翻譯：thesweetescape

原文鏈接：https://pitchfork.com/features/lists-and-guides/the-best-songs-of-the-1990s/

Mariah Carey: “Fantasy (Remix)” [ft. Ol’ Dirty Bastard] (1995)

Leave it to Mariah Carey, the girl next door, to make pure lust sound so naive, so syrupy sweet, that it could be read as something pious to a passerby. Leave it to a diva at the height of her fame to describe being horny as feeling “kinda hectic inside,” and to articulate it by singing more dizzying runs than an amusement park’s worth of rides. It feels right that she wrote, produced, and recorded “Fantasy” in only two days, roughly the amount of time a person can live solely on the giddiness of a flirtation and the anticipation of an eventual release. Here’s what love at 26, the age at which she put out the song, could feel like. It’s what you want love to feel like for the rest of your life, too.

唯有鄰家女孩Mariah Carey可以將純粹的情欲演繹的如此純真，黏稠的馥郁，在普通聽眾看來(lái)無(wú)異于虔誠(chéng)的禱告。一位事業(yè)如日中天的當(dāng)紅天后唱（歌詞） “kinda hectic inside,”（內(nèi)心焦躁不安）的饑渴歌曲，還能嫻熟演繹得比游樂園還五光十色。靈感泉涌的她僅花2天時(shí)間便完成了歌曲所有創(chuàng)作，制作，錄音的工作，大概就是某些站街女的一次挑逗客人的時(shí)間，或一切就緒準(zhǔn)備上市的最后時(shí)間。這就是26歲的愛情，也是她發(fā)行這首歌的年紀(jì)。這也是你在余生都?jí)裘乱郧蟮膼矍椤?/p>

Mariah’s ninth No. 1 came between hits from fellow icons Janet Jackson and Whitney Houston, outperforming both as a historical chart-topping record. “Fantasy” debuted at the top of the Hot 100, making Mariah the first woman to ever do so, and only the second artist to debut at No. 1 after Michael Jackson. Its foundation was a melding of genres—by reworking several elements from “Genius of Love,” the 1981 Tom Tom Club track that was already becoming a staple in rap sample libraries, she and co-producer Dave Hall suggested that pop music could be just as sly, reverent, experimental, and flip as hip-hop. And the remix, produced by Diddy and his Bad Boy collective, served as their proof of concept.

Mariah Carey的第九首冠軍單曲來(lái)之不易，從同為傳奇偶像的Janet Jackson("Runaway")和Whitney Houston(Exhale (Shoop Shoop))中脫穎而出。單曲空降Billboard單曲榜冠軍，載入史冊(cè)，使Mariah Carey成為首位擁有空降冠軍單曲的女藝人，自Michael Jackson后首位擁有空降冠軍單曲的藝人。歌曲糅合不同音樂流派——再次加工Tom Tom Club 1981年夜店風(fēng)單曲“Genius of Love”中的部分元素，這首早已成為饒舌采樣的經(jīng)典曲目。她與同為歌曲制作人的Dave Hall都一致認(rèn)為，流行音樂可以像嘻哈音樂一樣狡猾、致敬、實(shí)驗(yàn)和輕浮?；煲舭娓枨?，由P Diddy和他的Bad Boy團(tuán)隊(duì)制作，貫徹著他們的音樂概念。

By several accounts, it’s a miracle that the remix exists at all. At the time, Mariah’s infamously controlling label honcho husband, Tommy Mottola, 20 years her senior, had hoped to make a family-friendly balladeer out of the singer. He didn’t want her sullying her pristine image, never mind at the hands of a rapper who performed under the name Ol’ Dirty Bastard. (Later in life, the singer would open up about how she, a light-skinned Black woman, was marketed by her label in ways that felt out of her control.) But Mariah, a superfan of Wu-Tang’s?36 Chambers?who was known to blast ODB on a pink boombox while riding around in her limo, insisted that the rapper be given free rein. It became a spectacle, involving exorbitant amounts of money at the time—$15,000 for a verse—and several very drunk studio sessions.

從幾個(gè)方面來(lái)看，混音版的問(wèn)世簡(jiǎn)直不可思議。當(dāng)時(shí)，比Mariah Carey大20歲的丈夫，以超級(jí)控制狂著稱的廠牌總裁Tommy Mottola，想將她打造成老少皆宜的芭樂天后，不希望她打破純情人設(shè)，希望她遠(yuǎn)離Ol’ Dirty Bastard這樣的饒舌歌手，（后來(lái)幾年，這位天后會(huì)袒露心扉，作為一個(gè)淺膚色的黑人女性，唱片公司是如何悄無(wú)聲息的控制和營(yíng)銷她)。但Mariah Carey，作為Wu-Tang Clan專輯《36 Chambers》的超級(jí)粉絲，喜歡在豪華轎車?yán)镉梅凵繇懖シ臤DB（Wu-Tang Clan組合成員）歌曲的Mariah Carey堅(jiān)決維護(hù)這位饒舌歌手的創(chuàng)作自由。最后成就歷史時(shí)刻，涉及當(dāng)時(shí)的天價(jià)邀約——標(biāo)價(jià)15000美金的饒舌橋段——幾場(chǎng)酩酊大醉的錄音室會(huì)議。

And so ODB became the song’s ringmaster, opening with what would become one of the most recognizable callouts in block party history, ambling in and out of the song with a swaggering charm, inevitably swerving so hard that his drawl becomes a little bit country, a little bit rock’n’roll. It was chaos, it was genius, it made for a remix so successful that it ended up being responsible for half of the song’s insane sales. But the song also became something much more powerful for Mariah and those who would follow her: It was a declaration of independence, a reclamation of agency and identity, a blueprint for a new kind of pop song that would be replicated for decades to come. –Puja Patel

于是ODB成為歌曲的主導(dǎo)者，在歌曲開頭締造出將成為街區(qū)派對(duì)最深入人心的喊麥經(jīng)典之一，以魅力四射的酷炫姿態(tài)游走于歌曲中，意想不到的猛烈轉(zhuǎn)折為男聲的拖腔平添了些許鄉(xiāng)村，搖滾色彩。歌曲是凌亂的，卻是天賦異稟的，混音版的大獲成功為本就瘋狂暢銷的歌曲多貢獻(xiàn)了一半銷量。但這首歌不僅對(duì)于Mariah自己倍感堅(jiān)韌，對(duì)于追隨她的粉絲也是如此。這是一份獨(dú)立宣言，對(duì)包裝人設(shè)與自我內(nèi)心的重新審視，更是開創(chuàng)了未來(lái)幾十年流行歌曲的全新模式。–Puja Patel

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