5 The Path to Stardom

CHAPTER 5 The Path to Stardom At the end of 1966, Bob and Rita settled into her small house on Greenwich Park Road. Finally, they lived together as husband and wife. While Bob had been in the US, he had stopped cutting his hair, in keeping with his Rasta beliefs. As

1966年底，鲍勃和丽塔在她位于格林威治公园路的小房子里安顿下来。 最后，他们以夫妻的身份生活在一起。 当鲍勃在美国的时候，为了保持他的印度教信仰，他已经不再剪头发了。 作为

Bob walked the streets of Trench Town again, he noticed that many people were growing their hair out, too. He and other Jamaicans now had long hair that naturally separated into sections. These sections were the beginning of dreadlocks—created by twisting pieces of hair together so they grow out to look like thin ropes. Something else was new in Jamaica: A popular style of music called rocksteady was playing on the radio. It is slower than ska and has a more relaxed beat. Like calypso, the words to rocksteady songs can be very political. Bob really liked the new music. It inspired him to go back to Studio One and play with the Wailers. Together with Coxsone, they created what is now called reggae Reggae music combines calypso,

鲍勃又走在特伦奇镇的街道上，他注意到许多人也在留头发。 他和其他牙买加人现在都留着自然分成几段的长发。 这些部分是脏辫的起源——通过将头发缠绕在一起，让它们长出来，看起来像细绳。 牙买加还有一件新鲜事：电台里播放着一种名为rocksteady的流行音乐。 它比斯卡慢，节奏更轻松。 就像卡利普索一样，摇滚歌曲的歌词可能非常政治化。 鲍勃非常喜欢新音乐。 这激发了他回到一号录音室和威勒乐队一起演奏。 他们和科松一起创造了现在所谓的雷鬼音乐雷鬼音乐结合了卡利普索，

rocksteady, and other Jamaican music styles with American pop music. But it has a beat that is all its own. Many reggae songs were about Rastafarian concerns, like poverty, justice, politics, and Africa. Reggae became known as music for people who had been oppressed—or kept under the power of a greater authority. Jamaicans knew about oppression from the years they had been under British rule. Reggae quickly became a part of Rastafarian and Jamaican culture, also known as roots culture. The term "roots" refers to the

摇滚乐和其他牙买加音乐风格与美国流行音乐。 但它有自己的节奏。 许多雷鬼歌曲都是关于拉斯塔法里教徒所关心的问题，比如贫穷、正义、政治和非洲。 雷鬼音乐被认为是受压迫的人的音乐，或者被更大的权威所控制。 牙买加人在英国统治下的那些年里对压迫了如指掌。 雷鬼很快成为拉斯塔法里和牙买加文化的一部分，也被称为根文化。 “根”一词指的是

spirituality and pride of a black culture that has its source—its roots—in Africa. With a lot of new songs in his notebook, Bob was ready to record a new album. But he wanted to be his own boss. Bob wanted to save enough money to make the next album without Coxsone.

黑人文化的精神和骄傲源自非洲。 他的笔记本里有了许多新歌，鲍勃准备录制一张新专辑。 但他想做自己的老板。 鲍勃想攒足够的钱在没有考森的情况下制作下一张专辑。

During the late 1960s, when the Wailers' career was just beginning, people listened to music on the radio or by playing vinyl (plastic) records on turntables. Bob and Rita decided to record songs one at a time, whenever they could afford to rent a recording studio. They sold the new records—single songs only—from their bedroom window, which they had turned into a small storefront. They called it the Wail'n Soul'm store, named after the Wailers and the Soulettes. Bob and Rita were happy to be selling records together. They were a great team.

在20世纪60年代末，当威勒夫妇的事业刚刚起步时，人们通过收音机或唱机转盘播放黑胶唱片（塑料唱片）来听音乐。 鲍勃和丽塔决定，只要租得起录音棚，他们就一次录一首歌。 他们把卧室变成了一个小店面，从窗户里出售新唱片——只卖单曲。 他们称它为哀号灵魂店，以哀号和灵魂姐妹命名。 鲍勃和丽塔很高兴能一起卖唱片。 他们是一支伟大的球队。