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Dossier - Musiques électroniques : enjeux culturels et technologiques

Warm Bitch : The Practice of Bootlegging as a Clash of Club Sound Cultures

Birgit Richard

Abstract : This text deals with a phe­no­me­non called Bastard Pop, Mash-up or Bootlegging as a sub­ver­sive poli­ti­cal and col­lec­tive prac­tice. Although sam­pling tech­ni­ques (e.g. in R’n’B or House Music) have ena­bled the mixing of dif­fe­rent styles of music for the dan­ce­floor this has never been done in such a radi­cal way before. Copyright pro­tec­ted sam­ples of Whitney Houston and Kraftwerk are entan­gled on a vinyl record (e.g. GIRLS ON TOP’s “I Wanna Dance with Numbers”), and this most famous bas­tard pop anthem is played in clubs to dance to. The source of this new sound is the inter­net, where it is digi­tally pro­du­ced by ano­ny­mous pro­jects. Some of the tracks are then mas­te­red onto vinyl and often relea­sed as White Labels. Through their empha­sis on pro­jects rather than pro­ta­go­nists, the pro­du­cers return to the para­digm of the elec­tro­nic under­ground : “tracks without stars”. But at the same time there is also a dif­fe­rence from the ori­gi­nal house music concept that refer­red to pop artists such as Warhol as “making music like a machine” (eg Juan Atkins’ Cybotron). The goal of the house music pro­jects was to ini­tiate “the mee­ting of people and wave­length” as DJ and pro­du­cer Blake Baxter once put it.

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Thèmes et/ou mots-clés
Sampling – 
mash-up –