from “DRAGGED THROUGH THE FOREST: The Long-Gone Sound of Amédé Ardoin,” by Amanda Petrusich:
It’s possible most of Ardoin’s songs are about one person: the girl to whom he was betrothed, or about to be betrothed—the most profound romantic fascination of his young life. As far as I can tell, theirs was a shotgun-to-the-temple, unbearable, drive-it-like-it’s-stolen love, uncompromising and insane. Something went wrong. They never married.
According to “Valse Des Opelousas,” she left, crying. “Oh, tite fille, si tu m’aimerais comme t’as voulu me dire / Tu te sentirais pas déçue pour ça ils sont après te dire,” Ardoin sings after her. Oh, little girl, if you loved me as much as you said, you wouldn’t feel so disappointed by what they’re telling you.
“In my understanding of that culture, in that particular time period, because it was so intensely Catholic and superstitious, you got married, and you didn’t get a new wife or husband until the other one died,” compiler Christopher King explained. “The same stigma was attached to betrothal.” Ardoin’s romantic outlook, from then on, was grim.
Because he couldn’t have her, Ardoin sang to her, over and over again. She appears often as “Jouline,” which King suspects was a pet name, a variation of “jolie,” or “pretty young thing,” though her actual name was Maisé Broussard. I imagine her as the kind of beautiful that makes your stomach hurt: sweet-faced and long-legged and a little mischievous around the eyes, too smart for her own good.
King likes to think that Ardoin sang to her with the hope that she’d eventually hear his prayers and adjurations—that he believed he could, in effect, sing her back to his side. He was clearly ready to die trying. “Oh, tite fille, moi, j’ai dit je m’aurais jamais marié / Oh, c’est rapport de voir ça t’as fait avec moi,” he sighs at the end of “Valse Des Opelousas,” his body gutted, his voice tired. Oh, little girl, I said I would never marry. Oh, it’s because of seeing what you’ve done to me.
The story of Amédé Ardoin’s death is apocryphal, something he shares with the Delta blues singers Robert Johnson and Charley Patton. Sometimes mythology supersedes fact for so long that it becomes its own kind of truth by virtue of our belief in it; or, as with Ardoin, the details vary but the arc stays the same, stays true. (more…)