搬運(yùn)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：Whitney.L

審譯：Ryan-Chopin

排版：Ryan-Chopin

Deep within “Murder Most Foul,”?Bob Dylan’s 17-minute ballad about the assassination of J.F.K., he points to the “12 Million souls that are listening in.” On November 22, 1963, all ears were held hostage by the same story. Today, we are a captive audience once again—although under very different circumstances—and listening to Dylan’s first original song in eight years feels all the more significant as a result. Dylan?released?“Murder Most Foul” late last night, and hearing it slowly unfold for the first time felt like a kind of communion—there were thousands of us, crouched around our radios (ok, laptops), listening to the same thing.

在Bob Dylan那首長達(dá)17分鐘、講述肯尼迪遇刺的民謠“Murder Most Foul”到達(dá)靈魂深處之時(shí)他指出，“一千兩百萬孤獨(dú)的靈魂正在聆聽（12 Million souls that are listening in.）”。1963年11月22日，所有人都一起聆聽這個(gè)故事。今天，我們再一次成為了被俘虜?shù)穆牨姟M管在完全不同的環(huán)境下——因此，聽著這首Dylan八年以來的第一首原創(chuàng)歌曲，感覺意義非常。Dylan在前些天的一個(gè)深夜發(fā)布了“Murder Most Foul”，初放之時(shí)，這首歌平鋪直敘地好似在進(jìn)行一場簡單的對話——我們成千上萬的人蜷縮在收音機(jī)旁(好吧，筆記本電腦)，聽著同樣的東西。

In the opening passages of “Murder Most Foul,” President Kennedy is fatally shot in his limousine as it ambles through the streets of Dallas. Dylan elevates that vehicle from a crime scene to a time machine that drives through the decades, soundtracked by icons of each era. “Turn the radio on; don’t touch the dials,” Dylan rasps atop a scaffold of piano and croaking bowed bass. He instructs “Wolfman Jack, ” the famed ’60s DJ, to play everything from?Etta James, to?The Animals, to?Queen. “The Beatles?are comin’; they’re gonna hold your hand,” Dylan sings, heralding the Fab Four’s single, which arrived Stateside roughly one month after Kennedy’s death. In Dylan’s epic, the Lincoln Continental becomes Kennedy’s mobile resting place, cruising past cultural milestones that seemed to sprout from historical unrest. Dylan acknowledges the assassination as “the soul of a nation being torn away” before listing off some of the most significant American art of the past 60 years. It’s the kind of biting contradiction that Dylan does best—and we’re glad he’s back to deliver.

在“Murder Most Foul”的開頭幾段，肯尼迪總統(tǒng)在他的豪華轎車?yán)锉粯寶ⅲ?dāng)時(shí)他的車正行駛在達(dá)拉斯的街道上。Dylan把那輛車由犯罪的發(fā)生地轉(zhuǎn)化為一臺穿梭于幾十年的時(shí)光機(jī)，每個(gè)時(shí)代的標(biāo)志性人物都在訴說著這場災(zāi)難。“打開收音機(jī)，其他什么都別做（Turn the radio on; don’t touch the dials,）”，Dylan站在鋼琴旁的指揮架上用低沉沙啞的聲音說道。他指導(dǎo)著名的60年代DJ Wolfman Jack播放著來自Etta James，到The Animals,再到Queen的任意曲目?！芭^士來了，他們將要緊握你的雙手（The Beatles are comin’; they’re gonna hold your hand,）”Dylan唱道，預(yù)示著披頭士樂隊(duì)的新單曲在肯尼迪死后大約一個(gè)月響徹美國。在Dylan的這一史詩中，林肯大陸成為了肯尼迪的流動(dòng)安息地，巡游著那些生長于歷史動(dòng)蕩中的文化里程碑。Dylan在列舉過去60年里美國最重要的藝術(shù)作品之前，認(rèn)為這次暗殺是“一個(gè)被撕裂的國家之魂（the soul of a nation being torn away）”。這是Dylan處理的最令人欣慰的一種尖銳式矛盾——我們很高興他回來了。