Made in France

Gérôme Guibert is a doctor in sociology and associate professor at the Paris III Sorbonne Nouvelle University. He has published many books, including La Production de la culture: Le cas des musiques amplifiées en France and is editor-in-chief of Volume!, the French journal of popular music studies.Catherine Rudent is a doctor and an associate professor in musicology at Paris-Sorbonne University (Paris IV). She is the author of L’Album de chansons: Entre processus social et œuvre musicale. A founding member of the European francophone branch of the International Association for the Study of Popular Music (IASPM), in 2011 she created a book series about popular music, Musiques Populaires Actuelles/Amplifiées.

• Introduction: What’s the French Touch in French Popular Music? A sociohistorical introduction to chanson and other French repertoires (Gérôme Guibert)Part I: Zeitgeist. The mutations of French popular music during the "30 glorieuses"Preamble I: Introduction (Gérôme Guibert and Catherine Rudent)1. Yéyé covers or the keynote to a societal adaptation (Matthieu Saladin)2. Juvenile delinquency, social unrest and national anxiety French debates and controversies over rock’n’roll in the 1960’s and 1970’s (Florence Tamagne)3. "Lost song": Serge Gainsbourg and the transformation of French popular music (Olivier Julien)4. The record industry in the 1960-1970s: The forgotten story of French popular music (Marc Kaiser)Part II: Politicizing popular musicPreamble II (Gérôme Guibert and Catherine Rudent) 5. Aural wars: Race, class, politics and the dilemmas of free jazzmen in sixties France (Jedediah Sklower)6. Marche ou crève: The band Trust and the singular case of the birth of French heavy metal (Gérôme Guibert)7. Rock, race and the republic: Musical identities in post-colonial France (Barbara Lebrun)Part III: Assimilation, appropriation, French specificityPreamble III (Gérôme Guibert and Catherine Rudent)8. Chanson française: Between musical realities and social representations (Cécile Prévost-Thomas)9. Chanson française: A genre without musical identity (Catherine Rudent)10. Rap audiences in France: The diversification and heterogenization of the appeal of rap music (Stéphanie Molinero)11. Towards a greater appreciation of the poetry of French rap (Christian Béthune)12. Punk rock entrepreneurship in France (Fabien Hein)Part IV: From digital stakes to cultural heritage: French contemporary topicsPreamble IV (Gérôme Guibert and Catherine Rudent)13. Incorporating chanson into heritage, a shared process between museums and collective memory: the case study of George Brassens in Sète (Juliette Dalbavie)14. Tecktonick and danses électro: subculture, media processes and web 2.0 (Anne Petiau)15. My dealer is a rock-star: Digital piracy and social networks in the context of the French three-strikes law (HADOPI) (Raphaël Suire and Sylvain Dejean) 16. At the intersections of popular music: From background music to localized alternative musical experiences (Vincent Rouzé)Coda: Rethinking the popular? Some reflections on popular music in France and Britain (David Looseley)Afterword: We freed ourselves from the band format: A Conversation with Nicolas Godin (Air - French band) (Gérôme Guibert)A selected bibliography on French popular musicIndex

"The reader is impressed by how much scholarly writing has been devoted to the subject of popular music in France during the past sixty years. In the 24 studies and introductory essays constituting this volume, almost every statement is backed by some form of documentation. Each study and the whole book are accompanied by an extensive bibliography. Also noteworthy is the fluidity of the terminology used to designate the various genres of popular music, the same words meaning different things to different people."—James P. Gilroy, University of Denver, USA« Y a-t-il quelque chose de spécifiquement français dans la musique française ? » Ainsi s’ouvre Made in France, dirigé par Gérôme Guibert et Catherine Rudent. L’intérêt de ce recueil est, d’une part, de poser la question dans le champ des musiques populaires … D’autre part, l’étude porte sur une période riche en révolutions sociales, culturelles et économiques, allant de la seconde moitié du xxe siècle à nos jours. Mais pas question ici de tirer des conclusions définitives au sujet d’un phénomène aussi dynamique que celui de la musique populaire française. Il s’agit au contraire d’en dresser un portrait « cubiste » aux problématiques multiples – sociologiques, musicologiques, esthétiques, technologiques, idéologiques et littéraires. Cette pluridisciplinarité des articles compilés offre une richesse bibliographique que nous saluerons dès à présent : Made in France est une synthèse de facto incontournable des différentes traditions de la recherche française sur sa culture musicale nationale. — Mathieu Guillien, Revue de musicologie, France