Rather Mylène Farmer and Charles Aznavour, than Jean-Jacques Goldman or Aya Nakamura: in Chechnya, music deemed too slow or too fast can no longer be played in public from June 1st. The Minister of Culture, Musa Dadayev, set very strict criteria on April 5: all vocal and choreographic musical compositions whose tempo is less than 80 beats per minute (BPM), or greater than 116 BPM, will be banned.
According to the Russian state agency TASS, cited by CNN, the authorities of the Chechen Republic, with a very large Muslim majority, located in the North Caucasus region, between the Caspian Sea and the Black Sea, want musical creations futures of their country align with “the Chechen mentality and musical rhythm”. Logically, certain styles widely used in the West should disappear, among which we find techno (generally between 125 and 145 BPM), electro (126-135 BPM), hardstyle (140-160 BPM) or even salsa ( 150-220 BPM).
Certain pieces from more classic styles, and among the most listened to hits on French soil, could also disappear. So, what are the titles of French artists that could no longer be listened to on Chechen territory? Le Figaro draws up the list. And some sacred monsters have things to worry about.
In the country on the Georgian border, Mylène Farmer and her hits can still be widely listened to: N’oubli pas (101 BPM), Call my number (90 BPM) and Stolen car (100 BPM) are indeed within the limit required. Another particularly spared artist, Francis Cabrel presents two flagship titles, La corrida (100 BPM) and C’est histoire (106 BPM), within the set standards, and a third, Je t’aime, je t’aime, je t’ would like (116 BPM), at the limit.
Among the first big stars of French music, we find Édith Piaf, with La vie en rose (83 BPM), Non, je ne regrette rien (87 BPM) and L’accordéoniste (116 BPM), also at the set limit . Another idol of several generations, Charles Aznavour with Emmenez-moi (106 BPM) and Ma bohème (around 116 BPM due to the numerous interpretations).
Among the best-selling singles on our territory in the 21st century, I asked the moon (110 BPM) from Indochina will indeed be able to be broadcast, just like Le temps passe (87 BPM) and Ma philosophie (100 BPM) by Amel Bent. Garou and Alizée imitate them with Seul (107 BPM) and Moi Lolita (108 BPM) respectively.
Among contemporary artists, Aya Nakamura surprises. In the controversy over her presence at the opening of the Olympics, the Franco-Malian sees her most famous title, Djadja (98 BPM) and its 950 million views on YouTube, and Pookie (98 BPM) falling within the requested codes. Its male equivalent, Gims, is also in the lead with Bella (103 BPM) and Hola Sénorita (97 BPM).
The Russian region will no longer be able to listen to Mylène Farmer’s great classic: Désenchantée (125 BPM), which exceeds the authorized limit. Other artists mentioned above, and who have some compositions soon to be banned, Aya Nakamura (Comportement, 119 BPM, and Copines, 180 BPM), Gims (Est-ce que tu m’aimes?, 120 BPM), Alizée (J’ en ai marre, 125 BPM), Garou (Sous le vent, 141 BPM) and Charles Aznavour (For me Formidable, 140 BPM).
David Guetta, electro artist recognized on the international scene for two decades, will not be surprised to see his titles banned: Titanium (126 BPM), I’m good (128 BPM), She Wolf (129 BPM) and Play Hard (130 BPM).
Another artist present in this list who will surprise no one, given his style, Johnny Hallyday and his Vivre pour le Meilleur (121 BPM), L’Envie (139 BPM), Allumer le feu (139 BPM) or even Que je t likes (155 BPM) do not meet the criteria.
Recently retired, and decorated with the Order of Merit by Emmanuel Macron in June, Michel Sardou, too, does not fit the codes imposed by Ramzan Kadyrov, the Chechen leader, with his Africa farewell (118 BPM), En chantant (121 BPM) and Lovesickness (137 BPM).
Also read: Everything you always wanted to know about Michel Sardou without ever daring to ask
The favorite personality of the French does not escape the request of the Chechen government either: Jean-Jacques Goldman sees his Since you leave (62 BPM) being considered too low, and his other main classics banned from June 1: Je te gives (122 BPM), That the music is good (127 BPM) and There (148 BPM). Francis Cabrel imitates him with I love him to death (151 BPM).
A few particular cases could punctuate the discussions in the offices of the Chechen Ministry of Culture. The case of Michel Sardou’s cult song, Les Lacs du Connemara, is one of them. Although it displays an accepted average tempo (112 BPM), it is, however, particularly irregular and repeatedly exceeds the rhythm imposed by the Chechen government. Musa Dadayev did not provide details on these particular cases.