Joan Baez，六零年代民謠之后。這種聲音我沒聽過別人有，一聽便愛上了。在Private Washroom讀到關於Leonard Cohen的文字，讓我又鑽回往昔，除了Cohen之外，也翻出一張張的Dylan來聽，當然更不能例外地回到Joan Baez的木吉他音箱裡來。
有好一陣子，這首Colours是最愛哼的歌，也是想像中最想在某個人耳邊哼的歌(然而當時事情不如我們所願)。雖然不是Baez自己的歌曲，卻成為我心目中這位先鋒人物的代表歌曲之一：
Yellow is the colour of my true love's hair,
In the morning, when we rise,
In the morning, when we rise.
That's the time, that's the time,
I love the best.
Green's the colour of the sparklin' corn,
In the morning, when we rise,
In the morning, when we rise.
That's the time, that's the time,
I love the best.
Blue's the colour of the sky-y,
In the morning, when we rise,
In the morning, when we rise.
That's the time, that's the time,
I love the best.
Mellow is the feeling that I get,
When I see her, m-hmm,
When I see her, oh yeah.
That's the time, that's the time,
I love the best.
Freedom is a word I rarely use,
Without thinking, oh yeah,
Without thinking, m-hmm.
Of the time, of the time,
When I've been loved.
Yellow is the colour of my true love's hair,
In the morning, when we rise,
In the morning, when we rise.
That's the time, that's the time,
I love the best.
(謝謝Nick和我一起校對，要不是我沒裝麥克風，早就和你一塊兒唱起來了)
後來很巧的，在亂逛網頁時，讀到這篇報導："Joan Baez: Folk heroine"現在的她，已經不再是頭上戴花的黑髮大眼女子，但我想美好時代還沒有完全過去。當Bob在全球走透透(其實也不算真的走透透，他沒來這裡)順便買房地產時，Joan繼續用力反戰，新專輯還獻給那個很有膽的Michael Moore。當然，到現在人家還是會問起她和Bob短短三個月的感情，但她不以為意，還說"When people say to me, 'You're going to be linked to him in history forever', I think that's a pretty fucking honourable place to be."
喜歡她的這種自在。不過最重要的是，我愛這個無懈可擊的聲音和帶著這聲音到處行走的女人。聽說她今晚在Cambridge要唱些Ryan Adams的歌，我想是很合適的。(今天真是充滿奇怪的巧合...才剛和朋友講完Ryan Adams的小壞話耶)
我的camper之一Ela，是個又高又健美，長得有點像Katie Holmes的波蘭裔女孩，如果記得沒錯，她五歲左右才到美國。我遇見她時，她是個實際14歲，看起來卻是一副走進酒吧裡絕對不會被要求查ID的美女模樣。
(而我，常在接近吧台時被半開玩笑的叫住，"Hey cutie, how old are you, 12?"每每讓我翻白眼、朋友則邊忍著笑邊解釋)
Ela很有主見，也許是小時候剛到美國的不愉快經驗，使得她在遇到「威脅」時，常常使用情緒強度很高的字眼，讓對方認為自己不好惹，也給自己充氣，但往往給她招來一些令人不怎麼愉快的「評語」。但我和她非常要好，要好到以為自己的姊妹生在波蘭/台灣。相遇時我們都有點挫敗：她因為言語關係被其他camper貼上bitch的標籤；我因為其他太多事情。她寫詩；我當時寫歌。她無時無刻可以大肆表現她的情緒化；我的情緒化往往留給午夜的湖邊、廚房或酒吧最後面一桌。她喜歡的男孩進了juvenile detention center(而且事情不像Me and Julio Down By the Schoolyard那麼簡單)；我的男孩在咫尺之遙卻有時像在南極。她情緒來了會隨Destiny's Child的歌聲舞動，有時我會慶幸自己在girls' camp，否則我不忙著送男生進急診室才怪；我情緒來了會在湖邊唱他整夜的歌，也許抽個瑪莉珍，偶爾抱著不相干的男孩。她的英文已經完全是芝加哥腔調，但作夢還大聲地講波蘭語，讓大家半夜夢中驚醒；我則是在夢中講了一整串「有意義的，關於cabin night的東西」，把隔壁床的co-counselor嚇到，以為"My sister's here for a surprise visit."(想想當時大家說的夢話，還真可以寫一本小集子)
有一夜我剛唱完晚安曲【註2】，應該是首Fiona Apple，爸媽不會認為是晚安曲的那種歌，Maggie要求我唸一本她們都覺得很噁心但又都想聽下去的小說。我不太想(因為每次唸到後來都是我先坐在椅子上睡著)，還很清醒的Ela和Kelsey便要求玩真心話大冒險。由於已經晚了，令人敬畏的director又在外面巡邏，沒辦法馬上「大冒險」，大家都乖乖被逼問。我第一輪就被抽中三次，很快的她們便得知我的小男朋友姓啥名誰、最丟臉的事蹟，和我最嚮往的旅行地點與旅伴。女孩們的嘻笑聲充滿整個木屋，當然也就得到director特別的關愛，親自到門口來問話，"What are you guys doin'? It's late. Can you keep it down?"
隨著director轉身離開，第二輪開始。Ela先被問到和男朋友的「進度」，她擅於說故事(如果不是那麼多"like"的話，她可說是現代少女版雪赫拉莎德)，而故事本身又精采，所以女孩們聽得五臟六腑都揪成一團，我雖然聽過了，還是忍不住專心，且幫她配合劇情需要演出。Maggie, Molly都被逼問完畢，接下來很不巧的又是我。我雙手一攤，"You guys are probably sick of me now. Let's find someone else."
她們十雙眼睛卻古靈精怪地盯著我，"Well, not exactly,"光看那眼神，就知道她們又在打什麼歪主意。
問題是什麼，我不說。這是我們11個人說好不講的秘密。但我當時的回答，就和"Colours"這歌有關：
我們起床的時候，是我最愛的時光。
PS. (1) Photo: Joan Baez on the April 14, 1983 cover of Rolling Stone.
(2) 我「當班」的晚上，會先唱歌給已經換好睡衣倒在床上的女孩們聽，規定十點就要熄燈，不過人人都有手電筒，天曉得她們在被窩裡玩什麼東西(據本人與夥伴了解，主要是違禁品──糖果)，我也14歲過呀，哈哈。通常她們都會先看書啊抬槓啊什麼的，等我們這些counselor都「睡了」，有「計畫」的人再溜出去和男生見面。在本人與其他兩位霹靂嬌娃嚴密防守之下，無人成功。有人問我們的策略，我的墨西哥難姐難妹簡單地說：「喝酒聊天」。我還花生米咧。
Which brings to mind the other "J", arguably the most talented of that famed trio (Joan-Judy-Joni), on whom PBS has just aired an "American Masters" special (http://www.pbs.org/wnet/americanmasters/database/mitchell_j.html). In contrast to Joni's ever-evolving musical journey, Joan's prolonged adolescence can be a bit insufferable, though brave in it's own naïve way.
Talking of braveness, I'm not sure how to read that "很有膽的" qualifier. "Bodaceous,"
perhaps? The demonic demagogue who specializes in doctored "documentaries" certainly qualifies for that designation.
They're called "flower children" for a reason. I mean, no one would call Joni a flower child now, would they?
And I'm sorry, I didn't quite get the "documentary" part...Care to elaborate or enlighten me?
Laundry lists of Moore's bodacious "doctoring" in his Oscar-winning documentary can be seen on HARDYLAW (http://www.hardylaw.net/Truth_About_Bowling.html) and THE WALL STREET JOURNAL (http://www.opinionjournal.com/diary/?id=110003233). For a quick overview on the Moore controversy from less conservative sources, please refer to the left-leaning Australian newspaper THE AGE (http://www.theage.com.au/articles/2004/01/07/1073437342612.html?from=storyrhs). More analyses can also be gleaned from the liberal media watchdog SPINSANITY (http://www.spinsanity.org/topics#Michael Moore). And yes, there're even scathing remarks issued from the far-left, such as this one: http://www.dissidentvoice.org/Articles8/Woods_Moore-Letter.htm.
When confronted with accusations of glaring inaccuarcies in his works, e.g., during TV interviews with Jerry Nachman and Lou Dobbs, Michael Moore's typical defense was either tautology ("Absolutely every fact in the film is true.") or non sequitur ("How can there be inaccuracy in comedy?"). The latter can also be construed as an irreverent admission of his works being merely "docutainment," which makes his self-righteous pretensions even more tiresome, and his grotesque popularity even more baffling, for me at least.
Don't mean to sound like a sourpuss who likes to 踢館 for some sort of petty pleasure. But I do find myself gradually losing my cool when it comes to this Ignatius Reilly-ish fat slob, and his absurd influence on global politics.
As for Joan's voice (but regretfully not her politics, nor some of her musical choices), I remain a devotee. Afterall, I WAS a flower child.
Thanks for your opinion and delicious information. My 館 doesn't feel like it's 踢ed at all. Well-informed - formally or informally or otherworldly - people are heartily welcome here.
I have to admit to having never really looked into this subject, for Michael Moore's overwhelming popularity - one of the things I can't seem to cope with - among some "in" crowds which I sometimes try to stay away from. So there's no adequate information for me to build any understanding on him or his work. I have yet to see "Bowling." (But praise the word "docutainment") What I knew was merely what I caught on TV (as we all know, a not-so-trustworthy resource), read in books, magazines and on websites - it could well be just hype.
So I could only say "很有膽的" to try to sound neutral. His political influence might be absurd, but he's got a powerful weapon.
Thanks for the enlightenment. This is what I'd like to call "the wisdom of a true ex-flower child."
I am not so teachable to be fit to set down worthy stuff like you do but I am trying to pay it back so hoepfully this will give you a idiotic grin or make you snort or at the very least give you a thought for the day? :
To err is hunam.
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