{"product_id":"evariste_il-ne-pense-qua-ca-19671970-vinyl_2022_lad","title":"IL NE PENSE QU'A CA - 1967\/1970 (vinyl)","description":"MAD SINGER OR SEASONED SCIENTIST?! THE STRANGE CASE OF DR. STERNHEIMER AND EVARISTE. Doctor of Theoretical Physics (PhD) (Lyon, 1966). Master of Science in Mathematics (Paris, 1964). Diploma of Advanced Mathematical Studies (Paris, 1964). Laureate 'Ettore Majorana scholarship' 1966 (Erice, Sicily). Graduate alumnus '67 of Princeton University (U.S.A.). Holder of patents n° FR 83 02122, FR 92 06765 and extensions. Philips Prize laureate 1999. Such is the 'CV' of Joel Sternheimer, alias Evariste... Until 1967: he was a student and researcher at the universities of Lyon, Paris, and Princeton; publications, doctorate on elementary particles. From 1967 to 1971, seeing that the USA had cut his funding due to the Vietnam War, he decided to pursue his theoretical physics research as an independent researcher, living 'off author-composer-performer royalties.' Clearly, it was during this period that this young researcher, inspired by Antoine's example, who, despite having a much lighter background than himself, used his status as a Centrale engineer to create a character of a beatnik-provocative-protesting singer. Évariste is one of those rare musicians who are also scientists: alongside him sit the polytechnician Pierre Schaeffer (engineer and father of concrete music) and the eccentric Boby Lapointe (graduated from École Centrale and inventor of the Bibi-binary system patented in 1968). Évariste's energetic and joyful (though extremely critical) song conceals a primary tragedy. Indeed, born in 1943 into a family of resistance fighters, Joël Sternheimer (alias Évariste) grew up without his father, who died in Auschwitz. Although the singer seems to make few allusions to Jewish culture in his songs, it did have an influence: he would even perform a song in Hebrew for television in 1974. If, in 1966, young Joël wore a sweater with the colors of Princeton University, it was because he had just returned from there. Sent there to continue his research on \"the mass of particles, the interpretation of the regularities observed therein as consequences of a wave\" (understand who can), he arrived in the United States in the midst of the Vietnam War. At the time, McNamara was looking for an alternative to nuclear weapons and called upon the country's brilliant minds to tackle the task. A \"reallocation of credits\" then took place within the university, a diplomatic formula meaning that those who did not want to go along with the government's schemes were asked to leave. Joël was under the tutelage of a rebellious physicist and was therefore dismissed. The student nevertheless continued to attend the prestigious seminars at the Institute for Advanced Study, led by Oppenheimer, the creator of the atomic bomb. Undoubtedly galvanized by the hippie movement and music, Joël bought a guitar and planted himself in Washington Square, thinking that after all, Bob Dylan himself started there. He cheerfully skipped Oppenheimer's lectures and received a warm (though surprised) welcome from a crowd that didn't understand a word of French. One day, when the old physicist came to question him about his repeated absences, he explained to his professor how much music attracted him, but above all, that he saw it as a way to earn a little money to finance his research independently. Évariste confided that he saw this sick man, his face ravaged by the remorse of Hiroshima, light up at his words and exclaim, \"Oh! But go ahead, finally, go for it! If I were young, that's absolutely what I would do.\" The student received these words like a testament. Words that finally convinced him. He would take the plunge during the Christmas holidays in Paris. A journalist friend whom Évariste often met in the Sorbonne district introduced him to the Artistic Director of Disques AZ. The latter passed the tapes to the label's boss, Lucien Morisse, who was also program director on Europe N°1. Morisse cried genius... and signed the singer on the spot! Michel Colombier, arranger for Serge Gainsbourg and co-author with Pierre Henry of \"Psyché Rock,\" brought his original ideas to the 45 rpm single \"E=mc2\": for the percussion sound that recurs in \"Le calcul intégral,\" Évariste's concern was that it should sound like \"poum poum\" and not \"tac tac.\" Colombier, aware of the problem, recorded Évariste's guitar by using it as percussion in an isolated booth. The record also features organist Eddy Louis, who would contribute to the success of Claude Nougaro's \"Paris mai\" in 1969. It was 1966, and the Antoine phenomenon (who, for his part, had signed with Vogue) was raging throughout France. The singers presented similar profiles: Antoine was an engineer from École Centrale and gifted with great originality in his lyrics. A godsend for the two record companies, who immediately saw a commercial strategy in it. They portrayed them as rivals, but Évariste still defends himself today against these newspaper gossips for teenyboppers. Évariste quickly achieved success and followed up with a second 45 rpm single in 1967, \"Wo I nee,\" also arranged by Michel Colombier. Quantum mechanics fans finally had their anthem: \"La Chasse Au Boson Intermédiaire\" (The Hunt for the Intermediate Boson). To summarize what a boson is, let's say it's a friend of the meson, photon, and other gluon. A few months later, May '68 exploded. Everything was turned upside down. Évariste wrote a series of socially engaged songs and rushed to submit them to Lucien Morisse. When the man who had created Salut Les Copains and married Dalida heard the song \"La révolution,\" in the form of a dialogue between a father and his son, he fell apart. AZ Records could not release that, it was impossible. At that precise moment, Lucien Morisse would make a historic gesture in the history of music in France. Regretting that he could not officially support his singer on this endeavor, he invited him to produce his record himself, but with his tacit support. He called the record pressing plant and asked them to charge Évariste the same rates as those in force for AZ. The singer and his musicians used the same studio as for the previous record, each playing for free while waiting for a return on investment. Évariste continued to sing at the Sorbonne, with \"la bande à Jussieu\" (the Jussieu gang) which included \"le jeune Renaud, le p'tit gavroche\" (young Renaud, the little urchin) as he called him. Renaud volunteered to type the lyrics of the song \"La révolution\" so that the chorus could sing and record it. A guy from the gang was a relative of Wolinski, he introduced them. The two got along like a sign and a slogan, so much so that Wolinski drew the cover of the \"La révolution\" record for free. The self-produced 45 rpm single \"La révolution \/ La faute à Nanterre\" was sold under the counter, by peddling, for half the price of an ordinary record, on Boulevard Saint-Michel and its surroundings. It sold out very quickly. In the end, there were 6 pressings of the record and 25,000 copies sold. When director Claude Confortès decided to adapt Wolinski's comic strip series titled \"Je ne veux pas mourir idiot\" (I Don't Want to Die an Idiot), he asked Évariste to write the soundtrack. His friend, now a cartoonist for Hara-Kiri Hebdo, would often promote him under the principle of \"special cronyism\" to which he was committed. Dominique Grange (\"Nous sommes les nouveaux partisans\") would join the troupe. After 150 performances, Évariste would cede his place to Dominique Maurin (Patrick Dewaere's brother). Évariste would write the songs for Claude Confortes' next play \"Je ne pense qu'à ça\" (I Only Think About That), co-written with Wolinski, in 1969. The actors in the play recorded the songs on a 45 rpm single again illustrated by Wolinski. In 1971, the documentary \"Évariste et les 7 dimensions\" was produced but not broadcast by French television. Indeed, the scientific subcommittee of the program committee (sic) censored the broadcast: \"Evariste dangerously mixed science with science fiction, astrology, numerology, and other non-scientific disciplines.\" But perhaps this was a pretext to censor the engaged statements of the mathematician-singer. Évariste notably spoke about hierarchy, alienation, and revolution. If half a century later, the documentary remains invisible, some excerpts were nevertheless seen in 1992 in the issue of Canal +'s cult magazine, \"L'œil du cyclone.\" Although flourishing, Évariste's career was coming to an end. 1970 inaugurated the decade during which he would make a decisive discovery in the field of science and music. Following this, he would turn away from the world of self-managed music and left-wing reviews to focus on science. Keeping Oppenheimer's encouragement in mind, he could now pursue his research independently, thanks to the proceeds from his records. Joël realized that by decoding protein sequences, one discovers musical sequences recognizable by humans. He named them proteodies. If a person, upon hearing a proteody, is sensitive enough to find it beautiful, it means that they are deficient in the corresponding protein. This very unique music could then heal them. One can trace the history of music in light of protein deficiencies in this or that artist, or in a majority of the public. Did you always believe that hysterical groupies, who passionately throw their panties and faint in the mosh pit, suddenly appeared because nothing as beautiful as the Beatles had ever been seen before? False! For Évariste, it's all about protein intro. The beginning of their first hit \"Love Me Do\" corresponds to dopamine, the neurotransmitter that drives compulsive buying. Such an intro could only unleash the rage of groupies, victims of fashion and biology. He sold so well that his musician's income long provided him with the financial autonomy he already craved when he confided in Oppenheimer. The scientist was thus able to conduct his research without any institutional constraints. He now dedicates himself to his proteodies, based in the offices of the European University of Research, located just a stone's throw from the Sorbonne he knew so well. Évariste is no more. Joël has regained control of this strange and amusing beast.","brand":"Évariste","offers":[{"title":"Default Title","offer_id":55310259618136,"sku":null,"price":20220617.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0898\/4943\/0360\/files\/3521381571813_a684b4b2-c6a7-4b87-9bc6-3c8697846e86.jpg?v=1760318297","url":"https:\/\/vinyles.com\/en\/products\/evariste_il-ne-pense-qua-ca-19671970-vinyl_2022_lad","provider":"Vinyles.com","version":"1.0","type":"link"}