Uploaded July 2019 | Updated September 2026, 6 hours ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
From America to France: Perspectives on Hippiedom in ’60s and ’70s French Musical Discourse
Ruairidh Patfield
Email: r.patfield@newcastle.ac.uk
/// ABSTRACT
Between the late 1960s and early 1970s, France was profoundly influenced by the hippie movement emerging out of the United States. However, neither the hippiedom of San Francisco or that of Grateful Dead was the hippiedom that arrived on French shores. Due to a lack of direct contact between American and French youth cultures, the American hippie was mediated through reports by journalists and commercialised endeavours. This led to interpretations of hippiedom that were often at odds with the movement’s American manifestation: establishment stars such as the singer Johnny Hallyday would co-opt the hippie aesthetic, tour with Jimi Hendrix as support and glorify San Francisco without ever going beyond a superficial engagement with the movement’s philosophies. Others developed an apparently more sincere approach with hippiedom, but often fell back on a representation of American hippie movement as something fantastical; something Other. By examining the relationship that French youth culture had with American hippiedom and by exploring the prisms through which it was understood, this paper will consider the various forms of mediation involved in the trans-Atlantic voyage. In particular, it will utilise discourse in music magazines of the time and representations of hippiedom in popular music of the period to consider the French construction of the American hippie as an exotic, aspirational Other during the 1960s and 1970s.
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
From America to France: Perspectives on Hippiedom in ’60s and ’70s French Musical Discourse
Ruairidh Patfield
Email: r.patfield@newcastle.ac.uk
/// ABSTRACT
Between the late 1960s and early 1970s, France was profoundly influenced by the hippie movement emerging out of the United States. However, neither the hippiedom of San Francisco or that of Grateful Dead was the hippiedom that arrived on French shores. Due to a lack of direct contact between American and French youth cultures, the American hippie was mediated through reports by journalists and commercialised endeavours. This led to interpretations of hippiedom that were often at odds with the movement’s American manifestation: establishment stars such as the singer Johnny Hallyday would co-opt the hippie aesthetic, tour with Jimi Hendrix as support and glorify San Francisco without ever going beyond a superficial engagement with the movement’s philosophies. Others developed an apparently more sincere approach with hippiedom, but often fell back on a representation of American hippie movement as something fantastical; something Other. By examining the relationship that French youth culture had with American hippiedom and by exploring the prisms through which it was understood, this paper will consider the various forms of mediation involved in the trans-Atlantic voyage. In particular, it will utilise discourse in music magazines of the time and representations of hippiedom in popular music of the period to consider the French construction of the American hippie as an exotic, aspirational Other during the 1960s and 1970s.
