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Sounds FrenchGlobalization, Cultural Communities, and Pop Music in France, 1958–1980$
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Jonathyne Briggs

Print publication date: 2015

Print ISBN-13: 9780199377060

Published to Oxford Scholarship Online: March 2015

DOI: 10.1093/acprof:oso/9780199377060.001.0001

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Sounds Distorted

Sounds Distorted

Punque and the Limits of Globalization

Chapter:
(p.144) Chapter 5 Sounds Distorted
Source:
Sounds French
Author(s):

Jonathyne Briggs

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199377060.003.0006

This chapter returns to Paris at the end of the 1970s when punk arrived. French culture influenced the aesthetics of punk, and the French were a critical early audience for many punk groups. Despite Paris’s importance within the punk axis of New York–London–Paris, French punk never developed into a cohesive scene in comparison with the other cities. This was not due to the lack of groups that populated French clubs. Rather, for French punks, the notion of authenticity was rooted in the punk of Britain and the United States, and they could not agree on what defined the authentic, leading to a schism among them. This failure of French punk reveals how not only aesthetic forms but also conventions move through cultural globalization. This chapter chronicles that schism between 1975 and 1980 by examining fanzines, punk recordings, mainstream magazines, and cultural criticism written during the period.

Keywords:   punk music, authenticity, cosmopolitanism, music criticism, French identity

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