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Montreal is the metropolitan hub of the province of Quebec, a French-speaking island in officially bilingual, but de facto majority English-speaking, Canada. The current youth generation represents a variety of ethnolinguistic backgrounds—French and English Canadian, but also many different immigrant-origin groups, including large Haitian and Hispanophone populations. Young adults and adolescents share French as a common language through schooling. In Quebec, hip-hop, a privileged literary–artistic and political medium for this generation, not only reflects its multilingual, multiethnic base, but also constitutes an active and dynamic site for the development of an oppositional community that encourages the formation of new, hybrid identities for youth. The authors draw on interviews with rappers of Haitian, Dominican, and African origin, and analysis of lyrics by these MCs, to highlight ways in which the discourses of “conscious” Quebec hip-hop promotes particular ideologies and identities in a context of migration/resettlement and globalization of youth culture.
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The music of Rufus Wainwright has been afforded much critical acclaim thanks to the singer-songwriter’s understanding of Queer cultural history, and the candor with which he explores (homo)sexuality in his music. This case study seeks to examine his use of opera in particular, and how Wainwright uses the historical trope of the opera queen to incorporate his own queerness into music, thus asserting an authority of difference and challenging the dominant (hetero)norm constructions of masculinity in popular music. Wainwright disregards any cultural framework imposed by heternormativism, and reclaims the Orphic figure of operatic authority as one of queer power through this absence. By drawing on his own relationship with opera, Wainwright exploits the right this gives him by reinterpreting cultural history, and revising the pejorative stereotype that is an opera queen.
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Quebec composer Linda Bouchard (born 1957) is an extremely prolific composer, particularly active on the new music scene in the u.s. where she has lived for lengthy periods since 1989. She has composed a rich and diverse catalogue of works, ranging from orchestral music to more intimist instrumentations, and also using multimedia or improvisation. In this interview, the composer reflects on the question of exile and identity in light of her own experience, thus reliving her own artistic path while also addressing some still burning questions about the place of music creators in the global culture.