On the occasion of the waltz envoy, the concept of cultural appropriation
Pour la première fois depuis la creation, in 1944, classes of popularity bringing back music in the country in different states (statistics that claim to count CD sales and radio distribution), African-American artist, Beyoncé, vient de décrocher la première Place in this musical genre is highly codified and perçu, à raison, as “très blanc”, très WASP – White Anglo-Saxon Protestant – and everyone pays for this joyful performance. Enfin, an ethnocentric bastion (capital Nashville, Tennessee), represents laissez-faire – or peut-être déborder, contre son gré? – par un rerain joliment métissé, cet entraînant Texas Hold’em who are truly successful in the present, on stage, Super Bowl style, among 123 million television viewers, on February 12th.
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If you are on avait mauvais esprit (franchement, comme si c’était notre genre…), you can convey this information au filtre un peu rance d’une notion très populaire dans les milieux “progressistes”: l’appropriation culturallle. Rappelez-vous, it’s your cultural appropriation when, for example, non-Switzerland musicians have fair careers in reggae music. When a chef or Norwegian chef decides to use a European version of a restaurant’s sushi and sashimi or a Scandinavian adaptation of the famous Peruvian ceviche. Histoires vraies: les indiscretions, which represent the cascade genre without fillet, are usually bombarded with letters of threats and insults.
Music in Peau style
Rien de tel for Beyoncé? Evidence pa. And so many things! Car la musique is the justice of the air that circulates. Des idees qui s’envolent, qui papillonent, qui les continents, puis retombent où elles veulent. L’Universel à portée de doigts et d’oreilles. And here is the gorge, located in the cooler-de-po area, reminiscent of traces of geographical and political boundaries. The whitest Mick Jagger and Keith Richards are accomplished games and delightful merveilleux and powerful albums of Muddy Waters and Chuck Berry. In “autre sens” (the concept is absurd, but the identity is clear) Tina Turner, Ritchie Valens and The Ronettes on the products of the best albums of this collaboration with Phil Spector, un blanc-bec de 156 centimètres de haut, talonnettes includes an armed group of musicians of the English, of Irish and Italian descent (The Wrecking Crew). And everyone in this small world understands that music is no longer the color of the earth.
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Plus, des Blancs qui jouaient avec avec avec avec avec avec brio de la music or du du rhythm and blues, il il y en avait plein les studios d’enregistrements de villes comme Detroit, Memphis, Chicago, Muscle Shoals et Los Angeles in the years 1950-1960 – and the public loves it. So, African-American musicians, the media’s most popular and exposed ones, are finally living in music country? Amen, quelle bonne nouvelle! Qu’ils y viennent en nombre, et secouent allègrement ce courant music depuis trop longtemps poussiéreux (et effectment cloisonné): la fête n’en sera que plus joyeuse!
AUSSIAN LYRA: Soul Origin: “This is music that extends into African culture and American culture.”
And yes, besides, Beyoncé’s success and talent can finally be completed. redneck who will never return after the defeat of the South in 1865 and who, in the person of Trump, are the last savior of America, who does not exist anymore than in the last days of the stench, and now we have a new life plus an encore… Read more in memory of them, et Puisque l’humeur générale est au beau fixe, on n’en profiterait pas pour envoyer valser, à grands coups de santiags, et une bonne fois pour toutes, this concept of cultural appropriation?