搬運(yùn)自：微信公眾號(hào)【評(píng)論搬一堆】（在原文基礎(chǔ)上添加了英語原文與排版調(diào)整）

原文鏈接：https://pitchfork.com/features/lists-and-guides/the-200-best-songs-of-the-2010s/

翻譯：Tyler Smith/ June Hess

審譯：Ryan-Chopin

推送：Lynn Liu

The day after Trayvon Martin’s birthday, Beyoncé unceremoniously uploaded “Formation” onto her website. The tension of the song was immediate from the siren of Mike WiLL’s hypnotic two-note opening: It felt viscerally reactive to the moment, a response to the murder of black people at the hands of the police, a reminder—via the opening voice of Messy Mya from beyond the grave—that the cyclical nature of violence is heightened among communities forgotten by the government. It reminded me of the story behind Nina Simone’s “Mississippi Goddamn,” a furious song Simone wrote in 1964 as an antidote to internal anger, delivered with the pep of a show tune, that reflected on the murder of civil rights activist Medgar Evers and a white-supremacist attack on an Alabama church that killed four young girls. Simone once said, “We will shape and mold this country or it will not be molded and shaped at all anymore.” When Beyoncé performed “Formation” at the 2016 Super Bowl halftime show, the day after its release, wearing the bandoliers of the Black Panthers, it felt like she was ready to take the reins and be seen doing so.

In the unforgettable video, Beyoncé crouches on a cop car submerged alongside houses in New Orleans devastated by natural disaster, the scene interspersed with images of people dancing in the dark—it’s the no-fucks vibrancy of a culture that persists when the systems surrounding them have been sucked into the muck and left to languish. Beyoncé celebrates the Southern black vernacular and Southern black culture: marching bands, cowboys, step squads, Mardi Gras, and bounce queens appear in the video, and in the song, she flaunts her “baby hair and afros” and her “negro nose with Jackson Five nostrils.”

在Trayvon Martin生日的第二天，Beyoncé毫不客氣地將《Formation》上傳到她的網(wǎng)站上。這首歌的緊張氣氛直接來自于Mike WiLL催眠般的兩個(gè)音符開頭的警笛聲：它對(duì)那一刻發(fā)自內(nèi)心的反應(yīng)，對(duì)警察謀殺黑人事件的反應(yīng)。來自墳?zāi)怪獾幕靵y的Mya的開場聲音是一個(gè)提醒，在被政府遺忘的社區(qū)中，周期性的暴力在本質(zhì)上被強(qiáng)化了。這讓我想起了Nina Simone的《Mississippi Goddamn》背后的故事，Simone在1964年寫了一首充滿憤怒的歌曲，作為消除內(nèi)心憤怒的解藥，這首歌充滿活力，反映了民權(quán)活動(dòng)人士Medgar Evers被謀殺，以及白人至上主義者襲擊阿拉巴馬州一座教堂、導(dǎo)致四名年輕女孩死亡的事件。Simone曾經(jīng)說過:“我們將塑造構(gòu)建這個(gè)國家，否則它將不再改變。”Beyoncé在2016年超級(jí)碗(Super Bowl)中場秀上表演《Formation》，也就是專輯發(fā)行的第二天，她穿著黑豹黨的綁腿褲，感覺她已經(jīng)準(zhǔn)備好接過接力棒了。

在這段令人難忘的視頻中，Beyoncé蹲在一輛警車上，旁邊是被自然災(zāi)害摧毀的新奧爾良房屋，場景中穿插著人們?cè)诤诎抵刑璧漠嬅?，這是一種文化的活力，當(dāng)他們周圍的事物已經(jīng)深陷泥潭，任其自生自滅時(shí)，這種活力依然存在。Beyoncé贊美南方黑人的方言和文化，視頻中有游行樂隊(duì)、牛仔、步兵營、狂歡節(jié)和彈跳皇后，在歌曲中，她炫耀她的“嬰兒頭發(fā)和非洲式發(fā)型”和“杰克遜五個(gè)鼻孔大的黑人鼻子”。

Though the song was thoroughly and specifically for and about black women and their unseen labor, the whole world was quick to rally behind another Bey hit. Hillary Clinton, hot on the campaign trail, would mention she had hot sauce in her bag on an interview with long-running hip-hop radio show, “The Breakfast Club,” Etsy would commodify her language and iconography, so that women of every race could get in formation. The next year, “Formation” would lose two Grammys to Adele’s “Hello,” but the phrase “OK ladies, now let’s get in formation” would appear across signs at the Women’s March and in allyship alongside the #MeToo movement, reinvigorated from a decade’s existence by the Weinstein allegations. The song’s initial appeal was an awakening for a country in crisis. But it will live on as a reminder of the slow, persistent, daily work of organizing and the power of resilience and protest—the importance of holding grief, anger, hope, and pride side by side. –Puja Patel

盡管這首歌是專門為黑人女性及其看不見的勞動(dòng)而創(chuàng)作的，但全世界都迅速團(tuán)結(jié)起來支持Beyoncé的這又一熱門歌曲。Hillary Clinton在進(jìn)行競選活動(dòng)接受長期播放的嘻哈廣播節(jié)目《he Breakfast Club》的采訪時(shí)，提到自己的包里有辣椒醬。Etsy將她的語言和肖像商品化，這樣每個(gè)種族的女性都能參與進(jìn)來。第二年，《Formation》輸給Adele的《Hello》，失去兩項(xiàng)格萊美獎(jiǎng)，但“OK ladies, now let’s get in Formation”這句話出現(xiàn)在婦女游行的各種標(biāo)志上，并與“MeToo”運(yùn)動(dòng)并肩作戰(zhàn)。這首歌最初的訴求是喚醒一個(gè)處于危機(jī)中的國家，但它將繼續(xù)提醒人們，組織工作緩慢、持久并且日常，以及作為抵御和抗議的力量而存在，把悲傷、憤怒、希望和驕傲并肩，這些都最重要。