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

翻譯：WhitneyL

校正：Nina Wang

排版：Ryan-Chopin

Beyoncé’s historic Coachella set is preserved as a stunning live album that captures an artist at her peak, flexing her catalog and shining a light on the genius of black artists that came before her.

《Homecoming:The Live Album》記錄了科切拉音樂節(jié)上Beyonce呈現(xiàn)的史詩級音樂現(xiàn)場。這張專輯展現(xiàn)了一位藝術(shù)家在她巔峰時刻的無盡才華，是迄今為止黑人歌手天賦的極大釋放。

Six solo albums in, six years after the surprise release of her?self-titled album, three years after the groundbreaking?Lemonade,?one year after?the rap album she delivered with her husband, and we’re starting to get it. We’re starting to understand Beyoncé Knowles-Carter as a musician with unparalleled range, depth, and power:?acknowledging her rapperly talents, her breathless musical ambition, her ear and eye for synthesis and abiding love for black culture. With the release of?Homecoming: The Live Album,?the 40-track companion to her headlining sets from last year’s Coachella released as a?documentary film with Netflix, we glimpse the artist at work during her peak—in voice, physicality, and confidence—reimagining and remixing her own catalog, decentering herself to shine a light on her influences and foundations.

六年前，Beyoncé的同名專輯驚喜問世；三年前，她的《Lemonade（檸檬汁）》開啟了一個新時代；去年，她和她丈夫一起發(fā)行了說唱專輯；今天，我們終于迎來了《Homecoming:The Live Album》。透過她驚人的說唱天賦、令人窒息的音樂抱負、善于發(fā)現(xiàn)美的眼睛和耳朵，以及對黑人文化的永恒熱愛，我們逐漸知曉這位音樂家，不論是在廣度、深度還是力量上都無與倫比。今年，紀錄片《Homecoming》于Netflix上線，記錄了去年科切拉音樂節(jié)上40-k混響與Beyoncé聲線的完美融合。透過這張專輯，我們見證了Beyoncé嗓音、身體、和內(nèi)心共登峰頂?shù)膸p峰狀態(tài)，見證了她對自己音樂風格的一次改寫和重塑，見證了她驚人的實力與影響力。

#Beychella redefined what was possible for a music festival. On stage, over 200 bodies undulated in unison but miraculously, every body moved in its own way. They filled out a set of risers constructed into a pyramid, built to look like the bleachers of a football stadium at a black college or university. Filling the structure was an orchestra that included a drumline and a full brass band that introduced themselves with the steady refrain of the Rebirth Brass Band’s “Do Whatcha Wanna.” Male dancers stood in a trembling line like black fraternity pledges, female dancers dressed as majorettes, background singers formed a choir of unified sound and movement, folding their bodies into Beyoncé’s intricately aggressive choreography.

科切拉音樂節(jié)中的Beychella表演重新定義了音樂節(jié)的可能性。舞臺上，200多個人此起彼伏，每個人舞步各異卻又能奇跡般地統(tǒng)一，最終所有人組成一個金字塔，活像黑人大學的足球看臺。金字塔由一支管弦樂隊構(gòu)成，包括一個樂鼓手和一支完整的銅管樂隊，他們用Rebirth Brass Band的“Do Whatcha Wanna(做你想做的)”引燃全場。男舞者們像黑人兄弟同盟會一樣站成曲線，女舞者們則打扮成鼓手隊長，合唱歌手們組成了一個唱詩班，跳著Beyoncé精巧又攻氣十足的舞蹈。

It was an old-fashioned revue, a cacophony of talent. It was a defiant celebration of complex, diasporic blackness. Woven into Beyoncé’s performance was a genealogy that hat-tipped the Clark Sisters,?Big Freedia,?Nina Simone,?Fela Kuti, and James Weldon Johnson. I was home on the couch when I saw a grainy live stream of the first weekend’s show, dazzled, mouth agape, proud: Here was Beyoncé practicing black studies in front of a broad audience, digging into the long, living archive of black ephemera. The Netflix film gives you the performances as Beyoncé wanted them seen, with close-ups of bedazzled costumes and their pastel colors worn by bodies of all sizes. You see the sweat of rehearsals and Beyoncé’s exacting physical regimen to get herself back into performing shape after the 2017 birth of her twins. You see the underlying ethos that guides her work in the form of quotes and music cited from the poets, writers, and artists like Maya Angelou and Toni Morrison, who conjured worlds that demanded and centered an abundant, fecund blackness.

這是一部老式的表演劇，是一場才華橫溢的鬧劇，是復(fù)雜離散的黑人們舉辦的一場頗有挑釁意味的盛典。Beyoncé在表演中融入了the Clark Sisters、Big Freedia、Nina Simone、Fela Kuti和James Weldon Johnson等風格。當我窩在自家的沙發(fā)里看到這場秀的時候，我目瞪口呆，同時心中充滿驕傲：Beyonce正在挖掘黑人文化的悠久歷史，并向廣大觀眾展現(xiàn)她對黑人文化的深刻剖析。Netflix公司的這部紀錄片呈現(xiàn)了Beyonce引以為傲的鏡頭和故事，比如體型各異的人穿著五顏六色的服裝，彩排時的汗水，以及Beyonce在2017年生下雙胞胎后為了重回舞臺而進行的嚴格的身體鍛煉。這部紀錄片將她的作品所蘊含的精神世界展現(xiàn)得淋漓盡致：她的創(chuàng)作靈感源于詩人或作家的名言以及藝術(shù)家的音樂風格（比如Maya Angelou和Toni Morrison），以及他們創(chuàng)造的一個由黑人主導(dǎo)的文化燦爛的世界。

Homecoming?is an important document of those performances, with careful mixing and engineering that render each track with stunning lucidity. We hear, for example, Kelly Rowland’s feathery soprano during the three-song suite of?Destiny’s Child?hits; it allows us to linger for a moment on the group’s legendary chemistry and three-part harmonies.?Homecoming?doesn’t stand on its own as an album experience separate from the film. It probably doesn’t need to. Beyoncé and her sister?Solange?increasingly rely on visuals to paint a fully embodied and populated vision that?includes?music.?Homecoming,?an accompaniment to a concert film, feels as if it wasn’t ever meant to be experienced in isolation. Still, it could be one of Beyoncé’s most important releases for how it illuminates both her past and her future.

《Homecoming》是這些表演的重要記錄，細致的混合與精心的設(shè)計使得每首歌曲都清晰明朗。例如，在Destiny’s Child的三首熱門歌曲中，Kelly Rowland輕柔的女高音讓我們在聽到樂隊歌曲中傳奇般的副歌和第三部分的和聲時都不禁停留片刻。Beyoncé和她的妹妹Solange越來越依賴視覺效果來傳達她們的音樂理念，因而《Homecoming》的專輯體驗與電影密切相關(guān)：這是一部音樂會電影的伴奏，不應(yīng)該脫離電影而獨立存在。作為Beyoncé最為重要的專輯之一，《Homecoming》照亮了她的過去和未來。

Beyoncé’s core musical vocabulary is the rhythm and bounce of a tune. She’s a classicist who believes in a song’s structure—choruses, bridges, meticulous verses, extended vamps, key changes. Her uptempo songs like “Crazy in Love,” “Countdown,” and “Love on Top” are some of?the most inventive, dexterous pop and R&B music of the past couple of decades. For nearly the entire 110 minutes, she isolates these adrenaline-spiking cuts, amplifying their kinetic energy with marching-band arrangements. The extended version of?B’Day’s 2006 single “Get Me Bodied” is a highlight here, as is 2005’s “Check on It.” Both are supercharged booty thumpers, more than a decade old that sound newly baptized in the world of?Homecoming: the clarion calls of trumpets and?whoomps?of sousaphones, the foot-stomping on the risers and the off-mic “ayys” of the dancers that are sprinkled throughout. The arrangements amplify the relationship Beyoncé’s music has to the inherently percussive body.

談起B(yǎng)eyoncé的核心音樂風格，自然是曲調(diào)的節(jié)奏和音調(diào)的跳轉(zhuǎn)。她是一個古典主義者，也就是說在她看來最重要的應(yīng)該是歌曲的結(jié)構(gòu)——合唱、銜接、一絲不茍的詩句、延伸的肢體語言、關(guān)鍵性的變化。她的快歌如“Crazy in Love（瘋狂愛）”、“Countdown（倒計時）”和“Love on Top（把愛放在第一位）”是近幾十年來流行音樂和R&B音樂中且最巧妙且最富有創(chuàng)意的歌曲。在整整110分鐘的時間里，她把這些刺激腎上腺素分泌的歌詞拆開，通過軍樂來釋放它們的力量。2006年的單曲“Get Me Bodied（讓我展現(xiàn)）”（出自專輯《B 'Day（生日）》）的加長版和2005年的單曲“Check on It（確認一下）”是這張專輯的閃光點。這兩首活了十多年的歌都是超級勁爆的狂想曲，然而在《Homecoming》的世界里，小號的號角聲和薩瑟笛的嗚嗚聲、踏在立管上的腳步聲、以及不帶麥的舞者們發(fā)出的“ayys”聲使這兩首歌煥然一新。這些舞臺安排加深了Beyoncé的音樂風格與現(xiàn)有打擊樂之間的聯(lián)系。

Still, Beyoncé’s a singer first, and it’s thrilling to hear her full-throated, low-end brassiness with so much clarity. She’s still got the flexibility to play in her upper ranges, but the musicality at the bottom of her range, where she belts the early notes of the rare ballad in this collection, “I Care,” is stunning. She growls through?Lemonade?cuts like “Sorry” and “Don’t Hurt Yourself,” but also whispers and coos through the early notes of “Partition.”

話說回來，歌手終究是歌手。Beyoncé那帶有黃銅質(zhì)感的嗓音清晰而又低沉有力，總能振奮人心。唱起高音，她靈活自如；唱起快接觸到她音域下限的民謠“I Care,（我在乎，）”，她令人如癡如醉?！禠emonade》中，她斷斷續(xù)續(xù)地咆哮著“Sorry（對不起）”和“Don’t Hurt Yourself,（別傷到你自己，）”；而在“Partition（分割）”首段中，她又開始喃喃細語。

The recorded versions of?Homecoming’s interludes and transitions draw out the black pop musical history Beyoncé cites and interpolates. “SpottieOttieDopaliscious” and “Swag Surfin” are important moments, but so are those when she employs TRU’s “I’m Bout’ It, Bout It” UGK’s “Something Good”—regional classics of the black South. She doubles down on her archival work, her career-long project of interpreting black music and big-upping black Houston and black Louisiana. (The only new piece of music on?Homecoming?is a bonus studio cover of Maze Featuring Frankie Beverly’s 1981 “Before I Let Go,” an evergreen black jam that gets every generation moving.) The moments feel like nods to the audience she so deliberately centers. The film captures this phenomenon of a mutual, pointed gaze with its frequent close-ups of black audience members, who were few and far between at the actual shows. Her rapport with the crowd is loose, filled with “I see you’s” that are left in the recording and further punctuate that Beyoncé was hoping to make a specific statement to a specific group of people.

《Homecoming》的插曲和轉(zhuǎn)場的錄音版本敘述了Beyoncé引用的黑人流行音樂史?！癝pottieOttieDopaliscious”和“Swag Surfin”，還有她使用的TRU的“I’m Bout ' It, Bout It”和UGK的“Something Good（這些美好時刻）”(南方黑人地區(qū)的經(jīng)典歌曲) 都是黑人流行音樂史上的里程碑。縱觀Beyoncé的職業(yè)生涯，她在不斷地研究黑人音樂文化，并致力于詮釋黑人音樂和大力提升黑人在休斯頓和路易斯安那州的地位。(《Homecoming》中唯一的一首新歌是對Maze Featuring Frankie Beverly 1981年的 “Before I Let Go（在我放手前）”的翻唱，原曲是感動了一代又一代人的黑人音樂典范。)紀錄片中，Beyoncé刻意把注意力放在觀眾上，看起來就像是在向觀眾點頭致意。這種相互凝視的畫面是通過對黑人觀眾頻繁的特寫拍攝捕捉到的，而事實上現(xiàn)場的黑人觀眾寥寥無幾。Beyoncé與觀眾的互動實際上也不太頻繁，錄音中我們只能時不時聽到她留下的一句 “I see you’s”，不過這也進一步突出了她向特定人群傳達特殊信號的渴望。

The album sounds communal, like a revival meeting in a small, sweaty tent that leaves you lifted and fortified. It’s as much about Beyoncé as it is about the people who made her and the people who sustain her. As I was listening, my upstairs neighbors, two young black women, were also listening at full volume. My friend in Miami was texting me hot takes, while my sister, who’d attended the show on the second weekend, was tweeting about how much the white people in the audience seemed to just not get it. Every Beyoncé event is a gospel you want to tell somebody about, but this one doubles down on this feeling of communion. She’s singing songs you already know, and connecting them to other songs you remember, too. She’s drawing on her past, looking back, but also looking squarely back at us.

這張專輯聽起來就像是在一個擠滿人的小帳篷里舉行的一場復(fù)興會，讓你感到興奮不已。這不僅關(guān)乎Beyoncé，也關(guān)乎她的塑造者和支持者。當我在聽的時候，我樓上的兩個年輕的黑人婦女也在全神貫注地聽著；我在邁阿密的朋友給我實時共享Beyoncé的熱點消息；我的妹妹在第二個周末也參加了這個節(jié)目，還推特上說觀眾中的不少白人看起來并沒有聽懂這些歌背后的含義。Beyoncé的每一次活動都會讓你迫不及待地與他人分享，而這次的活動更是將這種渴望交流的感覺放大了一倍。她唱我們熟悉的歌，也唱這些耳熟能詳?shù)母杞M合成的新歌；她在回憶過去的自己，也在注視現(xiàn)在的我們。

Black women and rock’n’roll pioneers like Memphis Minnie, Sister Rosetta Tharpe, and Etta James, and contemporary queens of rhythmic music like?Janet Jackson?and?Missy Elliott?have not received sufficient credit for their innovations. Beyoncé, famously, was the first black woman headliner of the nearly 20-year-old festival. In a space where she was not obviously welcome, she made an enduring impression. A home. Then she made it about something other than herself. She brought an entire lineage into the room.

黑人女性中，不論是搖滾先驅(qū)Memphis Minnie、Sister Rosetta Tharpe和Etta James，還是當代節(jié)奏音樂女王Janet Jackson，她們的創(chuàng)新都沒有得到足夠的贊譽。但同我們所知曉的一樣，Beyoncé成為了有近20年歷史的科切拉音樂節(jié)中的第一位黑人話題女王。在這樣一個顯然不受歡迎的地方，她給人留下了經(jīng)久不衰的印象。而且，除了自我塑造之外，她還將整個黑人群體都帶入了大眾視野。

Within a few months of each other, both Knowles sisters released projects that?reimagined home?as a soulful black utopia, rooted in the best of its abundant past but queerer, more holistic, self-aware, embodied, and feminist than before.?Homecoming?is a wondrous, rapturous collage that reveals how Beyoncé has made a career of playing, dipping, and diving in the “great pool of black genius”: the genius of her forebears, her contemporaries, and her own. For her entire life, she’s brought the mainstream over to her. Where will we all go next?

在一起相處的幾個月內(nèi)，Knowles姐妹（Beyoncé和她妹妹）都發(fā)布了幾首歌曲，把家鄉(xiāng)重新塑造成一個歷史悠久人情味濃的黑人烏托邦，不同的是這次比以往更奇特、更全面、更具自覺性、更具體、更女權(quán)主義。《Homecoming》是一幅奇妙又令人欣喜的拼貼畫，講述了Beyoncé如何在幾代“黑人天才的泳池”中自在地嬉戲、浸泡和潛水?；仡欉^去，音樂的主流一直與她同行。那么接下來，她會帶領(lǐng)我們走向哪里?