person:thom yorke

  • Je suis allé voir le #film Suspiria (2018) de Luca Guadagnino, avec Dakota Johnson et Tilda Swinton
    https://www.youtube.com/watch?v=BY6QKRl56Ok

    C’est évidemment le remake du Suspiria de Dario Argento (écrit avec Daria Nicolodi), de 1977 (avec Jessica Harper).

    Généralement je ne vais pas voir les remakes des classiques de l’horreur. J’ai l’impression que ça donne soit des copies plan par plan mais avec des effets numériques tape à l’œil, soit des outrances gore. Mais là, un remake de Dario Argento, j’avais envie de voir.

    Hé ben c’est pas mal du tout. Il y a une ambiance pesante tout le long, on est relativement surpris par les évolutions de la trame, et les actrices sont épatantes. Évidemment, Tilda Swinton (qui, je le découvre en regardant la fiche IMDB en sortant de la salle, joue aussi le vieux monsieur, ainsi que la mère Markos), pour te foutre les chocottes, tu peux pas te rater. (Je vois que Dakota Johnson et Tilda Swinton étaient déjà dans A Bigger Splash (2015) du même Luca Guadagnino. Pas encore vu.)

    C’est largement de l’horreur d’ambiance, mais fais gaffe quand même : le premier meurtre est long et pénible, et il y a quelques effets gore. Un peu comme Hérédité (2018) : de l’ambiance, mais quand c’est horrible, c’est horrible…

    Plutôt bonne idée d’ajouter des éléments de cadre historique à Berlin, avec la bande à Baader, des évocations de la guerre… c’est pas vraiment lourd, et ça donne un peu de fond à un scénario un peu con-con sinon (c’est des histoires de sabbat de sorcières, à la base).

    Musique de Thom Yorke (Radiohead). Ouaip. Et un cameo de Jessica Harper. Ouaip aussi.

    (En revanche, la programmation du Gaumont à Montpellier, je comprends pas : le film ne passe qu’une fois par jour, à 21h50.)

    • Du coup je me suis revu le Suspiria de Dario Argento (1977) :
      https://www.youtube.com/watch?v=5Y0EEqtWrJI

      Je vais commencer par préciser que Suspiria n’est pas mon Argento préféré : pour moi le chef-d’œuvre, c’est Profondo Rosso avec David Hemmings (1975). C’est beaucoup plus « tenu » et développé, et on y retrouve l’humour à la con d’Argento (après, Profondo Rosso est presque deux fois plus long ; alors forcément il y a le temps pour y mettre beaucoup plus de choses). Mais bon, Suspiria, c’est tout de même un de mes classiques.

      Ce qui est amusant, en revoyant l’original après le remake, c’est que les choix du second font ressortir les limites du premier.

      – Toute la fin est différente. Et ça donne du corps et des enjeux à l’anecdote (le « sabbat de sorcières », un peu con-con sinon). En gros, dans le film d’Argento, le pourquoi et les enjeux autour du personnage de Jessica Harper, il n’y en a pas vraiment.

      – Et justement, les personnages du premier film ne sont pas très développés. Jessica Harper, on ne sait pas trop son parcours. Et surtout, ses copines, c’est assez néantissime. Le personnage de Udo Kier, on se demande même ce qu’il fait là.

      – L’aspect surnaturel surgit dans la scène finale, et le mot « sorcières » est prononcé pour la première fois au bout d’une heure de film. Les meurtres sont plus ou moins réalistes, essentiellement au couteau (comme dans tout bon giallo). Ce sont les espèces de cris omniprésents dans la bande son qui signalent que ce n’est pas un simple polar ; c’est assez pénible du coup, la bande son en fait des caisses dans l’infernal – je ne parle pas de la musique des Goblin, ça curieusement je supporte assez bien –, pendant que le scénario joue sur l’incertitude. Du coup, pendant une heure on fait comme si c’était un thriller, pendant 20 minutes on introduit le thème des sorcières sur le ton de l’évidence, et dans les 3 dernières minutes on montre que c’est totalement surnaturel (mais avec des effets sonores omniprésents qui, eux, contredisent cette hésitation pour le « surnaturel »). Dans le remake, c’est assumé : le thème des sorcières et des 3 Mères est balancé dès le début, et le premier meurtre (long et pénible, comme je l’ai écrit ci-dessus) est explicitement surnaturel.

      – Comme le surnaturel ne vient que tardivement, il y a une « résolution » de type thriller/polar, classique d’Argento, avec une information incompréhensible montrée au début, dont l’héroïne se souvient et qu’elle ne comprend que plus tard dans le film. Ici c’est assez lourd, et pas franchement intéressant, avec les « 3 iris » et le « secret », qui ouvrent une porte dérobée : c’est donc juste une anecdote – pas le dévoilement de la raison de la folie meurtrière comme dans Profondo Rosso par exemple.

  • L’article d’une DJ israélienne à propos des annulations récentes. Quelques points à noter :
    1) elle n’est pas surprise de l’annulation de Lana del Rey
    2) elle est surprise en revanche de l’annulation de DJs, car ce milieu n’était pas touché par la politique et BDS, et elle se demande si ce n’est pas le début de quelque chose...
    3) elle cite Gaza, la loi sur l’Etat Nation, les arrestations d’activistes à l’aéroport, mais aussi la proximité entre Trump et Netanyahu, qui influence surtout les artistes américains
    4) on apprend que tout le monde sait qu’il y a des artistes, et non des moindres, qui même s’ils ne le disent pas ouvertement, ne viendront jamais en israel : Beyoncé, The Knife, Grizzly Bear, Arcade Fire, Deerhunter, Sonic Youth, Lil Yachty, Tyler the Creator, Kendrick Lamar, Chance the Rapper, Vince Staples, Moodymann, Kyle Hall, the Martinez Brothers, Ben UFO, DJ Ricardo Villalobos, Matthew Herbert, Andrew Weatherall... C’est ce qu’on appelle le boycott silencieux...
    5) il y a aussi le cas de ceux qui ne viennent que si les concerts sont organisés par des Palestiniens : Acid Arab et Nicolas Jaar
    6) même si cela me semble faux, le fait d’accuser certains artistes de boycotter parce que c’est à la mode est un aveu que BDS a le vent en poupe dans le milieu de la musique

    The Day the Music Died : Will BDS Bring Tel Aviv’s Club Scene to a Standstill ?
    Idit Frenkel, Haaretz, le 7 septembre 2018
    https://www.haaretz.com/israel-news/.premium.MAGAZINE-the-day-the-music-died-will-bds-halt-tel-aviv-s-club-scen

    Lana Del Rey should have known better. And if not Del Rey herself, then at least her managers, PR people and agents.

    As the highest-profile artist who was scheduled to appear at the Meteor Festival over the weekend in the north, it was clear she’d be the one caught in the crossfire , the one boycott groups would try to convince to ditch an appearance in Israel. That’s the same crossfire with diplomatic, moral and economic implications that confronted Lorde, Lauryn Hill and Tyler, the Creator: musicians who announced performances in Israel and changed their minds because of political pressure.

    Del Rey, however, isn’t the story. Her cancellation , which included some mental gymnastics as far as her positions were concerned, could have been expected. Unfortunately, we’ve been there many times and in many different circumstances.

    Tsunami of cancellations

    The ones who caught us unprepared by drafting an agenda for the Israeli-Palestinian conflict turned out to be DJs like Shanti Celeste, Volvox, DJ Seinfeld, Python and Leon Vynehall, who also dropped out of Meteor. Why was this unexpected? Because Israel’s nightlife and clubbing scene – especially in Tel Aviv – had been an oasis regarding cultural boycotts, an extraterritorial hedonistic space with no room for politics.

    The current tsunami of cancellations, while it might sound trivial if you’re untutored in trance music, could reflect a trend with effects far beyond the Meteor Festival. In the optimistic scenario, this is a one-off event that has cast the spotlight on lesser-known musicians as well. In the pessimistic scenario, this is the end of an era in which the clubbing scene has been an exception.

    Adding credence to the change-in-direction theory are the cancellations by DJs who have spun in Tel Aviv in recent years; Volvox, Shanti Celeste and Leon Vynehall have all had their passports stamped at Ben-Gurion Airport. And those times the situation wasn’t very different: Benjamin Netanyahu was prime minister, the occupation was decades long and there were sporadic exchanges of fire between the sides.

    Moreover, two of the DJs spearheading the struggle on the nightlife scene regarding Mideast politics – the Black Madonna and Anthony Naples – have been here, enjoyed themselves, been honored and promised to return, until they discovered there’s such a thing as the occupation.

    Americans and Brits cancel more

    So what has changed since 2015? First, there has been a change on the Gaza border, with civilians getting shot. These incidents have multiplied in the past three months and don’t exactly photograph well.

    Second, news reports about the nation-state law and the discrimination that comes with it have done their bit. Third, the arrests and detentions of left-wing activists entering Israel haven’t remained in a vacuum.

    Fourth, and most importantly, is Donald Trump’s presidency and his unconditional embrace of Netanyahu, including, of course, the controversial opening of the U.S. Embassy in Jerusalem. As in the case of Natalie Portman’s refusal to accept a prize from the state, the closeness between the Trump administration and the Netanyahu government – under the sponsorship of evangelical Christians – has made Israel a country non grata in the liberal community, of which Hollywood is one pole and nightlife the other.

    It’s no coincidence that the DJs canceling are either Americans or Brits on the left; that is, Democrats or Jeremy Corbyn supporters in Labour – people who see cooperation with Israel as collaboration with Trump and Britain’s Conservative government.

    Different from them is Honey Dijon, the black trans DJ from Chicago who in response to the protest against her appearance at the Meteor Festival tweeted: “All of you people criticizing me about playing in Israel, when you come to America and stand up for the murder of black trans women and the prison industrial complex of black men then we can debate. I play for people not governments.” Not many people tried to argue with her. Say what you will, contrarianism is always effective.

    The case of DJ Jackmaster

    Beyond the issue of values, at the image level, alleged collaboration can be a career killer, just as declaring a boycott is the last word in chic for your image nowadays. That’s exactly what has happened with Scotland’s DJ Jackmaster, who has gone viral with his eventual refusal to perform at Tel Aviv’s Block club. He posted a picture of the Palestinian flag with a caption saying you have to exploit a platform in order to stand up for those who need it. The flood of responses included talk about boycotting all Tel Aviv, not just the Block.

    Yaron Trax is the owner of the Block; his club is considered not only the largest and most influential venue in town but also an international brand. Trax didn’t remain silent; on his personal Facebook account he mentioned how a few weeks before Jackmaster’s post his agent was still trying to secure the gig for him at the Block.

    “Not my finest hour, but calling for a boycott of my club at a time when an artist is trying to play there felt to me like crossing a line,” Trax says. “Only after the fact, and especially when I saw how his post was attracting dozens of hurtful, belligerent and racist responses – and generating a violent discourse that I oppose – did I realize how significant it was.”

    Trax talks about the hatred that has welled up in support of Jackmaster’s Israel boycott – just between us, not the sharpest tool in the shed and someone who has recently been accused of sexual harassment. As Trax puts it, “The next day it was important to me to admonish myself, first off, and then all those who chose to respond the way they responded.”

    In a further well-reasoned post, Trax wrote, “I have always thought that people who take a risk and use the platform that is given to them to transmit a message they believe in, especially one that isn’t popular, deserve admiration and not intimidation or silencing.” Unsurprisingly, the reactions to this message were mostly positive.

    Notwithstanding the boycotters who have acceded to the demands of Roger Waters and Brian Eno – the most prominent musicians linked to the boycott, divestment and sanctions movement – there are plenty of superstar musicians like Lady Gaga, Justin Timberlake and the Rolling Stones who have come to Israel as part of their concert tours, even though they suffered the same pressures. The performers most vocal about their decision to appear in Israel have been Radiohead and Nick Cave.

    At a press conference on the eve of his concert, Cave expressed his opinion on the demand to boycott Israel: “It suddenly became very important to make a stand, to me, against those people who are trying to shut down musicians, to bully musicians, to censor musicians and to silence musicians.”

    Radiohead frontman Thom Yorke took the message one step further and tweeted: “Playing in a country isn’t the same as endorsing its government. We’ve played in Israel for over 20 years through a succession of governments, some more liberal than others. As we have in America. We don’t endorse Netanyahu any more than Trump, but we still play in America.” As Yorke put it, music, art and academia are “about crossing borders, not building them.”

    There’s a lot of truth in Yorke’s declaration, but whether or not musicians like it, appearances in Israel tend to acquire a political dimension; any statement becomes a potential international incident. Thus, for example, after Radiohead’s statement, Public Security Minister Gilad Erdan saluted the band, and after Cave’s press conference, Foreign Ministry spokesman Emmanuel Nahshon tweeted “Bravo Nick Cave!”

    The trend continues when we step down a league from the A-listers, like Beyoncé, who doesn’t intend to perform in Israel despite her annual declaration that she’ll come “next year.” There’s the second level, the cream of international alternative rock and pop – refusals to appear in Israel by bands “of good conscience” like the Knife, Grizzly Bear, Arcade Fire and Deerhunter.

    The most prominent voice from this territory is that of former Sonic Youth guitarist and vocalist Thurston Moore. Yes, he appeared with his band in Tel Aviv 23 years ago, but since then he has become an avid supporter of BDS, so much so that he says it’s not okay to eat hummus because it’s a product of the occupation.

    ’Apartheid state’

    At the next level of refusers are the major – and minor – hip-hop stars. In addition to Lil Yachty and Tyler, who canceled appearances, other heroes of the genre like Kendrick Lamar, Chance the Rapper and Vince Staples have refused from the outset to accept invitations to Israel. It’s quite possible that the connection between BDS and Black Lives Matter is influential. As early as 2016, Black Lives Matter published a statement supporting BDS and declaring Israel an “apartheid state.”

    Which brings us to electronic music and the cultural phenomenon that goes with it – the club culture. In numerical terms, club culture is smaller, but the information that flows from it on the ground or online flows much faster.

    Moreover, not only is club culture more sensitive to changes and far more alert to ideas and technological advances, its history is marked by struggles by oppressed groups. It can be said that African-Americans, Hispanics and gay people were the first to adopt the “night” way of life, back in the days of New York’s clubs and underground parties in the ‘70s. Accordingly, these groups have been the ones to nurture this lifestyle into today’s popular culture. Hence also the association with movements like BDS.

    Boiler Room Palestine

    Indeed, the current trend points to a step-up in the discourse; in the past year the top alternative culture magazines – of which the electronic music magazines play a key role – have published articles surveying musical and cultural happenings in Palestinian society.

    The online music magazine Resident Advisor has had two such stories, the first about a workshop for artists with the participation of the Block 9 production team, musicians Brian Eno and Róisín Murphy (formerly of Moloko) and American DJ the Black Madonna. The workshop, which included tours, discussion groups and joint musical work, was held at the Walled Off Hotel in Ramallah, also known as Banksy’s hotel because of the street artist’s involvement in its planning in the shadow of the separation barrier.

    The second article surveyed the Palestinian electronic scene and its leading players – promoters, DJs and producers who are operating despite the restrictive military regime. In addition, the writer accompanied the production of Boiler Room Palestine in Ramallah in June. (The wider Boiler Room franchise has been the world’s most popular pop party for the past five years.)

    Another example includes the style magazine Dazed, which wrote about the cultural boycott movement immediately after the cancellation of Lorde’s concert, and just last month New York Magazine’s culture supplement Vulture set forth its philosophy on the boycott (also in the context of Lana Del Rey). It predicted that the awakening we’re seeing today is only in its infancy.

    This partial list isn’t a clear declaration about “taking a stance” – after all, progressive media outlets in culture laud Israeli artists (for example Red Axes, Moscoman and Guy Gerber) or local venues, like the Block club. But if you add to these the scores of Facebook battles or Twitter discussions (like the one Del Rey found herself in), you’ll get noise. And noise generates questions, which generate more noise and raise consciousness. And from there to change on the ground is a modest distance.

    ’These are people who slept on my sofa’

    Refusals of invitations or cancellations of concerts in Israel by artists didn’t begin with BDS or the increasing volume of the past two years. After all, a visit to Israel all too often requires an intrusive security check. It’s hard to complain about a DJ who isn’t keen to have his underwear probed.

    Also, there’s a stratum of artists who’ve appeared in Tel Aviv, Jerusalem or Haifa and have decided to stop coming – unless there’s a Palestinian production. Two examples are the French band Acid Arab (Parisians Guido Minisky and Hervé Carvalho) and the American producer – and darling of the hipster community – Nicolas Jaar . Jaar appeared in Tel Aviv a bit under a decade ago, just before he became a star, while Acid Arab not only performed in Tel Aviv but was also involved in projects with Israeli musicians – so plenty of people called the duo hypocrites.

    “I have no problem with strong opinions, but in the case of Acid Arab it annoyed me at the personal level – these are people who slept on my sofa, recorded with local musicians, and the day they put up their post announcing they wouldn’t play in Tel Aviv, they also asked me to send them some music,” says Maor Anava, aka DJ Hectik.

    “I have no problem with people changing their minds on the go; it’s clear to me that a visit to the separation fence can do it, but what bothered me is that it’s entirely a PR and image move, apparently at the advice of their agent,” he adds.

    “We’ve reached a situation in which a boycott of Israel is the trendiest thing and situates you in the right place in the scene – as a supporter of the Palestinian freedom fighters against the terrible Zionist occupier, something that can get you to another three big festivals. If you performed in Tel Aviv, apparently they’d do without you.”

    Thus at the end of last year, Acid Arab and Nicolas Jaar appeared in Haifa and Ramallah at parties produced by Jazar Crew, the only electronic collective in Israel that isn’t afraid to mix in politics.. So it surprised no one when Jazar received laudatory – and justified – coverage not only in Bar Peleg’s Haaretz piece but also in Resident Advisor.

    Is the party over?

    So are we seeing the onset of the electronic boycott of Tel Aviv, one of the world’s clubbing capitals? Well, the city is still a flourishing center of parties and club events every week. “ As of today it hasn’t yet happened that we’ve directly encountered an attempt by the cultural boycott to influence artists who are slated to appear at the club,” Trax says.

    “But we’re definitely seeing a change in the surrounding behavior. Nasty responses that people are leaving for a DJ who announced an upcoming gig with us have led to fewer famous DJs announcing appearances at the Block – even those who always promote themselves.”

    He notes a slowdown in the past two years. “A number of DJs who used to appear with us – Moodymann, Kyle Hall, the Martinez Brothers – have announced they won’t be returning, ” Trax says, referring to three American acts. “But there isn’t any set reason why. If the cultural boycott has an influence here I wouldn’t be surprised, because the Detroit junta is very political. And this also applies to UFO,” a successful British DJ and a high-profile voice in the European underground arena.

    Not all DJs who have chosen not to come to Israel have taken their stance amid the strengthening of the BDS movement. Some of the top people in the dance industry – including star Chilean-German DJ Ricardo Villalobos and British DJs and producers like Matthew Herbert and Andrew Weatherall – have for years been refusing to spin in Israel. They’ve made clear that this is their way of opposing Israel’s activities in the territories.

    Another great DJ, Tunisian-born Loco Dice who lives in Germany, is also considered a vocal opponent of Israel. But in December he played at the Block, and Trax doesn’t recall any signs that his guest was hostile to the country. This shows that a change of awareness works both ways.

    There’s a similar story: the decision by DJ Tama Sumo of the Berghain club in Berlin to play in Israel after a long boycott. She and her partner DJ Lakuti, a pillar of the industry, donated the proceeds of her Tel Aviv set to an organization for human rights in the territories.

    “As of now I don’t feel that the names who have decided to stop coming will change anything regarding the Block, because our lineup of VIPs isn’t based on them,” Trax says. “But if the more commercial cream of the clubs – DJs like Dixon, Ame and Damian Lazarus, or the big names in techno like Nina Kraviz, Ben Klock, Jeff Mills or Adam Beyer – change their minds, that will be a real blow to us, and not just us.”

    Amotz Tokatly, who’s responsible for bringing DJs to Tel Aviv’s Beit Maariv club, isn’t feeling much of a change. “The cancellations or refusals by DJs and artists based on a political platform didn’t begin just this year. I’ve been encountering this for many years now. There are even specific countries where we know the prevailing mood is political and tending toward the boycott movement. For example England. The rhetoric there is a priori much stronger,” Tokatly says.

    “But take Ben UFO, who has played in Tel Aviv in the past. When we got back to him about another spinning gig he said explicitly, ‘It simply isn’t worth it for me from a public relations perspective, and it could hurt me later on.’ DJs like him make their own calculations.”

    Tokatly doesn’t believe in a “Meteor effect” that will send the visiting DJ economy to the brink of an abyss. “I’m giving it a few weeks to calm down, and in the worst case we won’t be seeing here the level of minor league DJs who have canceled due to the circumstances,” he says.

    “In any case, they’re names who would have come here – if at all – once a year. Regarding artists who have a long-term and stable relationship with the local scene, we haven’t seen any change in approach yet.”

    Unlike Trax and Tokatly, Doron “Charly” Mastey of the techno duo TV.OUT and content director at Tel Aviv’s Alphabet Club says the recent goings-on haven’t affected him too much; his club is unusual in that doesn’t base itself on names from abroad.

    “I don’t remember any case of a refusal or cancellation because of political leanings,” he says. “But with everything that’s happening now regarding Meteor, and if that affects the scene down the road and the airlift to Tel Aviv stops, I’m not at all sure that’s a bad thing.”

    Mastey has in mind the gap between the size of the audience and the number of events, parties and festivals happening in Israel right now. “The audience is tired, and indifferent,” he says.. “And if this kick in the pants – of cancellations – is what’s going to dismantle the scene in its current format, then it will simply rebuild itself. I hope in a way that’s healthier for everyone.”

    In any case, if the rest of the world has realized that it’s impossible to separate politics from anything, and definitely not from club culture, which started out as a political and social movement, then the best thing we can do is try to hold the discussion in an inclusive a way as possible. An Israeli DJ working in Berlin who requested anonymity thinks that these ideas should be taken one step further.

    “Nowadays, for artists who want to go to Israel, two proposals are on the table,” he says. “Support the boycott or support the occupation. These two things are depicted even if they aren’t accurate, and between the two options there are a thousand more levels.”

    He believes there is scope for taking action. “The local scene must know how to fill the vacuum and craft alternatives to the boycott’s demands,” he says. “For example, by showing artists other ways to take a stand, whether by cooperating with Palestinians or suggesting that they donate the proceeds of their Tel Aviv appearances to a human rights group.”

    The voices calling for a cultural boycott of Israel, whether in sports, concerts or the subfield of electronic music, aren’t going to disappear. If anything, they’re only going to grow louder.

    Moreover, if we take into account the complexity of the conflict, maybe we should seek to communicate these insights in a way that drops the imagery of absolutes like left-right, bad-good, Zionist-anti-Semitic. The club culture exists to connect extremes, not separate people. Our demand to continue a vibrant electronic scene is just as legitimate as that of the boycott supporters’ attempts to create awareness.

    Even if we don’t agree with the idea of the boycott, it’s still possible to accept the realization that there are people who think differently – who want to perform for the other side as much as they want to perform for us. This doesn’t make them an existential danger.

    Moreover, as the Israeli DJ working in Berlin says, the Israeli scene needs an arsenal of proposals for constructive activism; it must provide alternatives to the BDS call to boycott – and not automatically flex an insulted patriotic muscle. This might not be the easiest thing to do, but hey, this is Israel. It’s not going to be easy.

    #Palestine #BDS #Boycott_culturel

  • Radiohead is art-washing Israeli apartheid
    Omar Barghouti, Al Jazeera, le 31 juillet 2017
    http://www.aljazeera.com/indepth/opinion/2017/07/radiohead-art-washing-israeli-apartheid-170730113743323.html

    L’épilogue d’une campagne qui dure depuis des semaines:

    Thom Yorke, this is why you should boycott Israel
    Gideon Levy, Haaretz, le 11 juin 2017
    https://seenthis.net/messages/606119

    Des artistes et des fans écrivent à Radiohead:
    https://seenthis.net/messages/614147

    He sang ’Creep,’ but we expected more of Thom Yorke
    Gideon Levy, Haaretz, le 20 juillet 2017
    https://seenthis.net/messages/616358

    #Palestine #BDS #Boycott_culturel #Royaume_Uni #Musique #Radiohead

  • He sang ’Creep,’ but we expected more of Thom Yorke
    One can fight politicians, global warming, big corporations and Donald Trump without needing much courage. Not so with the occupation
    By Gideon Levy | Jul. 20, 2017 | 4:09 AM | 4
    http://www.haaretz.com/opinion/.premium-1.802304

    “When we got the call / Saw dollars in my eyes / We’re supporting apartheid / But the pay’s really high / I float like white phosphorous / Over Beit Hanoun skies / I wish I was ethical / We’re so very unethical / But I’m a creep / I’m playing Israel / What the hell am I doing here? / I don’t belong here I don’t even notice / No Palestinians around.”

    These lyrics were superimposed by BDS activists in England on a video from a Radiohead performance of their hit song “Creep,” to protest the band’s appearance Wednesday night in Tel Aviv. Similarly, Scottish activists posted a cover of another Radiohead song, “Karma Police,” with the lyrics “They’re playing apartheid / While Palestinians wait / They’re the worst kind of hypocrites.”

    So these versions circulated online, while Radiohead gathered tens of thousands in Yarkon Park. Gaza is enveloped in darkness and they laughed all the way to the bank. While doors all over the world are being slammed in Roger Waters’ face as part of the delegitimization of the BDS movement, Radiohead can appear anywhere and not pay any price for identifying with Israel and the occupation, and it only got more ridiculous as lead singer Thom Yorke became more entrenched in his positions.

    This battle of music icons, between the protest singer, Waters, and the checkbook singer, Yorke; between the voice of morality and conscience and the voice of escapism and apathy, always ends in victory for Yorke’s “music without borders.” It’s always more comfortable to be an apolitical singer, one who “doesn’t mix music with politics.”

    We expected more from Yorke. Perhaps if he knew more about the occupation than what he probably heard from the Israeli wife of his guitarist, he would change his stance. After all, he’s known to be an artist who gives a damn, a vegan who battles against globalization, supports fairness in trade, opposes Donald Trump and fights for the environment. But that’s just the point: You don’t pay any price for these battles, justified as they may be. They are luxury struggles, like those of Aviv Geffen, our own protest singer.

    One can battle against politicians, against global warming, multinational corporations and the U.S. president without needing much courage. You can be in favor of liberating Tibet and against the occupation of Kashmir; against whale hunting and the oppression of the Falun Gong in China, in favor of animal rights, Native Americans, the Inuit, the Roma and the Aborigines – all of which are justified causes – without it costing a thing.

    There’s only one struggle for which anyone putting his hand in the fire gets immediately burned. Anyone who dares to say “No” to the occupation is immediately accused of anti-Semitism. Say “BDS” and you risk prosecution. That’s why the real test of an artist’s guts and integrity is the struggle against the occupation and Israeli apartheid. That’s the litmus test. The cowards flee from it, only the brave dare take it on. That’s why there are so few Waterses in the world and lots of Yorkes.

    There is no more powerful, rich, well-oiled, effective and aggressive lobby like the one that fights opponents of the Israeli occupation. You can be Yorke, fight Wall Street, be considered a person of conscience and not get hurt. Or you can be Waters, who’s in the middle of a dizzying world tour, and in the midst of this success hasn’t neglected the struggle that burns within him more than any other, and for which he’s paying a heavy price. Nothing will stop him, not even when American governors and mayors threaten to block his appearances. Not even when they call him an anti-Semite or even a Nazi. Waters dreams of appearing in Gaza, and isn’t intimidated when the mayor of Miami Beach threatens to prevent him from appearing in his city. The scandalous criminalization of BDS is already taking its toll, but Waters and his ilk are not afraid.

    Yorke was born with a sealed left eye, which was opened by a series of operations. There’s something symbolic about that. Waters was born with both eyes open. They’ve never met. Their respective level of daring and integrity separates them, apparently forever. Which of them will be more admired? Which will be remembered?

  • Des artistes anglais à #Radiohead:

    Le grand #Ken_Loach:

    Radiohead need to join the cultural boycott of Israel – why won’t they meet with me to discuss it?
    Ken Loach, The Independent, le 11 juillet 2017
    https://www.independent.co.uk/voices/radiohead-israel-palestine-boycott-bds-thom-yorke-ken-loach-meet-disc

    Traduction en français:

    Radiohead devrait se joindre au boycott culturel d’Israël – pourquoi ne veulent-ils pas me rencontrer pour en discuter ?
    Ken Loach, The Independent, le 11 juillet 2017
    https://www.bdsfrance.org/radiohead-devrait-se-joindre-au-boycott-culturel-disrael-pourquoi-ne-veul

    #Dave_Randall est le guitariste du groupe #Faithless:

    Radiohead are wrong to play in Israel. Here’s why
    Dave Randall, The Guardian, le 11 juillet 2017
    https://www.theguardian.com/commentisfree/2017/jul/11/radiohead-reject-israel-boycott-play-tel-aviv-palestinians

    La réponse de #Thom-Yorke à Ken Loach:

    Thom Yorke responds to Ken Loach letter asking Radiohead to cancel Israel concert
    Roisin O’Connor, The Independent, le 12 juillet 2017
    http://www.independent.co.uk/arts-entertainment/music/news/radiohead-israel-concert-ken-loach-letter-thom-yorke-boycott-tel-aviv

    Le grand #Mike_Leigh:

    Mike Leigh slams Radiohead for ignoring Palestinians
    Artists for Palestine, le 17 juillet 2017
    https://artistsforpalestine.org.uk/2017/07/17/mike-leigh-slams-radiohead-for-ignoring-palestinians

    #Palestine #BDS #Boycott_culturel #Royaume_Uni #Musique

  • Thom Yorke, this is why you should boycott Israel

    Hasn’t the time come to do away with this artificial distinction between ’nice’ Israelis and the brutal occupation they are responsible for?

    Gideon Levy Jun 11, 2017
    read more: http://www.haaretz.com/opinion/.premium-1.794946

    Anyone questioning whether a boycott is a just and effective means of fighting the Israeli occupation should listen to the counterarguments of Thom Yorke from British rock band Radiohead and Yesh Atid Chairman Yair Lapid. The front men of Radiohead and Yesh Atid present: cheap propaganda. Their counterarguments could convince any person of conscience around the world – to support the boycott. Yorke, who ignores the boycott movement, and Lapid, who is an ardent opponent of the Boycott, Sanctions and Divestment movement, have enlisted to oppose the movement. Their reasoning says a lot more about them than the BDS movement.
    Boycotting is a legitimate means. Israel as a state makes use of it, and even preaches that other countries should follow suit. Some Israeli citizens also make use of it. There is a boycott of Hamas in Gaza, sanctions on Iran. There are boycotts of nonkosher stores, boycotts against eating meat, and of Turkish beach resorts. And the world also uses it, imposing sanctions on Russia right after its annexation of Crimea.
    The only question is whether Israel deserves such a punishment, like the one imposed on apartheid South Africa in an earlier era, and whether such steps are effective. And one more question: What other means have not been tried against the occupation and haven’t failed?
    Yorke directs his ire against fellow rock star Roger Waters, perhaps the most exalted of protest artists at the moment, who called on Yorke to reconsider his band’s concert appearance in Tel Aviv on July 19.

  • La polémique autour du concert de #Radiohead prévu en israel :

    Le concert de Radiohead en Israël fait polémique
    Juliette Geenens, Les Inrocks, le 25 avril 2017
    https://seenthis.net/messages/593239

    #THOM_YORKE DE RADIOHEAD RÉPOND FERMEMENT AUX APPELS AU BOYCOTT D’ISRAËL DE #ROGER_WATERS ET D’AUTRES PERSONNALITÉS
    Laure Narlian, France TV, le 2 juin 2017
    http://culturebox.francetvinfo.fr/musique/rock/thom-yorke-de-radiohead-repond-fermement-aux-appels-au-boyco

    Un fan lui répond (et traduction en français) :

    Radiohead, NE JOUEZ PAS LA CARTE ISRAËL
    Seamus, Radiohead Fans for Palestine, le 2 juin 2017
    http://radioheaddontplayisrael.blogspot.ca/2017/06/a-reply-to-thom-yorkes-comments-in.html?m=1
    https://www.bdsfrance.org/radiohead-ne-jouez-pas-la-carte-israel

    La réponse de Roger Waters (et traduction en français) :

    Lisez la réponse de Roger Waters à Yorke sur la controverse Radiohead Israël
    Rolling Stone, le 5 juin 2017
    http://www.rollingstone.com/music/news/roger-waters-responds-to-thom-yorke-over-israel-controversy-w485780
    https://www.bdsfrance.org/lisez-la-reponse-de-roger-waters-a-yorke-sur-la-controverse-radiohead-isr

    Un journaliste israélien à Thom Yorke (et traduction en français) :

    Thom Yorke, voilà pourquoi vous devriez boycotter Israël
    Gideon Levy, Haaretz, le 11 juin 2017
    https://seenthis.net/messages/606119
    https://www.bdsfrance.org/thom-yorke-voila-pourquoi-vous-devriez-boycotter-israel

    Des musiciens israéliens à Thom Yorke :

    Annuler le concert de Radiohead abîmera la façade « comme si de rien n’était » d’Israël
    Mondoweiss, le 29 juin 2017
    https://www.bdsfrance.org/des-musiciens-israeliens-a-thom-yorke-annuler-le-concert-de-radiohead-abi

    Echanges entre Radiohead et des spectateurs pro-palestiniens :

    Radiohead slammed by pro-Palestinian action groups after Thom Yorke swears at concert protestors
    Rebecca Lewis, Metro, le 11 juillet 2017
    http://metro.co.uk/2017/07/11/radiohead-slammed-by-pro-palestinian-action-groups-after-thom-yorke-swears-

    https://pbs.twimg.com/media/DEKc2IRUAAAdfmz.jpg:large

    Des artistes anglais à Radiohead :

    #Dave_Randall est le guitariste du groupe #Faithless :

    Radiohead are wrong to play in Israel. Here’s why
    Dave Randall, The Guardian, le 11 juillet 2017
    https://www.theguardian.com/commentisfree/2017/jul/11/radiohead-reject-israel-boycott-play-tel-aviv-palestinians

    Le grand #Ken_Loach (et traduction en français) :

    Radiohead devrait se joindre au boycott culturel d’Israël – pourquoi ne veulent-ils pas me rencontrer pour en discuter ?
    Ken Loach, The Independent, le 11 juillet 2017
    https://www.independent.co.uk/voices/radiohead-israel-palestine-boycott-bds-thom-yorke-ken-loach-meet-disc
    https://www.bdsfrance.org/radiohead-devrait-se-joindre-au-boycott-culturel-disrael-pourquoi-ne-veul

    La réponse de Thom Yorke à Ken Loach :

    Thom Yorke responds to Ken Loach letter asking Radiohead to cancel Israel concert
    Roisin O’Connor, The Independent, le 12 juillet 2017
    http://www.independent.co.uk/arts-entertainment/music/news/radiohead-israel-concert-ken-loach-letter-thom-yorke-boycott-tel-aviv

    Rock sans conscience
    Roderic Mounir, Le Courrier (Genève), le 14 juillet 2017
    https://www.lecourrier.ch/node/151033

    #Palestine #BDS #Boycott_culturel #Royaume_Uni #Musique

  • Les Inrocks - Le concert de Radiohead en Israël fait polémique
    25/04/2017 | 14h47
    http://www.lesinrocks.com/2017/04/25/musique/le-concert-de-radiohead-en-israel-fait-polemique-11937694

    Le concert de Radiohead en Israël ne fait pas l’unanimité. Attendue le 19 juillet, à Tel Aviv, la bande de Thom Yorke se voit critiquée par plusieurs artistes. Selon Pitchfork, Thurston Moore, ancien chanteur et guitariste de Sonic Youth, Roger Waters des Pink Floyd, le groupe de hip-hop écossais Young Fathers, Robert Wyatt co-fondateur de Soft Machine, le réalisateur anglais Ken Loach et beaucoup d’autres (plus ou moins célèbres), ont appelé Thom Yorke, Jonny Greenwood et le reste du groupe à annuler leur concert.

    Une lettre ouverte adressée au groupe d’Oxford a été publiée sur le site Artistsforpalestine.org.uk (en français : artistes pour la Palestine) tentant de les convaincre de rejoindre un boycott culturel, rapporte le site américain. Les auteurs de la tribune invitent Radiohead à réfléchir à leur concert qui aura lieu, selon eux, dans un Etat “où un système d’apartheid a été imposé au Palestiniens.” Ils poursuivent :

    “En vous demandant de ne pas jouer en Israël, les Palestiniens vous implorent de faire un petit pas de plus pour pousser Israël à cesser les violations des droits basiques et de la loi internationale.

    Les signataires de la déclaration s’étonnent des positions de Radiohead en faveur des droits pour le Tibet, mais du maintien de leur performance à Tel Aviv cet été :

    “Nous nous demandons pourquoi vous rejeter une requête à vous soulever en faveur d’un autre peuple qui subit l’occupation étrangère. Il n’y a pas le moindre doute que si s’insurger contre les politiques de division, de discrimination et de haine signifie vraiment quelque chose, cela veut dire qu’il faut s’insurger partout, et cela doit inclure ce qui se passe aux Palestiniens tous les jours.”

    #BDS

  • Thom Yorke met son nouvel album sur #bittorrent bundle
    http://www.lemonde.fr/musiques/article/2014/09/29/la-nouvelle-boite-de-thom-yorke-a-contenant-innovant-contenu-attendu_4496067

    (...) le bundle (paquet) mis en place par BitTorrent, lieu où des artistes déposent volontairement leurs œuvres, téléchargeables gratuitement par l’intermédiaire du réseau peer-to-peer. (...) il faut passer par une paygate (porte d’entrée payante) et débourser 6 dollars (4,73 euros) pour ses huit chansons, encodées en fichiers. mp3 à 320 kbps. Une première pour BitTorrent Bundle.

    rép à sa iTunes

  • Op-Ed : Free Music | Features | Pitchfork
    http://pitchfork.com/features/oped/9178-free-music

    As others have commented— most recently Thom Yorke and Nigel Godrich— these new models are adept at wringing profits from existing music catalogs, but they don’t do much, if anything, for the financing of new recordings. And it doesn’t take an MBA to see how that doesn’t bode well for the future of the industry. But it must be said: Major labels don’t exactly have a great track record for planning ahead. (Is it something about the personalities drawn to work in our moment-to-moment world of music? If you get a thrill from Jonathan Richman’s “one-two-three-four-five-six!” are you more likely to be someone who saves carefully for retirement, or someone who hopes they die before they get old?)