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Né il y a 40 ans de la collaboration entre Michel Berger et Luc Plamondon, le phénomène Starmania est probablement le plus grand succès musical franco-québécois. Outre les Français Daniel Balavoine et France Gall, la distribution originale réunissait quatre immenses interprètes d’ici : Claude Dubois, Diane Dufresne, Fabienne Thibeault et Nanette Workman. La carrière de chacun a été marquée par cette aventure qui a aussi laissé sa trace indélébile dans notre imaginaire collectif. Fabienne Thibeault, qui avait 26 ans à l’époque, nous fait partager cette épopée dans l’intimité du couple formé par Michel Berger et France Gall chez qui elle a vécu à Paris. Pour compléter son récit, elle se remémore des anecdotes personnelles et donne la parole aux artisans moins connus (choristes, doublures, musiciens) de cette réalisation magistrale qui surprend toujours par son actualité.

Notable radio scholars including Christine Ehrick, Phylis A. Johnson, and Caroline Mitchell have explored critical challenges of gender and sexuality radio research and its importance in relation to communities. A major issue faced in studying the early years of women’s history in broadcast is the ephemeral nature of the medium as many of the voices are lost in the ether, unrecorded or once deemed inessential to archive. Web-based radio and podcast archives provide renewed avenues for listening to lesbian and queer women’s radio across transnational borders yet many long running shows in Canada such as The Lesbian Show on Vancouver Co-Op Radio have only recently begun to surface as digital collections. As personal and institutional archives of lesbian and queer women radio begin to reach a public audience, analysis of radio works across decades of LGBTQ2+ activism and feminisms must be traced to understand the role of radio and digital radiogenic media in creating space and identity for queer activism. A turn to the past brings forward questions of analog and digital futures for radio and podcasting space as place to construct and shape queer and especially lesbian communities and identities in the North American broadcasting industry. Through research of notable live and pre-produced content including Dykes on Mykes on CKUT 90.3 FM, and The Lesbian Show on Vancouver Co-Op Radio, this work offers an exploration of radio and radiogenic media’s role in creating sonic space for queer and feminist subjectivities.

To measure Maryvonne Kendergi’s contributions to the smcq, it is necessary to revisit her career in Quebec, which was based on the solid academic and professional training she received at Parisian institutions from 1929 to 1952. Thereafter, in Montreal, she was hired by Radio-Canada for her exceptional voice, and in September 1956, she embarked on a brilliant radio career as a promoter of contemporary music. Kendergi gradually introduced the listening public to the arcana of the Montreal avant-garde. In this endeavour she was encouraged by Stockhausen’s arrival in Montreal in 1958, by composers’ efforts in organizing International Music Week in 1961, by the foundation of the smcq in 1966, and by the influence of the latter organization, particularly in its collaboration with the Université de Montréal in establishing the Musialogues in 1969. The role of Kendergi’s exceptional skills in broadening the influence of the smcq is explored in this article.

An article from Circuit, on Érudit.

What is the internet? It began as a military research experiment, but the internet has since become a sweeping cultural phenomenon. One of the most prevalent areas of the internet’s cultural dominance is in popular music, and this thesis addresses how the internet is being understood and discussed by popular music artists. I study the works of Grimes and Childish Gambino, two popular music artists who grew up alongside the internet’s rise to cultural dominance and explicitly address this experience as an integral component of their lives and works. I look specifically at discourse surrounding Grimes’ “post-internet” music and Childish Gambino’s expansive conceptual work Because the Internet (2013). This research concludes by addressing how popular music artists like Grimes and Childish Gambino are helping produce the ways in which we understand and discuss the cultural phenomenon of the internet, and how they provide a foundation for future artists and research to build upon.

Nicole Lizée is an award-winning classical music composer and performer who composes for string quartet, electronic music, turntable, film, and other media. She has emerged as a major new voice in new classical composition, winning the coveted Canada Council for the Arts Jules Léger Prize (2013) for new Canadian chamber music with her work White Label Experiment. She has been commissioned by the Kronos Quartet among many other prestigious ensembles. This interview engages her relation to various aspects of her work, from marketing and promotion to inspiration and creation in the context of “avant garde” music. How can marketing continue to be part of the art itself? Does instinctively not fitting into a box allow for greater freedom to explore classical and chamber music in the broader context of film and other media? What other factors may be contributing to the inspired vitality of her work?

An article from Magazine Gaspésie, on Érudit.

During its 25 years of activities, the nem has played 635 works by 374 composers at local concerts, public workshops or world tours. Collectively, these works cover most of the aesthetic tendencies of the music of the 20th century. However, it is possible to define the repertoire of the ensemble along two main axes: on one hand, works that have become “classics” of contemporary music, and, on the other hand, new works engaged in musical innovation. Thus, the policy for disseminating works through concerts established by Lorraine Vaillancourt introduces a new culture within the world of musical creation, based on the development of a repertoire of works from the 20th and 21st centuries.

La moustache de Georges Brassens, la robe noire d’Edith Piaf, les paillettes de Claude François, les cheveux de Dalida… Les chanteurs ont un corps indissociable de leurs chansons, et ce livre s’intéresse précisément à la présence physique de la musique populaire, à sa performance sur scène et sur disque. Si le dualisme historique entre le corps et l’esprit a eu tendance, en France, à inluencer la réception de la chanson en attribuant plus de prestige à la modestie d’un Brassens qu’à la séduction démonstrative d’un chanteur de ‘variétés’, cet ouvrage est l’occasion de revenir sur cette opposition et de la nuancer, en identiiant les artistes qui ont su l’ignorer ou la contester. En légitimant l’étude de la performance (au sens de mise en scène du corps), cette étude met sur un pied d’égalité des genres aussi différents que la chanson ‘à textes’, le rock, le disco, le zouk ou le cabaret, et recadre les études sur la chanson loin de l’analyse de paroles. Il démontre, notamment, qu’en tant que véhicule de la chanson, le corps du chanteur reflète des a priori sociaux sur les rapports entre physique et séduction, genre et sexualité, apparence ethnique et identité, artiice et authenticité. Cet ouvrage est le fruit d’une collaboration entre chercheurs de GrandeBretagne, des États-Unis, du Canada, de Nouvelle-Zélande et de France, et dont la qualité commune est une fraîcheur d’analyse pluridisciplinaire inspirée des études culturelles. Observant les corps de chanteurs et chanteuses en France, aux Antilles et au Québec, ce livre offre une rélexion comparatiste sur les codes esthétiques en vigueur dans chaque contexte national, et observe les tensions sociales, sexuelles et identitaires qui sous-tendent la performance musicale.

In and out of the studio was a collaborative multimedia project which aimed to examine and document the working methods of several female sound producers, from a variety of media (such as radio, film sound, television, hypermedia, performance art) and in different institutional contexts. The website, which is compiled in this document, was one element in an effort to establish a greater sense of community among women sound producers who are separated by geographic space, occupation or disciplinary boundaries.

Kim Sawchuk is a feminist media studies scholar and a founding member of Studio XX, a feminist-run new media arts collective based in Montreal. A professor in the Department of Communication Studies at Concordia University, she is the former editor of the Canadian Journal of Communication and co-editor of wi: journal of mobile media. Sawchuk’s work encompasses the roles of women in science and technology, as well as issues surrounding media technology access and use by women, elders, and immigrant communities. Her more recent research involves the use of mobile devices by older adults. During a Skype interview with guest editor Stephanie Tripp on March 22, 2013, Sawchuk discussed her collaboration in Studio XX, her research on women and technology, her work on mobile communications technologies, and her outlook on issues facing women working in new media today.