At somepoint in the endless world tour supporting his 2015 albumPurpose,JustinBieberstared into a sea of fans and pleaded with them to quiet down. “When youguys are screaming... it’s hard for me,” he muttered, pacing in front of hisown JumboTron double in the opening montage of his new promotionaldocumentarySeasons. In 2017, he canceled the remaining 14 dates of his tour.His team cited “unforeseen circumstances,” and for a while, the Bieber machinefell eerily silent.
在贾斯汀·比伯的新宣传纪录片《四季》(seasons)片头，比伯正为了宣传自己的2015年新专辑《purpose》，开始一轮永无止境的世界巡演。在演唱会的中途，他凝视着歌迷的海洋，恳求他们安静下来，然后在巨大投屏前缓缓踱步，喃喃自语道“你们尖叫的时候……这太不容易了”。而在2017年，他突然取消了剩下的14天巡演。他的团队发言称遇到了“意料之外的情况”，一时间，“机器比伯”诡异地停工了。

Now, as itfires back up again, his management is busily filling in the blanks. In oneepisode of the docuseries, Bieber discusses the severity of his former druguse; he smoked weed for the first time at age 13, he tells us, and by the timehe entered his 20s, he had progressed to pills and lean: “My security... werecoming into the room at night to check my pulse,” he admits. He also discusseshis struggles with anxiety and his diagnosis of chronic Lyme disease. “No one’sever grown up in the history of humanity like Justin Bieber,” his managerScooter Braun adds.
现在，这台机器又重新启动了，他的团队也开始忙活起来了。在最新推出的纪录片中的一集里，比伯首谈了他之前吸毒的严重程度;他告诉大家，他在13岁的时候第一次吸食大麻，到他20多岁的时候，他开始了吸毒，身体日益消瘦；他还承认道:“我的保镖……会在晚上到房间里来检查我的脉搏”。另外，他还讨论了他与焦虑的斗争和他的慢性莱姆病的确诊。他的经纪人杨天真又补充道:“在人类历史上，没有人比贾斯汀·比伯成熟得更多。”

At thecenter of this whirlwind lies Changes, his first album in four years. On it,Bieber returns to us a wiser man—the emphasis, here, strenuously, on “man.” Asof 2018, he is happily married to Hailey Bieber, née Baldwin, model anddaughter of Stephen. Bieber is newly sober, newly wed. Now is the time forstubbly beards stroked fondly, for wry smiles at the memories of youthfulfolly, for a sharp decline in public-urination incidents. But above all, now istime for sex. More precisely, for love-making, of the most grown-up andresponsible variety—no giggling, constant eye contact. His fifth studio albumis pitched as an invitation to bask in Bieber’s newfound domestic bliss, butwhile his contentment might be heaven for him and his managers, the resultingalbum has all the glow and eroticism of an airport terminal.
在这场造势旋风的中心是他四年来的第一张专辑《Changes》。通过它，比伯以一个更加成熟明智的男人形象回到了我们的视线之中，——这里，强调，极力强调“男人”。2018年，他和模特海莉之比伯之妮之鲍德温之史蒂芬的女儿幸福地结婚了。比伯又是戒毒，又是结婚，又是留胡子，然而真正的任务是做艾。更准确地说，做艾是他理解的最成熟、最负责任的一种方式——再也不是咯咯直笑与眉来眼去。他的第五张录音室专辑宣传时定位为邀请大家参观比伯新发现的家庭幸福，但尽管他的满足可能是他和他的经纪人的天堂，最终的专辑却充满了机场候机厅的色情。

Bieber recorded Changes mostly with hismain writing collaborator Poo Bear and Josh Gudwin, his trusted producer andengineer. Without the animating presence of someone like Skrillex (who helmedsix songs on 2015’s Purpose), Changes settles into a middle-distance,stream-friendly murmur that is more sleepy than salacious. Its 16 songs (plus aremix) are all cold angles and frictionless surfaces, devoid of intimacy andheat. Married-sex songs can be some of the most provocative: see “Rocket” or“Partition” from Beyoncé’s self-titled album for a few minutes’ evidence. Butthe language here is off-putting and sanitized, and the music has none of thebright syncopation or rhythmic surprise of the Purpose singles.
比伯录制这张专辑的主要合作伙伴是他信任的制作人和录音师Poo Bear和Josh Gudwin。然而没有Skrillex(他在2015年的《Purpose》中操刀了六首歌)这样画龙点睛的人的存在，《Changes》变成了一种不上不下、流媒友好的持续呢喃，比起让人迅速伯起，它更适合让人迅速入眠。原因是它的16首歌(加上混音版)都是冰冷的角度和光滑的表面，缺乏亲密感和火热度。婚姻性艾歌曲是可以非常刺激的:看看碧昂斯同名专辑里的《Rocket》或《Partition》吧。但《Changes》里语言上相关描述的歌词是让人迅速萎掉的，音乐上像《purpose》中精彩的间奏和惊人的节奏也是完全没有的。

Nearly every song onChangesresembles everyother in tempo, arrangement, and often in lyrics, which seem to be sourced fromthe same 10 or 15 pastel candy hearts. Some lines would be fascinating in theirdistance from human communication (“Let’s get it in expeditiously,” he proposeson “Come Around Me”) if they weren’t so dull (“Shout-out to your mom and dadfor makin’ you/Standin’ ovation, they did a great job raisin’ you,” he bleatson “Intentions”).
在《Changes》中，几乎每首歌的节奏、编排和歌词都像是采样了这张专辑的其他歌曲，尤其是歌词，看上去都像是用同样的十几根彩色蜡笔写的。一些与日常沟通方式相距甚远的歌词其实是迷人的(比如“Let’s get it in expeditiously,”他在Come around me中唱到)，只要这些歌词不那么蠢的话(“想因为你的爸妈生了你而为他们欢呼起立喝彩,他们做得好”他在Intentions中欢呼道)。

As that last line hints, there is a creepypatriarchal blankness to the devotion displayed here. In Seasons, Hailey isalmost exclusively discussed in terms of what she provides for Justin: “Sheloves her man.... She’s so caring, so giving, so loyal,” says Braun. “If Icould handpick a girl from the stars, it would be Hailey,” his manager AllisonKaye insists. That kind of anti-erotic ownership language permeates Changes andis never quite as pointedly apparent as when Bieber sings “Heart full ofequity, you’re an asset” right after an ill-advised reference to “the kitchen”on “Intentions.”
正如最后一句歌词映射到的，这张专辑里所展示的奉献精神中有一种令人毛骨悚然的父权制的单调苍白。在纪录片Seasons中，海莉被提到时几乎总是她为贾斯汀贡献了什么:“她爱她的男人……她是那么的关心，那么的付出，那么的忠诚，”杨天真说。“如果我能从明星中挑选一个女孩（当比伯的妻子），那一定是海莉，”他的经纪人艾莉森·凯坚持说。这种扫兴的所有权语言渗透于《Changes》中，而且从未像比伯在Intentions中关于女性与厨房的刻板印象描述之后又唱到“充满价值的心，你是一项资产”那样明显。

Now, Hailey and Justin have entered intomarital communion—and they’d like you to know that they enter into it eagerly,and often. If Bieber whispering “You got that yummy yum” doesn’t make you wantto dart away like a cat up a tree, maybe his ecstasy over “the way you motion,motion in my lap” will do it. Changes is a baby-making album if you find LilDicky ogling underage girls on Instagram and rapping, “I’ll kiss your breastsall tenderly, what’s up,” stimulating. It is a celebration of marriage if youconsider “Do you wanna look at me forever?” an acceptable proposal. On“Habitual,” Bieber sings, “Flowers open when they feel the sunlight,” asentiment which is really only a few degrees removed from The Handmaid’s Tale’sdystopian catchphrase, “Blessed be the fruit/May the Lord open.”
如今，海莉和比伯已经进入“夫妇交流“阶段了，他们想让你知道，他们饥渴的，经常进入它。如果比伯低声说“你尝起来美味美味”还不能会你像猫爬上树一样飞奔而逃，也许他对“你动着在我的腿上动着”的狂喜一定会。如果你觉得Lil Dicky在Instagram上色迷迷地盯着未成年女孩，还饶舌地说着“我要温柔地亲吻你的乳房，怎么了”很刺激的话，那么对你来说《Changes》就是一张做艾专辑。如果你觉得“你想永远注视着我吗?”是一个可以接受的求婚，那么对你来说《Changes》就是一张婚姻专辑。这一切让在Habitual中，比伯唱的“Flowers open when they feel the sunlight”与《使女的故事》中反乌托邦式的警句“祈神保佑生养blessed be the fruit.愿主开恩赐予 May the Lord open.”都只有几度之遥了。

In fairness, some of this language mightresult from the whittled-down phrasing, which seeks to emulate currentpop/R&B trends. This truncated, staccato delivery generally suits outsizedperformers, who can fill a vacuum left by song structures with theirpersonality, with their quirks, with their wit. Putting it mildly: personality,quirks, and wit are not Bieber’s strengths. He is a traditional entertainer, apeople-pleaser who works best as the wholesome center of a wilder party.“Sorry,” his biggest-ever hit, placed a rowdy dancehall beat behindold-fashioned eight-bar melodies; the top line was as bright as it was sophisticated,and Bieber sounded at home. Lost in the midtempo grayscale of Changes, hesuffers from a terminal wholesomeness that loops back around to unsettling.
平心而论，这种苍白的语言的出现可能来自于制作过程中的精简措辞即兴唱段，它试图模仿当前的流行/R&B趋势。这种截断的、断断续续的表达方式通常适合极强大的歌曲表演者，他们可以用自己的个性、怪癖和智慧来填补歌曲结构留下的空白。说得婉转点:个性、怪癖和机智都不是比伯的强项。他是一个传统的娱乐者，一个取悦他人的人，他更适合于在热闹的派对歌曲中表现。Sorry是他有史以来最大的hit，在老式的八小节旋律之后是喧闹的dancehall节奏;听起来既欢快又复杂，比伯驾驭这首歌手到擒来。而迷失在Changes的中拍暗调后，他只能不断忍受着这种愉悦感到消极感不断循回的怪圈里。

Scattered bright spots come from guests—on“Forever,” Post Malone injects his destabilizing energy, singing with theurgency of someone in dire need of a bathroom. Kehlani’s appearance on “Get Me”enlivens the muted, Noah “40” Shebib-type beat. Otherwise, the only appealingmoments appear in the last third, when Bieber sings over minimal accompaniment.“That’s What Love Is” features nothing but an acoustic guitar, capo’d high andtwinkling like a music box. The words redefine “sweet nothings” (“Don’t nobodyelse deserve my eyes,” he avows) but they dissolve in the sunlight of Bieber’sfalsetto. The way he capers between chest and head voice is effortless anddazzling, like watching a figure skater land triple lutzes, one after theother. For exactly two minutes and forty-five seconds, the joy he takes in histalent is palpable.
零星的亮点来自于客串——在Forever中，Post Malone注入了他不稳定的能量，而和他一起唱的人活像是忍不住要去上厕所了。Kehlani在Get Me中的出现让Noah 40 Shebib风格的温吞节拍有了亮点。除此之外，唯一有吸引力的部分出现在最后三分之一——比伯伴着最小限度的器乐演唱。That's What love is除了一把原声吉他什么都没有，它像一个音乐盒一样高高闪烁。里面一句歌词重新定义了“甜言蜜语”(“没有其他人配得上我的眼睛，”他发誓)，但它们在比伯假音的光芒下消失了。他在胸声和头声之间跳跃的方式是轻松和令人眼花缭乱的，就像看一个花样滑冰运动员做了三个后外钩点冰一周跳，一个接一个。在整整2分45秒的时间里，他对自己天赋的欣喜是显而易见的。

感觉这篇写得还可以。尤其是对歌词解读的那部分，真的很难想象2020年的欧美男歌手还会写厨房里的妻子，甚至把妻子比作asset。

eroticism of an airport terminal这个形容无论是英文还是中文我都无法理解

写得妙啊 可以说很准确了但是下手还是太仁慈了 4.5太高了