POURVU QU’ELLES SOIENT DOUCES

Pourvu qu’elles soient douces (As long as they are sweet/gentle) is a song from Mylène Farmer’s second studio album, Ainsi Soit je …  released in April 1988. It is the third single extracted.

The lyrics of Pourvu qu’elles soient douces were written by Mylène like all the songs on the album, Ainsi Soit je … (with the exception of course of the cover of Déshabillez-moi). The music was composed by Laurent Boutonnat.

The music, very dynamic and effective, eclipses the words that are very daring (many people have not yet understood the theme of the song). In the refrain, Farmer addresses her lover who thinks only of her buttocks, and there are many alliterations.

The song has been said by fans, critics and Farmer herself, to be about sodomy, and even a real “ode to sodomy”, while some consider it to be a logical sequel to her 1986 hit “Libertine” which includes references to prostitution. Farmer explained that “Pourvu qu’elles soient douces” is “a pamphlet written as we take revenge on men, taboos, childhood”.

Are the provocative lyrics just an ode to sodomy? Let’s dig a bit deeper, shall we? 😊

Mylène briefly explained the text in one of interviews:

“I admit. It’s a pamphleteer song. It is aimed at the great perversion of men, at least the one they can agree on.” (France Soir – 11/19/1988)

“I am determined to give a damn about everything! It’s fun, especially to write, read and sing… “(Graffiti – April 1988)

There are so many cleverly disused puns, hints, references and play of words in this text, that I don’t even know where to start. Of course, most of them are around the erotic connotation of the anal sexual intercourse but it goes far far beyond it. I am again amazed how Mylene creates such a multi-layered wordings and wrap them into the playful music (by Laurent of course).

She doesn’t mind exposing anything that has been “politely” hidden from view yet remained a part of a human nature for a very long time. What is it here to hide after all? Good for you, Mylene! She is a brave one indeed!

Off the bet she introduced us in with an intriguing play of words:

I think we all got it by now, no? 😊

Then she takes us to the Freudian universe very playfully delivering such a serious concept with a “Mylenian” easiness:

For those who are still blissfully unaware of what she is saying, Freud identified our psychosexual stages of development in the association the private organ’s which occurs in particular age. One of the stages has been described by him as an “anal stage”

The anal stage is the second stage in Sigmund Freud’s theory of psychosexual development, taking place approximately between the ages 18 months and three years. According to Freud, the anus is the primary erogenous zone and pleasure is derived from controlling bladder and bowel movement.

Without spending too much time here on Freud which I already did in many chapters and needless to remind you all how important his work is to Mylene and LB (his portrait is placed in the beginning of Maman a tort), one more thing to say is according to his theory, each of the psychosexual stages is associated with a particular conflict that must be resolved before the individual can successfully advance to the next stage.

The resolution of each of these conflicts requires the expenditure of sexual energy and the more energy that is expended at a particular stage, the more the important characteristics of that stage remain with the individual as he/she matures psychologically. So I hope now you see the deeper meaning the line that sounded almost like a joke “Ta maman t’a trop fessé”. Mylene indeed brings up the backside topic many many times in her work through the years. Feel free to comment below what you remember…I’ll start: “Q.I”, ”HIstoires de fesse” – your turn!

Mylène refers directly to the famous Indian collection, the Kâmasûtra, which seems to her already well outdated: “Your Kâmasûtra – Well a hundred years old – My God, it’s out of fashion”.

First off, Kâmasûtra is much-much older than a hundred years. Historians have variously placed it between 400 BCE and 300 CE. Its printed version, however, was published in the second half of 19^th century. That when the Western world was given a chance to lift the vail…and I bet it was fun 😊

I disagree with this statement as it is pretty advanced in its open-mindedness. I think we are especially here on the West need some growing to do to catch up with the Kâmasûtra concepts. There are absolutely no taboo there as far as anal sex.

I think what she meant is there is nothing new under the moon when it comes to sexual expressions. Therefore, nothing here to be ashamed of either. It is all just a matter of preferences or …your psychosexual stage where you are personally stuck.

According to fans, a possible reference to a series of photographs by Robert Doisneau, Le Regard Oblique: ” Hey Dude! – Your oblique gaze – Nothing is lewd “.

Made in 1948 at 21 rue de Seine in Paris, in the Romi gallery, where one of his friends worked, the photographer hid in a window in which was exposed the painting of a naked woman from behind. He then immortalized the reactions of passers-by discovering this canvas.

In these lines Boutonnat imagination I bet took his straight to the Libertine II idea (in this instance George the II – The King of England who is a character in the clip)

And finally very mixed emotions here I sense: from making fun to the satisfaction of how much control the might possess and enjoy over other’s unstoppable desire. Very complex concepts for such a young poet as Mylene at that time – only in her late 20s.

For the radios as well as on the supports of the single, it is a version shorter than the album version and slightly remixed which is proposed.

Laurent Boutonnat realizes with Thierry Rogen the “Remix Club” of the song which one finds on the maximum supports.

For this remix Mylène re-recorded the song.

” I had Mylène re-record the vocals, which we engraved. We then brought in a DJ, who scratched tons of stuff on the vocals, and we did the famous intro from PQSD. ” (Thierry Rogen – 2003)

In 2003, new remix of the track produced in London by Paul Oakenfeld for the album RemixeS.

From the discovery of the second studio album, Ainsi Soit je …  released in March 1988, an obvious hit is needed.

Mylène chooses the eponymous title in the second extract. Probably a desire to mark a clear transition with the previous single Sans Contrefaçon.

For the third single, the turn of Pourvu qu’elles soient douces

” Pourvu qu’elles soient douces as a new extract, because … I did indeed want to change register and move on to lighter things. This title could be the sequel to Libertine.” (Mylène Farmer – Graffiti – October 1988)

The radio broadcasts of Pourvu qu’elles soient douces began at the end of August and the physical media were released in France on September 12, 1988, Mylène’s birthday.

The single starts very strongly even before the broadcast of the clip.

“The song May they be sweet started like a rocket, which is always a little scary. It may be the result of four years of work. Still, if this clip has enriched the question, but it was not the primary factor in its smooth running. ” (Mylène Farmer – Stars Magazine – March 1989)

I don’t agree on this one though – I think this clip is a legendary and will go down to the history of the music videos as one and only masterpiece (better together with Libertine of course as I can’t separate them)

It is the first number 1 of Mylène in the Top 50 (ranking of the best sales of 45 rpm in France broadcast on Canl + and being the subject of a very popular weekly magazine at the time). There are five consecutive weeks in the pole position, especially during the end-of-year holiday periods traditionally associated with strong sales. It allows the album Ainsi Soit Je … to reach for the first time the highest step of the top albums.

The title is a hit at the same time in radio stations remaining eight non-consecutive weeks in first place in airplay.

In the end, Pourvu qu’elles soient douces sold over 700,000 copies in France and has been certified gold. It remains to this day one of the three biggest success singles of Mylène in this country.

In 1990 and early 1991, Mylène will promote the album Ainsi Soit Je … in several European countries. The single Pourvu qu’elles soient douces, probably for the sake of simplicity is renamed Douces for the media released in these different countries. It ranks 87th in Germany and even manages to reach the top 10 in the Netherlands.

On November 26, 2001, Mylène’s first best-of album was released, Les mots on which we can find Pourvu qu’elles soient douces in its single version.

Released on December 03, 2003 of the album RemixeS which contains the song’s “Paul Oakenfold Remix”.

On June 08, 2018, Polydor Universal Music is offering a reissue of the Maxi 45 Tours Pourvu qu’elles soient douces with an orange collector version. The June 12, 2020, reissue of 45 Tours Pourvu qu’elles soient douces. There is indeed a sand-colored 45 in the box set offered by Pölydor Universal Music France, “Singles Collection” including 22 45s from the period 1985-1997.

Directed by Laurent Boutonnat, the video was shot for five days in the forest, in Rambouillet (France). It was censored on television because of its depiction of female nudity – Farmer in particular – and sex. It is entitled “Pourvu qu’elles soient douces – Libertine II” because it was a continuation of “Libertine”, and takes place during the Seven Years’ War, in the 18th century. Some excerpts were shown in exclusivity on 12 September 1988 in the French television program Nulle Part Ailleurs, on Canal+. What a way to celebrate Mylene!

It appeared in the Book of Records in 1989 because it was at the time the music video the most expensive —at the time, it was announced that it cost more than 3 million francs (€450,000);however, subsequent sources said it was a mistake, as it cost about 1,5 million francs (€225,000)— the longest (17:52) and with the most of extras (circa 600).Many of them were made available by the French Army. Some were committed and recruits who benefited from a week of holiday, although they had much work during the shooting.Jean-François Casamayou, the director of CasaFilms, provided cranes, loumas, steady-cams and many other technical materials. There were about 50 technicians.

The horse used in the video by Farmer was borrowed from Mario Luraschi, a specialist in film stunts, which had a farm at the Abbey of Chaalis, France. The Andalusian white horse was called Llamado and was then nine years old. Farmer remade many times the scene with her galloping horse and finally succeeded; however, the dangerous scenes were performed by a stuntman. There was a lack of costumes, and those obtained were quite worn from having been used in more than 20 films about the French Revolution; this could jeopardize the production. The costume designer Carinne Sarfati and her team darned uniforms used by actors playing in the video. The editor of Tradition Magazine, Jean-Louis Viau, was responsible for ensuring the historical reality of the video and to avoid anachronisms and taught the extras to handle weapons of the 18th century. Farmer, who shows her breasts and her buttocks in the video, said she was a little intimidated by the nudity scenes, and was afraid of commentaries by technicians, but that finally all happened very well. Yann Babilee, who played the role of the English officer, explained in an interview that he was immediately charmed by the screenplay of the music video.

The scene takes place on 18 August 1757. A young English drummer discovers the still body of Libertine, covered in blood. He calls William, an older soldier, who believes that Libertine is a man, while the young boy says she is a girl. Soon they realize that she is alive and take her to the camp for treatment. Meanwhile, the captain of the British Army realizes that his troops have taken the wrong road and are in France rather than being in Prussia (the words, in English, are subtitled in French language). Then, as the song begins, the captain brings a fruit bowl to Libertine who is sleeping in a tent. With his whip, he raises the sheet to look at her buttocks, but the young drummer enters the tent and surprises him doing that. To punish him, the captain flogs him in front of many other soldiers. He then hands the whip over to Libertine, who has been awakened by the noise, expecting her to also flog the boy, but instead she turns and whips the captain’s face. In the tent, the man, very angry, throws some clothes to Libertine and looks at her when she undresses. Then she breaks a bottle over his head and runs away on horseback.

The captain pursues her, finds her lying hurt near a tree, and carries her in his arms back to the camp. While they make love, the rival of Libertine, in connivance with the French army, brings prostitutes in the camp to distract the British troops. The next day, the French army bombards the English camp, while the rival shoots the captain and kills him. Libertine, who watches the scene, fights and eventually kills her with a bayonet. As the burning camps are left filled with dead bodies scattered on the ground, Libertine picks up the young drummer, while the soldiers of the French army watch them leaving on horseback.

The video shows some daring scenes and ends with very violent scenes showing killing by gunshot and sword, as well as blood and dead bodies.

Historical note:George II was little more than an observer of the events of the Seven Years’ War (1756–63) against France, for it was Pitt who devised the brilliant strategy that eventually brought about a British victory.

Nine televised performances known in France between October and December 1988. Mylène is accompanied for the choreography by two dancers, Sophie Tellier and Dominique Martinelli, who already surrounded her for the television appearances on Tristana in 1987.

Mylène also performs this song in the Netherlands. TF1 05 octobre 1988

TF1 16 novembre 1988

Initially, the video was to be shown in previews in movie theatres, but it was eventually cancelled because the film producers were afraid that the video was better than the film aired then. However, the video was broadcast as an exclusivity on 6 October 1988 on the Champs-Élysées, at the UGC Normandie. The video was nominated at the 1989 Victoires de la Musique but did not win.

Some scenes, including the slow images filmed in low-angle shots which show drunk infantrymen running after scantily clad prostitutes, and wine flowing over topless prostitutes who are cavorting on the ground, were removed when the video was presented in prime time on television.

To the author Erwan Chuberre, it was a “disproportionate masterpiece for a music video and marked the spirits and the majority of journalists present at the preview (…) were won over”. Other journalists were “outraged by the many images of nudity”. According to the biographer Bernard Violet, the video was a “triumph” when it was released because of its production as well as its subject. The psychologist Hugues Royer considered the video as a “historical masterpiece, written as a real short movie”. French magazine Graffiti awarded it as the “video of the year”.

According to France Soir, in this song, “Farmer generously lent us her fantasies on the dashing arrangements by L. Boutonnat”.

In France, the single debuted at number 34 on 8 October 1988, climbed every week on the chart and eventually reached number one where it stayed for five weeks, thus becoming Farmer’s first of the fourteen number ones she has obtained in the country. Then, the single dropped slowly and stayed in the chart for a total of 23 weeks, which is her third longest-running single in French Top 50.

In terms of sales, “Pourvu qu’elles soient douces” is also Farmer’s second biggest success ever, behind “Désenchantée”. The single sold more than half a million copies in France by the time it was released, with 10,000 copies being sold every day at the peak of the song’s popularity.

In 1988, Farmer actively promoted the song performing it in nine French television shows : Sacrée Soirée (5 October, TF1), Avis de recherche (14 October, TF1), La Une est à vous (22 October, TF1), Dimanche Martin (6 November, Antenne 2), Jacky Show (6 November, TF1), Cocoparadise (16 November, TF1), Interchallanges (20 November, TF1), Une Soirée pour les restos (17 December, TF1) and Avis de recherche (30 December, TF1). Farmer also performed the song on a Dutch (on 2 December 1990), and a Danish (in January 1991) programmes, and on Tapis Rouge (11 September 1999). To promote this song on television, Farmer wore a sequin naked-back dress and a bun as hairstyle. She performed a new choréography with her two female dancers, one of them being Sophie Tellier.

The song was performed during the 1989, 1999 (but included in a medley), 2009 and 2019 tours. During the 1989 tour, Farmer wore a red spandex pantyhose, heel boots, transparent gray veil. She performed a very dynamic collective choreography, with suggestive movements. The song began with a set of lights. Farmer, back on the podium, moved her hips and played with her microphone. The dancers came on stage by the stairs and formed a circle. While the musical bridge continued, Farmer joined the dancers who removed the bottom of her dress; two of them lifted the singer. At the end of the song, Farmer presented the musicians. On the 1999 tour, Farmer wore a black costume composed of a woven trousers open on the upper thighs, a transparent bustier, high shoes with heels, a large necklace and two iron false-buttocks; with her dancers, she performed the same choreography as when the 1989 tour. On her 2009 tour, Farmer wore a glittering short dress with red cape with hood, and her dancers a red coat; they performed the same choreography with only a few changes during the musical bridge.

The vinyl’s B-side contains a new song, “Puisque…”

Composed by Laurent Boutonnat and written by Farmer, this song is mainly instrumental. As both beautiful and sad, it deals with the issues of depression, anxiety, boredom and the desire to die. It was performed on 7 November 1988 in the programme Du Côté de chez Fred on Antenne 2, as well as during the 1989 tour (on the album En Concert, the title does not have its ellipsis),[ and replaced “Dernier Sourire” which was first scheduled to be performed. It was not included on Ainsi soit je… and on the best of Les Mots (but only available in the long box version of the best of). The song is played in a version instrumental in the closing credits of the video for “Pourvu qu’elles soient douces”.

Mylène performs this title on all the dates of the 1989 tour from May 11 to December 8, 1989 .

Arrangements for the stage: Laurent Boutonnat and Bruno Fontaine. Choreography: Mylène Farmer.

Pourvu qu’elles soient douces is in the track listing of the live album of the tour, In Concert , released on December 04, 1989 as well as in the concert film directed by Laurent Boutonnat and available on VHS and Laser Disc on November 05, 1990 .

This title is also included in a medley (with Libertine, Maman a wrong and Sans contrefaçon ) for the Mylenium Tour in 1999-2000 . As long as they are sweet is the song that has the most important place in this medley.

Arrangements for the stage: Yvan Cassar.

Choreography: Mylène Farmer and Christophe Danchaud.

Mylène interprets again Provided they are gentle on all dates (indoor and stadiums) of the Tour 2009 from May 02 to September 19, 2009.

Arrangements for the stage: Yvan Cassar. Choreography: Mylène Farmer and Christophe Danchaud.

We find Provided they are sweet on the live album of indoor concerts, N ° 5 on Tour , recorded at the Halle Tony Ganrier in Lyon and released on December 07, 2009 .

Provided they are sweet is also in the film of the concerts, Stade de France screened in cinema preview on before being offered on DVD and Blu-ray onApril 12, 2010 .

Mylène sings Provided they are sweet during the nine concerts at Paris La Défense Arena from June 07 to 22, 2019 .

Arrangements for the stage: Olivier Schultheis. Choreography: Parris Goebel.

Provided they are sweet figure in the tracklisting of the Live 2019 album released on October 18, 2019 and in the film of the Live 2019 concert the film screened at the cinema on November 07, 2019 before a DVD & Blu-ray release on the 06 December 2019 .

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lyrics with translation

Eh mec, ton regard oblique
En rien n'est lubrique
Ta maman t'a trop fessé
Ton goût du revers
N'a rien de pervers
Et ton bébé n'est pas fâché
Ton Kamasutra
A bien cent ans d'âge
Mon Dieu que c'est démodé
Le nec plus ultra en ce paysage
C'est d'aimer les deux côtés (hey)
Ta majesté, jamais ne te déplaces
Sans ton petit oreiller
À jamais je suis ton unique classe
Tout n'est que prix à payer
Tu fais des "ah, oh"
Derrière ton ouvrage
Quand mon petit pantalon
Debout et de dos sans perdre courage
Dénude tes obsessions
Tu t'entêtes à te foutre de tout
Mais pourvu qu'elles soient douces
D'un poète tu n'as que la lune en tête
De mes rondeurs tu es K.O.
Tu t'entêtes à te foutre de tout
Mais pourvu qu'elles soient douces
D'un esthète tu n'as gardé qu'un air bête
Tout est beau si c'est vu de dos
Prose ou poésie
Tout n'est que prétexte
Pas la peine de t'excuser
Muse ou égérie, mes petites fesses
Ne cessent de t'inspirer
Je fais des "ah, oh"
Jamais ne me lasse
Par amour pour un toqué
Ne faut-il pas que jeunesse se passe
À quoi bon se bousculer?
Tu t'entêtes à te foutre de tout
Mais pourvu qu'elles soient douces
D'un poète tu n'as que la lune en tête
De mes rondeurs tu es K.O.
Tu t'entêtes à te foutre de tout
Mais pourvu qu'elles soient douces
D'un esthète tu n'as gardé qu'un air bête
Tout est beau si c'est vu de dos
Tu t'entêtes à te foutre de tout
Mais pourvu qu'elles soient douces
D'un poète tu n'as que la lune en tête
De mes rondeurs tu es K.O.
Tu t'entêtes à te foutre de tout
Mais pourvu qu'elles soient douces
D'un esthète tu n'as gardé qu'un air bête
Tout est beau si c'est vu de dos
Tu t'entêtes à te foutre de tout
Mais pourvu qu'elles soient douces
D'un poète tu n'as que la lune en tête
De mes rondeurs tu es K.O.
Tu t'entêtes à te foutre de tout
Mais pourvu qu'elles soient douces
D'un esthète tu n'as gardé qu'un air bête
Tout est beau si c'est vu de dos
Tu t'entêtes à te foutre de tout
Mais pourvu qu'elles soient douces
D'un poète tu n'as que la lune en tête
De mes rondeurs tu es K.O.
Tu t'entêtes à te foutre de tout
Mais pourvu qu'elles soient douces
D'un esthète tu n'as gardé qu'un air bête
Tout est beau si c'est vu de dos
Tu t'entêtes à te foutre de tout
Mais pourvu qu'elles soient douces
D'un poète tu n'as que la lune en tête
De mes rondeurs tu es K.O.
Tu t'entêtes à te foutre de tout
Mais pourvu qu'elles soient douces
D'un esthète tu n'as gardé qu'un air bête
Tout est beau si c'est vu de dos
Tu t'entêtes à te foutre de tout
Mais pourvu qu'elles soient douces
D'un poète tu n'as que la lune en tête
De mes rondeurs tu es K.O.
Tu t'entêtes à te foutre de tout
Mais pourvu qu'elles soient douces
D'un esthète tu n'as gardé qu'un air bête
Tout est beau si c'est vu de dos
Tu t'entêtes à te foutre de tout
Mais pourvu qu'elles soient douces
D'un poète tu n'as que la lune en tête
De mes rondeurs tu es K.O.
Tu t'entêtes à te foutre de tout
Mais pourvu qu'elles soient douces
D'un esthète tu n'as gardé qu'un air bête
Tout est beau si c'est vu de dos
Tu t'entêtes à te foutre de tout
Mais pourvu qu'elles soient douces
D'un poète tu n'as que la lune en tête
De mes rondeurs tu es K.O.

Hey dude, your slanted look
Nothing is lubricated(lewd) 
Your mom spanked you too much
Your taste for the backhand
Is not perverse
And your baby is not angry
Your Kamasutra
Is a hundred years old
My God, it's old-fashioned
The ultimate in this landscape
Is to love both sides (hey)
Your majesty, never move
Without your little pillow
I am forever your only class
Everything is a price to pay
You go "ah, oh"
Behind your work
When my little pants
Standing up and from behind without losing courage
Denotes your obsessions
You stubbornly don't care about anything
But as long as they are sweet
Of a poet you only have the moon in mind
Of my curves you are knocked out
You persist in not caring about anything
But as long as they are sweet
Of an aesthete you have kept only a stupid air
Everything is beautiful if it is seen from behind
Prose or poetry
All is only pretext
No need to apologize
Muse or muse, my little buttocks
Do not cease to inspire you
I make "ah, oh"
I never get tired
For the love of a nutcase
Mustn't youth happen
What's the use of hustling?
You don't care about anything
But as long as they are sweet
Of a poet you only have the moon in mind
Of my curves you are knocked out
You persist in not caring about anything
But as long as they are sweet
Of an aesthete you have kept only a stupid air
Everything is beautiful if seen from behind
You persist in not caring about anything
But as long as they are sweet
Of a poet you only have the moon in mind
Of my curves you are knocked out
You persist in not caring about anything
But as long as they are sweet
Of an aesthete you have kept only a stupid air
Everything is beautiful if seen from behind
You persist in not caring about anything
But as long as they are sweet
Of a poet you only have the moon in mind
Of my curves you are knocked out
You persist in not caring about anything
But as long as they are sweet
Of an aesthete you have kept only a stupid air
Everything is beautiful if seen from behind
You persist in not caring about anything
But as long as they are sweet
Of a poet you only have the moon in mind
Of my curves you are knocked out
You persist in not caring about anything
But as long as they are sweet
Of an aesthete you have kept only a stupid air
Everything is beautiful if seen from behind
You persist in not caring about anything
But as long as they are sweet
Of a poet you only have the moon in mind
Of my curves you are knocked out
You persist in not caring about anything
But as long as they are sweet
Of an aesthete you have kept only a stupid air
Everything is beautiful if seen from behind
You persist in not caring about anything
But as long as they are sweet
Of a poet you only have the moon in mind
Of my curves you are knocked out
You persist in not caring about anything
But as long as they are sweet
Of an aesthete you have kept only a stupid air
Everything is beautiful if seen from behind
You persist in not caring about anything
But as long as they are sweet
Of a poet you only have the moon in mind
Of my curves you are knocked out
You persist in not caring about anything
But as long as they are sweet
Of an aesthete you have kept only a stupid air
Everything is beautiful if seen from behind
You persist in not caring about anything
But as long as they are sweet
Of a poet you only have the moon in mind
Of my curves you are K.O.


** "KO" is an abbreviation for a "knockout"