Jacques Brel, Georges Brassens and Léo Ferré are three emblematic figures of post-war French popular music who have been constantly associated with each other by the public and the media. They have been described as the epitome of chanson, and of 'Frenchness'. But there is more to the trio than a musical trinity: this new study examines the factors of cultural and national identity that have held together the myth of the trio since its creation. This book identifies the combination of cultural and historical circumstances from which the works of these three singers emerged. It presents an innovative analysis of the correlation between this iconic trio and the evolution of national myths that nurtured the cultural aspirations of post-war French society. It explores the ways in which Brel, Brassens and Ferré embody the myth of the left-wing intellectual and of the authentic 'Gaul' spirit, and it discusses the ambiguous attitude of post-war French society towards gender relations. The book takes an original look at the trio by demonstrating how it illustrates the popular representation of a key issue of French national identity: the paradoxical aspiration to both revolution and the maintenance of the status quo.

This book explores the various personal and social narratives within the songs of Brassens and Brel, the auteurs-compositeurs-interpretes who epitomised what is now widely regarded as the golden era of chanson francaise during the 1950s and 60s. Tinker's discussion reveals the tensions in thenarrators' relationship with themselves, other individuals, and society. The book builds upon, and moves beyond, the two dominant critical approaches used to write about French song: the exclusively biographical oriented approach and the purely linguistic analysis. Tinker focuses both on identity,viewed primarily as a relational process, and on representation: linguistic, musical, vocal, and gestural.

The similarities between the chanson française and the canzone d'autore have been often noted but never fully explored. Both genres are national forms which involve the figure of the singer-songwriter, both experienced their golden age of production in the post-World War II period and both are enduringly popular, still accounting for a large proportion of record sales in their respective countries. Rachel Haworth looks beyond these superficial similarities, and investigates the nature of the relationship between the two genres. Taking a multidisciplinary approach, encompassing textual analysis of song lyrics, cultural history and popular music studies, Haworth considers the different ways in which French and Italian song is thought about, written about and constructed. Through an in-depth study of the discourse surrounding chanson and the canzone d'autore, the volume analyses the development of the genres' rules and rhetoric, identifying the key themes of Authority, Authenticity and Influence. The book finally considers the legacy of major artists, looking at modern perspectives on Georges Brassens, Jacques Brel, Léo Ferré, Fabrizio De André and Giorgio Gaber, ultimately affording a deeper understanding of the notions of quality and value in the context of chanson française and the canzone d'autore.

Ce contenu est une compilation d'articles de l'encyclopedie libre Wikipedia. Pages: 66. Chapitres: Jacques Brel, Georges Brassens, Leo Ferre, Gilles Vigneault, Barbara, Jean Ferrat, Andre Schlesser, Charles Aznavour, Boris Vian, Felix Leclerc, Leo Noel, Marc et Andre, Marc Chevalier, Claude Nougaro, Anne Sylvestre, Brigitte Sabouraud, Francis Lemarque, Jean Vasca, Michelle Senlis, Claude Delecluse, Mans de Breish, Les Vieux, Nova cancon. Extrait: Georges Brassens, ne a Sete (a l'epoque orthographie Cette), dans l'Herault, le 22 octobre 1921, mort a Saint-Gely-du-Fesc (egalement dans l'Herault) le 29 octobre 1981, est un poete et auteur-compositeur-interprete francais. Il mit en musique et interpreta, en s'accompagnant a la guitare, plus d'une centaine de ses poemes et ceux d'autres poetes dont Paul Fort. Il enregistra de 1952 a 1976, 14 albums. Il recut le Grand Prix de poesie de l'Academie francaise en 1967. Il est l'auteur des chansons: Les Copains d'abord, Chanson pour l'Auvergnat, Les Amoureux des bancs publics, La Mauvaise Reputation, Je me suis fait tout petit, L'Orage, Dans l'eau de la claire fontaine, Les Trompettes de la renommee, Supplique pour etre enterre a la plage de Sete, La Non-demande en mariage et Mourir pour des idees. Georges Brassens est ne dans un quartier populaire du port de Cette (le nom de la ville ne sera orthographie Sete qu'en 1928, le chanteur evoquant ce changement d'orthographe dans sa chanson Jeanne Martin). Dans la maison familiale il est entoure de sa mere Elvira, de son pere Jean-Louis, de sa demi-s ur Simone (nee en 1912, du premier mariage de sa mere) et de ses grands-parents paternels, Jules et Marguerite. Sa mere, dont les parents etaient originaires de Marsico Nuovo dans la region de Basilicate en Italie du sud, est une catholique d'une grande devotion. Veuve de guerre, Elvira epousa Jean-Louis Brassens en 1919. Son pere, entrepreneur de maconnerie, ...

In France during the 1960s and 1970s, popular music became a key component of socio-cultural modernisation as the music/record industry became increasingly important in both economic and cultural terms in response to demographic changes and the rise of the modern media. As France began questioning traditional ways of understanding politics and culture before and after May 1968, music as popular culture became an integral part of burgeoning media activity. Press, radio and television developed free from de Gaulle's state domination of information, and political activism shifted its concerns to the use of regional languages and regional cultures, including the safeguard of traditional popular music against the centralising tendencies of the Republican state. The cultural and political significance of French music was again revealed in the 1990s, as French-language music became a highly visible example of France's quest to maintain her cultural 'exceptionalism' in the face of the perceived globalising hegemony of English and US business and cultural imperialism. Laws were passed instituting minimum quotas of French-language music. The 1980s and 1990s witnessed developing issues raised by new technologies, as compact discs, the minitel telematics system, the internet and other innovations in radio and television broadcasting posed new challenges to musicians and the music industry. These trends and developments are the subject of this volume of essays by leading scholars across a range of disciplines including French studies, musicology, cultural and media studies and film studies. It constitutes the first attempt to provide a complete and up-to-date overview of the place of popular music in modern France and the reception of French popular music abroad.

A fascinating survey of popular culture in Europe, from Celtic punk and British TV shows to Spanish fashion and Italian sports. From One Direction and Adele to Penelope Cruz and Alexander Skarsgard, many Europeans are becoming household names in the United States. This ready-reference guide covers international pop culture spanning music, literature, movies, television and radio, the Internet, sports, video games, and fashion, from the mid-20th century through the present day. The organization of the book—with entries arranged alphabetically within thematic chapters—allows readers to quickly find the topic they are seeking. Additionally, indexing allows for cross-cultural comparisons to be made between pop culture in Europe to that of the United States. An extensive chronology and lengthy introduction provide important contextual information, such as the United States' influence on movies, music, and the Internet; the effect of censorship on Internet and social media use; and the history of pop culture over the years. Topics feature key musicians, songs, books, actors and actresses, movies and television shows, popular websites, top athletes, games, clothing fads and designers, and much more.