Brel was born on 8th April 1929 in Schaarbeek, a district of Brussels, and lived half of his life in Paris. He died of lung cancer on 9th October 1978 in Bobigny in the suburbs of Paris, and is buried in the Marquesas Islands.
Although the Brels spoke French, they were of Flemish descent, with some of the family originating from Zandvoorde, near Ieper. Brel's father was co-owner of a cardboard factory and Brel started his professional life at that firm, apparently destined to follow in his father's footsteps. However he had no interest in it, showing instead an interest in the arts, having joined the Catholic-humanist youth organisation Franche Cordée, where he did some singing and acting. At Franche Cordée he met Thérèse Michielsen ('Miche'), and they married in 1950.
In the early 1950s Brel achieved some minor success in Belgium, singing his own songs. A 78rpm record ("La foire"/"Il y a") was released as a result. From 1954 Brel seriously pursued a singing career. He quit his job and moved to Paris, writing music and singing in the city's cabarets and music-halls.. In January 1955 he supported in the Ancienne Belgique in Brussels the performances of the Belgian pop and variety pioneer Bobbejaan Schoepen. After some success his wife and daughters joined him from Belgium. By 1956 he was touring Europe and he recorded the song "Quand on n'a que l'amour", which brought him his first major recognition. He appeared in a show with Maurice Chevalier and Michel Legrand.
By the end of the 1950s Miche and Brel's three daughters moved to Brussels. He and his family led separate lives from then on. Under the influence of his friend Georges Pasquier ('Jojo') and pianists Gérard Jouannest and François Rauber, Brel's style changed. He was no longer a Catholic-humanist troubadour, but sang grimmer songs about love, death, and the struggle that is life. The music became more complex and his themes more diverse, exploring love ("Je t'aime", "Litanies pour un retour"), society ("Les singes", "Les bourgeois", "Jaurès") and spiritual concerns ("Le bon Dieu", "Dites, si c'était vrai", "Fernand"). His work is not limited to one style. He was as proficient in comic compositions ("Le lion", "Comment tuer l'amant de sa femme...") as in more emotional ones ("Voir un ami pleurer", "Fils de...", "Jojo"). He composed and recorded his songs almost exclusively in French, and is widely recognised in French-speaking countries as one of the best French-language composers of all time.
Brel himself occasionally included parts of his songs in Flemish (Dutch), one of the three official languages of Belgium, as in Marieke. He also recorded eight other Flemish versions of songs, such as Mijn vlakke land (Le plat Pays), Laat Me Niet Alleen (Ne me quitte pas), Rosa, De Burgerij (Les Bourgeois), and De Nuttelozen van de Nacht (Les paumés du petit matin). Since his own command of the language was poor, these were translated by Ernst van Altena, renowned translator of French song. Although France was Brel's "spiritual home" and he expressed contradictory statements about his native Belgium, some of his best compositions pay tribute to Belgium.
A very successful theatrical review of his songs, "Jacques Brel is Alive and Living in Paris," was launched in 1968. It featured English translations of his songs, and it was late made into a film.
To English-speaking listeners, Brel's best-known song is probably "Seasons in the Sun," a hit for Terry Jacks in 1973. Its English lyrics are a translation by Rod McKuen of Brel's "Le Moribond."
For twenty years he was a major star gaining recognition beyond French audiences. In 1973 he retreated to French Polynesia, remaining there until 1977 when he returned to Paris and recorded his well-received final album.
A heavy smoker, it was discovered in 1973 that Brel had lung cancer. He died in 1978 and was buried in Calvary Cemetery in Atuona, Hiva Oa, Marquesas Islands, French Polynesia only a few yards away from painter Paul Gauguin.
L'Air De La Bêtise
Jacques Brel Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Mère de ceux que l'on dit forts
Mère des saintes habitudes
Princesse des gens sans remords
Salut à toi, dame Bêtise
Toi dont le règne est méconnu
Salut à toi, Dame Bêtise
Mais dis-le moi, comment fais-tu
Et tant de fiancés
Tant de représentants
Et tant de prisonniers
Pour tisser de tes mains
Tant de malentendus
Et faire croire aux crétins
Que nous sommes vaincus
Pour fleurir notre vie
De basses révérences
De mesquines envies
De noble intolérance
De mesquines envies
De noble intolérance
De mesquines envies
De noble intolérance
Mère de nos femmes fatales
Mère des mariages de raison
Mère des filles à succursales
Princesse pâle du vison
Salut à toi, Dame Bêtise
Toi dont le règne est méconnu
Salut à toi, Dame Bêtise
Mais dis moi, comment fais-tu
Pour que point l'on ne voie
Le sourire entendu
Qui fera de vous et moi
De très nobles cocus
Pour nous faire oublier
Que les putains, les vraies
Sont celles qui font payer
Pas avant, mais après
Pour qu'il puisse m'arriver
De croiser certains soirs
Ton regard familier
Au fond de mon miroir
Ton regard familier
Au fond de mon miroir
Ton regard familier
Au fond de mon miroir.
The lyrics to Jacques Brel's song "L'air de la betise" speaks to the power of stupidity and its ability to influence and control people's behaviors and actions. The song describes Bêtise, or stupidity, as a mother figure to those who are carefree, strong, and have saintly habits. However, she is also the princess of those who lack remorse and are willing to accept and perpetuate stupidity. Brel gives a nod to this powerful figure by saying "Salut à toi, Dame Bêtise" (hello to you, Lady Stupidity).
Brel then questions how Bêtise is able to have so many lovers and engaged followers, along with so many representatives and prisoners. He is bewildered by her ability to weave confusion and misunderstandings with her own hands and make others believe that they are defeated. Bêtise is the one who encourages people to bow to degrading habits, petty desires, and noble intolerance.
In the second verse, Brel calls Bêtise the mother of fatal women, of arranged marriages, and daughters of fashion stores. These women are the pallid princesses of minks (a luxury fur) and succursale (branches of a business). Brel wonders how Bêtise keeps the smile of understanding from our sight, making us the noble cuckolds in life. He seeks to forget that true whores are those who get paid after the job is done, making us forget that they exist.
Overall, Brel highlights how stupidity has the power to rule the world and shape humans into its obedient subjects.
Line by Line Meaning
Mère des gens sans inquiétude
Mother of the carefree people
Mère de ceux que l'on dit forts
Mother of those deemed strong
Mère des saintes habitudes
Mother of holy habits
Princesse des gens sans remords
Princess of the remorseless people
Salut à toi, dame Bêtise
Greetings to you, Lady Stupidity
Toi dont le règne est méconnu
You whose reign is unknown
Mais dis-le moi, comment fais-tu
But tell me, how do you do it?
Pour avoir tant d'amants
To have so many lovers
Et tant de fiancés
And so many fiancés
Tant de représentants
So many representatives
Et tant de prisonniers
And so many prisoners
Pour tisser de tes mains
To weave with your own hands
Tant de malentendus
So many misunderstandings
Et faire croire aux crétins
And make fools believe
Que nous sommes vaincus
That we are defeated
Pour fleurir notre vie
To adorn our lives
De basses révérences
With lowly reverences
De mesquines envies
With petty envy
De noble intolérance
With noble intolerance
Mère de nos femmes fatales
Mother of our femme fatales
Mère des mariages de raison
Mother of marriages of convenience
Mère des filles à succursales
Mother of department store girls
Princesse pâle du vison
Pale princess of mink
Mais dis moi, comment fais-tu
But tell me, how do you do it?
Pour que point l'on ne voie
So that one does not see
Le sourire entendu
The knowing smile
Qui fera de vous et moi
That will make you and me
De très nobles cocus
Very noble cuckolds
Pour nous faire oublier
To make us forget
Que les putains, les vraies
That the real whores
Sont celles qui font payer
Are the ones who charge
Pas avant, mais après
Not before, but after
Pour qu'il puisse m'arriver
So that it can happen to me
De croiser certains soirs
To meet on certain nights
Ton regard familier
Your familiar gaze
Au fond de mon miroir
In the depths of my mirror
Lyrics © Universal Music Publishing Group
Written by: JACQUES ROMAIN G. BREL
Lyrics Licensed & Provided by LyricFind
Mary M. Brandes
on La Valse à Mille Temps
I love Jacques Brel songs.