全文真的太长了，现在没足够的时间可以翻完全部，所以先翻了一下引言和一部份访问 如果有翻错的地方还请各位小怪兽指正！谢谢^^ ※ 引述《stu91309 ()》之铭言： 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号星期日葛莱美奖颁奖典礼开始时，Lady Gaga并没有真的「出生」， 当她「走」红毯时她还在她的那颗蛋里。 在当晚稍晚时，Gaga「出生」了，或是更精确的说，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. 她从舞台上一个现在看来较大的蛋中出现，你可以看到，这是不同的Gaga。 倘若你没察觉到这些不易察觉的特点： （「不易察觉的」←这并不是描述Gaga舞台上任何部份所常用的词） 她的头发上沾着残余的羊膜，所以带了点粉红色。她的骨骼有了结构上的转变。 而她的肩上有很明显的火神般的突起物。 "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." 「我的骨骼在脸上和肩膀上都有了改变，」她说。「我现在能透露给世人知道一件事， 哪就是我穿夹克的时候看起来像是穿了垫肩，那真的只是我藏在下面的骨头。」 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. 如果你正在这份专访的任何一个部份，去寻找带有自我意识的眼神， 你大概渴求至少一丁点关於Gaga的人生故事。 在Stefani Germanotta（Gaga的本名）和Lady Gaga两个名字之间是没有区别的； 舞台前和舞台後也没有区别； 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. 当我们进行访谈时，Gaga似乎心情不错，激昂的说着她对於即将发行的专辑的愿景， 以及我们所询问的其他任何问题。 她甚至谈到了她第一次与Target的零售合作关系。 [[译者按：http://www.target.com/ 上头有贩售Gaga官方授权的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. 很少歌手会决定围绕着这样演变的概念，建立一套完整的美学以及音乐活动， 更少人有勇气和信念来与他们舞台以外的愿景共处 -事实上，就是使他们造访的每一个地方都共享这样的愿景 如你所知，Dennis DeYoung并没有走在1983年的大街上，就像Mister Roboto一样。 [[译者按：这个典故我不清楚是怎麽来的，欢迎知道的板友补充！感恩！]] 但，那是当时，而这是现在。 访问: Congratulations. "Born This Way" is the 1,000th No. 1 on the Billboard Hot 100. 恭喜。"Born This Way"是告示牌前热门100支单曲第1000支冠军单曲。 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。我觉得自己很眇小而荣幸， 且大家对於"Born This Way"的支持让我应接不暇。对我而言这真的是一个人生转捩点。 在告示牌以及国际的冠军单曲还有电台点播的数字... 我感到无比幸运，自己能有这些歌迷。 在我写这首歌的时候我就知道它很特别， 但我也知道也许我的歌迷或是唱片公司希望我发表像是 「Bad Romance第三」或是「Poker Face第三」这样类型的歌曲。 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. 这并不是说，这张专辑不会有令人难以置信的广大接受度和古怪的作风。 这是张相当折衷的专辑。 从阳光的"Born This Way"渐变到专辑其他非常黑暗的部份。 我说，如果整张专辑是海洛因，"Born This Way"就是大麻， 是专辑当中，最终最严重的中毒状况。这是一个比喻。 No need to start more rumors, right? 不用在制造更多谣言了，对吧？ 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. 拜托，不用了。我不喜欢谣言，特别是关於吸毒的谣言。 但是这首歌，蕴涵意义非常的表浅，就是字面上的意义，而且...我说过， 「我想写我自由的专辑。我想写我的『这就是我这个****』的赞美诗」， [[译者按：****我猜是bitch...XD]] 但我不想把这些想法，隐藏在充满诗意的魔法和譬喻底下。 我希望它像一个猛烈的攻击一般，像是对於这个议题的突袭，因为我认为， 尤其是在今日的音乐当中，所有的事物有时变得有些淡而无味， 而写词的人真正想表达的信息，都被隐藏在抒情戏剧般的歌词里。 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. 听听过去90年代早期的音乐，当Madonna、En Vogue、Whitney Houston还有TLC正在 为了女性、同志族群以及其他各种权利被剥夺的族群，做音乐以高呼他们应有的权利时， 那些歌曲的歌词和旋律是非常尖锐刺耳的福音，是非常崇高的， 而且我就说，「那就是我需要做的音乐」。 那是种会撼动唱片工业的音乐。 这与歌曲无关；这与唱片的制作无关；这是关於音乐 [Stefani Germanotta(Gaga本名)及Jeppe Laursen作曲；Lady Gaga、Jeppe Laursen、 Fernando Garibay及Paul "DJ White Shadow" Blair制作]。 任何一个人都可以唱"Born This Way"。这可以是任何人的心声。 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. 我想这是第一支使用「跨性别的」这个辞汇的冠军单曲。 这是在这1000支单曲中，第一支最为接近LGBT意识的冠军单曲(我们会做更多的研究确认) [[译者按：LGBT为四个辞汇的缩写。 LGBT=Lesbians(女同志)+Gays(男同志)+Bisexuals(双性恋者)+Transgender(跨性别者)]] 这是相当引人注目的。可以算是一个里程碑。 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. 我想要当个说到做到的人，为自己所说过的话负责。 全世界的小怪兽们以及同志族群这几年来都给我很大的支持，反之，我也支持大家。 让我们直言不讳吧。 这不像是"The Fame"和"The Fame Monster"用不直接的方式称呼这些族群。 这是我的机会，可以去创造一些事物，不只支持我自己的政治及社交的信念， 不只是为了同志族群，也为了每一个人... 而就艺术而言，这也是我的机会可以和大家说， 「这张专辑对我而言并不保险。」 我并不是试着得到更多新的歌迷。我爱我现有的歌迷，而这张专辑就是献给他们的。 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. --

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※ 发信站: 批踢踢实业坊(ptt.cc) ◆ From: 118.165.227.80 ※ 编辑: nancyli 来自: 118.165.227.80 (02/23 19:04)