{"id":16048,"date":"2010-12-06T16:00:00","date_gmt":"2010-12-06T15:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/the-b-52s-athens-kitsch-that-danced-like-a-party-trick\/"},"modified":"2026-09-26T23:59:06","modified_gmt":"2026-09-26T21:59:06","slug":"the-b-52s-athens-kitsch-that-danced-like-a-party-trick","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/the-b-52s-athens-kitsch-that-danced-like-a-party-trick\/","title":{"rendered":"The B-52’s – Le kitsch d’Ath\u00e8nes qui dansait comme un tour de passe-passe"},"content":{"rendered":"

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Friperies d’Ath\u00e8nes, Farfisa et Rock Lobster<\/h3>\n

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The B-52’s \u00e9mergent d’un restaurant chinois \u00e0 Ath\u00e8nes, en G\u00e9orgie, en d\u00e9cembre 1976. Fred Schneider, Kate Pierson, Cindy Wilson, Ricky Wilson et Keith Strickland d\u00eenent ensemble, finissent dans un appartement, et jouent des reprises et des compositions originales jusqu’\u00e0 ce qu’un groupe existe. Le premier vrai concert a lieu le 14 f\u00e9vrier 1977 \u00e0 une f\u00eate chez des amis. Ath\u00e8nes n’est pas encore la ville musicale qu’elle deviendra avec l’arriv\u00e9e de R.E.M. et Pylon peu apr\u00e8s : ce sont les B-52’s qui en font une.<\/p>\n

Le groupe r\u00e9partit le travail avec pr\u00e9cision. Schneider aboie et d\u00e9clame plut\u00f4t qu’il ne chante, livrant des inventaires surr\u00e9alistes par-dessus ce qui se passe rythmiquement. Pierson et Cindy Wilson empilent des harmonies dans un style haut et cartoon, emprunt\u00e9 en partie aux girl groups et en partie \u00e0 la science-fiction. La guitare de Ricky Wilson \u00e9vite les accords standard au profit d’accordages ouverts et de patterns tronqu\u00e9s qui donnent \u00e0 la musique une \u00e9nergie agit\u00e9e et vers l’avant. La batterie de Strickland est compacte et s\u00e8che. L’orgue Farfisa, bon march\u00e9 et l\u00e9g\u00e8rement d\u00e9plac\u00e9, assemble le tout : exactement le bon instrument pour la mauvaise raison.<\/p>\n

Le premier album The B-52’s (1979) chez Warner Bros livre \u00ab\u00a0Rock Lobster\u00a0\u00bb, \u00ab\u00a0Planet Claire\u00a0\u00bb et \u00ab\u00a052 Girls\u00a0\u00bb \u00e0 un monde qui ne les avait pas demand\u00e9s mais en avait imm\u00e9diatement besoin. \u00ab\u00a0Rock Lobster\u00a0\u00bb en particulier se construit sur huit minutes \u00e0 partir d’un rythme surf, d’appels-r\u00e9ponses et d’un inventaire de cr\u00e9atures marines, produisant curieusement une situation de piste de danse \u00e0 chaque tournant. John Lennon l’aurait entendu aux Bermudes en 1980 et se serait senti revigor\u00e9 par son \u00e9nergie de f\u00eate d\u00e9brid\u00e9e.<\/p>\n

Wild Planet (1980) encha\u00eene sans perdre d’\u00e9lan. \u00ab\u00a0Private Idaho\u00a0\u00bb conserve la menace cartoon ; \u00ab\u00a0Quiche Lorraine\u00a0\u00bb double la mise sur l’absurdisme. Whammy! (1983) pousse vers un bord \u00e9lectronique plus dur. Bouncing off the Satellites (1986) est enregistr\u00e9 sous l’ombre de la sant\u00e9 d\u00e9clinante de Ricky Wilson : il avait re\u00e7u un diagnostic du sida, dont la cause n’a pas \u00e9t\u00e9 confirm\u00e9e publiquement \u00e0 l’\u00e9poque. Il d\u00e9c\u00e8de en octobre 1985, \u00e0 trente-deux ans, avant que l’album ne soit termin\u00e9.<\/p>\n

Le groupe faillit s’arr\u00eater. Ricky Wilson \u00e9tait \u00e0 la fois le guitariste principal et le fr\u00e8re de Cindy ; son absence n’\u00e9tait pas quelque chose que le groupe pouvait simplement contourner. Ils prennent du recul, tournent modestement, et finissent par d\u00e9cider que la r\u00e9ponse est un autre disque. Strickland passe \u00e0 la guitare et \u00e0 des responsabilit\u00e9s de composition suppl\u00e9mentaires. La chimie change, mais tient.<\/p>\n

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Cosmic Thing (1989), produit avec Nile Rodgers sur plusieurs titres et Don Was sur d’autres, marque le tournant. \u00ab\u00a0Love Shack\u00a0\u00bb devient le genre de chanson qui arrive dans une culture et y reste : sa construction parl\u00e9e-chant\u00e9e, la ligne du toit de t\u00f4le, le jeu de questions-r\u00e9ponses entre Schneider, Pierson et Wilson, fonctionnent aussi bien \u00e0 une f\u00eate que dans un stade. \u00ab\u00a0Roam\u00a0\u00bb et \u00ab\u00a0Deadbeat Club\u00a0\u00bb compl\u00e8tent un disque qui associe les instincts surr\u00e9alistes du groupe \u00e0 une production plus nette et une port\u00e9e plus large. L’album finit par se vendre \u00e0 plus de cinq millions d’exemplaires dans le monde.<\/p>\n

Good Stuff (1992) maintient l’\u00e9lan, m\u00eame si Cosmic Thing \u00e9tait clairement un alignement exceptionnel de groupe et de moment. Funplex (2008), le dernier album studio, montre que les B-52’s pouvaient encore faire quelque chose de contemporain sans pr\u00e9tendre \u00eatre plus jeunes qu’ils ne l’\u00e9taient. Les tourn\u00e9es continuent d’attirer les publics pour le set Cosmic Thing, et le groupe prouve que le kitsch, bien g\u00e9r\u00e9, ne vieillit pas de la m\u00eame fa\u00e7on que le rock sinc\u00e8re.<\/p>\n

Les B-52’s ne sont pas Talking Heads, qui portaient la m\u00eame \u00e9nergie rock art-downtown comme quelque chose de plus conceptuel et litt\u00e9raire. Ils ne sont pas Devo, qui utilisait le surr\u00e9alisme comme critique culturelle. Les B-52’s utilisaient le non-sens comme divertissement et traitaient la piste de danse comme la r\u00e9ponse correcte \u00e0 tout. Le camp \u00e9tait le produit ; le timing professionnel \u00e9tait le m\u00e9tier. Ils \u00e9crivaient des chansons o\u00f9 la blague \u00e9tait la forme elle-m\u00eame, pas un ornement.<\/p>\n

Commencer par le premier album de 1979 pour \u00ab\u00a0Rock Lobster\u00a0\u00bb et \u00ab\u00a0Planet Claire\u00a0\u00bb, puis passer \u00e0 Cosmic Thing pour \u00ab\u00a0Love Shack\u00a0\u00bb et la version la plus aboutie du groupe. Wild Planet comble l’\u00e9cart entre les deux. La sc\u00e8ne d’Ath\u00e8nes qu’ils ont contribu\u00e9 \u00e0 construire, aux c\u00f4t\u00e9s de R.E.M. et Pylon, a fait d’une ville universitaire de taille moyenne en G\u00e9orgie l’une des sc\u00e8nes musicales am\u00e9ricaines cl\u00e9s des ann\u00e9es 1980. Les B-52’s y sont arriv\u00e9s en refusant de prendre au s\u00e9rieux la musique ou la mode, ce qui s’est av\u00e9r\u00e9 \u00eatre la chose la plus s\u00e9rieuse qu’ils pouvaient faire.<\/p>\n

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The B-52’s se sont form\\u00e9s \\u00e0 Ath\\u00e8nes, en G\\u00e9orgie, en 1977, ont transform\\u00e9 le surr\\u00e9alisme de friperie et l’orgue Farfisa en une f\\u00eate new wave qui a trouv\\u00e9 son plus large public une d\\u00e9cennie plus tard avec Cosmic Thing, prouvant que le kitsch g\\u00e9r\\u00e9 avec un timing professionnel peut survivre \\u00e0 presque tous les cycles de mode.<\/p>\n","protected":false},"author":1,"featured_media":16028,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[287,289],"tags":[311,1015],"class_list":["post-16048","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chroniques","category-groupes","tag-alternative-indie-punk-fr","tag-the-b-52s-fr"],"yoast_head":"\nThe B-52's - Le kitsch d'Ath\u00e8nes qui dansait comme un tour de passe-passe - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, 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