局长的同名专辑于2013.12.13日无预警空降，所以本可儿的第13号乐评译文现在空降B吧惹。Queen B slay！！

本来今天更新第五号译文“贾老板的丛林男人”，但是我爱以前风骚的贾老板，这张专辑里好几首歌都是贾老板参与创作的，风格是那么独特，那么吸引人，丛林男人请反省了。
掌声送给完美的Queen B！！Bow Down BI***es！！

这是一张将艺术与流行完美结合的专辑，每一首歌都很有力量，不仅仅是带来听觉上的享受，“Pretty Hurts”真的能听哭，这么完美的人唱着prettyhurts不但没有让人觉得不适，而是更有力量面对自己，追求生活。

@天神院院长🐼

全部捉进局子里，还不来顶顶

In retrospect, the adult gloss feels like an elaborate foil to the trouble she’d been cooking up in private all along. Beyoncé, her fifth solo album,repositions the singer as the Houston-bred Yoncé, a woman lustier and surlier than B, more playful than Bey, fiercer than Sasha but softer and more natural than the lot. The album is brassy but elegant, its post-coital breath smelling faintly of cheap liquor sipped from a crystal flute. It finds Beyoncé shifting gears to pull off her most explicit and sonically experimental music to date,exploring sounds and ideas at the grittier margins of popular music.
第二段：回想起来，这种成年人的光彩就像是对她一直在私下里制造的麻烦的精心衬托。碧昂斯,她的第五张个人专辑,将这位歌手重新定位为休斯顿的碧昂斯,这个女人比B更性感，更阴郁，比Bey更有趣，比Sasha更凶悍，但比其他人更温柔，更自然。这张专辑是很直接的但优雅,专辑中所描述的性事之后的气息闻起来有点像从水晶笛子里喝的廉价酒。可以发现碧昂斯转变了风格，推出了迄今为止最露骨、最具音效实验性的专辑，探索流行音乐边缘地带的声音和概念。

It’stempting to read Beyoncé’s hard edges as an attempt to ride the success of Rihanna or Miley Cyrus’ risqué agendas—but to do so would be to look past the album’s true provocations. Beyoncé pushes boundaries not because it sells sexat every turn, but because it treats a power-balanced marriage as a place where sexuality thrives. At a time when when young people are gripped by anideological fear of monogamy’s advertised doldrums, Beyoncé boldly proposes theidea that a woman’s prime—personal, professional, and especially sexual—canoccur within a stable romantic partnership. Monogamy has never sounded moreseductive or less retrograde as when dictated on Beyoncé's terms. The innuendo can be bawdy and overblown—"Can you lick my Skittles/ That's the sweetestin the middle" on "Blow"—but sincerely so. And who would allow Jay Z’s instantly infamous breasts/breakfast line anywhere near the stargazing boom of “Drunk in Love” but someone truly infatuated with him? What’s more isthat the erotic themes don’t feel out-of-step with the album’s more decorous moments, like the stadium-filling “XO” or “Blue”, its requisite treatise on motherhood. In Beyoncé’s world, there are illicit doors to be unlocked in the halls of tradition and vice versa.
第三段：人们很容易将碧昂丝爱憎分明的一方面解读为她试图借助像蕾哈娜(Rihanna)或麦莉•赛勒斯(Miley Cyrus)那样的成功来达到其放荡不羁的目的——但这样做就会忽略这张专辑真正的挑衅之处。碧昂丝打破了界限，不是因为她在每一个转折点都在推崇赤裸裸的性，而是因为她把权力平衡的婚姻视为性繁荣的地方。当年轻人对一夫一妻制所宣传的低迷状态产生意识形态上的恐惧时，碧昂丝大胆地提出了这样一个观点:一个女人的最佳状态——拥有私人的、高水平且极其重要的性——可以在稳定的恋爱关系中发生。按照碧昂斯的说法，一夫一妻制听起来从来没有像现在这样更有诱惑力，更加的纯粹。在“Blow”这首歌中，暗讽可能是下流和夸张的——“你能舔舔我的小糖果吗/那是中间最美味的东西”——但确实如此。除了碧昂斯，谁会允许Jay Z那臭名昭著的“胸——早餐”这样两点一线的趣味接近《醉在爱里》(Drunk inLove)里的充满幻想的盛大浪漫景象，而不让别人迷恋他呢?更重要的是，情色主题与专辑中更为高雅的时刻并不格格不入，比如响彻体育场的《XO》(XO)或《蓝色》(Blue)，这首歌是关于母亲的必要论述。在碧昂丝的世界里，传统的殿堂里有不合法的门可以打开，反之亦然。

The record reverberates with the energy of a conservative pop star navigating trends without grasping for them. Its crew of 44 writers, producers, and directors skews heavily toward the hip-hop realm and incorporates niche talents, something Beyoncé tried on 4 when she teamed with artists like Switch and pulled visual ideas from little-known European choreographers discovered via YouTube. It's the collective effort of an all-star team with a deep bench,with contributions from mainstays like Pharrell and The-Dream, to fresh faceslike Chairlift's Caroline Polachek, a creative director from streetwear brand Supreme, and a practically-unknown producer named Boots.
第四段：这张专辑以一种保守的流行歌手的能量引起强烈反响，引领着潮流，却没有死死限制住它们。它的44名创作人，制作人和导演严重倾向于嘻哈音乐领域，并融入了小众人才。碧昂丝在与Switch等艺术家合作时尝试了这一点，并从YouTube上发现的鲜为人知的欧洲编舞家那里汲取视觉创意。这是一张全明星天才阵容集体努力产出的专辑，有像法瑞尔(Pharrell)和梦想(The Dream)这样的中坚力量，也有像来自Chairlift乐队的卡罗琳·波拉切克(Caroline Polachek)这样的新鲜面孔，她是街头服饰品牌Supreme的创意总监，也是一位叫做Boots的不知名制作人。

Beyoncé’s best songs often reject traditional pop structures in favor of atmosphere—she may have taken some cues from her sister Solange, who now leads a particular wave of collaborative, left-field R&B. The record, her darkest and lushest yet, has a tendency to echo, stop abruptly, or place two separate songs in thespace of one. Its most bracing moments are also its toughest and weirdest, like"***Flawless", a two-part growler that makes feminist TED Talk fodder sound legitimately menacing. Timbaland and Justin Timberlake join The-Dream on"Partition" in service of the mean-mugging Yoncé, who snarls and bares her teeth as though the most revered rapper of all time is nobody but her little husband. At the center lies Beyoncé’s practically unfair abilities as a performer—you get the sense that Lady Gaga or Ciara could no sooner pull off the scale or quality of Beyoncé than you or I could pull off a suitable rendition of any of its songs in a karaoke bar.
第五段：碧昂丝最优秀的歌曲往往摒弃传统的流行结构，更倾向于营造氛围——她可能从她妹妹索朗格那里得到了一些启示，索朗格现在领导着一股特别的合作浪潮，即左派R&B。这张专辑是她迄今为止最黑暗、最富有活力的专辑，它有一种倾向，要么是重复、突然停止，要么是将两首不同的歌曲放在同一首歌中。最令人振奋的时刻，也是最艰难、最怪异的时刻，比如《完美无瑕》(***Flawless)，这是一首由两部分组成的咆哮歌曲，它让女权主义的TED演讲素材听起来颇具威胁性。Timbaland和Justin Timberlake这个梦之队参与创作了“Partition”，为刻薄的碧昂斯服务，碧昂斯咆哮着露出牙齿，好像有史以来最受尊敬的说唱歌手不是别人，而是她的小丈夫。核心在于碧昂丝作为表演者的能力实际上是天生不可企及的——你会有这样一种感觉，即Lady Gaga或Ciara不可能达到碧昂丝的规模或质量，就像你或我不可能在卡拉ok酒吧里演唱出碧昂丝的任何一首歌曲一样。