星期五早上睇報紙，才知上世紀五六十年代著名女演員夏夢十月三十日在香港逝世。
夏夢開始演戲時，自己都未出世，印象中曾經看過她主演的《三看御妹劉金定》，那時因為想認識中國各地的戲曲，而此片以傳統越劇演出，所以買票入場觀看。
在哪間電影院看已經唔記得，內容更加唔記得，只記得當時亦覺得夏夢相當嬌俏，難怪當時曾是長城三公主之一。
認識夏夢主演的電影，已經是文化大革命之後，況且那時她早已退出影壇，所以看過她主演的電影不多。如果沒有記錯，對夏夢有較深象是由她的公司所發行的紀錄片From Mao to Mozart: Isaac Stern in China，現時大部份譯名早已譯作從毛澤東到莫札特：愛瑟史頓在中國，那時在電影院上映的正確譯名是《樂韻繽紛》，片中最後一個小孩皺著眉頭拉大（中）提琴，長大後曾在特區香港開演奏會。今天重看幾節片段，可見鬼佬有時幾幼稚或許叫用心良苦，初初還以為中國從陰霾走出來，一切可以從頭再來，當中幾多「文化差異」，就算經過幾十年的「改革開放」更變本加厲，死性不改。當時叫遺毒未清，今天該怎樣說呢？
維基百科中退出影壇一段寫道：
She stands on the bank of the mighty Mississippi
Alone in the pale moonlight
Waiting for a man, a riverboat gambler
Said that he'd return tonight
They used to waltz on the banks of the mighty Mississippi
Loving the whole night through
'Til the riverboat gambler went off to make a killing
And bring it on back to you.
Evangeline, Evangeline
Curses the soul of the Mississippi Queen
That pulled her man away.
Bayou Sam, from South Louisian'
Had gambling in his veins
Evangeline, from the Maritimes
Was slowly going insane.
High on the top of Hickory Hill
She stands in the lightnin' and thunder
Down on the river the boat was a-sinking
She watched that queen go under
Evangeline, Evangeline
Curses the soul of the Mississippi Queen
That pulled her man away.
Evangeline, Evangeline
Curses the soul of the Mississippi Queen
That pulled her man away.
這首歌同樣出自一九七八年「The Last Waltz」，和Emmylou Harris合唱，打鼓改彈一個小結他，低音改拉小提琴，彈鋼琴走了去打鼓，彈電子琴變了拉手風琴，唱出一個少女的宿命。
流行曲歌詞可否變成文學？主要還看是否經得起時間的考驗。以前有聽歌學英文，不要以為中文的歌詞才押韻，很多歐西流行曲的歌詞同樣押韻。
流行曲受時間限制，一般長度在三四分鐘，三四五句一段，之後以第一段變奏再三四五句一段，然後一段合唱，跟著重覆第一段第二段，音樂或只得兩三段，但歌詞可不停寫下去，談情說愛或者講唔長，以事件或一個故事入歌則是另一回事，那時可以長至七八分鐘至十多分鐘，可惜電台電視不會花太多時間宣傳，觀眾聽眾也沒耐性，流行機會自然較少。
古典音樂以前也屬小眾，同樣經電台電視或演奏會才能較普及，同樣流行曲經過時間的洗禮也可成經典，所以諾貝爾頒個獎給BOB DYLAN都唔係完全無道理。
I pulled into Nazareth, was feeling about half past dead
I just need some place where I can lay my head
Hey, mister, can you tell me, where a man might find a bed?
He just grinned and shook my hand, "No" was all he said.
[Chorus]
Take a load off Fanny, take a load for free
Take a load off Fanny, and you put the load right on me
I picked up my bags, I went looking for a place to hide
When I saw old Carmen and the Devil, walking side by side
I said, "Hey, Carmen, come on, let's go downtown"
She said, "I gotta go, but my friend can stick around"
[Chorus]
Go down, Miss Moses, ain't nothing you can say
It's just old Luke, and Luke's waiting on the judgment day
Well, Luke, my friend, what about young Annalee
He said, "Do me a favor, son, won't you stay and keep Annalee company"
[Chorus]
Crazy Chester followed me, and he caught me in the fog
Said, "I will fix your rack, if you'll take Jack, my dog"
I said, "Wait a minute Chester, you know, I'm a peaceful man"
He said, "That's okay, boy, won't you feed him when you can"
[Chorus]
Catch the cannonball, now to take me down the line
My bag is sinking low, and I do believe it's time
To get back to Miss Fanny, you know she's the only one
Who sent me here, with her regards for everyone
[Chorus]
Writer/s: ROBBIE ROBERTSON
Publisher: EMI Music Publishing, Sony/ATV Music Publishing LLC
The Weight是在布努埃爾（Luis Buñuel）電影影響下寫成的。布努埃爾的電影多為超現實主義，以反教會和諷刺社會生活中的虛偽為主題（個人理解The Weight表達的就是對耶穌和他的使徒門奉獻行為的否定，認為其難以實現）。
拿撒勒（Nazareth）是耶穌誕生的地方
歌詞裏有幾處連英語國家的人也爭論不休：Annie OR Fanny; fog OR fall; fack OR rat。這裏第一處理解成Fanny，與最後的Miss Fanny相呼應，意即「我」主動替Fanny扛下了包袱。
Crazy Chester說的rack（此處取rack）是指牀，美國軍隊裏常這麼說。
「Cannonball」是火車名。
