Brigitte Bardot (French pronunciation: bʁiʒit baʁdo) (born 28 September 193… Read Full Bio ↴Brigitte Bardot (French pronunciation: bʁiʒit baʁdo) (born 28 September 1934) is a French actress, former fashion model, singer and animal welfare/rights activist.

She participated in various musical shows and recorded many popular songs in the 1960s and 1970s, mostly in collaboration with Serge Gainsbourg, Bob Zagury and Sacha Distel, including "Harley Davidson", "Je Me Donne A Qui Me Plait", "Bubble gum", "Contact", "Je Reviendrais Toujours Vers Toi", "L'Appareil A Sous", "La Madrague", "On Demenage", "Sidonie", "Tu Veux, Ou Tu Veux Pas?", "Le Soleil De Ma Vie" (the cover of Stevie Wonder's "You Are the Sunshine of My Life") and notorious "Je t'aime… moi non plus".

In 1952, she appeared on screen for the first time in Le Trou Normand. That same year, at age 18, she married director Roger Vadim, with whom she had been romantically involved for several years.

Although the European film industry was then in the ascendant, her personal rise was remarkable: she has been one of the few European actresses to receive mass media attention in the United States. She and Marilyn Monroe were the icons of female sexuality in the 1950s and 1960s and whenever she made public appearances in the United States the media hordes covered her every move.

Her films of the early and mid 1950s were lightweight romantic dramas, some of them historical, in which she was cast as ingénue or siren, often with an element of undress. She played bit parts in three English-language films, the British comedy Doctor at Sea (1955), Helen of Troy (1954), in which she was understudy for the title-role but only appears as Helen's handmaid, and Act of Love (1954) with Kirk Douglas. Her French-language films were dubbed for international release. "She is every man's idea of the girl he'd like to meet in Paris" said the film-critic Ivon Addams in 1955.

Vadim was not content with this light fare. The New Wave of French and Italian art directors and their stars were riding high internationally and he felt Bardot was being undersold. Looking for something more like an art-film to push her as a serious actress, he showcased her in And God Created Woman (1956) with Jean-Louis Trintignant.

The film, about an amoral teenager in a respectable small-town setting, was a big international success. She may have had an affair with her co-star Trintignant, but this was more likely a pre-release publicity gimmick. The film is often wrongly described as her first film (it was her seventeenth) and to have launched her overnight, but it did help move her towards the cinematic mainstream.

It also ruled out a transition to Hollywood, where she was thought too risqué to handle. The Doris Day era was in still in full swing and even Jane Russell in The French Line (1953) had been thought to be going too far by showing her midriff. Erotica like Bardot's Cette sacrée gamine (That Crazy Kid, 1955) was considered fine at the box-office as long as it was clearly labelled "European". Bardot's limited English and strong accent, while beguiling to the ears of men, did not suit rapid-fire Hollywood scripts. In any event, staying in Europe benefited her image when the 1960s began to swing and Hollywood slipped into the background for a while, and Bardot was voted honorary sex-goddess of the decade.

Divorced from Vadim in 1957, she married actor Jacques Charrier (1959-62), by whom in 1960 she had her only child, Nicolas-Jacques Charrier from whom she is estranged. She once referred to her only child as "a tumour". The marriage was preyed on by the paparazzi and there were clashes over the direction of Bardot's career. Her films became more substantial, but this brought a heavy pressure of dual celebrity as she sought critical acclaim while remaining to most of the world a glamour model.

Vie privée (1960), directed by Louis Malle has more than an element of autobiography in it. The scene in which, returning to her flat, Bardot's character is harangued in the lift by a middle-aged cleaning-lady calling her a tramp and a tart was based on an actual incident, and is a resonant image of celebrity in the mid-20th century.

Soon after, Bardot withdrew to the seclusion of Southern France and is now known to have attempted suicide, but as the sexual revolution of the early 1960s gathered momentum her lifestyle began to seem more like the norm and the pressure lifted. Through the sixties, she was happy to appear in glossy star-vehicles like Viva Maria (1969), to dabble in pop music and to play the role of glamour model and icon. In 1965 she appeared as herself in the Hollywood production Dear Brigitte starring Jimmy Stewart.

Her other husbands were German millionaire playboy Gunter Sachs (1966-69), and French right-wing politician, Bernard d'Ormale (1992-present). She has also had reputed relationships with many men including singers Serge Gainsbourg and Sacha Distel. In the late 1950s, she shared an exchange she considered “croiser de deux sillages” with writer John Gilmore, then an actor in France for a New Wave film to have starred Jean Seberg. Gilmore told Paris Match, “I felt a beautiful warmth with Bardot but found it difficult to discuss things to any depth whatsoever”.

She is recognised for popularising bikini swimwear in early films such as Manina (Woman without a Veil, 1952) and in her appearances at Cannes and in many photo shoots. She even sported an early version of the monokini from time to time. Though this was not considered extraordinary in France, it was considered nearly scandalous in the US. The fashions of the 1960s looked effortlessly right and spontaneous on her and she joined Marilyn Monroe and Jackie Kennedy, in becoming a subject for Andy Warhol paintings.

In 1970, the sculptor Alain Gourdon used Bardot as the model for a bust of Marianne, the French national emblem.

Mentions of Bardot in music
The first song to reference Brigitte Bardot was "Gimme' that Wine" by vocalese group Lambert, Hendricks and Ross on the Columbia label in 1960.

Indie singer Jordan Galland also has a song called "Brigitte Bardot". In 1966, Harry Belafonte recorded "Zombie Jamboree" which has an entire verse dedicated to Brigitte Bargot.

Bardot has also been referenced in many other songs, including "I Shall Be Free" (Bob Dylan), "We Didn't Start the Fire" (Billy Joel), "Message of Love" (The Pretenders), "I Think I'm Going To Kill Myself" (Elton John), "Warlocks" (Red Hot Chili Peppers), "You Went The Wrong Way, Old King Louie" (Allan Sherman), "You're My Favourite Star" (The Bellamy Brothers), "It's Not Enough" (The Who), "Contempt" (Silkworm), "Big Wedge" (Fish),"Brigitte Bardot" (Tom Zé), "Alegria, Alegria" (Caetano Veloso), "Loaded" (ZZ Top), "Brigitte Bardot" (Creature), "Bardot" (Marden Hill), "Shir Nevu'i Cosmi Aliz" (Yoni Rechter & Eli Mohar), "Smiles Like Richard Nixon" (The Bad Examples), "Bijou" (Stew), "Stratford-On-Guy" (Liz Phair), and "Brigitte Bardot T.N.T." (Pizzicato Five).

Everybody Loves My Baby
Brigitte Bardot Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Everybody loves my baby
But my baby don't love nobody but me
Nobody but me
Everybody wants my baby
But my baby don't want nobody but me
That's plain to see!

I am his sweet Judy

And he is my loving man
Knows how to do his duty
Loves me like no other can!

That's why
Everybody loves my baby
But my baby don't love nobody but me
Nobody but me

Everybody loves my baby
But my baby don't love nobody but me
Nobody but me
Everybody wants my baby
But my baby don't want nobody but me
That's plain to see!

Now, when my baby kisses me
Upon my rosy cheeks
I just let those kisses be
Don't wash my face for weeks!

That's why
Everybody loves my baby
But my baby don't love nobody but me

Nobody but me
Oh, yeah!

Overall Meaning

The lyrics to Brigitte Bardot's "Everybody Loves My Baby" depict a woman who is very possessive and protective of her lover. The song begins with her boasting about how desirable her lover is to others, but how he only has eyes for her. The repetition of the line "Everybody loves my baby, but my baby don't love nobody but me" emphasizes her pride in being the one he's chosen to love. She identifies herself as his "sweet Judy" and him as her "loving man," suggesting that their bond is strong and genuine.

The second verse continues to describe their relationship, with the woman declaring that her man knows how to "do his duty" and love her in a way that no one else can. This further emphasizes the idea that they have a deep and meaningful connection that is exclusive to them. The last verse takes on a more romantic tone, with the woman describing how much she cherishes her lover's kisses and how they make her feel. In the end, it's clear that she's completely devoted to her partner and happy to have him all to herself.

Overall, the song speaks to the idea of true love and the importance of having a partner who is faithful and committed. It also underscores the idea that possessiveness can be a sign of deep affection, as the woman in the song clearly values her relationship and wants to keep it secure.

Line by Line Meaning

Everybody loves my baby
Everyone is fond of my partner

But my baby don't love nobody but me
But, my partner loves only me and no one else

Nobody but me
No one else

Everybody wants my baby
Everyone desires to be with my partner

That's plain to see!
It is evident and obvious

I am his sweet Judy
I am his beloved and he is mine

And he is my loving man
He is my affectionate partner

Knows how to do his duty
He is aware of his responsibilities

Loves me like no other can!
He loves me in a way no one else can

Now, when my baby kisses me
When my partner kisses me

Upon my rosy cheeks
On my pinkish cheeks