『Swiftie』[全文翻译]Wonderland杂志封面故事

With a bold new synthpop sound and opinions on love, loss and martyrdom, country girl turned chart-stomping industrialist Taylor Swift is back. Just don’t mention Twitter trolls.
带着全新的电音和对爱情的理解，经历了放弃与牺牲，由乡村女孩转变而来的席卷榜单的实干者Taylor Swift回来了。更不用提她在Twitter上的人气了。
（正文先放中文翻译再放英文原版吧。。。渣翻勿怪）
我不了解你，但是Taylor觉得她就像24岁。如果Taylor的22岁就像她在睡衣派对上的赞歌说的：欢愉，自由，迷惑和孤独在同一时间涌上心头，那么今年她下定决心了：坚定,敢于质疑，独立而且愿意脱离市场。“撕碎我吧！”她最近朝Graham Norton叫喊着，而且她是认真的。1989，她的第五张专辑在十月底发行了，意味着你要忘记所有的过去。她很享受不恋爱的早期迹象在六个月前已经被她放在Instagram上了。她在上面引用了刘易斯的：“”在我们的前面有着远比被抛弃在我们身后好的东西。”然后，在她八月份和卫报的采访上，这位乡村——流行跨界歌手澄清说：“现在（有一段感情关系）是不太现实的。（我）仅仅是觉得最近不太可能。当然通常都行不通。”
Taylor，她那可爱如孩童的笑容和她来自阿拉巴契亚的声音却使得带她回去见父母如同吐温的噩梦般，但这不是什么吓人的说法，但她个人比你想象中的更坚强。她新歌里的感情磨练或许会惊吓到她大量的伴随着We Are Never Ever Getting Back Together的MV哭喊着还有仔细剖析她的歌词只为找到感情建议的粉丝们。首单“Shake it off”传出来的信息已经足够明确了：别再在Twitter上当个混蛋了。“心碎的人心会继续碎碎碎，骗子也会继续骗骗骗，而我只会把他们统统甩开。”TS在歌里唱道，请求着社交媒体巨头的消亡和打倒那些使她痛苦的人。

她手里拿着一杯拿铁飘飘然地走向我。“Twitter的下的阴影给了人们匿名所需要的面纱：他们或许是度过了糟糕的一天而且自我感觉非常差，然后他们回家,喝个大醉再在Instagram上叫别人丑逼。”她感叹道。“如果人们不和任何人谈起他们（的问题）的话，他们就会到网上说奇怪的，残忍和卑鄙的关于别人的事情。我写Shake it off是从自己的现状出发，但同时这也是每个人的现状，这不仅仅关系到名人，而是和每个人密切相关。
另外，专辑中与Imogen Heap合作的“Clean”是一首源自内心关于一段缠绵感情的破裂的忏悔。Taylor告诉我其中一部分歌词，“十个月的清醒也不能使我放弃，没有你的明天我不会为你冒险。”是她最喜欢的歌词。这是一种关于她内心的痛苦与单身生活的贴切类比。与她在RED中最喜欢的时刻作的对比——“你再次来电，只为像履行承诺那样击碎我。”就是在那首给Jake Gyllenhaal的分手歌“All Too Well”，显示了TS已经下定了决心。

“我自己一个人过了好久了而我喜欢这种感觉，”这个在过去和John Mayer, Taylor Lautner and Joe Jonas都有关系的歌手承认道。“我不愿为任何人放弃这种独立的感觉。基本上，你可以找到一个能拥有真实而长久的感情的人的几率是很小的。在我的青年时期，我因为我认为会变得前所未有地开心而沉醉于那些所谓的浪漫中。等等！”她仿佛是想让我们放松起来般道，“我的公关戴着的是我推荐的帽子吗？她看起来棒极了！”
如果在情感上有一丝不对，那么1989这张专辑的制作将会十分困难。事实上,Taylor谈论过她对”棘手的”第五张专辑的不安。在她眼里，很多艺术家在他们的演艺生涯中都会遇到一种状况，他们的空想世界取代了那些明确的旋律与心里的感觉。“歌曲都成了样板，节奏都差不多，还有些无谓的合作……如果要抛开人们只是想听到好音乐的这一实际的话，其实有很多种方法。”她说道。别指望着专辑里有着寻常流行乐的东西。1989参照的是80年代Phil Collins / Giorgio Moroder / The Human League，而不是当下的音乐。

和Jack Antonoff合作的“Out of The Woods”是一首被很多人说是打破和Harry Styles的亲密关系的歌，它和Red中或者是她舞台上任意一次表演都相差十万八千里。对于那些在80年代的每天都想尽办法偷偷拥吻别人的新人类来说，前奏的鼓声将会嘹亮又大胆，然后当电子合成器的嗡鸣声与新的配舞融合时。就是Welcome To New York的完美开场。“这将会一直跳下去。”
但是Taylor并不经常用这些专业的工具。从她2006的同名专辑到后来的无畏，直到由Gen Y介绍给她以改变她以往如樱桃派馅饼般、让人咬着吸管的甜美风格。那些早期专辑唤醒了乡村的、浪漫的美国，以往都是些有关STD以及飞奔的汽车的音乐。荣誉蜂拥而至，包括格莱美年专，Fearless仍是乡村音乐史上最负盛名的专辑并为她带来了无数荣誉。

当Taylor宣布1989将会是她的第一张官方的，正式的Pop专辑并以”Shake it off”的MV作为转折时，她便从一切差评中解脱了。“抱歉了乡村音乐名人堂，”拯救乡村音乐网怒吼道，“你的一栋教学楼是以一位在MV里扭臀的流行歌手所命名的（当年Taylor Swift捐助了一笔钱给教育中心所以有一栋楼是以TS的名字来命名的——译者注）。”在滚石杂志的采访里，Scott Borchetta,大机器的CEO预测道乡村音乐电台不会因为是她的歌曲而播放流行乐的。但现实是？这首歌在八月放出时就如同楔子般闯入了公告牌的乡村电台播放榜。“这几乎是我这几年来在音乐转型的最后一步，”她解释道。“我一直在试着接触流行乐而在我上一张专辑(2012年的RED)里，我终于被它吸引了。试着尽可能多地用不同的方法做音乐是一件非常美好的事。”

在最近Reddit（国外知名论坛）的一次关于Shake it off的猜测中，一个粉丝的理论是Taylor放出单曲主要是为了吸引人们，然后专辑的核心——由她所知道的甜美和真诚所构成的乐曲才会被发现。她同意了，但却没有被深度分析所惊吓。霉粉们在她的歌词本中花费大量时间去寻找隐藏信息和主题是早已出名了的。审视过Red的主打歌和重复字幕S.A.G后，粉丝们宣称那代表了人马座，恰恰是Gyllenhaal的星相。在1989，霉说这仅仅是神秘而已。“我认为人们喜欢有层次的艺术，”她说。“我认为他们想知道在歌曲的背后有更深层的意义，有故事，有一个鲜活的人。我觉得人们想要一个参照，他们想知道他们可以选择去解开歌曲下面的谜题。”这要感谢The Dixie Chicks,Taylor在少女时代的一个梦中情人。他们1999年的专辑Fly被梦想和谜语所包装。她还记得，“在艺术作品中，他们穿得像苍蝇。另外，乐队像在火箭中。我只是觉得他们那样有一个视觉主题很酷，并给了我灵感以使我会确保每一张专辑都会有具体的意象和感觉。”
这张专辑的豪华版将会包含霉在半夜用低沉而沙哑的声音录下的原创语音备忘录。你可以听到“I Know Places”的最基础的版本，而随后就被送给合作者：One Republic的Ryan Tedder。“你可以听到我在里面谈论他，”霉轻笑着说，“嗨Ryan，如果你不喜欢这段那完全没问题，我将会发另一些给你。但我想写一些我们两对抗整个世界的歌——每个人都在想方设法地弄懂我们而我们却必须保护秘密。”

对于1989，有些早期的迹象显示这是霉目前来最被期待的专辑，她只需轻轻一动便会拥有一首热单。在10月21日，环球上架了一首叫做“Track 3”的新歌，但文件是被损坏的。整个文件是8秒的白噪音。但是它仍冲到了加拿大iTunes下载榜的首位，（当时人们认为）难道这噪音就是霉的新方向？但粉丝似乎会支持她的一切举动。在一年没有歌手卖出超过一百万张唱片的情况下，公告牌预测1989会在首周卖出80万。

当然，有些事情是有他的陷阱的。2013年5月，一个在大西洋上吃力游泳并声称自己为了到Taylor在罗德岛的宅子已经游了两英里的男子被捕了。再往前，二月的时候，在伦敦O2场馆的一次演出中，一名跟踪者在台上撕掉自己的衣服，只为了给他的天使（Taylor Swift）某种信息。这段饭拍的视频让人不忍直视，但在特写镜头中我们可以看到Taylor还是微笑受了这一举动。“我有一大堆怪男生的故事。”她大笑道，“让我有些感到惊吓的事情，老实说，是他们不知道他们的行为已经过火了。他们不懂得把我绑架其实是一件非常不合适并且不会让我喜欢的事。他们不会想说‘Taylor锁了家门是因为Taylor没有邀请我们’，他们想的是‘Taylor锁了门所以我们要爬墙进去’。”
在处理一些令人感到尴尬的遭遇时，Swift是流行界的老前辈了。在她的青少年时期，她就与中年的唱片公司董事们一起开会，并且被已经在逐渐减少的乡村音乐资助者所宠爱。她在宾夕法尼亚州The Cumru Township的一个农场里长大，在青少年时候为美宝莲的一个项目写了一首歌，后面跑了一趟纳什维尔把自己歌曲的Demo给各家唱片公司。一年后，Swift一家人都为了展现她女儿的才华而搬来田纳西州。与Sony公司的一纸合约也随之而来（这份合约后来没谈拢——译者注）。

接下来是英文原版。。。

Gliding towards me with a puppet-like weightlessness, the singer balances a latte on the flat of her hand. “Twitter’s dark underbelly is that it gives people a veil of anonymity: they can have a terrible day at work, and feel awful about themselves, and then come home and get drunk and call someone ugly on Instagram,” she laments. “If people don’t have anyone to talk to about [their problems], they go online and just say wicked, gross, cruel, mean-spirited things about people. I wrote ‘Shake It Off’ for my own situation, but also for the situation that everyone finds themselves in now. It’s not a celebrity issue, it’s a people issue.”
Elsewhere, the album’s closer “Clean”, co-written by Imogen Heap, is a true-blue confessional about the lingering hurt of a shattered relationship. Swift tells me its parting shot, “Ten months sober, I won’t give in, now that I’m clean, I’m never going to risk it” is her top lyric on the record. It’s a tantalising analogy about heartache and the single life. Compare it to her favourite moment from Red —- “You call me up again just to break me like a promise” sung on the Jake Gyllenhaal break-up anthem, “All Too Well” — and it’s clear Swift is feeling decisive.
“I’ve been with myself for so long now, I like it,” admits the singer, who’s also been linked with John Mayer, Taylor Lautner and Joe Jonas in the past. “I’m not willing to give up that independence for anyone. Basically, there’s the tiniest, tiniest, tiniest chance you might find someone you can have a real and long-lasting relationship with. In my teenage years, I was enamoured by the idea of romance because I thought it was going to be this ‘happily ever after’ situation. Wait!” she says, as if to skewer our tense start, “is that my damned hat my publicist is wearing? She looks great in it!”

If a little emotionally damaged, sonically 1989 is anything but difficult. In fact, Swift has discussed her fear of the “tricky” fifth album. In her eyes, many artists reach a stage in their career where textures and otherworldliness replace focused melodies and heartfelt messages. “Samples and beat-dropping and pointless collaborations…, there are a lot of different ways that you can get distracted from the fact that people just want to listen to a good song,” she says. Don’t expect any build and drop action — modern pop’s dire signature move. Instead, 1989 references the whip-crack productions of 80s Phil Collins, Giorgio Moroder and The Human League, rather than towing the line.
Co-producer Jack Antonoff’s skittering beatwork for “Out of The Woods” — a paean to broken kinship that many have said nods to her fling with Harry Styles — is a million miles from any of RedOne’s or Stargate’s tired, floor-ready recitals. For millennials who spent their uni days stealing snogs at 80s nights, the bold, massive, marching drum-led tune will ring loud. Then there’s brilliant opener “Welcome To New York”, where droning “Electric Dreams”-esque synths meet calls to “dance to a new soundtrack…”, to “dance to this beat forevermore.”
But Pro-Tools pop hasn’t always done it for Swift, whose self-titled 2006 debut, and follow-up Fearless, introduced Gen Y to her spur rattlin’, straw gnawin’ tunethems. Sweet as cherry pie, those early albums evoked a romanticised, provincial America, where neighbourhood crushes and chords stood in for STDs and speeding cars. Rounding up hordes of accolades — including a Grammy for Album of the Year, Fearless remains the most awarded album in country music history, and added to the singer’s towering 200+ trophy count.

The moment Swift introduced 1989 as her “very first documented, official pop album” and swapped crocodile shoes for a snapback in the video for “Shake It Off”, all heck broke loose. “And sorry Country Music Hall of Fame,” ranted SavingCountryMusic.com, “but your education wing is forever named after a pop star who has officially featured twerking asses in one of her videos.” In a Rolling Stone piece, Scott Borchetta, CEO at record label Big Machine, predicted country radio stations won’t “keep playing a pop song simply because it’s her [anymore]” And the reality? The song wedged a solid entry in Billboard’s Country Airplay charts on its August release. “This was sort of the final phase of the sonic evolution I feel I’ve been on for the last couple of years,” she explains. “I’ve been experimenting with pop sensibilities and then on my last record [2012’s Red], I got attached to it. That’s the wonderful thing about trying as many different ways of writing music as possible; discoveries.”

On a recent Reddit thread about “Shake It Off”, one fan theorised that Swift releases singles merely to draw people in, and that the album’s nectar — the sweet, honest and deliciously composed lullabies she’s known for — is found within. She agrees, and isn’t surprised by the depth of analysis. Notoriously, Swiftian Fundamentalists spend hours unpicking Tay’s liner notes for hidden messages and themes. Scan through Red’s title track and recurring letters “S.A.G” are a nod, fans claim, to Sagittarius, Gyllenhaal’s star sign. 1989, Swift says, is just as cryptic. “I think people want art to have layers,” she says. “I think that they want to know that there’s a meaning and a story and a cast of characters behind a song. I think they want a visual reference, they want to know that there are secrets that they have the option of figuring out.” Thank The Dixie Chicks, one of the singer’s childhood crushes, for this. Their 1999 album Fly is packed with imagery, codes and motifs. “In the artwork, they were dressed up like flies,” she remembers. “In another, the band were on rockets. I just thought it was cool that they had a visual theme, and things like that inspired me to make sure that each album has its own specific look and vibe.”

Of course, martyrdom has its pitfalls. In May 2013, a man was arrested after clambering out of the Atlantic ocean claiming he had swum two miles to get to Swift’s home in Watch Hill, Rhode Island. Then, back in February, a follower tore onstage during a show at London’s O2 arena to pass his queen seraph a note. A fan-shot video of the incident is terrifying to watch, but close-up snaps show a calm and smiling star accept the gesture. “Oh, I’ve got a whole file full of creepy guy stories,” she laughs. “I think the thing that scares me a little is that they honestly don’t know that they’re acting out of line. They don’t understand that kidnapping me would be inappropriate and something I might not enjoy. It’s not like they think, ‘If I’m locked out of the gate outside her house, it means I’m not invited.’ It’s more like, ‘I need to climb over the shrubbery.’”
In dealing with awkward confrontations, Swift is the pop world’s doyenne. Since teenhood, she’s surfed board meetings with middle aged label heads and been doted upon by pruned country music patrons. Growing up on a Christmas tree farm in The Cumru Township in Pennsylvania, as a pre-teen she penned a song for a Maybelline project and TRAVELLED to Nashville to hand out demos around the famous Music Row, an area home to swarms of record companies. A year down the line, the Swift family upped and moved to rural Tennessee to explore their daughter’s growing potential. A publishing deal with Sony came shortly after.