We visited the "Whore Expo!" »On Renaud at the Music Museum

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A moped that once belonged to Renaud awaits visitors on the route of the exhibition Putain Expo!

at the Music Museum.

-

• The exhibition

  Putain Expo!

  continues at the Musée de la Musique (Paris 19th) until May 2, 2021.

• Many drawings, manuscripts and personal objects of the singer, are exhibited throughout the course which follows a thematic rather than chronological logic.

• This retrospective highlights the singer's talent for chronicling French society as well as his multiple commitments.

Corona Song

, his last song in which he attacks the "coronavirus, asshole virus", while defending "the brave doctor Raoult" did not resist the barrier gestures.

She does not appear in the

- this is his name - which the Musée de la musique (Paris 19th) is dedicating to Renaud from this Friday until May 2.

No trace either of his remarks in favor of François Fillon, whom he described in 2016 as a "good, honest guy", seeing in him the best candidate of the Republicans party for the presidential election.

On the other hand,

, written in reaction to the attacks of January 2015, appears in the playlist which punctuates the visit.

A card specifies that “the singer takes the opposite of his orientations by showing his support for the police force in this very particular context.

"

This retrospective, organized thematically rather than chronologically, seeks to represent Renaud's aura as it is anchored in French collective memory.

That of cowboy boots, "somewhat zone leather" and the red bandana, his favorite accessories that Frank Margerin did not forget to represent on the exhibition poster.

That of "ta-ta-tin" and syntax abused under the guise of poetic license.

That of his rebellious, rebellious, committed character.

"A pretty cake: Paris in flames"

Numerous drawings, manuscripts and personal objects of the singer, mark out the course which begins with May-68, the founding event of the political conscience of the kid, the son of a mother of working-class ancestry and an intellectual dad.

On the 11th of this "pretty month", he celebrated his 16th birthday on the barricades.

"All night long, I had blown out the candles on a pretty cake: Paris on fire," he wrote in 1988, captioning Claude Raimond-Dityvon's photo book.

The photo is hung in large format on the wall: grids of trees torn off and cars overturned, the Boulevard Saint-Michel in the early morning bears the scars of nocturnal disturbances.

It was at this time that he wrote his first song: 

.

Subsequently, Renaud will not throw any more pavement but will continue to beat him: he begins his career in the street, interpreting with his banter realistic songs.

In 1975, Coluche invited him to perform his first part at the Café de la Gare.

Springboard.

The same year

,

he signed

, the first outstanding title in his repertoire.

Let him slay the “bourgeois comrade”, take stock of his “pale” HLM, describe the daily life of a resident of a “red suburb” - we can see in the exhibition the words written at the carmine ink on a page of a school notebook - or annoys "sores", he has for years, with more or less inspiration, chronicled French society without completely losing sight of his class consciousness.

#PutainDExpo, exhibition dedicated to Renaud, opens Friday at the Music Museum in Paris.

Full of curiosities punctuate the course: childhood drawings, handwritten song lyrics, a fax in reaction to the death of Serge Gainsbourg, a letter addressed to Mitterrand ... pic.twitter.com/E6RxnJltg3

- Fabien Randanne (@fabrandanne) October 15, 2020

The course leads visitors to linger in an alcove where the obstacles to turning in circles of the Giscard and Mitterrand years are mentioned.

A little anar, never stammering, they were part of the entourage more or less close to the artist: the Coluche, Desproges, Dewaere and Gainsbourg.

When the latter died, in 1991, Renaud, overcome by emotion, cracked a fax, exposed under glass: "This world is despicable which is killing poets and madmen and living assassin presidents."

"

"Dear uncle" Mitterrand

The following year, his editorialized quill appeared in the pages of

.

In the space of four years, he signed around a hundred chronicles in tune with the weekly's fights against the FN, nuclear power, the war in Bosnia-Herzegovina ... This did not prevent him from being tackled by the team.

"He is still less annoying when he sings than when he votes for Mitterrand," Charb mocks in a caricature.

"Yes, I love this guy, I assume him, I claim him," said the singer in 1993 to

, about the president for whose re-election he was activated in 1988.

But the admiration was not totally blissful.

The exhibition thus shows a handwritten letter from 1989 addressed to François Mitterrand: “Dear uncle, (…) Since France has taken the initiative to bring together in Paris the summit of Masters of the World at a time when it celebrates the sans- breeches, which many of us deem inappropriate, even scandalous, can at least, from this summit, clear the ways and the margins of really helping bloodless peoples to get up, their economies to get back on their feet.

Renaud may never have sent this missive, found in his personal archives, but on July 8, the year of the bicentenary of the French Revolution, he was playing in a protest concert at the Bastille against the G7.

Winning "Mistral"

This is one of the many concrete commitments of the singer who, through songs, forums and open letters, was involved both in the fight against apartheid in South Africa and in favor of the release of Ingrid. Betancourt hostage of the Farc in Colombia in the early 2000s.

The exhibition closes with consensual notes.

coming full circle with a return to childhood, Renaud's "lost paradise" who sings "I was ten years old, I don't have them anymore and I can't get over it.

“Alongside images of funfairs, we discover him tintinophile.

While his music resonates in our ears: the carambars of yesteryear, the coco boers and the real roudoudous which cut the lips and nick the teeth.

The nostalgic

, voted “best French song of all time” and her unifying emotion, has something to make everyone agree and even the power to bring detractors to benevolence.

May the

go for a walk in the shade!

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Renaud hospitalized for lung problems

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Louis de Funès enters the temple of cinephilia in majesty

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