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“Can she sing?” So asked Andrew Loog Oldham, manager of The Rolling Stones, at a party in 1964, pointedly ignoring Marianne Faithfull’s presence and instead addressing the 17-year-old’s boyfriend. Yes: she could sing, initially in a sweet folk-pop vibrato with very English diction, then later — several lifetimes later — in the weathered tones of hard experience.
“她会唱歌吗？”1964年，在一个聚会上，滚石乐队(The Rolling Stones)的经理安德鲁•卢格•奥尔德姆(Andrew Loog Oldham)这样问道，故意无视玛丽安•费丝福尔(Marianne Faithfull)的存在，而是直接问这位17岁女孩的男友。答案是肯定的：她会唱歌，起初是甜美的民谣流行颤音，带有非常英式的发音，后来——经过几番人生历练后——她的声音变得饱经风霜。
Faithfull’s career, if that prosaic term can be applied to such a free spirit, was launched by the hustling Oldham. He promoted her, in her words, as “an eerie fusion of haughty aristocrat and folky bohemian child-woman”. There was a grain of truth to the fantasy. Faithfull was born in 1946 to an Austro-Hungarian baroness who moved to England after marrying an eccentric British intelligence officer. The marriage foundered, a wartime folie d’amour. Faithfull was raised by her mother as a penniless blueblood. From her she learnt the intoxicating but ruinous habit of living beyond one’s means.
费丝福尔的职业生涯——如果这种平淡的词语可以用来形容这样一个自由的灵魂——是由忙碌的奥尔德姆开启的。用她的话说，他把她宣传为“一个傲慢贵族和民谣波西米亚女童的神秘融合”。这种幻想中有一丝真实。费丝福尔于1946年出生，其母亲是一位奥匈帝国的女爵，她在嫁给一位古怪的英国情报官员后移居英国。这段婚姻破裂了，是战时的爱情狂热。费丝福尔由母亲抚养长大，作为一个身无分文的贵族后裔。从她那里，她学会了超出自己能力范围生活的令人陶醉但毁灭性的习惯。
Her first single was the Françoise Hardy-style ballad “As Tears Go By”, which was also the first song written by Jagger and his Stones partner, Keith Richards. A chart success in 1964, predating the Stones’ version by a year, it sparked a run of hit singles. But Faithfull did not relish pop stardom. In the description of her superb 1994 memoir Faithfull, she was bedevilled by “grotesque contracts, lying, cheating crafty legalisms, mad and bungling managers and barbaric schedules”.
她的第一首单曲是弗朗索瓦丝•哈迪(Françoise Hardy)风格的民谣《As Tears Go By》，这也是贾格尔和他的滚石乐队搭档基思•理查兹(Keith Richards)创作的第一首歌。1964年，这首歌在排行榜上取得了成功，比滚石乐队的版本早了一年，并引发了一系列热门单曲的出现。但费丝福尔并不享受流行明星的地位。在她1994年出色的回忆录《费丝福尔》中，她描述自己被“荒谬的合同、撒谎、欺骗狡猾的法律术语、疯狂和笨拙的经理人以及野蛮的日程表”所困扰。
Relief of a sort came with entry into the Stones’ inner sanctum. She was attracted to Richards at first, culminating in “a wonderful night of sex” with the guitarist while tripping on LSD, as she reminisced in Faithfull. Afterwards, to her surprise, the guitarist breezily told her to give the “smitten” Jagger a call: “Go on, love, give him a jingle, he’ll fall off his chair.”
某种程度上的解脱是在进入滚石乐队的内室后到来的。起初，她被理查兹吸引，最终在服用LSD时与这位吉他手度过了“美妙的一夜”，正如她在《费丝福尔》中回忆的那样。之后，让她惊讶的是，这位吉他手轻松地告诉她去给“迷恋”的贾格尔打个电话：“去吧，亲爱的，给他打个电话，他会从椅子上掉下来的。”
Emblematic of the group’s louchely complicated dynamics, she and Jagger became the golden couple of the Swinging Sixties. Barely 20 when she moved in with him in 1966, she arrived with a baby son from an undissolved marriage to the gallerist John Dunbar. She continued releasing records and also had a successful sideline acting in high-profile plays and films. But her work was overshadowed by her off-stage life.
她和贾格尔成为了摇摆六十年代的金童玉女，象征着该团体复杂的动态。1966年，她搬去和他同住时，年仅20岁，并带着一个来自与画廊主约翰•邓巴(John Dunbar)未解散婚姻的儿子。她继续发行唱片，并在高调的戏剧和电影中成功兼职演出，但她的工作被她的台下生活所掩盖。
Having affairs with women and men alike, opening her mind with LSD and hashish, she embodied the era’s spirit of libertinage. But there were risks too. Lurid lies about sexual depravity circulated after Jagger and Richards were arrested in the notorious Redlands drug bust of 1967, at which Faithfull was present, wearing a fur rug and nothing else. A nearly fatal sleeping pill overdose in Australia in 1969 prompted a Conservative MP to dub her “a rather stupid young lady” in a House of Commons debate.
她与男女皆有染，借助LSD和大麻打开思维，体现了那个时代的放荡精神。但这也伴随着风险。在1967年臭名昭著的红兰兹毒品突袭中，贾格尔和理查兹被捕后，关于性堕落的耸人听闻的谣言四起。当时费丝福尔也在场，只披着一张毛皮毯。1969年，她在澳大利亚因几乎致命的安眠药过量而被一位保守党议员在下议院辩论中称为“一个相当愚蠢的年轻女士”。
The pop ingénue had become vilified as a monster of corruption. But Faithfull’s hedonism had an innocent quality. She gave herself to sensual pleasure wholeheartedly. As she sang in “Guilt”, from her 1979 landmark album Broken English: “I never lied to my lover/But if I did, I would admit it.”
这位流行乐坛的新秀被诋毁为腐败的怪物。但费丝福尔的享乐主义带有一种天真的特质。她全心全意地沉浸于感官享受。正如她在1979年具有里程碑意义的专辑《Broken English》中的《Guilt》一曲中所唱：“我从未对爱人撒谎/但如果我撒了，我会承认。”
Her outlook was formed by Romantic poetry, aestheticism and decadent literature (her mother was descended from Leopold von Sacher-Masoch, author of erotic novella Venus in Furs). When she co-wrote the lyrics to the song “Sister Morphine”, she drew on John Milton’s poem “Lycidas” for inspiration. Released by Faithfull in 1969 (the Stones’ version followed in 1971), it foreshadowed her descent into heroin addiction.
她的世界观受浪漫主义诗歌、美学主义和颓废文学的影响（她的母亲是情色小说《皮毛里的维纳斯》作者利奥波德•冯•萨克-马索克(Leopold von Sacher-Masoch)的后裔）。在与人共同创作歌曲《吗啡姐姐》的歌词时，她从约翰•弥尔顿(John Milton)的诗《利西达斯》中汲取灵感。1969年由费丝福尔发行（滚石乐队的版本在1971年推出），这首歌预示了她后来陷入海洛因成瘾。
In 1970, she broke up with Jagger. The years ahead were her nadir, a time of alcoholism, drug dependency and a period of homelessness in central London during which she lost custody of her son. The spiral was unexpectedly arrested in 1979 by Broken English. Its new wave sound and Faithfull’s battered but unbowed voice established kinship with a post-punk generation that rejected The Rolling Stones and their ilk as out-of-touch rock aristocrats.
1970年，她与贾格尔分手。接下来的几年是她的人生低谷，她酗酒、吸毒成瘾，并在伦敦市中心无家可归，期间失去了儿子的监护权。1979年，《Broken English》意外地中止了她的颓势。其新浪潮的音乐风格和费丝福尔饱经风霜但不屈的嗓音，与拒绝滚石乐队(Rolling Stones)等脱离现实的摇滚贵族的后朋克一代产生了共鸣。
She continued to lead a challenging personal life, not quitting heroin until 1985. Survived by her son Nicholas Dunbar, she was married three times. But the woman who unwillingly submitted to the role of muse to Jagger (“So destructive for anybody trying to be an artist in her own right”) released 21 studio albums in total. She was a cult figure for collaborators such as Jarvis Cocker and Nick Cave, venerated as the epitome of the rock survivor. Her philosophy was encapsulated by one of her favourite poets, William Blake, cited in her memoir: “You never know what is enough unless you know what is more than enough.”
她继续过着充满挑战的个人生活，直到1985年才戒掉海洛因。她的儿子尼古拉斯•邓巴(Nicholas Dunbar)仍在世，她结过三次婚。尽管不情愿地成为贾格尔的缪斯（“对于任何想要成为独立艺术家的人来说，这都是毁灭性的”），她总共发行了21张录音室专辑。她是贾维斯•科克尔(Jarvis Cocker)和尼克•凯夫(Nick Cave)等合作者心目中的偶像，被尊崇为摇滚幸存者的典范。她的哲学被她最喜欢的诗人之一威廉•布莱克(William Blake)在她的回忆录中引用的话所概括：“除非你知道什么是过多，否则你永远不知道什么是足够。”