Georges Brassens


Georges Charles Brassens was a French singer-songwriter and poet.
Now an iconic figure in France, he achieved fame through his elegant songs with their harmonically complex music for voice and guitar and articulate, diverse lyrics. He is considered one of France's most accomplished postwar poets. He has also set to music poems by both well-known and relatively obscure poets, including Louis Aragon, Victor Hugo, Paul Verlaine, Jean Richepin, François Villon, and Antoine Pol.
During World War II, he was forced by the Germans to work in a labor camp at a BMW aircraft engine plant in Basdorf near Berlin in Germany. Here Brassens met some of his future friends, such as Pierre Onténiente, whom he called Gibraltar because he was "steady as a rock." They would later become close friends.
After being given ten days' leave in France, he decided not to return to the labor camp. Brassens took refuge in a small cul-de-sac called "Impasse Florimont," in the 14th arrondissement of Paris, a popular and working-class district, where he lived for several years with its owner, Jeanne Planche, a friend of his aunt. Planche lived with her husband Marcel in relative poverty: without gas, running water, or electricity. Brassens remained hidden there until the end of the war five months later, but ended up staying for 22 years. Planche was the inspiration for Brassens's song Jeanne.
He wrote and sang, with his guitar, more than a hundred of his poems. Between 1952 and 1976, he recorded fourteen albums that include several popular French songs such as Les copains d'abord, Chanson pour l'Auvergnat, La mauvaise réputation, and Mourir pour des idées. Most of his texts are tinged with black humour and are often anarchist-minded.
In 1967, he received the Grand Prix de Poésie of the Académie française.
Apart from Paris and Sète, he lived in Crespières and in Lezardrieux.

Biography

Childhood and education

Brassens was born in Sète, a commune in the Hérault department of the Occitanie region, to a French father and an Italian mother from the town of Marsico Nuovo.
Brassens grew up in the family home in Sète with his mother, Elvira Dagrosa, father, Jean-Louis, half-sister, Simone, and paternal grandfather, Jules. His mother, whom Brassens labeled a "missionary for songs", came from southern Italy, was a devout Roman Catholic, while his father was an easy-going, generous, openminded, anticlerical man. Brassens grew up between these two starkly contrasting personalities, who nonetheless shared a love for music. His mother, Simone, and Jules, were always singing. This environment imparted to Brassens a passion for singing that would come to define his life. At the time he listened constantly to his early idols: Charles Trenet, Tino Rossi, and Ray Ventura. He was said to love music above all else: it was his first passion and the path that led him to his career. He told his friend André Sève, " a kind of internal vibration, something intense, a pleasure that has something of the sensual to it." He hoped to enroll at a music conservatory, but his mother insisted that he could only do so if his grades improved. Consequently, he never learned to read music. A poor student, Brassens performed badly in school.
Alphonse Bonnafé, Brassens's ninth-grade teacher, strongly encouraged his apparent gift for poetry and creativity. Brassens had already been experimenting with songwriting and poetry. Bonnafé aided his attempts at poetry and pushed him to spend more time on his schoolwork, suggesting he begin to study classical poetry. Brassens developed an interest in verse and rhyme. By Brassens's admission, Bonnafé's influence on his work was enormous: "We were thugs, at fourteen, fifteen, and we started to like poets. That is quite a transformation. Thanks to this teacher, I opened my mind to something bigger. Later on, every time I wrote a song, I asked myself the question: would Bonnafé like it?" By this point, music had taken a slight backstage to poetry for Brassens, who now dreamed of being a writer.
Nonetheless, personal friendships and adolescence still defined Brassens in his teens. At age seventeen, he was implicated in crimes that would prove to be a turning point in his life. To get money, Georges and his gang started to steal from their families and others. Georges stole a ring and a bracelet from his sister. The police found and caught him, which caused a scandal. The young men were publicly characterized as "high school mobsters" or "scum" — voyous. Some of the perpetrators, unsupported by their families, spent time in prison. While Brassens's father was more forgiving and immediately picked up his son, Brassens was expelled from school. He decided to move to Paris in February 1940, following a short trial as an apprentice mason in his father's business after World War II had already broken out.

Wartime

Apprenticeships

Brassens lived with his aunt Antoinette in the 14th arrondissement of Paris, where he taught himself to play piano. He began working at a Renault car factory. In May 1940 the factory was bombed, and France was invaded by Germany. Brassens returned to the family home in Sète. He spent the summer in his home town, but soon returned to Paris, feeling that this was where his future lay. He did not work, since employment would serve only to profit the occupying enemy. Saddened by the lack of poetic culture, Brassens spent most of his days in the library. It was then that he set a pattern of rising at five in the morning, and going to bed at sunset – a pattern he maintained the greater part of his life. He meticulously studied the great masters: Villon, Baudelaire, Verlaine and Hugo. His approach to poetry was almost scientific. Reading, for instance, a poem by Verlaine, he dissected it image by image, attentive to the slightest change in rhythm, analyzing the rhymes and the way they alternated. He drew on this enormous literary culture as he wrote his first collection of poems, Des coups d’épée dans l’eau, the conclusion of which foreshadowed the anarchism of his future songs:
Brassens also published À la venvole in 1942, thanks to the money of his family and friends, and with the surprising help of a woman named Jeanne Planche, a neighbour of Antoinette, probably the first Brassens fan. Brassens later commented on his early works: "In those times, I was only regurgitating what I had learned reading the poets. I hadn't transformed it into honey yet."

Exile

In March 1943, Brassens was requisitioned for the STO forced labour organisation in Germany. He found time to write Bonhomme and Pauvre Martin, along with more than a hundred other songs, that were later either burned or frequently altered before they reached their final form. He also wrote the beginning of his first novel, Lalie Kakamou. In Germany, he met some of his best friends like Pierre Onténiente, whom he nicknamed "Gibraltar", because he was "firm as a rock." Onténiente later became his right-hand man and his private secretary.
A year after he arrived in Basdorf, Brassens was granted a ten-day furlough. It was obvious to him and his new friends that he wouldn't come back. In Paris, he had to find a hideout, but he knew very few people. He had indeed led quite a lonely life in Paris, seeing only a friend from Sète and the girls. Finally, Jeanne Planche came to his aid and offered to put him up as long as necessary. Jeanne lived with her husband Marcel in a hovel at 9 impasse Florimont, with no gas, water or electricity. Brassens accepted and stayed there for twenty-two years. He once said on the radio: "It was nice there, and I have gained since then quite an amazing sense of discomfort." According to Pierre Onténiente: "Jeanne had a crush on Georges, and Marcel knew nothing, as he started to get drunk at eight in the morning."

Anarchist influences

Once put up at Jeanne Planche's, Georges had to stay hidden for five months, waiting for the war to come to an end. He continued writing poems and songs. He composed using as his only instrument a small piece of furniture that he called "my drum" on which he beat out the rhythm. He resumed writing the novel he started in Basdorf, for only now did he consider a career as a famous novelist. The end of World War II and the freedom suddenly regained didn't change his habits much, except that he got his library card back and resumed studying poetry.
The end of the war meant the homecoming of the friends from Basdorf, with whom Brassens planned to create an anarchist-minded paper, Le Cri des Gueux, which stopped after the first edition due to a lack of money. At the same time, he set up the "Prehistoric Party" with Emile Miramont and André Larue, which advocated the return to a more modest way of life, but whose chief purpose was to ridicule the other political parties. After the failure of Le Cri des Gueux, Brassens joined the Anarchist Federation and wrote some virulent, black humour-tinged articles for Le Libertaire, the Federation's paper. But the extravagance of the future songwriter wasn't to everybody's taste, and he soon had to leave the Federation, albeit without resentment.
Brassens said in an interview: "An anarchist is a man who scrupulously crosses at the zebra crossing, because he hates to argue with the agents". He also said: "I'm not very fond of the law. As Léautaud would say, I could do without laws I think most people couldn’t."

Career

His friends who heard and liked his songs urged him to go and try them out in a cabaret, café or concert hall. He was shy and had difficulty performing in front of people. At first, he wanted to sell his songs to well-known singers such as Les Frères Jacques. The owner of a cafe told him that his songs were not the type he was looking for. But at one point he met the singer Patachou in a very well-known cafe, Les Trois Baudets, and she brought him into the music scene. Several famous singers came into the music industry this way, including Jacques Brel and Léo Ferré. He later on made several appearances at the Paris Olympia under Bruno Coquatrix' management and at the Bobino music hall theater.
He toured with Pierre Louki, who wrote a book of recollections entitled Avec Brassens. After 1952, Brassens rarely left France. A few trips to Belgium and Switzerland; a month in Canada and another in North Africa were his only trips outside France – except for his concerts in Wales in 1970 and 1973. His concert at Cardiff's Sherman Theatre in 1973 saw Jake Thackray — a great admirer of his work – open for him.

Songs

Brassens rarely performed abroad. His lyrics are difficult to translate, though attempts have been made. He accompanied himself on acoustic guitar. Most of the time the only other accompaniment came from his friend Pierre Nicolas with a double bass, and sometimes a second guitar.
His songs often decry hypocrisy and self-righteousness in the conservative French society of the time, especially among the religious, the well-to-do, and those in law enforcement. The criticism is often indirect, focusing on the good deeds or innocence of others in contrast. His elegant use of florid language and dark humor, along with bouncy rhythms, often give a rather jocular feel to even the grimmest lyrics.
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Some of his most famous songs include:
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Death

Brassens died of cancer in 1981, in :fr:Saint-Gély-du-Fesc|Saint-Gély-du-Fesc, having suffered health problems for many years, and rests at the Cimetière Le Py in Sète.

Legacy

In recent years, more than 50 doctoral dissertations have been written about Georges Brassens. Many artists from Japan, Israel, Russia, the United States, Italy and Spain have made cover versions of his songs. His songs have been translated into 20 languages, including Esperanto.
Many singers have covered Georges Brassens' lyrics in other languages, for instance Pierre de Gaillande, who translates Brassens' songs and performs them in English, Koshiji Fubuki in Japanese, Fabrizio De André, Alberto Patrucco, and Nanni Svampa, Graeme Allwright and Jake Thackray, Sam Alpha, Yossi Banai, Arsen Dedić, Jiří Dědeček, Mark Freidkin, Loquillo, Paco Ibáñez, Javier Krahe, Joaquín Carbonell and Eduardo Peralta, Jacques Ivart, Franz Josef Degenhardt and Ralf Tauchmann, Mani Matter in Bernese Dialect, Zespół Reprezentacyjny and Piotr Machalica, Cornelis Vreeswijk and Tuula Amberla. Dieter Kaiser, a Belgian-German singer who performs in public concerts with the French-German professional guitarist Stéphane Bazire under the name Stéphane & Didier has translated into German language and gathered in a brochure 19 Brassens songs. He also translated among others the poem "Il n'y a pas d'amour heureux" of the French contemporary poet Louis Aragon. Franco-Cameroonian singer Kristo Numpuby also released a cover-album with the original French lyrics but adapted the songs to various African rhythms.
An international association of Georges Brassens fans exists and there is also a fan club in Berlin-Basdorf which organizes a Brassens festival every year in September.
Brassens composed about 250 songs, of which 200 were recorded, the other 50 remaining unfinished.
Renée Claude, an important Québécois singer, dedicated a tribute-album to him, J'ai rendez-vous avec vous.
His songs have a major influence on many French singers across several generations, including Maxime Le Forestier, Renaud, Bénabar and others.
In 2008, the English folk-singer Leon Rosselson included a tribute song to Brassens, entitled "The Ghost of Georges Brassens", on his album A Proper State.
The song "À Brassens" from Jean Ferrat's album Ferrat was dedicated to Brassens.
In 2014, Australian-French duo Mountain Men released a live tribute album Mountain Men chante Georges Brassens.

Heritage sites

Many schools, theatres, parks, public gardens, and public places are dedicated to Georges Brassens and his work, including:
All of Georges Brassens' studio albums are untitled. They are referred either as self-titled with a number, or by the title of the first song on the album, or by the most well-known song.

Studio albums