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）

翻譯：Peter D

審譯：Lynn Liu

排版：Lynn Liu

作者：?Matthew Ismael Ruiz

Bad Bunny’s second album is outstanding. It’s a big party record that pushes boundaries and pays homage to reggaetón’s past and future, all made by a swaggering star with absolutely nothing to prove.

Bad Bunny的二專完全可以用出類拔萃來形容。這位派頭十足的巨星已經(jīng)完全無需證明自己，并創(chuàng)作出了一張盛大的派對(duì)專輯，有力地推動(dòng)了雷擊頓（reggaetón）音樂的邊界，致敬了這一流派輝煌的過去，并眺望著雷擊頓的未來。

Not?many parties start with someone contemplating suicide. Yet that’s how?Bad Bunny?chose to begin the video for “Si Veo a Tu Mamá,” the opening track of his second album,?YHLQMDLG. We see a close-up of a despondent young man, standing on a stool and staring through a noose, ready to hang himself as a party buzzes around him. He’s saved by an empathetic little boy who understands his pain, and introduces him to the cure: Listening to Bad Bunny.

一般來說，很少有派對(duì)是從一個(gè)想要自殺的人開始的。但Bad Bunny卻選擇讓“Si Veo a Tu Mamá（如果我遇見你的母親）”的MV從這樣一個(gè)場(chǎng)景開始，而這首歌也正是他的二專《YHLQMDLG》的開場(chǎng)曲。鏡頭從一個(gè)十分消沉的年輕人的臉部特寫開始，慢慢拉遠(yuǎn)；他站在凳子上，透過一個(gè)繩圈凝視著周遭歡騰的派對(duì)，準(zhǔn)備上吊結(jié)束自己的生命。一位能夠理解他的痛苦的小男孩救下了他，并給他開出了一劑治愈心病的良方——聽Bad Bunny的歌。

It’s a macabre choice for a dance record, a collection of distinctly Puerto Rican party beats that pays homage to reggaetón’s past and future. And on its surface, the song, built atop a morose, Casiotoned version of the “Girl From Ipanema” bossa nova melody, might seem more suited for the elevator of a Florida nursing home than the club. But it’s also firmly aligned with the somewhat paradoxical ethos of?YHLQMDLG?(an acronym for?Yo Hago Lo Que Me Da La Gana, or “I do whatever I want”). Bad Bunny might know what it feels like to be sad, but he also knows the path to salvation is believing in himself, and with that, he can do whatever he wants—and pull it off with swagger.

這一選擇有些讓人毛骨悚然，尤其是對(duì)于這樣一張集合波多黎各派對(duì)節(jié)奏、致敬雷擊頓音樂（reggaetón）的過去和未來的舞曲專輯。同時(shí)，從表相上看，這首歌曲基于一段名叫“Girl From Ipanema（來自伊帕內(nèi)馬海灘的女孩）”的巴薩諾瓦（譯者注：bossa nova，巴西音樂風(fēng)格）風(fēng)格的旋律，并改編成帶點(diǎn)憂郁氣質(zhì)的電子琴版本，可能更適合在佛羅里達(dá)州的療養(yǎng)院電梯里播放，而非舞池里。但它卻恰好與專輯《YHLQMDLG》（Yo Hago Lo Que Me Da La Gana的首字母縮寫，意即“隨心所欲”）的有些矛盾的精神內(nèi)核達(dá)成了一致。Bad Bunny可能清楚悲傷是什么樣的體驗(yàn)，但他更清楚，其解脫之道便是相信自己，并且只要有這份自信，他就能做到一切想做的事——并且?guī)鲜愕呐深^。

Bad Bunny rose to stardom riding the Latin trap wave, crooning over beats constructed with 808 drums, bleeding synth bass, and narcotized atmospherics. It all borrowed heavily from the sounds of late-’00s Southern hip-hop, adding the idiosyncrasies of the flow en Espa?ol and a Caribbean POV. For?YHLQMDLG, he reaches back even further to the glory days of reggaetón, sidelining Anglo guest stars for OGs like?Daddy Yankee, Yaviah, ?engo Flow, and Jowell y Randy.

乘著時(shí)興的Latin trap的浪潮，Bad Bunny伴著用808鼓機(jī)、沉重的合成器低音和令人眩暈的氛圍感構(gòu)筑出的節(jié)奏哼唱著，一躍成為了巨星。他的音樂大量借鑒了00年代末期的美國南部嘻哈，并融入了西語flow的特點(diǎn)和加勒比海地區(qū)的特有視角。而在《YHLQMDLG》中，他更加深入地回溯了雷擊頓音樂的光輝歲月，英語明星們被擠到一邊，Daddy Yankee， Yaviah,，?engo Flow以及Jowell y Randy等傳統(tǒng)的雷擊頓大佬們則被請(qǐng)回了舞臺(tái)。

YHLQMDLG?plays like a mixtape for a San Juan?marquesina—the underground garage parties Bad Bunny referenced on?X 100PRE’s “Cuando Perriabas.” He curates a playlist of diverse?perreo?jams with a singular, unwavering focus: having fun. Where?X 100PRE?felt like a tightly sequenced statement of identity,?YHLQMDLG?is both looser and freer, a party record made by a young star with nothing to prove. The highlights are plentiful; early singles “Vete” and “Ignorantes” occupy the suave sadboi lane he’s best known for, but “Yo Perreo Sola” and “Bichiyal” rock raw, stripped-down reggaetón beats evocative of the genre’s “Gasolina” era. And he doesn’t completely abandon the sounds of the trap, either: The Anuel AA collab “Está Cabrón Ser Yo” could just have easily found itself on the Migos’?Culture III.

《YHLQMDLG》就像一份專為圣胡安的“marquesina”——Bad Bunny曾在上一?！禭 100PRE（永遠(yuǎn)）》中的“Cuando Perriabas（當(dāng)我喝醉時(shí)）”中所提到的一種地下車庫派對(duì)——所準(zhǔn)備的歌單。他組織這樣一份充滿了各種類型的perreo舞曲（譯者注：波多黎各地區(qū)的一種音樂和舞蹈類型，與雷擊頓音樂關(guān)系密切）的歌單時(shí)只有一個(gè)簡單但毫不動(dòng)搖的動(dòng)機(jī)——盡情玩樂。相比起《X 100PRE》專輯那份按部就班的身份宣言色彩，《YHLQMDLG》更放松，更自由，它就是一張由一位已經(jīng)無需證明的巨星所創(chuàng)作的派對(duì)專輯。專輯中的亮點(diǎn)比比皆是；先行單曲“Vete（走開）” 和 “Ignorantes（無知）”中，他繼續(xù)扮演著最為人所熟知的老練的悲傷男孩（譯者注：suave sadboi，是Pitchfork雜志給他之前的單曲“Caro”的評(píng)語）角色，但“Yo Perreo Sola（我獨(dú)自跳舞）”和 “Bichiyal”中生猛又干練的雷擊頓節(jié)奏把我們一下帶回了“Gasolina（汽油）” （譯者注：Daddy Yankee于2003年發(fā)行的單曲）的那個(gè)年代。同時(shí)他也沒有完全拋棄trap曲風(fēng)：和Anuel AA合作的“Está Cabrón Ser Yo（這個(gè)混蛋就是我）”放到Migos的《Culture III》中也不會(huì)有絲毫違和感。

From a production standpoint, the record is nearly flawless. The bulk of?YHLQMDLG?strikes a balance between reggaetón’s dembow riddim and an island-influenced Latin trap palette. Bad Bunny leans heavily on the production duo Subelo NEO, but also taps former Luny Tunes protege Tainy for a handful of songs. And even his dabbles in rock are expertly engineered—the emocore breakdown on “Hablamos Ma?ana” is so epic one might forget the tinny production that almost ruined?X 100PRE’s otherwise catchy pop-punk foray, “Tenemos Que Hablar.” The mood is joyful throughout?YHLQMDLG, updating some of early reggaetón’s darker, grittier textures with a bright tropical sheen better suited to Bad Bunny’s personality. The sequencing is a bit scattershot, but rather than distract, it keeps the classic reggaetón riddim sounding fresh across the album’s sprawling 20-song tracklist.

這張專輯就制作層面而言可以說完美無瑕。專輯的主體在在雷擊頓樂的dembow節(jié)奏（譯者注：起源于牙買加，為雷擊頓音樂的重要組成部分）和波多黎各Latin trap間找到了平衡。大部分內(nèi)容依靠制作二人組Subelo NEO完成，同時(shí)Bad Bunny也委托Luny Tunes的徒弟Tainy制作了好幾首歌。甚至他對(duì)于搖滾的再次嘗試有著極為專業(yè)的處理——“Hablamos Ma?ana（明天再說）”中情緒搖滾風(fēng)格的間奏氣勢(shì)磅礴，好到讓人幾乎要忘記那差點(diǎn)毀了《X 100PRE》的流行朋克嘗試之作“Tenemos Que Hablar（我們需要談?wù)劊敝屑饴暭鈿獾闹谱??！禮HLQMDLG》中的情緒一直保持著輕松愉悅，用一種更符合Bad Bunny個(gè)性的熱帶激情色澤，讓早期雷擊頓音樂中那更灰暗、更真實(shí)的質(zhì)地?zé)ㄈ灰恍?。專輯曲序略微有些漫無目的，但專輯在整整20首的曲目中讓雷擊頓節(jié)奏一直充滿新鮮感，不至于讓人分心。

A perfect example is the album’s centerpiece, “Safaera,” a self-contained microcosm of?YHLQMDLG’s collage aesthetic. More suite than song, the five-minute reggaetón symphony changes tempos eight times and features a new beat nearly every verse. It seamlessly integrates recognizable hits—Alexis y Fido and Baby Ranks’ “El Tiburón” and Missy Elliott’s “Get Ur Freak On,” among others—without ever sounding stale. To find anything remotely like it you’d have to dig up one of DJ Playero’s?mixtapes?from The Noise era of reggaetón, which blended dancehall, reggae, and rap en Espa?ol into a sound that would ultimately coalesce into the reggaetón we know today. That these shadows of the genre’s history—from a time when it was so underground it was literally criminalized—have such a prominent place on one of the most anticipated pop records of the year is nothing short of remarkable.

最好的例子就是專輯最中間的那首“Safaera（放縱）”，它也是《YHLQMDLG》專輯拼貼美學(xué)的一個(gè)縮影。這首5分鐘的“雷擊頓交響樂”中變換了8次節(jié)奏，幾乎每段主歌都換一個(gè)拍子，聽上去更像是一首組曲，而不單單是一首歌。好幾首耳熟能詳?shù)臒釂巍狝lexis y Fido和Baby Ranks的 “El Tiburón（鯊魚）”， Missy Elliott的“Get Ur Freak On（瘋起來）”等等——被精妙地融入歌曲中，聽起來也絲毫不覺得過時(shí)。要想找到稍微接近它一些的音樂，就得一直追溯到雷擊頓的“噪音時(shí)代”時(shí)DJ Playero的混音帶，這些歌把浩室舞曲、雷鬼和西語說唱融合在一起，最終形成了如今我們聽到的雷擊頓。這些雷擊頓歷史所投下的影子——當(dāng)時(shí)太過先鋒，以至于幾乎是非法的——被當(dāng)下最受矚目之一的流行專輯擺到了如此突出的地位，這只能用非凡來形容。

His ability to push reggaetón forward while paying homage to its past is commendable, but the way he uses visuals is of equal importance to his evolution into a pop star. On its surface, “La Difícil” is about a hard-to-get video vixen, a girl who knows that everyone wants her and uses it to her advantage. Yet the video itself feels infinitely more empathetic, giving a backstory to the women typically used as one-dimensional scenery in nearly every urbano video—in this case, a single mom who’s doing her best for her daughter. This is no aberration; as Bad Bunny’s budgets have swollen and his creative control solidified, he’s used the medium to flip the script on tropes that have made urbano feel stale, offering visibility to the underrepresented, or placing himself firmly in opposition to?misogyny?and?homophobia. Genesis “Nesi” Rios’ missing performance credit on “Yo Perreo Sola”—a song defined by her hook—proves he still has some work to do. But even if he makes some of the same mistakes as his reggaetón forebears, he’s still doing more than?most to bring progressive politics into the Latin mainstream.

And when urbano’s brightest young star wears a skirt and nail polish on the?Tonight Show, silently demanding we put respect on a?murdered woman’s name, it brings us one step closer to a new standard of inclusion, and encourages marginalized people to live their truth in the face of oppression. Musically, one need look no farther than J Balvin’s post-2016 work for evidence of Bad Bunny’s influence on his peers, and while he looks up to his senior contemporary, he left a significantly larger impression on their collaborative LP?Oasis. So even if he follows through on his threat from the album’s closing track “<3” —(“Y en nueve meses vuelvo y saco otro/Pa' retirarme tranquilo como?Miguel Cotto” or “And in nine months I’ll return and drop one more/Then I’ll quietly retire like Miguel Cotto”)—not only will he have left behind a career’s worth of hits in just four short years, he’ll have reshaped urbano in his own image.

Bad Bunny在致敬雷擊頓歷史的同時(shí)，推動(dòng)這一流派的發(fā)展，他這樣的能力值得大加贊賞，但在進(jìn)化成流行巨星的路上，他對(duì)于視覺的運(yùn)用也有著同等重要的貢獻(xiàn)。表面看來，“La Difícil（難）”講的就是一個(gè)難以接近的性感尤物，她知道所有人都想要她，并引以為傲。但歌曲的MV卻有著無限的同理心，這些幾乎每首拉丁都市音樂的MV中都會(huì)出現(xiàn)的扁平化女性形象這次也有了自己的背景故事——這部MV中，她是一位為女兒全心全意付出的單親媽媽。這并不是什么偶然行為；隨著Bad Bunny的預(yù)算逐漸豐厚，他的種種創(chuàng)意得以落實(shí)，他利用媒體扭轉(zhuǎn)著種種拉丁圈子里的陳腐氣息，并把自己牢牢樹立在厭女和恐同的對(duì)立面。不過Genesis “Nesi” Rios在“Yo Perreo Sola”——一首因她演唱的副歌而矚目的歌——中沒有署名，說明他還有路要走。不過即使他也在犯和那些雷擊頓前輩們同樣的錯(cuò)誤，但在為拉丁主流市場(chǎng)帶去進(jìn)步的聲音這一點(diǎn)上，他仍然比大多數(shù)人有著更多的貢獻(xiàn)。

而當(dāng)這位拉丁圈最耀眼的年輕明星穿著短裙、涂著指甲油出現(xiàn)在“今夜秀”的舞臺(tái)上，無聲地提醒著我們尊重一位被謀殺的女人（譯者注：他表演時(shí)穿著寫有“他們殺死了Alexa，而不是一個(gè)穿著裙子的男人”的T恤，而Alexa是一名被謀殺的性轉(zhuǎn)女子），這一行為讓更多人關(guān)注到這一事件，并鼓勵(lì)那些社會(huì)的邊緣化人群在壓迫下也能活出真正的自己。音樂層面，無需翻找J Balvin 2016年之前的作品，你就能找到Bad Bunny對(duì)他的同伴留下的影響的痕跡，一方面他非常尊重這位比他稍大些的同輩，另一方面也在他們的合作專輯《Oasis（綠洲）》中留下了更為深刻的印記。所以即使他真的要如他在專輯結(jié)束曲“<3”中所說的那樣做(“Y en nueve meses vuelvo y saco otro/Pa' retirarme tranquilo como Miguel Cotto”即“9個(gè)月后我會(huì)回來在發(fā)一張/然后就像Miguel Cotto一樣靜靜退休”)，他不僅在短短4年中留下大把抵得上別人整個(gè)職業(yè)生涯的熱單，更是用他自己的形象重塑了拉丁都市音樂。