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Her idols do. She named Gwen Stefani as the person she’d most like to write a song with.
她的偶像们就明白这个道理。她说格温·史蒂芬妮是她最想与之一起写歌的人。
“I’d be honored,” Stefani says.
“我很荣幸，”史蒂芬妮说。
Morissette sees a “so lidity” in her. “She has a steadfast care about self expression. She’s not precious about it, nor does she seem overwhelmed by it all.”
莫里塞特在她身上看到了一种“如此坚定”的气质。“她非常在意自我表达。对此，她毫不掩饰，也不会被其左右。”
And songwriting legend Carole King, whose music Rodrigo discovered through her mother, says she has “a gift of knowing how to tell a story in a song.”
歌曲创作传奇人物卡罗尔·金(Carole King)说她有“一种知道如何用歌曲讲故事的天赋”。罗德里戈是从她母亲那里发现了卡罗尔·金的音乐。
There’s an undeniable satisfaction in watching someone spin a heartbreak into a hit——and Rodrigo is open about how incredible that feels.
看着一个人将一段心碎的经历演绎成一首热门歌曲，这是一种不可否认的满足感——罗德里戈坦言这种感觉是多么不可思议。
At the same time, she’s aware that writing revealing lyrics also means inviting questions about the people she addresses in her songs.
与此同时，她也意识到，写出带有启发性的歌词也意味着邀请人们对她在歌曲中所提到的人物提出问题。
When I ask her what, if anything, she feels she owes those people, she laughs, her tone shifting.
当我问她，如果有的话，她觉得自己欠那些人什么，她笑了，她的语气变了。
“At the core of it, all my songs are about me and my experiences and my feelings,” she says.
她说:“从本质上讲，我所有的歌曲都是关于我自己、我的经历和我的感受。”
She understands the alchemy at work for the listener——how anyone could take her words and apply them to their own life.
人们会听进去她的话，并将其应用在实际生活中。
Naming names would only ruin the effect.
点名只会破坏效果。
“It’s an important lesson in controlling your own narrative too,” she says.
她说:“这也是控制自己叙述的重要一课。”
People write stories about her that she can’t control.
人们写她无法控制的故事。
Songwriting is a way of reclaiming her power.
写歌是她重获力量的一种方式。
And listening to Rodrigo’s music can be a way for her audience to reclaim theirs.
而聆听罗德里戈的音乐可以让她的听众重新找回他们自己的音乐。
She tilts the frame away from the people who’ve let you down and the disappointments you’ve faced and back toward the person who matters: you.
她把镜头从让你失望的人身上移开，把镜头转向你真正在乎的人:你。
Her songs offer validation——a kinship in knowing that your heartbreak, rage or self-doubt is universal.
她的歌曲提供了一种验证——一种亲近感，让你知道你的心碎、愤怒或自我怀疑是普遍存在的。
Young people feel seen, and adults get a potent reminder of how we all feel like that insecure deflated kid version of ourselves sometimes.
年轻人觉得自己被人看到了，而成年人则强烈地意识到，我们有时会觉得自己是一个缺乏安全感、泄气的孩子。
For an artist, it’s an impressive trick—time travel for the listener.
对艺术家来说，这是一个令人印象深刻的技巧；对听众来说，这是时间旅行。
In the vintage store, she moves through the decades herself, skimming confidently through things of the past.
在古董店，她自己走过几十年，自信地浏览着过去的事情。
Now there’s a pile of clothes on the counter: the spy-plane shirt and another top for me; a slip dress, feathery tank, leather skirt and graphic tee for her.
现在，柜台上有一堆衣服：我的间谍飞机衬衫和另一件上衣; 她的吊带裙、羽毛背心、皮裙和图绘T恤。
Everything in Rodrigo’s haul has Winona Ryder vibes—as a kid, she was more into the Audrey Hepburn look, but now she’s fascinated by the ’90s and Y2K.
罗德里戈的每一件衣服都有薇诺娜·赖德的气质——小时候，她更喜欢奥黛丽·赫本的造型，但现在她对90年代和千年虫很着迷。
“It was the last time people could exist without being hypersaturated on social media,” she says.
她说:“这是人们最后一次能够在社交媒体上不过度饱和地生存。”
“People seemed cooler because they weren’t sharing every aspect of their lives.”
“人们似乎更酷，因为他们没有分享生活的方方面面。”
She wraps the waist of the skirt around her neck to see if it will fit——a trick she saw on TikTok.
她把裙子的腰部绕在脖子上，看看是否合适——这是她在TikTok上看到的技巧。
She’ll give it to a friend if it doesn’t work out.
如果不合适，她就把它送给一个朋友。
As we walk to the back door, we stop to take a selfie.
当我们走到后门时，我们停下来自拍。
Rodrigo purses her lips, lifting her bag of clothes into the frame.
罗德里戈噘起嘴唇，把装着衣服的袋子放进镜头里。
At 18, she already knows: everything old becomes new again.
18岁时，她就已经知道:一切旧的东西都会变新的。
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