【搬运】【译】叉婊Pitchfork评A妹、打雷姐和麦粒2019年单曲《别叫姐天使》
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）
翻译：Joonly EC
审译：Emma.Z
排版：Ryan-Chopin
Say this for Ariana Grande, Lana Del Rey, and Miley Cyrus on “Don’t Call Me Angel”—they do sound independent. As in, on different continents. Their single for the new Charlie’s Angels movie arrives with glitterbomb hype and blockbuster production—and a video that lets Lana achieve her final form of literally throwing knives at The Man—but its glossy execution comes at the expense of any chemistry between the singers. They arrive sequentially to give cursory verses, sounding variably comfortable in these anodyne pop surroundings—this is Ariana’s playground, and possibly Lana’s Bad Place—then drift on to more interesting endeavors. There’s no interplay, joy, or friction between them. They barely even stick around to harmonize.
不得不说“Don't Call Me Angel”中的Ariana、Lana和Miley听起来根本不像在合唱，更像是在各自的领域自嗨。这首新版《Charlie's Angels（霹雳娇娃）》的主题曲以华丽酷炫地宣传粉墨登场——并且配上了一支让Lana圆梦女刺客的mv（mv中打雷姐分别向两个人形立牌的正中心和裆部扔中了一把匕首）——但这一切都没能让三人产生化学反应，所以显得有点恶心地画蛇添足了。她们仨排着队走马观花地各唱了一段，听起来就和其他的流行乐一样nbcs——这更像是A妹的主场，打雷的短板——然后飘向了“更有趣”的尝试。她们之间感受不到合作、快乐、火花。她们甚至没有试着去合唱！
The big-budget single is a difficult needle to thread; the usual idea is to assemble an Avengers of talent du jour and hope they’re greater than the sum. Love or hate Moulin Rouge, its vampy soundtrack rendition of “Lady Marmalade” with Christina Aguilera, Mýa, Lil Kim, and Pink reached far more ears than Ewan McGregor scream-singing along to “Roxanne” onscreen. The pop stars of “Don’t Call Me Angel” meet at a lower creative common denominator than they’ve enjoyed lately; from the PG bedroom lyrics to the lightly hip-hop-infused production, this song has the distinct flatness of being created by committee. Their verses dance around the idea of autonomy, making a binary argument about self-sufficiency. All three have offered more interesting statements about womanhood in the past year. Miley’s lightly sneering lines are most overt: “I make my money and I write the checks/So say my name with a little respect,” she insists, in what feels like a nod to Destiny’s Child and their catchier Charlie’s Angels hit of 2000, “Independent Women, Pt. 1.” Ariana flutters around in her comfortable falsetto range, coquettish yet stern: “Don’t you know that I bite when the sun set?” she trills, tossing in the melisma she could sleepwalk through.
动作电影的主题曲一直都很难把控；普遍想法就是一时兴起召集一堆天赋异禀的复仇者，然后默默祈祷他们能够1+1+1＞3。不管你喜不喜欢《Moulin Rouge（红磨坊）》这电影，它那由Christina Aguilera、Mya、Lil Kim和P!nk演唱的“Lady Marmalade（果酱女郎）”原声大碟吸引了比Ewan McGregor在屏幕上尖声高唱“Roxanne（红磨坊中另一首插曲)”多得多的观众。“Don 't Call Me Angel”这首歌跟三位主唱最近的作品比起来掉价很多；从PG级（Parents Guide家长辅导级）的歌词到略带嘻哈气息的制作，这首歌简直是明明白白的单调。她们的歌词围绕着自主权创作，同时对于自给自足提出了一个二元论点。在过去的一年里，这三位diva都对女性身份做了更有趣的阐释。Miley那略带嘲讽的几句歌词最为明显:“老娘自己挣钱消费/所以请给我放尊重点。” 她这样唱到，不禁让人想起Destiny's Child演唱的2000年版《霹雳娇娃》的更好听的大热单曲“Independent Women, Part 1”。Ariana在她舒适的假声音域里飘动着，魅惑又不失严谨:“你不知道我在日落时咬人吗?”她缥缥缈缈地吟唱着，这些花腔与转音对她来说简直小菜一碟，她梦游的时候都能做到。
Lana is at least a confounding presence; she delivers her own tepid lines with typically breathy monotone, pulling the clichés like taffy until they feel grotesque. “I appreciate the way you want me, I can’t lie/I drop it down, I pick it up,” she intones, unhurried by the beat scrambling beneath her. Her voice slips by like scratchy polyester; the charitable interpretation of the disconnect in her delivery would be “ironic,” but her lackluster strutting in the music video suggests apathy. (Also, as the Victoria’s Secret-lite clip hammers home: a movie so quick to trumpet its diversity in casting couldn’t do the same with its soundtrack’s marquee single?) Charlie, your girl has gone rogue.
Lana的那一段真的让人哈不到脑壳；她用着极具个人特色的性冷淡腔调唱着让人性冷淡的歌词，就像老太太的裹脚布一样又臭又长。“爱慕我没关系，我也很OK/但我就想玩弄你”，她不紧不慢地伴着缓慢爬行的节奏如此吟诵到。她的声音像在从一件皱皱的涤纶衫上溜走；她这次友情参唱的部分听起来脱节又“讽刺”，但她在mv中那无趣的傲慢已经表达出“老娘真的不在乎”的态度。（同时，mv中的维密天使走秀般的片段再三强调：一部着急着吹嘘自己的演员阵容多么五光十色的电影不可能有一首跑马灯般酷炫的主题曲。）
