collectif
Audimat 21
12,00€
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Audimat 21 –
Techno commerciale – Ed Gillett : It’s quite difficult to have an objective view of what has happened and is still happening in the dance music scene and in terms of the status of clubs. Are we focusing on the rare festivals that are a little wild and beautiful, while a whole network of high-profile (if not always accessible) venues is crumbling? Or has it always been like this – the really lively moments in clubs being, by definition in overpriced metropolises, accidents, necessarily fleeting, torn from a space that has always been normalised and standardised?
Le blues & les Blancs – Elijah Wald : The blues sometimes has a rather special status as the ‘African-American roots’ of a rock era that began in the 1950s with successful white imitators like the Beatles and the Rolling Stones, and is, partly for this reason, associated with ideas of authenticity and purity. If you unravel this version of the story a little, things quickly become more complicated, because there was already a small commercial/entertainment industry around the blues, which the white middlemen helped to shape very early on…
Le rap des charts – Amy Coddington : With her book How Hip Hop Became Hit Poppublished last year by the University of California Press, Amy Coddington sheds some useful light on the debates between ‘mainstream rap’ and ‘real rap’ in France. Her approach is simple: look at the charts, the discourse of programmers and the positions taken by rappers, from the early days of rap on American radio. Reading her work, you get the impression that you’re witnessing the invention in real time of benchmarks that have become hard to shake off. She offers a genealogy of the transition from regional and specialist radio rap to the pseudo-consensus of the Top 40, and the ambivalent relationship to popularity that inevitably accompanies it.
Tout son est queer – Drew Daniel : In this article, Drew Daniel offers a critique of categorisation and norms, and settles scores with perhaps more existential questions. The text is a bit all over the place,but in a generous and provocative way: it’s at once an essay on the way ideology functions through music, a critique of identity and diversity politics, and a sketch of a metaphysical manifesto on listening and sound… with, in passing, some particularly seductive avenues of analysis on the relationship between music, work and sexuality.
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