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：Aurora Chen

校對(duì)：Ryan-Chopin

推送：Lynn Liu

If there’s one thing Taylor Swift wants you to know about her, it is that she once felt deeply uncool. Even as a superstar with best-selling albums, stadium tours, and high-profile friends, she?said in 2014?that she had never felt “edgy, cool, or sexy.” Her first four albums hinge on that feeling, full of vivid, sprawling documents of failed romances that left her gasping for air, wondering how to be someone her lovers would miss. She was almost always the one who was in pain, the outsider, the underdog.

如果有一件事Taylor Swift想讓你了解的話，那就是她曾覺(jué)得自己很不酷。即使作為一個(gè)擁有暢銷(xiāo)專(zhuān)輯、經(jīng)歷過(guò)大型體育場(chǎng)巡演并有著高知名度朋友的超級(jí)巨星，她仍曾在2014年表示，她覺(jué)得自己一點(diǎn)都不“前衛(wèi)，酷或者是性感。”她的前四張專(zhuān)輯就是依據(jù)這種感覺(jué)而創(chuàng)作的。清晰生動(dòng)而雜亂無(wú)章的失敗戀情壓得她喘不過(guò)氣來(lái)，她思索著如何才能成為她男友真正心心念念著的人。在感情中，她幾乎總是那個(gè)痛苦著的人，局外人，受傷的人。

That changed with?1989. Its predecessor,?Red, was the pinnacle of diaristic specificity, an album that blew up the tiny intimate details of her romances into public eulogies. The media surrounding that album critiqued Swift as?clingy,?boy-obsessed, and?vindictive.?1989?is in part Swift’s response to the negative, often sexist, press she’d received. On the album, Swift loses her na?veté, dons a sense of unfazed nonchalance, and learns to navigate a world that underappreciated her lyricism and shamed her for dating too many men. She?has said?that she would work in marketing if she didn’t work in music but, really, she has already been doing both simultaneously and spectacularly.

轉(zhuǎn)變始于專(zhuān)輯《1989》。其前一張專(zhuān)輯是《Red（紅）》，是展現(xiàn)其日記體的巔峰之作，此張專(zhuān)輯將她身邊微小私密的浪漫細(xì)節(jié)變成了公開(kāi)的歌詞。有媒體因此就這張專(zhuān)輯而批評(píng)Taylor是一個(gè)纏人，迷戀愛(ài)情且報(bào)復(fù)心強(qiáng)的人。而《1989》中則有一部分歌曲是Taylor對(duì)她所收到的那些負(fù)面的、而且經(jīng)常是批評(píng)她性別歧視報(bào)道的反擊。在這張專(zhuān)輯中，Taylor褪去了她的天真浪漫，帶著一種不受干擾的漠不關(guān)心，學(xué)著反擊一個(gè)低估她作品并且因她與太多男人約會(huì)而羞辱她的世界。她曾說(shuō)過(guò)，如果她沒(méi)有成為一名歌手，那么她會(huì)從事市場(chǎng)營(yíng)銷(xiāo)方面的工作，但實(shí)際上，不知不覺(jué)間她已經(jīng)同時(shí)做了這兩件事，而且非常出色。

For those who might openly cry while listening to?Red, the first listen of?1989?stings of indifference. The album, named after the year she was born, treats heartbreak as if observing a painting on a wall, rather than a feeling she desperately needs to articulate. Grandiose memories of 2 a.m. fights and dancing in refrigerator light are replaced with glossy odes to big cities and weekend flings. Where liner notes of previous albums offered hyper-specific hints about each song’s subject, these tell the story of a generic on-again off-again romance. At the time, Swift temporarily disavowed dating to instead celebrate the power of female friendship and flaunt her celebrity “girl squad” with?extravagant 4th of July parties?and a different guest appearance every night of her tour. Yet?1989?is the album that feels least like spending quality time with your best friends.

對(duì)于那些聽(tīng)到《Red》時(shí)可能會(huì)當(dāng)場(chǎng)大哭的人來(lái)說(shuō)，聽(tīng)到《1989》卻會(huì)因其中的無(wú)動(dòng)于衷而內(nèi)心刺痛。這張專(zhuān)輯以她的出生年份而命名，展現(xiàn)出她對(duì)待失戀于心碎就好像只是旁觀一幅墻上的畫(huà)，而不是她想要迫切釋放的一種情感?！傲璩?點(diǎn)，在冰箱燈光照射下打架和跳舞”（“All Too Well的著名歌詞”）的不切實(shí)回憶被“大城市的光彩浮華以及周末的喧囂”所取代。以往專(zhuān)輯歌詞本上的說(shuō)明具體介紹了每首歌的主題，而這次的文字則講述了通俗而反復(fù)的愛(ài)情故事。但當(dāng)時(shí)，Taylor否認(rèn)自己有戀情，而是表示此張專(zhuān)輯是為慶祝女性間友誼的力量，驕傲地夸耀自己名流薈萃的“女隊(duì)”及其獨(dú)立日的奢侈派對(duì)，當(dāng)時(shí)每晚都有不同嘉賓在她的巡演中出場(chǎng)。但是實(shí)際上《1989》卻并不像是一張展現(xiàn)與最好的朋友共度美好時(shí)光的專(zhuān)輯。

Still, there’s an allure to?1989’s escapism. Now the dramas of Shakespeare's?Romeo & Juliet?(Fearless’ “Love Story”) or 1945 Americana (Red’s “Starlight”) come with lower stakes; her new fantasy world allows for broken hearts to be stored away safely in a drawer. The polished, propulsive synth-pop of album highlight “Style” showcases it best, with lyrics that celebrate a lustful relationship Between people whose most revealing traits are that they would look good together on a movie poster. Is it about a real experience, or is it fiction? “Blank Space” weaponizes Swift’s newfound romantic skepticism: In the accompanying?music video, an aristocratic romance deteriorates catastrophically, poisoned by her jealousy and need to control her partner. On?Speak Now’s?“Dear John,” she’d lamented being added to a lover’s “l(fā)ong list of traitors who don’t understand.” Here, she proudly flaunts her own “l(fā)ong list of ex-lovers” who think she’s crazy, adding the sound of a clicking pen to heighten the gleeful melodrama. She looks at the camera almost as much as she does her lover, warning us that she knows what we think of her and she doesn’t care.

然而，專(zhuān)輯《1989》對(duì)現(xiàn)實(shí)的逃避別具魅力。而如今，專(zhuān)輯里Shakespeare（莎士比亞）戲劇“Romeo & Juliet（羅密歐與朱麗葉）”（即對(duì)應(yīng)專(zhuān)輯《Fearless》（放手去愛(ài)）里的單曲“Love Story（愛(ài)情故事）”）或者是1945年的美國(guó)風(fēng)格（對(duì)應(yīng)于專(zhuān)輯《Red》里的單曲“Starlight(星光)”）這種類(lèi)戲劇成分的占比在減小;她全新的幻想世界使她能將破碎的心安放在思緒深處。這張制作精良，綜合流行風(fēng)格的專(zhuān)輯將“格調(diào)與個(gè)性”展現(xiàn)得淋漓盡致，歌詞揭示了男男女女之間的情欲關(guān)系，而他們最顯著的特點(diǎn)就是個(gè)個(gè)在表面上看起來(lái)都是人模狗樣的。這究竟是真實(shí)的經(jīng)歷，還是只是虛構(gòu)呢？“Blank Space（空白）”里的Taylor以全新的愛(ài)情懷疑主義為武器：在該單曲的MV中，貴族式的愛(ài)情不可挽回地破滅了，她的嫉妒加劇了兩人的離心，并展現(xiàn)出強(qiáng)烈的占有欲，想要控制伴侶的言行舉止。在專(zhuān)輯《Speak Now（愛(ài)的告白）》里的單曲“Dear John（親愛(ài)的約翰）”中，她哀嘆著自己的一個(gè)前男友把自己列到“一長(zhǎng)串無(wú)可理喻的背叛者名單中”。這時(shí)，她也自豪地炫耀她自己的“前男友名單”（那些認(rèn)為她簡(jiǎn)直瘋了的前男友們），她在曲中加入按筆的聲響以增強(qiáng)幸災(zāi)樂(lè)禍的情節(jié)性。正如她的前男友們一樣，她直視著鏡頭，告誡我們她知道我們?cè)趺聪胨?，然而她完全不在乎?/p>

Though Swift’s interest in pop was evident on songs like?Red’s “I Knew You Were Trouble” and?Speak Now’s?“Better Than Revenge,”?1989?was the first time an entire Swift album could exist as party music without slow-burning heartache. These were still love songs, so Swift’s familiar themes peak through—dismissal of doubters, pleas to remember a romance favorably after it ends, and heavy use of one of her favorite words, “forever.” Still, the glitzy sound and ethos provided an entry point for new listeners and a chance for old ones to come up for air, to recognize that everything doesn’t always have to be so serious. It can be just as freeing to shrug in the face of heartache as it is to spell out exactly why and how you were hurt.

其實(shí)Taylor對(duì)流行音樂(lè)的傾向在專(zhuān)輯《Red》中的“I Knew You Were Trouble（我知道你是大麻煩）”和專(zhuān)輯《Speak Now》的“Better Than Revenge（不如報(bào)復(fù)）”等歌中已經(jīng)得到了很明顯的體現(xiàn)，但《1989》這張專(zhuān)輯是Taylor史無(wú)前例將整張專(zhuān)輯都填充著縱情歡樂(lè)和不復(fù)以往難熬的心痛。專(zhuān)輯里的這些歌依舊是情歌，因此這些熟悉的愛(ài)情主題在摒棄人們的懷疑后得到了淋漓盡致地展現(xiàn)，期望能在一段戀情結(jié)束后還能記住那份溫暖和浪漫，并且她在這張專(zhuān)輯中大量重復(fù)地使用她最喜歡的一個(gè)詞“永遠(yuǎn)”。盡管如此，悅耳動(dòng)聽(tīng)的聲音以及極富魅力的格調(diào)吸引了喜歡電子樂(lè)的新聽(tīng)眾，也給喜歡鄉(xiāng)村樂(lè)的老粉們適應(yīng)的機(jī)會(huì)，讓聽(tīng)眾們也認(rèn)識(shí)到任何事都沒(méi)什么大不了。心痛時(shí)可以灑脫地聳聳肩，因?yàn)橹攸c(diǎn)是你得清楚地明白你為何以及是如何受到傷害的。

“New Romantics,” a surging, euphoric song from the deluxe version of the album that was released as a final single, does this particularly well. Swift’s voice is processed and couched in thrilling yelps and sighs, crunchy synth, and galloping drums. After a certain amount of pain, sometimes your best defense is to channel the burning energy of your big hopes and desires into a night of uninhibited hedonism.

“New Romantics（新浪漫主義）”是豪華版專(zhuān)輯中的一首熱烈而歡快的歌，作為專(zhuān)輯中最后一首單曲發(fā)行，這是一首特別好的歌。Taylor的嗓音在歌中處理成了扣人心弦的叫喊聲和嘆息聲，再伴以爽脆的合成音和奔騰的鼓聲。在經(jīng)歷一些的苦難過(guò)后，有時(shí)候你最好的抵抗方式便是把源自你濃烈希望和欲望的灼熱情感發(fā)泄到一晚上無(wú)拘無(wú)束的享樂(lè)與狂歡中去。

On?Speak Now’s?“Mean,” Swift told a critic that one day she would be “l(fā)iving in a big ol’ city,” while he’d never be anything but a washed-up hater. On?1989’s opener “Welcome to New York,” she makes good on that promise. She was already famous when she wrote “Mean,” of course, but now she?sounded?like she was “big enough so you can’t hit me.” The big ol’ city was imaginary; but on?1989, Swift writes and inhabits a fully-realized fantasy of self-reliance, confidence, and ensuing pleasure. Her music was no longer just a diary entry. You can almost hear her winking on every track.

當(dāng)提到《Speak Now》中的單曲“Mean（卑鄙）”時(shí)，Taylor對(duì)一位音樂(lè)評(píng)論家說(shuō)，總有一天她會(huì)“住在一個(gè)古老大都市”，而他除了一個(gè)失敗的黑子之外什么都不是。在專(zhuān)輯《1989》的首支單曲“Welcome to New York”（歡迎來(lái)到紐約）中，她達(dá)成了這一承諾。當(dāng)然其實(shí)她創(chuàng)作“Mean”時(shí)，她就已經(jīng)很有名了。但是如今她真的達(dá)到了像她在歌中唱的那樣“足夠強(qiáng)大，因此你無(wú)法擊敗我”。歌中的大城市可能是想象中的; 但是在專(zhuān)輯《1989》中，Taylor成功寫(xiě)出來(lái)并過(guò)上了她真正實(shí)現(xiàn)且自立自強(qiáng)、信心滿滿、幸?？鞓?lè)的理想生活。她的音樂(lè)不再只是對(duì)其日記的展露。在這張專(zhuān)輯中你更能感覺(jué)到，她幾乎透著每支單曲對(duì)著聽(tīng)眾們眨著眼，使著眼色。