進行中: 〈1989:痛苦與重生〉 12/16
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(我想了想,還是這圖最能表達1989故事主旨 )

決定附上前言:

These songs were once about my life. Now they are about yours.

I was born in Reading, Pennsylvania on December 13, 1989. In the world we live in, much is said about when we are born and when we die. Our birthday is celebrated every year to commemorate the very first instant we came into the world, and a funeral is held to mark the day we leave it. But lately I’ve been wondering… what can be said of all the moments in between our birth and our death? The moments when we are reborn…

The debate over whether people can change is an interesting one for me to observe because it seems like all I ever do is change. All I ever do is learn from my mistakes so I don’t make the same ones again. Then I make new ones. I know people can change because it happens to me little by little every day. Every day I wake up as someone slightly new. Isn’t it wild and intriguing and beautiful to think that every day we are new?

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為使大家方便瀏覽,特再開一篇文將我對於Red全專輯歌詞的一些理解及心得整理在此。

附上泰勒為這張專輯寫的序言:

There's an old poem by Neruda that I've always been captivated by, and one of the lines in it has stuck with me ever since the first time I read it. It says "love is so short, forgetting is so long." It's a line I've related to in my saddest moments, when I needed to know someone else had felt that exact same way. And when we're trying to move on the moments we always go back to aren't the mundane ones. They are the moments you saw sparks that weren't really there, felt stars aligning without having any proof, saw your future before it happened, and then saw it slip away without any warning. These are moments of newfound hope, extreme joy, intense passion, wishful thinking, and in some cases, the unthinkable letdown. And in my mind, every one of these memories looks the same to me. I see all of these moments in bright, burning red.

 My experiences in love have taught me difficult lessons, especially my experiences with crazy love. The red relationships. The ones that went from zero to a hundred miles per hour and then hit a wall and exploded. And it was awful. And ridiculous. And desperate. And thrilling. And when the dust settled, it was something I’d never take back. Because there is something to be said for being young and needing someone so badly, you jump in head first without looking. And there's something to be learned from waiting all day for a train that's never coming. And there's something to be proud of about moving on and realizing that real love shines golden like starlight, and doesn't fade or spontaneously combust. Maybe I’ll write a whole album about that kind of love if I ever find it. but this album is about the other kinds of love that I’ve recently fallen in and out of. Love that was treacherous, sad, beautiful, and tragic. But most of all, this record is about love that was red.

我一直很愛一首Pablo Neruda寫的詩,而其中有一段,自我讀到它的那一天起就一直印在我腦海中,它是這麼說的:「愛是如此短暫,遺忘卻如此漫長。」正是這句話,使我真正了解到,其他人對”愛”也會有類似的感受,只是它正好也在我最傷心的時候產生了共鳴而已,而我們正嘗試要從傷痛中走回正常人生時,你絕對不會希望再次甘於平凡,而是擁有值得銘記的瞬間,例如眼中出現從未見過的火花、感受繁星恣意排列時的流動、預見你未來的景況,然後看著它毫無預警地溜走;或是那些特別的情緒,例如全新人生的盼望、刺激之下的喜悅、殷切渴望的熱情、美好的幻想或是某些令你無法理解的沮喪情緒…等等,而在我眼中,每一段回憶看起來都是一樣的,它們全都是明亮且鮮豔的…紅色。

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The rest of the world was black and white, but we were in screaming color

Tayvin剛過一周年…因為有點感觸,讓我還是想說一下:

在此要澄清幾個事實:Kaylor is real, Tayvin is absolutely bullshit.
Taylor is probably bisexual, not lesbian.

首先提一下當初相遇的時間點:2015年2月25日

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All Too Well (10 Minutes Versi

*Sadie今年真的很風光,除了全新一季《怪奇物語》讓Kate Bush經典神曲 〈Running Up That Hill (A Deal with God)〉重新翻紅之外, 《All Too Well》微電影也成功讓泰勒成為史上首位三封VMA年度MV的藝人,而且據說在新片 《The Whale》當中也有精彩演出,除了終於大回春的Brendan Fraser有望成為明年奧斯卡影帝熱門之外,她也被看好能搶下最佳女配角的入圍席次,我們就拭目以待囉。

記得好像是去年11月,我在粉專說會重新再翻譯這個十分鐘的版本,沒想到這一拖就是快十個月...這段期間由於工作跟其他瑣事,進度一直斷斷續續,加上我也跟泰勒一樣,在多年後的現在,對於這首"重寫的舊歌"也有更多感受跟體悟,而且回過頭來看上一篇翻譯,基本上就是太多廢話,超譯到有點誇張,實在搞不懂自己當時怎麼會那樣翻🤣 感覺很多大大只要遇到泰勒的任何歌詞,就會想要使出渾身解數,卻不自覺也跟著"文謅謅"起來,結果反而讓出來的成品變得卡卡又難懂。的確,她從民謠姊妹專開始,就捨棄了過往大白話的那種寫作方式,用字遣詞越來越艱深、精煉,故事也逐漸跳脫個人情愛的小格局,觸及的題材越來越有深度跟廣度(畢竟可是能在14歲就能寫出一本小說的),名言佳句也越來越多,當然我們粉絲翻譯的難度也就會越來越大🙃 所以這次的翻譯,基本上就是針對先前一些比較囉嗦跟超譯的部分,對比原文以及全新填入的詞句之後,消化再琢磨的版本。

大家一定會好奇,這真的是傳說中泰勒最初的版本嗎?(根據共同創作者Liz Rose的說法,最原先的版本大概有20分鐘長) 據說,真正的原稿其實已經找不到,加上"Fuck the patriarchy"這種相當當代思維的語句,怎麼看當時的泰勒都不可能寫得出來🤣,況且再看一次新增補的部分,感覺也比較像是泰勒從當下的角度去回看這段感情,沒了年少時的尖銳,更多是成熟的世故與淡然。這也是個人在聽這首十分鐘版時,少數覺得美中不足的地方,有種為了服務廣大粉絲而再創作的感覺(這樣沒有不好,但這種刻意為之的自然,總有種說不上來的尷尬),但換個角度,我們也可以藉此欣賞泰勒從《Red》時期以來的生涯軌跡,不論是在音樂上還是創作上,因此這次的十分鐘版,說是對十多年前心碎感情的追憶,其實也可以看做是這位當今流行樂壇最佳唱作歌手之一的進化史,撇開身上的的雕琢痕跡,這首十分鐘版〈All Too Well〉仍是泰勒十幾年音樂生涯中又一首頂尖、精美,而且還能獲得廣大共鳴的藝術品,我們粉絲只需好好欣賞就好。

All Too Well  "記憶猶新 (十分鐘版)"

I walked through the door with you, the air was cold

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雖然是去年6月就發行,但我之前也說過,Perfect Places絕對只能是Melodrama翻譯計畫的最後壓軸,不管其他人怎麼趕著先翻出來都不干我的事,我希望的是照專輯順序翻下來,一首一首地解釋,同時品味著專輯的主題及故事,就像還沒完成的1989及reputation那樣,把概念貫徹始終!

這首歌是當初率先發行的宣傳單中最先擊中我的一首,比起慢熱的開場曲Green Light,這首更能直接挑起聽眾的共鳴,尤其是非常有情感力量的副歌,好像讓我再次體會了19、20歲時的狂放不羈與蠻不在乎,而在這強烈的衝擊之下,是如同A World Alone那般對想像中美好世界的殷切渴望,儘管自己所仰慕的英雄們一個個凋零、死去,我們也要把他們手中的火炬傳承下去!

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Perfect Places 最美好的世界

Every night, I live and die

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原本想說這首是interlude性質,要跟下一首Perfect Places放在一起寫,但想想其實也不用,畢竟連For Free我都能單獨寫一篇了(還不是因為唱這首歌的人是Kendrick),不想把一直以來的傳統給破壞掉。

照慣例有陌生名詞要解釋一下。reprise中文意思為"重複",簡單來說,就是將開頭演奏過的曲目,以改變主調或重新敘述的方式重新演奏一次。至於這首歌,我想Lorde應該沒用那麼複雜的東西(畢竟人家有說過不會彈任何樂器@@),純粹就是重新把先前出現過的Liability做了編曲的改變,並賦予其全新意義而已。前面Liability訴說Lorde對於自己成為他人負擔感到萬分愧疚;至於重奏版,不僅僅是對前者的回應,更有自我反省的意味,在經歷了前面充滿痛苦與轉折的心路歷程之後,Lorde覺得,自己是該重新站起來了,畢竟她心目中的那個"完美之地"還在前面等著,說甚麼也不能就此停下腳步!

“I went into thinking I knew what I was doing and thinking I knew exactly who I was at that moment and what I was going to do and the process has been very confronting and intense and awesome and emotional and it turned out that I wasn’t who I thought I was after all.”---------------Lorde

「當時我在想的是"我知道我在做什麼、知道自己是什麼樣的人、我接下來該做什麼..."。整個創作(Liability)過程中有衝突、有火花、有歡呼,甚至是有點情緒化。但到了最後,這些東西卻把我變成自己不曾想到過的那種樣子。」

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個人以為,這首歌是Melodrama除了Green Light、Liability、Perfect Places之外的另一首key song,在靈動的舞曲節拍下,是心碎與不捨,給我的感覺真的很像Robyn的同志神曲Dancing On My Own(不是那個什麼Scott翻唱的劣等貨)。

但首先,我得解釋一下supercut的意思,這個詞在英文裡是指"a compilation of a large number of short video clips",也就是"一個由大量短篇影片或片段剪輯而成的合集",因此翻成"片段"是不準確的,因為片段本身就是影片(不論長或短)剪輯下來的,而將來自不同影片的"片段"組合在一起,就是"supercut",就中文來說,我覺得比較接近的詞彙是"集錦"。所以以Lorde的意思來說,supercut其實是指她與前男友之間的種種回憶,而這些回憶就像幻燈片一般,不斷在Lorde腦海裡播放播放...而在歌曲最後不斷重複的In my head, I do everything right,則像是她對這段感情所懷有的,最後一絲絲懊悔、不捨,以及盼望。

“I felt the way I used to feel when I made music as a kid and it felt like I could cry because it’s such a relief to get out how you’re feeling for the first time. I remember being like ‘Oh my God’. It was such gratitude for the process. I was like, ‘My outlet!‘”--------Lorde

「(在創作歌曲時)我好像又回到十幾歲時做音樂的那種感覺,那是一種...當妳頭一次能夠將內心感受痛快地發洩出來,然後好好哭一場的感覺。記得當時我像是:"喔天啊..." ,然後妳對這過程充滿感激,接著我就像是:"我終於講出來了!"」

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(找不到適合的封面,恕直接貼現場Live連結)

"I think that when you do this, you have to find a way to live with yourself, because it’s not making no one feel anything. A handful of people will listen to this album and have it sort of get them [in the gut].

But it was important for me to say. And I don’t think that song is apologising for it. It’s more like, what did you think was going to happen? I was doing this before I met you and I’ll be doing this after you’re gone… I felt quite empowered.

It was weird, I woke up in the middle of the night and was lying next to someone. And I wrote it down on my phone and I was like, ‘Oh God, I feel so naughty writing this!’ While somebody’s sleeping, like an evil witch. But I really love that song. I feel like it’s such a cool, painful moment in the record."-------Lorde

「我覺得,當你下定決心(放手)時,就必須得開始學著與自己相處了,因為沒有人會為了這些事去放棄所有感受。所以有些人會去聽這張專輯,讓音樂去觸碰自己[內心最柔軟的部分]。對我來說,能把心中感受說出來才是最重要的,但我並不認為這首歌是關於"道歉",比較像是..."你覺得之後會怎樣呢? 我在遇見你之前就開始寫歌,在你離開之後我還是會做一樣的事"...頓時我覺得自己精神百倍。」

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在翻譯時,我就認為歌詞談論的並不是愛情,雖然歌詞裡確實有出現這個字眼

但個人認為,這個愛偏向於對國家、對人民的愛

就在剛剛看完電影之後,更加確定了這樣的想法

(肯尼好像提過,整個原聲帶是在看過電影之後,以此為靈感製作出來的,在這裡偷偷推一下,整張都很好聽!)

歌詞部分,我以為是兩種不同理念的衝突,即主角跟反派的觀點

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同樣地,今年葛萊美獎入圍名單一樣是由CBS This Morning負責主持,並請來葛萊美獎提名歌手Andra Day(aka Riri 2.0)現場公布四大通類入圍名單,剩餘分類獎項會於線上同時公布(老實講還是懷念以前公布提名+演唱會的形式),頒獎典禮則因應冬奧的舉辦,將提前於1月28日舉行,地點從LA改至紐約的麥迪遜花園廣場,主持人一樣是James Corden。

大家如果還對去年的得獎結果有印象的話,肯定對於阿呆通類獎項完勝阿碧的情況相當印象深刻,而不出意外地,這情形也讓錄音學會遭受空前的輿論壓力,說葛萊美給獎"過於保守"、"擺明歧視黑人曲風",看看之前史詩級的To Pimp a Butterfly敗給1989、阿碧同名專敗給Beck,甚至更早之前的Frank敗給樂評普普的Mumford and Sons...其實現在聽音樂的管道這麼多,用心一點聽都知道誰的專輯更優秀,唯獨...葛萊美的品味始終保守如昔,因此,這可說是讓原先積累的不滿聲浪整個"爆炸"開來了,逼得葛萊美不得不採取改變,首先就是投票機制改為可線上投票,此舉是為了讓一些不克參與紙本投票的錄音學會會員(尤其是一些在巡迴中的歌手/樂團)也能參加投票,而實施之後的效果,也確實反映在本屆的提名上。事實上我曾經想像過,如果各獎項提名是照樂評跟流行趨勢來票選的話,大概就會像今年的情況,但...葛萊美畢竟是表彰唱片工業的獎項,銷量也是一大評選因素,總不能純照樂評選,結果選出一些質量高,但相對小眾的作品吧? 況且講句實際點的,這幾年黑人音樂可說是蓬勃發展(而且這才只是萌芽期),白人流行樂其實已經有點停滯不前的態勢,看看現在榜上的歌曲,幾乎不是黑人曲風,就是受了黑人曲風影響混搭出的新變種,反觀現今白人歌手,除了那幾個比較bug的存在之外,其實已經有點青黃不接了,所以今年的提名名單,可說是確實反映了當今的樂壇趨勢,而且可能還會持續一段時間。

端看本屆提名,可說是黑人歌手(外加男歌手)的狂歡,JAY-Z八項,肯尼七項,Bruno六項,影視歌三棲的Childish Gambino(aka Donald Glover)、大勢R&B新人SZA(女歌手最多)及Khalid各五項,實力新星Alessia Cara、電影作曲家Justin Hurwitz(樂來越愛你原聲帶的大功臣)等獲四項。

如果只看四大通類提名,你可能會以為自己是在看BET Awards,但這對於偏愛黑人音樂的我來說,無疑是感到驚喜的。

這已經是我連續第五年寫葛萊美的預測文章,一樣先從通類開始寫起,接著才是分類獎項,預測得獎者照慣例以粗體顯示:

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如果...Sober是在這齣名為Melodrama的舞台劇中,第一幕的intro的話(即所謂"派對的開場")

接下來的四首歌,則是進入這場派對的心路歷程

然後是Sober II(即"派對的散場"),除了是第一幕的收尾,也將Melodrama帶向下一個全新的章節...

I kind of see these two songs as a big journey of an evening, of a party. I love the idea of Sober [being] the party and Sober II is like ‘the lights are on’. How heartbreaking is it when the lights are on, after you’ve spent however many hours in this dark room and gotten to know it for its darkness? [When] the lights are in, it’s so depressing. You know when you’re loading the dishwasher the morning after a party and everything smells like alcohol and you’re like ‘I could spew, just from these odors’. That’s sort of the DNA of Sober II. -------Lorde

我比較把這兩首歌(Sober & Sober II)當成是一次在夜晚的長途旅行...或者一個派對。Sober代表"派對",而Sober II代表"燈亮起來的時候"(派對結束),我喜歡這個比喻。因為當妳在這間黑漆漆的房間中待上幾個小時,然後才終於發現其中的可怕時,那該有多麼令人心碎? 因為當光線照進來時,妳的心情就會變得很差...那種感覺就像是:派對結束的隔天早上,妳將碗盤放進洗碗機,然後房子裡有種像是酒,或其他能讓妳吐出來的那種味道...這就是Sober II的組成要素。

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