在许多黑人看来,音乐同样暴露了她不是一个合格的黑人。她没有展现黑人的暴怒,也很少像其教母安蒂娜?雷和堂姐狄昂那样展示福音歌的灵魂深度。
The cutting urban hip-hop of the 1980s she found ugly, like listening to her brothersboast ofthe women they d laid. 。
她觉得80年代用语尖刻的城市hip-hop粗俗难听,就像听她的兄弟在吹嘘他们睡过的姑娘那样。后来她开始尝试演唱那些愤怒的歌曲,诸如在1998年演唱的不对但是没关系
When she tried angrier songs herselfas in It s not Right But it s Okay, in 1998 they stillseemed as cool and glossy as her blue sheath dress.
这些歌曲听起来仍然像她那件蓝色女紧身连衣裙那样,冷淡而又大气。
The scratchy defiance of later albums , owedmore to the drug-ravaged thinness of her voice than the miseries of her recent life.
她后来的专辑中透出的嘶哑叛逆感,更多是因为她那被毒品摧毁而变得细弱的声音而非她近期痛苦生活的感悟。
Who she was, and what she really wanted, remained as unclear as her bathtub death in aLos Angeles hotel on the night before the Grammys,
她是怎样的人,她真正想要的是什么,正如她在洛杉矶酒店浴缸里的死那样,仍然扑朔迷离。
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