Michael Zeleny (larvatus) wrote,
Michael Zeleny

a middle-aged male defilement fantasy

Herewith more proof of seminal, howsoever clandestine and unacknowledged, influence of Jews on Russian culture. Максим Лебедев ([info]maxim_lebedev) refers us to Сосачки, a hit track by Нежное Это ([info]i_mel). It amounts to a Russian rendering of the 1966 duet by France Gall and Serge Gainsbourg, Les sucettes, a sentimental favorite of ugly logorrhoeic middle-aged Israelites addicted to corrupting teenage gentile maidens, or vice versa:
The press called Serge’s little singing doll a “breath of fresh air” and wrote of her “gaiety and enthusiasm”. The teen magazines in particular descended on the dazed Eurovision prize-winner, bombarding her with the usual pertinent interview questions. Was Serge her ideal guy, they asked? No, she said, she preferred blond-haired blue-eyed boys but she liked Serge because he was “odd”. Did they plan to get married? No, but she would continue to sing his songs because he managed to capture her very essence in his words. She was still too naive to understand that the essence of her that Serge had captured in two subsquent songs he wrote for her, ‘Baby Pop’ and ‘Les Sucettes’ wasn’t quite the one that she had in mind.
    Concealed among the words of ‘Baby Pop’, with its portentous refrain — in translation: “Sing, dance, Baby Pop, as if tomorrow, Baby Pop, might never come; Sing, dance, Baby Pop, as if tomorrow, Baby Pop, in the early hours of morning, Baby Pop, you must die” — was a fatalist pushing forty, an ironist rather than a reckless teenager abandoning herself to pop. And to all but the most innocent, ‘Les Sucettes’ (Lollipops), about a little girl called Annie who loves to suck on lollipops until the anis (that aniseed flavour that the French so love in their drinks, Serge, a great fan of Pastis 51, included) runs down her throat — evinced a middle-aged male defilement fantasy more than it did an adolescent girl’s sugar cravings. Sadly, France Gall was the most innocent. When, after it became another hit, its meaning was pointed out to her, she was mortified, hiding herself away for weeks, refusing to face anyone. When she did finally comment, she attested that she had sung Serge’s songs “with an innocence of which I’m proud. I was pained to then learn that he had turned the situation to his advantage, mocking me.”1 Serge was unrepentant. “It’s the most daring song of the century,”2 he said in an interview with Rock & Folk. Double irony was that a cosmetics company approached his publishers for permission to launch a range of Baby Pop beauty products, aimed at just such little girls.
    Some years later Serge would say, “it was France Gall who saved my life,” because until she sang his songs, “when it came to young people I was totally out. I don’t regret that part of my life at all. Suddenly I still existed.”3

    1 “J’étais très pudique et je l’ai chantée avec une innocence dont je me vante. J’ai été peinée par la suite d’entendre qu’il retournait la situation à son avantage, en se moquant.” — Gilles Verlant, Gainsbourg
    2 “C’est la chanson la plus osée du siècle.” — Rock & Folk
    3 “C’est France Gall qui m’a sauvé la vie, car j’étais vraiment en perdition … avec tous ces jeunes… Moi, je ne regrette pas cette partie de ma vie. Du coup j’existe toujours.” — Verlant, Gainsbourg
    — Sylvie Simmons, Serge Gainsbourg: A Fistful of Gitanes, Da Capo Press, 2001, pp. 42-43, 141
Gainsbourg credited his renown to women. Speaking of Michèle Arnaud, the first celebrity to sing his songs, he explained:
     J’ai composé pour elle parce que j’en étais amoureux, très amoureux, cette jeune femme me fascinait, il n’y avait pas un gramme de vulgarité en elle…
    On pourrait à son propos citer la phrase de Balzac : “En amour, il y en a toujours un qui souffre et l’autre qui s’ennuie”…
    Elle a été une des chances de ma vie, elle a eu l’intelligence de percevoir en moi un style nouveau.
    I composed for her because I was in love with her, very much in love, this young woman fascinated me, there was not a trace of vulgarity in her…
    One could in this connection quote the words of Balzac: “In love, there is always one who suffers and another who gets bored”…
    She was one among the strokes of luck in my life, she had the intelligence to discern in me a new style.
    J’ai commencé à souffrir d’être laid vers treize ans. Pendant longtemps, j’ai envié ces beaux gars qui séduisent au premier degré, juste en apparaissant.
    Moi je plais aussi à certaines femmes, mais quand elles sont déjà un peu intelligentes, ce qui limite le nombre…
    Ou bien à des… torturées et cela c’est une autre paire de manches.
    I started suffering from being ugly around the time I turned thirteen. For a long time, I envied those beautiful guys who seduced at the first approach, just by making their entrance.
    I also find certain women liking me, but that happens when they are already somewhat intelligent, which limits their number…
    Or when they are… tortured and that it is another can of worms.
    C’est peut-être pourquoi je m’entendais bien avec mon ex-patronne, Michèle Arnaud, qui n’est pas exactement Greta Garbo. Elle me comprenait quand j’avais le cafard.
    Mais elle c’est un autre cas. Une femme, même laide, se débrouille toujours pour tirer parti de ce qui cloche…
    It is perhaps why I got along well with my former boss, Michele Arnaud, who is not exactly Greta Garbo. She understood me when I was feeling down.
    But she is a different case. A woman, even ugly, always manages to take advantage of failings…
    ― www.gainsbourg.org     ― translated by MZ
It was as if his encounter with female power left Gainsbourg committed to high-handed boredom and sexual resentment in their capacity as presumptive deterrents of amorous suffering. “Aimer les femmes en haïssant la femme : c’est moi.” Loving women while hating Woman is a heterosexual strategy guaranteed to resonate with female insecurities. It paid off handsomely for Gainsbourg, as reflected in his roster of conquests, including Brigitte Bardot, Catherine Deneuve, Jane Birkin, Isabelle Adjani, and Bambou. Its fruits are seen and heard enduring after four decades.
    Si j’avais à choisir entre une dernière femme et une dernière cigarette, je choisirais la cigarette : on la jette plus facilement !     If I had to choose between a last woman and a last cigarette, I would choose the cigarette: it is easier to throw away!
    Les femmes, au fond et au fion, adorent les misogynes.     The women, at bottom and up there, adore the misogynists.
    Prendre les femmes pour ce qu’elles ne sont pas et les laisser pour ce qu’elles sont.     To take women for what they are not and to leave them for what they are.
    Caresses et coups de poing dans la gueule sont les pleins et les déliés de l’amour.     Caresses and punches in the mouth are the downstrokes and the upstrokes of love.
    C’est une affaire sérieuse que l’amour.
    L’amour, comme les lettres qui ont du corps, se fait avec des pleins et des déliés. Il implique les caresses et les coups. La langue et la cravache.
    On frappe, l’on vous résiste, on se fait griffer.
    Je crois personnellement qu’il faut soumettre ou se soumettre.
    Love is a serious business.
    Love, as letters embodied in calligraphy, is done with downstrokes and upstrokes. It involves caresses and blows. The tongue and the riding crop.
    One strikes, one resists you, one gets clawed.
    I personally believe that one must subject or be subjected.
    La beauté est la seule vengeance des femmes.     Beauty is the only revenge of women.
    Je ne me casse pas, parce que se sont les femmes que je casse.     I never wear down thanks to the women whom I wear out.
    Il y a deux sortes d’hommes : les gigolos et les souteneurs.
    Il y a deux sortes de femmes : les putains et les putains.
    There are two kinds of men: ponces and pimps.
    There are two kinds of women: whores and whores.
    Les femmes ? Les petites, je les saute, les grandes, je les grimpe.     Women? The small ones, I jump their bones, the tall ones, I climb.
    L’amour ne vaudra jamais mieux que le court temps que l’on passera à le faire.     Love will never be worth more than the brief time one spends making it.
    ― Serge Gainsbourg, born Lucien Ginzburg (2 April 1928 – 2 March 1991), www.gainsbourg.org     ― translated by MZ
Tags: french, jews, sex, vanity

  • Post a new comment


    Anonymous comments are disabled in this journal

    default userpic

    Your reply will be screened

    Your IP address will be recorded