A true pillar of the French audiovisual landscape during the 1980s and 1990s, Jacques Jakubowicz, alias Jacky, first managed the communication of sacred monsters of songlike Elton John or Serge Gainsbourg. He will then be propelled alone, in 1982, on the air of the show Platinum 45 par Pierre Lescure. It was in this context that his path crossed that of Mylène Farmer, an encounter which would lead to a memorable bond. While public rumor sometimes qualified the capricious artistthe host of the musical show swept aside these prejudices to weave an authentic connection with the singer upon her arrival.
“I see for myself” : the philosophie of Jacky face à ses invités
“I was always wary of people who said ‘Either way, this one is boring, she’s boring’. I always said ‘I realize for myself’“admits Jacky to Karim Sebbouh’s microphone, to discuss his work philosophy. The concept of the program also required strong involvement from the guests, since the host designed humorous skits tailor-made with them in order to dramatize their arrival.
The young singer then put together a common thread full of mischief intended to stretch over the five sequences of the show. His idea was to gratify your guest a kiss on the forehead or cheekbones at the end of each sequence, thus sealing their complicity by very clear makeup marks. This mirror ritual ideally suited the mysterious and playful character that the star was already imposing in the media.
“She gives me a little kiss” : the cult sequence with Mylène Farmer
It was finally during the final scene of the show that Mylène Farmer chose to completely shake up Dorothée’s partner. “Jacky, can I kiss you? A little kiss on the mouth?she then asked her interlocutor in a completely spontaneous manner. Taken by surprise by this audacity, the leading face of youth television accepted this proposal with a disarming naturalness.
“She approached me like this, she gives me a little kiss“Jacky remembered, again très amusé by this anecdote forty years after the events. This moment of pure freshness led the septuagenarian to deplore the lack of fantasy of contemporary television, he who remains deeply attached to the absolute creative freedom of his beginnings.





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