too old to be precocious. too rich to be just like us. too accomplished to be wide-eyed, open-mouthed stunned by success. she was a pre-teen who dreamed of a record deal, then a teenager who moved to nashville and proved that the lovelorn concerns of herself and her peers could become fodder for self-penned, smash-hit country songs.
now she’s an unqualified global success who has made a graceful and gracious transition from thrilling juveniles to filling stadiums with many of the same music fans that go hear springsteen, beyonce, u2 or coldplay. she’s also the most amiable of hate magnets, drawing derision for doing things most musicians have done: going on dates, writing about relationships, appearing overly enthusiastic and dancing awkwardly are chief among her public crimes.
in august she announced that she was making her first full-on pop album, by which she meant her first, absolutely-no-country-music-on-it album. like shania twain and the dixie chicks before her, she’s abdicating the country throne and stilling an empowered female voice on country radio. unlike others who have sought to trampoline from country radio to crossover success, she is unabashed and unapologetic about her shift in direction.
"the only choice i had was do i paint a wall green and tell people it’s blue," she says, sitting in a nicely appointed, top-floor room at the hutton hotel on west end avenue. "i decided to be honest about it, and upfront about the fact that this is me switching lanes. to say i ‘left’ country music sounds very harsh. it’s just a change in artistic direction."
“我唯一的选择就是我把一面墙刷成绿色的然后告诉别人这其实是蓝色的（此处应该是暗指做一张流行乐专辑然后告诉别人这是乡村乐 ——译者注），”她坐在hutton hotel顶层的房间说道，“我只是想对此保持诚实——我确实变换风格了。说我离开乡村音乐会不会太残酷了点，我只是变换了一下方向。”
recent headlines asserted swift is quitting both nashville and country music. she assures that neither of these are true.
"i would never quit nashville," she says. "i think nashville has become such a melting pot for different genres, and so many different artists who make different kinds of music move here and call it home. i don’t think that because i don’t make country music right now that means that i’ve in any way unleashed some great assault on this city."
she says that with a chuckle, though the chuckles don’t always translate to print, and i suppose you’ll just have to take my word on this one. swift has learned laughter’s necessity, the hard way. she once told me she felt like the most understood girl in the world, because she was able to precisely articulate her feelings and put them into songs that people comprehended and adored. she no longer feels precisely that way.
"as my career has changed and morphed and, thankfully, grown, the one downside has been that it makes people a lot of money to write sensationalized stories about my life," she says. "there needs to be something written about me daily for some gossip blog to meet its quota, and if there’s nothing to write about me that day, they’ll just make something up."
"you have to have a sense of humor about it," she says. "if you don’t laugh at it, after a while you’ll start to feel stifled and oppressed and wronged. i don’t think i can be living this life doing what i love at this level and feel wronged in any way."
johnny cash was the most charismatic person i’ve ever met. taylor swift is the most self-aware. she seems to view herself from a cool remove, even in the moment.
johnny cash是我见过的最有魅力的人。taylor swift则是自我意识最强烈的一个，就算是现在，她都似乎是在一个很棒的距离在观察自己。
"right know, knock on wood, things are good," she says. "ugh, i hate it when i rhyme and don’t mean to."
much of the time, she means to rhyme. (i love it when i rhyme and don’t mean to.) the new “1989” album is filled with rhymes and half-rhymes, as swift displayed at a recent “secret session” in nashville.
for that session, she searched the internet for fans to invite to album-listening sessions in nashville, los angeles, new york, rhode island and london. in nashville 89 fans took a bus to swift’s mother’s house. they handed their cell phones to swift’s team, mingled a while by the pool trying to figure out exactly what was going on, then entered the home, listened and cheered as swift played the album in its entirety, talking between songs about her inspirations and about her life.
near the end of the session, she played lead single (and no. 1 pop hit) "shake it off" and led a dance party that shook the living room like a key event of 1989: the san francisco earthquake.
在活动结尾，她播放了专辑首单shake it off（单曲榜第一的流行歌曲）并且让大家都在客厅里随之起舞，看起来就像发生在1989年的圣弗朗西斯科地震一样。
throughout the album, the fans swayed to sophisticated pop beats, but they also laughed, clapped and sighed at lyrical turns. swift’s brand of pop is narrative-driven, no less so than her four "country" albums. the sonic settings are trappings, adornments. same girl, new jewelry.
she pokes fun at herself and her reputation ("got a long list of ex-lovers, they’ll tell you i’m insane/ but i’ve got a blank space, baby, and i’ll write your name"). she sings in one where she calls herself "a nightmare dressed like a daydream." in new single "out of the woods," she writes of a fluttering relationship as being like "two paper airplanes flying."
她在专辑里有时候会拿她自己和她的名声开玩笑“列一张长长的我前任的清单，他们会告诉你我疯了。但如果这清单上还有空白，我会写上你的名字。”她在这首歌中还认为自己是“披着白日梦外衣的梦魇”。在“out of the woods”中，她把一段让心脏急速跳动的感情形容为“两架在飞翔的纸飞机（two paper airplanes flying.）”
swift had numerous conversations with her label bosses at big machine records about what she’d be giving up by abandoning any country pretense. why not just offer three singles that would sound enough like the other stuff on country radio to buy a couple more years in the country mainstream?
泰勒和她厂牌big machine records的老板有过很多次的对话，内容都和“抛弃所有的乡村元素意味着放弃了什么”。为什么不再写三首至少足够在乡村电台播出的单曲、让自己还能在主流乡村乐坛里在待几年呢？
"i just kept coming back at them with, ‘all people want is music that’s good,’ " she says. "they don’t care about labels. they want songs that are quality and narratives that are interesting. they’re not focusing on the instrumentation, they’re focusing on whether this seems like an authentic project that was smartly crafted, comes from a deeply emotional place and represents the way my life is right now."
these days, swift’s life sounds like this album: frantic, reflective, shouted and whispered. that’s now, at 24. as for what 34 will be like, all bets are off. i asked her if all this is permanent, if 10 years from now we should be shocked if she makes, say, a rooted, singer-songwriter album that sounds something like the emmylou harris works that she adores.
"i would not be shocked at all," she says. "it would shock me if i didn’t. with ‘1989’ i went in a different direction and went with a sonically cohesive pop album. who knows where it will go next, but it won’t be the same."
source from: tennessean.com