晚礼服。只需一个手势，怀尔德就得赶紧过去，礼貌地鞠躬并说：“小姐，能允许我跳支舞吗？”
这些被称为舞伴的男子，在德语中被称为"Ein tenser"，是被雇来与人跳舞的专业舞者。
▶ 英文原文 ⏱
Chapter 7 The Charleston Years Here and there two young girls dance together, sometimes even two young men. It's all the same to them. Thomas Mann, 1925. They pay and you must dance. Before Billy Wilder had any idea that he would one day live in Hollywood and be considered one of the world's greatest film directors, he worked as a jiggalo in Berlin. The young journalist paid by the line to write commentaries and reports for Ulchstein newspapers was strapped for cash. Since he, like hundreds of others at the time, was passionate about dancing, it seemed an obvious way of making some money. A dream that had a dark side. For two months in 1926, he went to the Eden Hotel every day to dance, from 5.30 to 7 in the evening in a dark suit, from 9.30 in a tuxedo. A wave of the hand was enough and Wilder had to hurry over. He would bow politely and say, Will you allow me a little dance, Miss? Jiggalo's, also known in German as Ein tenser, dancing partners or dancers in, were there to be hired.
服务员被告知后，会巧妙地安排舞者去顾客的桌子前，以便顾客能礼貌地邀请她跳舞。如果单身女士没有勇气主动邀舞，男舞伴则需要主动发出邀请。吸引力不足的女士通常会先被邀请。在两个女性之间，你应该总是选择较胖的那个，这是1926年《Mornards杂志》记录的十条男舞伴守则之一。另一条则劝诫：小心爱情，因为它会让腿软。酒店和大型舞厅希望通过提供多样的男舞伴服务，吸引更多女士前来消费，而不需要长时间等待。Eden舞厅的负责人，Eason，告诉Wilder他们的要求：这里不是让你来寻欢作乐的地方，要牢记这一点。你必须跳舞，实际上，越是不喜欢的舞伴，你就越需要诚实和专注地提供服务。
▶ 英文原文 ⏱
The waiter was informed and he would discreetly instruct the dancer to visit the customer's table so that he could politely invite her to dance. If single women lacked the courage to ask for a dancer, the jiggalo's were required to issue the invitation themselves. Less attractive women were always asked first. Between two women, thou shalt always choose the fatter one, was one of the ten jiggalo commandments that the journal Revu des Mornards recorded in 1926. Another Ed, beware of love, for it makes the legs go limp. The hotels and large dance halls hoped that their range of jiggalo's would ensure large numbers of women visitors who wanted to get their money's worth without having to sit around waiting for too long. The head of dancing at the Eden, one hair Eason, told Wilder what was required. You are not here for your pleasure, bear that in mind. You have to dance, in fact the less you like them, the more honestly and conscientiously you will perform your service.
舞者的第一条戒律是：不能有舞伴闲置。他必须邀请她们跳舞，因为这是他的工作。1926年晚些时候，威尔德在一篇为《Bitzet Ammitak》报纸撰写的报告中讲述了这个故事，这是他订婚期间几周后的事情。在这个报告中，他充满创业精神地写下了他作为一名舞伴的工作。不仅单身女性依赖舞伴，有时整个家庭会参加茶舞会，威尔德会和年龄稍大的女儿以及她们的母亲跳舞。最后，父亲会悄悄地在家人不注意的时候，把小费塞到他手里。周六是舞伴们最辛苦的日子，因为舞厅挤满了人，有五十对情侣在场上疯狂地跳查尔斯顿舞，而乐队则无情地催促着。这时候很难在人群中辨认出最需要帮助的顾客，也很难在噪音中与她们沟通或让她们听到自己的喊声。
▶ 英文原文 ⏱
The dancer's first commandment is, there shall be no wallflowers. He has to pluck them, because that's what he gets paid for. That was how Wilder told the story a few weeks after the end of his period of engagement, in late 1926, in a report for the newspaper Bitzet Ammitak, in which he enterpisingly wrote about his job as a jiggalo. It was not only single women who relied on jiggalo's. Sometimes, a whole family would turn up for a tea dance and Wilder would dance with the older daughters as well as the mother. And at the end, the father would press a tip into his hand, discreetly enough not to be noticed by the rest of the family. Saturday, when the dance hall was packed and fifty couples were frantically doing the Charleston on the parquet, while the band urged them ruthlessly on, was the toughest for the jiggalo's. It was hard to keep track of people in the throng and make out the customer most in need. It was hard to communicate with them and be heard shouting against the noise.
在工作日，这件事比较容易实现。虽然怀尔德的舞姿不如他的同事，但他在对话方面更胜一筹，这一点他在多年后向他的传记作者赫穆德·卡拉塞克坦白过。怀尔德在几十年后，因为一些精彩的电影如《伊马尔·阿杜斯》、《日落大道》、《公寓》和《热情似火》而享有盛名。他能够即兴创作浪漫的对话。在慢舞地“狐步舞”中，他会低声说：“我可以问你一个私人问题吗？”但当然可以，“你让我想起了什么吗？”“不，我不敢说。” “试试吧。”“一份美妙的舒芙蕾。” “一份由天使在地中海的露台上制作的舒芙蕾，轻盈如微风，中央点缀着一抹神圣的果酱。” 通常，这样的花言巧语常常以浪漫的散步或一起回家而告终。
▶ 英文原文 ⏱
It was easier on weekdays. Wilder didn't dance quite as well as his colleagues, but he was better at dialogue, as he confessed to his biographer, Hemood Karasek, much later. Wilder, who would enjoy fame decades and a war later, with such fabulous films as Imal Adus, Sunset Boulevard, The Apartment, and Some Like It Hot, improvised romantic dialogue in real time. May I ask you a personal question? He would murmur during a slow fox trot. But of course, do you know what you remind me of? No, I don't dare say it. Have a go. A wonderful souffle. A souffle. Prepared by angels. On a terrace by the Mediterranean, delicate as a breath with a splodge of divine jam in the middle. As often as not, such flim flam would end in a romantic stroll or a trip home together.
小山的长篇文章在《Bidset Amitak》杂志上分期刊登。文章实在太精彩了，以至于从今往后，他的生计都依靠写作在报纸连载，而不再需要依赖在伊甸酒店的辛苦工作。在诗人克拉邦的建议下，他决定离开酒店，离开前，他曾与克拉邦的妻子一起在伊甸酒店跳过舞，并因此询问上司要一封推荐信。推荐信中写道：比利·小山先生自1926年10月15日至今在本酒店工作。小山先生能够很好地适应各类挑剔的顾客，对待岗位尽职尽责，总是以酒店的最佳利益为重。作为陪舞者，他站在新旧时代的交界处，将过去的骑士风度与当代改变了的权力关系完美结合。
▶ 英文原文 ⏱
Wilder's long article in the Bidset Amitak was published in several installments. It was so good that from now on he made his living from the newspapers and no longer had to rely on his grueling job in the Eden Hotel. Upon leaving on the advice of the poet Klabund, a reluctant dancer with whose wife he had also danced in the Eden, he asked his boss for a reference. Mr Billy Wilder worked in our establishment between the 15th of October 1926 and the present. Mr Wilder was able to adapt to the most spoiled clientel in every respect. He proved himself well in his post and always acted with the best interests of the hotel. The jigolo stood between the new age and the old. He combined the chivalrous manners of former times with the altered power relations of the present.
现代女性只需走出去，就立刻能找到舞伴。她只需向服务员点单，服务员就会把舞伴的费用加到账单上。如果这个舞伴懂得如何进行聪明有趣的对话，那么一个成功的夜晚就有了保证。年轻的母亲们也会参加下午的“潮汐之歌”活动。除了法塔兰德欢乐宫的棕榈厅，那里甚至有一个专业的托儿所。孩子们在那里被安排得很忙，而她们的母亲则尽情地跳舞。情人系统将激进的民主市场经济与传统的求爱仪式相结合。男士会邀请女士跳舞，但前提是以直接支付金钱作为回报。作为木偶的骑士，情人体现了诗人赫姆德·普莱斯纳所称赞的现代社会的基本品质——机智与伪装——的一种激进变体。
▶ 英文原文 ⏱
The modern woman had only to go out and immediately she had a dance partner. She just had to order him from the waiter who added him to the bill. If he knew how to keep a smart and amusing conversation going, a successful evening was guaranteed. Young mothers also attended afternoon Tidal Song. Aside from the palm room in the House Fartaland Pleasure Palace, there was even a professional crash. The children were kept busy there while their mothers danced the afternoon away. The jigolo system combined a radicalised democratic market economy with traditional courtship rituals. The man asked the lady to dance but only in return for a direct transfer of money. The cavalier as Marionette, the jigolo embodied a radical variation of the tact and masquerade praised by the poet Hemood Plessner as the essential qualities of a modern society.
Hansim Jigolo 又名 Poor Jigolo 是 Vaima 共和国最著名的歌曲之一。这首探戈舞曲由莱奥内洛·卡苏奇于1928年作曲，歌词则由朱利叶斯·布拉马于1924年创作。该曲有无数版本，其中以里加·塔尔巴的版本最为知名。他那柔和而哀伤的男高音令人陶醉，让人久久难忘。他忧郁而甜美的嗓音让歌曲的主题不经意间渗入听众的意识。歌曲讲述了法国战场和战争结束时的世界崩解。一位战争老兵靠当舞者勉强维生。他内心悲伤，却因职业所需不得不欢笑。
▶ 英文原文 ⏱
Hansim Jigolo Poor Jigolo is one of the most famous songs of the Vaima Republic, a tango composed in 1928 by Leonelo Casucci to lyrics by Julius Brahma from 1924. There are countless recordings of it, the best known song by Rija Talba, with his soft and elegiac tenor voice which charmed its way into the ear and lingered there. His melancholy sweetness let the subject matter seep almost unnoticed into the consciousness. The song deals with the battlefields of France and the end of the war when the world unraveled. One war veteran scrapes a living as a dancer. He is sad and yet he must laugh because he is paid to.
汉西姆·吉戈罗，贫穷的吉戈罗啊，不要再想着曾经的时光，那时你可以身穿金边制服，意气风发地在街上骑行，人人喝彩。不过如今你的制服已不在，心爱的人也告别了你，那美好的世界早已消逝。即使内心破碎，也要面带微笑。他们付钱，你就必须伴舞。
即使这首歌反映了当时的社会剧变，人们依然可以随着这位英俊而贫穷的吉戈罗优美地跳舞，或在音乐声中放松。当时，许多作为舞伴工作的人都是因为曾经拥有良好教养的军官和贫困的贵族。对许多女性来说，被邀请与一位昔日的英雄共舞是特别引人入胜的体验。舞池上的潇洒风采，是往日荣耀仅存的痕迹。
▶ 英文原文 ⏱
Hansim Jigolo Poor Jigolo think no more of the times when you could ride through the streets, gold braided, a huzzah. Your uniform gone, your darling bids adieu, beautiful world you unraveled. Even when your heart is breaking show a smiling face. They pay and you must dance. One could dance wonderfully well to the tune of this handsome poor Jigolo or relax to the sounds made even though the song referred to the social dramas of the time. Many of the people working as dancing partners were officers and impoverished aristocrats because they had reliably good manners. For many women there was something especially picot about being invited to dance by a former hero. A dashing presence on the dance floor was all that remained a former glory.
这首歌同时也像是一种鼓励，提供给那些流离失所的退伍军人的融合机会。在共同的苦难中，他们摇摆着走进了新时代，进入了这个不受欢迎的共和国的节奏中。这首歌是一种感情上的妥协宣言，是一种充满活力、甜蜜而又痛苦的对失败的和解。很惊人的是，这里面蕴含了多少政治争议。Vima娱乐文化成功的秘诀之一在于不仅仅是压抑它的戏剧元素，而是勇敢面对，并以某种意义上与这些元素共舞。
▶ 英文原文 ⏱
At the same time the song was a kind of shoulder clapping offer of integration to the uprooted former troops. Sharing their misery they swayed their way into the new age, into the rhythm of the unloved republic. The song was a sentimental declaration of consent, a lively, sweet and painful reconciliation with defeat. It was amazing how much political controversy was being crooned in there. One of the successful recipes of Vima Entertainment culture lay in not simply repressing its dramas but standing up to them and in a sense dancing around with them.
Shimi Shake 任何关于维玛共和国的记述如果不提到舞蹈现象都会显得空洞。没有哪段文化历史会忽略这一点，这个时期常常被概括为“在火山上跳舞”。显然，人们在走上舞池的同时也意识到了在危机中舞蹈的重要性。也许从来没有哪一个时代像1920年代那样如此狂热地崇尚舞蹈，或者在舞蹈上投入了如此多的思考。从艺术性表达的舞蹈到舞台演出，再到舞池中的摇摆，舞蹈带动了人们前进。它改变了他们，创造出越来越狂野的兴奋形式。
▶ 英文原文 ⏱
Shimi Shake Any account of the Vima Republic without mention of the dance phenomenon would be hollow. No cultural history could fail to mention it and the period has often been summed up as dancing on the volcano. Plainly people were also aware of the significance of dancing through a crisis even as they hit the dance floor. There has probably never been a time in which dance was so frantically revered as the 1920s or in which so much thought has been devoted to it. From artistic expressive dance via review dancing to bopping on the dance floor, dancing pulled people along. It changed them. It invented ever wilder forms of excitement.
不久之后，人们开始在各地跳舞，无论是优雅的咖啡馆、街角的小酒馆，甚至是在水中。在炎热的日子里，情侣们站在齐膝深的水中，随着留声机或乐队的音乐节奏左右摇摆。托马斯·曼不满地看着自己孩子这一代的行为。到处可以看到两个年轻女孩一起跳舞，有时甚至是两个年轻男孩一起。他们对此并不在意，尽情享受着留声机发出的异国情调的音乐。这些留声机装有结实的唱针，声音尽可能地响亮，播放着轻快的西迷舞、狐步舞、一步舞，双狐步舞、非洲西迷舞、爪哇舞者和波尔卡克里奥拉舞。这些音乐风格狂野而芬芳，有时充满渴望，有时又节奏分明，带着奇特的旋律。
▶ 英文原文 ⏱
Soon people were dancing everywhere in elegant cafes and corner pubs even in the water. On hot days couples rocked one another from side to side while up to their knees in the vanzi to music from a gramophone or even a band. Thomas Mann irritably observed his children's generation. Here and there two young girls dance together, sometimes even two young men. It's all the same to them. They do it to the exotic sounds of the gramophone which is fitted with robust needles to make it as loud as possible and it rings out its shimmies, foxtrotts and one steps, its double foxtrotts, African shimmies, Java dancers and polka creolas, wild, perfumed things, sometimes yearning, sometimes exacting with their strange rhythms.
战争结束后，一种新的舞蹈风格在美国兴起，并迅速吸引了整个欧洲大陆的注意，特别是在德国。这种舞蹈彻底改变了舞蹈界。在此之前，舞伴们在舞池中旋转跳跃，小心翼翼地避免踩到对方的脚，并尽量减少错误地完成他们的舞步。而“西米舞”则为舞者带来了前所未有的自由。如今，人们无需相互接触，就能在原地随节奏起舞。这不仅节省空间，还避免尴尬。如果舞池足够拥挤，即使有人没有舞伴，也没有人会注意到。
▶ 英文原文 ⏱
With the end of the war a dance style had emerged from the USA which fascinated the European continent and revolutionized the world of dancing, particularly in Germany. There previously couples had drifted across the dance floor in skillful spinning motions, struggling not to stand on each other's feet and perform their practice steps with as few mistakes as possible, the shimmie brought an unimagined freedom to the parquet. Now people danced almost on the spot to whipped up rhythms without touching one another. It saved on both space and embarrassment. If the hall was full enough, no one even noticed if someone didn't have a dance partner.
舞厅里充满了个人主义的氛围，同时也洋溢着尝试新事物的欲望。在过去，如果没有先上过舞蹈课就踏上舞池是不可想象的，而现在的新舞蹈则是通过模仿学会的。人们不再需要练习规定的舞步，也不用再受严厉的舞蹈教师的约束，他们只是冲进人群开始跳舞。1922年，舞蹈教师组建了一个协会，希望通过一场运动来纠正舞蹈自由的滥用，并对新兴的舞者进行规范。他们感叹，年轻人完全失去了对显得没准备好的恐惧。事实上，协会成功地将同样新兴的狐步舞，从一种包含大量暂停、跳跃、屈膝、分腿以及独舞动作的舞蹈，塑造成了如今常见的缓慢而稳重的版本。
▶ 英文原文 ⏱
The ballroom was conquered by a spirit of individualism, along with a desire to try new things out. Where in the old days it would have been unthinkable to step on a dance floor without having first taken dancing classes, the new dancers could only be learned by imitation. People no longer had to practice fixed sequences of steps, constantly harried by strict dance teachers; they just threw themselves into the melee and got dancing. In 1922, dance teachers formed an association to wage a campaign against the misuse of dancing freedom and to standardize newly emerging dancers. Young people had completely lost the dread of seeming unprepared, they lamented. In fact, the association managed to shape the equally new fox trot, which had originally left a great deal of room for breaks, jumps, knee bends, straddle steps, and solos into the slow and sedate version most commonly practiced today.
摇摆舞主要由肩膀的晃动和上身轻微的前后移动组成。从身体感受上看，它比之前流行的社交舞更接近现代俱乐部里的舞蹈。战后，人们试图解释这种源于非裔美国人的新移动方式，而这些解释如今看起来显得有些天真。在1921年出版的小册子《爵士与希米》中，声称希米摇摆意味着“摇动你的睡衣”。只需尝试一下从肩膀上摇动睡衣的动作，就能感受到这种特有的摇摆舞。据信，摇摆舞起源于今天的刚果一带，据说当地人喜欢原地用极大的热情和能量跳舞。
▶ 英文原文 ⏱
The shimmy consisted essentially of a shake of the shoulders combined with a slight back and forth movement of the torso. In terms of physical sensation, it's much closer to dancing in today's clubs than the social dancing that had previously prevailed. The explanations with which people try to make sense after the war of the new patterns of movement of African American origin seem touchingly naive today. In the brochure, Jaz and Shimi, published in 1921, it was claimed that the Shimi shake meant shake your night shirt. One needs only to try out the movement with which a night shirt is shaken from the shoulders in order to have the characteristic shimmying motion. The shimmy is supposed to have originated somewhere in the region of the present-day Congo, as it was thought that people danced on the spot with great brio and energy.
身体的每个部位都可以独立活动。这种能力与统一的欧洲舞蹈理想中典型的隔离能力完全不同，正如舞蹈历史学家阿斯特拉·艾斯特和班德·波尔斯特所解释的。一旦你大致掌握了肩膀的抖动，你就可以开始移动骨盆，这时你已经可以完美地抖动身体了。许多德国人享受这种解放性的抖动，但同时也对其保持高度警惕。从历史的角度来看，通过事后的反思，魏玛共和国那个危机四伏的时代的舞者看起来就像是死亡的怪诞舞蹈者，他们挥舞着假肢般的面具化身。在舞池上的狂热场景看起来像是一种地狱般的表演，在其中，一个深刻分裂的社会试图忘记它的分歧。
▶ 英文原文 ⏱
Every part of the body can be activated independently. That immediately excludes the diametrically opposite capacity for isolation typical of the unified European ideal of movement, the dance historians Astrad Aistet and Band Polster explain. Once you had more or less mastered the shaking of the shoulders, you could start moving the pelvis, and already you had your shimmying down to a tee. Many Germans enjoyed this liberating shake, but they also held it in considerable suspicion. From a historical distance, and with the benefit of hindsight, the dancers of the disaster-threatening Weimar Republic look like grotesque dancers of death, in which mask-like caricatures wave their fake limbs around. The ecstatic scenes on the dance floor look like a kind of infernal spectacle in which a deeply divided society tries to forget its differences.
对社会有批判意识的同时代人如奥托·迪克斯、乔治·格罗斯以及其他许多对肉体享乐持怀疑态度的人，将舞厅的喧嚣描绘成一种令人反感的纵欲行为，这种行为与其他人的痛苦形成了挑衅性的对比。在1942年，克劳斯·曼在一段被广泛引用的文字中对这场舞蹈狂热进行了评论。他回顾道，一个被打败、贫困潦倒、士气低落的民族在舞蹈中寻求忘却。舞蹈变成了一种狂热、着迷、一种崇拜；股市起伏不定，部长左右摇摆，国会翻筋斗；还有战争伤残者和战争利益获得者、电影明星和妓女，每个人都在恐怖的狂喜中疯狂舞动四肢。人们通过舞蹈来消除饥饿、歇斯底里，恐惧和贪婪、恐慌和恐惧。
▶ 英文原文 ⏱
Socially critical contemporaries such as Otto Dix, George Gross, and many others dubious about carnal pleasures portrayed the bustle of the dance hall as a repellent form of indulgence that contrasted provocatively with other people's misery. In one much-cited passage, Klaus Mann added his bit to the debate in 1942, looking back at the Hopping Addiction. A beaten, impoverished, demoralized people seeks oblivion in dance. Dance becomes a mania, an edee fix, a cult; the stock market humps, the minister's wobble, the Reichstag turns cartwheels, war-disabled and war profiteers, film stars and prostitutes, one hurls their limbs about in gruesome euphoria. People dance away their hunger and hysteria, fear and greed, panic and horror.
回顾过去，这种看法是可以理解的。第一次世界大战和通货膨胀已经让人们对当时的舞蹈狂热感到困惑。德意志国的老兵协会在1920年的天主教杂志《Fauxfart》中要求：“本国人民正踩着死者的头骨跳舞，停止这种不庄重的庆祝活动。” 对于新享乐主义的厌恶使得舞者被描绘得丑陋、无礼、贪婪和欲望满满。然而，舞者们自己却感受到了前所未有的自由与迷醉，一种前所未有的活力充满了他们的内心。
▶ 英文原文 ⏱
Looking back, this vision is quite understandable. The First World War and the inflation were already enough to make the dance craze look perplexing. The homeland is dancing on the skulls of its dead, away with such undignified festivities, the Reich Veteran Association demanded in the Catholic journal Fauxfart in 1920. Revulsion at the New Hedonism on the part of dancers made it impossible to paint them as anything but ugly, impertinent, greedy, and lustful. But the dancers themselves felt free and enchanted in a historically new way. A hitherto unknown feeling of exuberance took hold of them.
战后，制图师兼广告设计师罗伯特·L·利昂纳特（Robert L. Leonart）对爵士乐产生了浓厚的兴趣，无法自拔。他是个充满激情的舞者，也是"维尔梅因风格"的女郎杀手。他声称，就连他的狗也跟着强劲的切分音节奏喝酒。利昂纳特兴奋地表示，疯狂赢得了一切。革命、表现主义和博尔什维克主义已经进入了舞厅。震耳欲聋的喧嚣，狂野的舞蹈，使所有人如痴如醉。最老年的人也在这种狂热的氛围中屈服；一个难以想象的乔安娜·维维在大厅里跳跃欢腾。一个服务员端着满满一托盘的东西摔倒了，没人在意；那是音乐的一部分。两个男士互相拍打，也成了音乐的一部分。
▶ 英文原文 ⏱
The draftsman and advertising designer Robert L. Leonart, a passionate dancer and ladies man of the Villemine style, had become incurably addicted to jazz after the war. Even his dog drank to a shimmy beat, he claimed. Madness has won, Leonart crowed. The revolution, the expressionism, the Bolshevism in the ballroom. A deafening din, a wild dance, and everyone is hypnotized. The oldest people succumbed to the furious atmosphere; an unimagined Joanna Vive skips through the hall. A waiter falls over with a full tray and no one notices; it's part of the music. Two gentlemen slap one another, part of the music.
作者汉斯·齐姆森喜欢跳摆胯舞，因为这种舞蹈能让人感到愉悦，使他们超越自我。他能让人放松，并让他们忘掉在等级制度中被错误称为尊严的一切。1921年，他在《Veltbüner》写文章时，幻想如果德皇威廉跳摆胯舞会是什么样子。而爵士乐还有另一个优点，它完全不讲究体面。它能扫除对尊严、正确姿势、风度和硬领的任何想法。任何害怕显得可笑的人都跳不了摆胯舞。
▶ 英文原文 ⏱
The author Hans Zimsson was a fan of the shimmy because it put people in a state of euphoria and allowed them to get out of themselves. He'd loosened them up and took away what in a hierarchical state might wrongly have been called their dignity. Writing in the Veltbüner in 1921, he dreamed about what might have happened if Kaiser Wilhelm had danced the shimmy. And jazz has another fine quality. It is so completely undignified. It sweeps away any notion of dignity, of correct posture, of dash, of starched collars. Anyone who is afraid of making himself ridiculous can't do the shimmy.
德国的乐谱大师不会跳这种舞，普鲁士的预备军官也不会跳。如果所有的部长、顾问、教授和政客都被要求公开跳爵士舞，那该多好，他们的尊严会被轻松剥去。那样他们会显得多么人性化，多么和蔼，多么滑稽。要是德皇会跳爵士舞，这一切就不会发生了。但遗憾的是，他从未学过。原来，做德国皇帝比跳爵士舞还容易。
▶ 英文原文 ⏱
The German scoremaster can't dance it. The Prussian reserve officer can't dance it. If only all ministers and privy counselors and professors and politicians were obliged to dance to jazz in public. How cheerfully they would all be stripped of their dignity. How human. How nice. How comical they would become. If the Kaiser had jazz danced, none of it would ever have happened. But oh, he never learned it. Being the German Kaiser is easier than jazz dancing.
库尔特·托哈尔斯基（Court Tohalski）做了一个有趣的观察。这一观点也出现在智识杂志《Veltbüner》上。当他在柏林的一家舞厅聆听一个非裔美国爵士乐队时，他注意到这些音乐家表现得十分自然随和。因此，他认为不应该让他们穿着那些滑稽鲜艳的服装。托哈尔斯基认为，这些音乐家应该穿着普通的衣服来演奏，因为他们是在工作。他们所做的事情与浪漫主义完全相反，他们强调的是日常生活。观众可能是畜牧委员会的官员、邮局的职员或者是百货商店的销售人员。
▶ 英文原文 ⏱
Court Tohalski made an interesting observation. Also in the intellectual journal Veltbüner. When he listened to an African American jazz band in a Berlin dance club, he noticed that the musicians were completely matter of fact. Which is why it wasn't right that they dress in silly brightly colored suits. Tohalski was of the opinion that the musicians should work in ordinary clothes. They're working. What they do is the very opposite of romanticism. They emphasize the everyday. They want the listening cattle commissioner, the postal official, the habadesha.
他们不想把它们提升到梦想的美好境界，在那里一切显得最为美好。但他们对普通街头女性的工资和汽车制造商的财务困境有深入理解。他们的音乐与观众两小时前放下的打字机的节奏一致。他们的歌曲是股东的呐喊配上了节拍，他们的舞蹈是围绕着金牛的舞蹈。爵士乐队不过是另一种形式的商业延续。
▶ 英文原文 ⏱
They don't want to elevate them to the bright realm of dreams where things are at their bluest but they have a deep understanding of the salary of the woman in the street and the financial difficulties of the motor car manufacturer. Their music clatters to the same beat as the typewriters that the audience left behind two hours before. Their song is the cry of the stockholder set to a rhythm. Their dance is the dance around the golden calf. The jazz band is a continuation of business by other means.
根据托哈尔斯基的观点，爵士乐并没有让人们逃避现实。相反，它让人们更加深入地沉浸其中，通过舞动身体和思想进入一种欣喜若狂的状态，并与新时代的快速节奏同步。在舞厅中，1925年查尔斯顿舞风靡舞池时，这种集体的狂欢体验变得更加强烈。从社会学的角度来看，我们可以将其解读为早期工业音乐的一种形式，因为它模仿了现代时代的机械特征。
▶ 英文原文 ⏱
If we follow Tohalski, jazz did not seduce people out of reality. They pushed them even more deeply into it, dancing their bodies and their minds into a state of euphoria and synchronizing them with the forced tempo of the new age. The rapturous experience of community in the ballroom grew even more intense in 1925 when the Charleston conquered the dance floors. From a sociological point of view we might interpret it as an early form of industrial music. In that it imitated the mechanical aspect of the modern age.
查尔斯顿舞将舞者变成了杂技般的木偶。据说连手都活跃得如同陷入狂喜状态，手会触碰到身体的各个部位。腿部则有着"X"和"O"的形状，膝盖和脚交替地向内和向外转动。舞者可以弯曲后背，甚至下蹲。他们的脚像雨刷一样摆动，手臂像划桨一样运动，整个身体参与其中，动作既机械又充满激情。
▶ 英文原文 ⏱
The Charleston turned dancers into acrobatic marionettes. It was said even the hands are active, they touch all parts of the body as if in a state of ecstasy. Then there are the X and O shapes of the legs as knees and feet turned alternatively in and out. The dancer can bend his back or even go into a crouching position. He bends windscreen-wiper feet, rowing arms, the whole body is involved in a movement that is both mechanical and ecstatic.
最具特色的是双手交叉在弯曲的膝盖上，这赋予了查尔斯顿舞一种独特的角度外观，让人产生幻觉，以为是膝盖而不是手在交叉。身体各部位复杂的独立动作交织在一起，使身体犹如一台机器，四肢之间流畅地交错。如果协调得当，就会自然产生一种轻盈的状态。在这一点上，查尔斯顿舞类似于日常生活中的杂技表演。
▶ 英文原文 ⏱
Most characteristic are the hands which cross over the bending knees giving the Charleston its angular appearance and prompting the optical illusion that it is the knees and not the hands that are crossing. The complicated interweaving of so many isolated movements made the body into the copy of a machine in which the individual limbs smoothly intertwine. If coordination was successful a kind of floating state arose as if of its own accord. In this respect the Charleston resembled the daily acrobatics of life.
从音乐角度来看，查尔斯顿舞倾向于大场面的表现形式。大型舞厅里有乐队，他们的演奏让一切热闹非凡，连最无趣的人都被感染。用1928年柏林旅行指南中的话来说，你在Biddica找不到这样的场景。喇叭声，拨弦的班卓琴，铿锵有力的鼓声以及呜咽的萨克斯风，巧妙地平滑了活塞般的节拍，这是基本的声音风格。小提琴演奏的感伤段落在手风琴的配合下，抚慰着人们的心灵。
▶ 英文原文 ⏱
Musically the Charleston was inclined towards the widescreen format. The big dance cafes had bands that send everything crashing down and bring them and verb to the most boring people. In the words of the 1928 Berlin travel guide, what you won't find in Biddica. Fanfare like brass sections, strumming banjos, hard clattering drums and wailing saxophones that gently smoothed the piston-like beat. That was the basic sound. Sentimental passages on the violin consoled the heart, assisted by the accordion.
当快乐的小号不时从踩踏的节奏中冒出来，俏皮地鼓励狂舞的舞者继续跳下去时，留声机让人们可以在家里和乡村跳舞。1925年至1929年间，唱片销量增长了十倍，达到每年3000万张。插图杂志建议大家在镜子前练习，正如Friedrich Hollander在他1926年的歌曲《我跳查尔斯顿》中预言的那样，人人都跳查尔斯顿舞。
▶ 英文原文 ⏱
While a jubilant clarinet occasionally rose out of the stamping rhythm and cheekily encouraged the thrashing dancers to keep going. The gramophone allowed people to dance at home and in the countryside. Between 1925 and 1929 record sales had risen tenfold to 30 million discs a year. Illustrated magazines recommended practicing in front of the mirror, so what Friedrich Hollander had prophesied in his 1926 song, I Dance the Charleston, came to pass. Everyone danced the Charleston.
故事是这样的：如果你能跳舞，那就跳吧。而且如果你能跳，就一直跳到天亮。爸爸会跳，妈妈会跳，阿姨也会跳。甚至在厨房里，玛丽也会跳。我跳查尔斯顿舞，你跳查尔斯顿舞。他也跳查尔斯顿舞。我们都跳查尔斯顿舞。那你呢？
查尔斯顿舞是一种振奋人心的舞蹈。它激发了自信，并鼓励人们通过舞蹈表达自己的情感。富有表现力的舞蹈在舞台上非常流行，现在每个人都可以在舞池里展现一点。最重要的是，跳查尔斯顿舞不需要舞伴。无论是平脚板还是跳得如同天使，这都取决于个人。人们不需要去关注其他人，或者担心和别人纠缠在一起。舞者们只需尽情享受融入舞动的人群中。这种舞蹈体现了对生活无拘无束的热爱，是在欢快的人群中个体自我力量的展示。
▶ 英文原文 ⏱
It went like this, if you can, you can. And if you can, you dance till morn. Papa does it, mama does it, auntie does it. Even in the kitchen, Marie does it. I dance the Charleston, you dance the Charleston. He dances the Charleston. We all dance the Charleston. And what about you? The Charleston was an uplifting dance. It fired up the ego and inspired people to express their own emotions through dance. Expressive dance was very fashionable on stage and now everyone could do a bit of it on the dance floor. Most importantly, the Charleston didn't require partners. Whether they were flat-footed or danced like an angel, it was up to the individual. No one needed to pay attention to anyone else or worry about getting somehow tangled with one another. Dancers just enjoyed being caught up in the dancing crowd. It was the dance of an unbridled love of life, a self-empowerment of the individual within the cheerful multitude.
查尔斯顿舞对于女性来说尤其令人愉快。她们不需要被引导，通常是比较活跃和充满活力的参与者。与探戈相比，查尔斯顿舞更简单、更不复杂。在探戈中，性别角色有严格的分工。而查尔斯顿舞则充满运动和活力。女性不再像被打扮过的棋子那样被推到舞池之中，也不再在暗示征服的姿态中被摇摆和弯曲了。她不再是男人引以为豪地操控的女神。在舞池上，男女享受到了完全的平等，需要双方付出同样的努力。舞者们确实从纤瘦和运动中受益，越瘦越灵活越好。此时，端庄的主妇和老派的绅士一样没有机会。丰满的胸部和慷慨的臀部不被看好，时装设计更倾向于流线型剪裁。
▶ 英文原文 ⏱
The Charleston was particularly enjoyable for women. They didn't have to be led and were usually the more active exuberant participants. It was much easier and less complicated to dance the Charleston than the tango, for example, in which the gender roles were strictly assigned. The Charleston was athletic and action-packed. The woman was no longer pushed across the dance floor like a doled-up chess piece, no longer swung and bent about in suggestive gestures of conquest. She was no longer a diva whom the man proudly maneuvered. Man and woman suddenly enjoyed absolute equality on the dance floor, and the same effort was required of both. Dancers did its true benefit from being slim and athletic, as wiry and agile as possible. Here, the dignified matron had as little chance as the stiff-hipped cavalier of the old school. Buzzoms and generous hips were frowned upon, and fashion designs favored the pencil line.
Charleston连衣裙的上半部分是直筒设计，裙摆从臀部低处开始，以尽量压抑女性曲线的表现。当时大多数女性都顺应了这种中性风格的潮流，而体型不够纤瘦的女性则不得不接受自己不再时尚的现实。相比之下，男性在1920年代始终坚持穿着宽松的晚礼服或西装。然而，为了在舞池中更具运动性而设计的舞蹈夹克，却未能成为流行时尚。即使在最大胆的设计中，它也像和服一样剪裁，只有极少数性格外向的男性才愿意尝试。
▶ 英文原文 ⏱
The Charleston dress was cut straight at the top, and the skirt started low on the hips in an attempt to suppress as far as possible any feminine lines. While most women complied with the requirement of the boyish look, and the less slim among them had to come to terms with being out of fashion, men stuck rigidly with the tuxedos or the suit, which tended to be worn oversized during the 1920s. The dancing jacket, on the other hand, which was supposed to encourage more sporting activity on the dance floor, was a fashion failure. At its boldest, it was cut like a kimono, a step too far for all but the most extrovert of men.
走出非洲
对大多数德国人来说，西米舞和查尔斯顿舞是他们与非裔美国文化的首次接触。许多酒店雇佣了黑人音乐家或黑人服务员。非裔美国乐队在全国巡演，当时使用的名字在今天看来有种族歧视的意味，比如萨姆·伍丁和他的“巧克力小子们”。悉尼·巴彻（Sydney Bachey），不久后成为纽奥尔良风格爵士乐的国际知名代表之一，经常在法塔兰德之家表演。
▶ 英文原文 ⏱
Out of Africa For most Germans the shimmy and the Charleston were their first encounters with African American culture. Many hotels engaged black musicians or black waiters. African American bands toured the country under names that would today be recognized as being racist, such as Sam Wooding and his chocolate kiddies. Sydney Bachey, who would soon become one of the most internationally famous representatives of New Orleans style jazz, was regularly to be heard in the House, Fartaland.
约瑟芬·贝克出生于密苏里州的圣路易斯，1926年19岁时来到柏林。她在纽约遇见了凯尔·福尔米勒，罗德·兰索夫的男友和赞助人，他为约瑟芬安排了在巴黎和柏林的演出活动。在这两个城市里，她都备受推崇，成为了一大轰动人物，人人都迫切想要见到她，哪怕只能与这位以狂野著称的舞者共度几分钟的时光。作家让·科科托尔称她是青铜、棕色钢铁、讽刺和黄金的偶像。毕加索则把她比作现代的尼费尔提蒂。不过，当人们看到她对法兰克福香肠和土豆沙拉这种最爱食物的旺盛胃口时，这些象征被拉回了现实。
▶ 英文原文 ⏱
Josephine Baker, born in St. Louis, Missouri, came to Berlin in 1926 at the age of 19. Kyle Follmiller, the boyfriend and patron of Roode Lansauff, had met the dancer in New York and arranged for her to be given engagements in Paris and Berlin. She was a greatly admired sensation in both cities and everyone was desperate to meet her, to spend at least a few minutes in the company of the famously wild dancer. She was an idol of bronze, tan steel, irony and gold, the author Jean-Cocototl raved. Pablo Picasso saw her as a present-day Nefertiti. Such projections were brought down to earth when one saw the insatiable appetite with which she devoured her favourite food, frankfurters and potato salad.
约瑟芬·贝克的特长是异国风情，这种风格被称为la d'Alsovage，意思是“野性舞蹈”。她穿着一条由香蕉制成的短裙，并在表演中的戏剧性时刻故意把眼睛对着，巧妙地讽刺了过时的“野蛮人”观念。据《柏林贝尔森报》报道，她能够像袋鼠一样向前伸展她的腹部和臀部。报道又称，她是最真实的女人，是最纯粹的黑人精神的表现。这本是赞美之词，但其中暗含种族歧视的色彩。约瑟芬·贝克是来自圣路易斯的舞者，在费城和纽约成长，并在巴黎广受欢迎，但报纸的评论似乎试图把她简化为她所谓的原始血统的动物性。
▶ 英文原文 ⏱
Josephine Baker's speciality was exoticism, a style that was known as la d'Alsovage, savage dancing. With a short skirt made of bananas and a curious habit of crossing her eyes during her dramatic breaks, she skillfully parodied dusty ideas of savages. She could stretch her belly and hips forward like a kangaroo the Berliner Berzens Seitung wrote. Josephine Baker was the most authentic of women the newspaper went on. She is the purest expression of the Negro spirit. It was meant appreciatively and yet the praise was tainted with racism. The worldly Josephine Baker, a dancer originally from St. Louis, had grown up in Philadelphia and New York and was celebrated in Paris but the paper's comment was an attempt to reduce her to the animality of her supposedly primitive heritage.
其他论文尝试从心理学角度入手。约瑟芬·贝克揭示了一种无意识的力量，这种力量颠覆了我们的整个哲学，或许可以说是误导性的轻浮。抱以最崇高的敬意，她的臀部灵活如巧克力布丁，她对这种天赋感到自豪。贝克是一个复杂的人工造就的形象，并拥有对现代文化潮流的讽刺感。她不仅是一位出色的夜总会香颂歌手，也是热爵士乐的表演者，她时常强调查普林式的机械化特性，尤其是在跳查尔斯顿舞时。与她的犬吠声和香蕉裙相比，由于她作为舞者时佩戴经过现代人工处理的短发，她更像是一件先锋派多媒体表演艺术作品。
▶ 英文原文 ⏱
Other papers tried psychology. Josephine Baker revealed the unconscious that throws our whole philosophy into disarray, or misguided frivolity. Her bottom with the greatest respect is a chocolate pudding of agility and she is rightly proud of this gift of nature. Baker was a complex artificial figure with a parodic sense of the most modern cultural trends. Not only was she a great singer of cabaret style chançons but if she switched to hot jazz a moment later she tended to stress the mechanical chaplainesque attributes of the Charleston. In contrast with her bark and banana skirts particularly since she wore an ultra modern artificially prepared bob as a dancer she was an avant-garde piece of multimedia performance art.
辛哈德被她深深吸引，试图将她从光明和成功的世界中引诱出来，想让她成为他在柏林戏剧帝国中的一名严肃演员。她感到十分荣幸，考虑了一下，最终还是回到了巴黎著名而辉煌的歌舞表演场所Follibiergere。在20世纪20年代，黑人在德国已经不再是陌生的存在。这部分是因为那时欧洲多国曾设立过屈辱的人类动物园，展示外国民族和人种的生活和活动。
▶ 英文原文 ⏱
The Schienhard was fascinated by her and tried to lure her from her world of light and attainment and turn her into a serious actress in his Berlin theatrical empire. She felt honoured, thought about it briefly and then returned to the Follibiergere, one of the great and radiant cabarets of Paris. In the 1920s black people were no longer unknown in Germany. That was partly as a result of the humiliating human zoos that had put the life and activity of foreign peoples and human races on display in many European countries.
尽管除了那些带有种族歧视色彩的展示，还有一些非洲裔人士以各种方式来到德国。他们中的一些人在政府官方访问后，被留下来成为仆人或被当作新奇事物展示。还有一些是因为富有的父母送他们到欧洲接受教育，另一些则是为了冒险精神和想要体验世界而来。这个小众的黑人民族群体中，有些曾经是德国殖民统治部队中非洲辅助部队的一员，现在生活在柏林和其他城市。
▶ 英文原文 ⏱
But even aside from those racist spectacles there were people of African heritage in Germany who had arrived in the country in a great variety of ways. Some were left behind as presence whether as servants or curiosities after official state visits. Others because they had been sent to Europe for an education by their affluent parents, still others out for spirit of adventure and because they wanted to experience the world. Some members of this small minority of black Germans had served as members of the African auxiliary troops of the German colonial ruling forces and now lived in Berlin and other cities.
他们携带武器和重型设备，并作为士兵参与对抗英国，有时甚至对抗自己的同胞。他们目睹了德国军队在德属西南非洲对土著人民犯下的暴行，有时甚至被迫参与屠杀。随着1918年战败，殖民地也一并失去了。一些被征召的黑人士兵随着返回的白人战友一起回到了德国。
▶ 英文原文 ⏱
They had carried weapons and heavy equipment but had also fought as soldiers against the British and sometimes even against their own people. They were witnessed to the atrocities that German troops perpetrated against indigenous peoples as occurred in German South West Africa and were sometimes forced to take part in the massacres themselves. With the defeat of 1918 the colonial territories were also lost. Some of the conscripted black soldiers came to Germany with their returning white comrades.
这里他们被视为骄傲殖民过去的活生生见证，但这看法多少带有一些可疑和居高临下的味道。被尊称为忠诚的阿斯卡里（Ascari在斯瓦希里语中意为士兵），他们的存在用来美化那个被描绘在交易卡片和低俗杂志中的所谓仁慈德国殖民统治的扭曲图景。其中一些忠诚的阿斯卡里与德国女性幸福地结为连理，并在家庭合影中作为白人亲属中的自豪领导者展现自我。
▶ 英文原文 ⏱
Here they were valued as living witnesses of a proud colonial past or be it in a suspect and condescending way. Revered as loyal ascaris, ascari means soldier in Swahili, their existence served to furnish the distorted picture of supposedly benevolent German rule in Africa which was painted on trading cards and pulp magazines. Some of these loyal ascaris were happily married to German women and presented themselves in the usual family photographs as proud leaders among their white relatives.
其中一位是来自达里斯报警公司的巴尤米·穆罕默德·侯赛因，他自称胡兹恩。他是一个土著兵的儿子，1914年时，年仅十岁的他成为一名儿童兵，为德国而战，并在1917年严重受伤。在多艘船上工作后，巴尤米·胡兹恩来到柏林，想领取一些未支付的工资，但由于缺少必要的文件，他没能如愿。于是，他在法塔兰德宫殿找到了一份工作，成为那里的一名服务生和“活动橱窗摆设”，时而被扮作土耳其人，时而被扮作非洲人。
▶ 英文原文 ⏱
One of these was Bayoumi, Mohamed Hussein from Daris Alarm who called himself Huzn. He was the son of an ascari and from 1914 as a ten year old child soldier he had fought for Germany before being seriously wounded in 1917. After holding a position on various ships Bayoumi Huzn came to Berlin to claim some outstanding pay but he lacked the necessary papers. Instead he took a job as a waiter and a piece of living window dressing in the pleasure palace of House Fartaland where he was deployed alternately as a Turk or an African.
胡兹恩显然非常受公众欢迎。1933年，他与一位怀有他孩子的女裁缝结婚，他们有了两个孩子，还领养了他与另一名女性生的孩子。与此同时，他在柏林大学东方语言学研讨班教授斯瓦希里语。战后不久，由于士兵们发起的仇恨运动，德国国内针对黑人的殖民傲慢情绪被压制了。这场运动以所谓的“黑人耻辱”为基础。
▶ 英文原文 ⏱
Huzn was plainly very popular with the public. In 1933 he married a seamstress who was pregnant by him, had two children with her and also adopted another child that he had with another woman. On the side he taught Kiswahili at the seminar for Eastern Languages of Berlin University. The colonial pride directed towards black people in Germany was suppressed soon after the end of the war by a hate campaign started by soldiers. This was based on talk of black shame.
这段文字探讨了法国军队在莱茵兰占领区部署北非士兵的历史背景，这些士兵据称曾侵犯德国女性。在一篇有关爵士乐队演出的文章中，库尔·托霍尔斯基提到了广泛谈论的“黑人耻辱”一词。如今，用德语说出“黑鬼”这个词是很困难的，常常会被人打断并指责为“黑人耻辱”。然而，在我看来，“黑人耻辱”更像是一种“法国的耻辱”，而被强暴的阿比西尼亚人并没有因此否认使用所谓的“黑鬼”歌曲的节奏。
▶ 英文原文 ⏱
This was the slogan applied by the deployment of North African soldiers by the French army within the occupied Rhineland who had supposedly abused German women. In the article about the appearance of a jazz band Kour Toholsky mentioned the widespread talk of black shame. It is very difficult to say the word negro in German today without people interrupting you with a cry of black shame but black shame seems to me to be more of a French shame and raped Abyssin years do not disavow the rhythm of N word songs for that reason.
他的惊人之处在于，托霍尔斯基在一篇明确试图捍卫音乐的文章中使用了冒犯性的词汇。当法国在1930年最终撤退时，作家卡尔·泽克玛亚在一篇报纸文章中写道，与其谈论所谓的“黑人的耻辱”，不如谈论白人的可耻行为。因为在对待黑人的方式上，我们只能用“奴役”来形容他们的军事部署，而没有其他合理的说法。
▶ 英文原文 ⏱
And his startling is that Toholsky uses the offensive term in an article that expressly seeks to defend the music. When the French finally withdrew in 1930 the author Karl Tseukmaya wrote in a newspaper article that rather than speak of black shame one should instead speak of the shameful behaviour of whites. Shame in the treatment of black people because there is no sensible reason to describe their military deployment with any word other than slavery.
在我们多雾、潮湿、阴冷的冬季气候中，可怜的人们大量地被咳嗽折磨致死。矿井和荒地上的墓地是这些非洲人欠我们文明的可怕见证。黑人德国人在无数漫画和煽动性传单中被描绘成野兽。这最终导致了对那些曾被接受和珍视的阿思卡里人的攻击。
▶ 英文原文 ⏱
The poor fellows coughed themselves to death in huge numbers in our foggy damp wet cold winter climate. Cemeteries in mines and coblands bear terrible witness to what these Africans owe our civilisation. Black Germans were depicted as beasts in countless caricatures and inflammatory fliers. This led in time to attacks on the Ascaris who had been accepted and indeed valued only a short time before.
1921年5月，来自喀麦隆的黑人民间艺人和演员路易斯·博尔德代表非洲援助联盟，向来自米塔克的精英们寻求帮助。他在信中写道：“我们并不是如今在德国普遍被认为的不道德和未开化的种族。我们必须提醒德国人，德国殖民军队的谢茨部队指挥官莱托尔-法贝克在非洲打这场战争时，并不是孤军奋战，而是有当地土著人民参与，他们自豪地为德国的旗帜献出了自己的生命。”
▶ 英文原文 ⏱
In May 1921 the black entertainer and actor Louis Borde from Cameroon turned for help to the beetset from Mitak with a letter in the name of the African aid union. We are not the immoral and uncivilised race that we are now generally claimed to be in Germany. We must remind the Germans that the Lettor-Fabeck commander of the Schutztrupper colonial German troops in Germany's Africa did not wage the war in Africa alone, but that the indigenous people took part and that they proudly laid down their lives for the German flag.
居住在柏林和非占领区的德国的黑人是来自前德国殖民地，而不是来自被占领地区的黄种人或黑人。因此，我们请求德国人小心行事，不要通过关于黑人耻辱的报道来不断激起公众对他们的负面情绪。
▶ 英文原文 ⏱
The black people who live in Berlin and the non-occupied territories of Germany are from the former German colonies and are not yellow or black people from the occupied territory. For that reason we ask the Germans to be careful and not constantly to inflame public opinion against them with reports about the black shame.
在许多方面，生活在德国的黑人常常受到尊重和好奇的对待，特别是因为他们中许多人在1918年后并没有表现出太多的意愿去成为凡尔赛条约允许的法国或英国的公民。一个悲剧性的融合例子是古斯塔夫·萨巴克-埃尔-希尔，他是奥古斯特·萨巴克-埃尔-希尔的儿子。奥古斯特是一位努比亚男孩，1840年代被开罗政府作为礼物赠送给普鲁士的阿尔伯特王子，后来被雇用为宫廷成员。
▶ 英文原文 ⏱
In many respects black people living in Germany were often treated with respect and curiosity, particularly since many of them showed little inclination after 1918 to become citizens of the mandatory powers of France or Britain, as the Versailles Treaty allowed them to do. One tragic example of integration is Gustave Sabak-El-Sheer, the son of Auguste Sabak-El-Sheer, a newbian boy given as a gift to Prince Albert of Prussia from the government in Cairo in the 1840s and later employed as a court moor.
Gustave 成为皇家掷弹兵团的高级音乐指挥，多次在皇帝及其随行人员面前演奏。他和他的乐队现在在柏林的蒂尔加滕表演军乐，而他的儿子们霍斯特和哈伯特·萨巴克-埃尔-希尔则在首都的高档酒吧里用他们自己的乐队演奏舞曲。作为一名忠于皇帝的退伍军人，Gustave Sabak-El-Sheer 甚至成为了前线士兵斯泰尔海姆钢盔协会的坚定支持者。
▶ 英文原文 ⏱
Gustave became a senior music master of the Royal Grenadier Regiment and played several times before the Kaiser and his entourage. He and his band now performed military marches in Berlin's Tia Garten while his sons, host and haberts Sabak-El-Sheer played dance music with their own band in elegant bars in the capital. As a military veteran loyal to the Kaiser, Gustave Sabak-El-Sheer had even become a convinced devotee at the Stylheim Steel Helmet Association of Frontline Soldiers.
许多富有的柏林人认为他是他们沙龙的亮点，因为他以其魅力和迷人的谈吐而闻名。1930年，他和他的妻子格尔塔特在该国东部的科尼希斯福斯塔豪森镇开了咖啡馆Sabak-El-Sheer，这里也被设想为他过去的斯泰尔海姆战友的聚集地。然而，当种族主义在魏玛共和国末期日益成为日常生活和公共讨论中的显著特征时，这些老战友开始觉得他们的黑人同志是个尴尬的存在，并避开他的咖啡馆。
▶ 英文原文 ⏱
Many affluent Berliners saw him as a credit to their salons, famed as he was for his charisma and charming conversation. In 1930, he and his wife Gertaut opened the café Sabak-El-Sheer in the town of König's Vostahausen in the east of the country, which was also intended as a meeting place for his old Stylheim comrades. But when racism became an increasing feature of everyday life and public discourse towards the end of the Weimar Republic, the veterans came to see their black comrade as an embarrassment and they avoided his café.
这位有普鲁士思想的指挥家，现已退休，无法接受背叛。在去世前一年半的1933年1月30日，他在萨巴克-艾尔-谢尔家族编年史中写道：领袖阿道夫·希特勒，帝国已统一为一体，德国的崛起正在开始。萨巴克-艾尔-谢尔的格陶特比大多数白人同胞更以普鲁士的方式思考、感受和演奏音乐。
▶ 英文原文 ⏱
The Prussian-minded conductor, now retired, refused to accept the betrayal. On the 30th of January 1933, a year and a half before his death, he wrote in the family chronicle of the Sabak-El-Sheers, Führer Adolf Hitler, the Reich is unified and as one, Germany's ascendancy is beginning. Gertaut of Sabak-El-Sheer thought, felt and played music in a more Prussian way than most of his white fellow citizens.
现代文化产业要求黑人以某种特定方式行事。在德国各地的夜总会和音乐俱乐部中，黑人常常被简化为“他者”的形象。他们被视为例外，作为非白人、与正常生活相反的存在，被看作是文明人抛弃的野蛮图景，现在被当作一种艺术享受。
▶ 英文原文 ⏱
It was the modern culture industry that required black people to act in a certain way. In cabarets and music clubs throughout Germany, black people were often reduced to a representation of the other. They were engaged as exceptions, as non-whites, as the opposite of normal life, viewed as the savage that civilized man had left behind and now wanted to enjoy as art.
就像当时所谓的 Niigre Kunst（黑色艺术）一样，这种艺术曾让表现主义着迷，现在则以一种充满原始活力的方式活跃于许多冷酷的包豪斯风格环境中，形式是从殖民地偷来的工艺品。黑人音乐在某些方面也被认为具有优越的品质，但与此同时在其他方面却遭遇轻视。无论如何，这种音乐被认为不适合现代生活，除了在下班后的舞池中。
▶ 英文原文 ⏱
As in the case of the Niigre Kunst, Niigre Art, as it was called at the time, which had enchanted expressionism and now enlivened many cool Bauhaus settings with a dash of primitive vitality in the form of artefacts stolen from the colonies, black music was also credited with superior qualities in some respect, while at the same time being despised in others. At any rate, it was seen as unsuited to modern life except on dance floors after the working day.
这些人被形容为像野人一样跳舞，敞开身心进行各种动作，这让以刻板著称的德国人有机会以全新的方式体验他们的身体，并达到一种近乎狂喜的状态，在这种状态下，自我仿佛变得无比轻盈。众所周知，原始主义和原始艺术在魏玛共和国的艺术讨论中占据了重要位置。
▶ 英文原文 ⏱
There people were described as dancing like savages, opening themselves up to a repertoire of movements that gave the notoriously stiff Germans the opportunity to experience their bodies in new ways and took them to ecstatic heights in which the ego seemed to become weightless. Famously, primitivism and primitive art assumed an important place in the artistic discourse of the Weimar Republic.
德国人自认为完全理性和成熟，因此会转向原始和古老的事物，并在其中认出一种属于自己的史前时期。先锋抽象画家瓦西里·康定斯基认为自己与原始事物有深刻的亲缘关系，因为他努力描绘深层本质，而不过多花时间在和现实生活现象的对应上。早在第一次世界大战之前，艺术理论家威廉·沃林格就认为，现代人不可避免地会对古老的世界图像持开放态度，因为所有在思想和研究上的进步使世界变得更大更复杂，而人类自身却显得渺小。在知识的傲慢中被击倒的人类，发现自己在面对世界的图像时，一如原始人般迷失且无助。
▶ 英文原文 ⏱
Germans saw themselves as being entirely rational and mature enough to turn to the primitive and the archaic and recognize in it a kind of prehistory of themselves. The pioneering abstract painter Vasily Kandinsky saw a profound kinship with the primitive, with regard to his effort to depict the deeply essential without spending too much time on correspondences with real life phenomena. Even before the First World War, the art theorist Wilhelm Vooringer saw modern people as being inevitably open to archaic images of the world, since all progress in thought and research had made the world bigger and more complex while human beings were made smaller. Cast down by the arrogance of knowledge, man sees himself as being once again just as lost and helpless in the face of the image of the world as primitive man.
潜意识深处所谓的原始能量一直是人们极大的兴趣来源，也一直是心理学研究的对象。这些能量通过舞蹈以社会可接受的方式释放出来。许多人喜欢通过舞蹈打破一切规矩的感觉，并在其中发现一种存在的自由感，在这一珍贵而完整的时刻里，似乎实现了共和国的政治承诺。查尔斯顿舞和希米舞同样被右派的庸俗之徒厌恶。右翼的前海军中尉指挥官曼弗雷德·冯·基林格在1921年夏天策划刺杀中间派政治家马提亚斯·阿尔茨贝格，并对那些“趁机捞油水的犹太人”和穿着修身外套和跳希米舞鞋的年轻人大发雷霆。他反问那些他所厌恶的穿着得体的舞者：“你们认为我们会嫉妒他？”答案是：“不，绝对不会。首先，我们不会嫉妒他有时会受到我们的惩罚。”
▶ 英文原文 ⏱
So-called primitive energies from the depths of the unconscious, a source of great fascination and the object of psychological study were released in a socially acceptable way in dance. Many people enjoyed the feeling of being able to shake off all conventions through dance and to discover an existential freedom in which the political promise of the Republic seemed to be fulfilled for one precious and entire moment. The Charleston and the Shimi were equally hated by Philistines on the right. The right-wing former Lieutenant-Commander Manfred Freiheff on Killinger, who commissioned the assassination of the centrist politician Matthias Alsberger in the summer of 1921, raged against both racketeering Jews and snot-nosed brats with waisted jackets and shimmy shoes. Do you believe he rhetorically asked the hated smartly-dressed dancer? We would envy him? No, certainly not. Above all, not for the beating that he will sometimes get from us.
金钱就是你的上帝。它给予你生活所需。爵士乐队、舞者、犹太剧院、喝香槟酒、让你的女人佩戴珠宝和皮草。世界将我们与你们分隔开来。杀死我们的威胁如滴水般来自失败者对复仇的渴望。对他来说，Shimi的起源首先是美国的。大多数德国人与他们狂热舞动的黑人音乐家之间的关系充满了焦虑、渴望、投射、偏见和尴尬。欣赏和诋毁几乎无缝结合在一起。例如，潮流引领杂志《Tempeur》用乐队演奏音乐的和平图片来展示黑人音乐在德国的成功，但却给文章取了一个骇人的标题：黑人入侵欧洲。
▶ 英文原文 ⏱
Money is your God. It gives you what you need for your life. Jazz band, dancers, Jewish theatre, drinking sparkling wine, draping your women with jewelry and fur. World divide us from you. Killing us threats drip with the losers thirst for revenge. For him, the origin of the Shimi was one thing above all, American. The relationship of most Germans to the Black musicians to whose music they danced so ecstatically was filled with anxieties, longings, projections, prejudices and awkwardness. Appreciation and defamation fed almost seamlessly into one another. So, for example, the trend-setting magazine, Tempeur, illustrated a story about the success of Black music in Germany with peaceful pictures of a band playing music, but gave the article the alarming headline, Negroes Invade Europe.
在这篇文章中，一方面对黑人作为完全合法的人类个体的承认是以居高临下的态度表示欢迎的，另一方面，文章却毫无忌惮地将少数几位音乐家和舞者的出现描述为“黑人化"的进展。同时，保守的观察者对于相对较多数量的黑人音乐家倒不如说是对他们在公众中受欢迎的程度更感到不安。人们所担心的进展不是空间上的，而是文化上的，它深入到了西方的灵魂，西方在其衰落中无思想地向外国人屈服，被视为一种可耻的自我背叛行为。在同一期《Tempeur》的特刊中，著名芭蕾评论家瓦娜·祖威对非洲舞蹈音乐进行了猛烈抨击，标题为《人们为什么跳舞？》。在他的文章中，祖威借用了作者奥斯瓦尔德·施本格的文化悲观主义，认为白人文化由于战争和传统的消耗已经内部枯竭和削弱。
▶ 英文原文 ⏱
In the article, the acknowledgement of Black people as fully valid human beings is condescendingly welcomed on one hand, while on the other, the paper has no compulsion in describing the appearance of a very small number of musicians and dancers as the advance of Negroism, Negatum. At the same time, conservative observers were less troubled by the relatively large numbers of Black musicians than by their popularity with the enthusiastic public. The feared advance was not spatial but cultural and advanced into the soul of the West, which in its decadence thoughtlessly yielded to foreigners in a shameful act of self-patrail. The well-known ballet critic, Vanna Zuwe, blustered about African dance music in the same special edition of Tempeur under the headline, Why Do People Dance? In his article, Zuwe borrows from the author Osvald Spengler's cultural pessimism concerning the internal depletion and weakening of white culture, which he claimed was weirried by war and conventions.
欧洲人希望拥有智力落后的种族那种更强大的力量和持续不断的兴奋。他感到厌倦，不再是复杂文化音乐的对手，受过教育的人希望用天真旋律的刺耳不和谐来麻醉不安和绝望。因此，在最关键的时刻，他会危险地一贯表现出曾经被压迫的、更黑暗的种族的姿态。同时，爵士乐、查尔斯顿舞及其多种风格变化的部分农耕起源，早已被美国和欧洲大城市中所受的超现代影响所覆盖。爵士乐听起来不像种植园，而更像是火车的轰鸣和汽笛声、冲床和蒸汽锤的重击声、传送带的节奏以及城市交通的喧嚣。
▶ 英文原文 ⏱
The European wants to have the stronger forces and unbroken excitement of intellectually backward races. He is weary, no longer a match for sophistication and cultural music, the educated man wishes to anesthetize, unease and despair with the harsh disharmonies of naive melodies. And for that reason, at the most crucial moments and with dangerous consistency, he assumes the gestures of a formerly oppressed, blacker race. Meanwhile, the at least partly agrarian origins of jazz, the Charleston and its many stylistic variations had long been overlaid by the ultra-modern influences that it had received in the great cities of America and Europe. Jazz sounded less like the plantation than it did the stamping and whistling of railway trains, the thump of punching machines and steam hammers, the rhythm of conveyor belts and the hum of city traffic.
这段话的大意是：
这是伴随着人们对生活日益增长的需求而出现的，也是他们在迈向个人独立并摆脱他人评判过程中所承担的私人风险的伴奏。与此同时，这也是消费主义不断增长的伴奏。爵士乐是推动人们前进的动力，是1929年经济危机前那些无忧无虑年代的声音引擎，激励着人们取得更大成就，无论穿着何种风格的衣服，无论是在陶醉中跳舞还是带着自嘲的态度。由布雷斯劳爵士音乐家斯特凡·文托布带领的文托布切分乐团的演出，是音乐拼贴艺术的亮点，他们以激情、感伤与理智、忧郁与乐观相结合的风格打动并激励了热情的观众。
▶ 英文原文 ⏱
It was the accompaniment to the growing demands that people made of life, the private risks that they took on the way to greater independence from the judgment of their contemporaries, on the way to individual autonomy. It was also the accompaniment to growing consumerism. Jazz was a source of movement, the acoustic engine behind more carefree years before the 1929 economic crisis, impelling people on to ever greater achievements, whatever their style of dress, whether they danced enraptured or in a spirit of self-irony. Appearances by Vintob syncopators led by the Breslau Jazz musician Stefan Vintob were highlights of the art of musical collage, thrilling their enthusiastic audiences with their mixture of passion, sentimentality and sobriety, melancholy and optimism.
Vintob syncopators将古典音乐、探戈、华尔兹和香颂等元素结合在一起，融入一种愉快的爵士乐风格，使人们情不自禁地起身舞动。而与之风格迥异但同样引人入胜的是滑稽幽默的喜剧和声组合，这是一个内部化了爵士音乐并以无伴奏合唱表现的团体。他们用温柔而低沉的男声为这个并不如表面上那么自由自在的世界带来了一种宁静的声音。事实上，即使在1920年代的鼎盛时期，美国风格的音乐在人们热情舞蹈的声音中也只占很小一部分。
▶ 英文原文 ⏱
Vintob syncopators combined elements of classical music, tango, waltzes and chonsons and amalgamated them into a cheerful jazz texture that drew people from their seats. Very different, quieter but similarly ambiguous was the self-sattire of the comedian-harmonists. An acapella group that had internalised jazz and performed it without instruments. A wonderfully tender, male voice-quiet sound for a world that was not perhaps quite as carefree as it pretended to be. In fact, at the peak of the 1920s American-influenced music represented only a small part of the sound to which people danced so enthusiastically.
在大舞厅里，声音世界实际上是令人着迷的多元文化。在柏林的Fartaland宫里，短短一个小时的时间内，从一个大厅走到另一个大厅，你可以听到来自纽约、布达佩斯、维也纳、罗马、布宜诺斯艾利斯和慕尼黑的音乐。然而，无论是在Hof Poi House还是Polana啤酒厅，慕尼黑和巴伐利亚地区的美国音乐传播得并不广泛。舞曲音乐完全拒绝了来自普鲁士首都的尖锐音符。不过，在慕尼黑的Deutsches Teerta餐厅，餐厅老板汉斯·戈尔泽举办了现代音乐剧演出。然而在1929年，约瑟芬·贝克计划在慕尼黑的演出被当局禁止。
▶ 英文原文 ⏱
The sound world in the big dance palaces was in fact tantalisingly multicultural. In House Fartaland in Berlin, within an hour wandering from Hall to Hall, one could dance to sounds from New York, Budapest, Vienna, Rome, Buenos Aires and Munich. Incidentally, whether at the Hof Poi House or Polana Beer halls, it was in Munich and Bavaria generally that American music made the least headway. Music, dance music thoroughly rejected the jagged notes, issuing from the Prussian capital. One exception to this was the Deutsches Teerta in Munich, where the restaurateur Hans Gorse put on modern reviews. In 1929 however, a planned appearance in the city by Josephine Baker was forbidden by the authorities.
在自由州巴伐利亚，尽管查尔斯顿舞盛行的年代，像阿尔卑斯波尔卡这样的音乐仍占据主导地位。在哈斯法塔兰德的某间办公室里可以看到水烟斗，而在摩卡F.D.，大城市里的舞者们很容易找到自己喜爱的场地。在柏林，人们经常去Alcazar、Durette、Groschenkeller、Tabasco、Ithigelampe、Faundus Vestans或Zingzing等地方跳舞，这些名字都是随便选取的，其中一些特别悦耳。除了无数的酒吧外，那里大概有140多家舞厅可供选择，人们可以随时将桌子推到一边，随心所欲地尽情舞蹈。
▶ 英文原文 ⏱
In the free state of Bavaria, Umpartunes, the Alpine Polka for example, had the upper hand even during the Charleston years. Shisha Pipes in House Fartaland, an office in Mocha F.D. Dancers in the big cities had no trouble finding the venue of their choice. Most easily in Berlin, people went to the Alcazar, the Durette, the Groschenkeller, the Tabasco, the Ithigelampe, the Faundus Vestans or the Zingzing, to give a few particularly eufonious names at random. There were about 140 dance halls to choose from, apart from countless bars where the tables were pushed aside so that people could trip the light fantastic if they felt like it.
许多酒吧老板，即使在乡村地区，也觉得有必要投资一台钢琴，以满足人们对娱乐的渴望。那些口味更加世俗的人会去访问那些大型舞厅。在那里，成百上千的员工忙于为成群的寻欢者提供一个令人陶醉的夜晚，舞厅内有多个不同的舞池。如果你想融入人群消失无踪，这里是理想之地。泽克福德·卡尔卡拉写道：“人群享受着自己的陪伴。”他将这些大舞厅视为欢乐的兵营，调节着大批职员的快乐，就像军官们调节他们的工作一样。
▶ 英文原文 ⏱
Many pub landlords, even in the countryside, felt obliged to invest in a piano, to keep up with the desire for fun. People with more worldly tastes would visit one of the massive dance palaces. There hundreds of employees busied themselves to provide an intoxicating evening for crowds of pleasure seekers in several different dance halls. If you wanted to disappear into the masses, this was the place to be. The crowd enjoyed its own company, Zekeford Karkara wrote. He saw the big dance halls as pleasure barracks that regulated the pleasure of the armies of clerks just as the officers regulated their labour.
那确实是一个微妙的想法，但它忽略了那些办公职员在晚上外出时的乐趣。否认这些舞厅常客的任何个性，将他们描绘成一个营房式的军队，这反映了一个过度敏感的左翼精英的偏见，而不是那些人群中实际的心理状态。许多人能够负担得起去Mocha FD或House Fartaland。虽然主要是高级白领，但他们人数足以填满舞池。
▶ 英文原文 ⏱
That was a subtle piece of thinking, but it ignored the pleasure that the ranks of office workers felt when they went out for the evening. The denial of any kind of individuality to these dance hall denizens, their characterization as a barrack-based army reveals the over-sensitive reflexes of a peaked left-wing elite rather than the actual states of mind of those in the crowd. Many people could afford the Mocha FD or the House Fartaland. The senior white collar workers admittedly, but they were still enough of them to fill the dance floors.
早先提到的戈尔梅尼亚之家是最早、最优雅的跳舞和用餐场所之一，由建筑师莱昂·纳赫特里奇特无与伦比地设计，并于1929年开业。尽管它拥有各式精致奢华的科技装备，但却缺乏当时舞厅行业最新潮的设备——桌上电话。舞厅鉴赏家对此给出了一个精彩的解释：显然，他们认为这种看起来小市民的通讯方式不适合像戈尔梅尼亚这样高雅的场所。
▶ 英文原文 ⏱
One of the first and most elegant venues for dancing and eating was the House Gormenia, mentioned earlier which was inimitably designed by the architect Leon Nachtlichte and opened in 1929. In spite of all its refined and extravagant technological accoutrements, it lacked table telephones which represented the latest fashion in the dance hall trade. Dance Palace connoisseur connoisseur connoisseur has an illuminating explanation for this. Clearly they thought such a petty bourgeois looking means of communication for shy people could not be imposed upon the Gormenia, Cleantel.
在西柏林，人们见多识广，会进行闲聊，否则就什么也不说，只是旁观。柏林第一家引入桌上电话的场所是位于城市东部的Rezi。这个科技舞厅也是最传统的柏林舞厅。Rezi的经理保罗·巴茨是迪斯科球的发明者，他是个热衷于琢磨新点子的狂热者，总是在为他的场所想出新花招，从彩纸灯到气动管道邮件系统。真正的电话被赞誉为社交的发明，能够为害羞的人充当沟通的工具。每张桌子都有一个能从远处看到的号码，还有一个灯光信号。如果灯光是蓝色的，表示不希望接到电话，而红色灯光则表示愿意接电话。
▶ 英文原文 ⏱
In West Berlin, people were worldly enough to conduct small talk, or else they said nothing and watched. The first Berlin venue to introduce table telephones was the Rezi in the east of the city. This technological dance hall was also the most traditional Berlin dance palace. The manager of the Rezi, Paul Bartz, inventor of the disco ball, was an obsessive tinkerer who was constantly coming up with new gimmicks for his venue, from the confetti light to a pneumatic tube mail system. Real telephones were praised as a social invention and as interpreters for the timid. Each table had a number which was visible from a distance and a light signal. If the light was blue, it meant that calls were undesirable, while a red light indicated a willingness to receive them.
通过桌子之间运行的气动邮系统，人们不仅可以发送书面信息或巧克力，也可以发送实用的物品。比如，一个用假海龟壳盒装的缝纫盒售价为一马克50，或者一瓶包装精美的丁香香水，价格相同。在伊玛格·柯因的小说《人造丝女孩》中，标题角色多丽丝来书中的Rezi参观时，她甚至通过气动邮系统发送了一整瓶干邑白兰地，还附上了一张别致的便条。这是来自一个矮小而坐立不安、眼睛像烧焦的长绒布一样的追求者的 "礼物"，让多丽丝得意不已。Rezi完全符合她的喜好，这个地方充满色彩，还有旋转的灯光，犹如一个醉得发光的肚子。它就像是一件巨大的艺术品。
▶ 英文原文 ⏱
Using the pneumatic mail system running between the tables, one could also send written messages or chocolates, but practical objects could be dispatched as well, a sewing case in a fake tortoise shell box for one Mark 50, for example, or a gift-wrapped vial of lilac scented perfume for the same price. When Doris, the titular artificial silk girl from Imgag Koin's novel, Das Kunst-Zyden Emitian, pays a visit to the Rezi in the book, she has even sent a whole bottle of cognac by pneumatic mail, accompanied by a stylish note, as Doris triumphs, from a suter who is small and fidgety and has eyes like a burned plush. The Rezi is entirely to her taste, it's nothing but colour and a rotating light, it's a drunken, illuminated belly that's illuminated. It's a huge work of art.
当她的同伴弗朗茨需要暂时出去时，她的电话立刻响了，似乎要与他一争高下。根据宣传，位于柏林的Mocha Fd咖啡馆，是一块东方元素的地方，顾客需要乘坐自动扶梯进入，这是一项非常现代的设施。这个地方的另一大特色是中东风格的Mahamadien房间。第三个特色是极其美味的咖啡，这是Mocha Fd的老板Giovanni Efte Miedes首次扬名的致胜法宝。他的店致力于成为一个自成一体的小世界，店里不仅有美发沙龙，还有一个办公室，秘书随时准备为顾客完成他们白天忘记要做的信件工作。
▶ 英文原文 ⏱
And when her companion, Franz, has to go outside for a moment, her telephone immediately rings, to give him some competition. The Mocha Fd on Friedrich Schreiser, according to its own advertising, a piece of the Orient in Berlin, was entered via escalator, an ultra-modern accessory. The second unique feature of this venue was the Middle Eastern look of the Mahamadien rooms. The third, the fabulously good coffee with which Giovanni Efte Miedes, the owner of the Mocha Fd, had first made his name. His establishment set out to be a self-contained world. There was a hairdressing salon and an office where secretaries waited obligingly to serve customers by finishing off the correspondence that they had forgotten to do during the day.
十六张台球桌已经准备就绪，还有一个国际象棋室和两个舞池。这里最常出现的表演者是乐队指挥詹姆斯·科克，他被称为典型的“女郎杀手”。在他的宣传海报上，Efte Miedes 宣称，由于有科克的参与，Mocha Fd 的下午舞会已经成为柏林家庭主妇的聚会场所。这个精选的艺术家团队每天都会引发热烈的掌声。最大最壮观的舞厅，同时也是最不确定自己品味的舞厅，位于波茨坦广场的Fartaland大厦，这是一个庞然大物。这个由犹太人坎平斯基家族企业拥有的娱乐场所，有意结合了国内外的特点。
▶ 英文原文 ⏱
Sixteen billiard tables stood at the ready, as well as a chess room and two dance floors. The most regular performer here was the bandleader James Cock, the very definition of a ladies man. On his posters, Efte Miedes claimed that dance afternoons in the Mocha Fd had thanks to cock become the meeting place for Berlin housewives. The select band of artists unleashes storms of applause every day. The biggest and most spectacular dance hall and the one most magnificently uncertain of its own taste was House Fartaland on Potsdamaplutz, a giant. This pleasure palace which belonged to the Jewish Kampinsky family business deliberately played with national and international characteristics.
这片故土同时具有全球化和亲密的特性，或者至少这是其宣传资料中抒情的宣传手法所声称的。在其四层楼中，你可以在世界大学中迷失自我，这里展示了世界上最受喜爱和吸引人的美景，向客人提供无与伦比的品质。游客可以从一个场景走到另一个场景中，选择游览日本酒吧、维也纳的Grinseng区、旧巴伐利亚的Lüvenbruy酿酒厂、狂野西部酒吧、韩加利安Charda、意大利酒馆、装备有真实水烟管的土耳其咖啡馆以及模仿船上厨房的不来梅厨房。在每个房间中，人们都可以看到精心安排的全景画面，将外国风景尽可能真实地呈现出来。
▶ 英文原文 ⏱
This fatherland was global and intimate at the same time, or so its lyrical publicity material claimed. Over its four stories you can lose yourself in the University of the world whose most beloved and enticing beauties are an offer to the guest in unparalleled quality. Visitors step from one backdrop to the next, choosing between the Japanese bar, the Grinseng District of Vienna, the Lüvenbruy brewery in Old Bavaria, the Wild West bar, the Han Garien Charda, the Italian Taverna, the Turkish coffeehouse, equipped with real shisha pipes and the Bremen galley, a mockup of a ship's kitchen. In each room one looked at artfully arranged panoramas that showed the foreign landscapes in as true to life a form as possible.
各个乐队在不同主题的房间里弹奏着或多或少合适的音乐。Fartaland这座建筑是一个辉煌的讽刺，体现了由于飞机和飞艇的普及让世界突然变小的局面。然而，因为那个世界对于大多数人来说是遥不可及的，于是最简单的做法就是将其变成一系列美食体验的机会。这座喧闹的建筑可以容纳1万人，自1928年重新开放的第一年就吸引了超过100万的游客。其中心装饰是巴克斯式的莱茵露台。虽然这条河流位于国家的最西边，但对于许多德国人来说，莱茵河就像是祖国神话般的中心，尤其是在法国最近才占领过这片领土之后。
▶ 英文原文 ⏱
Various bands strummed music more or less appropriate to the themed rooms. The house Fartaland was a glorious travesty of a world which had suddenly become smaller thanks to aeroplanes and zeppelins. But because that world was beyond most people's reach the easiest thing to do was to turn it into a series of gastronomic opportunities. The centrepiece of this noisy building which accommodated 10,000 people and was attended by over a million in the first year after it reopened in 1928 was formed by the Bacchic Rhine Terresses. While the river lay on the far western edge of the country for many Germans, Father Rhine represented the mythical centre of the homeland, particularly since the French had only recently occupied its territory.
穿过Fartaland房子的河流是莱茵河，它展现了最美丽的风貌。Rhine Terress餐厅后面的全景捕捉到了洛雷莱岩石俯瞰河流的景色。模型船在水道上航行，模型飞机在空中飞行。每小时甚至还有由一种恶魔般的声光技术制造的雷暴，伴随着雷声和闪电。喷水器让整个宽达6米的全景图下雨。尽管有闪电和雷声，但太阳总是再次灿烂地升起。正如Kimpinski宣传部崇高地所说，我们家乡的大地以其神奇的壮丽景象令我们陶醉。
▶ 英文原文 ⏱
The river that flowed through house Fartaland was the Rhine at its most beautiful. The panorama behind the Rhine Terress restaurants captured the view of the Lorelai rock overlooking the river. Model boats sailed on the waterway and model aeroplanes flew overhead. Every hour there was even a storm with thunder and lightning produced by a Mephistophelian saun illumiere technology. Rain fell from sprinklers on the 6 meter panorama which filled the whole width of the room. There were flashes and crashes but the sun always rose radiantly again. The earth of our homeland enchants us with its magical grandeur as the Kimpinski publicity department loftily put it.
在纸浆河畔享用了一顿丰盛的晚餐后，我们开始了不太稳妥的全球美食探索之旅，由高乔人、牛仔和葡萄园女孩们提供的佳肴伴随着不停的饮酒，最后由一位彬彬有礼的摩尔人为柏林人及其外地访客提供咖啡，这可谓是一个极具爱国情怀的夜晚。16位来自Fartaland的女孩也跟着节奏踢起高腿舞，在各个房间流连并抵挡住醉酒客人的挑逗。年轻的学生英加·冯·瓦根海姆是一位崭露头角的演员和充满激情的共产主义者，她花了几个月时间在Fartaland的房子里赚些外快，她的母亲则在那里当衣帽间服务员。她为Fartaland的女孩们缝制服装和饰品，并常常有机会观看她们的排练。
▶ 英文原文 ⏱
Heading off after an opulent meal by the National Papier-Mache River for an unsteady gastronomic exploration of the world served by Gacias, cowboys and vineyard girls and carrying on drinking before finally being served coffee by a courteous moor for Berliners and their provincial visitors this was a patriotic evening of the first degree. 16 Fartaland girls also high-kicked in time, pollinating through the rooms and fighting off the advances of inebriated guests. The young student Inga von Wagenheim, a rising actress and passionate communist, spent a few months earning some extra money in the house Fartaland where her mother was a cloakroom attendant. She sewed costumes, fripperies for the Fartaland girls and often had the chance to watch them rehearse.
对英格·冯·瓦根海姆来说，那篇评论是她追求的缪斯的背面，是艺术的尾端。当她看到那些衣着暴露的女孩的舞姿时，她感到无比厌恶，只能想象她们悲惨的生活，还有呜咽的萨克斯风和咆哮的导演。在后台，一切都像与烈酒、吹嘘和猜测的直接联系一样赤裸、无耻、玩世不恭和直言不讳。她在自传《精神家园》中写道，对英格·冯·瓦根海姆来说，这个夜总会是一个带着讽刺笑声的资本主义娱乐地狱，由无良腐败的伪艺术家们支撑。
▶ 英文原文 ⏱
For Inga von Wagenheim, the review was the backside of the muse that she pursued, the rear end of art. She was filled with revulsion as she saw the hopping of the half-naked girls whose horrific lives she could only imagine, the whimpering saxophones, the raging director. In the wings everything was as naked, as shameless, as cynical, as direct and straight-talking as the direct connection with Schnapps, boasting and speculation required. She wrote in her autobiography, Mindhouse Fartaland. For Inga von Wagenheim the night spot was a sardonically chuckling capitalist inferno of amusements that was kept going by conscience-free corrupt pseudo-artists.
她说，那些歌曲歌词、粗俗笑话、对话中的政治隐喻、音乐、服装，全都是那些应该更有分寸的人故意迎合腐败的品味、愚蠢和反动的野蛮风格，迎合T-Gunzy或莱茵山坡上的庸人帮派，全都毫不羞耻。伟大的金平斯基说，伟大的克鲁普说，伟大的弗里克说，伟大的蒂森说，所有伟大的人物都这样说：吃或者死，然后人们选择了吃。从这些话中，我们听到了一个愤怒的理想主义者的声音，这个人在两年后，于1931年加入了柏林艺术家殖民地的共产主义小组的宣传剧团Tropper，但我们也听到来自右翼的类似反感。
▶ 英文原文 ⏱
She said, The song lyrics, the dirty jokes, the political references in the dialogue, the music, the costumes, it was all deliberately tailored by people who should have known better towards corrupt taste, towards stupidity, towards the barbarism of the reactionary gang of Philistines on the T-Gunzy or the Rhine Terresses and in glancing, all quite shamelessly. Eat or die, said Great Kimpinski, said Great Krup, said Great Flick, Great Tissen, said all the other great ones, and one ate. In these words we hear the voice of a raging idealist who would two years later join Tropper in 1931, an agit-prop theatre of the communist cell of Berlin artists' colony, but one also heard similar revulsion from the right.
到处都是对享乐的上瘾，这句话人们反复听到，仿佛有一个恶魔潜行在大地上，吞噬着一切真实、美好和美丽的东西，这条巨大的蛇时而被称为美国主义，时而被称为文化布尔什维主义。有一点是肯定的，如果这些柏林舞厅只靠柏林人光顾，它们绝对无法生存。柏林，你是这个星球上的酒吧，Yvagol 写道。柏林旅游局新闻及公关部门的主管卡尔·菲塔（Cal Feta）则用更加平实的语言表达了这一点。他认为大型的歌舞剧院和舞厅是城市交通政策的必要组成部分。
▶ 英文原文 ⏱
Everywhere the addiction to pleasure raises its head was a phrase that one heard repeatedly, as if a demon had crept across the land, swallowing up everything that was true and good and beautiful, a huge devouring snake that was alternately identified as Americanism or cultural Bolshevism. One thing is certain, the many Berlin dance palaces could never have survived if they had been frequented only by Berliners. Berlin, you bar of the planet, Yvagol wrote. Cal Feta, director of the press and publicity department in the Berlin tourist office, put it more prosaically. He saw the big review theatres and dance halls as a necessity for the city's transport policy.
“如果给每个柏林居民一个白色标记，而给每个来到这座城市的外来者一个绿色标记，你很快就会看到眼前一片绿色，”他写道。在这一点上，现在和过去没有太大变化。在如今的Baccain和其他著名的柏林俱乐部中，当地居民几乎成了少数。按照这种说法，每个人都应该至少来柏林一次。在20世纪20年代，愿意来首都的游客会收到一剂小小的“陶醉”，这种感觉可以持续他半辈子。第二天早上的宿醉则教会了他欢愉有多么短暂。
▶ 英文原文 ⏱
If each Berlin resident, visiting a review, was given a white mark and every incomeer to the city, a green one, you would soon have a sea of green in front of your eyes, he wrote. Not much has changed in that respect, by the way. In Baccain and the other famous Berlin clubs of the present day, the city's residents form a vanishing minority. According to the motto, everyone has to come once to Berlin, the willing visitor to the capital in the 1920s was given a little dose of intoxication that was supposed to last him half a lifetime. His hangover the next morning taught him just how finite pleasure was.
旅居柏林的约瑟夫·奥尔特将他的愤世嫉俗带到了大型舞厅。有时在一种愉悦的忧郁情绪中，我走进柏林常见的夜总会，不是为了让自己开心，而是为了享受那种看到工业化娱乐带来的"幸灾乐祸"。有一天晚上，他的悲伤大到迫使他去体验各阶层寻欢作乐的城市居民的痛苦，他开始了一次从西柏林时尚场所到弗里德里希大街相对普通的场所，最后到北柏林聚集了所谓流氓无产阶级的低俗酒吧的漫游。
▶ 英文原文 ⏱
The elective Berliner, Yozef Orte, took his cynicism to the big dance palaces. Sometimes in an attack of cheerful melancholy, I step inside one of the usual Berlin night spots, not to cheer myself up, but to enjoy the shardenfreude that the sight of industrialised frivolity gives me. One night when his sadness grew so great that it forced him to experience the pain of pleasure-seeking city-dwellers of all classes, he set off on an odyssey from the smart venues of West Berlin to the rather demo-day establishments of Friedrichstrasse, and last of all to the dives of North Berlin, which are populated by the so-called Lumpen Politeriat.
沿着这条路线，烈酒的度数越来越高，啤酒却变得越来越淡。但尽管他的醉意日渐加深，他仍意识到，随着他的前进，标准在不断下降。他在某个人行道旁的桌子旁聆听着一位疲惫的萨克斯风演奏者，突然想到了娱乐行业如何消耗其员工。他在仔细记录自己酒吧之旅的笔记中写道：首先，豪华酒吧里的萨克斯演奏者耗尽了气力。接着，中档俱乐部里的演奏者失去了听力，最终在工薪阶层聚集的酒吧里，他们因为吸毒而失去了生机。舞者的命运与此相似。她们会前往北方，那里的钱更稀少，最后慢慢发福。知识分子则阴沉地坐在欢宴之中，审视着那些更肤浅的同胞。约瑟夫·劳德甚至不允许其他客人拥有像他一样的忧郁。
▶ 英文原文 ⏱
Along this route the Schnapps got stronger, the beer lighter, but in spite of his increasing tip-ciness he was aware, standards steadily decreased as he progressed. Listening to a weary saxophone player by someone's pavement table, he had an idea how the entertainment industry got through its staff. First, the saxophonists in the luxury bars lost their wind, he wrote in the detailed account of his bar crawl. Then in the medium-range clubs they lost their hearing, and finally they ended up stoned death in the proletarian bars. Much the same was true of the dancers. They would go north where the money was scarcer and gradually put on weight. The intellectuals sat grumpily in the midst of the merriment and studied their more superficial compatriots. Josef Raud would not even allow the other guests a melancholy like his own.
他认为咖啡馆露台上那些神情麻木、看似世事倦怠的人，只是在模仿杂志文章中赋予他们的那种漠不关心。他否认他们有任何真实的情感。他们薄薄的嘴唇似乎出自大自然之手，为了模仿摄影的人工手段。他们每天挂在脸上的机械笑容，只不过是为了展示他们完美的牙齿。全是谎言，全是表象——一种不是来自内心深处的表象，而仅仅是对深度的模仿。Zeke Fudkarkar在谈论Hausvat-Aland时写道。他感到困扰的是，这个由美丽表面构成的世界——不是世界的本质，而是流行歌曲中的样子——居然有效，人们显然被其迷惑。
▶ 英文原文 ⏱
He believed that the fops on the cafe terraces with fake world weariness in their glazed eyes were merely imitating the blase indifference attributed to them in magazine articles. He denied them any genuine emotions. Their thin-lipped mouths were retouched by nature itself, borrowing the artificial devices of photography. Their mechanical smiles, which they put on day in, day out, consisted only of bearing their perfect teeth. Nothing but lies, nothing but a facade, and one which is not rested from the depth, but is only an imitation of it, Zeke Fudkarkar wrote of Hausvat-Aland. He was troubled by the fact that the world of beautiful surfaces, not the world as it is, but as it appears in popular songs, actually worked, that people were clearly taken in by it.
《法兰克福艺术报》的柏林艺术版主编似乎不愿意承认办公室职员也与现实有着复杂而讽刺的关系，他们并不像天真的梦游者那样轻易被舞台布景所迷惑。同时，不真实几乎成为了一种标志，或者至少是那个时代的象征。1928年，法国时装设计师可可·香奈儿宣布仿宝石和人造首饰也同样令人尊重。这是一种解放，现在人们可以佩戴一份其实一文不值的财富。尽管大众已经在玩弄幻象方面技艺精湛，但Carcoa显然认为他们还是会愚蠢地上当受骗。
▶ 英文原文 ⏱
The editor of the Berlin Arts section of the Frankfort-Artsaitung seems to have been unwilling to accept that office workers also enjoyed a complex and ironic relationship with reality, and didn't fall for stage sets like wide-eyed dreamers. At the same time, inauthenticity was almost a beacon, or at least a sign of the time. In 1928, the French fashion designer Coco Chanel had declared d'Amonté and costume jewellery to be respectable. It was a liberation, now it was possible to wear a fortune that isn't worth anything. Even though the masses had been virtuoso's at playing with illusions, Carcoa plainly believed that they were stupid enough to fall for them.
在艺术的梦幻世界与现实重合的地方，这通常源于不成熟者对模仿的渴望。电影的轰动效应和现实生活往往在打字员小姐们模仿她们在银幕上看到的榜样时相符。但也许最具欺骗性的榜样正是从生活中偷来的。他在1927年著名的文章《小店女孩去看电影》中这样写道。信息操控理论在这里真正诞生。娱乐产业的梦幻世界分散了人们对现实生活状况的注意，以压制对其条件的批评，并使人们与自己的实际生活疏远。它成为了人们逃避办公室现实的一种方式。
▶ 英文原文 ⏱
Where the artistic dream world and reality coincided, it was down to a desire for imitation on the part of the immature. Cinematic sensationalism and life normally correspond when the typist Mademoiselle's model themselves on the examples they have seen on screen. But perhaps the most deceitful models are stolen from life. He wrote in 1927 in the famous article, Little Shop Girls Go To The Cinema. Information manipulation theory was well and truly born. The dream world of the entertainment industry distracted from the real life situation to suppress criticism of its conditions and alienate people from their actual existence. It served as an escape from the reality of offices.
这是一场对办公室机器的反击。与此同时，詹姆斯·克莱因的评论正在阿波罗剧院上演，内容是关于办公室的笑话。柏林的舞蹈老师汉娜·库泽通常教授年轻办公室职员表达性舞蹈，用于放松和娱乐，她在教学方法中加入了日常办公室生活的元素。例如，正如之前提到的"活打字机"，杂志《达斯·利布曼》报道说，单词"不"会以舞蹈形式表现出来。当老师说出这个词时，字母N、O和T会从键盘上跳出来，组成一个舞蹈小组，以此来表达这个词的含义。
▶ 英文原文 ⏱
It was a counter-attack against the office machine. At the same time that James Klein review was showing Berlin laughs at the Apollo theatre, set in the office itself. The Berlin dance teacher Hannah Kudze who taught young office workers expressive dance, usually for the purposes of relaxation and leisure, referred to everyday office life in her teaching methods. As in the living typewriter mentioned earlier, the magazine Das Liebmann reported, for example, the word not is represented. At the moment when the teacher utters the word, the letters N O and T jump up from the keyboard and form a group that expresses the meaning of the word in dance.
魏玛共和国的娱乐文化是大胆的，它不仅仅是逃避现实，而是接纳、处理并直面现实。这种文化有时可能会对现状表现出令人腻烦的肯定，但并不是简单地逃避日常生活。流行歌曲涉及贫困，例如《你和我》、《简陋的住房》，以及《星期天我去电影院》。它们也唱出了消费主义的沉醉，如《没有时间去快乐》，自我剥削中的表现压力，例如《六日赛车》，还有退伍军人的困苦，如《英俊的吉格罗》，《可怜的吉格罗》。
▶ 英文原文 ⏱
The entertainment culture of the Weimar Republic was brazen enough not simply to run away from realities. It picked them up, processed them and then faced them head on. That might sometimes have led to a sickly sweet affirmation of existing conditions, but it wasn't a mere flight from the everyday. Popular songs addressed poverty, both you and I, substandard housing, when I go to my cinema on Sunday, the intoxication of consumerism, no time to be happy, the pressure to perform in self exploitation, six day race and the misery of veterans, handsome jig-lo, poor jig-lo.
20世纪20年代德国的轻娱乐女神，就像今天的流行文化一样，不是回避痛苦，而是帮助人们处理和忍受痛苦。这正是那些想要激进变革并需要反叛武装来实现变革的人感到极为不满的原因。
▶ 英文原文 ⏱
The light entertainment muse of 1920s Germany, like popular culture today, did not skirt around suffering but helped to process and endure it. That's precisely what the people who wanted radical change and needed rebellious foot soldiers to impose it, found so aggravating about it.