By Bertrand Dicale
Génie ? Caméléon ? Opportuniste ? Dandy ? Précurseur ? Touche-à-tout ? Imposteur ? Révolutionnaire ? On n’a pas fini de s’interroger sur Serge Gainsbourg, sur son extraordinaire trajectoire d’artiste et sur los angeles position singulière qu’il occupe dans l’histoire de los angeles chanson française – l’auteur-compositeur nourri de musique classique qui écrit l. a. Javanaise est aussi le provocateur mal rasé qui aligne des tubes funk salaces…
A l’occasion d’une série de cours à los angeles Cité de los angeles Musique, en parallèle à l’exposition Gainsbourg 2008, Bertrand Dicale a porté un regard neuf et sans complexes sur los angeles carrière et sur l’œuvre du plus actuel des grands maîtres de notre musique populaire. Il fallait essayer de comprendre remark cet ancien pianiste de bar sans envergure a lentement mûri puis imposé son écriture, remark il s’est autant imprégné de l’actualité de l. a. musique que de son histoire pour édifier une œuvre résolument hors normes, remark il a oscillé entre intransigeance artistique et ambition commerciale, remark il a concilié exigences d’avant-garde et séduction populaire
On a oublié que l. a. plupart des chansons de Gainsbourg qui sont aujourd’hui considérées comme des classiques ont d’abord été des bides (La Javanaise, Sous le soleil exactement, L’Anamour…) et qu’il n’a longtemps connu le succès que par procuration (Les Sucettes, remark te dire adieu, Harley Davidson). On a aussi oublié qu’après l’énorme succès de scandale de Je t’aime moi non plus, il n’a vraiment connu le succès qu’à plus de cinquante ans, avec Aux armes et caetara qui séduit les young people de 1979.
En dix leçons, donc, voici remark Serge Gainsbourg s’est imposé comme une référence majeure de los angeles tradition européenne contemporaine. Dix leçons qui replacent l’homme, l. a. carrière et l’œuvre dans leur époque, dans leur logique secrète, dans leur flamboyance specified. Dix leçons titrées «Différer», «Décevoir», «Echouer , «Vendre», «Choquer», «Persévérer», «Triompher», «S’éparpiller», «Durer» et «Mourir».
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Extra info for Serge Gainsbourg en dix leçons
So I decided to volunteer for that in my spare time. Dale took the lead in constructing the vehicle and preparing a flight proposal to find out how viable a lifting-body vehicle might be for reentry. Bertha Ryan. another engineer. was spending a lot of time working on the vehicle. She was an experienced sailplane pilot and had experience in flying, along with Dale, who was also a sailplane enthusiast. Bertha wanted to work with the real data in the traditional fashion of those days, doing calculations and plotting data by hand to understand it, then presenting the information for other people to use.
I looked around and saw several important areas where nobody was yet working. One area involved the wind-tunnel data. We had a lot of it, but it was really for a wide variety of vehicles. Someone needed to figure out which data best represented the M2-F1 that we were in the process of building. So I decided to volunteer for that in my spare time. Dale took the lead in constructing the vehicle and preparing a flight proposal to find out how viable a lifting-body vehicle might be for reentry. Bertha Ryan.
X-15 Flights - The View From the Control Room The following day we would make the X-15 flight itself. Which personnel were in the control room and what they did varied, depending on what maneuvers were being flown, which airplane was flying, who were making the requests, who was traveling or on vacation, and who would be monitoring various strip Fig. 6. Strip chart recorders that were used to monitor X-15 flights. This photo appears to show data from Scott Crossfield’s November 5,1959 crash on flight 2-3-9, caused by an engine fire.
Serge Gainsbourg en dix leçons by Bertrand Dicale