Guesch Patti was born on 19 March 1946 as Patricia Porasse, she was nicknamed Guesch (a Basque name) as a child, Patti is a pet name for Patricia. Her father, Jean Porasse, worked as an artistic director for the record company HMV-Pathé-Marconi, taking care of Gilbert Bécaud and later as an impresario for people like Eric Charden, Jean-Jacques Debout and Nino Ferrer. Aged 9 she danced the role of the Little Rat at the Paris Opera. When she was 19 she had a brief flirtation with singing as one half of the duo Yves et Patricia, a venture she was talked into by her father. They released 2 singles on the Philips label.
In the seventies she frequently worked for television as a dancer, for example in shows with Nana Mouskouri and Silvie Vartan. Later she moved into contemporary dance and became first dancer in Carolyn Carson's group, Prima Ballerina at the Scala in Milan and guest performer with Roland Petit and Maurice Béjart. She worked on the choreography for performances set to the music of Silvano Bussoti, Luigi Nono and Karlheinz Stockhausen. She also worked with the German choreographer Pina Bausch, practised Jazz dance with Michael Peter and worked on Robert Hossein's staging of Les Misérables.
In 1984 she teamed up with Lydie Callier and another girl to form the trio DaCapo. Virgin Records released one single, but declined to take it further. 1987 saw her emerge as a solo artist with the release of the single Étienne. It charted in 9 European countries, accompanied by a video that caused some controversy due to its erotic nature. It ended up winning Best Video awards in several countries. The success was remarkable because at that time modern French pop\rock music was rarely successful in non-French speaking territories. The international success of Étienne landed her an album recording contract with EMI, the band Encore was formed around her and together they produced her first album Labyrinthe, released in 1988. A second album Nomades followed in 1990. After an (amicable) split with Encore, a third album Gobe saw the light in 1992. Sales of Gobe were disappointing, Gobe was to be her last album for EMI.
After a period of reflection she met Étienne Daho, this contributed to a renewed interest in creating music. She teamed up with independent French label XIIIBis Records (now defunct) which resulted in the 1995 release of Blonde. Songs from this album were also used for the Peter Greenaway film The Pillow Book. Her most recent album is Dernieres Nouvelles, released in November 2000.
In recent years she has also appeared in film and television productions, most notably a co-starring role in the 1997 movie Elles where she appeared alongside Marthe Keller and Miou - Miou. 2001 saw her re-emerge as a dancer on stage in the production She smiles through tears. , Her latest work is the Dernieres Nouvelles DVD, released in February 2002 it features a video illustration of the music of the CD with the same title.
Backstage D'une Star
Guesch Patti Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Que j’aime
Depuis 25 ans
Je n’en reviens pas
D’mater un monstre sacré
Comment, j’me suis
Faufilée, là
Laissez-passer
Présentez vos papiers
Disait leroad à l’entrée
Sur le tard
Ledémon de midi
A réveillé,
Mes talents de groupies
Backstage d’une star
Que j’aime depuis 25 ans…
Celui qui pleure,
Et, pour, qu’on l’aime
Dans les clameurs
La, bête de scène
A l’heure de vérité
Il aura, toujours
Gagné
Et, de lui, je suis
Devenue fan
Et, pour lui, je, me, suis,
Sentie femme
Backstage d’une star
Que j’aime depuis 25 ans…
The lyrics of "Backstage d’une Star" by Guesch Patti describe the experience of being a fan who is granted access backstage to meet their favorite performer, whom they have loved and admired for 25 years. The excitement and sense of disbelief at being able to meet and see this "monstre sacré" (sacred monster) is evident in the lyrics as the singer describes their successful attempt to get backstage despite some obstacles.
The song also touches on the transformative power of music, as the singer describes how being a fan of this performer has helped them discover aspects of themselves that they might not have otherwise. The "démon de midi" (midlife crisis) is mentioned, hinting that perhaps the singer's fandom is a response to a mid-life crisis, but regardless of the motivation, their appreciation for this performer has helped them become the "groupie" they are now.
Overall, "Backstage d’une Star" celebrates the power of fandom and the joy of being granted access to one's heroes. It also recognizes the intense emotional connection that can develop between a performer and their fans, and how that connection can help shape our sense of self.
Line by Line Meaning
Backstage d’une star
Behind the scenes of a celebrity
Que j’aime
That I love
Depuis 25 ans
For 25 years
Je n’en reviens pas
I can't believe it
D’mater un monstre sacré
To take down a legendary figure
Comment, j’me suis
How did I manage to
Faufilée, là
Sneak in there
Avec defaux
With some tricks
Laissez-passer
Passport
Présentez vos papiers
Show your papers
Disait leroad à l’entrée
Said the security at the entrance
Sur le tard
Late in the day
Ledémon de midi
The demon of noon
A réveillé,
Awakened
Mes talents de groupies
My fangirl talents
Celui qui pleure,
The one who cries,
Et, pour, qu’on l’aime
And, in order to be loved
Dans les clameurs
In the cheers
La, bête de scène
The wild beast on stage
A l’heure de vérité
At the moment of truth
Il aura, toujours
He will always have
Gagné
Won
Et, de lui, je suis
And, of him, I am
Devenue fan
Became a fan
Et, pour lui, je, me, suis,
And, for him, I have
Sentie femme
Felt like a woman
Backstage d’une star
Behind the scenes of a celebrity
Que j’aime depuis 25 ans…
That I love for 25 years...
Contributed by Tristan M. Suggest a correction in the comments below.