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《1989》泰勒·斯威夫特正值花信年华(图文)

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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.
她已经长大了不能说不成熟了,她太富有了也不能像我们一样(过普通人的生活)。她太有才华,已经不会再为被成功而激动地晕眩着睁大眼睛张大嘴巴。她曾经是一个希望得到一纸合约的小女孩,然后是一个搬到纳什维尔的少女,证明了自己能用通过自己的生活(失恋、同伴等)来完成一首首自己写的、大热的乡村单曲以养活自己。

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.
如今她已经是一个前途无量的国际巨星,并完成了从一个易激动的少女到能在碧昂斯、springsteen、u2和酷玩乐队开过演唱会的场馆演出的歌手的转变。同时她也极容易因为一些别的艺人也会做的事情吸引到负面评价和嘲弄:和别人约会、拿自己的感情来写歌、在镜头前过于狂热并且跳着蛇精病的舞蹈,这些都是别人攻击她的焦点。

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.
在去年八月,她宣布她要做一张完全的流行专辑,意味着这张专辑不会连一首乡村歌曲都没有。就和当年的仙妮娅?唐恩以及南方小鸡一样,她放弃了乡村的光环,只给乡村电台留下光碟里的声音。不像别的艺人试着从乡村电台获得跨界的成功,她对她所做的转变不掩饰、不辩解。

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"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.
最近的头条都声称她即将离开纳什维尔以及乡村音乐,而她保证道这些说法都不正确。

"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."
“我是不会离开纳什维尔的,”她说,“我觉得纳什维尔已经成为了各种音乐风格的熔炉,很多不同风格的艺人把这里当成自己的家,做着不同风格的音乐。我并不认为现在我不做乡村音乐了就意味着我会以任何方式来对这座城市做些残酷的举动。”

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.
她说这些的时候在轻声地笑,虽然这一般不会在报纸上故意写出来,但这次我觉得你们还是应该知道这点。泰勒知道了笑容的必要性,这有些困难。她曾经告诉我她觉得她是这个世界上最被人所熟知的女孩,因为她可以将自己的感觉一五一十地清晰地在歌里表达出来,让人们去理解去欣赏。现在她不觉得可以这么做了。

"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."
“随着我的歌唱生涯的改变,也可以感恩地说成长,一个消极的方面就是人们会通过写一些与我生活相关的以耸人听闻的手法处理的故事,”泰勒说,“一些八卦博客为了达到他们的目的,总是得有些关于我的故事,如果那天确实没故事可写,这些人就会凭空捏造些东西出来。”

"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."
“对这些事情必须有幽默感,”她说,“如果你不笑的话,过一阵子你就会对此感到窒息、烦恼、被冤枉。我可不想活在做我自己的事情却被认为都是错的这种生活中。”

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."
“现在,厄运跑,好运到。”她说,“这,我不喜欢我讲话突然押韵,这也不是故意的。”

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.
很多时候她讲话都押韵。(我很喜欢我讲话押韵的时候,这可不是故意的。)整张“1989”都是押韵或者半押韵的,就和她在纳什维尔的一项“秘密活动”中展示的一样。

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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.
为了这个活动,她上网找寻粉丝并邀请他们来参加在纳什维尔、洛杉矶、纽约、罗德岛和伦敦专辑试听会。在纳什维尔,89名粉丝来到mama swift的房子。粉丝们把手机交给了泰勒的团队、并在水池边上把这些手机搞混,大家都在猜这到底是干嘛。然后他们走进屋子里,

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.
听着这张专辑,歌迷们会随着精致的节拍一起摇摆,但他们也会随着歌词的变化而笑、鼓掌或者叹气。这张泰勒做的流行专辑同样是由她自己的故事出发,在这点上并不比她前几张乡村专辑差。那些快板节奏只是这些装饰罢了。(类似于)同样的女孩,不同的首饰。

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."
“我只是不停地对我的公司说‘好听的音乐才是人们想听的’,”泰勒说,“他们(歌迷)不会在意标签,他们想听的是高质量的、有故事的、有趣的歌曲。他们不会只关注于用了什么乐器,他们只会关注歌曲是不是有精秒的制作、是不是情感丰沛以及是不是能代表我当下的生活状态。”

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.
当下,泰勒的生活就和这张专辑一样:有些疯狂、令人深思、时而大声喊叫时而呢喃低语。现在,她24岁,是这个样子。那她34岁呢?难以预料。我问她现在的这些状况会不会伴她一生,或者十年后她会不会做一张像她所喜欢的emmylou harris的作品一样的专辑。

"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."
“我一点都不会觉得惊讶,”她说,“我不这么做我反而会吃惊。伴着《1989》我走向了另一个方向、做出了一张快节奏但完整性高的专辑。谁知道下一张会是什么样子呢?但下一张肯定不会与这张一样。”

source from: tennessean.com

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