Re: [Gaga] 告示牌雜誌 : 第一千首冠軍單曲誕生

看板LadyGaga作者nancyli (Nancy)時間14年前 (2011/02/23 19:02)推噓7(7推 0噓 2→)

留言9則, 8人參與討論串4/6 (看更多)

全文真的太長了，現在沒足夠的時間可以翻完全部，所以先翻了一下引言和一部份訪問如果有翻錯的地方還請各位小怪獸指正！謝謝^^ ※ 引述《stu91309 ()》之銘言：引言: Lady Gaga wasn't quite born when the Grammy Awards began on Sunday, Feb. 13--she was still in her egg while she "walked" the red carpet. Later that evening, Gaga was birthed, or perhaps more accurately, rebirthed as, well, Lady Gaga. 在2月13號星期日葛萊美獎頒獎典禮開始時，Lady Gaga並沒有真的「出生」，當她「走」紅毯時她還在她的那顆蛋裡。在當晚稍晚時，Gaga「出生」了，或是更精確的說，Lady Gaga「重生」了。 She emerged from a now-larger egg onstage, and you could see this wasn't the same Gaga. In case you didn't catch the subtle (not a word often used to describe any part of Gaga onstage) touches: Her hair was off-pink with amniotic remnants. Her bones had structurally changed. Her shoulders now had positively Vulcan protrusions. 她從舞台上一個現在看來較大的蛋中出現，你可以看到，這是不同的Gaga。倘若你沒察覺到這些不易察覺的特點：（「不易察覺的」←這並不是描述Gaga舞台上任何部份所常用的詞）她的頭髮上沾著殘餘的羊膜，所以帶了點粉紅色。她的骨骼有了結構上的轉變。而她的肩上有很明顯的火神般的突起物。 "My bones have changed in my face and shoulders," she says. "I am now able to reveal to the universe that when I was wearing jackets that looked like I was wearing shoulder pads, it was really just my bones underneath." 「我的骨骼在臉上和肩膀上都有了改變，」她說。「我現在能透露給世人知道一件事，哪就是我穿夾克的時候看起來像是穿了墊肩，那真的只是我藏在下面的骨頭。」 If you're looking for a self-conscious wink in any of this, you'll probably be waiting for at least a few more Gaga life spans. There's no line between Stefani Germanotta, Gaga's birth name, and Lady Gaga. There's no onstage and offstage. There's only Gaga. 如果你正在這份專訪的任何一個部份，去尋找帶有自我意識的眼神，你大概渴求至少一丁點關於Gaga的人生故事。在Stefani Germanotta（Gaga的本名）和Lady Gaga兩個名字之間是沒有區別的；舞台前和舞台後也沒有區別；只有Gaga。 Gaga seemed in good spirits as we chatted, speaking in impassioned tones about her vision for the upcoming album, and just about anything else we asked. She even spoke for the first time about her new retail relationship with Target. 當我們進行訪談時，Gaga似乎心情不錯，激昂的說著她對於即將發行的專輯的願景，以及我們所詢問的其他任何問題。她甚至談到了她第一次與Target的零售合作關係。 [[譯者按：http://www.target.com/ 上頭有販售Gaga官方授權的BTW商品]] Very few artists decide to build an entire aesthetic and musical campaign around the notion of evolution, and fewer have the courage and conviction to live with their vision offstage--to, in fact, make everywhere they go a stage to share that vision. Dennis DeYoung didn't walk the streets of 1983 as Mister Roboto, you know. But: That was then, and this is now. 很少歌手會決定圍繞著這樣演變的概念，建立一套完整的美學以及音樂活動，更少人有勇氣和信念來與他們舞台以外的願景共處 -事實上，就是使他們造訪的每一個地方都共享這樣的願景如你所知，Dennis DeYoung並沒有走在1983年的大街上，就像Mister Roboto一樣。 [[譯者按：這個典故我不清楚是怎麼來的，歡迎知道的板友補充！感恩！]] 但，那是當時，而這是現在。訪問: Congratulations. "Born This Way" is the 1,000th No. 1 on the Billboard Hot 100. 恭喜。"Born This Way"是告示牌前熱門100支單曲第1000支冠軍單曲。 I can't believe it. I'm humbled, honored and overwhelmed at the reception to "Born This Way." This has been so life-changing for me. Between Billboard and the international No. 1s, and the radio numbers... I couldn't be more blessed to have the fans I have. I knew when I wrote the song it was special, but I also knew that perhaps my fans or my label were hoping for me to deliver "Bad Romance the Third" or "Poker Face the Third." I wanted to do exactly the opposite. 我不敢相信。我覺得自己很眇小而榮幸，且大家對於"Born This Way"的支持讓我應接不暇。對我而言這真的是一個人生轉捩點。在告示牌以及國際的冠軍單曲還有電台點播的數字... 我感到無比幸運，自己能有這些歌迷。在我寫這首歌的時候我就知道它很特別，但我也知道也許我的歌迷或是唱片公司希望我發表像是「Bad Romance第三」或是「Poker Face第三」這樣類型的歌曲。我想做完全相反的事情。 That's not to say that on the album there's not an incredible amount of breadth and eccentricity. It's quite eclectic. It ranges from "Born This Way" being very light to the rest of the album becoming quite darker. I in jest say that "Born This Way" is the marijuana to the heroins of the album, the ultimate intense intoxication of the record. It's an analogy. 這並不是說，這張專輯不會有令人難以置信的廣大接受度和古怪的作風。這是張相當折衷的專輯。從陽光的"Born This Way"漸變到專輯其他非常黑暗的部份。我說，如果整張專輯是海洛因，"Born This Way"就是大麻，是專輯當中，最終最嚴重的中毒狀況。這是一個比喻。 No need to start more rumors, right? 不用在製造更多謠言了，對吧？ No, please. I don't like rumors, especially not drug rumors. But the song, it's very literal and.. I said, "I want to write my freedom record. I want to write my this-is-who-the-****-I-am anthem," but I don't want it to be hidden in poetic wizardry and metaphors. I want it to be an attack, an assault on the issue because I think, especially in today's music, everything gets kind of washy sometimes and the message gets hidden in the lyrical play. 拜託，不用了。我不喜歡謠言，特別是關於吸毒的謠言。但是這首歌，蘊涵意義非常的表淺，就是字面上的意義，而且...我說過，「我想寫我自由的專輯。我想寫我的『這就是我這個****』的讚美詩」， [[譯者按：****我猜是bitch...XD]] 但我不想把這些想法，隱藏在充滿詩意的魔法和譬喻底下。我希望它像一個猛烈的攻擊一般，像是對於這個議題的突襲，因為我認為，尤其是在今日的音樂當中，所有的事物有時變得有些淡而無味，而寫詞的人真正想表達的信息，都被隱藏在抒情戲劇般的歌詞裡。 Harkening back to the early '90s, when Madonna, En Vogue, Whitney Houston and TLC were making very empowering music for women and the gay community and all kind of disenfranchised communities, the lyrics and the melodies were very poignant and very gospel and very spiritual and I said, "That's the kind of record I need to make." That's the record that's going to shake up the industry. It's not about the track. It's not about the production. It's about the song [written by Stefani Germanotta and Jeppe Laursen; produced by Lady Gaga, Jeppe Laursen, Fernando Garibay and Paul "DJ White Shadow" Blair]. Anyone could sing "Born This Way." It could've been anyone. 聽聽過去90年代早期的音樂，當Madonna、En Vogue、Whitney Houston還有TLC正在為了女性、同志族群以及其他各種權利被剝奪的族群，做音樂以高呼他們應有的權利時，那些歌曲的歌詞和旋律是非常尖銳刺耳的福音，是非常崇高的，而且我就說，「那就是我需要做的音樂」。那是種會撼動唱片工業的音樂。這與歌曲無關；這與唱片的製作無關；這是關於音樂 [Stefani Germanotta(Gaga本名)及Jeppe Laursen作曲；Lady Gaga、Jeppe Laursen、 Fernando Garibay及Paul "DJ White Shadow" Blair製作]。任何一個人都可以唱"Born This Way"。這可以是任何人的心聲。 I think this is the first No. 1 song that uses the word "transgendered." This is the first No. 1 song--and we're doing more research on this--out of these 1,000 that far and away is the most pro-LGBT kind of track. That's pretty remarkable. A bit of a landmark. 我想這是第一支使用「跨性別的」這個辭彙的冠軍單曲。這是在這1000支單曲中，第一支最為接近LGBT意識的冠軍單曲(我們會做更多的研究確認) [[譯者按：LGBT為四個辭彙的縮寫。 LGBT=Lesbians(女同志)+Gays(男同志)+Bisexuals(雙性戀者)+Transgender(跨性別者)]] 這是相當引人注目的。可以算是一個里程碑。 I wanted to put my money exactly where my mouth is. The Little Monsters all over the world as well as the gay community have been tremendously supportive over the years and I have in turn been supportive. Let's call a spade a spade. It's not like "The Fame" and "The Fame Monster" address those communities--not directly. This is my chance to create something that is not only supportive of my political and social beliefs--not just for the gay community, but for everyone... This is also my chance to artistically say, "I'm not being safe with this record." I'm not trying to gain new fans. I love the fans I already have, and this is for them. 我想要當個說到做到的人，為自己所說過的話負責。全世界的小怪獸們以及同志族群這幾年來都給我很大的支持，反之，我也支持大家。讓我們直言不諱吧。這不像是"The Fame"和"The Fame Monster"用不直接的方式稱呼這些族群。這是我的機會，可以去創造一些事物，不只支持我自己的政治及社交的信念，不只是為了同志族群，也為了每一個人... 而就藝術而言，這也是我的機會可以和大家說，「這張專輯對我而言並不保險。」我並不是試著得到更多新的歌迷。我愛我現有的歌迷，而這張專輯就是獻給他們的。 If "The Fame" was about the draw of fame, success and money and "The Fame Monster" was an answer to what the fame can bring you--which wasn't terribly good news--what is "Born This Way"? You said it gets a little bit dark--do you write all of the songs or co-write them? I write all the lyrics and the melodies to my songs, and I co-produce every single track on the album. You create a vision and you deliver. Artists who write their own albums, each one becomes a bit of a chapter. This album exists in two different hemispheres working together at the same time. On one end, the album is this world and each song represents these subworlds within the album but thematically range from identity to choice, life choice, to understanding who you are, but ultimately on the other side of the hemisphere, the nexus of "Born This Way" and the soul of the record reside in this idea that you were not necessarily born in one moment. You have your entire life to birth yourself into becoming the ultimate potential vision that you see for you. Who you are when you come out of your mother's womb is not necessarily who you will become. "Born This Way" says your birth is not finite, your birth is infinite. As a performer, does it help you to get into costume? Well, it's part of who I am. My creativity is in my blood and in my bones as I said, and it takes time to become myself every morning. Do you feel pressure about that? Like, you can't just be Stefani Germanotta any more? You have to be, any time you're out anywhere, Lady Gaga? I don't agree with that statement. Because you are Lady Gaga. Gaga is Stefani Germanotta. I don't create any separation between my birth name and my subsequent birth name--Lady Gaga. That's the point of what I'm trying to say. Gaga is not manufactured . . . it is not artificial. I wish I could give that gift to everyone on the planet--the ability for you to create an idea and perceive of something, whether it be a name or a vision for yourself, and just choose to become it. The world, and I base this on the music industry, is obsessed with artists and glamour and creativity and fashion. And artistry has become something that people believe is artificial. For myself, it is my reality. I exist at all times halfway between reality and fantasy. That's the way I was born. I just meant, on a very human level, we all have days where what we'd like to do is throw on a pair of sweats, go to the deli and get a cup of coffee. I do things like that, although it may not be in sweat pants. When I do those things, my fans or Little Monsters, they don't see that as any different. It's all one whole. People try to view artists in these relative compartmentalizations of their life, like, "Oh, this is her at the grocery store, this is her onstage, this is her on the red carpet," and I guess what I was trying to say on the red carpet is that I'm always onstage. The idea for the egg on the red carpet--where did that come from? I was in Amsterdam on my tour bus. I was thinking about birth--about embryos. Even my hair color was a washed-out rose color . . . It was meant to be a hair expression, an afterbirth. A little amniotic touch. Very nice. Yes, and I thought to myself, "Gosh, the thing I hate most about doing award shows is, it can be distracting"... I want to exist only for my fans and for the stage. I don't want to exist in this machine or this circus that is the industry. I wish I could be encapsulated for three days and just think only about my performance, think only about the album, think only about the future of my fans. So that's what I did. I don't know if you went to the Interscope party that Interscope Geffen A&M chairman Jimmy Iovine threw after the Grammys. I only went for a moment. I'll do anything for Jimmy because I love and adore Jimmy. He's so supportive. Jimmy and [manager] Troy Carter and [executive producer] Vincent Herbert and [Universal Music Group chairman] Doug Morris and CEO Lucian Grainge. I couldn't have a more rock solid battleship of a team. About the new album, what can you tell me? The breadth of the album is enormous. My fans are going to enjoy the journey. One of my favorite songs on the album is the last song. It was originally going to be the first single. It's called "Marry the Night." It was produced by myself and Fernando Garibay. When Fernando and I did it, it was actually after I had written 'Born This Way,' but hadn't yet produced it. It was like this sonic light bulb went off and we were like, "That's the sound! That's the future." The lyrics are "I'm gonna marry the night, I won't give up on my life. I'm a warrior queen... I'm gonna make love to the stars... I'm a soldier to my own emptiness. I'm a winner." The record is just this massive, gas-station, disco record, music--that every single one of these songs could have been a hit record. Do you care how many copies of this album sell, or sell in the first week? It's not about the numbers. But I won't say that I'm not honored to be No. 1 on Billboard. Because it is a tremendous honor. And to be the 1,000th No. 1 on Billboard... I would be silly not to say this is the greatest honor of my career... To have sold so many singles so quickly and to be a message--not a song about a nightclub, not a song about sex--a message about love and positivity? The hubbub about Madonna--do you have a point of view on that? Everyone knows how much I love and adore Madonna. What a huge fan I am. I don't think there is a female on the planet that is not inspired by Madonna... on so many levels. I was honored to hear from her--I've met her in the past and worked with her and... she was so supportive and loving and... I think what people are hearing, to be precise, is the spirit of the early '90s. It's not just Madonna, it's Whitney Houston, it's En Vogue, it's TLC. It was a '90s-dance-early-gospel-fusion-with-pop-music, and that's precisely what I intended for it to sound like. The video for "Born This Way," it's coming shortly. Yes. I saw the edit of it today and it's amazing. I did it with Nick Knight, co-directed it with him and Laurieann Gibson and the Haus--so it's really a Haus of Gaga directorial debut with Nick Knight. It . . . looks completely different than everything I've ever done. Can you give a teaser, a sense of what fans can expect? Um, it is the birth of the new race. Really deep stuff. How did you decide what producers to work with for "Born This Way"? Do you ever consider working with, or does Interscope ever suggest you work with a mainstream hitmaker? Interscope--I say this with love--they don't have anything to do with my creative process. So how do you decide who to work with? I wanted to work with RedOne again because we have this incredible magic together. We did a song called "Judas," a song called "Hair"... What is that magic that he brings? He has no ego. "No ego." How does that translate in the studio? Being open to ideas? It translates as musical hippies... [The producers I work with] are unbelievably talented, open-minded and in touch with the underground dance community as well as orchestral movie soundtrack music as well as rock music, metal music. I think in the music industry, something has happened where the producers have begun to think or believe--or the industry has begun to think or believe--that the producer makes the hits. This is the most dangerous thing that has happened to this business. Because it takes the credibility away from the singer and from the artist. It's unfair to the artist. What I've experienced working with these producers... We work as a unit.. If I want to lay down a synth line, they're like, "Let's do it." If I change that beat... It's a process.. We sit around on laptops, we'll work on our different computers, different programs, and then we pass everything around on USB sticks and then we convert it to the proper file format to put it into one computer.And actually, Fernando Garibay was the musical director of the whole album. That's the key to the success of the music industry--allowing the artist to creatively run the ship. There are certain artists who aren't able to run the ship. Or maybe they are, but producers are getting in their way. I'll probably get in trouble for saying that, but I don't care, because I'm looking out for the future of this industry. And I believe so much that this industry is being revitalized every day in more and more areas... we can sell millions and millions of records in the first week, like we used to. But we have to remember that music began with the artist... I cannot thank Troy Carter and Vincent enough for how they have supported me over the years. They believe in me so much. I will never leave Troy. I will never leave Vincent. Until my artistic death, I will be loyal to them because they are the truth of this industry. Can you explain their respective roles? Troy is my manager, and Vincent is my A&R, but with the new structure, the 360 deals with the music business, Vincent is essentially my partner. We work on everything together. They let the Haus of Gaga creatively run everything that I do and everything that we do. Troy is tremendously talented. Vincent is tremendously talented. They've never tried to re-create me, because it can't be done. -- ※ 發信站: 批踢踢實業坊(ptt.cc) ◆ From: 114.25.9.162