搬运译Pitchfork评10年代最佳单曲第129名：Lorde: “Royals” (2013)

搬运自：微信公众号【评论搬一堆】（在原文基础上添加了英语原文与排版调整）

原文链接：https://pitchfork.com/features/lists-and-guides/the-200-best-songs-of-the-2010s/

翻译：Cathy Lin

审译：Emma.Z

推送：Lynn Liu

At the start of the decade, pop music taught teenagers what their desires were, not the other way around. According to the radio, teen dreams were filled with earth-shattering parties and unconscionable excess tracked to wall-of-sound synth production best suited for football stadiums. And then New Zealand’s 16-year-old Lorde strolled into the charts like a supremely over-it exchange student, singing her chilly, nearly a capella manifesto about just how tired she was of songs about tigers and jet planes and Cadillacs.

在本世纪初，是流行音乐教会了青少年欲望是什么。根据电台报道，青少年的梦想里充满了惊天动地的派对，还有对最合适的足球场声墙的生产的过度追踪研究。接着，来自16岁的新西兰洛德像一个无敌优秀的交换生一样漫步进入排行榜，唱着她那冷冰冰的、近乎capella式的宣言，唱着她对老虎、喷气式飞机和凯迪拉克的歌曲的厌倦。

While “Royals”’ pillory of rap-video tropes attracted accusations of racism, the song propelled Lorde to stardom and transformed pop in the process. In the years since, the genre has grown bleaker, replacing maximalist odes to excess with bummed-out songs stressing isolation and anxiety. And a new generation of artists who speak to the same sense of teen ennui—Halsey and Clairo and Billie Eilish—have proliferated, working to override the industry’s male gaze instead of playing into it. As it introduced a new kind of pop star, “Royals” challenged the world’s biggest artists to be not just enviable, but relatable. –Hazel Cills

虽然“Royals”对说唱视频的嘲讽招致了种族主义的指责，但这首歌却让Lorde一举成名，并在这一过程中改变了流行音乐。从那以后的几年里，这类歌曲变得越来越乏味，用强调孤独和焦虑的蹩脚歌曲取代了极端主义的颂歌。而新一代的艺术家们数量激增，也像Halsey 、Clairo 和Billie Eilish一样，对青少年的厌倦感感同身受。他们努力超越这个行业的男性目光，而不是参与其中。随着新型流行明星的出现，“Royals”向世界上最伟大的艺术家们发起了挑战，要求他们不仅要令人羡慕，而且要让人产生共鸣。