Going Underground: The Politics of Free Music around 1968
Going Underground situates the demand for “free music” as part of a broader contestation of the terms of cultural consumption in the radical milieu of the long 1960s. At stake in the mobilizations recounted in the reflections of Action Directe-member Jean-Marc Rouillan was not just access to popular...
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| Publicado en: | URI:https://journals.openedition.org/transposition, |
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| Formato: | Article ou chapitre numérique |
| Idioma: | Anglais |
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Transposition
2020
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| Acceso en liña: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:transposition_4863 |
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openedition |
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openedition-oai:revues.org:transposition_4863 https://doi.org/10.4000/transposition.4863 urn:doi:10.4000/transposition.4863 en https://journals.openedition.org/transposition/4863 2020-03-19T01:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/lmcw https://creativecommons.org/licenses/by-sa/4.0/ Going Underground: The Politics of Free Music around 1968 Transposition Éditions de l’EHESS info:eu-repo/semantics/reference/issn/2110-6134 URI:https://journals.openedition.org/transposition Brown, Timothy Scott rock DIY récupération subculture underground rock DIY recuperation subculture underground Going Underground situates the demand for “free music” as part of a broader contestation of the terms of cultural consumption in the radical milieu of the long 1960s. At stake in the mobilizations recounted in the reflections of Action Directe-member Jean-Marc Rouillan was not just access to popular music, but the validity of the subversive meanings ascribed to cultural production under capitalism. Struggling with the system’s ability to co-opt challenges to its hegemony by putting them up for sale, activists insisted that it was they, and not promoters or other financially-interested middle men, who had the right to determine the conditions under which liberatory cultural expression such as rock‘n’roll would be consumed. The insistence that music be “free” embodied a characteristic demand of the radical moment around 1968: that culture actually matter. Going underground resitue la revendication d’une “musique libre” (free music) au sein d’une contestation plus large, dans le milieu radical des années 1960, des termes de la consommation culturelle. Dans les mobilisations dont Jean-Marc Rouillan, membre d’Action directe, rend compte dans ses réflexions, ce qui est en jeu n’est pas simplement l’accès à la musique populaire, mais aussi la validité de la charge subversive accordée à la production culturelle en régime capitaliste. Luttant contre la capacité qu’a le système à intégrer – en le commercialisant – ce qui défie son hégémonie, les activistes insistent : c’est bien eux, et non des promoteurs et autres intermédiaires intéressés par l’argent, qui ont le droit de déterminer les conditions de consommation d’expressions culturelles libératoires telles que le rock‘n’roll. L’insistance sur le fait que la musique doit être “libre” (free) rejoint une revendication caractéristique du moment radical entourant 1968 : que la culture compte bel et bien. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
rock DIY récupération subculture underground rock DIY recuperation subculture underground |
| spellingShingle |
rock DIY récupération subculture underground rock DIY recuperation subculture underground Brown, Timothy Scott Going Underground: The Politics of Free Music around 1968 |
| description |
Going Underground situates the demand for “free music” as part of a broader contestation of the terms of cultural consumption in the radical milieu of the long 1960s. At stake in the mobilizations recounted in the reflections of Action Directe-member Jean-Marc Rouillan was not just access to popular music, but the validity of the subversive meanings ascribed to cultural production under capitalism. Struggling with the system’s ability to co-opt challenges to its hegemony by putting them up for sale, activists insisted that it was they, and not promoters or other financially-interested middle men, who had the right to determine the conditions under which liberatory cultural expression such as rock‘n’roll would be consumed. The insistence that music be “free” embodied a characteristic demand of the radical moment around 1968: that culture actually matter. |
| author |
Brown, Timothy Scott |
| author_facet |
Brown, Timothy Scott |
| author_sort |
Brown, Timothy Scott |
| title |
Going Underground: The Politics of Free Music around 1968 |
| title_short |
Going Underground: The Politics of Free Music around 1968 |
| title_full |
Going Underground: The Politics of Free Music around 1968 |
| title_fullStr |
Going Underground: The Politics of Free Music around 1968 |
| title_full_unstemmed |
Going Underground: The Politics of Free Music around 1968 |
| title_sort |
going underground: the politics of free music around 1968 |
| publisher |
Transposition |
| publishDate |
2020 |
| container_title |
URI:https://journals.openedition.org/transposition |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/transposition.4863 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/transposition/4863 |
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1877294068695826432 |