【搬运】【译】叉婊Pitchfork评泰勒斯威夫特 2006年出道专辑《Taylor Swift》（同名）

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：SpencerC

Taylor Swift’s self-titled 2006 debut arrived at a fortuitous moment for young women in country music, particularly those with crossover ambitions. The beers-and-trucks bro-country grip of Florida Georgia Line and their ilk was a few years away from fully tightening; Carrie Underwood had won the 2005 season of American Idol; and the Dixie Chicks’ defiant “Not Ready to Make Nice” and Sugarland member Jennifer Nettles’ syrupy Bon Jovi duet “Who Says You Can’t Go Home” were making inroads into Top 40 radio (the Chicks’ anti-George W. Bush stance had gotten them kicked out of country rotation).

2006年泰勒发布了自己的同名首专，尽管那时还年纪轻轻，但这个时候恰巧对于乡村音乐的年轻女性来说是个充满机遇的一年，特别是对那些有跨界野心的音乐人来说。喜欢啤酒卡车的兄弟乡村组合Florida Georgia Line在这时候还差几年才出道；Carrie Underwood 才在2005年夺得了美国偶像的桂冠；Dixie Chicks的“Not Ready to Make Nice（还没准备示好）”和Sugarland的成员Jennifer Nettle甜腻的Bon Jovi的个人首支单曲“Who Says You Can ' t Go Home（谁说你不能回家）”进入了前40名电台( Dixie Chicks 反对George W. Bush的立场让他们被淘汰出了国家电台)。

The 16-year-old Swift crash-landed into this landscape with “Tim McGraw,” a saudade-drenched mid-tempo ballad that’s as much a love letter to music’s power as it is to a soon-to-be-ex-boyfriend leaving for college. Swift’s quivering low soprano made the lyrical details—her “little black dress,” the stalled-out Chevy truck, “the moon like a spotlight on the lake”—hit harder, and showcased her ability to make diaristic songs universally relatable. You can track the song’s quiet hope (“When you think Tim McGraw/I hope you think my favorite song”) all the way to Reputation closer “New Year’s Day,” while its clear-eyed view of time’s passage is reflected in 1989’s “Clean.” “I love writing songs because I love preserving memories, like putting a picture frame around a feeling you once had,” she wrote in Elle earlier this year, and “McGraw” shows how essential that ideal has been to her work since the beginning.

16岁的Swift 随着Tim McGraw闯入了这片乐土，这是一首充满saudad风格的中速民谣，既是一封写给音乐力量的情书，也是写给她即将上大学的前男友的。Swift 颤颤巍巍的低沉女高音使她的抒情细节——她的“小黑裙”、堆叠的雪佛兰卡车、“月亮像湖上的聚光灯”——更受欢迎，并展示了她的能力，使日记歌曲普遍相关。你可以追踪这首歌安静的希望(“当你想起Tim McGraw/我希望你想起我最喜欢的那首歌”)，一路到“New Year’s Day(除夕夜)”，而它对时间流逝的清晰看法反映在《1989》的“Clean”中。“我喜欢写歌，因为我喜欢保留记忆，就像在你曾经有过的感悟周围放一个相框，”她今年早些时候在《Elle》杂志上写道。

Two years earlier, her family had left Wyomissing, Pennsylvania and moved to Nashville in support of their firstborn child's teenage country-star dreams. Taylor Swift showed someone who had been honing her craft since her preteen years, meticulously turning her experiences with boys and with her girlfriends into country songs that reflected the lives of her peers, whom she connected with via MySpace. (“Every single one of the guys that I’ve written songs about has been tracked down on MySpace by my fans,” she told The New York Times in 2008.) MySpace would morph into Tumblr and Instagram Live, but the impulse would remain the same.

两年前，她的家人离开了宾夕法尼亚州的怀奥米辛，搬到了纳什维尔，以支持他们第一个孩子的青春乡村明星梦。Taylor Swift展示了一个从青春期前就开始磨练技艺的形象，她一丝不苟地将自己与男孩和女友的经历变成了反映同龄人生活的乡村歌曲，她通过MySpace与这些同龄人建立了联系。(2008年，她对《纽约时报》说，“被我写过歌的每一个人都被我的粉丝在MySpace上找到了。”)霉霉与粉丝交流的方式从MySpace演变成了Tumblr和Instagram Live，但她的创作动力从没改变。

The album turned out to be a solid, spunky-yet-reflective country record told squarely from the teenage perspective, as opposed to the “can you believe someone so young sounds like that” packaging that weighed down former teen sensations like LeAnn Rimes. While Taylor Swift’s chief genre signifiers, like fiddles and vocal twang, are rooted in ’00s Nashville tropes, the influence of millennial teen pop bubbles up in the bouncy music and in ripped-from-the-LiveJournal lyrics like the cheerily insouciant chorus of “Our Song” (“Our song is the slamming screen door/Sneakin’ out late, tapping on your window”). “Picture to Burn” is a descendant of JoJo’s “Leave (Get Out),” given a Southern-fried twist by Swift’s drawled asides (“alla yer best freeends”), her mockery of the dude’s “stupid old pickup truck you never let me drive,” and the plunking banjo. (“Picture to Burn” also showed that she was learning to hone her poison pen: In the original version’s first verse, she threatened to tell her friends the guy who’d wronged her was gay, a line she dropped from live performances shortly after Taylor Swift’s release. The album version followed suit.)

事实证明，这张专辑是一个坚定的、充满活力且值得回味的乡村唱片，直接从青少年的角度讲述，而不是“你能相信一个如此年轻的人唱出这种歌吗”的早熟包装、压下了像LeAnn Rimes的少年感。同时Taylor Swift 的主要特征:小提琴和直言不讳的鼻音，扎根于00年代纳什维尔的比喻，千禧年的青少年流行乐正在崛起，这种音乐的影响是脱离LiveJournal（交友网站）的，快活的音乐和歌词一样漫不经心地合唱着“Our Song ”(“我们的歌是拉上纱门/半夜溜出房门/轻敲你的窗子”)。“Picture to Burn”是JoJo的“Leave (Get Out)”的后续，Swift慢吞吞吐露的旁白以及模仿南方的口音(“真主安拉你最好的自由”)，用来嘲笑“你从来不让我开的那辆愚蠢的旧皮卡”中的“你”，以及砰砰作响的班卓声。(“Picture to Burn”也显示出她正在学习磨练自己的毒舌:在原版的第一节中，她威胁对方说要向朋友们告密——那个曾经伤害过她的男人是同性恋，这句话是她在专辑发布后不久的现场表演中说的。专辑的版本也是如此。)

“Teardrops on My Guitar,” a longing ballad about an out-of-reach crush, presaged Swift’s eventual embrace of pop; in early 2008, her now-former label Big Machine released a “pop version” that added echo to her voice and a mid-tempo beat, dropping the weepy slide guitar that doubled as a realization of the song’s title. While Swift was hardly alone in reworking country songs for the “hits you can play at work” crowd, the ease with which “Teardrops” translated to straight pop showed that her deft melodic touch and conversational way with deeply felt emotions could scale to the widest possible audience. Today, her production takes its cue from current trends, and her subjects don’t need to be identified via online fishing expeditions, but her detailed lyrics and canny worldview were there from the start.

“Teardrops on My Guitar（泪滴琴弦)”是一首充满渴望的民谣，讲述的是一个遥不可及的迷恋，也预示着Swift最终会拥抱流行;2008年初，她的前厂牌Big Machine发布了一个“流行版”的TMG，增加了她的声音和中速节拍，放弃了哭泣的滑盖吉他，这首歌的名字也变成了现实。虽然霉霉并不是唯一一个为“你可以在工作中播放热门歌曲”群体翻唱乡村歌曲的人，但“Teardrops”翻译成通俗易懂的流行歌曲所表现出的轻松自如表明：她娴熟的旋律触感和饱含深情的对话方式能够吸引尽可能多的观众。如今，她的作品从当前的流行趋势中寻找灵感，她的主题不需要通过网上钓鱼来确定，但她细腻的歌词和敏锐的世界观从一开始就存在。

Back then, though, she had doubters. An Associated Press report on her early success opened with sneering from a Nashville bigwig: “Tell her to get back in school and come back and see me when she’s 18, and bring her parents,” manager and promoter Jerry Bentley scoffed. That his biggest client was Lee Greenwood, the man behind the hoary “God Bless the USA,” is almost too delicious; that the piece quoting him found his dismissals worthy of the story’s opening lines is depressing. But Swift showed—and her songs’ subjects learned over and over again—that she’d always get the last word.

尽管在那个时候，也有人不相信她。美联社(Associated Press)一篇关于她早期成功的报道以纳什维尔一位大人物的冷嘲热讽开场:“告诉她回到学校，18岁时再来看我，带她的父母来” 经理兼推广人Jerry Bentley如此嘲笑道。他最大的客户是老歌“God Bless the USA(天佑美利坚)”背后的Lee Greenwood，也是因此他才敢如此狂妄自大；引用他的话的那篇文章认为他被解雇的原因与故事开头的几句话十分匹配。但是Swift用歌曲的成就一次又一次地证明了——最后还得她说了算。