We are a small group of Zaz fans located in Ann Arbor, Michigan, USA, not too far from Quebec, Canada. This is a vibrant university town with many foreigners from everywhere including France. We keep wondering whether Zaz is planning to visit the U.S. in the nearest future or not. Perhaps, there is not enough interest in Zaz there? Well, statistically, the number of hits on the official Zaz website originating in the U.S. seems to be on par with that of France and accounts for more than 25% of its total traffic. So what is going on? We don't know the answer to this question but we absolutely want to find out. This is why we have decided to open this public forum to talk about Isabelle Geffroy and Team ZAZ. This forum does not require registration for reading and posting. Members and guests are free to use English, French, Spanish or any other language that they are comfortable with. However, it would be greatly appreciated if translations to English and/or French are provided by the original posters for the benefit of all members and non-members of the forum. The rules of the board for posters are simple - be friendly and helpful, don't use profanities, try to contribute new meaningful content, avoid knowingly uploading copyrighted material and copying and pasting without referencing the original source. Enjoy!
ZAZ (זָז, to move, moving in Hebrew) is simple on the surface yet stunningly deep once you start digging for meanings. 'Z' (Zayin) stands for the crowned man (king) with the sword of Spirit. The silent 'A' (Ayin, with the embedded Zayin, vs. א, Aleph , see Changing Aleph to Ayin) means the eye that represents the primeval divine light, far greater than the light of stars. Ayin also means messianic Fountain (of Life) - see Mélusine by Jean D'Arras, about Pressine, Mélusine, Geoffroy etc. Double Zayin is numerically 77 (key to the treasure, Arabic simsim, sesame/semsem/seed/same/family) which is also the number of the Angel of Night and of Conception who according to legend watches over the child in the womb (Ayin is shaped like V or U, symbol for uterus, the Vase, the Vine, and for sangraal ) and forward. Ayin's intrinsic duality matches that of the royal Mélusine, twin-tailed siren, fairy of the Fountain, "Melas-Leuke" (Greek), alchemical symbol of black and white. Hidden in plain sight are visual, phonetic and symbolic markers of symmetries linking ZAZ to the images of Hathor, Ishtar/Isis, Mélusine, Mary Magdalene, and to the (lost) Vessel of the Holy Grail lineage. Although, many royal houses of Europe are proud to claim ancestry from the Lady of the Fountain, true Grail descendants do not strive to wage blood wars over the thrones getting stuck in the reign ('rain') of obscure/muddy rituals but rather can be found patiently working in the fields of creative art, education, environmentally conscious disciplines, applying inspirational holistic paradigms to life and more under the umbrella of free spirit. Their routes (roots) as their message of love to us are color-blind, their alchemical grail turns water to wine and the proverbial lead to white gold of Ormus (Golden Manna or Mani, the stone of many legends, or Minne, ideal love of minstrel singers) ...
To name a few:
Notre-Dame de Lumière Mortelle
The Gospel by Isabelle
Éblouie par la nuit belongs to the stylus of Raphaël Haroche.The song is written in the stroke of a deeply inspired poet, and it is Isabelle who lifts the lyrics off the ground making us wonder what the words really mean following genuine heartfelt intensity of her performance. Many of us are led to believe that this is yet another story of unrequited love with fashionable hints to the hardships of the passion discord, meaningless life, shooting cans in the dark mean streets, cold-turkey flashbacks, and suicidal search of the shallow, carefree 'whistling' lover.
Well, not entirely. This is an example of an expertly encoded palimpsest where the upper conventional layer hides another one that narrates of the journey of Mary Magdalene and her companions who were expelled from the Holy Land, traversed the Mediterranean on a boat without rudder and oars (paumée qu'un navire) and landed at Saintes-Maries-de-la-Mer, Southern France. Mary Magdalene was pregnant with Jesus Justus Jr. ('petit européen', 'juste passer' ). Métro is a reference to her womb (Greek μήτρα for uteros, also queen bee and indicative of true royal line), and, quite naturally, it is 'rempli de vertiges de la vie' making perfect sense of the following 'Mets ta main, descend-la au-dessous de mon cœur'. It is common for a newborn baby to have difficulty with breathing and to produce wheezing sounds ('Tu es venu en sifflant'). The baby is of mixed origins (en noir et blanc) as Mary herself is a princess from Nubia (Ossonoba, Isis of Noba). According to the French tradition she brought with her an amphora from the Cana wedding where Jesus performed his first miracle turning water to wine ('du Lac' or 'del Acqua' to 'de Vine', sang royal, Holy Grail) which 'canettes' could have been derived from during their rough journey.'À shooter les canettes' may very well be a double or triple entendre: a way of debunking the official CANONIC gospels, for instance, rather than shooting cans or small boats or ducks (aka 'canards' french slang for false, misleading stories). 'Bagnoles' are not necessarily cars either since the word's Occitan etymology allows for multiple meanings but can be other boats (canettes) that are hard to avoid ('à frôler') en route without rudder.
The Gospel by Isabelle
Que ce beau pot en main, soit vÙtre pot-en-tÍte.
[Touch this Urn that death/woman has prepared for you,
May this lovely pot in the hand become your pot-in-the-head.]
17th century poem about Mary Magdalene by Pierre de Saint-Louis. The poem contains acrostics, double entendres ('pot-in-the-head' as Potentiate-drug or Potentate-ruler), and allusions to Mary Magdalene as bride of Jesus and mother of a royal bloodline.
'Les yeux comme des têtes d'épingles' can be explained by the influence of drugs or, more naturally , by the blinding flashes of lightnings (trisula, weapon of gods) or by a beam of the lighthouse where needles can be also a reference to Egyptian obelisks (L'aiguille de Cléopâtre, Needle of Cleopatra) or, much better, a very close depiction of the eye of Ra, the Eye Goddess, consort of the Sun god (Reu/Ra/Rei - ancient god), Mary's predecessor and a grand relative. Isabelle makes a perfect attempt to sing 'la mort' as close as possible to 'la mer' or 'la mère', all three would make a lot of sense in this context, and possibly to 'meira' which means 'light' in Hebrew alluding to the light in the end of the way. The outro vocalization by Isabelle also makes perfect sense considering that, eventually, Mary goes into labor, and the baby is born. Isabelle in the hooded sweater vest aided by Messianic-looking Olivier Sitruk are reminiscent of the Passion of the Christ (Monica Belucci and Jim Caviezel) completing the allusion to the apocryphal Gospel. There are other possible clues in the song. The Greek mythology makes several references to blinding as divine punishment. Early Christians were often blinded as a penalty for their beliefs. The whole phrase 'Éblouie par la nuit à coup(s) de lumière(s) mortelle(s)' repeated four times in the song points to four events where 'coup de lumière' (compare to coup d'état) is an act of forced overthrow of the authority of Light: 1. crucifixion darkness, Jesus twins, one blind, 2. the Donation of Constantine used against the royal blood of Merovingians, 3. Mellisend vs. Mélusine power grabs, 4. Blinding of Prince George of Cumberland. 'Nos nuits de fumettes' and 'des cendres au matin' may be references to the All-Night vigil consisting of the three canonical hours of Vespers, Matins, and the First Hour, also "Magdalene with the Smoking Flame" by French painter Georges de La Tour comes to mind.