Years later, the singer will evoke Mamie Jeannette’s memory on several occasions. “Next Sunday, I’ll take you to such and such cemetary, she used to write to me in her letters, which I kept. I pictured it without anxiety, like a gift to her, a beautiful thing to share. It’s with her that I learned these places are sometimes tragic, certainly, but never sinister”. For the little girl, cemetaries make rather reassuring company. There are architectural curiosities to be admired, headstones to be compared, homages engraved in marble to be deciphered. In brief, imagining the destiny of those beings whose existence seems forever trapped between two dates. Silent, such places are conducive to, if not prayer, then at least meditation. “I can centre myself perfectly inside a cemetary”.
往后,女歌手将会在好几个场合想起祖母Jeannette。“下周日,我就带你到某某目的去,她在回信中这样写,而那些信儿我都保存着。我会完全不焦躁地想象着那情景,就像回赠她一份礼物,一件可以共享的美丽事物。和她在一起,我知道那些地方有时充满悲伤,但是并不阴森。”在那里可以鉴赏建筑珍品,比较各个胸像,解读刻在大理石上的挽词。简而言之,就是去猜想那些人生似乎被永远困在两个日期之间的人们的命运。这样的地点静谧无比,如果不是有助于祈祷的话,至少于沉思有益。”“我在墓地里能更好地思考自己。”
A favourite childhood setting, cemetaries will haunt the Farmerian imagination. Two of her videos, “Plus grandir” in her early days and “Regrets”, the duet with Jean-Louis Murat, will be filmed in these places of death- the first in Saint-Denis, the second in Budapest. In particular, the staging of Mylene’s first show, in 1989, will be entirely based around the cemetary concept. After performing “L’Horloge”, the singer even disappears inside a tomb. This assumed darkness will right away class Mylene amongst the “gothic” icons.
作为一处童年的场景,墓地反复在米式意向中出现。她的两支录影带,早期的《成长》和与Jean-Louis Murat合唱的《悔恨》都在这样的死者居处中拍摄,前者摄于Saint-Denis,后者摄于布达佩斯。实际上,1989年的第一场演唱会也是围绕墓地的概念搭建的。在表演“L’Horloge”《时钟》后,她消失到坟墓之中。这样的暗黑表达很快给Mylene标上了“哥特”的记号。