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 Ătienne. 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 Ătienne 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 Ătienne 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.
J'Veux pas m'en mĂȘler
Guesch Patti Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Faut en voir les circonstances et
Rien que des manigances
Et tout le long
J'veux pas m'en mĂȘler
Je crois que ce que je vois
J'veux pas m'en mĂȘler
Rien ne t'appartient
Faut en voir les monnayeurs et
Rien que des fossoyeurs
Et tout le long
J'veux pas m'en mĂȘler
Je crois que ce que je vois
J'veux pas m'en mĂȘler
Je vois tout ce qu'on te doit
Dans la laideur
Les décideurs
Ne sont pas les payeurs
Dans la laideur
Les balayeurs
Ne sont pas les gagneurs
Y a pas d'erreurs - haut les cĆurs
Rien que musicien
Faut en voir toutes les Ă©vidences
Rien qu'ĂȘtre nĂ© en France
Et tout le long
J'veux pas m'en mĂȘler
Je crois que ce que je vois
J'veux pas m'en mĂȘler
Je vois tout ce qu'on te doit
The lyrics to Guesch Patti's J'Veux pas m'en mĂȘler address the idea of ownership and the consequences of its pursuit. The repetition of the phrase "rien ne t'appartient" (nothing belongs to you) emphasizes the idea that material possessions and wealth are fleeting and ultimately meaningless. The lyrics suggest that those who do pursue material possessions often resort to underhanded tactics, such as manipulation and deceit, to obtain them.
The line "dans la laideur, les décideurs ne sont pas les payeurs" (in ugliness, the decision-makers are not the ones who pay) speaks to the idea that those who hold the most power often do not bear the consequences of their actions. Meanwhile, those who do the manual labor and physical work (the "balayeurs" or sweepers) are often the ones who do not reap the benefits of their labor.
Throughout the song, the singer emphasizes that she does not want to get involved in the pursuit of material wealth and the manipulations that often come along with it. She sees things for what they are and acknowledges the debts that are owed to others. The repetition of the phrase "je crois que ce que je vois" (I believe what I see) emphasizes the importance of perception and acknowledging the reality of a situation.
* The song was released in 1988 and became a hit in France, reaching number 12 on the French Singles Chart.
* The song was written by Guesch Patti herself, along with her frequent collaborators, Zazie and Vincent-Marie Bouvot.
* The music video for the song features Guesch Patti walking through various neighborhoods and interacting with people from different walks of life.
* The song has been covered by numerous artists, including French rapper Nekfeu and American singer-songwriter Pomme.
* Guesch Patti was born in Algeria to a French mother and Algerian father and began her career as a model before transitioning to music.
* She is also known for her hit songs "Ătienne" and "La Marquise".
* "J'Veux pas m'en mĂȘler" was included on Guesch Patti's debut album, "Labyrinthe", which also went on to become a commercial success.
* The song is often classified as "French pop" or "chanson française", which refers to a broad genre of French-language popular music.
* Guesch Patti has won numerous awards throughout her career, including the Victoires de la Musique for "Female Artist of the Year" in 1989.
* The song's lyrics have been interpreted as a critique of capitalist society and the pursuit of material wealth.
Chords (Key of E major):
Verse: E - B - A - B
Chorus: E - A - B - E - B - A - B.
Line by Line Meaning
Rien ne t'appartient
You don't own anything
Faut en voir les circonstances et
You have to see the circumstances
Rien que des manigances
Nothing but tricks
Et tout le long
All along
J'veux pas m'en mĂȘler
I don't want to get involved
Je crois que ce que je vois
I believe what I see
Je vois tout ce qu'on te doit
I see all that is owed to you
Rien ne t'appartient
You don't own anything
Faut en voir les monnayeurs et
You have to see the moneylenders
Rien que des fossoyeurs
Nothing but undertakers
Et tout le long
All along
Dans la laideur
In the ugliness
Les décideurs
The decision-makers
Ne sont pas les payeurs
Are not the ones who pay
Dans la laideur
In the ugliness
Les balayeurs
The sweepers
Ne sont pas les gagneurs
Are not the ones who win
Y a pas d'erreurs - haut les cĆurs
There are no mistakes - keep your spirits up
Rien que musicien
Just a musician
Faut en voir toutes les Ă©vidences
You have to see all the evidence
Rien qu'ĂȘtre nĂ© en France
Just being born in France
Et tout le long
All along
J'veux pas m'en mĂȘler
I don't want to get involved
Je crois que ce que je vois
I believe what I see
Je vois tout ce qu'on te doit
I see all that is owed to you
Contributed by Ethan F. Suggest a correction in the comments below.
laurent lorenz
Bon sonđ
Robert mas
Sublime