French songs, analyzed

Welcome to Fuck yeah french songs! FYFS is a blog dedicated to translating and giving a meaning to songs written originally in french. French artists are the main subject but foreign artists singing in french are also welcome to be suggested! This blog is handled by @theblackwook and @thomasbehar

[fuckyeahfrenchsongs]

Je Suis Sous

This is some new format I’m experimenting: instead of talking about a single interpretation of song, let’s talk about a song and how it has been differently performed. Today, we’ll talk about Nougaro’s first hit Je suis sous. Here are the translated lyrics: I am under, under, under, under your balcony Like Romeo Oh ! Oh ! Marie-Christine! I come back like a murderer at the crime scene But our love isn’t dead, tell me it’s not Since we’ve parted ways I swear to you I’ve changed You won’t recognize me Also I don’t drink anymore I am round, round, round, rounded by remorse I’m a jerk Oh! Oh! Marie-Christine! Please, one more time, be forgiving Give me another chance, say, let’s try again There’s also good in me Don’t make me blacker than I am I’m full, full, full of good intentions I’ve found a job Oh! Marie-Christine! It’s serious, I threw away my rhyme dictionary I don’t write songs anymore, no, I work for good My friends you didn’t like Now they laugh without me By the way, I brought them to you You can ask them We are under, under, under, under your balcony Like Romeo Oh! Oh! Marie-Christine! Don’t be deaf to this unanimous cry Please, my dear, answer, answer Marie Christine! Don’t leave me alone Alright… In that case, I’ll go get wasted Je Suis Sous is penned by Claude Nougaro while the music is made by Jacques Datin. You might say that the music is similar to Screaming Jay Hawkins’ hit I Put a Spell on You and it might be a case of over-influence. French music in the 60s occasionally had some hits which were either covers of english/american hits (Johnny Hallyday started his career this way) or sneaky rip-offs. An inverse example would be Frank Sinatra’s My Way which sounds very similar to Claude François’ Comme D’habitude. One could also say that some producers didn’t want to spend money in order to buy the rights to the original songs and tried to make some sort of rearranged version instead. Anyway, in the case of Je Suis Sous, the song is indeed similar to I put a Spell on You in the intro, but it manages to be a song of its own for the rest of the track. It’s still possible that Datin was influenced though.

Let’s dive into the lyrics. Je suis Sous is a particular song, due to the fact that it has a romantic setting and a drunk protagonist trying to convince her lover Marie-Christine to come back after their relationship probably ended badly. The fact that the protagonist is drunk plays a big part in the lyrics and the interpretation of those lyrics. The term Sous can translate to Under in french (as in under the influence AKA drunk), but Sous can also be written Saoul, which directly means Drunk in french, and this is how the protagonist plays with words in this song: they’re about to say that they’re drunk but they end up saying something else. The second verse has the term I’m round, rounded by remorse. Being round doesn’t specifically mean anything in english but the expression Être rond comme une queue de pelle (Being round like a shovel handle) is synonymous to being completely drunk. The protagonist then goes from Rond to Rongé de remords (Bitten by remorse). In the third verse, the protagonist says that they’re bourré (full). Full can mean a lot of thing, but in french, bourré usually means being drunk. Thus, in order to save their dignity, the protagonist says that they’re full of good intentions (bourré de bonne intentions). The specific line about throwing away a rhyme dictionary could be a mockery towards the use of rhymes in romantic poetry. The protagonist tries to be serious to Marie-Christine, which means they won’t even bother rhyming in order to win her heart. Ironically, the very next line (Je n’écris plus de chansons, non / Je travaille pour de bon) is a rhyme. Speaking of this line, it could be another mockery to songwriting and how songwriters aren’t taken seriously in their job. The song ends with the protagonist deciding to go drink, since Marie-Christine doesn’t seem to react. But since it’s assumed that they’re already drunk, it doesn’t seem to be a bad thing for them. Nougaro’s version Let’s talk about Claude Nougaro’s version from 1964. He is the writer of the song so he already had in mind the concept of the drunkard trying to get their love back. Thus, he perfectly acts as a drunkard, especially in this TV performance where he’s joined by Jean Yanne and Sacha Distel and the “drunk experience” is enhanced:

The music is also akin to a post-bop band, with the organs playing in a frenetic and chaotic way, which represents the state of the protagonist. Philippe Clay’s version We move to one year later in 1965. Philippe Clay, a singer-songwriter who will become much more popular after the protests of May 1968, reprised a lot of 50s and 60s standards during his debut, including Je suis sous.

This version is way more tame than Nougaro’s. Clay sings in a sober, elegant manner, as if his version of the protagonist isn’t drunk yet. One notable change is the end of the song where Clay exclaims: “Come on, Marie-Christine, answer me! It’s been 2 hours since we’re under your balcony, it’s bitterly cold outside, we’re freezing!” which adds way more comedic value to the song. Clay also ends the song abruptly after saying “I’ll go get wasted”. Sonically, this version relies more on the use of brass instruments and also removes the instrumental solos from the original version. One detail I love about this version is how Clay's voice is reverbed when he sings Marie-Christine. Nougaro’s second version That’s right. Based Nougaro had to do a second version of his own song.

In 1981, Nougaro released his Jazz/Funk album Chansons Nettes which includes a funk rendition of Je suis Sous. But even though the instrumentation is different, the lyrics remain the same, so there’s not much to say about this version. Arno’s version In case you thought Nougaro’s version was already drunk, the belgian singer Arno tries to go even deeper under the influence in this cover from 1999.

This version is faithful to the original lyrics, but Arno delivers a drunker than drunk performance where you feel that he’s going to fall into ethylic coma at any moment. His low raspy voice (similar to Tom Waits’) is hesitating during some parts, to the point that he barely sings the end of the song. He’s accompanied by a band playing a slow and heavy rhythm similar to dark-cabaret.

[fuckyeahfrenchsongs]

Hoshi - Comment je vais faire Lyrics: First I’ve lost friends I’ve lost time Then, I’ve lost you But God knows that you bring rain and good weather in my life I don’t know how to catch them anymore The hands lended to me Of course I’d like to get out of the arms of solitude which held me for too long If my heart’s made of glass How could we see through Really, I don’t know how I feel myself [Chorus] I don’t know how I’ll do it, no I am at my own funeral I don’t need flowers I want to be given better days Nothing’s in front or in the back, no I don’t know how I’ll do it, no To escape, I make the vow I’d rather laugh about the pain Anyway, there’s nothing to say So I carry it proudly Soon I’ll get out of my bed For a little walk Farewell, nice melancholy I don’t want you anymore You stayed too long before my eyes My eyes, marked by all-nighters Are closing for you Memories as avalanches And the snowball effect brings me back to your arms My heart’s living winter I lost spring for a while I don’t know what awaits me [Chorus] I’m sorry if I dropped you I’m sorry I was spread out I heal my wounds one by one And this time I’ve lost And all those words wich rang to me I come harmed but no remorse [Chorus] I don’t know how I’ll do it, no I don’t know how I’ll do it  I don’t know how I’ll do it, no I don’t know how I’ll do it The Artist:

Hoshi is a young up-and-coming artist from Saint-Quentin-En-Yvelines. She started to get noticed by appearing in TV talent shows such as The Voice and has released her first songs since 2017 (she currently has only one EP in her discography). Her style is greatly influenced by famous belgian singer Jacques Brel while her lyrics mostly fit a melancholic mood. The song: The ambiance of Comment je vais faire is straightforward in its title. Hoshi talks about the aftermath of a bad event that happened, probably people who left her, and how she could move on. From the start of the first verse, we find out that she first lost friends before losing someone who seems to be closer to her. Because of an apathetic state, she hasn’t been able to reach for help and seems out of options. It’s possible that the apathetic state she’s in is depression. The chorus however, is about looking for a glimmer of hope in these difficult moments, despite her confusion. Besides a lack of direction, all she can do is move on since she’s already at the bottom. The second verse enforces that idea of getting back on track by letting the sadness go. However, Hoshi is disturbed by someone she can’t forget. Due to that person, she doesn’t know how her problems will end. In the third verse, we find out that she forgives the people she lost because of the fact that she dropped them. The term “spread out” could relate to the fact that she said or did something that revealed a provocative part of herself. Healing her wounds; she still reacts to memories but she still decides to move on.

[fuckyeahfrenchsongs]

Translation: Come closer kid, listen to me boy I’m going to tell you the tale of the human being At the beginning there was nothing, at the beginning it was nice Nature was moving, there was no road Then mankind arrived with its big shoes Kicks in the face in order to get respect One-way roads, he traced Arrows in the fields have multiplied And all the elements seemed mastered In the blink of an eye, the case was closed Going back won’t happen tomorrow We even started to pollute the desert [Chorus] You need to breath, saying it isn’t nothing You won’t die of laughter, and saying it isn’t nothing In a few years, we will miss our chances And your grandchildren will have one eye Placed on the forehead, they’ll ask you why you have two, you’ll feel like an idiot They’ll ask you how you could have let that happen You might defend yourself, telling them quietly “It’s not my fault, blame it on the elders” But nobody will be there to wash your hands You’ll tell them the time where you could Eat fruits on the grass, laying down in the fields There were animals everywhere in the woods When spring came, birds were coming back [Chorus] The worst in this story is that we’re slaves Partially assassins, yet incapable to watch trees cut down without feeling guilty Half-defrocked, 100% miserable So there you go kid, the story of the human being It’s not pretty and I don’t know the end You were not born in a cabbage, but rather a hole Which we fill every day like a manure pit [Chorus]

The artist: Mickey 3D is a French rock band primarily fronted by Mickaël Furnon aka “Mickey” while the rest of the line-up has eventually changed. Starting off as the opening act for Louise Attaque, the band managed to get recognition thanks to Mickey who wrote Indochine’s hit J’ai demandé à la lune. Ever since their first single La France a Peur was released in 2000, Mickey 3D kept a dark, cynical tone in their music, mostly criticizing politics and the media. Their sound is, most of the time, acoustic rock, which is akin to a lot of protest artists such as Bob Dylan, Miossec or Neil Young.   The Song: Similar to other Mickey 3D songs, Respire has a straightforward message about ecology and planet earth. But unlike other songs about warning the listener of the danger of pollution, this one sets a narrative which takes place in a near future. In the first verse, the narrator is a character who lives in our current world and is talking about the ancient planet earth and his life to a new generation. His tale bluntly talks about the development of fauna & flora on Earth and how the evolution of humanity has ruined it. Not only were humans responsible for exploiting the earth, they also fought each other for claiming it. The chorus talks about our current state in which we better enjoy what we have, in terms of oxygen and environment. The part about not dying of laughter also implies that if the degradation of the earth continues, nobody will die in a joyous or pleasant atmosphere. Finally, “Saying it is nothing” references the many past ecology protestors who were ignored by the people in power through history. The second verse is an emphasis on the last part of the chorus. Some lines reference climate change deniers who didn’t take responsibility in the past by blaming others. But when it comes to the people who become victim of pollution, all they can do is blame their problems on the previous generations who didn’t do anything. The “eye on the forehead” is a clear reference to the Chernobyl nuclear disaster which caused anatomic mishaps due to radioactive waves who would mutate living beings, as well as high risks of cancer. Unfortunately, many years after the song was released, another nuclear accident happened at Fukushima, which tells about how the song might remain relevant for the years to come. The last verse talks about the responsibility of mankind as a whole. Most of us could be opposed to pollution, deforestation and such acts, but we don’t take direct action against those. Thus, we become passive accomplices to these acts and become “partially assassins”. On the line “not born in a cabbage but rather a hole”, Mickey 3D makes a double-entendre on the term hole which references the vagina as well as the earth as a (shit)hole. The narrator doesn’t have an idea as to how his story ends, the same way we are not sure about how we’re going to get out of the miseries in our world. Natural catastrophes have happened more frequently and we might have gone past a point of no return. The last thing we could do, in the end, is breath.

[onestenrepublique-deactivated20]

Je me souviens d'un blog qui faisait des traductions / analyses (?) de chansons françaises mais je me souviens plus du nom. Tu as une idée ? Merci !

Huuuum @fuckyeahfrenchsongs ?

[fuckyeahfrenchsongs]

Ouaip, c’est bien nous! On a drastiquement ralenti notre rythme de publication mais des analyses restent en cours d’écriture (pas vrai @theblackwook ?)

[fuckyeahfrenchsongs]

Urbanisme – Vald (traduction) Translation: Dear, those youngsters, you should see them See them and hear them Seeing how they shout every night And then eat some shit You should see them at the lane For Kebab or at the square For drugs or some shit They smoke weed, what’s that ? Back in my days, they were blocks Because there were already blocks But these blocks were clean There were flowers, there were doors Now, it’s gloomy, there are only halls Halls with youngsters Who do nothing but trash Then drink, then stink What do they talk about ? Besides guns, life and dogs ? With the world’s misery on their shoulders Getting up early is too hard ? Well then, let them run away forever Let them go far, yeah, far away I live upstairs Back in my days, there were teachers Kids who enjoyed work Great police forces and underground punks We were funny, but not vulgar We were young and careless But them, they scream Leaning on the walls of the building They’re unemployed, drugged They’re worth nothing, let me tell you They’re stealers, marginals They’re worthless, I know them They graffiti, they tag They trash the stairs They piss in the elevator For god’s sake, you gotta be crazy For these youngster, there’s no censor No, they’re worth shit. They whine about the streets When it’s actually them who ruined it Me, I watch TV I heartily insult them I hate their jeering looks And I mostly hate it When I wake up in the neighborhood Dear, if only I was rich, sitting down on my barge Yeah, I hate my neighborhood Everything’s ugly and grey Everything nods, it’s horrible Dear, if only I was rich (Chorus) Dear, if only I was rich (dear, if only I was rich) Sitting down on my barge Dear, if only I was rich (dear, if only I was rich) Dear, if only I was rich Dear, if only I was rich (dear, if only I was rich) Sitting down on my barge Sitting down (Dear, if only I was rich) Sitting down on my barge, there was V on the playlist When I was born, there were towers Towers and then towers I had friends who were crazy They jumped classes and travelled Down the towers, I didn’t get it I told him “Buddy, you’re crazy ?” We see towers all day You get out, only to come back next Make detours, I don’t know Go around, see something else “V, you’re deaf or what ? I told you, down the towers I make cash Between classes and towers I prefer cash for my groceries” Yeah, there are courses and then groceries And then cash down the towers And the red eyes, everything’s pretty It’s pretty when you’re drunk Or else it’s crazy how it’s dirty Yeah, it’s blurred Clean up, it’s a mess Excuse me ladies But these damages are not ours These old hags, I know them Bitches avoiding death From above, they watch us and mock us One day born, then gone Everybody reads the news It’s legendary to be such a… (slut, slut, slut) Dear, if only I was rich Sitting down on my barge I’d like to leave Beriz Live the dream of being a peasant In the ranks, I feel the danger I only care about eating Avenge ? Avenge what ? I’d like to think I don’t have a plan B It’s not me, it’s what’s around I don’t care, I raise my voice But you don’t know what’s going on Down the towers Crazies making a scene Nutcases making a fuss Rooftops getting full So much, I lose my head So each night, with weed I think that if I was rich I’d be on my barge With V in the playlist So each night, with weed I think that if I was rich I’d be on my barge With V in the playlist But I’d need weed for that. Dear, if only I was rich (dear, if only I was rich) Sitting down on my barge Dear, if only I was rich (dear, if only I was rich) Dear, if only I was rich Dear, if only I was rich (dear, if only I was rich) Sitting down on my barge Sitting down (Dear, if only I was rich) Sitting down on my barge, there was V on the playlist

The artist: Vald (a pseudonym based on his first name Valentin) is a rapper originating from Ausnay-Sous-Bois. Lyrically, his universe is based on a heavy use of dark, absurd humor which mixes social commentary, egotrips and conspiracy theories. Throughout his projects, he has developed an inconsistent style which is mostly influenced by American rappers of his kind such as Young Thug or Future, as well as French rappers such as Booba and Alkpote. Songs such as Bonjour and Eurotrap are one of his most recognizable bangers and efficiently present Vald’s humor. The song: Outside of the usual trashy humor Vald is known for, Urbanisme is a song telling the story of two characters living in the same neighborhood. One is old, the other is young. Comprised of two major verses, each character has a verse where they talk about their daily lives. The first one presents the old character as an irritated grump who blames society’s current state on the current youth while second one presents the young character who is struggling with selling drugs. We start off with the complains of the old character about the modern days he lives in. Even though he was also a punk in his old days, he was doing it in his own right way, thinking that the new thugs are just plain vulgar and trashy. While the old character criticizes the youth, he’s also complaining about the current society, its modern architectures and how the authorities have become more permissive towards vandalism (a fact which is debated between young and old people in urban cities). In the chorus, he wishes he could become rich, own a barge (which is known as a luxury type of housing in France) and listen to V (one of Vald’s pseudonyms). The fact that the old man listens to Vald’s music might come off as odd, but it could mean two things: either he enjoys modern music while hating the young people which are affiliated to it, or Vald just makes a boastful statement about how his music could be listened by everyone. The old man also asserts the fact that everybody nods to what’s currently happening in his society, thinking that it has become passive to what’s going on. The second verse shows us the young character, who is most likely based on Vald himself. His main complaint is about his friends who make money by selling drugs. Vald makes alliterations around the words Tower, Course and Groceries (Tour, cours, courses). Vald’s friends ditch class and go out, strolling around towers (which is a way of calling HLMs which are common public housings in the Parisian region). Obviously, these towers are spots for them to sell drugs, hence the line “Between courses and towers, I prefer cash for my groceries”. The other line “Yeah, it’s blurred / Clean up, it’s a mess” is a reference to the states of consuming drugs (taking the drug, having a trip, and regretting it). After our young character’s daily life is presented, the second verse ends with him (probably) talking to the old character. He defends himself about the fact that he isn’t causing the trouble mentioned in the first verse, by blaming other youngsters (“But these damages are not ours“). There’s also a nice double meaning with the term “These damages”. It could simply translate to “ces dégâts” in french which, misheard, gives us “C’est des gars” (It’s those guys). No matter how it’s written, it still stays in context. The young character also defends himself about how he’s easily blamed for being part of a generation which is disliked by the previous ones. It’s all a matter of perspectives and the young character just tries his best to live his life, besides living in a troubled neighborhood. This is heavily asserted in the line “But you don’t know what’s going on / Down the towers / Crazies making a scene /Nutcases making a fuss /Rooftops getting full / So much, I lose my head” Just like the old character, he also wishes to become rich, own a barge, and listen to V (but also wishes to smoke weed along with that) before the song ends. Besides their differences of age and background, the two characters are connected by the ideal life they want and also have their own problems. The instrumental also portrays the two different times that the characters are from: the violins are reminiscent of Yann Tiersen’s works, which were inspired by popular music during the first half of the 20th century. Meanwhile, the hip-hop influenced drumloop marks the tempo and is common in modern rap beats.

Trivial note: There are three music videos for the song based on a single scene of Vald going out to buy cigarettes. Each music video films the scene at a different period of the day.

[fuckyeahfrenchsongs]

Translation:   My hamster is named Cunnilingus And believe it or not But this guy really thinks he is a man I wonder how he does it But he always fall for women who come whispering to him “Cunnlingus, my love!” They fall for him (It doesn’t surprise him) He wakes up at night to perfume himself between their pretty fingers Ooh how he loves to hang on his bars to show how he thinks he really is The great king of abs The problem is that he wants to be loved As if he was really a man To whom we’d whisper “Cunnilingus, my love!” They mess around with him (it doesn’t surprise him) When he dances at night As if his life depended on it between their pretty fingers One night, I overdosed the amount of perfume for Cunnilingus Who thinks he is looking more and more like a man! He began licking all around himself To wash himself cause you know We are never too pretty He began dancing (it doesn’t surprise us) Like a possessed man (with wings on his ankles) His body alcoholised broke itself against the bars of his cage A lot of blood pours from his eyes And his sweet fur still nicely perfumed An unequalled performance Not even by Elvis Presley Michael Jackson can go home (go home, Michael!) My hamster was called Cunnilingus And believe it or not but this guy really thought he was a man.

The Artist: Dionysos is a french art-rock band fronted by Matthieu Maltzieu which has spawned many concept albums since the early 1990s. Most of their albums are adapted from books that Maltzieu wrote, including La mécanique du coeur which remains their most popular project. On top of telling a story, most Dionysos songs switch between gritty humour and a melancholic mood, accentuated with Maltzieu’s deep voice or a guest artist who plays a character. The song: Cunnilingus, Mon amour is part of La Mécanique du coeur, a concept album about the life of a boy named Jack who is born without a heart and falls in love with a travelling girl named Acacia. As a way of not telling any spoiler, let’s talk about the most filler song of the album which talks about Jack’s hamster, how he gets spoiled by two caring women and how he pretends to be a man. The opening verse presents us the character (who is soberly named after oral sex) and also tells a smart play on words. the terms doing something and falling for someone translate in french with s’y prendre and s’éprendre which can easily be mixed, depending on how the first syllable is pronounced. The two spoiling women (one voiced by actress Rossy de Palma and the other voiced by Élisabet Maistre, Dionysos’ violinist) look after Cunnilingus in a teasing way, thinking of him as an actual man, while the hamster wants to feel actual love (the same way Jack tries to have a romance despite missing a heart) and starts to develop a macho attitude, mimicking humans the best way he can. This quirky metaphor goes from a silly context to a darker one quickly. After getting too much perfume from one of the women, Cunnilingus becomes drunk and violently rams himself to the bars of his cage, dying afterwards with blood pouring from his body. The comparison between his death and Elvis Presley can be seen as the example of a swan song, as he was at his manliest when he became drunk. Finally the narrator sings the same line of the beginning of the song, but in the past tense. Even though it’s just a joke track (the instrumentation compliments this feeling as well by mixing burlesque-music hall with turntable scratches), we can assume that a nuanced critique towards the ridiculous side of humanity was involved. Outside of his animal traits, Cunninlingus becomes a clumsy drunkard who dances to his death. He’s named after oral sex for the sake of raunchy humour and also how inglorious his character becomes after being overly influenced by the two ladies. In that perspective, it can also be a critique on how you can quickly fall into disgrace after being pampered your whole life and entering real life.

[fuckyeahfrenchsongs]

Translation: Pampers, Cadum Fisher Price and Vertbaudet Guigoz, Bledina Jacadi, Mixa Bébé Babar, Baby Nike Sophie the Giraffe Chicco, Bébé Confort Maclaren and Kleenex P’tit Dop, Petit Bateau Petits Filous and Nintendo Mattel, Playmobil Ravensburger and Lego MB, Panini Oxford, Tann’s and Kickers Running (Ouch!) Merchurochrome Hansaplast and Kleenex [Chorus] And with each day passing We need to get used to it Our ways are the same Within our bodies Identical emblems Floating on the masses Mennen, Biactol iPod and Nokia Macdonalds, Coke No Pepsi ? Fanta then… Reebook, no, Reebok Levi’s, Converse and Vivelle DOP Freedent, Labello No ? Then… Playboy and Kleenex Twingo, moving out alone Panzani, Conforama Ebay, Sony Orange, Cofinoga Malibu, Heineken, Manzana Woo! Jack Daniel’s And…. Get27, oh boy Smecta… Doliprane… Oh… Jacob Delafon! And Kleenex [Chorus] Meetic, Clio Bistro Romain and Veuve Clicquot Bultex, Durex Yes! (crack) Shit, quick! Kleenex Lenôtre, Pronuptia Guy Hoquet and Mobalpa Ikea, Cetelem Sofinco and Kleenex Juvamine, so you Juvamine So you Juvamine! Then you Juvabien! Pétrole Hahn, Nespresso One more room and Demeco Carrefour, Buffalo Grill JouéClub, TF1 Scénic, Disneyland Lexomil and Kleenex [Chorus] Postal service, Télé Poche Damart and Audika Caisse d’Epargne Cologne France Loisirs and France 3 Werther’s, Sheba Pampers and Bledina Jardiland, Interflora PFG and Kleenex The Artist:  Oldelaf is a french Chanson singer-songwriter who remains known for his simple comedic songs which involve everyday life’s problems and sometimes critiques towards society. Songs such as Le Café and La Tristitude are the most popular from his discography. Outside of his solo career he was part of a duo with Monsieur D and was also a temporary guitarist for the band Fatal Picards.

The song: At first listen, Kleenex could be heard as a straightforward criticism of consumerism and how we get used to see the same brands every day, but it tells more than that. It also tells a person’s life and how they grow up with different brands, Kleenex being the most recurrent one as the name of the brand almost replaced the use of the term tissue in french vocabulary. The first verse is about the character’s childhood which references many brands related to child toys and baby care products, Kleenex being used during tantrums. Wearing Pampers diapers and playing with Fisher Price toys during toddlerhood, the baby later grows into a child and is used to play Nintendo games, collect Panini stickers and going to school with Oxford notebooks. The end of the verse also portrays a scene where the child runs with Kicker shoes and gets hurt, resulting in crying and drying the tears with Kleenex. The chorus then talks about how the different brands and logos get used to our daily lives and how we use them throughout life. In the second verse, the child grows into adolescence and starts using various products such as Mennen for shaving and Biactol for getting rid of acnea. Faithful to the events of puberty (and also as a reference to Oldelaf’s humor), Kleenex are used for masturbation sessions. This part of song about teenagehood also shows how the song could age badly in the future, as the iPod and Nokia products are nearly defunct nowadays and won’t play a big role in upcoming generations (In that way, the whole song could be about the life of someone born during the 1990s). The second part of the verse portrays a transition from puberty to young adulthood. The character has to move out, gets used to eating Panzani pasta products but also starts drinking. After binging out, the character throws up in a Jacob Delafon toilet and wipes it up with Kleenex. We’ve moved on to adulthood in the third verse. Thanks to the website Meetic, our character has met a significant other. A date is organised at the Bistro Romain (a parisian restaurant) but unfortunately, their Durex condom break out while having sex on a Bultex bed and Kleenex is used for cleaning up the mess. A wedding is later arranged and the couple manages to afford a house thanks to the Guy Hoquet Real Estate agency. It is also suggested in this first part of the verse that after handling all the paperwork for the family, the characters wipe their sweat off with Kleenex. The second part of the verse talks about how the character tries to manage his life as a parent. Taking Juvamine vitamins (a french pharmaceutic brand known for its slogan “Si Juvabien c’est Juvamine”) as well as Lexomil for depression, the parents also take care of their children by bringing them to Jouéclub toy stores and Disneyland, on top of buying a Scenic car for the family, more space in their house. In this context, Kleenex is probably used during breakdowns, seeing the difficulties of parenting. The song ends with the elderhood and the death of our character in the fourth verse. Living a sedentary life and getting accustomed to watching TV (France 3 is a channel known for its senior-centered programs), the activities are now much more trivial (going to Jardiland for getting gardening products, buying Sheba food for pets and eating Werther’s caramel which are known for their commercial showing a grandfather). Just like in the first verse, Pampers and Bledina are mentioned, showing how the old parent also takes care of grandchildren now (or the Pampers could reference urine leakage during old age). Finally, our character dies and is buried thanks to the PFG (A funeral service company) and Kleenex are used by the family and friends crying at the ceremony.

[fuckyeahfrenchsongs]

Translation: Pampers, Cadum Fisher Price and Vertbaudet Guigoz, Bledina Jacadi, Mixa Bébé Babar, Baby Nike Sophie the Giraffe Chicco, Bébé Confort Maclaren and Kleenex P’tit Dop, Petit Bateau Petits Filous and Nintendo Mattel, Playmobil Ravensburger and Lego MB, Panini Oxford, Tann’s and Kickers Running (Ouch!) Merchurochrome Hansaplast and Kleenex [Chorus] And with each day passing We need to get used to it Our ways are the same Within our bodies Identical emblems Floating on the masses Mennen, Biactol iPod and Nokia Macdonalds, Coke No Pepsi ? Fanta then… Reebook, no, Reebok Levi’s, Converse and Vivelle DOP Freedent, Labello No ? Then… Playboy and Kleenex Twingo, moving out alone Panzani, Conforama Ebay, Sony Orange, Cofinoga Malibu, Heineken, Manzana Woo! Jack Daniel’s And.... Get27, oh boy Smecta… Doliprane… Oh… Jacob Delafon! And Kleenex [Chorus] Meetic, Clio Bistro Romain and Veuve Clicquot Bultex, Durex Yes! (crack) Shit, quick! Kleenex Lenôtre, Pronuptia Guy Hoquet and Mobalpa Ikea, Cetelem Sofinco and Kleenex Juvamine, so you Juvamine So you Juvamine! Then you Juvabien! Pétrole Hahn, Nespresso One more room and Demeco Carrefour, Buffalo Grill JouéClub, TF1 Scénic, Disneyland Lexomil and Kleenex [Chorus] Postal service, Télé Poche Damart and Audika Caisse d’Epargne Cologne France Loisirs and France 3 Werther’s, Sheba Pampers and Bledina Jardiland, Interflora PFG and Kleenex The Artist:  Oldelaf is a french Chanson singer-songwriter who remains known for his simple comedic songs which involve everyday life’s problems and sometimes critiques towards society. Songs such as Le Café and La Tristitude are the most popular from his discography. Outside of his solo career he was part of a duo with Monsieur D and was also a temporary guitarist for the band Fatal Picards.

The song: At first listen, Kleenex could be heard as a straightforward criticism of consumerism and how we get used to see the same brands every day, but it tells more than that. It also tells a person’s life and how they grow up with different brands, Kleenex being the most recurrent one as the name of the brand almost replaced the use of the term tissue in french vocabulary. The first verse is about the character’s childhood which references many brands related to child toys and baby care products, Kleenex being used during tantrums. Wearing Pampers diapers and playing with Fisher Price toys during toddlerhood, the baby later grows into a child and is used to play Nintendo games, collect Panini stickers and going to school with Oxford notebooks. The end of the verse also portrays a scene where the child runs with Kicker shoes and gets hurt, resulting in crying and drying the tears with Kleenex. The chorus then talks about how the different brands and logos get used to our daily lives and how we use them throughout life. In the second verse, the child grows into adolescence and starts using various products such as Mennen for shaving and Biactol for getting rid of acnea. Faithful to the events of puberty (and also as a reference to Oldelaf’s humor), Kleenex are used for masturbation sessions. This part of song about teenagehood also shows how the song could age badly in the future, as the iPod and Nokia products are nearly defunct nowadays and won’t play a big role in upcoming generations (In that way, the whole song could be about the life of someone born during the 1990s). The second part of the verse portrays a transition from puberty to young adulthood. The character has to move out, gets used to eating Panzani pasta products but also starts drinking. After binging out, the character throws up in a Jacob Delafon toilet and wipes it up with Kleenex. We’ve moved on to adulthood in the third verse. Thanks to the website Meetic, our character has met a significant other. A date is organised at the Bistro Romain (a parisian restaurant) but unfortunately, their Durex condom break out while having sex on a Bultex bed and Kleenex is used for cleaning up the mess. A wedding is later arranged and the couple manages to afford a house thanks to the Guy Hoquet Real Estate agency. It is also suggested in this first part of the verse that after handling all the paperwork for the family, the characters wipe their sweat off with Kleenex. The second part of the verse talks about how the character tries to manage his life as a parent. Taking Juvamine vitamins (a french pharmaceutic brand known for its slogan “Si Juvabien c’est Juvamine”) as well as Lexomil for depression, the parents also take care of their children by bringing them to Jouéclub toy stores and Disneyland, on top of buying a Scenic car for the family, more space in their house. In this context, Kleenex is probably used during breakdowns, seeing the difficulties of parenting. The song ends with the elderhood and the death of our character in the fourth verse. Living a sedentary life and getting accustomed to watching TV (France 3 is a channel known for its senior-centered programs), the activities are now much more trivial (going to Jardiland for getting gardening products, buying Sheba food for pets and eating Werther’s caramel which are known for their commercial showing a grandfather). Just like in the first verse, Pampers and Bledina are mentioned, showing how the old parent also takes care of grandchildren now (or the Pampers could reference urine leakage during old age). Finally, our character dies and is buried thanks to the PFG (A funeral service company) and Kleenex are used by the family and friends crying at the ceremony.

[fuckyeahfrenchsongs]

Visit Original Link

Translation: The world was ours, now it belongs to no one It happened quietly, don’t worry, there won’t be Larsen I buried it all in a small part of my heart But it’ll always be here, like a pacemaker Why do I feel like you’re still at my place ? Why does time fly so fast since I don’t feel you in my arms ? I miss you, my heart is heavy like a tank My hopes locked with three locks in a bank I know it’s dead, so why do I still think about it ? I try my best but sometimes I hate you to death It destroyed me, but as we say “C’est la vie” But it still hurts to know that it’s over [Chorus x2] How’s it going ? How’s your life going ? Do you think about me when you’re with him ? It felt so good being next to you It hurts like a pickaxe But I won’t make any reproach Sad story, ugly, really cruel I remember you in this hotel room at Bruxels You said “I never said I wasn’t in love with you” So why are you in his arms now ? If you knew how long a minute passes Listen to the sound of my heart when it explodes like a pressure cooker Now I’m not your friend, nor your lover I’m nothing, just a guy who wanted to be happy You see, I still do Stup but I don’t feel it anymore I’ll still be sad What is the difference between me and you ? It’s that I count the days while I know you clearly don’t [Chorus x2] Nancy… The artist: Stupeflip is a rap/punk/french chanson trio which marked the early 2000s french music scene for being an unexpected band, promoting their music by being vulgar during TV appearances. This kind of behaviour put them into trouble with their record company and their contract got cancelled in 2005 after two albums, until they came back years after, thanks to crowdfunding. Besides their appearance as a trio, the band is mostly handled by Julien Barthélémy (also known as King Ju) who does the writing, producing and also the visual arts for the albums.

Stupeflip’s musical style is certainly various, but it also mixes absurd lyrics with a heavy load of alliterations and a constant use of sampling (in their own terms, they “pick little bits of stuff and then put them together”). Behind their gritty humor, there are sometime some heavy messages related to their hardships as an uncommon band and how their members worked in an unfair bureaucratic society (their debut self-titled album talks in great length about these subjects), but also a mysterious lore about the “Stupeflip crou”, an universe consisting of 894 members and different regions and eras (each era representing the release of a Stupeflip album). With this universe also comes a handful of characters representing Stupeflip such as Pop-Hip, a parody of pop musicians who are only in it for the money, and King Ju, the great mastermind behind the band. With each album coming out, the listener gets to know slightly more about Stupeflip but not enough to get the full picture as it’s supposed to stay in a fuzzy middle-ground. The Song:  Nan?… Si? is one of the rare Stupeflip songs which talk about heartbreak and is also recognised, amongst stupeflip fans, as one of their most mature songs. The narrator, possibly King Ju, is talking about how his relationship with a woman went down and how it’s difficult for him to move on with it. Right at the beginning, Ju specifies that there won’t be any Larsen (a larsen effect is an ear-hurting audio effect you hear when you put a mic in front of a speaker) but he’ll keep the memories in his heart, just like a pacemaker. Even though they are now separated, he still thinks she’s part of his life as he probably thinks that she was the only woman he could love (this is accentuated with the metaphor of hopes locked with three locks in a bank in the first verse). In the original french lyrics, the chorus starts off with an incredible play on words. How’s it going ? How’s your life going ? can be translated as Est-ce que ça va ? Comment c’est ta vie ? but if you mix the two sentences into one you get Est-ce que ça va commencer ta vie ? which translates to Is your life going to start ? These are different questions but they all fit into the same context, which is how the narrator’s ex is living her life with another man. He still thinks about her but does she still think about him ? On top of the fact that she lives with a new boyfriend, the narrator also thinks that her life is finally off to a start and that he was nobody to her. The use of the term pickaxe for the fact the she left him, also describes the state of his heart: not destroyed, yet shattered. The second verse tells more about the aftermaths of their breakup but also memories of their relationship. The narrator remembers how her ex promised to stay faithful to him, even though she left him for somebody else. She left him but he still wants to her to feel how his life is going hard without her (and the line Now I’m not your friend, nor your lover insists on the fact that he’ll prefer to grant her a death wish than ask her to come back). The use of terms such as heavy like a tank and pressure cooker could sound as a corny way of writing rhymes, but it also shows how Ju’s speech is bold and clear to understand as he is confused by sadness. The line You see, I still do Stup but I don’t feel it anymore brings us back to reality: this song is clearly about how King Ju had a hard time with someone he loved and how it has affected his creative flow (also note the use of reversed vocals, a recurring element in Stupeflip’s music which gives a replay value to their albums). The song ends with King Ju reminding her ex that he’ll never forget the life they had together, stating that his grieving process might be eternal, and finally says her name: Nancy, making a connection to the title of the track (Nan ? Si ? means Nah ? Yes ?, two terms which contradict each other, just like how Ju and her ex are living different lives now). At the very last seconds of the song, you can hear the sound of a gun being loaded, possibly the sign of Ju wanting to commit suicide, but the track ends before you could hear the sound of a gunshot or not. As a whole, Nan ? Si ? is about how bad you can feel after someone has used you during a relationship. The simplistic choice of words, as well as some contradicting lyrics, show how the narrator is struck by sadness and tries his best to put his feelings into lyrics. With the help of an ethereal instrumental (which remixes the soundtrack of Tim Burton’s Alice In Wonderland in reverse), the listener is put into an intimate ambiance which is far ahead of other Stupeflip songs.

[milord-p0t-au-feu]

Also, the “iiiiiiiiiiiii” (or “eeeeeee”, depend on how you read it") could refer to the still line and the sound it makes when the heart stops beating when you’re at hospital on your dying bed

[milord-p0t-au-feu]

And when King-Ju talks about the pacemaker, it can refer to the fact that a pacemaker is at the place of the heart and also that now his heart needs assistance to beat, with the help of an artificial one, like it’s stopped beating.

[fuckyeahfrenchsongs]

Good point!

[fuckyeahfrenchsongs]

Visit Original Link

Translation: The world was ours, now it belongs to no one It happened quietly, don’t worry, there won’t be Larsen I buried it all in a small part of my heart But it’ll always be here, like a pacemaker Why do I feel like you’re still at my place ? Why does time fly so fast since I don’t feel you in my arms ? I miss you, my heart is heavy like a tank My hopes locked with three locks in a bank I know it’s dead, so why do I still think about it ? I try my best but sometimes I hate you to death It destroyed me, but as we say “C’est la vie” But it still hurts to know that it’s over [Chorus x2] How’s it going ? How’s your life going ? Do you think about me when you’re with him ? It felt so good being next to you It hurts like a pickaxe But I won’t make any reproach Sad story, ugly, really cruel I remember you in this hotel room at Bruxels You said “I never said I wasn’t in love with you” So why are you in his arms now ? If you knew how long a minute passes Listen to the sound of my heart when it explodes like a pressure cooker Now I’m not your friend, nor your lover I’m nothing, just a guy who wanted to be happy You see, I still do Stup but I don’t feel it anymore I’ll still be sad What is the difference between me and you ? It’s that I count the days while I know you clearly don’t [Chorus x2] Nancy… The artist: Stupeflip is a rap/punk/french chanson trio which marked the early 2000s french music scene for being an unexpected band, promoting their music by being vulgar during TV appearances. This kind of behaviour put them into trouble with their record company and their contract got cancelled in 2005 after two albums, until they came back years after, thanks to crowdfunding. Besides their appearance as a trio, the band is mostly handled by Julien Barthélémy (also known as King Ju) who does the writing, producing and also the visual arts for the albums.

Stupeflip’s musical style is certainly various, but it also mixes absurd lyrics with a heavy load of alliterations and a constant use of sampling (in their own terms, they “pick little bits of stuff and then put them together”). Behind their gritty humor, there are sometime some heavy messages related to their hardships as an uncommon band and how their members worked in an unfair bureaucratic society (their debut self-titled album talks in great length about these subjects), but also a mysterious lore about the “Stupeflip crou”, an universe consisting of 894 members and different regions and eras (each era representing the release of a Stupeflip album). With this universe also comes a handful of characters representing Stupeflip such as Pop-Hip, a parody of pop musicians who are only in it for the money, and King Ju, the great mastermind behind the band. With each album coming out, the listener gets to know slightly more about Stupeflip but not enough to get the full picture as it’s supposed to stay in a fuzzy middle-ground. The Song:  Nan?… Si? is one of the rare Stupeflip songs which talk about heartbreak and is also recognised, amongst stupeflip fans, as one of their most mature songs. The narrator, possibly King Ju, is talking about how his relationship with a woman went down and how it’s difficult for him to move on with it. Right at the beginning, Ju specifies that there won’t be any Larsen (a larsen effect is an ear-hurting audio effect you hear when you put a mic in front of a speaker) but he’ll keep the memories in his heart, just like a pacemaker. Even though they are now separated, he still thinks she’s part of his life as he probably thinks that she was the only woman he could love (this is accentuated with the metaphor of hopes locked with three locks in a bank in the first verse). In the original french lyrics, the chorus starts off with an incredible play on words. How’s it going ? How’s your life going ? can be translated as Est-ce que ça va ? Comment c’est ta vie ? but if you mix the two sentences into one you get Est-ce que ça va commencer ta vie ? which translates to Is your life going to start ? These are different questions but they all fit into the same context, which is how the narrator’s ex is living her life with another man. He still thinks about her but does she still think about him ? On top of the fact that she lives with a new boyfriend, the narrator also thinks that her life is finally off to a start and that he was nobody to her. The use of the term pickaxe for the fact the she left him, also describes the state of his heart: not destroyed, yet shattered. The second verse tells more about the aftermaths of their breakup but also memories of their relationship. The narrator remembers how her ex promised to stay faithful to him, even though she left him for somebody else. She left him but he still wants to her to feel how his life is going hard without her (and the line Now I’m not your friend, nor your lover insists on the fact that he’ll prefer to grant her a death wish than ask her to come back). The use of terms such as heavy like a tank and pressure cooker could sound as a corny way of writing rhymes, but it also shows how Ju’s speech is bold and clear to understand as he is confused by sadness. The line You see, I still do Stup but I don’t feel it anymore brings us back to reality: this song is clearly about how King Ju had a hard time with someone he loved and how it has affected his creative flow (also note the use of reversed vocals, a recurring element in Stupeflip’s music which gives a replay value to their albums). The song ends with King Ju reminding her ex that he’ll never forget the life they had together, stating that his grieving process might be eternal, and finally says her name: Nancy, making a connection to the title of the track (Nan ? Si ? means Nah ? Yes ?, two terms which contradict each other, just like how Ju and her ex are living different lives now). At the very last seconds of the song, you can hear the sound of a gun being loaded, possibly the sign of Ju wanting to commit suicide, but the track ends before you could hear the sound of a gunshot or not. As a whole, Nan ? Si ? is about how bad you can feel after someone has used you during a relationship. The simplistic choice of words, as well as some contradicting lyrics, show how the narrator is struck by sadness and tries his best to put his feelings into lyrics. With the help of an ethereal instrumental (which remixes the soundtrack of Tim Burton’s Alice In Wonderland in reverse), the listener is put into an intimate ambiance which is far ahead of other Stupeflip songs.

[fuckyeahfrenchsongs]

Klub des Loosers - Non-Père Translation: You won’t call me daddy because she had you with someone else. A guy who hates me because I entered in where you come from Arriving in life like a kick in a marble game I didn’t plant the seed, but I see you more than him. Every morning I wake up and prepare your schoolbag I Hope that they’ll teach you how to be nice at school Don’t worry it’s the beginning, we’ll tolerate each other the best we can I’m not sure it’s going to last with your mother, because I prefer life as a couple I don’t appear in your drawings, you weren’t in mine either Things would be much easier if you only were a little dog Absent when you got your first rattle, I loved you like a ricochet I only get a smile when we get out of the toy store I didn’t pick your name, nor your presence You’ll give me a hard time during your adolescence In the end, it has no purpose, blood ties will always matter I’ll never be a father to you even though I try my hardest You won’t call me daddy because she’ll have you with someone else The first guy who comes according to her biological clock She said she really loved me but not the point of not becoming a mother Are we civilised if the instincts beat the feelings ? No regrets anyway, I would have seen you only two week-ends per month Love doesn’t last, I’ve read it in the statistics And their teary eyes when they understand that I won’t be a parent But I don’t want to create, especially not mistakes Son, we never know our father anyway We’re all brought to tear in front of a grave with no name No soccer match or afternoon at the zoo Let me go there, I prefer to be with the animals Son, don’t hate me for that, we’ll never know each other A lot of exes would tell you that, it would be for the better They wanted to bring you here, hurried by the clock My son remains in the void, I spare you a round trip

The artist: The Klub Des Loosers is a french alternative hip-hop duo based in Versailles and while the original duo had Fuzati as the MC and Orgasmic as the DJ, the latter quickly left and has been replaced by DJ Detect. Even though we’re talking about a duo, Fuzati is commonly seen as the only frontman and even made solo material under the Klub des Loosers name. Mainly inspired by the underground british rapper MF Doom, Fuzati raps with a nearly non-existent flow in order to highlight his lyrics which deal a lot with problematic relationships, hatred/remorse towards his exes, suicidal thoughts and other dark themes, with sometimes black humor involved. the miswriting of “loser” is intentional in the way that Fuzati’s lyrics are about getting loose off society.

The song:  Non-père can be considered as the speech of a stepfather to his fiance’s child, talking about how it’s difficult for him to be a father figure and thus, a non-père (no-father). The line Arriving in life like a kick in a marble game represents this feeling, since the stepfather is the proof that the former parents didn’t have a successful relationship, also implying that the narrator was previously involved in adultery and that he didn’t expect the woman’s child. A clever pun in the original lyrics is the line I don’t appear in your drawings, you weren’t in mine either. In french, drawings translates to dessins, which is homonymous of desseins which means plan. With these two homonyms, the narrator tells in one line how he’s not seen as a real father and also how he didn’t want him to begin with. This feeling also appears in the line such as I’m not sure it’s going to last with your mother, because I prefer life as a couple or I didn’t pick your name, nor your presence. A clever use of alliterations is seen in the translation of Absent when you got your first rattle, I loved you like a ricochet which gives us Absent à ton premier hochet, je t’ai aimé par ricochet, making a parallel between the childish joy of doing ricochet and the indirect love from the stepfather to his son, since the former only wanted to live with his girlfriend. Throughout the songs, the narrator talks about trivial father & son things to do which feel different once you put the stepfather notion into account (the child only smiles at his father when he buys him gifts at the toy store mentioned in the first verse). Another key element is how the mother actually wanted a child, as it’s showcased in the line She said she really loved me but not to the point of not becoming a mother, and thus explains the love-hate relationship between the stepfather and the son. It’s also worth noting that this love-hate duality is seen in the two verses of the song, the first one talking about how he tries to act as a father, and the second one about how he is reluctant to being a parent. Gritty humor akin to Fuzati’s writing style is also present, with the analogy between coming out of the womb and sexual intercourse in the second line of the first verse (A guy who hates me because I entered in where you came from). The chorus doesn’t have any lyrics, only a voice singing pa in acapella, but saying pa twice can be heard as Papa which means Daddy. In the second verse, the narrator eventually decides to live a childless life. It also seems to show an alternative situation where he won’t partake in having a biological son, and changes his speech so that it’s addressed to the child he’ll never have (But I don’t want to create, especially not mistakes [...] My son remains in the void, I spare you a round trip). This sort of solitary decision is common in Klub des Loosers songs, but it could also hint a troubled past between Fuzati and his parents, along with the choice of not wanting a child. The song itself has an important place in the album it comes from (La fin de l’espèce, an album about life in a couple, parenthood and death) and pictures a softer side of the Klub des Loosers, making it one of their most accessible songs.

[fuckyeahfrenchsongs]

Visit Original Link

Translation:

Clap, first take, Panoramic shot A camera moves, close-up on Dominique Alone in front of the mirror, she checks her body

Then yells “a few more efforts” mechanically All diets have been tested All the attempts have been complete failures But she perseveres and in order to pleasure her man Dominique has decided to follow the norm She stacks on, magazines In which she thinks she’ll find the best solution Maso, assaulting her curves [Chorus]

She was busy cutting money Cause she got her butt stung A fashion victim, such is her codename A fashion victim, such is her codename Lights on, scene 2, The ace of trifle suggests A brand new deal, and here’s the cause: “So many efforts for what result ? She loses cash instead of weight” Dominique answers fast and quickly she explains She wants to become the same as those creatures in the music videos There goes the small pretty girls They follow a model who makes their head swirl From London, Washington, Kingston, Sharengton or Carcassonne When the phone rings, she always answer that

[Chorus]

So, as a conclusion With the logical analysis of this situation The diet, jogging, or liposuction are to be tested but watch out

Let’s hope that you’ve understand The very clear bases of this code of morality:

Gaining or losing a few kilos What matters is to feel good in its body My tactic attacks any ethic with tact Dominique, don’t panic Listen to this funky beat The quest for image leaves her in stress [Chorus]

The Artist: MC Solaar is a french parisian rapper and is commonly known as France’s first popular rapper when his debut album Qui sème le vent récolte le tempo came out in the early 90s. Through this decade, his lyrics have become more politically conscious and his complex pun-filled writing established him as one of France’s most respected songwriters. The song: Showing the era where Solaar wrote his first hits such as Caroline and Bouge de là, Victime de la mode talks about, in a light tone, the misadventures of a woman named Dominique who tries to lose weight in order to match society’s standards of beauty, and most of the song serves as a lesson about how everybody should enjoy themselves, no matter what size they are. Of course, french-to-english translations are never perfect, especially when Solaar’s strong use of alliterations is involved. In order to illustrate a narrative in the song, Solaar uses cinematographic terms to describe Dominique’s everyday routine. The chorus’ pun She was busy cutting money cause she got her butt stung actually has alliterations of P and QU in the original lyrics: Elle était occupée à couper du pécule car on lui piquait les fesses. Pécule is slang for money but you can mishear it as Pécu which translates to slang for Toilet Paper and thus can be connected to Fesses which means butt. The Ace of Trifle mentioned in the second verse is one of Solaar’s nicknames (and is also one of the many card references which can be found in his first songs) . Once again, there is a heavy use of alliteration in the original lyrics: the line Dominique answers fast and quickly she explains/She wants to become the same as those beauty figures in the music videos translates to Dominique réplique et très vite m’explique/ qu’elle veut être la réplique d’une créature de clip. Another thing to note is the mentioning of London, Washington, Kingston, Sharengton and Carcassonne. While the three former cities are known across the world, Sharengton is an anglicized version of Charenton, a parisian area from which Solaar is from, while Carcassonne is a city located in the rural parts of France. Out of those five cities, only London is known for being a landmark for fashion trends, which shows how Solaar is uninformed/uninterested in fashion (and also shows how he doesn’t care about Dominique’s figure) and also how he desperately tries to name cities ending with ON. Finally, the third verse is the morale of the story. Even though Solaar tells a straightforward “Love yourself at any size” message, he specifies that weight loss methods are still acceptable, as long as it doesn’t drive you into a maniac lifestyle. For the third time, Solaar employs alliterations (of A, I, T and QU) with the ninth line (Ma tactique attaque toute éthique avec tact/ Dominique, pas de panique/Écoute bien ce funky beat) but it’s mostly for the sake of Solaar showing off his poetry skills without caring about the narrative of the song. It also raises the question: did Solaar know a woman named Dominique or did he pick this name for the sake of more alliterations ? To finish off the song, Solaar namedrops Jimmy Jay, his producer, who made a very easygoing funky instrumental for this track. Covers: The song has been covered twice. Once by the band Tryo, which strives more to the reggae style they’re known for, and another time by Kumisolo who turns the whole song into a quirky electropop ballad with more emphasis on the body-positive message.