【正文】 棄鄉(xiāng)村樂(lè)。它是一個(gè)大盒子，雖然通風(fēng)良好，但畢竟是個(gè)盒子。《1989》（大機(jī)器[Big Machine]公司出品）是她的第五張專輯，也是她第一張完全沒(méi)有鄉(xiāng)村樂(lè)的專輯，它為她樹(shù)立了新的敵人。Full of expertly constructed, slightly neutered songs about heartbreak, “1989,” which is to be released on Monday, doesn39。t announce itself as there is an implicit enemy on this breezily effective album: the rest of mainstream pop, which “1989” has almost nothing in mon pop stars — white pop stars, that is — mainly get there by emulating black of Miley Cyrus, Justin Timberlake, Justin the current ecosystem, Katy Perry is probably the pop star least reliant on hiphop and Ramp。B to make her sound, but her biggest recent hit featured the rapper Juicy J。she39。s not immune.《1989》將于周一（2014年10月27日——編注）發(fā)行，里面有大量結(jié)構(gòu)嫻熟、略帶中性色彩的傷心歌曲，它并沒(méi)有擺出對(duì)抗的姿態(tài)。但這張給人感覺(jué)很溫和的專輯有一個(gè)毫無(wú)疑問(wèn)的敵人：那就是主流流行樂(lè)，《1989》與它格格不入?，F(xiàn)代流行歌星——更確切地說(shuō)，是白人流行歌星——大都是模仿黑人音樂(lè)起家的。想想麥莉塞勒斯(Miley Cyrus)、賈斯汀汀布萊克(Justin Timberlake)和賈斯汀比伯(Justin Bieber)吧。在當(dāng)前音樂(lè)的生態(tài)系統(tǒng)里，凱蒂佩里(Katy Perry)或許是對(duì)嘻哈樂(lè)和Ramp。B依賴最少的流行歌手，但她最近的大熱歌曲里也有饒舌樂(lè)手杰西J(Juicy J)獻(xiàn)聲，她也不能免疫。, though, is having none of that。what she doesn39。t do on this album is as important as what she is no production by Diplo or Mike Will MadeIt here, no guest verse by Drake or idea of pop music harks back to a period — the mid1980s — when pop was less overtly choice allows her to stake out popular turf without having to keep up with the latest microtrends, and without being accused of cultural ；她在這張專輯里沒(méi)有做什么和她做了什么一樣重要。它不是由迪普洛(Diplo)或者M(jìn)ike Will MadeIt制作，也沒(méi)有德雷克(Drake)或皮特布爾(Pitbull)客串。她對(duì)流行音樂(lè)的概念回溯到了20世紀(jì)80年代中期，那時(shí)候流行樂(lè)還沒(méi)雜交得這樣厲害。這個(gè)選擇令她可以縱觀流行樂(lè)的全局，而不必去追逐最新的小風(fēng)尚，也不會(huì)被指責(zé)為“文化盜用”。That wants to be left out of those debates was clear in the video for this album39。s first single, the spry “Shake It Off,” in which she surrounds herself with all sorts of hiphop dancers and bumbles all the in the video, she surrounds herself with regular folks, and they all shimmy unselfconsciously, nottrying to be ，這表現(xiàn)在專輯首發(fā)單曲《甩掉它》(Shake It Off)的音樂(lè)錄像里。這是一首活潑的歌，錄像中她被各種嘻哈舞者所包圍，她自己笨手笨腳地做著每個(gè)動(dòng)作，后來(lái)她身周換成了普通人，他們不自覺(jué)地?fù)u擺身體，并不是想要擺酷。See what did there? The singer most likely to sell the most copies of any album this year has written herself a narrative in which she39。s still the is the butterfingers in a group of experts, the approachable one in a sea of high post, the smalltown girl learning to navigate the big ？這位有可能成為今年唱片銷量最高的歌手為自己寫下一個(gè)故事，在其中她仍然是個(gè)局外人。在一群專家中間，她是個(gè)笨拙的人，是一群高高在上的人當(dāng)中可親的一個(gè)，是學(xué)著在大城市生活的小鎮(zhèn)女孩。In that sense, the most important decision Taylor Swift made in the last couple of years had nothing to do with music: She bought a pad in New York, paying about $20 million for a TriBeCa ，泰勒斯威夫特在最近幾年間做的最重大的決定和音樂(lè)沒(méi)有關(guān)系：她在紐約的翠貝卡買了一處公寓，這個(gè)屋頂套房花了2000萬(wàn)美元。It was a molting, the culmination of several years of outgrowing Nashville bined with interest in that placed her in tabloid crosshairs just like any other global ，連續(xù)幾年，她都處在過(guò)度膨脹的納什維爾的頂點(diǎn)，再加上對(duì)她個(gè)人的興趣，這令她和所有全球明星一樣，無(wú)時(shí)無(wú)刻不處在小報(bào)的關(guān)注之下。But it also afforded her the opportunity once again to be seen as a na?Nashville, she39。d learned all the rules, all the back , with that place more or less in the rear view, she is free to make the John Hughes movie of her 39。s “1989,” which opens with “Wele to New York,” a shimmery, if slightly dim celebration of the freedom of getting lost in Gotham: “Everybody here was someone else before/And you can want who you want.”(As a gesture of tolerance, this is about 10 steps behind Kacey Musgraves39。s “Follow Your Arrow.”)但這也給了她機(jī)會(huì)，讓她可以再度被視為一個(gè)天真無(wú)邪的人。在納什維爾，她學(xué)會(huì)了所有規(guī)則，所有背后的門路?，F(xiàn)在，納什維爾已經(jīng)多少被她拋在腦后了，她可以自由自在地拍出自己想象中的約翰休斯(John Hughes)式電影。這就是《1989》，第一首歌是《紐約歡迎你》(Wele to New York)，這是一首輕快的歌，對(duì)于沉迷在哥譚市的自由表示一絲模糊的慶祝之意：“這兒的所有人以前都是別的人/你可以渴望你想要的人?！保ㄗ鳛橐环N寬容的姿態(tài)，這首歌比凱西馬斯格雷福斯[Kacey Musgraves]的《跟隨你的箭》[Follow Your Arrow]后退了大概有十步那么遠(yuǎn)）。 hasn39。t been the type to ask permission in her career, but she has long seen herself as a stranger to the grandscale fame that New York signifies.“Someday I39。ll be living in a big ol39。 city” she taunted a critic on “Mean,” from her 2010 album “Speak Now”。now here she is, making the New York spotlight her ，但她長(zhǎng)久以來(lái)始終視自己為紐約所代表的盛大名利場(chǎng)中的異類?！坝幸惶煳視?huì)住進(jìn)一座巨大的老城市，”她在《賤》(Mean)這首歌里嘲笑一個(gè)評(píng)論家，這首歌來(lái)自她2010年的專輯《現(xiàn)在就說(shuō)》(Speak Now)；現(xiàn)在她來(lái)了，紐約的聚光燈正從背后照亮她。On this new stage, is crucially, she is more or less alone, not part of any pop movement of the has set herself apart and, implicitly, ，斯威夫特充滿渴望。重要的是，她多少是孤單一人，并不依附當(dāng)今的任何流行音樂(lè)運(yùn)動(dòng)。她讓自己置身事外，而且，毫無(wú)疑問(wèn)地是置于各種運(yùn)動(dòng)之上。The era of pop she channels here was a collision of sleaze and romanticism, of the human and the there39。s barely any loucheness in 39。s take on that sound is sandpapered flat and polished to a album, named for the year she was born, is executive produced by and Max Martin, and most of the songs are written with and his fellow Swede men have helped shape the last decade of pop but what39。s notable here is their restraint.( also did almost all the vocal production on the album.)39。s old running buddy Nathan Chapman produced “This Love,” a mournful ballad that would have been at home of the “Hunger Games: Catching Fire” soundtrack, and the only song here that could be mistaken for a concession to ，是人類與數(shù)碼的融合。但斯威夫特的聲音里卻沒(méi)有一絲頹廢。她把握住這個(gè)聲音，把它打磨平滑，令它熠熠生輝。這張專輯以她出生的年份命名，由她和馬克斯馬丁(Max Martin)共同制作，大多數(shù)歌都是馬丁與合作伙伴斯維德謝爾巴克(Swede Shellback)合寫。兩人對(duì)過(guò)去十年流行音樂(lè)的面貌都有貢獻(xiàn)，但這里值得注意的是他們的克制（馬丁幾乎擔(dān)任了專輯中所有人聲部分的制作）。斯威夫特的老伙伴內(nèi)森查普曼(Nathan Chapman)制作了《這份愛(ài)》(This Love)，這是一首悲傷的歌謠，假如作為《饑餓游戲2：星火燎原》(Hunger Games: Catching Fire)也挺合適，這也是專輯中唯一一首可能會(huì)被認(rèn)為帶有鄉(xiāng)村色彩的歌曲。The best countrydefying songs on her last album, “Red” — especially “I Knew You Were Trouble,” another collaboration with and Shellback — were also a move toward forwardsounding has many charms but stylistic envelope pushing has not always been among yet those songs showed her to be more of a risk taker than she39。d ever been, and savvy enough to know her fans would 《紅》(Red)也是向流行樂(lè)前進(jìn)的一步，其中有幾首向鄉(xiāng)村樂(lè)表示挑戰(zhàn)的歌，特別是《我知道你很棘手》(I Knew You Were Trouble)，也是馬丁和謝爾巴克合作創(chuàng)作的。斯威夫特有很多種魅力，但并不總是擅長(zhǎng)打破音樂(lè)類型的界限。然而《紅》中的歌曲表明她比以往更樂(lè)于冒險(xiǎn)，也清楚地知道歌迷會(huì)跟隨她。That vanguard attitude, though, isn39。t to be found on “1989,” which is largely filled with upbeat, tense songs on wh