Serge Gainsbourg and Le Défi américain

Tinker, Chris

doi:10.1080/09639480220126125

Cited by 4 publications

(2 citation statements)

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“…He had been a fixture of French pop since the 1950s as a pianist and songwriter and became a star in his own right through a series of singles during the 1960s (Tinker 2002). A highly provocative auteur, Gainsbourg courted controversy throughout his long career, whether through his sexually charged singles during the 1960s, including 'Les sucettes' and 'Je t'aime, moi non plus', his 1979 reggae version of 'La Marseillaise', which drew the ire of the Front National during the tour supporting the album Aux armes et cetera in 1979, or even illegally setting alight a French franc on live television in 1984.…”

Section: The Soundscape Of French Pop Music In the 1970smentioning

confidence: 99%

Nazi Rock: TheMode Rétroin French Pop Music, 1975–1985

Briggs¹

2011

Modern & Contemporary France

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Section: The Soundscape Of French Pop Music In the 1970smentioning

confidence: 99%

Nazi Rock: TheMode Rétroin French Pop Music, 1975–1985

Briggs¹

2011

Modern & Contemporary France

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“…8.It is worth noting that Gainsbourg was influenced by American music throughout his career (see Tinker 2002). …”

Section: Endnotesmentioning

confidence: 99%

Coming to the fore: the audibility of women's sexual pleasure in popular music and the sexual revolution

Stratton¹

2014

Pop. Mus.

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Link to this article: http://journals.cambridge.org/abstract_S026114301300055XHow to cite this article: Jon Stratton (2014). Coming to the fore: the audibility of women's sexual pleasure in popular music and the sexual revolution . AbstractThis paper examines the genre of tracks centred around the mid-1960s to the mid-1970s which include aural representations of female sexual pleasure. The two most important tracks, and the ones on which this paper focuses, are Jane Birkin and Serge Gainsbourg 'Je t'aime . . . moi non plus' and Donna Summer 'Love To Love You Baby'. The paper argues that this new audibility of female sexual pleasure related to the transformation in the understanding of female orgasm associated with Alfred Kinsey and with William Masters and Virginia Johnson, the American sexologists who radically changed Western understandings of sexual behaviour in the 1950s and 1960s. More broadly, the paper argues for a link between the so-called sexual revolution of the late 1960s and 1970s and the popularity of tracks in which sounds identified as female sexual pleasure were upfront in the musical mix.

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Charity and Political Protest in French Popular Music

Lebrun¹

2005

Modern & Contemporary France

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Serge Gainsbourg and Le Défi américain

Cited by 4 publications

References 1 publication

Nazi Rock: TheMode Rétroin French Pop Music, 1975–1985

Nazi Rock: TheMode Rétroin French Pop Music, 1975–1985

Coming to the fore: the audibility of women's sexual pleasure in popular music and the sexual revolution

Charity and Political Protest in French Popular Music

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