The long history of white washing and deposition of black and queer music and the intersection of both from Elvis with rock’n’roll to Madonna with Vogue. Jean-Hugues Kabuiku will zoom out on the French colonial continuum in dance music as an example of how sampling can be exploitative in general in a racial dynamic of white producers sampling Black music(ians), using examples such as Daft Punk’s One More Time.

What connects a munshid who begins singing by falling in love with one stanza out of a memorized body of poetry extending over a thousand years to an algorithmic generator that puts together thousands of elements to produce duodecillions of possibilities? Hassan Khan shares a series of propositions and music examples that are based on models of surface rather than depth, willful ignorance rather than repression, the impossibility of secrets rather than traumas and complexes are used to generate a critique of cultishness, recognition of cultural operations and an understanding of politics based on the realization that capitalism does not really exist.

In conversation with Mathys Rennela the discussion will investigate how sampling participates in the capitalist exploitation of racialized people, by separating samples from their cultural context.