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）

翻譯：Ryan-Chopin

審譯：?WhitneyL

Taylor Swift has made essentially the same feint?Justin Timberlake?did last year, when the run-up to?Man of the Woods?hinted at a back-to-basics country project, only to produce some of the least-inspired pop of his career. The concept was even more believable from Swift, whose recent and much remarked-upon visual pivot seemed to return to the Cinderella-and-sequins aesthetic of her early albums. Harder to believe is where she ended up: “ME!” a brittle blast of synth-pop that drew immediate comparisons to Timberlake’s infantile?Trolls?theme song “Can’t Stop the Feeling.” Her duet partner,?Panic! At the Disco’s?Brendon Urie, singing his best?Ed Sheeran?impression, brings all the passion of a marionette, and if Swift’s venomous?reputation?as a bad girl sometimes felt forced, this song feels like a punishment.

佯裝下的Taylor Swift本質(zhì)上與去年的Justin Timberlake不相上下，《Man of the Woods》（譯者注：這張專輯婊叉給分3.8分）處于籌備階段時(shí)就暗示要“回復(fù)本原”到鄉(xiāng)村音樂(lè)，結(jié)果Justin Timberlake卻推出了他職業(yè)生涯中最缺乏靈感的一些流行音樂(lè)作品。“回復(fù)本原”在Swift身上更加明顯，她剛發(fā)布的作品帶來(lái)的視覺(jué)轉(zhuǎn)向似乎轉(zhuǎn)為運(yùn)用她早期專輯中的“灰姑娘和亮片美學(xué)”元素。更難以置信的是她這次回歸帶來(lái)的是“ME!”這首歌，這股不穩(wěn)的合成器流行樂(lè)讓人立刻能聯(lián)想起Timberlake給電影《Trolls》創(chuàng)作的主題曲“Can 't Stop the Feeling”。她的二重唱搭檔——樂(lè)隊(duì)Panic! At the Disco的主唱Brendon Urie“完美”留下了似Taylor與Ed Sheeran合作般的深刻印象，像牽線木偶般在激情地演繹著，如果Swift上張暗黑專輯《reputation》展現(xiàn)的是一個(gè)時(shí)不時(shí)感到壓迫的壞女孩形象，那么這首歌給人的感覺(jué)像是這個(gè)女孩受到了懲罰。

Still less appealing was the corporatized midwifery of its debut, which began last night during network TV coverage of the NFL draft and continues today on “Good Morning America.” “ME!” immediately soundtracked teasers for both?ESPN?and the?ABC?lineup (where footage from “The Bachelor” is unironically cut over a line about “a lot of cool chicks out there”). The clear message is that a Taylor Swift song is a prime-time event, and yet it is objectively corny to piggyback on professional football, an institution beset by its own myriad problems, with a song about how there “ain’t no I in ‘team.’”

Swift從前一晚美國(guó)國(guó)家橄欖球聯(lián)盟(NFL)選秀大賽的網(wǎng)絡(luò)電視報(bào)道亮相，到第二天早上繼續(xù)出現(xiàn)在《早安美國(guó)(Good Morning America)》節(jié)目中，可見為了發(fā)行這首歌所進(jìn)行的商業(yè)化預(yù)熱更是沒(méi)趣了?！癕E！”一經(jīng)發(fā)行，立刻霸占了娛樂(lè)體育節(jié)目電視網(wǎng)（ESPN）和美國(guó)廣播公司（ABC）的節(jié)目(甚至更搞笑的是，《單身漢(the Bachelor)》在播出時(shí)突然被中斷，屏幕上呈現(xiàn)出“a lot of cool chicks out there/外面有很多酷女孩”的歌詞)。顯而易見，Taylor Swift的新歌發(fā)行才是黃金時(shí)段的盛事，但從客觀上講，沾職業(yè)橄欖球的光來(lái)推廣一首歌詞里寫到“ain ' t no I in ' team/‘隊(duì)伍’里沒(méi)有‘我’（譯者注：作者想表達(dá)的意思是球隊(duì)隊(duì)員不會(huì)獨(dú)自作戰(zhàn)）”的歌，算是有些不盡人意了，更何況該職業(yè)橄欖球組織本身也存在無(wú)數(shù)瑕疵。

The brilliance of Swift’s best songwriting is in its heartfelt vulnerability and goofy humor, in simple wisdom that showed her to be empathetic and hopelessly romantic. Now she is here to remind us that “you can’t spell awesome without ‘me.’” The song is a showcase for the worst and weakest aspects of Swift’s work, the syrupy kitsch and occasional over-reliance on wordless vocal fillers—“Hee-hee-hee, hoo-hoo-hoo,” goes the chorus, like it’s laughing at you. The hook will stick, because it is more fascinating than it is boring; there will be better songs on the eventual album, because it is not hard to write a better song than this. “ME!” is two steps away from a corporate jingle, innocuous feel-good music in an airtight clamshell package.

Swift最出色的歌曲創(chuàng)作在于其發(fā)自內(nèi)心的脆弱、蠢蠢的幽默和單純的智慧，并得以展現(xiàn)出她富有同情心一面與她經(jīng)歷的心碎愛(ài)情。現(xiàn)在她在這里提醒著我們，“you can’t spell awesome without ‘me.’/沒(méi)有‘我’，你是不會(huì)知道‘優(yōu)秀’為何物（譯者注：我霉在賣瓜呢）”。而這首歌把Swift所有作品中最糟糕、最薄弱的元素都體現(xiàn)了出來(lái)，這首歌甜美媚俗，偶爾過(guò)度依賴無(wú)實(shí)意的填充詞——副歌部分的“Hee-hee-hee, hoo-hoo-hoo”難道不像在嘲笑你嗎？這個(gè)旋律容易上口，因?yàn)樗葻o(wú)聊之作還是要更吸引人一點(diǎn)，而最終的專輯中定會(huì)有比這更好的歌曲，因?yàn)閷懸皇妆冗@更好的歌曲并不難。若想說(shuō)“ME！”有些許商業(yè)化、節(jié)拍韻律簡(jiǎn)單、無(wú)傷大雅且讓人感覺(jué)良好，其實(shí)它也相差不遠(yuǎn)了。