美国最著名的乡村音乐女歌星洛蕾塔·林恩 | 经济学人讣告

2022-11-05 00:11

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Obituary | From coal to gold

讣告|“山鸡”变凤凰

英文部分选自经济学人20221015期讣告

Obituary | From coal to gold

讣告|“山鸡”变凤凰

Loretta Lynn gave all struggling women a voice

洛蕾塔·林恩给所有困境中的女性创造了发声的机会

America's biggest female country-music star died on October 4th, aged 90

美国最著名的乡村音乐女歌星于10月4日去世，享年90岁

Lordy, that little girl could sing. When she sat on the porch swing of that cabin in Butcher Holler (“Hollow” on the map, if there was a map), and rocked her baby brothers and sisters asleep, she’d sing loud enough to bust their eardrums. But it was such a clear, bright sound that the man who ran the still on the opposite slope would come out to sit and listen while the moonshine was running off. He once asked her to sing a bit louder, just for him.

天哪，那个小女孩歌唱得真好！当她坐在布彻霍勒(地图上写的是“霍罗”，如果地图上有的话)那间小木屋的门廊秋千上，一边唱歌一边摇着年幼的弟弟妹妹们入睡时，她的歌声能大到震破他们的耳膜。但正是这清亮的声音，让对面斜坡上操作蒸馏器的男人走出来静坐倾听，以至于私酿的酒水溢流出来都顾不上。他曾请求她唱得再大声一点，只为他一人。

Eventually Loretta Lynn’s voice spread far beyond those Kentucky pine hills and hollers, to radio stations, to Nashville and the stage-cum-shrine of the Grand Ole Opry, to the whole nation and across the seas. In 1972 the Country Music Association named her Entertainer of the Year, and she was the Academy of Country Music’s Artist of the Decade for the 1970s. Through the 1960s and 1970s she produced three albums more or less every year. She became the most-successful-ever female country-music star, with 16 No. 1s in America’s country-music chart and 45m albums sold worldwide. Well into her 70s, she was still touring. You were liable to hear that voice anywhere, perky, true-toned and as twangy as the day she was born.

最终，洛蕾塔·林恩的声音远扬，越过肯塔基州的松林山丘和山谷，传到了广播电台，传到了纳什维尔，传到了大奥普里剧院的舞台圣地，传遍了全国，飘向了大洋彼岸。1972年，她被美国乡村音乐协会评为“年度最佳艺人”。她还是美国乡村音乐学院1970年代的“年代最佳艺人”。上世纪60至70年代，她每年都差不多发行三张专辑。她是美国史上最成功的乡村音乐女歌星，共有16支单曲登上美国乡村音乐排行榜第一名，专辑全球畅销4500万张。直到70多岁，她仍在巡回演出。无论在什么地方，你都能听到她的声音，那是一种活泼、真实、带着鼻音的声音，仍如同她出生时那样朝气蓬勃。

注释：

the Grand Ole Opry：大奥普里，美国乡村音乐的最高殿堂，位于田纳西州首府纳什维尔。田纳西州是美国乡村音乐的摇篮。

For her, popularity came as a surprise. As her signature song declared (as well as her backing group, the Coal Miners, and the gold miner painted on her tour bus), she was only a coal miner’s daughter. Daddy worked all night in the Van Lear mine, crawling through a three-foot-high seam that left his knees cut and sore. By day he hoed corn. And money, or scrip, was still scarce. They lived on pinto beans and bacon, and the cracks in the cabin walls were patched over with pictures of film stars from glossy magazines (including Loretta Young, hence her name). The children shared shoes until they got bunions. She went to a one-room school, and nothing she did there suggested that she would ever move away.

于她而言，走红纯属意外。正如她的成名曲所宣称的那样（而且她的后援团是“煤矿工人”，她的巡演巴士上还画着“黄金矿工”），她只是一个煤矿工人的女儿。爸爸晚上在凡·李尔煤矿挖煤，整夜在一个仅有一米高的煤层中爬行，膝盖满是伤痕，疼痛难忍。白天还得去锄玉米地，可是依然没赚到多少钞票（也叫代币券）。他们靠吃斑豆和熏肉过活，棚屋墙壁要是出现裂缝，就拿时尚杂志里的影星照片糊上 (其中就有洛蕾塔·杨的照片，她的名字由此而来)。孩子们鞋子都是互穿的，以至于他们都患上拇趾囊肿。她的学校只有一间教室，在那里你从她身上找不出一丝迹象能表明她有朝一日能摆脱这种生活。

She also didn’t think she was any big deal. As far as looks went, she had fine blue eyes and good cheekbones from her part-Cherokee mother, but buck teeth, which she hated. She wore long gowns with high necks and long sleeves, hair hanging to her shoulders. Musically, she played simple acoustic guitar and wanted to sing like Kitty Wells, the top female country singer of her teenage years. As for lyrics, she just scratched a phrase on any scrap of paper, hotel bill or whatever, and then hummed it to herself until she got a song. The themes were mostly the usual, two people falling in love, one party cheating or both, someone left hurting or both. Because that was life, wasn’t it? That was the truth.

她也并不认为自己是多了不起的人物。就外貌而言，她从半切罗基（Cherokee）血统的母亲那里继承了漂亮的蓝色眼睛和优美的颧骨，但却长着一口让她讨厌的龅牙。她身着高领长袍，长袖飘飘，长发垂肩。在音乐方面，她弹奏简单的原声吉他，想要模仿她少年时最流行的乡村女歌手凯蒂·威尔斯（Kitty Wells）的歌声。作曲时，她随便拿起什么小纸片、酒店账单或任何能写的东西，在上面潦草写下一两句，然后自己哼着曲调，直到创作出一整首歌。大多数歌曲的主题也比较寻常，男欢女爱，一方欺骗另一方或双方互相欺骗，有人受伤或双方都受伤离开。因为生活就是这样，不是吗？这就是真相。

But it wasn’t a truth heard often from the woman’s point of view. Most country women she knew—and no doubt city women, too—were trapped indoors with housework and babies, domestic drudgery day after day, as in “One’s on the Way”:

但大多数女性并不会给出诸如此类的真相。她认识的大多数乡村女人，当然也包括城市女人，都被家务和孩子困在家里，日复一日，辛苦乏味，正如《还有一个马上就到》所唱：

...here in Topeka the screen door’s a bangin’The coffee’s boiling over and the wash needs a hangin’`One wants a cookie and one wants a changin’And one’s on the way

但在托皮卡这里，纱门砰地一声

烧开的咖啡几乎溢出，洗好的衣服需要晾晒

一个想要饼干，一个想要换衣服

还有一个小兔崽子马上就到

She sang for every woman then, not least herself. Around 90% of the lines came out of her marriage to Oliver “Doolittle” Lynn, a union that lasted decades of hard fighting and hard loving. She met him at a pie social (he being the boy who bought her awful pie), married him at 15, and by 19 had four babies, in the end six. He was a good bit older and had travelled, as she never had. So she went from Daddy to Doolittle, always with a man telling her what to do—this time, one who beat her and sold bootleg whiskey on the side. She in turn could be mean as a snake, and once knocked three of his teeth out, clackety-clack on the hardwood floor. That was an accident, but she still meant to hit him. And hard.

她为当时的每一位女性歌唱，尤其是为她自己。大约90%的歌词围绕着她和奥利弗·“懒鬼”·林恩（Oliver “Doolittle” Lynn）的婚姻，一场爱恨交织几十年的婚姻。他们是在一个馅饼派对上认识的，奥利弗就是那个买下她难吃馅饼的男孩。她15岁时就嫁给了他，19岁就有了四个孩子，到最后他们一共育有六个孩子。奥利弗比她年长不少，去过很多她没有去过的地方。所以不论作为女儿还是为人妻子，总有一个男人告诉她应该做什么，而这一次是这个殴打她，私售盗版威士忌的人。当然，她自己有时候也心狠手辣，有一次她打掉了他三颗牙齿，噼里啪啦地掉在硬木地板上。那是次意外，但她当时的确想狠狠揍他一顿。

In that time of women’s lib she was no feminist, and didn’t want to be. Still she sang about equality (“Second class don’t turn me on at all”), about the hardship of women’s divorce (“The women all look at you like you’re bad/And the men all hope you are”) and the joy of the Pill:

在那个女权运动风起云涌的年代，她不算是也不想成为一个女权主义者，但她仍然会歌颂平等（“被视为二等公民根本无法使我兴奋”），会唱到女性面对离婚时的困境（“女人们都看着你，好像错都在你/而男人们也都希望错都在你”）。她还会歌唱避孕药带给她的快乐：

There’s a gonna be some changes made

Right here on nursery hill

You’ve set this chicken your last time

‘Cause now I’ve got the pill

我这孕育下一代的肚子将会发生一些变化，

这将是你放进我肚子里的最后一个宝宝了，

因为老娘现在有了避孕药。

Doo’s nocturnal habits came in for a thrashing, too (“So, don’t come home a’drinkin’ with lovin’ on your mind”). All this she sang with such a broad defiant grin that she always said she was just clowning around, up on that stage.

“懒鬼”的糜烂夜生活也逃不过痛批（“所以，不要醉醺醺的回家，还宣称心中有爱”），她唱到这一切时总是咧嘴而笑，面带挑衅，但她总是说她在舞台上不过是胡闹玩笑而已。

And she clung to Doolittle all the same, threatening “fist city” if any hussy came near him, because he’d made her what she was. She owed him everything. When she married him she gave up public singing, but he bought her a $17 Harmony guitar for her 21st birthday and said he liked to hear her sing around the house. (He also called her a stupid hillbilly, way too bashful about herself.) So she began to perform in clubs and honky tonks, realising people liked her. In 1960 she recorded “I’m A Honky Tonk Girl” on a small label, and they took a three-month road trip, sleeping in the car and living on baloney sandwiches, to hand-deliver the single to radio stations. It reached the country Top 20, she signed a deal with Decca, and she was not a housewife any more, thanks to Doo. With him by her side, she also never lacked material for her songs.

尽管如此，她仍然紧抓着“懒鬼”不肯放手，用“拳头城市”这首歌威胁那些胆敢靠近“懒鬼”的狐狸精。因为是“懒鬼”成就了她，她能拥有这一切成就都是因为“懒鬼”。当她嫁给他之后，她就不再在公开场合唱歌了，但是他在她21岁生日的时候送了她一把17美元的哈曼尼吉他，并且说他喜欢家里有她的歌声萦绕耳旁。（与此同时他也叫她愚蠢的乡巴佬，扭扭捏捏上不了台面。）于是她开始在俱乐部和一些小酒馆里表演，并且意识到人们喜欢她。1960年她找了一家小唱片公司录制了歌曲《我是一个小酒馆女郎》，然后他们开始了为期三个月的公路旅行，睡在车里，吃熏肠三明治，只为了亲手把这张单曲送到广播电台。这首歌登上了乡村歌曲榜前20名，随后她跟迪卡唱片公司签了约。多亏了“懒鬼”，她不再是一名家庭主妇。而有他在身旁，她也从不缺乏创作素材。

Becoming a star meant moving to a splendid plantation house and ranch in 1,450 acres at Hurricane Mills, Tennessee. There she built a modern mansion and a museum for her stage outfits, as well as for the hundreds of gifts and cards she had been sent by fans. A girl from Butcher Holler knew how to hold on to things. But Butcher Holler was there too, in a replica cabin that had been built in 1980 for the film of her autobiography, “Coal Miner’s Daughter”. It had antimacassars on the armchairs, lace cloths on the tables and Momma’s cup of fortune-telling tea on the kitchen table. There was also a replica pithead coal-chute, “Loretta Lynn’s Coal Mine No. 5”. It sounded like a perfume—the perfume of her life.

成为明星后，她得以搬到田纳西州哈里肯米尔斯，住在一栋豪华园林别墅里，总面积达1450英亩。她在那里建造了一座现代化的宅邸和一间博物馆用来存放她的演出服和粉丝们送她的成百上千的礼物和卡片。一个来自布彻霍勒的姑娘懂得如何怀念过往。但是其实布彻霍勒也被搬到那里。在1980年，为了拍摄她的自传电影《矿工的女儿》，他们复刻了她在布彻霍勒住过的小木屋。屋里的扶手椅上套着椅套，桌上铺着蕾丝桌布，而厨房的桌子上则放着妈妈的那杯算命茶。那里还复刻了一个矿井口输煤槽，上面写着“洛蕾塔林恩的煤矿五号”。听起来就像一款香水的名字，那是她生命的底香。

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Vicky，少儿英语老师+笔译新人

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奥莉，梦想讲相声的中二病患者，猫是本体

Francis，达人观之，生死一耳；何必生之为乐，死之为悲

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