第13季第2集 - 解析肯德里克·拉马尔的《N95》

来自Spotify和The Ringer，这里是Dissect——长篇音乐分析，拆分为短小易懂的集数。

From Spotify and The Ringer, this is Dissect, long form musical analysis broken into short digestible episodes.

这是我们在对肯德里克·拉马尔的《Mister Morale and the Big Steppers》进行全季分析的第二集。

This is episode two of our season long analysis on Kendrick Lamar's Mister Morale and the Big Steppers.

我是主持人科尔·库什纳。

I'm your host, Cole Kushner.

上一期Dissect中，我们分析了《Mister Morale》的开场叙事曲《United in Grief》。

Last time on Dissect, we examined mister Morales opening expository track United in Grief.

正是在那里，肯德里克确立了这张专辑的核心目标：寻求内心的平静，以及阻碍他实现这一目标的障碍——性成瘾与物质主义，这两者都是未解决的创伤与悲痛的表现形式。

It was there that Kendrick established the album's overarching goal, to find peace of mind, and the barriers preventing him from that goal, sex addiction and materialism, both of which are manifestations of unresolved trauma and grief.

在确立了肯德里克的内在精神世界后，《Mister Morale and the Big Steppers》将焦点转向外部世界，在专辑的下一首曲目中展开，也就是我们本期的主题：《n 95》。

Having established Kendrick's personal interior world, mister Morale and the Big Steppers continues by shifting its focus to the outer exterior world in the album's next track, the subject of our episode today, n 95.

脱掉那些花里胡哨的东西。

Off the foo foo.

把沙发搬走。

Take off the couches.

关掉Wi-Fi。

Take off the Wi Fi.

脱掉。

Take off

《N 95》由Boy Wonder、Baby Keem、Jahin Sweet和Soundwave制作。

N 95 was produced by Boy Wonder, Baby Keem, Jahin Sweet, and Soundwave.

这首歌以肯德里克的清唱开场。

The song begins with Kendrick singing acapella.

你好，新世界，所有的男孩女孩们，我有一些真实的故事要讲。

Hello, New World, all the boys and girls, I got some true stories to tell.

你又回到外面了，但他们依然在撒谎。

You're back outside, but they still lied.

在开篇的叙事性曲目《United in Grief》之后，这段清唱起到了叙事重置的作用。

After the expository United in Grief, this opening acapella functions like a narrative reset.

肯德里克以一种歌唱式的讽刺语调直接对听众讲话，仿佛在给坐着的孩子们讲睡前故事。

Kendrick addresses the audience directly with a singsong satirical tone, almost as if he's speaking to sitting children during storytime.

这一点在《N95》的音乐视频中得到了强化。

This is reinforced by n ninety five's video.

在这一开场片段中，我们看到一个少年坐在海滩上，仰望着漂浮在海浪之上的肯德里克，后者摆出耶稣被钉在十字架上的姿势，仿佛肯德里克是他救世主。

During this introduction, we see an adolescent boy sitting on the beach looking up to Kendrick who floats above the ocean's tide posing like Jesus on the cross as if Kendrick was his savior.

肯德里克将在专辑中讲述的这些真实故事，将揭示他作为一个有缺陷的人类，解构他作为说唱救世主的公众形象。

The true stories Kendrick is going to tell on the album will expose Kendrick as a flawed human, a dismantling of his public image or role as rap savior.

开场歌词‘你好，新世界’与‘你又回到外面了’似乎指向后疫情时代——在我们集体被封锁和隔离一年多后，重新走出家门的世界。

The opening lyric, hello, new world, paired with you're back outside appears to be referring to the post pandemic world after we collectively step back outside after being locked down and quarantined for over a year.

然而，肯德里克警告说，这个新世界依然充满谎言。

However, Kendrick warns that this new world is still filled with lies.

换句话说，尽管我们已经摘下N95口罩，重新踏入世界，但我们仍戴着另一种面具。

In other words, even though we've taken off our n 95 masks and entered the world again, we are still wearing a different kind of mask.

这为这首歌奠定了基调——它不仅是对自我的解构，更是对当代社会中无处不在的各种伪装的批判。

This sets up the song as a critique of contemporary society, where alongside dismantling himself, Kendrick will also dismantle the various facades that pervade our current culture.

‘但他们依然撒谎’这一具体措辞，明显使用了模糊的‘他们’，通常暗指当权者，那些在幕后操控一切的神秘人物。

The specific phrasing, but they still lied, feels like a classic use of the vague they, which usually alludes to the powers that be, the shadowy figures controlling things behind the scenes.

然而，尽管肯德里克肯定会抨击政府、企业、大众媒体和音乐产业，这些批评同样会涵盖他自己、你和我。

However, while Kendrick will certainly take shots at the government, corporations, mass media, and the music industry, they will equally encompass himself, you, and me.

摘掉那些花里胡哨的东西。

Take off the foo foo.

摘掉那些沙发。

Take off the couches.

摘掉Wi-Fi。

Take off the Wi Fi.

摘掉手机。

Take off the money phone.

摘掉车贷。

Take off the car loan.

摘掉炫耀和白人的失落。

Take off the flex and the white loss.

摘掉那件怪异的球衣。

Take off the weird ass jersey.

我先走十步，然后就放下前五样东西。

I'm a take 10 steps, then I'm taking off top five.

放下一些虚构的播放量和微波炉梗。

Take off some fabricate streams and a microwave memes.

外面是一个真实的世界。

It's a real world outstate.

背后。

Behind

在电子踩镲的节奏声中，肯德里克以重复修辞手法开始了《95》这首歌，这是一种在连续句或分句开头重复使用相同词语或短语的文学手法。

the rhythmic ticks of an electronic hi hat, Kendrick begins n 95 with an anaphora, a literary device that utilizes a repeated word or phrase at the beginning of successive lines or clauses.

肯德里克重复的短语当然是‘放下’，他在这一段开头就重复了27次。

Kendrick's repetitive phrase is, of course, takeoff, which he'll repeat 27 times in this opening verse.

虽然这种重复带来了音乐效果，营造出节奏和韵律，但肯德里克使用重复修辞也突显了需要放下的东西有多么多。

While the repetition provides musical effect, creating rhythm and cadence, Kendrick's use of anaphora also helps convey just how much there is to take off.

换句话说，我们身上背负或认同的东西实在太多了。

In other words, there's a lot of shit we put on or identify ourselves with.

当你剥去所有这些层，把那些垃圾都脱掉之后，你剩下的是什么？

And when you remove all those layers, when you take all that shit off, what are you left with?

在这些面具之下，你究竟是谁？

Who are you beneath all those masks?

因此，肯德里克的大部分指令都是脱掉那些只是为了炫耀、为了获得他人认可而戴上的东西。

Appropriately then, most of Kendrick's commands are to take off things that are just for show, put on for the approval of others.

他一开始就说：脱掉那套虚伪做作，脱掉追热度的行为，脱掉Wi-Fi。

He begins, take off the foo foo, take off the clout chase, take off the Wi Fi.

Foo foo是俚语，意思是虚假的，而追热度指的是为了获得赞美和关注而做出不真诚的行为。

Foo foo is slang for fake, and clout chasing refers to doing things inauthentically for the sole purpose of praise and attention.

如今，大量追热度和不真诚的表演都发生在网络上，因此他说：脱掉Wi-Fi。

A lot of clout chasing and inauthentic posturing now occurs online, hence, take off the Wi Fi.

下一句也有类似的主题。

Similar themes in the next line.

脱掉金钱手机。

Take off the money phone.

卸下汽车贷款。

Take off the car loan.

卸下炫耀和白色谎言。

Take off the flex and the white lies.

发一张拿着手机的照片并不意味着你富有，而汽车贷款表明你那辆豪华车实际上归银行所有，而不是你。

Posting a picture holding a money phone doesn't mean you're rich, and a car loan implies that your luxury car is actually owned by the bank, not you.

但通过让自己靠近有价值的物品，你试图通过向世界证明自己的价值来证明自己有价值。

But by placing yourself in proximity to valuable possessions, you're attempting to prove yourself valuable to yourself by proving yourself valuable to the world.

肯德里克对‘卸下’这一重复句式的第一个改动是这句：‘我迈出十步，然后卸下前五名。’

The first alteration Kendrick makes to the takeoff repetition is the line, I'm taking 10 steps, then I'm taking off top five.

这是肯德里克在《Mister Morale》中的第一次真正炫耀。

This is Kendrick's first real boast on mister morale.

迈出十步似乎指的是决斗场景：两名持枪对手背对背站立，各自后退十步或二十步，然后转身试图射击对方。

Taking 10 steps seems to refer to a duel where two armed opponents stand back to back, take 10 or 20 steps away from each other, then turn around and attempt to shoot each other.

‘前五名’则指肯德里克在这场决斗中击败了前五名说唱歌手。

Top five then refers to Kendrick taking out the top five rappers in this duel.

他对其他说唱歌手的批评继续体现在‘取消那些虚假的播放量’上。

His critique of other rappers continues with take off them fabricated streams.

使用机器人伪造播放量，相当于音乐产业中的博取关注，试图让自己看起来比实际更强大。

Using bots to fake streams is the music industry equivalent of clout chasing, an attempt to appear bigger than you are.

就在节拍进入之前，肯德里克再次针对网络文化说道：‘取消那些微波炉梗’。

Then just before the beat kicks in, Kendrick once again takes aim at online culture, saying, take off them microwave memes.

外面是真实的世界。

It's a real world outside.

‘微波炉’这个形容词揭示了社交媒体帖子低投入、重复利用的特性，肯德里克将此与现实中真实的体验形成对比。

The microwave adjective applies the low effort, reused nature of social media posts, which Kendrick contrasts with having real experiences in the physical world.

这触发了Ninety Five的爆发时刻。

This triggers n ninety five's explosive moment.

首先，合成器奏出一个宏大的E小调和弦，随后是一个快速的三和弦过渡。

First, the synth lays out a big e flat minor chord before a quick three chord flourish.

这段旋律之后，钢琴以三个E小调和弦作为回应，形成点睛之笔。

This riff is followed by a punctuating piano, which lays down three e flat minor chords in response.

但或许我最喜欢这首歌的乐器部分是N95的贝斯，它主要只是低音E♭，用来支撑合成器和钢琴。

But probably my favorite instrumental part in the song is n ninety five's bass, which is mostly just a low e flat to support the synth and piano.

但在每第三个节拍上，我们会听到一个快速上行的四音装饰音。

But every third beat, we get a quick ascending four note flourish.

现在让我们一起听一听这些元素配合鼓点的效果。

Let's now hear all these elements together over the drumbeat.

现在，我还想指出关于这段节奏爆发的最后一点，那就是肯德里克如何处理他的嗓音和节奏。

Now there's one last thing I wanna point out about this beat drop, and that's what Kendrick chooses to do with his voice and flow.

他并没有试图与节奏的高强度相匹配，反而完全保持了原有的表达方式。

Rather than try to match the high intensity of the beat, he actually doesn't alter his delivery at all.

他只是维持着一开始那种更放松、低调的节奏，让节奏在他身后爆发。

He simply maintains the more relaxed, understated flow he began with, allowing the beat to explode behind him.

这营造出一种在混乱中依然冷静的氛围，反直觉地传递出权威感，这正是配合他列数要求与自夸时最完美的感觉。

It creates an aura of someone remaining cool while surrounded by chaos, counterintuitively creating a perception of authority, which is the perfect feeling to accompany his list of demands and boasts.

这是一个真实的现实世界团队。

This is a real world house team.

摘下你们的偶像。

Take off your idols.

摘下圆盘。

Take off the roundware.

摘下开罗。

Take off the Cairo.

摘下山德士。

Take off the Sandoz

在节奏骤降之后，肯德里克唱道：摘下你们的偶像。

Following the beat drop, Kendrick raps take off your idols.

在N95的这段视频中，我们看到肯德里克从下方仰拍，目光俯视着镜头。

During this moment in the n 95 video, we see Kendrick shot from below looking down at the camera.

就像视频开头孩子仰望肯德里克的画面一样，肯德里克俯视着我们，这是一种经典手法，用来将主体置于权威地位。

Like the video's opening shot of the child looking up to Kendrick, Kendrick looking down on us is a classic way to put a subject in a position of authority.

他 literally 在俯视观众，命令我们摘下这些物品。

He's literally talking down to the viewer and commanding us to take things off.

然而，在说完‘脱掉你们的偶像’之后，一只手持钝器突然进入画面，击碎了一面镜子，将肯德里克的影像打得粉碎。

However, immediately after saying take off your idols, a hand with a blunt object suddenly enters the frame and strikes a mirror, shattering it and the image of Kendrick into pieces.

原来我们根本不是在仰望他。

Turns out we weren't actually looking up to him at all.

我们仰望的只是镜中的影像，一个倒影。

We were looking up to a mirrored image, a reflection.

我们被自己的感知欺骗了，这种对肯德里克的感知并非现实。

We were fooled by our own perception, a perception of Kendrick that was not reality.

这强烈地象征了偶像崇拜，不仅呼应了‘脱掉你们的偶像’这句歌词，也凸显了《Mr. Morale & the Big Steppers》整张专辑的核心主题——有意识地解构我们对肯德里克作为救世主的想象。

It's a potent symbol of idol worship, underscoring not just the line take off your idols, but a major theme of mister morale as a whole, an album that consciously deconstructs our perception of Kendrick as savior.

接下来，肯德里克唱到‘脱掉T台’，从字面意义上讲，这暗指时装秀上展示的设计师服饰。

Next, Kendrick raps take off the runway, which on one level alludes to designer clothes modeled on a fashion runway.

但我们也可以将‘脱掉T台’理解为‘离开机场跑道’。

But we can also hear this take off from the runway, referring to an airport runway.

因此，接下来的歌词便转向了旅行的主题。

Thus, we get the next lines about travel.

我飞去开罗，飞去圣特罗佩，待五天，花二十五万，天知道为什么。

I take off to Cairo, take off to Santrope, five day stay, take a quarter mill, hell if I know.

这似乎与肯德里克之前提到的‘外面还有一个真实世界’相呼应。

This seems to tie into Kendrick's previous line about there being a real world outside.

旅行能让你积累真实的体验，更深入地理解不同的文化和视角。

Traveling allows you to collect physical experiences and gain a deeper understanding of different cultures and perspectives.

通过说‘我飞去开罗’，肯德里克似乎在对比自己选择如何花费时间和金钱。

By saying, I take off to Cairo, Kendrick seems to be contrasting the way he chooses to spend his time and money.

然而，肯德里克声称花25万美元去圣特罗佩度假一周，而圣特罗佩本是典型的奢侈度假地，这在他呼吁人们剥去各种物质面具的段落中显得有些矛盾。

However, Kendrick's apparent flex of spending a week in Saint Tropez, a cliche luxury vacation destination, at the cost of $250,000 feels a bit contradictory in a verse that's demanding people to strip away their various material masks.

这个矛盾我们会在继续深入分析这首曲子时再提出来。

It's a contradiction we'll flag here as we continue to dive further into the track.

接下来，肯德里克说‘摘掉前旗’，这似乎是‘虚假旗帜’的变体。

Next, Kendrick says, take off the front flag, which seems to be an alteration of false flag.

虚假旗帜是指让某事物看起来像它实际上不是的东西，比如一次袭击、动机或身份。

A false flag is making something appear to be something that it's not, like an attack, motive, or identity.

Fronting 是一个俚语，意思和前面提到的类似，指的是试图把自己伪装成不是自己的样子。

Fronting is a slang term with a similar definition, an attempt to portray yourself as something you're not.

这引出了‘摘掉表象’，结合前一句，这是在呼吁停止通过各种面具或虚假旗帜来操控他人对你的看法。

This leads to take off perception, which given the previous line, is a call to stop attempting to control other people's perception of you through all the various masks or front flags mentioned in the verse.

接下来的短语‘摘掉戴眼罩的警察’，无疑是这段歌词中最晦涩的意象之一。

The next phrase, take off the cop with the eye patch, is definitely one of the verse's more cryptic images.

结合上下文，我们可能有几种理解方式。

There's a few ways we might think of this given the context.

如果我们把警察理解为字面意义上的警察，那么眼罩很可能暗示着‘视而不见’，即明知有错却故意忽视。

If we're taking the cop to be a literal cop, an eye patch likely alludes to turning a blind eye, a phrase that means to ignore something you know is wrong.

因此，这可以被理解为呼吁废除腐败的警察。

So together, it would be a call to abolish corrupt police officers.

虽然这可能是其中一种解释，但似乎与到目前为止歌词的整体范围有些脱节。

While this could be the case, it does feel a little outside of the scope of the verse so far.

更有可能的是，肯德里克针对的是那些道德上的‘警察’——那些视角狭隘、对他人进行不公正评判和审判的网络活动家。

It feels more likely that Kendrick is taking aim at corrupt moral police, online activists with a limited perspective who judge and prosecute others unjustly.

考虑到接下来的几句，‘摘掉虚假的深沉’、‘摘掉虚假的觉醒’、‘摘掉‘我穷但我关心’这种说法，这就说得通了。

This makes sense given the following lines, take off the fake deep, take off the fake woke, take off the I'm broke, I care.

这进一步直接抨击了围绕政治和社会议题的讨论，在真正的活动家与网络表演者之间的界限往往极其模糊。

It's another direct attack on the discourse around politics and social issues where the line between genuine activists and online actors can be incredibly blurry.

对这些表演者而言， activism 本质上是追逐道德声望，一种在他人眼中显得道德高尚的方式。

For the actors, activism is essentially moral clout chasing, a way to appear virtuous in the eyes of others.

肯德里克巧妙地将‘虚假的深沉’和‘虚假的觉醒’与珠宝、汽车和衣服等物质物品并列。

Kendrick smartly places fake deep and fake woke alongside material items like jewelry, cars, and clothes.

因为从根本上说，它们都是一回事，都源于对他人看法的追求。

Because at their core, they're all the same, all motivated by perception.

它们全都是表演性的外在伪装。

They're all performative front flags.

肯德里克在这一段结尾重新回到物质拥有，呼吁‘摘掉香奈儿、杜嘉班纳和巴宝莉包’，这些都是奢侈品牌，其产品象征着财富，进而象征社会地位。

Kendrick ends the verse returning to material possessions as he calls to take off the Chanel, Dolce and Gabbana, and Birken bags, all designer brands whose products are symbols of wealth and, by extension, social status.

最后，在完成了他的排比修辞——即27次呼吁摘掉我们用来塑造自我形象的层层伪装之后，他提出了这段歌词的核心问题。

Finally, having reached the end of his anaphora, his 27 calls to take off the many layers or front flags we use to portray an image of who we are, he asked the verse's central question.

把所有这些设计师的垃圾都脱掉，你还能剩下什么？

Take all that designer bullshit off, and what do you have?

肯德里克稍后会回答自己的这个问题。

Kendrick will answer his own question momentarily.

但在那之前，值得停下来整体思考一下这段歌词。

But before we get there, it's worth pausing here to consider this verse as a whole.

正如我们开头所讨论的，肯德里克使用排比重复，突显了需要剥离的层层伪装，这不禁让人问：你究竟想隐藏什么？

As we discussed at the top, Kendrick's use of anaphora repetition helps convey just how many layers there are to take off, which begs the question, what exactly are you trying to hide?

为什么我们这么多人觉得需要用物质来向世界证明自己的价值？

Why do so many of us feel the need to use material goods to prove our worth to the world?

为什么我们，正如歌名《N 95》所暗示的，戴了这么多面具？

Why are we, as the title n 95 implies, wearing so many masks?

一位长期探讨这些问题的人是灵性导师兼作家埃克哈特·托利，他的声音和教诲将在《Mister Morale》的后半部分多次出现。

One person who has addressed these questions at length is spiritual teacher and author Eckhart Tolle, whose voice and teachings will appear throughout mister Morale's second half.

然而，托利的思想影响了整张专辑，而不仅仅是后半部分。

However, Tolle's work influences the entire album, not just the second half.

所以我们现在花几分钟来概述托勒的一个基本概念——自我。

So we're going to take a few minutes now to outline one of Tolle's fundamental concepts, the ego.

肯德里克对艾克哈特·托勒作品的兴趣最早在他和戴夫·弗里于2020年3月创立创意服务公司PG Lang时显现，当时距离美国疫情爆发仅几周。

Now Kendrick's interest in Eckhart Tolle's work first became apparent when he and Dave Free launched their creative service company PG Lang in March 2020, just weeks before the pandemic broke in America.

该公司的发布伴随着一段四分半钟的视频《欢迎来到PG Lang》，视频中既有托勒的声音，也有托勒与肯德里克坐在一起交谈的画面。

The launch was accompanied by a four and a half minute video called welcome to PG Lang, which features both Tolle's voice and a shot of Tolle and Kendrick sitting together in conversation.

她爱我的所有男人。

She loves all my guys.

随着我们长大，我们开始认同某些事物，也就是说，我们从某些事物中获得自我认同。

As, we grow up, we begin to identify things, which means identify means we derive our sense of who we are from certain things.

当你认同了那些你并非真正属于的东西时，总会导致痛苦和不快乐。

When you're identified with something that you are not, it always leads to suffering and unhappiness.

在这段摘录中，我们听到经过降调处理的托勒的声音说：随着我们长大，我们开始认同某些事物。

In this excerpt, we hear Tole's pitched down voice say, as we grow up, we begin to identify with things.

认同意味着我们从某些事物中获得自我认知。

Identify means we derive our sense of self from certain things.

当你认同了那些你并非真正属于的东西时，总会导致痛苦和不快乐。

When you're identified with something that you're not, it always leads to suffering and unhappiness.

这里讨论的是他核心教义之一——自我的概念。

Here is discussing one of his core teachings, the concept of the ego.

托勒将自我定义为一种虚幻的自我感，一种对自我身份的错误认知，一种对你真实自我的误解。

Tolle defines the ego as an illusory sense of self, a false conception of one's identity, a misperception of who you really are.

正如他在视频中所描述的，这种虚假的自我感源于我们对事物的认同。

As he describes in the video, this false sense of self is based on our identification with things.

这些事物可以是物质的，比如我们的身体或物质财产，也可以是概念性的，比如我们的国籍、性别、种族、宗教或职业。

These things can be physical, like our bodies or our material possessions, or they can be conceptual, like our nationality, gender, race, religion, or occupation.

我们认同头脑中的声音，认同我们的想法和观点。

We identify with the voice in our head, our thoughts and opinions.

我们认同过去的记忆，认同发生在我们身上的事情、我们的成长环境以及我们的教养方式。

We identify with the memory of our past, the things that happened to us, where we grew up, and how we were raised.

这些正是我们大多数人用来构建自我认同的东西，也是当别人问我们‘你是谁’时，我们最可能首先提到的内容。

These are the kinds of things that most of us derive our sense of identity from, the things we would likely start describing when someone asks us who we are.

这就是你所相信的关于你的故事。

It's what you believe is the story of you.

这就是托勒所说的自我或自我认同的错觉。

This is what Tolle calls the ego or the egoic perception of self.

这是对事物、形式和思想的完全认同。

It's the complete identification with things, forms, and thoughts.

虽然每个人最倾向于认同的事物各不相同，对一些人来说，是他们的物质财产。

While what things we choose to identify with most varies from person to person, for some, it's their material possessions.

对另一些人来说，是他们的身体。

For others, it's their bodies.

对其他人来说，是他们的智慧、种族或宗教等等。

For others, it's their intelligence or race or religion and so on.

然而，根据托勒的说法，只要你的自我感是通过任何形式的认同获得的，你就被自我所控制。

However, according to Tolle, as long as your sense of self is derived through identification of any kind, you're in the grip of the ego.

自我总是对某种事物的认同。

Ego is always identification with something.

而认同意味着它赋予你自我感。

And identification means it gives you your sense of self.

这就是为什么对人们来说，它如此珍贵，他们紧紧抓住它，甚至用生命去捍卫它。

This is why for people it is so precious and they hang on to it and they defend it with a life.

这就是他们所知道的一切。

That's all they know.

那就是我。

That's me.

正如我们在PG Lang视频中听到托勒所言，自我及其对事物的认同是我们大多数问题和痛苦的根源。

As we heard Toledo assert in the PG Lang video, the ego and its identification with things is the cause of most of our problems and suffering.

本季我们将深入探讨更多由自我引发的问题与痛苦，但今天这一集的一个相关例子，是自我永无止境地渴望更多。

Now we're going to talk a lot more about these ego caused problems and suffering this season, but one relevant example for today's episode has to do with the ego's unending thirst for more and more.

在《新地球》一书中，托勒谈到自我的逻辑，写道：‘自我倾向于将‘拥有’等同于‘存在’。'

In his book, A New Earth, Tolle writes about the ego's logic, saying, quote, the ego tends to equate having with being.

我拥有，因此我存在。

I have, therefore, I am.

我拥有的越多，我就越是如此。

And the more I have, the more I am.

自我通过比较而存在。

The ego lives through comparison.

他人如何看待你，会变成你如何看待自己。

How you are seen by others turns into how you see yourself.

他人如何看待你，成为了一面镜子，告诉你你是什么样的人，你是谁。

How you are seen by others becomes the mirror that tells you what you are like and who you are.

在大多数情况下，自我的价值感与你在他人眼中的价值紧密相连。

The ego's sense of self worth is in most cases bound up with the worth you have in the eyes of others, unquote.

托勒进一步认为，即使自我得到了它想要的东西，它也不会长久满足，因为自我的核心深处存在着一种根深蒂固的不满感、不完整感和不够感。

Tolle goes on to argue that even when the ego gets what it wants, it does not remain satisfied for long because at the core of the ego is, quote, a deep seated sense of dissatisfaction, of incompleteness, of not enough.

我还不够，自我真正想表达的是：我还不够。

I don't have enough yet, by which the ego really means I am not enough yet, unquote.

托勒认为，自我的渴望本身，实际上比占有更强烈。

Toulet argues that the ego's desire for wanting is actually stronger than its desire for having.

所以，当你将自我价值的很大一部分建立在物质财产上时，就会产生一种对越来越多财产的成瘾性需求。

So when you derive a large part of who you are from material possessions, for example, it creates an addictive need for more and more possessions.

如果你认同权力，就会发展出对越来越多权力的成瘾性需求。

If you identify with power, you'll develop an addictive need for more and more power.

如果你认同受害者身份，就会产生一种对那些使你受害、滋养并验证你自我认知的事物的成瘾性需求。

If you identify with being a victim, then you will develop an addictive need for things that victimize you, that feed and validate your perception of self.

再次强调，你所认同的具体事物并不重要。

Again, the specific thing you identify with doesn't matter.

背后的自我本质是相同的。

The ego behind it is the same.

托勒警告说：只要自我结构依然存在，任何外在内容都无法真正满足你。

And Toleray warns, quote, no content will satisfy you as long as the egoic structure remains in place.

无论你拥有或得到什么，你都不会感到快乐。

No matter what you have or get, you won't be happy.

你总会去寻找其他能带来更大满足感的东西，期望它能填补你内心的缺失感，让你那不完整的自我变得完整。

You will always be looking for something else that promises greater fulfillment, that promises to make your incomplete sense of self complete and fill that sense of lack you feel within.

自我的信条是寻求却永不找到。

The dictum of the ego is seek but do not find.

所以它总是寻求，正因为一直在寻求，它总是追求下一件事，这表明未来对自我来说极其重要。

So it's always seek, and because it's always seeking, it's always seeking for the next thing, which implies the future is extremely important for the ego.

它关注下一件事。

It looks to the next thing.

这是一种持续的向外追寻，一种无法安住于当下此刻的能力。

There's a continuous reaching out, an inability to be present here and now.

这都是我所称的无意识的一部分。

That's all part of the unconsciousness that I call.

在这种术语中，无意识意味着完全认同于思维，而自我就存在于这里。

Unconsciousness is, in this terminology, complete identification with the mind, and this is where the ego resides.

它存在于你的思维中。

It resides in your mind.

它是一种心理构造。

It is a mental formation.

它是每个人为自己创造的一种虚构故事。

It is a kind of fiction that every human being creates for themselves.

当然，你会得到很多反馈。

And of course, you get a lot of feedback.

所以你为自己创造的特定虚构故事在很大程度上取决于你成长的文化环境以及与你一起成长的人。

So the particular fiction that you create for yourself depends to a large extent on the culture that you grew up in, the people you grew up with.

他们会在你小时候告诉你你是谁，然后你就会受到周围环境、文化以及家庭等因素的影响而变得条件化。

They will tell you who you are as a child and then you become conditioned by your surroundings, the surrounding culture, and your family, and so on.

现在有充分证据表明，Kendrick在Mr.

Now there's ample evidence that Kendrick's output during the Mr.

Morale时期的作品受到了Tolle自我概念的特别影响。

Morale era has been influenced specifically by Tolle's concept of the ego.

例如，在同一段PG Lang视频中——顺便说一句，这段视频几乎完全受到Tolle作品的影响——Kendrick说了这样的话。

For example, in that same PG Lang video, which, by the way, seems almost entirely influenced by Tolle's work, Kendrick says this.

玻璃房子里的选择太多了。

Too many opayons in the glasshouse.

这个充满自我的世界。

This world full of ego.

让我兑现一下。

Let me cash out.

在《Mr. Morale & the Big Steppers》巡演中，歌曲之间的旁白也提到了肯德里克与自我持续斗争的过程。

Also in the Mister Morale and the Big Steppers tour, the narration in between songs makes reference to Kendrick's ongoing battle with his ego.

Mr. Morale，你又一次让自我占了上风。

Mister Morale, you've once again let your ego get the best of you.

在《Mr. Morale》后期，肯德里克会多次直接提及‘自我’，包括在《Count Me Out》中一句非常坦诚的歌词，将自我描述为他所有缺点的根源。

Later on mister Morale, Kendrick will refer to the ego by name more than a handful of times, including a very revealing line on Count Me Out that describes the ego as the source of all his shortcomings.

既然知道肯德里克将在《Mr. Morale》中不断面对托勒关于自我的理念，让我们回到《N 90 '5》中肯德里克那明显反映自我与事物认同的开篇排比。

Understanding that Kendrick will be confronting Tolet's concept of the ego throughout mister morale, let's return to n 90 '5 and Kendrick's opening anaphora, which very clearly reflects the ego's identification with things.

肯德里克似乎刻意指出了西方文化所推崇的物质事物，这与托勒的观点一致：我们所处的即时文化会向自我提供反馈，从而影响自我寻求认同的对象。

Kendrick seems to purposefully identify material things that Western culture rewards, relating to Tolle's idea that our immediate culture gives the ego feedback and therefore influences what the ego seeks validation from.

因为，再次强调，自我其实并不真正关心它所认同的具体事物，因为那些事物只是获取外部认可的载体。

Because, again, the ego doesn't actually care about the specific thing it identifies with because the thing is just a vehicle for external validation.

因此，在这个背景下，肯德里克的结尾问题是一个深刻的灵性问题。

And so within this context, Kendrick's closing question is a deeply spiritual one.

把所有那些设计师的垃圾都脱掉，你还剩下什么？

Take all that designer bullshit off, and what do you have?

肯德里克直击你本质的核心——你是谁，或者你认为自己是谁。

Kendrick is cutting straight to the core of who you are or who you think you are.

他正在挑战你，就像他挑战自己一样，去直面你对自我的全部认知。

He's challenging you just as he's challenging himself to confront your entire perception of yourself.

因为根据托勒的理论，你的自我认知很可能是虚假的，你认为的自己不过是你讲给自己听的一个故事。

Because through the lens of Tolle's work, it's very likely that your perception of self is false, that who you think you are is nothing more than a story you tell yourself.

如果没有这个关于你的故事，你又是谁？

And who are you without that story of you?

当你剥去所有财产、过去、头衔、未来目标、伴侣、想法、观点和感受，当你把所有这些认同都剥离时，你会看到自我赤裸裸地、可悲地不断寻求认可。

When you strip away all your possessions, your past, your job title, your future goals, your partner, your thoughts, your opinions, your feelings, If you were to strip all these identifications away, you'd see the ego naked and pathetic in its constant search for validation.

你会看到那个自我，丑陋得令人作呕。

You'd see the ego ugly as fuck.

肯德里克揭示了他自己问题的答案。

Kendrick reveals the answer to his own question.

当你被剥离了所有你认同的事物、所有自我 ego 用来验证自己的东西时， beneath 就显露出了丑陋。

When you're stripped of all the things you identify with, all the things the ego validates itself from, there's an ugliness beneath.

在我们讨论了托勒的自我 ego 概念之后，你可能会想知道替代方案是什么。

Now after our discussion of Tolle's concept of the ego, you might be wondering what the alternative is.

如果我不是我过去、思想、观点、兴趣、工作等的总和，那我到底是谁？

Who exactly am I if not the accumulation of my past, my thoughts, my opinions, my interests, my job, and so on?

好吧，这正是托勒作品的另一面，主要会在《Mister Morale》的后半部分加以阐述。

Well, that's the other half of Tolle's work, which will mostly be addressed in the second half of mister morale.

关于这一点，后面还会讲更多。

So much more on that later.

肯德里克接着说你‘out of pocket’，这在传统意义上是合理的，意思是行为失常。

Kendrick then follows you ugly as fuck by saying you out of pocket, which makes sense in the traditional sense of the phrase, meaning acting out of character.

当然，在这首歌和整张专辑的语境中，这个短语的含义更深，因为肯德里克谈论的不只是说或做一件出格的事。

Of course, the phrase is a bit deeper in the context of the song and album because Kendrick isn't simply talking about saying or doing a single thing out of pocket.

他的意思是，你对自己整个的认知和自我价值感都脱离了正常状态。

He means your entire perception of yourself and sense of self worth is out of pocket.

你尚未觉醒的存在方式是反常的。

Your unawakened existence is out of character.

然而，就像肯德里克的许多作品一样，这句话在结合前一首歌《United in Grief》的语境时，获得了更深的层次——在那首歌中，肯德里克承认自己曾沉迷物质主义，以应对未正视的创伤。

However, like so much of Kendrick's work, this line gains dimension when considered with the previous song United in Grief, where Kendrick admits to indulging in materialism to cope with his unconfronted trauma.

在汽车、衣服和豪宅之下，他也丑陋得可怕。

Beneath the cars, clothes, and mansions, he too is ugly as fuck.

他也陷入了自我的陷阱。

He too has fallen into the trappings of the ego.

因此，尽管肯德里克在这里听起来可能有些居高临下，但作为一个了解歌曲背景的细心听众，我们知道他不仅是在对别人说话，也在照镜子，对自己说话。

And so as much as Kendrick might be coming across as condescending here, as an informed and careful listener that considers the context of the song, we know that Kendrick is not only talking to others, he's also looking in the mirror, talking to himself.

他继续说：‘两个ATM机，你进去还是怎样？’

He continues rapping, two ATMs, you step in or what?

这看似在炫耀财富，多到需要两个银行账户才能装下。

This seems to be a flex of wealth, so much cash that you need two bank accounts to hold it all.

你步入其中还是怎样，这是对专辑标题的首次暗示，其中‘step in’意味着炫耀或向某人发起挑战。

You step in or what is the first allusion to the album's title with step in meaning to either flex or challenge someone.

这两种含义在这里都适用，因为肯德里克似乎在炫耀财富，同时问你是否像他一样‘Stepan’。

Both definitions work here as Kendrick seems to flex his wealth and asks if you're Stepan like he is.

然而，考虑到这首歌紧接在《United in Grief》和《N 95》的开场段落之后，而这两者揭示了我们外在物质姿态背后的复杂心理，很难简单地将这解释为单纯的炫富。

However, it's hard to simply chalk this up to flexing wealth given it follows both united in grief and the opening verse of n 95, which reveal the complex psychology beneath our external material posturing.

因此，肯德里克可能故意在这里自相矛盾，展现他明知炫耀财富背后潜藏的不安全感，却仍忍不住想要炫耀。

So it could be that Kendrick is purposefully being contradictory here, showing his own intuition to flex wealth despite knowing the underlying insecurities of doing so.

或者，肯德里克谈论的是另一种财富，比如道德或精神上的财富。

Or Kendrick is talking about a different kind of wealth, like moral or spiritual wealth.

在这种解读下，他是在指责听众：尽管你有钱，却活得失衡，未能达到道德标准。

In this reading, he'd be calling out the listener for living out of pocket or not living up to moral standards despite having money.

这种对抗性的态度继续延续：你觉得他们谈论的是谁？谈论的是我们。

This confrontational attitude continues, who you think they talk about, talk about us.

你觉得他们模仿的是谁？模仿的是我们。

Who you think they copy off, copy off us.

我们又一次可以从两个角度来解读。

Once again, we can interpret this two ways.

基恩要么是被自我膨胀所控制，只是在沉溺于经典的嘻哈炫耀，要么是在暗示他正在展示一种他人可以效仿的行为，以重新找回自我、回归本真。

Kendrick in the grip of ego, simply indulging in classic hip hop bravado, and or Kendrick is implying that he's modeling behavior that others can follow to get back in pocket and find their true selves.

更多内容将在广告后继续。

More on that right after the break.

欢迎回到《Dissect》。

Welcome back to Dissect.

在广告前，我们谈到《N95》第二段的开头，此时肯德里克的演唱节奏加快，用快速的三连音描绘了当今社会的现状。

Before the break, we approach the start of n ninety five second verse where Kendrick's delivery picks up intensity, wrapping in quick triplets about the current state of society.

肯德里克在第二段开头唱道：‘世界陷入恐慌。’

Kendrick begins verse two, the world in a panic.

考虑到这张专辑发布于2022年，听到这句歌词时很难不联想到引发全球恐惧与混乱的新冠疫情。

Given the release of this album in 2022, it's hard to hear this line without thinking about the COVID pandemic that caused so much fear and chaos across the world.

然而，我认为肯德里克的诊断并不仅仅针对疫情时期的情况。

However, I don't think Kendrick's diagnosis applies just to the pandemic conditions.

相反，他是在指出那些在危机到来之前就已存在的全球性动态。

Rather, he's pointing to global dynamics that were only exasperated when crisis struck.

因此，我们听到了下一句：女人被困，男人四散奔逃。

Thus, we get the next line, the women is stranded, the men on a run.

这引入了一个将在专辑后续部分进一步展开的主题，我们将在讨论《父亲时代》和《我们一同哭泣》等集数时深入探讨。

This introduces a theme that will be expanded on later in the album, which we'll talk a lot more about when we get to episodes like Father Time and We Cry Together.

但肯德里克在这里暗示的是，男性在自我 ego 和未面对的创伤驱使下，常常通过情感冷漠、言语或身体虐待，甚至像肯德里克自己所表现的那样，通过不忠来将问题发泄到女性身上。

But Kendrick here is alluding to the ways in which men, in the grip of ego and unconfronted trauma, often take their issues out on women through emotional unavailability, verbal or physical abuse, or in Kendrick's case, infidelity.

这种近乎末日的描述继续展开：先知被抛弃，法律被利用，市场正在崩溃。

The almost apocalyptic description continues, the prophets abandon, the law take advantage, the market is crashing.

先知是代表上帝发言的人。

A prophet is someone who speaks on God's behalf.

因此，被抛弃的先知可能指的是宗教、灵性或古老智慧的衰落，尤其是在西方世界。

So abandoned prophets might refer to the decline of religion, spirituality, or ancient wisdom, specifically in the West.

例如，在1990年，90%的美国成年人自认为是基督徒。

For example, in 1990, 90% of American adults identified themselves as Christians.

到2020年，这一数字已降至64%，且仍无放缓迹象。

By 2020, that number dropped to sixty four percent and shows no signs of slowing down.

与此同时，在过去十五年里，自认为无宗教信仰的人数从16%上升至30%。

Meanwhile, those who identify themselves as nonreligious are on the rise from 16 to 30% in the last fifteen years.

虽然这些数据并不完全具有代表性，但确实表明了宗教虔诚度的显著下降。

While it's not completely illustrative, these kinds of stats do show a dramatic decline in religious devotion.

那些本应研究古代智慧与典籍、积极思考道德与伦理、以神的话语为指引过上精神富足生活的人们。

People who, at least in theory, would be studying ancient wisdom and texts, who would be thinking actively about morality and ethics, using the word of God as a guide to live a spiritually rich life.

结合《905》开篇对物质认同和消费主义的批判，肯德里克可能是在指出，资本主义如何被视为西方的新宗教。

When considered with n 90 five's opening critique of material identification and obsession with consumerism, Kendrick could be pointing to the way in which capitalism can be viewed as the new religion of the West.

在《资本主义如何成为现代性的宗教》一书中，作者尤金·麦卡赫尔谈到了他称之为‘神圣的迁徙’的现象，即宗教的奥秘与圣礼已被市场力量、经济发展、消费、利润和价格所取代。

In his book, How Capitalism Became the Religion of Modernity, author Eugene McAraher writes about something he dubs the migration of the holy, where the mysteries and sacraments of religion have been replaced by things like market forces, economic development, consumption, profit, and price.

直接引用麦卡赫尔的话：‘在资本主义体系下，金钱占据了上帝被驱逐后留下的本体论宝座。’

To quote Makaraher directly, under capitalism, money occupies the ontological throne from which God has been evicted, unquote.

与宗教类似，资本主义是一种提供目的、意义与世界观的体系，一套充满魔力的迷信与无根据的信仰，拥有自身的经济利润、广告与品牌化的象征体系，以及自身的政治神学。

Like religion, capitalism is a system that offers purpose, meaning, and a worldview, a system of enchanted superstitions and unfounded beliefs, its own economic profits, its own iconography of advertising and branding, and its own political theology.

然而，正如肯德里克接下来指出的，资本主义的宗教是腐败的。

However, as Kendrick points out next, the religion of capitalism is corrupt.

正如他说唱的那样，法律在趁机牟利。

As he raps, the law take advantage.

市场正在崩溃。

The market is crashing.

这个行业只想要说唱词和女人躺在盒子里，而他们却在嘲笑我们，从中牟利。

The industry wants n words and bitches to sleep in a box while they make in a mockery following us.

这里的‘盒子’是一个象征，似乎源自‘跳出框框思考’这个习语，意思是换一种方式或创造性地思考，提供一种超越当前现状的新视角。

The box here is a symbol that seems to be based on the idiom thinking outside the box, which means to think differently or creatively, to offer a new perspective, something beyond the current status quo.

被困在盒子里则意味着被局限在现状和狭隘的思维中。

Being asleep inside of a box would then mean to be confined to the status quo and limited thinking.

这个‘盒子’的象征在《大步前行》巡演中扮演了重要角色，巡演海报上写着‘来帮忙把莫拉尔先生从盒子里救出来’。

This symbol of the box took on a significant role in the Big Steppers tour, which featured a tour poster that included the heading, come help get mister morale out of the box.

在演出的某个时刻，肯德里克进入了一个巨大的实体盒子，首先被迫接受新冠检测——这是一种机智的方式，暗示这个‘盒子’代表了疫情期间普遍的禁锢状态。

And at one point during the show, Kendrick enters a large physical box where first he's forced to take a COVID test, a cheeky way to acknowledge the box as representing the universal confinement during the pandemic.

然而，这个‘盒子’符号还有其他多重含义，它象征着肯德里克感到自己被困在被视作救世主的角色中，同时也被困于他的性成瘾之中，而‘盒子’在这里也是阴道的俚语。

However, the box symbol works in a number of other ways as it represents Kendrick's feeling trapped in his role as perceived savior and being entrapped by his sexual addiction, where the box doubles as a slang term for vagina.

然而，在《N 95》中，‘盒子’被关联到那些有动机让人困在框框里的产业。

However, within n ninety five, the box is being related to the industry who's incentivized to keep people in boxes.

对肯德里克而言，最直接相关的或许是音乐产业，它希望自己的艺人安于‘盒子’之中——保持顺从、无争议、符合主流思想与潮流。

Perhaps most immediate to Kendrick is the music industry, which desires to keep their artists asleep in a box or controlled, uncontroversial, and conform to popular thought and trends.

这样一来，艺人更容易被营销，最终也更具盈利性。

This, in turn, makes them easier to market and ultimately more profitable.

我们也可以将这个隐喻联系到肯德里克对整个世界的诊断：全球的掌权者希望个体及其社会易于控制，安于玩资本主义的游戏，满足于微小的收益和物质拥有，却忽视了这个游戏本质上是为精英阶层量身定制的。

We can also view the analogy as tying back to Kendrick's diagnosis of the world at large, where the global powers that be want the individuals and their society easily controlled, playing the game of capitalism, content with their small gains and material possessions, ignoring the ways in which the game is rigged in the favor of the elite.

这一观点引出了肯德里克的下一句歌词。

This idea leads to Kendrick's next line.

这可不是大富翁，我是在寻找爱。

This ain't monopoly, watching for love.

这也不是专一，你们都被坑了。

This ain't monogamy, y'all getting fucked.

《大富翁》当然是一款以经济为基础的棋盘游戏，规则上给予每位玩家合法的获胜机会。

Monopoly is, of course, an economic based board game in which the rules allow each player a legitimate chance to win.

肯德里克认为，我们当前的体系并不公平，权力与人民之间并非如一夫一妻制般充满爱与忠诚，相反，人民正被欺骗、背叛和操控。

Kendrick makes the case that our current system isn't this fair, that rather than a monogamous, loving, and faithful relationship between power and the people, the people are getting fucked over, cheated on, and manipulated.

随着这段歌词继续，伴奏转为更空灵、氛围感更强的段落，肯德里克也相应地调整了情绪，将焦点从外部世界转向内心世界。

As the verse continues, the instrumental switches to a more spacious atmospheric section of the beat, which Kendrick matches energy wise as he turns his focus from the outside world to his inner world.

肯德里克在这段歌词的后半部分开始追问：那到底是什么东西？

Kendrick begins this half of the verse jumping on what the hell is that?

当我感受到情绪时，我必须学会放松。

I gotta relax when I feel.

在歌词前半部分严厉悲观的控诉之后，肯德里克似乎在审视自己被强烈情绪淹没的内心状态。

Following the harsh pessimistic indictment of the verse's first half, it seems as if Kendrick is jumping on or checking on his own overwhelming emotions.

这些情绪如此强烈，甚至让他已故的亲人也来提醒他。

These emotions have such a grip on him that he's even being checked on by his deceased relatives.

他继续说道：我所有的后代，都在我睡梦中出现，说我不够虚伪。

As he continues, all of my descendants, they come in my sleep and say I'm too real.

虽然很难了解这句个人话语背后的细节，但有证据表明肯德里克认真对待他的梦境。

While it's hard to know the specifics behind this personal line, there is evidence that Kendrick takes his dream seriously.

他之前曾提到过图派克在梦中拜访他，告诉他要让音乐继续活下去，这个梦似乎对肯德里克的艺术轨迹产生了深远影响。

He's previously talked about Tupac visiting him in a dream, telling him to keep his music alive, a dream that seemed to have profound impact on Kendrick's artistic trajectory.

有一次我晚上睡着了，他就像一个剪影一样出现。

A real situation where I was asleep one night, man, and his his bluer like a silhouette.

他基本上说：继续做你正在做的事。

And he basically said, keep doing what you're doing.

别让我的音乐消亡。

Don't let my music die.

我对这种事，这种灵性的事，非常在意。

And I'm really big on shit like that, spiritual shit like that.

有人进入你的梦中，并传递一条信息。

Somebody comes in your dream and it relays a message.

你必须认真听。

You gotta listen.

你得认真听，因为我家那些已故的亲戚一直都在我的梦里出现。

You gotta listen to it because I got past family relatives that's been past and been coming to my dreams forever.

对。

Right.

我的意思是，我还会和他们交谈。

I mean, and talking to them.

在《Mr. Morale》专辑中，肯德里克明确提到他的祖母多年来一直出现在他的梦里，他之前在《United in Grief》中也已点名提及已故的祖母埃斯特尔。

Later on mister Morale, Kendrick will specifically cite his grandmother visiting him in his dreams for years, and he's already mentioned his deceased grandmother, Estelle, by name on United in Grief.

在整个专辑中，肯德里克将继续深化这一家族血脉的主题，探讨人类如何继承和传递代际创伤。

Over the course of the album, Kendrick will continue to build on this theme of family lineage as he unpacks the ways in which human beings inherit and pass down generational trauma.

随后，肯德里克说出了仿佛是他的使命宣言。

Kendrick then continues with what feels like a mission statement.

我不再在意敏感话题，不再把事情个人化，也不再纠结于黑白对错。

I'm done with the sensitive, taking it personal, done with the black and the white, the wrong and the right.

肯德里克在这里指出了对网络言论的普遍批评，即社交媒体的格式推动并激励了二元化思维。

Kendrick here asserts a common critique of online discourse, which is that the formats of social media promote and incentivize binary thinking.

他人的观点或行为被简单地归入好或坏、对或错的两类，而这种媒介的局限性几乎没有留下任何余地来容纳细微差别或真正的讨论。

Opinions or actions of others are placed in one or two boxes, good or bad, right or wrong, and the limitations of the medium don't offer much room for nuance or real discussion.

无论如何，肯德里克明确表示，这次他将毫无保留。

Regardless, Kendrick makes it clear that he's holding nothing back this time.

他会坦率地告诉我们他的真实感受，即使这意味着会伤害别人的感情，或者更准确地说，在肯德里克看来，人们会假装自己的感情受到了伤害。

He's going to tell us exactly how he feels, even if that means he'll hurt people's feelings or perhaps more accurately in Kendrick's view that people will act as if their feelings are hurt.

这种微妙的虚伪层面将在歌曲后续部分更加明显，但它也隐藏在这段歌词的最后一句之下。

This subtle layer of disingenuity will become more apparent later in the song, but it's also beneath the final line of the verse.

你期待着体制内的改变，而我深知葬礼哀嚎中所伴随的那种情感。

You hoping for change in clericals, I know the feelings that came with burial cries.

在已经透露了对康普顿亲密朋友离世的悲痛之后，肯德里克似乎在强调自己与某种所谓政治活动家之间的区别——那些人缺乏他或他的社区所拥有的真实经历。

Having already revealed his grief over the death of his close friends in Compton, it would appear Kendrick is calling attention to the difference between himself and a certain type of so called political activist who don't have the lived experience he or his community has.

在整个专辑中，肯德里克将质疑这类活动家的真实动机，质疑他们是否真的关心他的社区，还是更在意表现得道德高尚，仅仅为了博取关注、挥舞另一面旗帜。

Throughout the album, Kendrick will question the true motives of these types of activists, question whether they actually care about his community or if they care more about appearing virtuous, simply serving another look, waving another front flag.

肯德里克回到了歌曲开头那种朗朗上口的旋律，这次部分借鉴了儿歌《小蜘蛛》的音乐轮廓。

Kendrick returns to the kind of sing songy melody from the song's start, this time partially interpolating the musical contours of the children's rhyme Itsy Bitsy Spider.

他开始展现一种外表，这玩味了‘搭配时尚穿搭’的概念——有人精心打造了自己的形象。

He begins serving up a look, which plays on the idea of serving fashionable outfits, someone who's carefully curated their look.

在歌曲的语境中，肯德里克显然是在讽刺，继续揭露自我 ego 的伪装、我们戴上的面具、为了保全面子、迎合社会标准而强装出的虚假形象。

Within the context of the song, Kendrick is certainly saying this facetiously, continuing his expose on the ego's facade, the masks we wear, the looks we put on to save face, conform to social standards, and appear to be someone we're not.

接下来是‘在干旱中跳舞’，描绘了在极端困境中依然快乐的人。

Next is dancing in a drought, an image of someone joyful during dire circumstances.

这同样是伪装的一种象征。

It's another symbol of facade.

在这种情况下，有人假装快乐，实际上却完全不是这样。

In this case, someone feigning happiness when they're anything but.

然而，‘干旱’或缺水的隐喻在肯德里克的音乐作品中有着深厚的渊源。

However, the metaphor of a drought or lack of water carries a deep history within Kendrick's discography.

这一概念在《good kid, m.A.A.d city》中至关重要，尤其在歌曲《Sing About Me, I'm Dying of Thirst》中被明确提及。

It's an idea central in Good Kid, Mad City addressed specifically in the song sing about me, I'm dying of thirst.

这些作品。

The works.

在《good kid, m.A.A.d city》的故事线中，肯德里克因干渴而死象征着他意识到，自己当前的道路——无节制地追求性、金钱和暴力——正将他和他人引向死亡。

In the storyline of Good Kid, Mad City, Kendrick dying of thirst signifies the moment he realized that his current path, his unmediated pursuit of sex, money, and violence, is leading him and others to death.

与其继续冲向毁灭的深渊，肯德里克决定‘跳进那片水中，祈祷它能奏效’，这明显指的是基督教的洗礼仪式。

Rather than barreling down the pit of destruction, Kendrick decided instead to, quote, hop in that water and pray that it works, a clear reference to the Christian ceremony of water baptism.

此外，在歌曲《Lust》的副歌中，肯德里克承认，由于追逐性、金钱和谋杀的直觉，他迫切需要水源。

Also, on the chorus of the song Lust Off of Dam, Kendrick admits that he's in need of some water as a result of pursuing his intuition for sex, money, and murder.

在我们对《Damn》专辑的解读中，我们讨论过肯德里克对水或缺水的运用明显受到《圣经》影响，其中水被用作上帝之灵的隐喻。

In our season on Damn, we discussed Kendrick's use of water or the lack thereof was clearly influenced by the bible, which uses water as a metaphor for God's spirit.

正如人类需要水才能生存，人类也需要被上帝的灵充满，才能真正地活着。

Just as humans need water to survive, humans need to be filled with God's spirit in order to truly live.

没有上帝的灵，人类将永远无法满足，也无法建立一个公正的社会。

Without God's spirit, humans will never be satisfied nor could they live in a just society.

而这种关于社会的更大理念，似乎正是肯德里克在歌词‘在干旱中跳舞’以及整张《n.i.g.g.a.》中所要表达的。

And this larger idea about society seems to be what Kendrick is getting at in his lyric dancing in a drought and in n ninety five as a whole.

在所有那些物质财富、所有我们戴上的面具之下，根本没有任何实质的东西。

There's nothing of substance beneath all those material possessions, beneath all those masks we wear.

我们正在干旱中跳舞，穿着设计师服装只为展现外表，但在这所有之下，我们丑陋至极，渴得濒临死亡。

We are dancing in a drought, donning designer clothes to serve a look, but beneath it all, we're ugly as fuck, dying of thirst.

基德随后为这位在干旱中跳舞、追求外表的人起了个名字，唱道：‘你好，大步者，从不计错步数。’

Kendrick then gives a name to this drought dancer serving a look, singing, hello to the big stepper, never losing count.

这是基德第二次提到‘步者’，这次他正式揭示了专辑标题的一半。

For the second time, Kendrick refers to a stepper, this time announcing one half of the album title proper.

‘大步者’这个称号包含多层含义，我们将在下一期关于‘全球步者’的节目中深入探讨，但如今我们已具备足够背景来定义其中一层含义。

Now there's a number of layers in the big steppers moniker, which we're going to talk a lot more about in our next episode on worldwide steppers, but we have enough context to at least define one of those layers now.

最直接地说，‘大步者’是基德赋予那个在干旱中跳舞、追求外表、戴着设计师面具掩盖内心丑陋之人的名字。

Most immediately, the big stepper is the name Kendrick gives to the one dancing in the drought, serving the looks, wearing the designer mask to cover up their internal ugliness.

这个‘舞者’意象解释了‘从不计错步数’的含义之一，它借用了舞者数着步伐以与音乐保持同步的概念。

This dancer motif explains one meaning of never losing count, which plays off a dancer counting their steps to remain in sync with the music.

这揭示了完整专辑标题《Mr. Morale & the Big Steppers》的结构，它模仿了六七十年代乐队的命名方式，比如‘戴安娜·罗斯与至上女声组合’或‘斯莫基·罗宾逊与奇迹乐队’。

This sheds light on the structure of the full album title, mister Morale and the Big Steppers, as it mirrors the names of groups from the sixties and seventies, like Diana Ross and the Supremes or Smokey Robinson and the Miracles.

这是一种主唱与伴唱（有时也负责舞蹈）的组合形式。

It's a lead singer and their backup singers who sometimes also dance.