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Hec Montréal HEC MONTRÉAL Hook & Neoliberal hits : entre production et consommation, indifférence et contradictions par Hani Souaid Sciences de la gestion (Option Management) Mémoire présenté en vue de l’obtention du grade de maîtrise ès sciences en gestion (M. Sc.) Juin 2019 © Hani Souaid, 2019 Résumé Un hit (musical) est le résultat d’une production et d’une consommation qui a connu un taux de popularité plus élevée qu'un autre produit culturel (une chanson, un album de musique). Aujourd’hui, nous constatons des changements historiques au niveau du contenu auditif et visuel de ces hits et de l’image des artistes. En effet, les hits d’aujourd’hui prônent un discours idéologique orienté vers des patterns conservateurs de consommation (Canavan et McCamley, 2018), vers l’auto- promotion, vers un individualisme et un narcissisme (McAuslan et Waung, 2018), et vers une plus grande représentation de valeurs égoïstes qu’altruistes (Hahn et al., 2018). Ces hits prônent aussi une plus grande représentation de thèmes de luxure que d’amour (Madanikia et Bartholomew, 2014), une objectification corporelle (Flynn, Craig, Anderson et Holody, 2016), une hypersexualisation et une commodification concernant principalement les femmes (McCallum et Dzidic, 2018 ; Oware, 2018), une surveillance accrue et une dissatisfaction du corps (Karsay, Matthes, Platzer et Plinke, 2018), une emphase sur la perfection du corps et sur la quête d’un idéal de minceur (Epstein et Joo, 2012 ; Prichard et Tiggemann, 2012), et une culture du viol (Cable, 2017). De plus, ces hits mettent en valeur une consommation accrue d’alcool et de drogue (Cranwell, Murray, Lewis, Leonardi-Bee, Dockrell et Britton, 2015 ; Laybourn, 2017), et des motivations biologiques primaires comme le sexe et la violence (Wang et Bailey, 2018). Ces hits usent aussi de stratégies légitimatrices de l’idéologie néolibérale en mettant de l’avant, un semblant de multiculturalisme qui ne reflète qu’une réappropriation stéréotypée occidentale et une commodification des cultures pour en tirer profit (Akhtar, 2016 ; Kusdiana, 2017 ; Pennington, 2016). Mais aussi, en usant de stratégies d’authenticité et d’identités multiples pour s’accaparer plus de consommateurs en commodifiant de façon stéréotypée les races, les genres, et la sexualité (Pope, 2016 ; Hou, 2013 ; Ruwaard, 2018 ; Eberhardt et Freeman, 2015 ; Schoppmeier, 2015 ; Hunter et Cuenca, 2017 ; Clark, 2014). Mais encore, en mettent de l’avant des stratégies d’empowerment feministes qui ne font que reproduire un conservatisme patriarcal (Hopkins, 2018 ; Griffith, 2017 ; Muchitsch, 2016 ; Simon, 2012 ; Dubrofsky, 2016 ; Borslien, 2015), des stratégies d’empowerment des communautés LGBTQ qui ne font que reproduire des inégalités socioéconomiques et une hétéronormativité (Dhaenens, 2016 ; Dunn, 2016 ; Bruce, 2015 ; Fuchs, 2017), et des stratégies d’empowerment des communautés noires qui ne font que reproduire un racisme et des inégalités socioéconomiques (Krebs, 2015 ; Stuelke, 2017 ; Sims, 2018 ; Laybourn, 2017 ; Dawson et Francis, 2016). Mais aussi, en mettent de l’avant des stratégies légitimisant le projet néolibérale à travers les représentations de paysages urbains spécifiques (Rossetto et Andrigo, 2018). D’autre part, nous observons que malgré ce contexte, ces hits véhiculés par les artistes sont glorifiés dans des cérémonies de remise de prix, comme les prestigieux Grammy Awards, ou glorifiés dans des entrevues, ou même glorifiés dans des discours populaires et sur les réseaux sociaux. En d’autres termes, le contenu auditif et visuel de ces hits ainsi que l’image des artistes, sont non seulement légitimisés par ceux qui les produisent, mais sont aussi légitimisés par ceux qui les consomment, ce qui nous a poussés à en savoir plus sur l’évolution des facteurs qui pourraient engendrer un tel processus de production et de consommation. Pour mieux comprendre la nature des hits d’aujourd’hui, nous avons donc étudié l’évolution des contraintes et des impératifs économiques ainsi que celle des incitatifs idéologiques dans la production et la consommation des hits du Billboard Hot 100 à travers le temps. Pour cela, nous avons étudié l’évolution de sept axes historiques portant sur (1) les modèles d’affaires de l’industrie de la musique, (2) le numérique (internet, les réseaux sociaux, les téléphones intelligents, et les technologies), (3) l’industrie des médias, (4) iv la structure de l’industrie de la musique, (5) les méthodes de compilation des classements du Billboard, (6) les événements socioéconomiques et politiques (une sélection des événements majeurs qui ont affecté la production et la consommation des hits), et (7) les générations de producteurs-compositeurs. Ensuite, nous nous sommes concentrés sur nos axes d’analyse, (1) le contenu auditif des hits et l’image des artistes, et (2) le contenu visuel des hits et l’image des artistes, en se focalisant surtout sur les hits pop, R&B, et hip-hop/rap ainsi qu’en abordant rapidement d’autres hits s’apparentant à l’électro, le EDM, le rock, la K-pop, et le country. Pour élargir la perspective d’étude et pour mieux comprendre le phénomène d’ensemble qui entoure les hits, notre approche a consisté à croiser les axes énoncés. Pour cela, nous nous sommes basés sur la méthode historique et une approche épistémologique constructiviste. Nous nous sommes donc basés sur l’interprétation de données secondaires issues d’une revue de littérature que nous avons compléter avec les données que fournit le classement des hits du Billboard Hot 100, et plus précisément, les données que fournit son récapitulatif de fin d’année le Billboard Year- End Hot 100 singles, pour déterminer les hits les plus populaires et les plus représentatifs des pratiques de production et de consommation. Nous avons aussi compléter notre interprétation en utilisant les statistiques du Recording Industry Association of America (RIAA) pour observer de plus près l’évolution des données commerciales et financières de l’industrie de la musique. Nous avons trouvé que la période s’étalant entre 2011/2012 et aujourd’hui est celle dans laquelle s’établirait ce que l’on pourrait appeler une convergence normalisée entre le capitalisme-néolibérale légitimisé, et la production et la consommation des hits. Elle marque ainsi l’émergence d’une nouvelle ère dans la musique populaire qu’on pourrait qualifier ‘d’ère H&N’ (Hook & Neoliberal era) ayant son propre contenu stylistique et idéologique, et a fortiori accrochant à ces deux niveaux, et ayant pour support des artistes que l’on pourrait requalifier d’entreteneur-reproducteurs légitimisés des impératifs économiques de maximisation de profits et des incitatifs idéologiques néolibéraux-contradictoires, non seulement indifférents vis-à-vis du v contexte socioéconomique et politique de leur période, mais aussi, indifférents vis-à- vis du contexte écologique. Mots clés : Hits, néolibéralisme, légitimisation, commodification, vidéo-clips, artistes, Billboard, industrie de la musique, médias, numérique. vi Abstract A musical hit is a result of a production and a consumption that received a higher amount of popularity than another cultural product (a song, a musical album). Today, we notice historical changes in the auditory and visual content of those hits and in the image of the artists. In fact, today’s hits advocate an ideological discourse oriented toward conservative patterns of consumption (Canavan & McCamley, 2018), self-promotion, individualism, narcissism (McAuslan & Waung, 2018), and toward a higher representation of egoistic values than altruistic values (Hahn et al., 2018). Those hits also advocates a higher representation of lust themes than love themes (Madanikia & Bartholomew, 2014), a body objectification (Flynn, Craig, Anderson & Holody, 2016), a hypersexualization and a commodification mainly of females (McCallum & Dzidic, 2018 ; Oware, 2018), and an increased surveillance on bodies and on body dissatisfaction (Karsay, Matthes, Platzer & Plinke, 2018). They also emphasize the perfection of body and the quest of the thin ideal (Epstein & Joo, 2012 ; Prichard & Tiggemann, 2012), and promote rape culture (Cable, 2017). Moreover, those hits showcase a high consumption of drugs and alcohol (Cranwell, Murray, Lewis, Leonardi-Bee, Dockrell & Britton, 2015 ; Laybourn, 2017), and primary biological motivations such as sex and violence (Wang & Bailey, 2018). Those hits also use strategies to legitimate the neoliberal ideology by putting forward a multiculturalism that reflect a stereotypical western appropriation and a commodification of cultures for private benefits (Akhtar, 2016 ; Kusdiana, 2017 ; Pennington, 2016), by using strategies related to authenticity and multiple identities to monopolize more consumers by commodifying and stereotyping race, gender, and sexuality (Pope, 2016 ; Hou, 2013 ; Ruwaard, 2018 ; Eberhardt & Freeman, 2015 ; Schoppmeier, 2015 ; Hunter & Cuenca, 2017 ; Clark, 2014), by putting forward strategies of female empowerment that keep reproducing a patriarchal conservatism vii (Hopkins, 2018 ; Griffith, 2017 ; Muchitsch, 2016 ; Simon, 2012 ; Dubrofsky, 2016 ; Borslien, 2015), by putting forward strategies of LGBTQ community empowerment that keep reproducing socioeconomic inequalities and a heteronormativity (Dhaenens, 2016 ; Dunn, 2016 ; Bruce, 2015 ; Fuchs, 2017), and by putting forward strategies of black community empowerment that keep reproducing racism and socioeconomic inequalities (Krebs, 2015 ; Stuelke, 2017 ; Sims, 2018 ; Laybourn, 2017 ; Dawson & Francis, 2016). They also
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