鞭尸吗

第三段：Katy Perry now finds herself in this position, and the reason istwofold. Her attention to detail pales next to that of album-minded peers likeBeyoncé, Drake, and Lorde, and her poorly chosen singles often rely oneye-rolling gimmicks, even for someone who used a large poop emoji as a liveprop. Not thoughtful enough to be album pop, not catchy enough to be singlespop: there is no real way to root for Witness—tone-deaf PR campaign included.(Seriously: I got a press release about watching Perry’s “shockingly honest”therapy session, the canned nature of which made her 2012 doc Part of Meresemble Don’t Look Back.)
阿果现在发现自己处于这种不太好的境地，原因有两方面。第一，她对细节的关注与碧昂斯(Beyonce)、德雷克(Drake)和洛德(Lorde)等有专辑思维的同龄人相比黯然失色（编辑难道不知道洛儿已经70了么？），而她那些选得不好的单曲往往依靠一些令人翻白眼的噱头，即使是那些使用大便表情符号作为现场道具的极不正经的人。第二，证人这张专辑不够体贴，导致它作为流行专辑不够流行，里面的歌不够朗朗上口，使它们无法成为大热的流行单曲，我想说:没有什么别的方法能让证人这张专辑出彩，即使是她那毫无意义的一系列公关活动。(说真的:我收到了一份新闻稿，内容是关于观看阿果“极其诚实”的治疗过程，这些电视录像让她2012年的作品（半只鸡）与Bob Dylan1965年的纪录片（DLB）相似。（DLB记录了当时傲慢机智又激情的鲍勃迪伦，现如今，老迪伦年老色衰激情不再。阿果看起来和迪伦一样，2012年半只鸡中风华正茂，激情洋溢，但是如今，她的治疗录像看起来毫无激情）)

上面这段其实已经有所表扬了，大家不要逼太紧

第五段：The bar is low when it comes to pop lyrics (Perry, specifically),but with Witness’ premise lying in “real” talk, the talking part seems prettyimportant. Instead, the album’s turns of phrase make Carly Rae Jepsen look likeYeats, with Perry and co. fumbling even the most obvious opportunities forverbal flourish. Teaming up with Nicki Minaj for a diss track aimed at mutualfoe and burgeoning pop pariah Taylor Swift, Perry had built-in narratives onher side—all she had to do was bring the barbs. Instead, she softballs, overEurodance beats that sounded fresher three years ago, “You're ’bout as cute asan old coupon expired,” like the “Drag Race” queen who talks a big game thenbombs the reading challenge. If you’re going to do something as tired asfueling this beef, at least give us the satisfaction of making it deliciouslyshady.
说到流行歌词，门槛很低(尤其是阿果的歌)，但鉴于Witness的前提是“真实的”谈话，谈话部分似乎相当重要。但事实却相反，这张专辑的措辞让卡莉·雷·杰普森(Carly Rae Jepsen)看起来像叶芝(Yeats：著名的神秘主义诗人，兼具神秘主义，象征主义，浪漫主义等。。。)，阿果和他的公司甚至在最明显的口头表达上都还处在摸索阶段。阿果和麻辣鸡合作创作了一首diss单曲，目标是共同的敌人：迅速成长的流行音乐弃儿泰勒·斯威夫特(Taylor Swift)（大家不许撕起来！！）。阿果有自己的内在叙事，她所要做的就是带着冷嘲热讽去叙事。相反，她的歌词并不尖锐，听着在三年前听起来会比较新鲜的欧洲舞曲节拍，“你就像过期的旧优惠券一样可爱”，就像“变装皇后”(Drag Race)，她大谈特谈大场景，但是却让人难以理解。如果你要做一些像煎牛排这样累人的事情，至少你应该让它变得美味，让我们满足（应该是说阿果有些歌词不好理解，吃力不讨好）。

其实第五段里编辑提到的霉霉也只是编辑自己的猜想罢了，现在果霉和好，大家也没必要再谈这件事了

吐血，我喜欢淋镜

bon appetite

第七段：Perry needs strength for what she’s trying to do, too. Her statedgoal of making woke pop is, depending on how cynical you are, either admirableor shameless (or both), but either way, it’s not terribly effective. One-thirdof the 15 tracks have vaguely empowered themes, the best of which—“Power”—approximatesfeminism by politicizing a personal struggle for control. With Witness’confounding combination of songwriting sloppiness and sleepiness, broad strokesare the really the best Perry can hope for these days. We all know it’s near-impossiblefor pop this focus-tested to drop truth bombs about America’s fractured state,but Perry’s efforts to finally transcend Top 40 confectionary with a cohesivealbum leaves her in a tough spot. She aimed for pop-game Chipotle, completewith enlightened prose on the cups. She landed at sad fast-food-chain salad.Nevertheless, she persisted: Bon appétit, baby.
佩里也需要力量来做她想做的事情。她的目标是让流行音乐崛起，而这取决于你有多愤世嫉俗，要么令人钦佩，要么无耻(或者两者都有)，但无论如何，效果都不是很好。在15首歌中，有三分之一的歌曲模糊地赋予了主题以力量，其中最好的一首——《Power》——通过将个人的控制权斗争政治化，近似于女权主义。《Witness》将歌曲创作的马虎与懈怠结合在一起，让人摸不着头脑。我们都知道，流行领域要想通过这张中心内容相对实验性的专辑揭露美国支离破碎的现状几乎是不可能的，但阿果最终凭借一张有凝聚力的专辑超越40强的努力付出也让她陷入了困境。她的目标是流行音乐领域的Chipotle（Chipotle：2010-2015年美国最著名的快餐连锁店），杯子上写着有思想的散文。但是她却给我们提供了一份糟糕的快餐连锁店沙拉。尽管如此，她还是坚持说:祝你胃口好，宝贝。

下一篇请放安胎

叉婊还是给了两首歌很好的评价，一首“more miss you”，一首“power”

总结下：歌词差；角度浅；旋律弱