#roi de naples

[roehenstart]

Joseph Bonaparte (1768-1844). Unknown artist.

[dreamconsumer]

René d'Anjou (1409-1480). Unknown artist.

[rosie-of-beauharnais]

have you been aware of the licentious behaviour exhibited by the duke of frioul, the duke of istria, the king of naples and his wife, who are all engaged in... a "neapolitan polycule"

beloved anonyme, this news have caught me by surprise, partly... i didn't expect it from the duke of istria and frioul, this seems out of their character, nonetheless i am not the right person to judge them. i made amends with the roi, but he didn't tell me anything of the sort.

i would have liked himself to inform me of it, you shouldn't be afraid to do it, @your-dandy-king, what more are you hiding from me?

[perdicinae-observer]

[Unreadable scribble in black, silver, and hot pink crayon]

-- unsigned on @your-dandy-king's stationary

Huh. Pretty!

Lenoir then proceeded to put the work of modern art on top of one of the containers on the marshal's desk. It would do some good to lighten up this bleak little room.

[*": )"*]

[oceanitiaearts]

Maréchal Joachim Murat (1767-1815), Grand-Duc de Berger & Clèves, Roi de Naples. 🐎

[transparentgentlemenmarker]

L'homme à droite est Raffaele Esposito

Il a révolutionné un plat de pauvre en un plat célèbre dans le monde entier il est l'inventeur de la pizza Magherita. Autrefois la pizza était un plat populaire dans les quartiers pauvres de la ville de Naples, on trouvait seulement la pizza Marinara elle était préparée avec de la sauce tomate, de l'ail et de l'origan, et sans fromage. En 1889, lors de la visite du roi Umberto ler et de la reine Margherita di Savoia à Naples, Raffaele voulait surprendre la reine en préparant une pizza aux couleurs du drapeau italien, avec le rouge de la sauce tomate, le blanc du fromage mozzarella et vert du basilic et Naples est devenue célèbre grâce à la pizza Margherita et au "pizzaiuolo" Raffaele

[your-dandy-king]

Something Old, Something New

Previously: The Prince and the Hunter (1, 2, 3, 4)

Here, in the domain of the King of Naples, except for one day of the year, the sun never sets. Except for one day of the year, the weather is reminiscent of the last days of spring, before the heat of summer rises.

Like time captured in a bottle, the domain of the King of Naples is the village of Cahors as he had known it in his youth, when he'd been sent there to attend school. There is the ancient bridge over the River Lot called the Pont Valentre where he and the young Bessières would spend long hours dangling fishing lines off of on those days they were free to roam. And the Cathédrale Saint-Etienne, already nearly a millennium old before either of them had been born. The town jail known as the Château de Roi, and the Église Saint-Barthélemy, and the old watermill, the Moulin St-James.

The Cahors of Murat's memory hugs the eastern side of the U-shaped bend of the River Lot. And if one takes time to watch, an observer may see the intrusions. For the Domain of Murat is but a layer, a separate dimension, if one will. It is the land of the dead, the past, and ghosts, separated by a porous boundary from the world of the living.

The land of the living intrudes upon the land of the dead. Like bright afterimages, the immaterial shapes of artifacts and people from the present Age of Man glimmer briefly and vanish. One of those self-propelled carriages called a car, or a moped, or perhaps a lost pair of tourists leave behind luminous impressions upon the land of the dead. Stop to stare through a glassmakers' shop window from Murat's time, and one might find it suddenly replaced by the large windows of a shop hawking mysterious and arcane artifacts from the Present Age. And then, just as quickly, the shop front will revert once more.

Some artifacts from the Present Age, and the ages before, will find their way into the domain of the King of Naples, slipping through the cracks in reality between worlds. People are as ever forgetful, and they forget where they leave their wallets, their passports, their keys, their precious jewelry. They forget them, they lose them, and these artifacts turn up in Murat's domain. The crypt beneath the Cathédrale Saint-Etienne is well-stocked and open to any of his fellow dead who might think they might have something there they may need or want.

So too locations and buildings that may not have been built during Murat's time as a living man also find their way into the land of the dead. Here is a central plaza, where the living hold festivals and gatherings. And at one end of the plaza is a tranquil fountain, where a bronze statue of Neptune presides over a natural spring. Squint, and you might see the living world, shimmering like mirages in the desert, two statues flanking the spring's entrance: a statue of Joachim Murat, and a statue of Jean-Baptiste Bessières.

( @rapports-de-combat, @le-fils)

[perdicinae-observer]

Just drink without me, Ney. I'm not in the mood.

A glance at the drink and Davout replied in a tone that could sound rude to most, but Ney could likely tell he's just tired.

His posture seemed to deflate more than it originally did as he looked around elsewhere, staring off at the raging commotion in front of them.

That's a special talent of yours, I'll give it that.

Davout remarked on a lighter note, he turned around back to face his ginger friend once more.

I assume properly discussing this subject didn't work the first time, then...what have you been up to as of late, hm?

《 @murillo-enthusiast , @your-dandy-king , @le-brave-des-braves 》

Iɴᴛᴇʀɴᴀʟɪsᴇᴅ Cᴀᴛɢɪʀʟ Mɪsᴏɢʏɴʏ

previous ( 1, 2 )

·—·—·—·—·—·—·

"I really hope that you win, Murat, because otherwise we will get a very elaborate lecture how to be proper ladies." - @le-brave-des-braves

"He's going to give us one regardless if Murat wins or not." - @perdicinae-observer

"Another round, and give it your best shot this time!" - @your-dandy-king

·—·—·—·—·—·—·

Soult's catgirl ear twitches in the direction of Davout's comment, but her lip is already curled so unpleasantly that it's hard to say if she got even more grumpier by that comment. Her tail is swishing around angrily as well, though it pretty much hasn't stopped the entire time. Lameth squares up for round two. This time, he actually does seem to be giving it his all, and he even looks a little more focused. He's a young, fit, healthy(..?) man of age 26, and he is galvanised both by the disappointment of his boss and possibly by Saint-Chamans in the back going "ARE YOU GOING TO LET A GIRL DEFEAT YOU". Thanks, Saint-Chamans. And... he just barely forces Murat's hand down. 1-1. The only reaction from Soult is a hmmph. The reaction from the rest of the ADCs is a cheer. Saint-Chamans waves a bottle of unspecified alcohol around.

[opera-ghosts]

'Signora Savelli': a very large soprano mystery

A carte de visite photograph of Elisa Savelli (sometimes Eliza Savelli, real name Miss Sewell, fl. 1870s/1880s), English soprano, who created the role of Bi-bi in the English version of Offenbach’s Vert-Vert, produced at the St. James’s Theatre, London, 2 May 1874

‘A great success has been achieved at Milan by a young English prima donna now singing there under the name of Mdlle. Savelli. She has been received with great favour in many different rôles, especially in ”La Traviata” and ”Martha.” Mdlle. Savelli, who, in addition to her musical acquirements, is very beautiful, will probably appear in London next season.’ (The Illustrated Police News, &c, London, Saturday, 20 August 1870)

‘SIGNORA ELISA SAVELLI, Prima Donna Assoluto Soprano, ‘Has returned to London, after a brilliant and successful career of four years in Italy, singing to Milan and other Principal Cities. Will shortly appear at one of our large Theatres, being especially Engaged from Milan, to represent the Principal Par in the Opera ”Le Roi Carote.” Disengaged up till the 3d June. Apply, Mr. Carte, 20, Charing-cross.’ (The Era, London, Sunday, 12 May 1872, advertisement)

‘ALHAMBRA THEATRE ROYAL. ‘The Manager, Mr. John Baum, begs to inform the nobility and gentry that, on the 3d of June, will be produced, on a scale of magnificence hitherto unapproached in London, the Grand Opera Bouffe Feerie, LE ROI CAROTTE, in which upwards of 1,000 dresses will appear upon the stage. Music by Mons. J. Offenbach. Words translated and adapted to the English stage by Henry S. Leigh, Esq. ‘The artistes engaged include Mdlle. Elise Savelli, [Anetta] Scasi, and Cornelia D’Anka; Messrs, Selle, Connell, Warboys, and [Harry] Paulton. ‘Two Premier Danseuses, Mdlle. Nini and Bertha Linda, who will make their first appearance in London. A powerful chorus has been carefully selected, and with the magnificent Orchestra will be under the immediate direction of Mons. [Georges] Jacobi.’ (Reynolds’s Newspaper, London, Sunday, 26 May 1872, advertisement)

‘ALHAMBRA THEATRE ROYAL. – FIRST NIGHT of LE ROI CAROTTE. ‘ALHAMBRA THEATRE ROYAL. -FIRST APPEARANCE of the celebrated Prima Donna Mdlle. ELISA SAVELLI, from Milan, Naples, &c. …’ (The Daily News, London, Monday, 3 June 1872, advertisement) The Alhambra, extract from a review of Le Roi Carotte ‘… Mdlle. Cornelia D’Anka, who was Cunégonde, as usual, captivated all hearts by her handsome face and figure. Her vocal ability, too, enabled her to render good service, and it was manifestly impossible for the audience to be anything but pleased with so fascinating an artiste, even when she kept them waiting, which, we are compelled to say, she did more than once. The loving Rosee had a capital representative in Mdlle. Elisa Savelli, who was literally overwhelmed with bouquets for her rendering of a charming and plaintive air in which she envies the flowers and the birds, and sighs for release from captivity. Miss [Violet] Cameron was Coloquinte, the sorceress, and she only calls for remark by reason of the scantiness of her dress… .’ (The Era, London, Sunday, 9 June 1872)

The Alhambra, extract from a further review of Le Roi Carotte ‘… Mdlle. Elisa Savelli is also brilliantly successful as Rosee du Soir, and sings the air in the third act so well as to gain an encore, and the duet with Mdlle. Anetta Scasi, ”Guide me! guide me!” is equally successful and qually meritorious on the part of both ladies… .’ (The Era, London, Sunday, 4 August 1872)

‘ALHAMBRA THEATRE ROYAL. – ‘Seventy-ninth Night, and during the week, LE ROI CAROTTE. Principal Characters:- Miss Kate Santley (her First Appearance), Annetta Scasi, and Elisa Savelli; Messrs F.H. Celli, E. Connell, Worboys, Robins, and Harry Paulton. 250 Coryphees. The Opera commences at 8.15; terminated at 11.40. ‘The coolest and best ventilated Theatre in London.’ (The Era, London, Sunday, 1 September 1872, advertisement)

‘SIGNORA SAVELLI. – This talented vocalist, who has become quite a favourite at the Alhambra, on Monday evening, at two hours’ notice, undertook the role of Robin Wildfire in Le Roi Carotte, and created what we may truthfully term a furore. She is we understand specially engaged for the part of the Princess in The Black Crook [1st performance, Christmas Eve, 1872], now in active preparation.’ (The Era, London, Sunday, 1 December 1872)

The Alhambra, The Black Crook ‘… On the acting in the piece high praise may be bestowed, Mdlle. Savelli, who carried off the principal honours of the evening, sustains the part of Desirée with grace and skill, and is none the less impressive because she always avoids exaggeration… .’ (The Times, London, Friday, 27 December 1872

‘ITALIAN OPERA CONCERT. – A concert will be given this (Saturday) evening at the Victoria Rooms by several artistes of the Royal Italian Opera. The Brighton Gazette speaks highly of the vocal powers of Madame Savelli and Signor Brennelli, two of the artistes who will take part in the concert.’ (The Bristol Mercury and Daily Post, Bristol, Saturday, 19 September 1885)

‘MADAME ELISA SAVELLI, ‘Prima Donna, Soprano Dramatica, for Italian and English Opera. ‘Madame Savelli’s beautiful and artistic rendering of ”Convien Parti” (Donnizetti) was much admired, as was also her rendering of the ”Stella Confidenta,” which was enthusiastically encored. She is possessed of a magnificent soprano voice of rich and powerful quality such as is rarely heard. – Bristol Times and Mirror. ‘Address all communications to Mr Gilbert Tail, 6, York-street, Covent-garden, W.C.’ (The Era, London, Saturday, 3 October 1885, advertisement)

‘On Saturday next Her Majesty’s Theatre is announced to open at popular prices, with a company selected in Italy and France. Well-known operas will be given, commencing with Il Trovatore, Faust, Rigoletto, Lucia, Il Barbiere, La Traviata, Ernani, Fra Diavolo, LaGioconda, and, later on (never performed in England), La Ione. Mesdames Savelli, Dalti, Appia, Potentini, Signori Debiliers, Mascheroni, Genoesi, Fernando, Gualterio Bolton, Tamberlik, and Brennelli, are among the engagements.’ (The Era, London, Saturday, 20 February 1886)

Her Majesty’s Theatre, Haymarket… ‘Those present last night when the ”house of amber curtains” reopened its door with a performance of Verdi’s ”Il Trovatore” would scarcely have felt inclined to declare that Italian opera was a thing of the past unless some bright, particular star condescended to brighten it with her presence, for a large and friendly audience had gathered together to hear this old and hackneyed work, who certainly were not attracted by any particular bright star, seeing there was nothing of the sort upon the premises… . The heroine was, vocally speaking, well rendered by a Madame Elisa Savelli, who, if we are not mistaken, some fifteen years or so since was known as a Miss Sewell. Time has, however, not improved her personal appearance, as she is now considerably too broad for her length, and, in the bridal dress of which satin, bore a curious resemblance to Miss Minnie Warren, the wife of General Tom Thumb. Being accommodated with a tall, stern lady as a made of honour (Mdlle. Corona) made this lack of symmetry all the more apparent… . (Reynolds’s Newspaper, London, Sunday, 28 February 1886

Her Majesty’s Theatre ‘… In Saturday’s representation Madame Savelli was cast for Leonora, and Signor Fernando for her ill-fated troubadour lover; … In her performance as Leonora Madame Savelli displayed considerable vocal and dramatic power in the declamatory portions of her music, with an occasional tendency to exaggerated effort and a strained use of her upper notes. She was favourably received throughout, especially in the great scenes with Manrico and the Count… .’ (The Daily News, London, Monday, 1 March 1886

London, Sunday Night ‘Her Majesty’s Theatre was re-opened last night for a season of Italian opera at cheap prices… . The Leonora was, curiously enough, taken from the Alhambra, where she sang some years ago as Mdlle. Savelli, the foreign equivalent of her own English name of Miss Sewell. Although still in fairly good voice the lady has now attained well night the physical proportions of a Titiens and Parepa combined, and her appearance in bridal costume was irresistibly comical… .’ (The Glasgow Herald, Glasgow, Monday, 1 Marcy 1886)

‘On Saturday night, during the performance of Il Trovatore at Her Majesty’s, a mishap occurred which, but for the presence of mind of certain individuals, might have resulted in serious consequences to Madame Savelli, the Leonora of the evening. Madame Savelli’s figure is not exactly like Madame Sarah Bernhardt’s, and in moving backwards to execute a fall at the end of the opera she tumbled ”all of a heap” beneath the ponderous roller of the descending curtain, and had not the stage-manager and an attendant run forward and dragged her out of her dangerous position, she might have been seriously injured. The audience expressed their sympathy with Madame Savelli’s narrow escape by calling her enthusiastically before the curtain.’ (The Era, London, Saturday, 6 March 1886)

Il Trovatore, Her Majesty’s, Saturday, 27 February 1886 ‘… Without ranking ourselves with those unimaginative individuals who cannot overlook certain personal disqualifications for a role when its rendering is illuminated by genius, we must say that we had to ”make believe very much” indeed to accept a portly, matronly lady of Madame Savelli’s physique as an ideal Leonora. There is something cruet, to our thinking, in calling upon a person of Madame Savelli’s liberal proportions and limited dramatic and vocal acquirements, to face a London audience in such a part. No one felt more keenly than ourselves the failure of the singer to reach the higher notes of her role, and to embody the emotional characteristics of the heroine; and no one sympathised more with the lady in her difficulty in assuming kneeling and falling attitudes. The fault, we felt, was not so much hers as that of those who permitted her to appear in a wrong position – literally and metaphorically… .’ (The Era, London, Saturday, 6 March 1886)

[yaggy031910]

Links with reference to Joachim Murat

After finding a fourth link about our beloved Joachim Murat, I decided to do a bigger post which contains all of the links I have found so far! Have fun with it. ☺️✨

Gallois, Léonard: Histoire de Joachim Murat (French)

Maceroni, Francis: Interesting facts relating to the fall and death of Joachim Murat, King of Naples (in English)

Geschichte des Königreichs Neapel vom Jahre 1800 bis zum Jahr 1820 (= history of the kingdom of Naples from 1800 - 1820 in German)

Joachim Murat. Zu seinem Leben und zu seinen Briefen an die Fürstin Amalie Zephyrine von Hohenzollern-Sigmaringen (= Joachim Murat. About his life and his letters at Princess Amalie Zephyrine of Hohenzollern-Sigmaringen in German)

Das Großherzogthum Berg unter Joachim Murat, Napoleon I. und Louis Napoleon 1806 - 1813 (= the Grand Duchy of Berg under Joachim Murat, Napoleon I. and Louis Napoleon 1806 - 1813 in German)

Vie de Joachim Murat, et relation des événements politiques & militaires qui l'ont précipité du trône de Naples (= Life of Joachim Murat, and relation to political and military events which precipitate him from the throne of Naples in French)

Conversação que teve o Principe Murat com D. Manoel Godoy, relativa aos successos da Hespanha (I am not even trying to translate this. It’s in Portuguese)

Lettre d'un Anglais à son retour en Angleterre d'un voyage en Italie, au mois d'Aout 1814, sur le roi Joachim Murat: augmentée de notes pour servir à l'histoire du général Murat (= Letter from an Englishman on his return to England from a trip to Italy in August 1814, about King Joachim Murat: with additional notes for the history of General Murat in French)

[josefavomjaaga]

Joseph and the ladies

Even Thierry Lentz, very well disposed towards Joseph and really trying to show in his book that Joseph was much more than the weakling he is often perceived as, is quite open about how Joseph spent his free time from the job as king of Spain:

In the Royal Palace or in La Moncloa [a country house], Joseph indulged in two of his favourite private activities: getting rich and loving.

With regards to the first activity, there’s a long story involving, among other things, the crown jewels of Spain, of which a certain amount at some point disappeared from Madrid (Napoleon blamed it on Murat but later learned that the thief had been his brother dearest). And as far as the second activity is concerned, Lentz of course also names the Marquise de Montehermoso, »non exclusive holder of the title mistress« [maîtresse en titre non exclusive]. But there are more. Plenty more.

So many that Colonel Desprez, Joseph’s clumsy aide de camp who had gone all the way to Moscow in order to hand Napoleon a letter of complaint, would later have some acerbic comments on his former master, put together in a report called »Caractère du roi d’Espagne, Joseph Bonaparte«. But this was indeed much later, after the fall of the empire, during the July monarchy, and – possibly on demand of one Marshal Soult . (The question of allowing the exiled Bonaparte family back into France frequently came up.) Soult and Joseph obviously kept up their mutual dislike a long time after Napoleon’s death.

Desprez in this report comments about the Marquise de Montehermoso as follows [quoted in Thierry Lentz, »Joseph Bonaparte«]:

This woman had an exquisite mind, a strongly organised head [...]. She didn't know anything about love other than the physical pleasures and she readily acknowledged this [...]. Her constant aim was to become rich [...]. The weak prince poured out showers of gold and, although forced to use this means, he never ceased to believe himself tenderly loved […]

and about Joseph’s way of life in Madrid in general:

I have often groaned to see a man called to such a prominent role waste his time in vain occupations, laying out paths, planting trees, tearing down walls, building others, changing at every moment the comings and goings of his chambers; giving parties [...], supervising the preparations himself, reading tragedy and repeating to exhaustion the passionate roles of which he thought himself suited to express the delirium [...]. I laugh with pity to see a king, whose throne is trembling, exhaust his attention on hemistichs [...].

But not everyone judged Joseph so harshly. Somebody who seems to even have greatly admired Joseph’s success with women is another aide de camp, General Bigarré. That’s not all too astonishing, as Bigarré’s own memoirs are a crude mix of brutalities, battle scenes, and lewd descriptions of himself seducing teenage girls. About Joseph he says:

In Spain, as in Naples, this prince has been bitterly criticised for occupying himself a little too much with women during the time he governed these two kingdoms. I will agree that he had a particular fondness for this sex, that he did not disdain conversations with the liveliest ladies of his court, that he was even very gallant with several of them, but nevertheless, I repeat, he never forgot what his duties as sovereign required of him.

Which is something, I guess. About Joseph’s entry into Sevilla and his tour around Andalusia, Bigarré also has an interesting remark:

The noble Andalusians, for their part, did not know what to think of in order to show the new King of Spain their love and devotion; some sent him a dozen magnificent bulls as a present, others perfectly harnessed Andalusian horses, and several placed their wives, daughters and houses at His Majesty's disposal. [...]

Hello there, strange French king! Here’s my bull, my horse, my house, my wife, my daughter – take your pick!

[…] the ladies of Sevilla who were invited also found the King of Spain very amiable and attractive. It is a fact that this prince had a wonderful gift for pleasing women. I do not know whether winning over women formed part of his policy, but in all the cities he visited he made many conquests, not only as a king, but also as a man.

Bigarré’s admiration here is palpable.

Bigarré also must have been very well informed about Joseph’s successes in this field, as apparently (according to Thierry Lentz), Joseph took care of Bigarré’s favourite mistress, a Madame Finesi, wife of an Italian actor, whenever the general was on a mission out of town. Bigarré in turn claims to once have had a fling with the Marquise de Montehermoso. But as Napoleon’s police spy Lagarde wrote home, these were hardly the only ladies whose company distracted Joseph from his »political chagrin«. Lentz also lists a Marquise de Jacuso and a Nancy Derrieux, wife of some official in the administration, as regulars in this early 19th century edition of a royal swinger club. Varying female extras were approached through Joseph’s valets, who habitually had to adress young ladies about their willingness to meet the king in private.

For the final judgement on this topic, here’s Napoleon, in Bertrand’s »Cahiers de Sainte Hélène«, echoing what cardinal Ruffo had told him:

Prince Joseph had gentle manners, fine qualities, but he could never attend to business and never pursued anything. He was locked up with a few women, not to fuck all the time, but for the pleasure of society.

Yes, that’s Napoleon using the F-word with regards to his brother. And I honestly do not know if he wanted to somehow excuse Joseph in emphasizing that it was only »for the pleasure of society«, or if he wanted to make sure people didn’t think too highly about Joseph’s stamina...

[perdicinae-observer]

[*scowls*] I appreciate the salt on the wound, Istria. If it can soothe your soul in some manner, the poll and its participants are hardly meant to be well-grounded in reason― at least not when many seemed headstrong in mocking me. As always.

Hi Caroline!! Do a challenge with me (or just give me your opnion)!! Who do you think has the best hairstyle? Murat’s? Your brother’s? The doctor’s? The tsar’s? An ADC’s? One of the marshals?

Gives you 3 curls and 2 eyelashes. These are from Murat btw, he loves you very mych :)

My husband is the most handsome, of course! @your-dandy-king

(So yes, forgive my bias, but he has the softest prettiest curls 😻)

[rosie-of-beauharnais]

To my dear Madame l'Impératrice;

I'm writing to let you know how happy I am to hear you've joined us here in this "hellsite" as it's commonly called. I've had a long time to reflect on my actions in life, and I treated you abominably. I am deeply sorry for what has passed between us, and I hope that will not color our actions now. Caroline and I owe you so much, and I wish that, perhaps, it could have been different.

With the highest regards, your brother-in-law,

@your-dandy-king a.k.a. "Roi d'Italie" Roi de Naples

P.S. I'm a bit busy, so it may take me a little time to reply, being neither quite here nor there. It's a long story.

<<Murat does not know how to feel about his sister-in-law's boobs>>

mon apprécie roi de naples:

it is also my delight to see you after everything that has happened between you, your wife and me. i receive your apology and i accept it. let´s us no longer carry this burden from the past. do not feel the need to say more of this topic, because from this instant we can treat each other like family. i send you the best wishes for you and caroline, may you be together for the rest of this after life.

[perdicinae-observer]

A plain package arrives addressed to one L.N. Davout. The tag on it reads, "Your housewarming gift."

Opening the package reveals candle scented with vanilla, cinnamon, and cardamom. The label on the candle, however, reads:

"LIGHT IN CASE OF FARTS."

The tag on the rather nice gift box is signed by @your-dandy-king.

Davout inspected the box curiously but stopped upon seeing the familiar signature. He squinted and examined the package more carefully with a great amount of suspicion, trying to guess what exactly was inside.

[*shake shake shake*] ...[*sniff-sniff*]

Sounds pretty solid...smells rather nice, too. With that out of the way and no good reason to throw it away, Davout cautiously opened the package and...

...A candle?

Of course! It was just a housewarming gift! No ulterior motives here...yet. Thank Lord it wasn't anything too bombastic, though now that he had the thing in his hand, the label did give him a good chuckle. Davout set the candle on his desk and fetched out a piece of paper. It was only a basic courtesy to write a reply after all...

[joachimnapoleon]

Excerpt:

"The Emperor just made such great expenses for his marriage, and the war in Spain is costing him so much, that all the coffers are empty, so he is looking everywhere to get money. So we must subscribe to what he wants, and I urge you to arrange for the first goods to be delivered to him at the prescribed time and without the slightest delay. If you don’t do it, he will be upset and might perhaps take the opportunity of claiming lands in Sicily when you are master of it. You have no idea of all the means to which he is obliged to resort in order to fill his coffers, which are entirely depleted." 

[juke-box67]

Discographique 45 tours France Gall de 1965

Le 20 mars 1965, France Gall remporte l’Eurovision de la chanson à Naples avec « Poupée de cire, poupée de son » (PMD : 5,00€) . Sa collaboration est à son apogée avec Serge Gainsbourg qui lui écrit ses textes et ses musiques . La même année, elle sort également « Attends où va-t-en » du même Serge Gainsbourg (PMD: 8,50€) ainsi que « L’Amérique », écrite par Guy Magenta et Eddy Marnay (PMD: 4,45€). Le 45t « Dis à ton capitaine » aura un succès modeste . ( PMD: 29,99€)

« Poupée de cire, poupée de son » révèle France Gall au monde entier . C’est un morceau écrit par Serge Gainsbourg à partir du 4eme mouvement prestissimo de la 1ere sonate pour piano de Beethoven. Elle représentait le Luxembourg qui gagnait ce concours pour la seconde fois . Ce 45 tours sera numéro 2 au hit parade français, numéro 3 en Belgique mais numéro 1 en Espagne et en Norvège . Il sera vendu à 250000 exemplaires en France mais a 2000000 d’exemplaires dans le monde . France Gall entretient alors une relation secrète avec un certain Claude François qui lui jalouse son succès grandissant , allant jusqu’à rompre leur relation lors de l’annonce de sa victoire à l’Eurovision, expliquant les larmes de France Gall sur le podium de la remise de son sacre. La séparation entre France Gall et Claude François va inspirer à celui-ci, la composition de la chanson « Comme d’habitude » qui sera ensuite reprise par Frank Sinatra sous le titre « My way ».

Serge Gainsbourg démontre une nouvelle fois qu'il est le roi de la métaphore et, en quelques paroles insérées dans cette chanson, il traduit le mal-être ressenti par France Gall à cette époque-là , mais décrit également le merveilleux avenir de chanteuse qu'elle finira par connaître.

Autour de moi j’entends rire Les poupées de chiffon Celles qui dansent sur mes chansons […] Elles se laissent séduire Pour un oui pour un nom(...)

Mais un jour je vivrai mes chansons Sans craindre la chaleur des garçons...

« Poupée de cire, poupée de son » devient un succès international, notamment au Japon . Une version allemande est également écrite et ce morceau devient « Das war eine schöne party » . En Italie, il devient « Lo si, tu no ». Serge Gainsbourg devient riche et décide de se consacrer uniquement à la composition. La chanson sera reprise de très nombreuses fois , y compris par des groupes punk rock ou plus récemment par Calogero ou encore Jennifer dans son album «  Ma déclaration » .

En 1965 , France Gal devient « L’égérie » d’une marque de coloration de cheveux , la marque Polycolor , en sortant un 45 tours commercial ou est repris le titre « L’Amérique » en face A et «  On se ressemble toi et moi » en face B . Ce vinyle, devenu rare et recherché par les collectionneurs, reprend des photos de France Gall avec une évolution de sa coloration capillaire. ( PMD: 15 € )