NORMAN

FUCKING

ROCKWELL!

Norman?f**king?Rockwell音樂：Lana?Del?Rey?-?Norman?F**king?Rockwell!?(Explicit)

Venice?B**ch音樂：Lana?Del?Rey?-?Norman?F**king?Rockwell!?(Explicit)

In 2017,?Lana Del Rey?stopped performing in front of the American flag. Where the singer-songwriter born Elizabeth Grant had once stood onstage before a wavering projection of stars and stripes, charged by a brash apple-pie and blue-jeans patriotism, she now deemed the flag “inappropriate,” preferring a screen of static instead. For a woman whose songs are like miniature syllabi in American Studies—saturated in references to jazz, girl groups, heavy metal, Springsteen; Hemingway and Fitzgerald; money, power, glory; excess and loss; Whitmanian multitudes—it felt like an act of defiance.

Norman Fucking Rockwell!?is Lana at her deepest, and it arrives at a time when the history of America as we know it is being rewritten. Norman Rockwell himself illustrated idyllic images of American life and its history, spending 50 years with the Americana propagandists at the weekly?Saturday Evening Post. His best-known works used a wondrous narrative style to center comfort and simplicity: A pastoral idea, painted and personified, of the American Dream. Lana neatly cuts through that outmoded fantasy with an emphatic?fucking?hyphen mark of irreverence, or enthusiasm, or both. As Lana revives American myths, with an empty deadpan that would make Lou Reed proud, she also exposes them. Like the?Beach Boys, she’s looking for America; like?Elvis, she’s discomfiting; like?Dylan, she’s a trickster, and we are all potentially fooled.

2017年，拉娜德雷決定不再在巡演舞臺的背后放置一面美國國旗。拉娜·德雷，本名伊麗莎白·格蘭特，一位歌手兼詞曲作者，一位曾在美國星條旗的襯映下登上舞臺演出的表演者，一位吃著蘋果派穿著藍色牛仔褲長大的愛國者，如今卻看著飄揚的國旗不順眼，甚至還不如用投屏來代替。她的歌曲就像研究美國學(xué)習(xí)的教學(xué)大綱，其中充斥著爵士，女團，重金屬及布魯斯·斯普林斯汀風(fēng)格的音樂元素，歌詞的創(chuàng)作也充滿著海明威和菲茨杰拉德的氣息，金錢，全力，榮耀，得與失，對詩人Walt Whitman的引用；鑒于她的過往作品，這張專輯更像是一次反叛。

《Norman Fucking Rockwell!》是拉娜德雷發(fā)自內(nèi)心的想法，而這張專輯也恰好正值美國歷史改寫的重要時刻。諾曼·洛克威爾是一位以田園形象展現(xiàn)美國生活和歷史的插畫家，他曾在《周六晚郵報》與一群美式鄉(xiāng)村宣傳者工作了足足50年。他最廣為人知的作品采用了一種奇妙的敘述方式，以舒適和簡潔為中心，描繪出了栩栩如生的田園式美國夢。

而拉娜德雷則巧妙地將“Fucking”作為連接詞，以一種不敬，狂熱表達了對這老式幻想的諷刺。當(dāng)拉娜德雷用一種能老爺子盧·里德感到驕傲的空洞又不動聲色的方式重現(xiàn)美國經(jīng)典形象時，她同樣也揭開了他們的面紗。就像海灘男孩樂隊一樣，她也在找尋所謂的美國夢；像貓王一樣，她也令人不安；也像鮑勃·迪倫一樣，是一個惡作劇家，而我們也都不知不覺被她愚弄了。

How?to?disappear音樂：Lana?Del?Rey?-?Norman?F**king?Rockwell!?(Explicit)

Lana is one of our most complicated stars, a constantly unresolvable puzzle—someone who once called her own work “more of a psychological music endeavor” than pop. But on?Norman Fucking Rockwell!?that ground-swelling complexity coheres to reveal an indisputable fact: She is the next best American songwriter, period. Trading much of her hardboiled trap-pop and trip-hop malaise for baroque piano ballads and dazzling folk—equal parts Brill Building precision, windswept Laurel Canyon, and 2019 parlances—Lana has begun a dynamic second act in profundity. “I really do believe that words are one of the last forms of magic,” Lana once?said, and she exalts each syllable more than ever here. Where her elegant wordplay once made her the Patron Saint?of Internet Feelings, she now sounds like a millennial troubadour—singing tales of beloved bartenders and broken men, of fast cars and all of the senses, of freedom and transformation and the wreckage of being alive. The stakes have never been higher.

Sometimes Jack Antonoff productions seem to fly because they have been given a trampoline or a children’s bouncing castle. But here, with delicacy and grace, he and Lana find new wings in minimalism, fresh air to breathe, a structural relief. From its cascade of opening piano notes—“God damn, man child” are felicitous first words and the national mood—Norman Fucking Rockwell!?achieves levity, tension, and a disarming self-awareness. The languor of?Mazzy Star?and downbeat skitter of?Portishead?meet the easy pop-rock breeze of?Carole King?on 1971’s?Tapestry, or the searching resilience of?Joni Mitchell?on 1972’s?For the Roses. It feels like a wall has come down, like?Norman Fucking Rockwell!?is less to do with camp, and more to do with real life; less to do with scripting the incandescent character of Lana Del Rey and more to do with human complexity; less about aesthetics than?being. You can hear the room everywhere, and for all the spectral harmonies and cinematic splendor, it sounds like Lana alone, embracing classic Angeleno isolation.

拉娜德雷是最令人捉摸不透的明星之一，就像一道永遠解決不了的難題——她曾稱自己的作品“更像是精神音樂嘗試”，而非流行音樂。但在《Norman Fucking Rockwell!》中附著的那如海浪洶涌的復(fù)雜性在此揭示了一個不爭的事實：拉娜德雷毋庸置疑就是美國下一位最優(yōu)秀的詞曲作者。拉娜德雷舍棄了她大部分的冷硬風(fēng)格陷阱流行和心神不安的迷幻舞曲，將風(fēng)格轉(zhuǎn)向了巴洛克式鋼琴抒情歌和令人眼花繚亂的民謠，歌曲制作也變得像布里爾大廈工程一樣精細，像風(fēng)中的月桂谷一樣凌亂。而在2019年，拉娜德雷在深刻中進行了一次有活力的發(fā)言：“我真的相信文字就是魔法僅存的表現(xiàn)形式。”她比以往任何時候都更贊賞這音節(jié)的神奇魔力，而她那優(yōu)雅的文字游戲也曾讓其成為網(wǎng)絡(luò)情感的守護神；而現(xiàn)在她的音樂聽起來就像一位千禧年代的吟游詩人——吟唱著她與摯愛的酒保及渣男們間的風(fēng)流韻事，頌唱著在車上飛馳及其他不同的感受，包括對自由和變革的渴望，對生而為人所經(jīng)歷的事的反思。拉娜德雷從未如此孤注一擲。

有時杰克的歌曲制作似乎給人一種飛升的感覺，仿佛是因為歌曲本身被嵌入了一張蹦床或是一個兒童充氣城堡一樣。但在專輯那精細，優(yōu)雅的制作下，杰克和拉娜在極簡主義風(fēng)格開拓了新的境界，新的元素，讓歌曲在結(jié)構(gòu)上更具起伏。比如專輯同名曲開篇那如瀑布般傾瀉的鋼琴聲后呈上的那別具匠心的第一句歌詞：“該死，男人永遠長不大”，鋪墊了一個全國人的感同身受的情緒；歌曲表現(xiàn)了一種輕浮，不安，放松戒備的自我意識。那種如迷星樂隊般的慵懶和Portishead樂隊經(jīng)典的強拍與Carole King于1971發(fā)布的《Tapestry》相似的輕流行搖滾風(fēng)格碰撞在一起，同時又會像Joni Mitchell在1972年的歌曲《For the Roses》一樣探尋韌性。這一切又一切給人一面墻坍塌的感覺，正如《Norman Fucking Rockwell!》一般，與其說是一次露營經(jīng)歷，不如說是現(xiàn)實生活的寫照；與其說是塑造拉娜德雷這一內(nèi)心熾熱的人物，不如說是在探尋人類本身的復(fù)雜性。比起美學(xué)，這專輯更關(guān)注“存在”。你能在這張專輯感受到空間感，即便其中有無數(shù)空靈的和聲和電影般的絢麗場面，它聽起來就像拉娜獨自擁抱這經(jīng)典的洛杉磯人孤立感。

Happiness?is?a?butterfly音樂：Lana?Del?Rey?-?Norman?F**king?Rockwell!?(Explicit)

Lana’s pillars are intact before you even hit play: glamour, eccentricity, the absurd, wit. “Your poetry’s bad and you blame the news,” she proclaims on the title track, with a raised eyebrow, and this forthright song grows more savage from there. On a nine-and-a-half-minute lullaby called “Venice Bitch,” she sings the line “fresh out of fucks forever” like a lilting lady of the canyon—in pop tradition, Lana treats California like a conceptual promised land, and here is the smoggy sprawl, stretching into a neo-psychedelic ballad for a new age of acid festival jams. She curses like the sailors on the cover. She employs old-school lingo on the one hand (“Catch ya on the flipside”) and a narcotic slur on the other. And there is no other pop star who could palatably cover?Sublime’s “Doin’ Time” and turn its mall-reggae into something so balmy and sweet.

Above all,?Norman Fucking Rockwell!?is the sound of a heart shattering and reforming just to shatter again—of troubled people attempting to navigate the mess of love. Her ache is from empathy: for our crumbling world, for the down and out, for lovers at war with their minds. “If he’s a serial killer/Then what’s the worst that can happen to a girl that’s already hurt?” she sings like a crime novelist on “Happiness Is a Butterfly,” which is to say it is fleeting, setting herself up for a kind of heartbreak so torturous it should be possible to have it surgically removed. Many of these exquisitely narrated songs contain reminders that the trappings of masculinity—breaches in communication, emotional stiltedness, fear of vulnerability—come from the same toxic status quo?as systemic patriarchy. On the wrenching “California,” Lana processes as much: “You don’t ever have to be stronger than you really are,” confessing in a tumbling rush that “I shouldn’t have done it but I read it in your letter/You said to a friend that you wished you were doing better.” Each word is on a pedestal; the song exists to amplify them. Her faint country warble wells more with each verse, and it’s devastating.

即便是在你按下播放鍵之前，拉娜德雷的頂梁柱也是完好無缺的：魅力，怪僻，荒誕，智慧?！澳銓懙脑娫阃噶耍銋s責(zé)怪時事”，她在同名曲上挑起眉頭宣告道。從這句詞開始，這首本來就挺直率的歌就變得更“野蠻”了。在時長9分半的催眠曲《Venice Bitch》中，當(dāng)拉娜唱著“永遠都渴望著肉體之歡”時，她就像一位在峽谷中漫步的女人。正如

流行音樂傳統(tǒng)那樣，拉娜德雷將加州視作是一個概念性的理想之地，這里煙霧彌漫，并誕生出了一種新迷幻抒情歌曲，營造出一個新時代的迷幻音樂節(jié)氛圍。拉娜德雷就像封面上的那位咒罵著的船員。在歌詞上，她一邊用著老式的隱語（在世俗的另一端與你會面），一邊又說著如迷幻劑般的省略話語。另外，我想也沒有另一位流行明星能悅耳地復(fù)刻出這Sublime樂隊的《Doin’ Time》，并將原來這雷鬼風(fēng)格演繹成如此溫柔甜蜜的一首歌。

首先，《Norman Fucking Rockwell!》專輯是關(guān)于將破碎的心拼接起來，然后再任其破碎的故事——也是深陷泥潭的人嘗試去從混亂的愛戀中走出的故事。拉娜德雷的痛源自同情——同情那支離破碎的世界，那孤苦無助的人，那與自己內(nèi)心斗爭的戀人們?！叭绻且粋€連環(huán)殺手/那對一個已經(jīng)被傷透的女孩來說，最糟糕的事還能是什么呢？”拉娜以犯罪小說家的口吻在《Happiness is a Butterfly》中唱道，歌名的含義就是，愛是轉(zhuǎn)瞬即逝的，在歌中她正被情感的心碎感折磨至深以至于可能都需要進行手術(shù)將心臟切除。專輯里很多這種制作精細的敘述歌曲中都在提醒著人們這男人的標(biāo)志——交流上的疏漏欠慮，感情上的過度理性，對表現(xiàn)脆弱的抗拒——這些都同樣來自那萬惡的父權(quán)制下的社會現(xiàn)狀。在同樣令人心痛的《California》中，拉娜同樣傾注了許多感情：“你不必假裝自己很堅強?！?；她跌跌撞撞地坦白道：“我本不該告訴你著，但我讀過你的一封信，你對你的朋友說，你想成為一個更好的人?！币蛔忠痪涠加辛Φ饺肽救郑枨拇嬖谥皇亲屵@些歌曲墨香味更濃。拉娜德雷那田園式顫音讓歌曲的每一部分都更加美妙，無與倫比。

The?greatest音樂：Lana?Del?Rey?-?Norman?F**king?Rockwell!?(Explicit)

Radiating new dimensions of sensitivity and eloquence, “Mariners Apartment Complex” is a towering peak on?Norman Fuckng Rockwell!, a four-minute drama about fateful potential romantic energy. But its turbulent grandeur could speak to the whole Lana Del Rey story. “You took my sadness out of context” and “They mistook my kindness for weakness” are bold refusals to be misunderstood. Referencing?Elton John?with her pristine declaration “I ain’t no candle in the wind,” a phrase originally inspired by the early deaths of Marilyn Monroe and Janis Joplin, is a patent embrace of life from a woman who once wrote, “I wish I was dead.” When she sings, “I fucked up, I know that, but Jesus/Can’t a girl just do the best she can?” it could be a mic-dropping rebuttal to the ludicrous standards she faced from the start (and the overblown, Internet-engineered Lana outrage that now seems sexist and pathetic). The Hollywood author Eve Babitz once wrote, “Once it is established you are you and everyone else is merely perfect, ordinarily factory-like perfect… you can wreak all the havoc you want.” Lana’s evolution follows suit. “Mariners Apartment Complex” is the sort of ballad that makes teens want to bang on pianos and spill their souls.

Lana zooms out to find her zenith. A piano ballad to close down the bar at the end of the world, “The greatest” collapses time, as if Lana is writing the zeitgeist on a typewriter, her lines raving up with fevered reference to rock’n’roll and depression and a proverbial “Kokomo.” Turning the weight of a generation into light, her words crest like the white of a tidal wave—“L.A.’s in flames, it’s a getting hot/Kanye West is blonde and gone/‘Life On Mars’ ain’t just a song/Oh, the livestream’s almost on”—and they feel on arrival to have existed forever. As ever, Lana regards the despondency of existence as a realist, offering a funhouse reflection of the way we live.

《Mariner Apartment Complex》是這種專輯中無比卓越的巔峰之作，一首時長四分鐘的音樂劇，講述了命中注定又潛在的羅曼史，同時發(fā)散著關(guān)于敏感和雄辯的新維度。但歌曲之中狂涌的宏偉足以代表這拉娜德雷的專屬故事?！澳銓ξ业谋瘋麛嗾氯×x”和“你將我的善良視作是軟弱”這樣的歌詞是對人們對她的誤解的有力回應(yīng)。那引用了Elton John歌曲的歌詞“我并非是風(fēng)中殘燭”是在得知瑪麗蓮·夢露和詹尼斯·喬普林逝世的消息的啟發(fā)下寫出來的，這是專屬于女人敢于擁抱自己生活的歌詞?！拔叶嘞Ｍ乙呀?jīng)死去”她唱道，“我知道我把一切都搞砸了，但主啊，難道一個女孩就不配做到最好嗎？”這是拉娜德雷在生涯早期遇到到的那些可笑條條框框的驚人反駁（而如今這些在網(wǎng)絡(luò)助長下滋生的暴行變得更性別歧視化且可悲）。好萊塢作家Eve Babitz曾寫道：“一旦你認清自己的定位，除你以外的所有人都只是完美的，那種工廠流水線制作的完美……而你正因為自己不完美，你可以肆無忌憚搞破壞”。拉娜德雷的進化經(jīng)歷便可以這樣形容。《Mariners Apartment Complex》就是那么一首能讓青少年們想坐在鋼琴前，隨心所欲地為靈魂獨奏的抒情歌。

拉娜德雷拉遠鏡頭拓寬視野來尋找她能力的頂峰?！禩he Greatest》仿佛是在世界盡頭的一間即將關(guān)門的酒吧中播放的一首鋼琴抒情歌曲，時間支離破碎之際，仿佛拉娜德雷正一字一句地敲打這深涵非凡思想的歌詞，她的歌詞中充滿了狂熱地對搖滾和抑郁的引用，以及對廣為人知的歌曲《Kokomo》的致敬，她把那一代人的地位變得不那么重要，她的話語就像浪潮上那白色的浪峰一般——“洛杉磯陷于火海之中，熱浪灼熱難耐/Kanye West染著一頭金發(fā)，身影逐漸遠去/《Life on Mars》不僅僅是一首歌/噢，現(xiàn)場直播差不多要開始了”——他們來到這個世界就注定著會被人們銘記。一如以往般，拉娜德雷以她現(xiàn)實主義者的身份看待心氣消沉這一問題，為我們的生活提供了一個有趣的反思。

hope?is?a?dangerous?thing?for?a?woman?like?me?to?have?-?but?I?have?it音樂：Lana?Del?Rey?-?Norman?F**king?Rockwell!?(Explicit)

Call her Doris Doomsday: “The culture is lit/And if this is it/I had a ball,” she resolves with ecstasy and fire, a lightning rod of humor, sadness, and perception; flip jadedness and abiding love. Fanning the flames of a culture ablaze, Lana sings each word like a prayer, finessed with conviction and smoke, chaos and control. “The greatest” is a galaxy-brain moment in the pantheon of pop, and it belongs to a generation fully aware we are at risk of being distracted into oblivion, Juuling towards early death while watching Earth burn.

But hope does not elude us yet. And Lana has an anthem for that, too. The title of?Norman Fucking Rockwell!’s grand finale is itself a doomy 16-word poem called “Hope is a dangerous thing for a woman like me to have - but I have it.” Whatever it was that brought Joni Mitchell and Leonard Cohen together half a century ago, that middle ground is in the solemn mood, hollowed space, and spiritual fortitude of this haunting song. In the muted resignation of her voice you can see her “trust no one” tattoo. She rejects a world of luxury, rejects happiness and sadness both, calls herself “24/7 Sylvia Plath.” And in this slow, glowering procession, she points more directly to her own personal history than ever—“spilling my guts with the Bowery bums” as a volunteer, FaceTiming her father “from beyond the grave”—and soberly she sings: “Hope is a dangerous thing for a woman with my past.” In the vacant spaces between her dark phrases is the unassailable fact that people bury their pasts in order to endure them.

不妨稱拉娜德雷為桃瑞絲審判日:“文明已被點燃/如果事情無法改變/我愿縱情享樂”，她手持釋放幽默，悲傷和洞察力的雷電法杖，用醉心和狂熱，直面這腐敗的世界；她或許表現(xiàn)得有些許厭惡，但她無比愛這個世界。Lana將她的歌詞用作禱告，巧妙地用信仰和迷霧、混亂和支配，煽動著文化革命的火焰?！禩he greatest》是流行音樂殿堂中的漫漫星河中的一顆明星，它屬于我們這隨時被歲月長河掩埋的一代人，在目睹地球一片火海的同時早早地走向死亡。

但是希望并沒有和我們在玩躲貓貓，拉娜也為此寫了一首歌。《Norman Fucking Rockwell!》的宏大標(biāo)題的結(jié)局本身就是一首憂傷的16字詩歌，名為《對于像我這樣的女人擁有希望是件危險的事——但我永遠抱有希望》。無論在半個世紀(jì)前是什么讓Joni Mitchell和Leonard Cohen走到了一起，這首令人難忘的歌曲中所蘊含的莊嚴的氣氛、無限的空間感，以及精神上的堅毅，都完美地嵌合在一起。她的聲音充滿著緘默的順從，你可以從中看到她身上的“不信任任何人”紋身。她拒絕奢華的世界，拒絕快樂和悲傷，并稱自己“每時每刻都是西爾維婭·普拉斯”。在這個緩慢的、莊嚴的過程中，她從未如此將槍口指向自己的過往經(jīng)歷——作為一名志愿者，她“與波威里街的流浪者們互訴衷腸”，“在墳?zāi)怪稀蓖母赣H“視頻對話”——她清醒地唱道:“對一個有著同我一樣經(jīng)歷的女人來說，希望是一件危險的事情?！痹谒粮柙~間的空隙里，躺著一個不容置疑的事實：人們埋葬過去，是為了克服過去。

Norman Fucking Rockwell!?is the apotheosis of Lana Del Rey, songs of curiosity and of consequence, darkness and light, a time capsule of 2019, proof that a person cannot escape herself but she can change. Lana has said hope is dangerous because of her own experience, because in Hollywood she “knows so much.” Hope is dangerous because women are rarely taken seriously, from matters of authenticity to cases of assault. Hope is dangerous because the world fails women, and the bigotry to which American power is currently pitched ensures it. Lana calls herself “a modern-day woman with a weak constitution,” witnessing “a new revolution,” with “monsters still under my bed that I never could fight off.” What makes this final song of survival so cutting is the palpable difficulty in her delivery. When she lands on “a gatekeeper carelessly dropping the keys on my nights off,” it sounds like an oblique image of corrupted power, as upsetting as it ought to be, one to finally drain her of hope. But she still has it. In a piercing falsetto we rarely if ever hear from Lana, perhaps saved for her most pressing truth, she touches the sky: “I have it, I have it, I have it.” And when she does, you believe her.

《Norman Fucking Rockwell!》是拉娜德雷的封神之作，其中歌曲有堪稱珍品的，有對自己和世界有深刻意義的，黑暗與光明并存，是關(guān)于2019年的時代縮影，印證了一個人雖無法逃離自己的過去，但可以改變自己的現(xiàn)狀。拉娜說希望是危險的，因為她自己的經(jīng)歷，因為在好萊塢她“知道這么多?！毕Ｍ俏ｋU的，因為從現(xiàn)實中的種種瑣事到性侵案件，女性很少被重視。希望是危險的，因為這個世界辜負了女性的期望，而美國掌權(quán)者目前所表現(xiàn)出的頑固不化也使之變本加厲。拉娜稱自己是“體質(zhì)虛弱的現(xiàn)代女性”，見證了“一場新的革命”，“床下還有我永遠無法擊退的怪物”。讓最后這首關(guān)于生存之道的歌如此尖銳的原因正是她在唱這首歌時那種難堪與難以開口。當(dāng)她唱出“是地獄的守門人粗心將鑰匙扔進了我的夜晚”時，這聽起來像是一個腐敗權(quán)力的不光彩畫面，如此令人沮喪，最終也讓她的希望落了空。但她依然存留著希望。在這里拉娜用了一種打動人心的假聲，這是我們在她的歌中極少能聽到的聲音，或許只塵封于她最懇切的實質(zhì)中，她以這樣的聲音撫摸著天空:“我擁有它，我擁有它，我擁有它。”既然她這樣說了，我們怎能不相信呢？