Documents found
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292.More information
AbstractIn the 1930s, Mary Travers wrote folk songs dealing with the thorny issue of the working poor during hard times. A self-styled “woman at the service of the community”, she focused on those who lost their jobs as a result of the economic crisis. Heeding tradition, she lauded the work of famers whom she perceived as the mythical representatives of an idealised “old era”. How did she reconcile her songs praising tradition with an increasingly industrial labour market ? How did she react to women entering the workforce ? What did she think of government actions in the face of dwindling employment and pressing poverty ? Did she consider herself to be a career woman, what with hers being the first successful recordings of Quebec folk songs ? Confronting or buttressing established taboos such as those about women in the workforce, she wrote songs reflecting those societal issues prevalent at the time. Yet, she set herself apart both through her trade as a songwriter and her depiction of it. The economic situation in the province of Quebec influenced how labour was perceived, and her writings, favouring the standpoint of a working woman from the lower classes where employment is a matter of both survival and pride, echoed this perception with originality. A sociological and critical analysis of her songs illustrates the societal discourse on labour that prevailed during hard times.
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293.More information
The music from Le Pacha (Georges Lautner, 1968), composed by Serge Gainsbourg and Michel Colombier, is inextricably linked to the song “Requiem pour un con,” but not limited to it. The opening credits and the performance of Gainsbourg himself in a classic face-off with Jean Gabin was so memorable that it overshadowed the recurring bass and drums riff and the instrumental arrangements of the song, as well as a batucada, a jerk for sitar, and even “Harley Davidson.” By studying both the intrinsic qualities of the different compositions and the use made of them by Georges Lautner, this article aims to show the importance of a soundtrack fully anchored in its time and completely aligned with the artistic process of its creators, including the director.
Keywords: musique de film, bande-son, chanson, arrangement, Serge Gainsbourg, film music, soundtrack, song, arrangement, Serge Gainsbourg
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296.