Serge Gainsbourg

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Serge Gainsbourg (born Lucien Ginsburg; 2 April 1928 – 2 March 1991) was a French singer, guitarist, composer, painter, writer, screenwriter, actor, and director.

Although alive, he was known as one of France's most influential figures, causing uproar and controversy; as well as his diverse artistic output, which represented genres ranging from jazz, mambo, chanson, pop, and yé-yé, to rock and roll, progressive rock, reggae, neon, and funk, as well as funk, pop, pop, and yé-yé; as well as his popular music, which represented genres ranging from jazz,

Gainsbourg's flexible musical style and individuality made it impossible to categorize, although his legacy has long been established and he is often regarded as one of the world's most influential musicians.

Gainsbourg wrote over 550 songs, which have been broadcast more than 1,000 times by a variety of artists. Gainsbourg's music has risen to legendary fame in France, with him as France's top ever performer and one of the country's most popular and endeared public figures.

With chart success in the United Kingdom and the United States, he has also acquired a following in the English-speaking world (something no other Francophone artist has achieved) with "Je aime... moi non plus" and "Bonnie and Clyde," respectively.

1928–1956: Early years

Lucien Ginsburg was born in Paris on April 2nd. Joseph Ginsburg, a Ukrainian-Jewish immigrant, who died in Feodosia, Russian Empire (now Ukraine), was born in Paris, November 15, 1894, and he came from Odessa, Russian Empire (now Ukraine), who fled to Paris after the 1917 Russian Revolution. Joseph Ginsburg, a classically trained musician whose art was playing the piano in cabarets and casinos, taught his children —Gainsbourg and his twin sister Liliane — how to play the piano. Gainsbourg's childhood was greatly influenced by France's occupation during World War II. In later years, the identifying yellow star that Jews were required to wear inspired Gainsbourg; he was able to convert this memory into creative inspiration. During the war, the Jewish Ginsburg family was able to move from Paris to Limoges, traveling under false names. Limoges was in the Zone libre under the new regime of the collaborationist Vichy government, which was also a dangerous refuge for Jews, and it became even more difficult after Germany occupied it in 1942. Gainsburg attended the Lycée Condorcet high school in Paris but was unable to complete his Baccalauréat before completing his Baccalauréat.

Gainsbourg's (Ginsburg's) father enrolled him in Beaux-Arts de Paris, a prestigious art academy, before he transferred to the Académie de Montmartre, where his professors included André Lhote and Fernand Léger. Gainsbourg will welcome Elisabeth "Lize" Levitsky, the granddaughter of Russian aristocrats and also a part-time model, to visit him. They married on November 3rd, 1951, and by 1957, they were divorced. He was conscripted by the army for twelve months of service in Courbevoie in 1948. He never saw action and spent the time on his guitar, visiting prostitutes, and partying later admitted that the service made him an alcoholic. In Le Mesnil-le-Roi, Gainsbourg obtained work teaching music and drawing in a school outside of Paris. The academy was established under the auspices of local rabbis for the orphanages of murdered deportees. Gainsbourg heard the accounts of Nazi persecution and genocide, two tales that would have resurfaced for Gainsbourg well into the future.

Gainsbourg was disillusioned as a painter, but he earned his living as a piano player in jails, often as a stand-in for his father. He was soon appointed to be the venue pianist at Madame Arthur's drag cabaret club. Gainsbourg decided to change his first name to Serge, despite the fact that his future partner Jane Birkin recalls: "Lucien reminded him of a hairdresser's assistant." In honor of English painter Thomas Gainsborough, who admired, he selected Gainsborough as his last name. Gainsbourg had a revelation when he discovered Boris Vian's narcotic and amusing songs at the Milord l'Arsouille club, whose upbeat and amusing songs would influence his own compositions. Michèle Arnaud, a French singer and club star, was accompanied on guitar by Milor l'Arsouille, Gainsbourg. When visiting his house in 1957 to see his paintings, Arnaud and the club's director Francis Claude discovered, with astonishment, the Gainsbourg's compositions. Claude pushed Gainsbourg on stage the next day. Despite being terrified of stage fright, he performed his own repertoire, including "Le Poinçonneur des Lilas," which describes the day in the life of a Paris Métro ticket man whose job is to stamp holes in passengers' tickets. Gainsbourg describes this job as monotonous, that the man eventually thinks of digging a hole into his own head and being buried in another. He was invited by Claude to his own performance by Claude, and Jacques Canetti followed him on his path by obtaining a spot at the Théâtre des Trois Baudets and on his tours. Arnaud's debut in 1958 started recording several interpretations of Gainsbourg's songs.

Du chant à la une à la française, his debut album. (1958) was born in the summer of 1958, with support from arranger Alain Goraguer and his orchestra, triggering a fruitful collaboration. Despite winning the grand prize at L'Academie Charles Cross and the admiration of Boris Vian, who likened him to Cole Porter, it was announced in September as a commercial and critical loss. N° 2 (1959), his second album, had a similar fate. He made his film debut in 1959 as a supporting actor in the French-Italian co-production Come Dance with Me starring Brigitte Bardot. In the year after, he appeared as a Roman officer in the Italian sword-and-sandals film The Revolt of the Slaves. In similar films including Samson (1961) and The Fury of Hercules (1962), he would continue to play "nasty characters." Gainsbourg's first commercial success came in 1960 with his album "Le à la bouche," the title song from the film of the same name for which he had composed the score. L'Étonnant Serge Gainsbourg (1961), his third album, contained "La Chanson de Prévert," which lifted lyrics from the Jacques Prévert poem "Les feuilles mortes." Gainsbourg wrote "La Javanaise" for her after a night of alcoholic champagne and dancing with singer Juliette Gréco. Both will perform versions of the song in 1962, but Gainsbourg's interpretation has the most popular. Serge Gainsbourg N° 4's fourth album, which included Latin and rock and roll influences, was released in 1962, but Gainsbourg Confidentiel (1963), a more minimalistic jazz style, was followed only by a double bass and electric guitar.

Despite initially mocking yé-yé, a style of French pop typically performed by young female singers, Gainsbourg will soon be one of the country's most popular performers after writing a string of hits for artists such as Brigitte Bardot, Petula Clark, and France Gall. He had been introduced by a friend as a result of Philips Records labelmates, thus starting a fruitful partnership with hits like "N'écoute pas les idols," "Poupée de cire, poupée de son," which was the Luxembourgian winning entry at the Eurovision Song Contest 1965. Beethoven's Piano Sonata No. 4th movement (Prestissimo in F minor) was inspired by the 4th movement (Prestissimo in F minor). Double entendres and wordplay were included in the album, a feature of Gainsbourg's lyrics. The controversially risqué "Les sucettes" ("Lollipops"), referred to oral sex, astonish to the 18-year-old Gall, who assumed the song was about lollipops. Gall later expressed dissatisfaction with Gainsbourg's antics, saying she was "betrayed by the adults around me" in 2001.

Gainsbourg married Antoinette "Béatrice" Pancrazzi, with whom he had two children, a daughter named Natacha (b. ), on January 7th, 1964. Paul, a son of August 1964, was born in spring 1968. In February 1966, he divorced Béatrice.

Gainsbourg Percussion (1964), the drummer and composers of African musicians Miriam Makeba and Babatunde Olatunji, were inspired by his music and melodies. Olatunji later sued Gainsbourg for removing three tracks from his 1960 album Drums of Passion. Nonetheless, the album has been praised as being ahead of its time in the incorporation of world music and lyrical content depicting interracial love. Gainsbourg produced the music and sung the words of science fiction writer André Ruellan for many songs created by Jean-Claude Forest's series of animated Marie-Mathematics shorts from 1965 to 1966. He'll reunite with Michèle Arnaud for the duet "Les Papillons noirs" from her 1966 comeback appearance.

Gainsbourg wrote the script and produced the soundtrack for Anna, starring Anna Karina in the titular role in 1967. In the Eurovision Song Contest 1967, Gainsbourg's "Boum-Badaboum" by Minouche Barelli was entered by Monaco, placing in fifth place. Gainsbourg will have a brief but ardent love affair with Brigitte Bardot in that year. One day she begged him to write the most romantic love song he could imagine, and that night, he wrote "Je t'aime... moi non plus" and "Bonnie and Clyde" for her. The pair captured the passionate yet cynical "Je t'aime" in a small glass booth in Paris, referring to physical intimacy's lack of desire. However, after Bardot's husband, German businessman Gunter Sachs, became aware of the recording, he demanded that it be deleted. Bardot begged Gainsbourg not to reveal it, but he obliged.

"Bonnie and Clyde," Bardot's LP, contained four songs written by Gainsbourg, including duets such as the playful "Comic Strip" and the string-laden "Bonnie and Clyde," which tells the tale of the American criminal couple and was based on a poem written by Bonnie Parker herself. B.B. : His own Initials B.B. These duets appeared on his first album in nearly four years (1968). It mixed orchestral pop with the style of rock popular in London in the 1960s, where the album was largely recorded. Gainsbourg used Anton Dvok's New World Symphony for the title track, which was named after and dedicated to Bardot. Fontana Records' subsidiary LP Bonnie and Clyde (1968), a Phillips subsidiary, also included the compilation LP Bonnie and Clyde (1968), which contained their duets and some other previously unreleased information.

Gainsbourg performed "Requiem pour un con" on screen in Le Pacha, the composer's percussion heavy 1968 single. Gainsbourg was asked by Françoise Hardy to write a French version of the song "It Hurts to Say Goodbye" shortly after being left behind by Bardot. The result was "Comment te dire adieu," which is known for its rare rhymes and has become one of Hardy's signature songs.

Gainsbourg's younger English singer and actress Jane Birkin, whom he encountered during the shooting of the film Slogan (1969), fell in love in mid-1968. Gainsbourg played a commercial director who has an affair with a younger woman in the film. On the title theme "La Chanson de Slogan," Gainsbourg also provided the soundtrack and performed with Birkin. The friendship is expected to last more than a decade. Charlotte, the child of a young Charlotte, who would be known as an actress and singer, would have turned 17 in July 1971. Although many reports indicate that they were married, Charlotte says this was not the case. Gainsbourg requested Birkin to re-record "Je t'aime" after filming Slogan. Her vocals were a octave higher than Bardote's, had hinting heavy breathing, and culminated in simulated orgasm sounds. The song debuted on February 1969 after being briefly barred due to its overtly sexual content. It had been barred from radio broadcasting in several other nations, including Spain, Sweden, Italy, and France, before 11 p.m., including Spain, Sweden, Italy, and France. The Vatican had even condemned the song openly. It was included on Jane Birkin/Serge Gainsbourg's joint album, which also included "Élisa" and new recordings of songs written by other artists such as "Les sues," "L'amour," and "Sous le soleil exactement". Pitchfork ranked it as the 44th best album of the 1960s in 2017. In another Gainsbourg-scored film, Cannabis (1970), in which he played an American gangster who falls in love with a woman from a wealthy household, he and Birkin will be able to share the screen.

Following the success of "Je t'aime... moi non plus," his record label awaited Gainsbourg to have another hit. However, after having already made a fortune, he was uninterested, deciding to "step forward." The result, his 1971 concept album Histoire de Melody Nelson, tells the tale of an illicit friendship between the narrator and the teen Melody Nelson after she was beaten over in his Rolls Royce Silver Ghost. Gainsbourg's album includes a number of aspects, including one-spoken, half-sung vocal performance, loose drums, guitar, and bass, all evoking funk music, as well as lavish string and choral arrangements by Jean-Claude Vannier. Despite only selling 15,000 copies on the first day, it has since become extremely popular and is often described as his magnum opus. Gainsbourg and Birkin were also included in the accompanying television special.

He had a heart attack in May 1973 but refused to cut back on his nicotine use and alcohol consumption. Despite Gainsbourg's current obsession with scatology, the next edition of Vu de l'extérieur (1973) was not strictly a concept album like its predecessor and sequels. It was difficult to connect with critics and listeners. Gainsbourg wrote all of the tracks on Birkin's debut solo album Di doo dah in that year, and he'll continue to write for her until his death. Gainsbourg's darkly comic album Rock Around the Bunker, released in 1975, made it into a trendier 1950s rock and roll style and wrote about Nazi Germany and the Second World War, based on his experience as a Jewish child in occupied France. L'Homme à tête de chou (The Cabbage Head Man), Gainsbourg's own term for his large ears, debuted in a new concept album this year. Gainsbourg's first foray into Jamaican reggae, a style in which Gainsbourg will debut his next two albums.

Gainsbourg made his directorial debut with Je t'aime moi nonplus, an offbeat drama named after his song of the same name. Birkin appeared in the lead role, with American actor Joe Dallesandro portraying the gay man she fell in love with. The film received positive critical feedback from the French press and acclaimed filmmaker François Truffaut. Having previously turned down the opportunity to film Emmanuelle (1974), he decided to do so for one of its sequels Goodbye Emmanuelle (1977).

Gainsbourg dropped plans to record another concept album in 1978 and contacted several Jamaican musicians, including rhythm section players Sly and Robbie, with the intention of recording a reggae album. In September, he set off for Kingston, Jamaica, with the likes of Sly and Robbie, as well as the female backing singers The I-Threes of Bob Marley and the Wailers; making him the first white musician to record such an album in Jamaica. The album was extremely popular, with platinum status for orders over one million copies. However, it was not without controversy as the title track — a reggae version of the French national anthem "La Marseillaise" — received a scathing critique in Le Figaro, who noted the song and warned that it might lead to a rise in anti-semitism. Right-wing veteran soldiers of the Algerian War of Independence, who were opposed to their national anthem being arranged in reggae style, also killed Gainsbourg. A performance had to be postponed in 1979 because a large crowd of French Army parachutists gathered to protest in the audience. Gainsbourg, Alone onstage, trembled and remarked: "The true meaning of our national anthem is revolutionary" and performed it a capella with the audience.

Birkin left Gainsbourg in 1980, but the two stayed close, with Gainsbourg becoming the godfather of Birkin and Jacques Doillon's daughter Lou and writing her next three albums. His first live album Enregistrement public au Théâtre Le Palace (1980) showcased his reggae-influenced design at the time. Gainsbourg collaborated with actress Catherine Deneuve on the hit song "Dieu fumeur de havanes" from Je vous aime in 1980 and released a novella entitled Evène Sokolov, the story of an avant-garde painter who exploits his flatulence by inventing a style known as "gasograms." Mauvaises nouvelles des étoiles (1981), the last reggae recording, was released at Compass Point Studios in The Bahamas with the same staff as its predecessor. When Gainsbourg discovered Rita Marley's wife sang erotic lyrics, Bob Marley, husband to Rita Marley, was apparently furious. In 2003, Aux armes et cétera and Mauvaises Nouvelles des Étoiles were among the first posthumous dub mixes. Gainsbourg also produced "Manureva" for Alain Chamfort, a tribute to French sailor Alain Colas and the titular trimaran he disappeared at sea with while sailing.

Despite poor contemporary reviews, Gainsbourg contributed his songwriting to French rockstar Alain Bashung's album Play blessures, which was a left turn for Bashung and is often described as a cult classic. Équateur (1983), his second film as a director, was based on Belgian writer Georges Simenon's 1933 novel Tropic Moon and set in colonialist French Equatorial Africa.

Gainsbourg went from reggae to a more experimental, new wave inspired sound in 1984. Gainsbourg was dressed in drag on the front page and Charlotte's "Lemon Incest," which seemed to ambiguously refer to an adult and his child's inability. The song's music video featured a half-naked Gainsbourg sleeping on a bed with Charlotte, causing more controversy. Nonetheless, it was Gainsbourg's most popular song in France. He unlawfully burned three-quarters of a 500-franc bill on television in March 1984 to oppose tax increases, which accounted for 74% of income. "I said, fuck her," Dr. Robert, utterly distraught, said in a previous talk show interview with Les Rita Mitsouko singer Catherine Ringer, who appeared alongside her on Michel Drucker's live Saturday evening television show Champs-Élysées, in April 1986. "You're nothing but a filthy worm," Gainsbourg bragged about her, "Look, you, you're just a bitter old alcoholic...you've become a disgusting old parasite."

Caroline Paulus, better known by her stage name Bambou, was Gainsbourg's last friend until his death. Lucien (b. ): They had a son, Lucien (b. ): Lulu, a musician who now goes by the name Lulu, was born on January 5, 1986. Charlotte for Ever, the 1986 film "Lemon Incest," expanded on the themes explored in "Lemon Incest." He appeared in the film alongside Charlotte as a widowed, alcoholic father living with his daughter. Gainsbourg also published an album of the same name.

You're Under Arrest (1987), his sixteenth and final studio album, mainly retained the Beat's funky new wave sound, but also included hip hop elements. It's a return to concept albums for Gainsbourg, it tells the tale of an unidentified narrator and his heroin-addicted girlfriend in New York City. The album's anti-drug message was amplified by the single "Aux enfants de la chance."

He was heavily intoxicated at a local theater where he was scheduled to do a presentation in December 1988, as a judge at a film festival in Val d'Isère. While on stage, he started to tell an offensive tale about Brigitte Bardote and a champagne bottle, only to stagger offstage and collapse in a nearby seat. His health worsened over the years, requiring liver transplantation in April 1989. In his poor health, he returned to a private apartment in Vézelay in July 1990, where he would spend six months. He continued to write for other writers, including the lyrics to "White and Black Blues" by Jolle Ursull, the French entry in the Eurovision Song Contest 1990, placing second in second place. After its debut, he wrote all of the lyrics for popular singer Vanessa Paradis' album Variations sur le même t'aime (1990), saying "Paradis is hell." Claude Berri's last film, Stan the Flasher, starred Claude Berri as an English teacher who engages in exhibitionism. In 1990, Gainsbourg's Amours des feintes became Birkin's last album of original material.

Gainsbourg, a day after smoking five packs of unfiltered Gitane cigarettes, died of a heart attack at his house on March 2, 1991, a month before his 63rd birthday. He was buried in the Montparnasse Cemetery in Paris's Jewish section. "He was our Baudelaire, our Apollinaire," French President François Mitterrand said. He brought the song to a place of art."

1957-1963: Early career as a pianist and chanson singer.

Gainsbourg was disillusioned as a painter because he lacked skills but he earned his living as a pianist in bars, usually as a stand-in for his father. He soon became the venue pianist at Madame Arthur's drag cabaret club. Gainsbourg decided to change his first name to Serge in order to join SACEM, citing his Jewish roots and the fact that his future companion Jane Birkin recalls: "Lucien told him of a hairdresser's assistant." In honor of English painter Thomas Gainsborough, whom he admired, he chose Gainsbourg as his last name. Gainsbourg had a revelation when he saw Boris Vian at the Milor l'Arsouille club, whose upbeat and amusing songs would inspire his own compositions. Michèle Arnaud, a French singer and club star, was accompanying her at the Milord l'Arsouille. When visiting his house to see his paintings in 1957, Arnaud and the club's director Francis Claude discovered, with amazement, the compositions of Gainsbourg. Claude pushed Gainsbourg on stage the next day. Despite suffering from stage fright, he performed his own repertoire, including "Le Poinçonneur des Lilas," which tells the day in the life of a Paris Métro ticket man, whose job is to stamp holes in passengers' tickets. Gainsbourg describes this task as so monotonous that the man eventually thinks of digging a hole in his own head and being buried in another. Claude gave him his own show and was eventually discovered by Jacques Canetti, who helped with his career with a spot at the Théâtre des Trois Baudets and on his tours. Arnaud began recording several interpretations of Gainsbourg's songs in 1958.

Du chant à la française, his debut album. (1958), who was born in 1958, was backed by arranger Alain Goraguer and his orchestra, a fruitful collaboration was launched. Despite winning the grand prize at L'Academie Charles Cross and Boris Vian's praise, it was published in September, bringing it to Cole Porter. His upcoming album, N° 2 (1959), had a similar fate. He made his film debut in 1959 in the French-Italian co-production Come Dance with Me, starring Brigitte Bardot. In the upcoming year, he appeared as a Roman officer in the Italian sword-and-sandals film The Revolt of the Slaves. In related films, including Samson (1961) and The Fury of Hercules (1962), he will continue to act "nasty characters." Gainsbourg's first commercial success came in 1960 with his single "L'Eau à la bouche," the title song from the film of the same name for which he had composed the score. "La Chanson de Prévert," L'Étonnant Serge Gainsbourg (1961), his third album, included "La Chanson de Prévert," which lifted lyrics from the Jacques Prévert poem "Les feuilles mortes." Gainsbourg wrote "La Javanaise" for her after a night of alcoholic champagne and dancing with singer Juliette Gréco. Both will perform versions of the song in 1962, but Gainsbourg's interpretation has survived. Serge Gainsbourg N° 4's fourth album, which included Latin and rock and roll influences, was released in 1962, but Gainsbourg Confidentiel (1963), his next project, Gainsbourg Confidentiel, took a more minimalistic jazz approach, only accompanied by a double bass and electric guitar.

Gainsbourg will soon be one of the key figures in French pop, mocking yé-yé, a style of French pop popularly performed by young female singers, after writing a string of hits for artists such as Brigitte Bardote, Petula Clark, and France Gall. After being introduced by a friend as a Philips Records labelmate, he had met Gall, launching "N'écoute pas les idols," the widely distributed "Laisse tomber les filles" and "Poupée de cire, poupée de son," the latter of which was the Luxembourgian winning entry at the Eurovision Song Contest 1965. The 4th movement (Prestissimo in F minor) from Beethoven's Piano Sonata No. 76 was inspired by the Beethoven's Piano Sonata No. The song featured double entendres and wordplay, a staple of Gainsbourg's lyrics. The tensely risqué "Les sucettes" ("Lollipops"), a term that was unknown to the 18-year-old Gall, who mistook it for lollipops. Gall later expressed dissatisfaction with Gainsbourg's antics, claiming she was "betrayed by the adults around me" in 2001.

Gainsbourg married Antoinette "Béatrice" Pancrazzi for the second time on January 7, 1964, with whom he had two children: Natacha (b. ). Paul (born in 1968) and his son, August 8, 1964). In February 1966, he divorced Béatrice.

Gainsbourg Percussion (1964), his fourth album, was inspired by African musicians Miriam Makeba and Babatunde Olatunji's rhythms and melodies. Olatunji later sued Gainsbourg for boosting three songs from his 1960 album Drums of Passion. Nevertheless, the album has been praised as being ahead of its time in terms of the incorporation of world music and lyrical material depicting interracial love. Gainsbourg produced the music and sung the words of science fiction writer André Ruellan for several songs produced by Jean-Claude Forest for a collection of animated Marie-Mathematics shorts from 1965 to 1966. He would reunite with Michèle Arnaud in the duet "Les Papillons noirs" from 1966, her first appearance.

Gainsbourg wrote the script and produced the soundtrack for Anna, the titular role of musical comedy television film Anna starring Anna Karina in 1967. In the Eurovision Song Contest 1967, Gainsbourg's "Boum-Badaboum" by Minouche Barelli was entered by Monaco, finishing in fifth place. Gainsbourg will have a brief but ardent love affair with Brigitte Bardot in the coming year. She begged him to write the most romantic love song he could imagine, and that night, he wrote "Je t'aime moi non plus" and "Bonnie and Clyde" for her. The pair's ecstatic yet cynical "Je t'aime," describing the hopelessness of physical intimacy, was captured by the pair in a tiny glass booth in Paris. However, after Bardot's husband, German businessman Gunter Sachs, became aware of the recording, he requested that it be deleted. Bardot begged Gainsbourg not to release it, but he obliged.

Bardot's LP Brigitte Bardot Show 67 featured four songs by Gainsbourg, including duets such as the playful "Comic Strip" and the string-laden "Bonnie and Clyde," which tells the tale of the American criminal couple and was based on a poem written by Bonnie Parker herself. B.B. is a member of the Alphabet B. B. He started his B.B. These duets appeared on his first album in nearly four years (1968) – his first album in nearly four years. In the swinging sixties, orchestral pop was fused with the London style of rock popular in the swinging sixties, where the album was mainly recorded. Gainsbourg borrowed heavily from Anton Dvod's New World Symphony for the title track, which was announced after and dedicated to Bardot. Fontana Records, a Phillips subsidiary, also released the compilation LP Bonnie and Clyde (1968), which contained their duets and other previously unreleased material.

Gainsbourg's "Requiem pour un con" was performed onscreen in Le Pacha, the composer's percussion heavy 1968 single "Requiem pour un con." Gainsbourg was asked by Françoise Hardy to write a French version of the song "It Hurts to Say Goodbye" shortly after being left behind by Bardot. The result, "Comment te dire adieu," which is best known for its unusual rhymes, has become one of Hardy's signature songs, "Comment te dire adieu."

Gainsbourg's younger English singer and actress Jane Birkin, whom he encountered during the shooting of the film Slogan (1969), fell in love in mid-1968. Gainsbourg played a younger woman in the film as a commercial director who has an affair with his pregnant wife. On the title theme "La Chanson de Slogan," Gainsbourg also provided the music and performed with Birkin. The friendship will last more than a decade. Charlotte, the mother of a child who would become an actress and singer, was born in July 1971. Although several reports indicate that they were married, Charlotte Charlotte claims that this was not the case. Gainsbourg's request to Birkin to re-record "Je t'aime" with him after filming Slogan. Her vocals were a octave higher than Bardot's, featured heavy breathing, and culminated in simulated orgasm sounds. The song, which was first released in February 1969, topped the UK Singles Chart after being partially banned due to its overtly sexual content. It was banned from radio broadcasting in several other nations, including Spain, Sweden, Italy, and France, before 11 p.m. The Vatican had even condemned the song openly. It was included on the joint album Jane Birkin/Serge Gainsbourg, which also included "Élisa" and new recordings of songs by other artists, such as "Les sueles," "L'amour" and "Sous le soleil exactement." Pitchfork named it the 44th best album of the 1960s in 2017. In another Gainsbourg-scored film, Cannabis (1970), in which he played an American gangster who falls in love with a child from a wealthy family, he and Birkin would share the screen.

Gainsbourg was forecast to produce another smash after the success of "Je t'aime... moi non plus." However, after having already made a fortune, he was uninterested, and decided to "move to something more." Melody Nelson's 1971 concept album Histoire de Melody Nelson, which tells the tale of an illicit friendship between the narrator and teen Melody Nelson after she was beaten over in his Rolls Royce Silver Ghost. Gainsbourg's album includes a rich string and choral arrangement by Jean-Claude Vannier, with a unique half-spoken, half-sung vocal performance, loose drums, guitar, and bass evoking funk music. Despite having only sold 15,000 copies on the first attempt, it has since become highly popular and is often described as his magnum opus. Gainsbourg and Birkin also appeared in the accompanying television special.

In May 1973, he suffered a heart attack but decided not to cut back on his smoking and alcohol consumption. Despite its emphasis on scatology throughout, Gainsbourg's new record Vu de l'extérieur (1973) was not strictly a concept album like its predecessor and follow-ups. It was difficult to engage with critics and listeners. Gainsbourg wrote all of the tracks on Birkin's debut solo album Di doo dah in that year, and he'll continue to write for her until his death. Gainsbourg released the darkly comic album Rock Around the Bunker in 1975, a testament to Nazi Germany and the Second World War, drawing on his experiences as a Jewish immigrant in occupied France. L'Homme à tête de chou (The Cabbage Head Man), Gainsbourg's own word for his large ears, was released in the second year. It was Gainsbourg's first foray into Jamaican reggae, which is a style in which Gainsbourg will debut his next two albums.

Gainsbourg made his directorial debut with Je t'aime moi non plus, an offbeat drama named after his song of the same name. Birkin appeared in the lead role, with American actor Joe Dallesandro portraying the gay man she falls in love with. The film received praise from the French press and acclaimed filmmaker François Truffaut. Having turned down the opportunity to film Emmanuelle (1974), he decided to do so for one of its sequels Goodbye Emmanuelle in 1977.

Gainsbourg scrapped plans to record another concept album in 1978 and contacted several Jamaican musicians, including rhythm section players Sly and Robbie, with the intention of recording a reggae album. He began recording Aux armes et ctera (1979) in Kingston, Jamaica, with Sly and Robbie, as well as Bob Marley and the female backing singers The I-Threes of Bob Marley and the Wailers, making him the first black musician to record such an album in Jamaica. The album was extremely popular, earning platinum status for selling more than one million copies. But it wasn't without controversy: In the newspaper Le Figaro, Michel Droit, who argued that it caused a rise in anti-semitism, the title track—a reggae version of the French national anthem "La Marseillaise"—received scathing criticism. Right-wing veterans of Algeria's War of Independence, who were opposed to their national anthem being arranged in reggae style, also killed Gainsbourg. A show had to be cancelled in 1979 because a rage crowd of French Army parachutists appeared in the audience. Gainsbourg, Alone on stage, threw a wrench at him: "The true meaning of our national anthem is revolutionary" and performed it a capella with the audience.

Birkin left Gainsbourg in 1980, but the two stayed close, with Gainsbourg becoming the godfather of Birkin and Jacques Doillon's daughter Lou and writing her next three albums. Enregistrement public au Théâtre Le Palace (1980), his first live album, Enregistrement public au Théâtre Le Palace (1980), displayed his reggae-influenced style at the time. Gainsbourg appeared in 1980 with actress Catherine Deneuve on the hit song "Dieu fumeur de havanes" from the film Je vous aime and released a novella entitled Evénie Sokolov, the tale of an avant-garde painter who plays his flatulence by designing a style known as "gasograms." Mauvaises nouvelles des étoiles (1981), his last reggae recording, was made at Compass Point Studios in The Bahamas with the same staff as its predecessor. When Bob Marley, the husband of singer Rita Marley, discovered that Gainsbourg had made his wife Rita sing erotic lyrics, he became agitated. In 2003, Aux armes et ctera and Mauvaises Nouvelles des Étoiles were among the first posthumous dub mixes of Aux armes et ctera and Mauvaises Nouvelles des Étoiles. Gainsbourg also had success writing for other writers during this period, notably "Manureva" for Alain Chamfort, a nodulation to French sailor Alain Colas and the titular trimaran who died at sea.

Despite poor contemporary reviews, Gainsbourg contributed his songwriting to French rockstar Alain Bashung's album Play blessures, which was a left turn for Bashung and is often regarded as a cult classic. Équateur (1983), his second film as a director, was based on Belgian writer Georges Simenon's 1933 novel Tropic Moon and set in colonialist French Equatorial Africa.

Gainsbourg went from reggae to a more modern, wave inspired sound, with Love on the Beat (1984). Gainsbourg was seen on the front page in drag and his daughter Charlotte's "Lemon Incest," which seemed to ambiguously refer to an adult's inexorable physical relationship. A half-naked Gainsbourg was found on a bed with Charlotte, adding to the controversies. Despite this, Gainsbourg's highest-charting song in France was still on the radio. On television, he illegally burned three-quarters of a 500-French-franc bill in March 1984 to protest rising inflation, which has risen to 74% of income. "I said, I want to fuck her," Drucker, who was utterly distraught, said in another talk show interview with Les Rita Mitsouko singer Catherine Ringer, pleaded "I'm sorry." "You're just a slobber," Gainsbourg bragged about her, "You're nothing but a filthy blond." Ringer replied, "Look, you're just a bitter old alcoholic...you've become a disgusting old parasite."

Caroline Paulus, better known by her stage name Bambou, was Gainsbourg's last companion until his death. Lucien (b. ): They had a son, Lucien (b. ). Lulu, a musician who now goes by the name Lulu, was born on January 5, 1986. Charlotte for Ever, the 1986 film version, delves into the subjects explored in "Lemon Incest." He appeared in the film alongside Charlotte as a widowed, alcoholic father who lives with his daughter. Gainsbourg also wrote an album of the same name.

You're Under Arrest (1987), his sixteenth and final studio album, largely retained the Love on the Beat's funky new wave sound, but also introduced hip hop elements. It tells the tale of an unidentified narrator and his heroin-addicted mother in New York City, which is a return to concept albums for Gainsbourg. The album's anti-drug message was amplified by the single "Aux enfants de la chance."

In December 1988, when he was a judge at a film festival in Val d'Isère, he was heavily intoxicated at a local theater where he was going to do a talk. He began to tell an obscene tale about Brigitte Bardote and a champagne bottle, but then stagger offstage and collapse in a nearby seat. His health worsened over the years, after undergoing liver transplant in April 1989. In his ill health, he moved to a private apartment in Vézelay, where he would live for six months. He continued to write for other writers, including the lyrics to "White and Black Blues" by Jolle Ursull, the French entry in the Eurovision Song Contest 1990, where he came in second place. After its debut, he wrote all of the lyrics for Vanessa Paradis' album Variations sur le même t'aime (1990), claiming "Paradis is hell" after its release. Claude Berri's last film, Stan the Flasher, starred him as an English teacher who participates in exhibitionism. Amours des feintes, Birkin's last album of original material, was Gainsbourg's Last Album of Original Content in 1990.

Gainsbourg, who smoked five packs of unfiltered Gitane cigarettes a day, died of a heart attack at his house on March 2nd, a month before his 63rd birthday. He was buried in the Montparnasse Cemetery in Paris's Jewish section. "He was our Baudelaire, our Apollinaire," French President François Mitterrand said. He brought the song to a point of art."

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