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fsquared
08-11-2007, 01:47 PM
I know this is probably scattered throughout the translations, but is there a comprehensive list of the double entendres in the song texts? That thread today where Jeremy's sister's friend "Alizee didn't really understand them" (which I don't quite believe) quoted a few examples.

Here's a French site that seems to have a nice summary of them:

http://www.mylenefarmeriscalled.net/dossiers6.html

Perhaps someone with the requisite knowledge could help explicate them. Thanks!

Killian
08-11-2007, 01:58 PM
POUR ALIZEE:

En revanche quand Mylène écrit pour Alizée, elle se déchaîne davantage... Ainsi, pour Moi... Lolita, les vers coquins sont légions («Quand je rêve aux loups; Je vois les autres tout prêts à se jeter sur moi; T'es A moi Lolita; Aux bas bleus de méthylène...). Pour l'album Gourmandises, Mylène continue les allusions coquines («J'ai dans la gorge une épine» pour Lui ou Toi ; «J'embrasse toute une armée» dans L'Alizé ; «JBG Bikini; Elle se décorsette; Calibrée culottée...» dans J.B.G. ; «C'est un dédale inextricable impénatrable, c'est mon Maq mon lit» pour Mon Maquis ; «Un zeste de féminité sur un corps-puce de gamine; Le latin je l'aime en chemise» dans Veni Vidi Vici). Mais c'est sans nul doute la chanson Gourmandises, sur la perte de la virginité, qui est la plus chaude: «J'ai si faim de toi; Ressens-tu l'ivresse; Prendre soin de moi dis-moi si ça blesse; Loup y es-tu pour moi; Je m'offre à toi; Baisers de tendresse; Les baisers d'un été où la main s'achemine; Les baisers d'Alizée sont de vraies gourmandises; Couche-toi près de moi et dévore-moi»)...



Deux ans plus tard, Mylène y va encore plus fort avec sa protégée et son nouvel album Mes courants électriques... Elle lui fait ainsi découvrir les joies du bain et les plaisirs qu'on peut y faire dedans dans la chanson J'en ai marre («J'ai la peau douce dans mon bain de mousse; Je m'éclabousse; Mon poisson bouge dans mon bain; Tout est délice; Je me prélasse et me délasse»). La passion est au rendez-vous dans A contre-courants: «J'imagine nos fusions; On se désire sous haute tension; Rien que du bon temps; On s'électrise; Les corps circuits de deux amants; Lumière animale; Moments qui s'insolencent; Défilés de doigts; Mon envie de toi; Mon isolant, c'est la passion»).

Un peu plus sobre pour d'autres titres, mais légèrement plus sobre... («T'es l'hyper beau, loue-moi loup tout entière; Tu es mon maître à faire des galipettes» dans Toc de Mac ; «L'envie décolle quand tu me dis non; C'est l'homme de mes nuits qui me cajole» pour C'est trop tard ; «J'veux pas d'un pour la vie qui mène au paradis» dans J'ai pas vingt ans où Alizée annonce qu'elle préfère les moments éphémères d'un soir que d'une vie... ; dans Hey Amigo, elle narre les aventures d'une prostituée à Barcelone... Plus de sensualité dans L'e-mail a des ailes («Son souffle qui m'entrouve déboutonna ma vie»)...

Découvrez les explications des chansons Maman a tort, Libertine, Pourvu qu'elles soient douces, Pas de doute, Que mon coeur lâche, Mylène s'en fout, Eaunanisme, XXL, L'Ame-stram-gram, Optimistique-moi, Consentement, L'Histoire d'une fée, c'est, Moi... Lolita et Gourmandises dans la page NEVER EXPLAIN, en cliquant ici.

Would anyone be able to translate this bit?

Toc De Mac
08-11-2007, 03:18 PM
Would anyone be able to translate this bit?

Sure. :D

On the other hand, when Mylène writes for Alizée, she unleashes herself more (she is more daring)… Thus, for Moi… Lolita, the naughty verses are numerous: “Quand je rêve aux loups; Je vois les autres tout prêts à se jeter sur moi; T'es A moi Lolita; Aux bas bleus de méthylène...” For the album “Gourmandises,” Mylène continues these naughty allusions: "J'ai dans la gorge une épine” in “Lui ou Toi”; “J’embrasse toute une armée” in “L’Alizé”; “JBG Bikini; Elle se décorsette; Calibrée culottée” in “JBG”; “C'est un dédale inextricable impénatrable, c'est mon Maq mon lit” in “Mon Maquis”; “Un zeste de féminité sur un corps-puce de gamine; Le latin je l'aime en chemise” in “Veni Vidi Vici.” But it is without any doubt the song “Gourmandises,” about the loss of virginity, which is the hottest (the most intense): “J'ai si faim de toi; Ressens-tu l'ivresse; Prendre soin de moi dis-moi si ça blesse; Loup y es-tu pour moi; Je m'offre à toi; Baisers de tendresse; Les baisers d'un été où la main s'achemine; Les baisers d'Alizée sont de vraies gourmandises; Couche-toi près de moi et dévore-moi…”

Two years later, Mylène goes there stronger still with her protégée and her new album “Mes Courants Electriques.” She (Mylène) makes her (Alizée) discover the joys of a bath and the pleasures which one can do inside of it in the song “J’en ai marre”: “J'ai la peau douce dans mon bain de mousse; Je m'éclabousse; Mon poisson bouge dans mon bain; Tout est délice; Je me prélasse et me délasse.” Passion was in the air in “A contre courants”: “J'imagine nos fusions; On se désire sous haute tension; Rien que du bon temps; On s'électrise; Les corps circuits de deux amants; Lumière animale; Moments qui s'insolencent; Défilés de doigts; Mon envie de toi; Mon isolant, c'est la passion.”

A little more restrained for other titles, but hardly so (I am not sure if that is the correct translation): “T'es l'hyper beau, loue-moi loup tout entière; Tu es mon maître à faire des galipettes” in “Toc de Mac”; “L'envie décolle quand tu me dis non; C'est l'homme de mes nuits qui me cajole” in “C’est trop tard”; “J'veux pas d'un pour la vie qui mène au paradis” in “J’ai pas vingt ans,” where Alizée announces that she prefers fleeting moments of one night than of an entire lifetime; in “Hey Amigo,” she tells the adventures of a prostitute in Barcelona; and more sensuality in “L-email a des ailes”: “Son souffle qui m'entrouve déboutonna ma vie.”

(The last bit talks about another site with explanations of what Mylène's songs mean.)

Killian
08-11-2007, 03:26 PM
Thanks Toc de Mac, sorry for pasting the last bit, didn't know whether it was related to Lili or not, so I just put it in there.

fsquared
08-11-2007, 04:31 PM
Sure. :D

On the other hand, when Mylène writes for Alizée, she unleashes herself more (she is more daring)… Thus, for Moi… Lolita, the naughty verses are numerous: “Quand je rêve aux loups; Je vois les autres tout prêts à se jeter sur moi; T'es A moi Lolita; Aux bas bleus de méthylène...” For the album “Gourmandises,” Mylène continues these naughty allusions: "J'ai dans la gorge une épine” in “Lui ou Toi”; “J’embrasse toute une armée” in “L’Alizé”; “JBG Bikini; Elle se décorsette; Calibrée culottée” in “JBG”; “C'est un dédale inextricable impénatrable, c'est mon Maq mon lit” in “Mon Maquis”; “Un zeste de féminité sur un corps-puce de gamine; Le latin je l'aime en chemise” in “Veni Vidi Vici.” But it is without any doubt the song “Gourmandises,” about the loss of virginity, which is the hottest (the most intense): “J'ai si faim de toi; Ressens-tu l'ivresse; Prendre soin de moi dis-moi si ça blesse; Loup y es-tu pour moi; Je m'offre à toi; Baisers de tendresse; Les baisers d'un été où la main s'achemine; Les baisers d'Alizée sont de vraies gourmandises; Couche-toi près de moi et dévore-moi…”

Two years later, Mylène goes there stronger still with her protégée and her new album “Mes Courants Electriques.” She (Mylène) makes her (Alizée) discover the joys of a bath and the pleasures which one can do inside of it in the song “J’en ai marre”: “J'ai la peau douce dans mon bain de mousse; Je m'éclabousse; Mon poisson bouge dans mon bain; Tout est délice; Je me prélasse et me délasse.” Passion was in the air in “A contre courants”: “J'imagine nos fusions; On se désire sous haute tension; Rien que du bon temps; On s'électrise; Les corps circuits de deux amants; Lumière animale; Moments qui s'insolencent; Défilés de doigts; Mon envie de toi; Mon isolant, c'est la passion.”

A little more restrained for other titles, but hardly so (I am not sure if that is the correct translation): “T'es l'hyper beau, loue-moi loup tout entière; Tu es mon maître à faire des galipettes” in “Toc de Mac”; “L'envie décolle quand tu me dis non; C'est l'homme de mes nuits qui me cajole” in “C’est trop tard”; “J'veux pas d'un pour la vie qui mène au paradis” in “J’ai pas vingt ans,” where Alizée announces that she prefers fleeting moments of one night than of an entire lifetime; in “Hey Amigo,” she tells the adventures of a prostitute in Barcelona; and more sensuality in “L-email a des ailes”: “Son souffle qui m'entrouve déboutonna ma vie.”

(The last bit talks about another site with explanations of what Mylène's songs mean.)

Thanks, Toc de Mac, that is great. Now, the harder part that remains is the explanations of the actual double meanings of the quoted phrases.

Killian
08-11-2007, 04:41 PM
Thanks, Toc de Mac, that is great. Now, the harder part that remains is the explanations of the actual double meanings of the quoted phrases.

Many of them can be found in Anthony's interpretations as he looks at the adult side rather than the literal or "child's" side.

lefty12357
08-11-2007, 04:57 PM
Generally speaking, some double meanings are obvious. Some are not so obvious and the meaning can be misconstrued.

But often the question is; which mind conceived the double meaning, that of the writer or that of the reader?

Toc De Mac
08-11-2007, 05:38 PM
Generally speaking, some double meanings are obvious. Some are not so obvious and the meaning can be misconstrued.

But often the question is; which mind conceived the double meaning, that of the writer or that of the reader?

Considering the style in which Mylène writes her own songs, I would say that the writer most likely conceived the double entendres. But yes, I agree that one should often pose that question.

Killian
08-11-2007, 05:44 PM
Isn't that a question with two answers?

While, judging by Mylène's other songs, she definitely penned them, and as such created them.

But, as a reader, you have to find, understand and interpret the meaning, and while one reader may do this, another may not, so the second meaning could remain forever hidden.

So couldn't it be said the both the writer and the reader conceived it? The writer may pen something that is never found, while the reader may find something that was never intended, making them the creators. But in the case of both, didn't they both conceive it?

lefty12357
08-11-2007, 05:51 PM
Considering the style in which Mylène writes her own songs, I would say that the writer most likely conceived the double entendres. But yes, I agree that one should often pose that question.

Strictly speaking about Mylene, I think you’re right. I’ve seen some analyses though that I think were somewhat in error.

A friend once complimented me on something I wrote because of the clever double meaning in it. He was disappointed when I told him it was an accident and had never occurred to me…lol

Originally Posted by Killian

Isn't that a question with two answers?

While, judging by Mylène's other songs, she definitely penned them, and as such created them.

But, as a reader, you have to find, understand and interpret the meaning, and while one reader may do this, another may not, so the second meaning could remain forever hidden.

So couldn't it be said the both the writer and the reader conceived it? The writer may pen something that is never found, while the reader may find something that was never intended, making them the creators. But in the case of both, didn't they both conceive it?
Killain, that’s an excellent point.

Tye
08-12-2007, 06:48 PM
Isn't that a question with two answers?

While, judging by Mylène's other songs, she definitely penned them, and as such created them.

But, as a reader, you have to find, understand and interpret the meaning, and while one reader may do this, another may not, so the second meaning could remain forever hidden.

So couldn't it be said the both the writer and the reader conceived it? The writer may pen something that is never found, while the reader may find something that was never intended, making them the creators. But in the case of both, didn't they both conceive it?

For me, this is what makes music so speacial and true art. Everyone can draw their own conclusions. The writer and the reader/listener can draw two totally different conclusions about what the song is saying and both could be right. It is the same with art. The painter could be trying to say something with his art, and the observer can draw an entirely different conclusion about what the artist is trying to say. Both can be right.

fsquared
08-12-2007, 07:28 PM
OK, back to the original thread intent: it would be great if someone with the requisite knowledge could explicate the double entendres listed in the article. Thanks!

I guess I'm saying that I think it would be nice to consolidate them for reference. Also, it seems that Anthony's are not quite complete; some songs are missing (e.g. JBG) and others of his do not, it seems, fully explicate the double entendres (e.g. Moi Lolita). For instance,

Collégienne aux bas/Bleus de méthylène

is treated by Anthony as
"The college refers to the wise and studious side of “Lola”, the bottom half when she talks about Lo’s attire, while the methylene blue serves to refer to Mylène’s blue, through these words, Mylène offers her finery to “Lo”."

but a more convincing double entendre was found in mf-international:

1. schoolgirl in stockings/blue jeans

2. inexperienced down below (i.e., sexually)/ very "blue" (the color of inexperience, like "green" in English).