#désenchantée

[black-arcana]

Exit Eden ➢ Désenchantée [☆]

[leloupdebout]

[bishmoveitsmebrwnie]

Je pensais que j’étais si bien, si tranquille, que j’avais surmonté ce que j’ai ressenti pour toi il y 3 ans déjà là, mais non, après t’avoir vu, tenu dans mes bras, et embrassé par dernière fois, j’m’suis rendu compte de que tous les sentiments que j’avais pour toi continuaient à brûler comme jamais, mais aussi j’au dû commencer à.

Du coup, c’était pas la tromperie qui m’a déçu, c’était moi là qui t’a permis de rentrer dans ma vie et t’a laissé de faire avec elle ce que tu voulais, comme toujours.

J’ai cœur brisé, à cause de toi, tu m’a laissé à nouveau avec le cœur en pièces, et le pire de tout, c’est pas ta faute, mais avec cette fois, tu m’as tellement tué!

[kimludcom]

Mylène Farmer - Désenchantée (Live from Avant que l'ombre... à Bercy) - HD

[corinneecrivaine]

Mylène Farmer

Mylène Farmer : L’icône de la musique française qui a révolutionné le paysage musical

Mylène Farmer est une icône de la musique française, une artiste visionnaire qui a révolutionné la scène pop et pop-rock en France. Depuis les années 1980, elle a su imposer son style unique, aborder des sujets tabous et marquer le paysage musical français de son empreinte inimitable.

Mylène Farmer et des thématiques avant-gardistes

Dès ses débuts, Mylène Farmer a bouleversé les codes de la musique pop en France. À une époque où les chansons étaient souvent légères, elle a osé explorer des thèmes sombres et profonds, comme la mort, le suicide, la sexualité et l’identité. Ses chansons comme Désenchantée sont devenues de véritables hymnes pour une génération en quête de sens. En abordant des thèmes introspectifs et existentiels, elle a su toucher les cœurs et offrir une voix aux âmes « désenchantées ». Ces choix artistiques audacieux ont contribué à faire de Désenchantée un morceau toujours d'actualité aujourd'hui.

L’univers gothique de Mylène Farmer : un personnage iconique

L'image de Mylène Farmer est un élément central de son succès. Avec son esthétique gothique, son style visuel soigné et mystérieux, elle a créé un univers artistique qui la démarque des autres artistes de la scène française. Ses clips, souvent dirigés par Laurent Boutonnat, sont de véritables courts-métrages qui apportent une dimension visuelle à sa musique, et certains sont devenus des œuvres iconiques. Ce style gothique et poétique attire un large public et participe à faire de Mylène Farmer une artiste complète, unique en France.

Une artiste inclusive et engagée auprès de la communauté LGBTQIA+

Mylène Farmer n'a jamais eu peur de briser les tabous, que ce soit dans sa musique ou dans son engagement. Ses chansons abordent des questions d’identité, de différence et de liberté, des thèmes qui trouvent un écho particulier auprès des communautés LGBTQIA+ et de ceux qui se sentent marginalisés. Des titres comme Sans Contrefaçon ont même été perçus comme des hymnes à l’acceptation de soi et à la fluidité des genres. En évoquant des sentiments d’isolement ou de différence, Mylène Farmer résonne avec des publics divers et crée des ponts entre les identités, rendant sa musique accessible à tous.

L’émancipation féminine dans la musique de Mylène Farmer

Dans ses chansons, Mylène Farmer aborde également l’émancipation féminine et la résilience des femmes. Avec des titres comme XXL, elle montre des figures féminines fortes, indépendantes et libérées. Sa musique est un espace d’expression pour des femmes puissantes, un message d'autonomie et de force dans un monde encore marqué par les rôles traditionnels. Elle est devenue une figure inspirante pour de nombreuses femmes en quête de liberté et d'affirmation de soi.

Mylène Farmer, une connexion émotionnelle unique avec son public

Si Mylène Farmer reste une icône de la musique, c’est aussi grâce à la connexion profonde qu’elle entretient avec son public. Discrète et mystérieuse, elle préserve une rare intimité avec ses fans, rendant chaque concert, chaque nouvelle sortie, précieuse pour son audience. Lors de ses concerts, Mylène Farmer rassemble des fans de tous horizons, sans distinction, qu'ils soient hétérosexuels ou LGBTQIA+. Pour son public, aucune différence n'existe : tous partagent une passion commune et trouvent dans son œuvre un espace de liberté et de respect. Sa capacité à créer ce lien unique fait de Mylène Farmer bien plus qu’une chanteuse : elle est une figure intemporelle qui continue de toucher les générations.

Mylène Farmer : une artiste complète, une légende française

Avec une carrière de plus de trois décennies, Mylène Farmer s’impose comme une des artistes françaises les plus iconiques et avant-gardistes. Son parcours est marqué par une créativité audacieuse, un univers visuel unique et un engagement sans faille auprès de son public. En abordant des thèmes aussi universels que la mort, l'amour, et l’identité, elle offre un espace de liberté et d'expression à ceux qui, comme elle, osent penser autrement.

En réinventant la musique pop et en devenant une figure de liberté pour les femmes et les communautés LGBTQIA+, Mylène Farmer prouve que la musique peut être un vecteur puissant d’émotion, d’émancipation et de révolte.

Merci, Mylène, pour ton talent et ton courage artistique qui continuent d'inspirer des milliers de fans à travers le monde.

[weaversweek]

21 "Désenchantée" - Mylène Farmer

Lyric Mylène Farmer Music Laurent Boutonnat

You know the gap between Kate Bush, Chappell Roan, and Céline Dion? Mylène Farmer might be the biggest star there.

Part of the UncoolTwo50 project, marking the best singles from 1977-99.

Mylène read On the Heights of Despair, the cry of a tortured artist whose explosive intensity of passion was matched only by his profound despair. Sustained by insomnia, and the way it makes some people talk and talk and talk, EM Cioran wrote a meditation on darkness, a devastating nihilism, the absurdity of existence, the agony of consciousness.

It's the sort of thing that French culture would lap up at any time. French culture particularly lapped it up in spring 1991, when the world was convulsing: the collapse of communism, the invasion of Kuwait, the beginning of the end of apartheid, the war to enable Kuwait to sell oil to the west.

Superficially, the song is a shiny post-disco anthem, all pounding disco beats and catchy hooks. The chorus is worth a nomination on its own, the rhyme scheme is like this:

tout est chaos à côté tous mes idéaux des mots abîmés je cherche une âme pourra m'aider je suis d'une génération désenchantée désenchantée

Once heard, never forgotten.

And the video! Mylène worked with Laurent Boutonnat to make short films: complete little meals with plot and substance. She'd previously covered sexuality ("Libertine"), revolutionary war ("Pourvu qu'elles soient douces"), sexism ("Sans logique"), and many more. [Warning: these films contain scenes of violence and full-frontal nudity. Your work may not approve]

For this video, Mylène is a charismatic woman who incites rebellion at Oliver Twist's workhouse. Triumphantly, like La Liberté guidant le peuple, she leads the inmates out: but what is their future, and will they survive it? Generally interpreted as a comment on messianism, how one person can lead a whole people so far, but will abandon them when things get a bit difficult.

As we say, French culture took this to their heart. Nine weeks as the best-selling single in France, where it remains the biggest-selling single by a woman. (Didn't win at the Victoires de la musique awards, losing to a song by William Sheller.) Cracked the Euro-Chart Top Ten, and even though the English-language syndicators didn't like host Pat Sharp to play singles in foreign, they had to make an exception as "Désenchantée" rose up.

The song's had limited success outside France: a dance-pop cover by Kate Ryan hit the mark in 2002, and we see that symphonic metal band Exit Eden have done a version. There's an homage to the lyric in Electronic's 1992 single "Disappointed".

Mylène Farmer continues to record, and continues to tour. She releases an album every few years, sells out huge arenas, makes the most eye-popping stage shows. It's a complete aural and visual mood. She hasn't had any other massive hit singles; parent album L'autre is probably the easiest to get into, I think 1995's Anamorphosée is her career peak -- so far!

[inthecarpets]

Mylène Farmer - Désenchantée - Live à Bercy 1996

[colleyuriko]

Kate Ryan was right, tout est chaos à côté. Tous mes idéaux des mots abîmés. Je cherche une âme, qui pourra m'aider. Je suis d'une génération désenchantée.

Gets truer every year

[some1willrememberus]

Santa - Mashup "Le Paradis blanc" & "Désenchantée"

[black-arcana]

Exit Eden ➢ Désenchantée [☆]

[7uckyou98]

Tout est chaos

A côté

Tous mes idéaux : des mots Abimés...

Je cherche une âme, qui

Pourra m'aider

Je suis D'une géneration désenchantée

[trollocks-in-my-bollocks]

Look at Mylène and her 5 warders slaying

[dapper-ocs-collective]

Drawing my ocs as memes

[flowerandthesongstress]

"Orion and the Dark" is about writing. It’s like "Adaptation." 2.0 This Time For All Audiences, whoah.

I mean, of course it is an allegory of writing. Kaufman makes movies about making movies, Kaufman writes about writing, and that is all that Kaufman does. Even "Eternal Sunshine of the Spotless Mind" is about creativity. Y’all think it’s a love story? Sure, on the surface it is. But ju-ust below the surface it is an allegory too. It's about letting go of unwritten ideas, whether because you're not ready or not equipped to write them and give them justice or they're just too out-there for the Current You; it's about killing your darlings — and about putting them to sleep, as well. About how these ideas fade from your life and your memory, and how soul-crushing it is when they do, and yet keeping them in your memory is soul-crushing, too, because their presence is unhealthy right now, it's a torment, it impedes you from moving on and paralyzes your creative progress and your growth as a writer and a human being.

Anyway, “Orion and the Dark” is about writing. Nope, it's not about generalized anxiety, it's not about overcoming your existential fears. At its core, “Orion and the Dark” is about one specific fear: losing your integrity and authenticity as a person and as a writer via stepping out into the spotlight.

Truly writing 'for yourself' means writing for an audience of one. The ruthless beast that is capitalism, and the devaluing and self-hatred it brings upon each of us, is what pushes so many people into asking the heartbreaking question: "what even is the pOinT of creatiViTy without an audiEnCe?!" I.e. in the context of the movie "what is the point of the Dark?!" The not-straightforward answer is in this movie. The very-very personal and exasperated — and straightforward — answer is: Creativity itself. Keeping one’s mind sharp. Learning a language. Processing trauma. Celebrating a memory. Savoring a memory. Cementing a memory. Honoring a friend’s memory. Fighting back the tide of existential dread. Making peace with yourself, your past, or your future. Debating a moral dilemma with yourself. Comforting your inner child. Soothing your inner teenager. Bleaching your brain. Introspection. Self-compassion. Self-actualization. Building a structural-support frame around yourself to brace against a crippling fear; for instance, the fear of death, or the fear of losing a loved one — by creating stories or worlds where we could be together forever and nobody gets sick or dies, because we can do magic there.

Dark has many quirky, industrious, and unique companions. They are his companions. They do not belong with the Light, they are distorted in the light. Fear of the Dark (in the movie, super cleverly ‘the Fear that Dark Experiences’ and not only ‘the fear that Orion experiences as a stand-in for The Author’) is: ‘Am I truly a writer if my voice will never be heard and my word will never be read?’ (psst, spoilers: yes) but also ‘Will I be able to retain my true self, the love I hold for my creativity, and the internal benefits I reap from my creativity if/when I share the result of my creativity with others?’ and ‘Will I burn to cinders / fade into nothing / lose the drive to create when/if my creativity is rejected or misunderstood?’ and ‘If I am misunderstood, will this misunderstanding inflict lasting harm? Will the responsibility of doing this harm be my burden to bear? And just how guilty will I feel for what I did?’

The unending tug-o-war between creativity for the sake of creativity, for the sake of you — and the desire to have your voice heard. The inner conflict between your yearning for an audience — and hating your yearning for an audience (or even hating the audience itself/the audience that you get, but welp, that's often projection, albeit no-o-ot always). The conflict between looking for a genuine connection with other like-minded humans — and the desire to be admired, borne long ago in a sandbox on a playground. Between striving to keep your integrity and self-respect, to stay true to yourself — and the learned urge to please, conform and placate, because you want to fit in and/or because you can see that popularity often equals conformity and that you may never get your voice heard in any capacity if you don't conform.

Sometimes it feels like the healthy balance between the two can’t ever be achieved, that they can never overlap, should not; that it should be either one or the other.  

Btw you know who else recently expressed this inner fight super well while also hiding the subtext under a whole pile of distracting 'entertaining' and 'comedic' text? Bo Burnham in his exquisite and poignant and heart-wrenching Kanye Rant. 🙏 🌯

The truth is frighteningly simple, and the truth is frighteningly hard to remember, and the truth is simply hard to stay true to, because the glimmer of the spotlight somewhere far ahead is too blinding, and its veneer is too distracting and enticing. The truth is: separate your damn laundry the purpose of writing should be Writing. That's it. Creativity is about creativity. Writing should be in the moment. Writing should not take into account anyone else other than the writer themself. The purpose of writing is the writing; this process should be free of any and all outside influences. Night and Day, Dark and Light should remain apart at all times. Writing is not about/for sharing that writing. Not about obtaining the strangers' praise for that writing. Not about placating and pleasing an ephemeral 'reader'. Not about the junkie rush to obtain some dopamine hits through getting patted on the head by strangers via pleasing them 'correctly'. None of these things are related to writing, none of these things should matter, and it's tragic that they do matter so much and to so many, and it's tragic that they have taken over so many minds so fully and so quickly, replacing and pushing out the bliss of the Simple Truth. Well... Capitalism is tragic. Every aspect and consequence of it, direct or indirect. At times, capitalism and its reach and scope feel like a void of hopelessness.

Even before consciously realizing the metaphor, I was bawling my eyes out when Orion was fighting to save the Dark, when he was grieving the Dark. This is one of my biggest fears too: losing my authentic self by succumbing to the enticing brightness of daylight. In the fight against this fear, I was doing, and continue doing, all of the irrational and oftentimes harmful things Orion does, and more: hole up, bristle up and snarl, push away, erect defenses, withdraw, and even fawn, etc. Mostly withdraw.

Only when we embrace the essence, the joy of sheer creativity — embrace the Dark, make the Dark our friend — when we discard everything superficial, when we forgive ourselves for our weaknesses and learn self-compassion, only then can we remember why we're writing, why we started writing, what we write for, and only then can we create unimpeded. The struggle itself towards the heights There's so much peace in the Dark. Truth is, this balance can rarely be achieved in reality; life is not a story, and humans are infinitely flawed. Truth is, the fight remains a constant fight, with good and bad moments, with losses and wins, and the fight persists for decades, throughout our lives. But that's why fairy tales exist, right? Why children's stories exist. In them, there's magic and blasters and time machines and everything is simple and everything is always resolved.

I love every manifestation of Kaufman’s creative mind and I loved this movie. The script is based on a picture book of the same name that is a thing on its own.

P.S. In light of the above, might I also suggest "Why You Should Read Children's Books, Even Though You Are So Old and Wise" by Katherine Rundell.