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(yǔ)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：Cathy Lin

審譯：Emma.Z

推送：Lynn Liu

At the start of the decade, pop music taught teenagers what their desires were, not the other way around. According to the radio, teen dreams were filled with earth-shattering parties and unconscionable excess tracked to wall-of-sound synth production best suited for football stadiums. And then New Zealand’s 16-year-old Lorde strolled into the charts like a supremely over-it exchange student, singing her chilly, nearly a capella manifesto about just how tired she was of songs about tigers and jet planes and Cadillacs.

在本世紀(jì)初，是流行音樂(lè)教會(huì)了青少年欲望是什么。根據(jù)電臺(tái)報(bào)道，青少年的夢(mèng)想里充滿了驚天動(dòng)地的派對(duì)，還有對(duì)最合適的足球場(chǎng)聲墻的生產(chǎn)的過(guò)度追蹤研究。接著，來(lái)自16歲的新西蘭洛德像一個(gè)無(wú)敵優(yōu)秀的交換生一樣漫步進(jìn)入排行榜，唱著她那冷冰冰的、近乎capella式的宣言，唱著她對(duì)老虎、噴氣式飛機(jī)和凱迪拉克的歌曲的厭倦。

While “Royals”’ pillory of rap-video tropes attracted accusations of racism, the song propelled Lorde to stardom and transformed pop in the process. In the years since, the genre has grown bleaker, replacing maximalist odes to excess with bummed-out songs stressing isolation and anxiety. And a new generation of artists who speak to the same sense of teen ennui—Halsey and Clairo and Billie Eilish—have proliferated, working to override the industry’s male gaze instead of playing into it. As it introduced a new kind of pop star, “Royals” challenged the world’s biggest artists to be not just enviable, but relatable. –Hazel Cills

雖然“Royals”對(duì)說(shuō)唱視頻的嘲諷招致了種族主義的指責(zé)，但這首歌卻讓Lorde一舉成名，并在這一過(guò)程中改變了流行音樂(lè)。從那以后的幾年里，這類歌曲變得越來(lái)越乏味，用強(qiáng)調(diào)孤獨(dú)和焦慮的蹩腳歌曲取代了極端主義的頌歌。而新一代的藝術(shù)家們數(shù)量激增，也像Halsey 、Clairo 和Billie Eilish一樣，對(duì)青少年的厭倦感感同身受。他們努力超越這個(gè)行業(yè)的男性目光，而不是參與其中。隨著新型流行明星的出現(xiàn)，“Royals”向世界上最偉大的藝術(shù)家們發(fā)起了挑戰(zhàn)，要求他們不僅要令人羨慕，而且要讓人產(chǎn)生共鳴。