{"id":1341,"date":"2025-01-09T17:20:49","date_gmt":"2025-01-09T16:20:49","guid":{"rendered":"https:\/\/radiok7.co\/podcast\/?p=1341"},"modified":"2025-03-25T14:35:20","modified_gmt":"2025-03-25T13:35:20","slug":"113-les-princes-de-la-ville-1999","status":"publish","type":"post","link":"https:\/\/radiok7.co\/podcast\/episode\/113-les-princes-de-la-ville-1999\/","title":{"rendered":"113 \u201cLes Princes de la Ville\u201d (1999)"},"content":{"rendered":"[vc_row type=\u00a0\u00bbfull_width_content\u00a0\u00bb full_screen_row_position=\u00a0\u00bbmiddle\u00a0\u00bb column_margin=\u00a0\u00bbdefault\u00a0\u00bb equal_height=\u00a0\u00bbyes\u00a0\u00bb content_placement=\u00a0\u00bbmiddle\u00a0\u00bb column_direction=\u00a0\u00bbdefault\u00a0\u00bb column_direction_tablet=\u00a0\u00bbdefault\u00a0\u00bb column_direction_phone=\u00a0\u00bbdefault\u00a0\u00bb bg_color=\u00a0\u00bb#000000″ bg_image=\u00a0\u00bb1342″ bg_position=\u00a0\u00bbcenter top\u00a0\u00bb 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113 \u201cLes Princes de la Ville\u201d<\/h1>\n

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EN QUELQUES MOTS<\/strong><\/h5>\n[\/vc_column_text][vc_row_inner column_margin=\u00a0\u00bbdefault\u00a0\u00bb column_direction=\u00a0\u00bbdefault\u00a0\u00bb column_direction_tablet=\u00a0\u00bbdefault\u00a0\u00bb column_direction_phone=\u00a0\u00bbdefault\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb row_position=\u00a0\u00bbdefault\u00a0\u00bb row_position_tablet=\u00a0\u00bbinherit\u00a0\u00bb row_position_phone=\u00a0\u00bbinherit\u00a0\u00bb overflow=\u00a0\u00bbvisible\u00a0\u00bb pointer_events=\u00a0\u00bball\u00a0\u00bb][vc_column_inner column_padding=\u00a0\u00bbpadding-2-percent\u00a0\u00bb column_padding_tablet=\u00a0\u00bbinherit\u00a0\u00bb column_padding_phone=\u00a0\u00bbinherit\u00a0\u00bb column_padding_position=\u00a0\u00bbright\u00a0\u00bb left_margin_tablet=\u00a0\u00bb0″ right_margin_tablet=\u00a0\u00bb0″ column_element_direction_desktop=\u00a0\u00bbdefault\u00a0\u00bb column_element_spacing=\u00a0\u00bbdefault\u00a0\u00bb desktop_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb tablet_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb phone_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb background_color_opacity=\u00a0\u00bb1″ background_hover_color_opacity=\u00a0\u00bb1″ column_backdrop_filter=\u00a0\u00bbnone\u00a0\u00bb column_shadow=\u00a0\u00bbnone\u00a0\u00bb column_border_radius=\u00a0\u00bbnone\u00a0\u00bb column_link_target=\u00a0\u00bb_self\u00a0\u00bb overflow=\u00a0\u00bbvisible\u00a0\u00bb gradient_direction=\u00a0\u00bbleft_to_right\u00a0\u00bb overlay_strength=\u00a0\u00bb0.3″ width=\u00a0\u00bb1\/3″ tablet_width_inherit=\u00a0\u00bbdefault\u00a0\u00bb animation_type=\u00a0\u00bbdefault\u00a0\u00bb bg_image_animation=\u00a0\u00bbnone\u00a0\u00bb border_type=\u00a0\u00bbsimple\u00a0\u00bb column_border_width=\u00a0\u00bbnone\u00a0\u00bb column_border_style=\u00a0\u00bbsolid\u00a0\u00bb][vc_column_text el_class=\u00a0\u00bbsize18″]Aujourd’hui, on va vous parler de AP, Mokob\u00e9 et Rim-K les trois membres du 113 ! <\/span>Fin octobre 1999, trois rappeurs de Vitry-sur-Seine et un producteur de g\u00e9nie (DJ Mehdi) prennent d’assaut les radios avec un premier album couronn\u00e9 de succ\u00e8s, et fondateur d’une certaine id\u00e9e du rap fran\u00e7ais.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=\u00a0\u00bbpadding-2-percent\u00a0\u00bb column_padding_tablet=\u00a0\u00bbno-extra-padding\u00a0\u00bb column_padding_phone=\u00a0\u00bbinherit\u00a0\u00bb column_padding_position=\u00a0\u00bbright\u00a0\u00bb top_margin_tablet=\u00a0\u00bb27px\u00a0\u00bb left_margin_tablet=\u00a0\u00bb0″ right_margin_tablet=\u00a0\u00bb0″ left_margin_phone=\u00a0\u00bb0″ right_margin_phone=\u00a0\u00bb0″ column_element_direction_desktop=\u00a0\u00bbdefault\u00a0\u00bb column_element_spacing=\u00a0\u00bbdefault\u00a0\u00bb desktop_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb tablet_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb phone_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb background_color_opacity=\u00a0\u00bb1″ background_hover_color_opacity=\u00a0\u00bb1″ column_backdrop_filter=\u00a0\u00bbnone\u00a0\u00bb column_shadow=\u00a0\u00bbnone\u00a0\u00bb column_border_radius=\u00a0\u00bbnone\u00a0\u00bb column_link_target=\u00a0\u00bb_self\u00a0\u00bb overflow=\u00a0\u00bbvisible\u00a0\u00bb el_class=\u00a0\u00bbsize18″ gradient_direction=\u00a0\u00bbleft_to_right\u00a0\u00bb overlay_strength=\u00a0\u00bb0.3″ width=\u00a0\u00bb1\/3″ tablet_width_inherit=\u00a0\u00bbdefault\u00a0\u00bb animation_type=\u00a0\u00bbdefault\u00a0\u00bb bg_image_animation=\u00a0\u00bbnone\u00a0\u00bb border_type=\u00a0\u00bbsimple\u00a0\u00bb column_border_width=\u00a0\u00bbnone\u00a0\u00bb column_border_style=\u00a0\u00bbsolid\u00a0\u00bb][vc_column_text]Sur Les Princes de la ville, il y a une digestion de la musique \u00e9lectronique et de la French Touch, mais aussi de toutes les musiques ethniques qui ont berc\u00e9 le 113. Ces 3 rappeurs sortis de nulle part sont capables de rapper sur tout, de 90 \u00e0 115 BPM. <\/span>L\u2019album est une enfilade de tubes, de \u201cOuais gros\u201d au titre \u00e9ponyme \u201cPrinces de la Ville\u201d en passant par \u201cJackpot 2000\u201d, \u201cHold up\u201d et bien s\u00fbr LE classique \u201cTonton du Bled, entr\u00e9 depuis au panth\u00e9on national.  <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=\u00a0\u00bbpadding-2-percent\u00a0\u00bb column_padding_tablet=\u00a0\u00bbno-extra-padding\u00a0\u00bb column_padding_phone=\u00a0\u00bbno-extra-padding\u00a0\u00bb column_padding_position=\u00a0\u00bbleft\u00a0\u00bb top_margin_tablet=\u00a0\u00bb80px\u00a0\u00bb bottom_margin_tablet=\u00a0\u00bb0″ left_margin_tablet=\u00a0\u00bb0″ right_margin_tablet=\u00a0\u00bb0″ top_margin_phone=\u00a0\u00bb30″ left_margin_phone=\u00a0\u00bb0″ right_margin_phone=\u00a0\u00bb0″ column_element_direction_desktop=\u00a0\u00bbdefault\u00a0\u00bb 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\u00c9couter \u00b7 \u00c9couter \u00b7 \u00c9couter \u00b7<\/i><\/h2>\n[\/nectar_scrolling_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row type=\u00a0\u00bbfull_width_content\u00a0\u00bb full_screen_row_position=\u00a0\u00bbmiddle\u00a0\u00bb column_margin=\u00a0\u00bbdefault\u00a0\u00bb column_direction=\u00a0\u00bbdefault\u00a0\u00bb column_direction_tablet=\u00a0\u00bbdefault\u00a0\u00bb column_direction_phone=\u00a0\u00bbdefault\u00a0\u00bb bg_color=\u00a0\u00bb#3c5963″ scene_position=\u00a0\u00bbcenter\u00a0\u00bb top_padding=\u00a0\u00bb120″ bottom_padding=\u00a0\u00bb0″ top_padding_tablet=\u00a0\u00bb120″ bottom_padding_tablet=\u00a0\u00bb0″ top_padding_phone=\u00a0\u00bb80″ bottom_padding_phone=\u00a0\u00bb0″ text_color=\u00a0\u00bbdark\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb row_border_radius=\u00a0\u00bbnone\u00a0\u00bb row_border_radius_applies=\u00a0\u00bbbg\u00a0\u00bb overflow=\u00a0\u00bbvisible\u00a0\u00bb overlay_strength=\u00a0\u00bb0.3″ gradient_direction=\u00a0\u00bbleft_to_right\u00a0\u00bb shape_divider_position=\u00a0\u00bbbottom\u00a0\u00bb bg_image_animation=\u00a0\u00bbnone\u00a0\u00bb shape_type=\u00a0\u00bb\u00a0\u00bb][vc_column column_padding=\u00a0\u00bbno-extra-padding\u00a0\u00bb column_padding_tablet=\u00a0\u00bbinherit\u00a0\u00bb column_padding_phone=\u00a0\u00bbinherit\u00a0\u00bb column_padding_position=\u00a0\u00bball\u00a0\u00bb column_element_direction_desktop=\u00a0\u00bbdefault\u00a0\u00bb column_element_spacing=\u00a0\u00bbdefault\u00a0\u00bb desktop_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb tablet_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb phone_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb background_color_opacity=\u00a0\u00bb1″ background_hover_color_opacity=\u00a0\u00bb1″ column_backdrop_filter=\u00a0\u00bbnone\u00a0\u00bb column_shadow=\u00a0\u00bbnone\u00a0\u00bb column_border_radius=\u00a0\u00bbnone\u00a0\u00bb column_link_target=\u00a0\u00bb_self\u00a0\u00bb column_position=\u00a0\u00bbdefault\u00a0\u00bb gradient_direction=\u00a0\u00bbleft_to_right\u00a0\u00bb overlay_strength=\u00a0\u00bb0.3″ width=\u00a0\u00bb1\/4″ tablet_width_inherit=\u00a0\u00bbdefault\u00a0\u00bb animation_type=\u00a0\u00bbdefault\u00a0\u00bb bg_image_animation=\u00a0\u00bbnone\u00a0\u00bb border_type=\u00a0\u00bbsimple\u00a0\u00bb column_border_width=\u00a0\u00bbnone\u00a0\u00bb column_border_style=\u00a0\u00bbsolid\u00a0\u00bb offset=\u00a0\u00bbvc_hidden-sm vc_hidden-xs\u00a0\u00bb][\/vc_column][vc_column column_padding=\u00a0\u00bbno-extra-padding\u00a0\u00bb column_padding_tablet=\u00a0\u00bbinherit\u00a0\u00bb column_padding_phone=\u00a0\u00bbinherit\u00a0\u00bb column_padding_position=\u00a0\u00bball\u00a0\u00bb top_margin=\u00a0\u00bb0″ bottom_margin=\u00a0\u00bb0″ left_margin_tablet=\u00a0\u00bb60″ right_margin_tablet=\u00a0\u00bb60″ left_margin_phone=\u00a0\u00bb30″ right_margin_phone=\u00a0\u00bb30″ column_element_direction_desktop=\u00a0\u00bbdefault\u00a0\u00bb column_element_spacing=\u00a0\u00bbdefault\u00a0\u00bb desktop_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb tablet_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb phone_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb background_color_opacity=\u00a0\u00bb1″ background_hover_color_opacity=\u00a0\u00bb1″ column_backdrop_filter=\u00a0\u00bbnone\u00a0\u00bb column_shadow=\u00a0\u00bbnone\u00a0\u00bb column_border_radius=\u00a0\u00bbnone\u00a0\u00bb column_link_target=\u00a0\u00bb_self\u00a0\u00bb column_position=\u00a0\u00bbdefault\u00a0\u00bb gradient_direction=\u00a0\u00bbleft_to_right\u00a0\u00bb overlay_strength=\u00a0\u00bb0.3″ width=\u00a0\u00bb1\/2″ tablet_width_inherit=\u00a0\u00bbdefault\u00a0\u00bb animation_type=\u00a0\u00bbdefault\u00a0\u00bb bg_image_animation=\u00a0\u00bbnone\u00a0\u00bb border_type=\u00a0\u00bbsimple\u00a0\u00bb column_border_width=\u00a0\u00bbnone\u00a0\u00bb column_border_style=\u00a0\u00bbsolid\u00a0\u00bb][vc_column_text css_animation=\u00a0\u00bbfadeInUp\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1652199217293{margin-top: 0px !important;margin-bottom: 0px !important;}\u00a0\u00bb el_class=\u00a0\u00bbw2″]\n

Disponible sur :<\/h2>\n[\/vc_column_text][vc_row_inner column_margin=\u00a0\u00bbdefault\u00a0\u00bb column_direction=\u00a0\u00bbdefault\u00a0\u00bb column_direction_tablet=\u00a0\u00bbdefault\u00a0\u00bb column_direction_phone=\u00a0\u00bbdefault\u00a0\u00bb top_padding=\u00a0\u00bb50″ bottom_padding=\u00a0\u00bb120″ top_padding_tablet=\u00a0\u00bb50″ bottom_padding_tablet=\u00a0\u00bb80″ top_padding_phone=\u00a0\u00bb40″ bottom_padding_phone=\u00a0\u00bb40″ text_align=\u00a0\u00bbleft\u00a0\u00bb row_position=\u00a0\u00bbdefault\u00a0\u00bb row_position_tablet=\u00a0\u00bbinherit\u00a0\u00bb row_position_phone=\u00a0\u00bbinherit\u00a0\u00bb overflow=\u00a0\u00bbvisible\u00a0\u00bb pointer_events=\u00a0\u00bball\u00a0\u00bb][vc_column_inner column_padding=\u00a0\u00bbno-extra-padding\u00a0\u00bb column_padding_tablet=\u00a0\u00bbinherit\u00a0\u00bb column_padding_phone=\u00a0\u00bbinherit\u00a0\u00bb column_padding_position=\u00a0\u00bball\u00a0\u00bb 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border_type=\u00a0\u00bbsimple\u00a0\u00bb column_border_width=\u00a0\u00bbnone\u00a0\u00bb column_border_style=\u00a0\u00bbsolid\u00a0\u00bb][toggles style=\u00a0\u00bbminimal\u00a0\u00bb][toggle color=\u00a0\u00bbDefault\u00a0\u00bb heading_tag=\u00a0\u00bbdefault\u00a0\u00bb heading_tag_functionality=\u00a0\u00bbdefault\u00a0\u00bb title=\u00a0\u00bbRetour en 1999″][vc_column_text el_class=\u00a0\u00bbw1 18px\u00a0\u00bb]Voil\u00e0 pour les 13 titres de \u201cPrinces de la Ville\u201d ! Il y en a m\u00eame 15, sur une \u00e9dition limit\u00e9e avec 2 titres bonus. <\/span><\/p>\n

L’album sort le 22 octobre 1999 en CD, Cassette et Vinyle chez S.M.A.L.L, un label de Sony Music. Aujourd\u2019hui il est introuvable, il n\u2019est plus r\u00e9\u00e9dit\u00e9 depuis 2000 : le CD se vend pr\u00e8s de 100 \u20ac, et le vinyle lui autour de 400 balles ! On a d\u00e9cid\u00e9 de faire une cagnotte chez Radio K7 on vous mettra le lien en description \ud83d\ude42 <\/span><\/p>\n

Cette ann\u00e9e-l\u00e0 en 99, le rap fran\u00e7ais s\u2019appr\u00eate \u00e0 f\u00eater le nouveau mill\u00e9naire, Booba toise d\u00e9j\u00e0 la concurrence \u201calors que Rohff la tabasse\u201d pour reprendre la formule de l\u2019ABCDaire du son. <\/span><\/p>\n

1999, c\u2019est aussi et surtout l\u2019ann\u00e9e des r\u00e9v\u00e9lations. <\/span>
\n<\/span>\u2014 Celle du Sa\u00efan Supa Crew, Sly, ou Leeroy cr\u00e9ent une identit\u00e9 sonore qui reste encore aujourd\u2019hui in\u00e9dite dans le rap fran\u00e7ais. <\/span>
\n<\/span>\u2014 Celle de Disiz la Peste, qui lance d\u00e9finitivement sa carri\u00e8re solo avec un premier maxi. <\/span>
\n<\/span>\u2014 C\u2019est aussi en 1999 que Diam\u2019s publie son premier album, du pur rap, pendant que Sinik signe (avec elle) sa premi\u00e8re apparition discographique. Sans parler de la Mafia K\u20191 Fry, car si 1999 est bien l\u2019ann\u00e9e de quelqu\u2019un, c\u2019est la leur. Alors qu\u2019Ideal J est meurtri, le collectif val-de-marnais explose tout via le succ\u00e8s consid\u00e9rable du 113. <\/span>[\/vc_column_text][\/toggle][toggle color=\u00a0\u00bbDefault\u00a0\u00bb heading_tag=\u00a0\u00bbdefault\u00a0\u00bb heading_tag_functionality=\u00a0\u00bbdefault\u00a0\u00bb title=\u00a0\u00bbLa story du 113″][vc_column_text el_class=\u00a0\u00bbw1 18px\u00a0\u00bb]Manu : Olivia c\u2019est parti on va reprendre la story du d\u00e9but ! Notre histoire commence \u00e0 Vitry-sur-Seine, en r\u00e9gion parisienne, au c\u0153ur de la cit\u00e9 Camille-Groult.<\/strong><\/p>\n

Oui et plus pr\u00e9cisement au 113, rue Camille-Groult, adresse qui donnera son nom au groupe, que grandissent Abdelkrim Brahmi-Benalla, alias Rim-K), Yohann Dubaye, alias AP et Mokob\u00e9 Traor\u00e9, alias\u2026 Mokob\u00e9 tout court. \u00c0 eux trois, ils forment le drapeau tricolore de cette France black-blanc-beur qui va faire la fiert\u00e9 de la fin des ann\u00e9es 90. L’association locale \u00ab\u00a0113 D\u00e9veloppement\u00a0\u00bb qui propose une aide aux devoirs et des activit\u00e9s culturelles, va jouer un r\u00f4le crucial dans leur formation. C’est d\u2019ailleurs gr\u00e2ce \u00e0 cette structure que Rim-K enregistre ses premiers sons \u00e0 seulement 12 ans. Il se souvient, dans le journal <\/span>Le Parisien<\/span><\/i>: <\/span><\/p>\n

\u00ab Avec le 113, on est des purs produits de Vitry. On aurait jamais eu ce succ\u00e8s, si toute la ville n’avait pas \u00e9t\u00e9 derri\u00e8re nous. Quand on a fait nos premiers concerts \u00e0 Paris, la moiti\u00e9 de la salle venait de Vitry. Cette ville est \u00e9clectique, et elle l’assume. C’est rare en banlieue. \u00bb<\/span><\/p><\/blockquote>\n

Comme de nombreux gosses des ann\u00e9es 80, ils sont biberonn\u00e9s au rap US notamment gr\u00e2ce \u00e0 l\u2019\u00e9mission<\/span> Deenastyle<\/span><\/i> sur Radio Nova et aux clips diffus\u00e9s sur <\/span>Yo! MTV Raps<\/span><\/i>, que l\u2019un de leur pote enregistre sur cassette vid\u00e9o. Ils sont aussi inspir\u00e9s par la forte activit\u00e9 hip-hop de la ville qui fait \u00e9merger Lionel D, Les Little MCs ou encore Timides et sans complexe. Au gr\u00e9 de rencontres, ils font la connaissance d\u2019autres rappeurs venus de villes voisines, notamment Id\u00e9al Junior (devenu ensuite Ideal J), Different Teep, d\u2019Orly, et Intouchable de Choisy-le-Roi. Ils forment alors un premier collectif, l\u2019Union, qui va devenir plus tard la Mafia K\u20191 Fry, n\u00e9 du fameux triangle Orly-Choisy-Vitry. <\/span><\/p>\n

AP, Mokob\u00e9 et Rim\u2019K commencent alors \u00e0 se prendre au jeu, le 113 pose ses premiers couplets sur l\u2019album <\/span>Original MCs sur une mission<\/span><\/i> d\u2019Ideal J qui sort en 1996. Extrait : <\/span><\/p>\n

INSERT \u2014 <\/b>Id\u00e9al J <\/b> <\/span>https:\/\/www.youtube.com\/watch?v=qJTPZT4vrq8<\/span>
\n<\/span><\/a>Couplet 2 \u201cTout le monde l\u00e8ve les bras\u201d + refrain<\/span><\/h3>\n

A cette \u00e9poque, l\u2019\u00e9cole, \u00e7a marche pas tr\u00e8s fort pour eux. L\u2019avenir est flou et selon Rim-K, c\u2019est un certain DJ Mehdi qui les pousse \u00e0 pers\u00e9v\u00e9rer dans le rap. <\/span><\/p>\n

Greg : \u201cC\u2019est quand on a rencontr\u00e9 DJ Mehdi que tout a d\u00e9marr\u00e9 s\u00e9rieusement (\u2026) \u201cNous, on \u00e9tait des jeunes banlieusards, on rappait sous les abribus, \u00e0 la salle du quartier et on repartait avec le matos. Il nous a professionnalis\u00e9s et c\u2019est devenu notre compositeur\u201d. <\/span><\/p>\n

Manu : Nous sommes en mars 1998 et le 113 sort son tout premier EP : Ni barreaux ni barri\u00e8res ni fronti\u00e8res. <\/i><\/strong><\/p>\n

Le mini-album concentre d\u00e9j\u00e0 ce qui va \u00e9clore l\u2019ann\u00e9e suivante sur le premier album du groupe : les beats secs et hach\u00e9s accompagnant des boucles courtes de DJ Mehdi, et le style de rap d\u00e9pouill\u00e9 des artistes pour raconter leur quotidien. L\u2019album contient notamment le titre \u00ab Truc de fou \u00bb, en featuring avec Doudou Masta : <\/span><\/p>\n

 <\/b>INSERT \u2014 <\/b>Truc de fou <\/b> https:\/\/www.youtube.com\/watch?v=kJ_777VqqxI<\/span><\/p>\n

Le 113 arrive \u00e0 une p\u00e9riode charni\u00e8re du rap fran\u00e7ais. Le genre commence \u00e0 s\u2019affirmer et s\u2019affranchit du sacro-saint mod\u00e8le am\u00e9ricain. Le rap made in France d\u00e9veloppe sa propre identit\u00e9 d\u2019Expression Direkt \u00e0 La Rumeur en passant par le 113.  Rim\u2019K se souvient : <\/span><\/p>\n

\u201cPour nous, le rap parisien, la copie conforme du rap new-yorkais, ce n\u2019\u00e9tait pas notre truc. Ni Barreaux, Ni Barri\u00e8res, Ni Fronti\u00e8res, c\u2019\u00e9tait un signal, une fa\u00e7on de dire : \u2018on fait la musique comme on a envie de la faire, on ne rentre pas dans les codes\u2019\u201d<\/span><\/p><\/blockquote>\n

Apr\u00e8s la sortie de leur premier disque chez Alariana et Invasion Records, des labels ind\u00e9pendants, ils tentent leur chance du c\u00f4t\u00e9 des majors. Mais, h\u00e9las, \u00e7a ne se bouscule pas au portillon. Finalement, c\u2019est le label S.M.A.L.L de la major Sony, va s\u2019int\u00e9resser \u00e0 eux. S.M.A.L.L (pour \u201cSony Music Associated & Licensed Labels\u201d) cherche \u00e0 d\u00e9velopper des artistes de rap fran\u00e7ais : ils sortent notamment en 1998 le premier album de la Fonky Family, <\/span>Si Dieu veut\u2026.<\/span><\/i> Le label Double H de Cut Killer est \u00e9galement sign\u00e9 en licence chez eux. Le DJ a alors envie d\u2019accueillir 113 sur son label pour la sortie de leur premier album. Pour le magazine Groove, en 1999, Cut Killer explique : <\/span><\/p>\n

\u201cCe qui me plait chez eux, c\u2019est leur fa\u00e7on peu commune de rapper. Au d\u00e9part, on a l\u2019impression qu\u2019ils parlent plus qu\u2019ils ne rappent, et en fait on se rend compte que c\u2019est tout un style. On comprend tr\u00e8s bien leurs textes et leur vision des choses\u201d. <\/span><\/p><\/blockquote>\n

Manu : Le 22 octobre 1999, le 113 publie l’album \u201cLes Princes de la ville\u201d et prennent d’assaut les ondes de Skyrock, qui sera vite surnomm\u00e9e \u201cRadio 113\u201d parce qu\u2019il n\u2019y a pas un quart d\u2019heure sans qu\u2019il y ait un morceau du 113 \u00e0 l\u2019antenne. Une fois par heure (!) tu pouvais entendre \u201cTonton du Bled\u201d, \u201cJackpot 2000\u201d, \u201cPrinces de la ville\u201d et m\u00eame \u201cOuais gros\u201d ! C\u2019est compl\u00e8tement d\u00e9ment. Aller on se retrouve tout de suite apr\u00e8s une page de pub <\/strong><\/p>\n

INSERT \u2014 <\/b>Pub <\/b>
\n<\/span>https:\/\/www.ina.fr\/ina-eclaire-actu\/publicite\/pub1643453011\/113-version-20-secondes<\/span><\/a> <\/span><\/p>\n

 <\/p>\n

Inspir\u00e9 par le film \u00ab Blood In Blood Out \u00bb, traduit \u00ab Les Princes de la Ville \u00bb lors de sa sortie en salles, le titre donne son nom \u00e0 l’album et pose les contours de l’esth\u00e9tique du 113 : simple, brut, mais toujours funky. L\u2019album atteint la 5e place des classements musicaux fran\u00e7ais. \u00ab\u00a0Tonton du bled\u00a0\u00bb va m\u00eame encha\u00eener 43 victoires cons\u00e9cutives sur Skyrock, un record pour l’\u00e9poque. La cl\u00e9 du succ\u00e8s, c\u2019est l\u2019audace ! L\u2019album est le r\u00e9sultat des exp\u00e9rimentations de DJ Mehdi, de plus en plus proche de la French Touch (Cassius, Daft Punk), que de l\u2019envie du 113 de sortir des sentiers battus et de prendre des risques. <\/span><\/p>\n

Rim\u2019K expliquera \u00e0 Radio Nova en 2018 avoir dit \u00e0 Mehdi : <\/span><\/p>\n

 \u201cIl faut qu\u2019on ait la m\u00eame d\u00e9marche que les Am\u00e9ricains : ils s\u2019inspirent de leur histoire. Servons-nous de notre histoire pour faire une musique qui n\u2019est que la n\u00f4tre, \u00e0 notre sauce \u00e0 nous, jeunes de l\u2019immigration qui vivons en Europe\u201d. <\/span><\/p><\/blockquote>\n

INSERT \u2014 <\/b>Clique TV <\/b><\/p>\n

https:\/\/www.youtube.com\/watch?v=2_FR5t8tfSQ&ab_channel=CliqueTV<\/span><\/a> (9 :44> 10 :05)<\/span><\/p>\n

Leurs textes sont des instantan\u00e9s de vie : <\/span>1001 Nuits<\/span><\/i> raconte la violence sociale quotidienne, <\/span>Les Regrets <\/span><\/i>restent revient sur leur \u00e9chec scolaire, <\/span>Face \u00e0 la police<\/span><\/i> d\u00e9crit les rapports conflictuels avec les forces de l\u2019ordre, <\/span>Tonton du bled<\/span><\/i> met en sc\u00e8ne l\u2019affection pour les pays d\u2019origine de leurs parents et leur situation de 2e g\u00e9n\u00e9ration. Ils ne cherchent pas \u00e0 donner des le\u00e7ons, ils veulent juste montrer qu\u2019ils sont des gens comme tout le monde loin de l\u2019image des bandits du rap. \u00c0 l\u2019\u00e9poque directeur artistique chez S.M.A.L.L., Karim Thiam dira d\u2019eux :<\/span><\/p>\n

\u201cC\u2019est le seul groupe, dans l\u2019histoire du rap fran\u00e7ais, capable de te faire du hardcore comme c\u2019est pas possible, du commercial comme c\u2019est pas possible, de la world comme c\u2019est pas possible, et de rester cr\u00e9dible !\u201d.<\/span><\/p><\/blockquote>\n

C\u2019est peut-\u00eatre cet \u00e9quilibre, cette mani\u00e8re d\u2019\u00eatre eux-m\u00eames qui explique le succ\u00e8s de ce premier album : une r\u00e9ussite commerciale pourtant inattendue \u00e0 l\u2019\u00e9poque. Le label esp\u00e8re vendre 50 000 disques pour rentabiliser l\u2019investissement. D\u00e9but 2000, le disque est d\u00e9j\u00e0 double disque d\u2019or avec 200.000 albums \u00e9coul\u00e9s. <\/span><\/p>\n

Manu : Puis arrive la c\u00e9r\u00e9monie des Victoires de la musique le 11 mars 2000. Le groupe rafle deux r\u00e9compenses, dont celle de la r\u00e9v\u00e9lation du public face \u00e0 des artistes grand public comme Tina Arena ou L\u00e2\u00e2m. L\u2019industrie est sous le choc mais c\u2019est le public qui a choisi ! Et le 113 cr\u00e9e la surprise notamment gr\u00e2ce \u00e0 une prestation rest\u00e9e m\u00e9morable. <\/strong><\/p>\n

Imaginez : nous sommes le 11 mars (pour les f\u00e9tichistes : le 11\/3 > 113) au Z\u00e9nith de Paris. Dans la salle tout le gratin de l\u2019industrie musicale fran\u00e7aise. Sur sc\u00e8ne, King Michel Drucker himself et son prince Jean-Luc Delarue. Derri\u00e8re les platines, Cut Killer.<\/span><\/p>\n

Et l\u00e0, Mokob\u00e9, Rim’K et AP d\u00e9barquent sur sc\u00e8ne au volant d’une Peugeot 504, celle d\u00e9j\u00e0 pr\u00e9sente dans le clip de Tonton du Bled. Les pompiers pr\u00e9sents lors de la soir\u00e9e des Victoires ne les ont pas autoris\u00e9s \u00e0 d\u00e9marrer la voiture. Qu\u2019\u00e0 cela ne tienne : c\u2019est l\u2019\u00e9quipe du 113 qui la pousse sur sc\u00e8ne ! <\/span><\/p>\n

INSERT \u2014 <\/b>Victoires <\/b><\/p>\n

https:\/\/www.dailymotion.com\/video\/xb6s2s<\/span><\/p>\n

Manu : L’id\u00e9e de cette performance \u00e9tait simple : choquer la France et, je cite, \u00ab foutre la merde ! \u00bb. Avec le recul, on se dit que ce moment historique des Victoires les aura inspir\u00e9s pour le titre de leur deuxi\u00e8me album, 113 Fout La Merde.<\/strong><\/p>\n

Plus tard dans la soir\u00e9e, contre toute attente, le groupe choisit d’interpr\u00e9ter \u00ab\u00a0Les Princes de la ville\u00a0\u00bb plut\u00f4t que \u00ab\u00a0Jackpotes 2000\u00a0\u00bb initialement pr\u00e9vu, provoquant une certaine tension en coulisses mais qui viendra d\u00e9finitivement les esprits. Ce succ\u00e8s va permettre au groupe de partir en tourn\u00e9e en France, mais aussi au Maghreb, en Europe, au Canada, aux Antilles ; ils seront quasiment une ann\u00e9e sur les routes ! Rim\u2019K se souvient : <\/span><\/p>\n

\u201c\u00c7a nous a surpris parce que l\u2019album a eu une longue dur\u00e9e de vie. On l\u2019a exploit\u00e9 en travaillant tous les singles, les clips et les concerts. On a d\u00fb travailler dessus pendant un an apr\u00e8s sa sortie. Pour se remettre au boulot apr\u00e8s \u00e7a a \u00e9t\u00e9 dur parce qu\u2019on s\u2019est arr\u00eat\u00e9 d\u2019\u00e9crire pendant un an\u201d. <\/span><\/p><\/blockquote>\n

Les m\u00e9dias g\u00e9n\u00e9ralistes, qui habituellement se pince le nez pour parler du rap, s’enthousiasment. Les Inrockuptibles salue \u00ab\u00a0une production inventive\u00a0\u00bb et \u00ab\u00a0une verve truculente\u00a0\u00bb, tandis que Lib\u00e9ration loue \u00ab\u00a0des textes vifs et efficaces\u00a0\u00bb. <\/span><\/p>\n

Pour le journaliste Olivier Cachin : <\/span><\/p>\n

\u00ab Avant le 113, le rap \u00e9tait soit conscient et s\u00e9rieux, soit festif. Ils ont montr\u00e9 qu’on pouvait \u00eatre les deux \u00e0 la fois, parler des probl\u00e8mes tout en faisant danser les gens \u00bb. <\/span><\/p><\/blockquote>\n

Vingt ans apr\u00e8s sa sortie, l’album continue d’influencer la sc\u00e8ne rap fran\u00e7aise. Des artistes comme Dosseh ou la MZ citent r\u00e9guli\u00e8rement \u00ab Les Princes de la ville \u00bb comme influence. En 2019, Ninho d\u00e9clarait que le 113 avait tout chang\u00e9 selon lui dans \u201cLa fa\u00e7on dont ils mixaient les flows, les productions avant-gardistes, les textes qui parlent vrai..\u201d<\/span><\/p>\n

Le succ\u00e8s des \u00ab\u00a0Princes de la ville\u00a0\u00bb a \u00e9galement chang\u00e9 la perception du rap par l’industrie musicale. \u00ab\u00a0Apr\u00e8s le 113, les maisons de disques ont compris que le rap pouvait toucher un large public sans se d\u00e9naturer\u00a0\u00bb, explique Karim Thiam, ancien chef de projet au sein du label S.M.A.L.L. Rim-K, lui-m\u00eame, estime que l\u2019album \u00ab (\u2026) a ouvert des portes pour beaucoup d’artistes qui sont venus apr\u00e8s.\u00a0\u00bb<\/span><\/p>\n

\u00ab\u00a0On voulait juste raconter notre vie, nos gal\u00e8res et nos joies, avec nos mots. On ne pensait pas cr\u00e9er un mod\u00e8le. Mais si on a pu montrer que des jeunes de quartier pouvaient r\u00e9ussir en restant eux-m\u00eames, alors on a gagn\u00e9 quelque chose de plus important qu’un disque d’or.\u00a0\u00bb <\/span><\/p><\/blockquote>\n

Autre apport fondamental du 113 : l\u2019expression \u00ab Ouais gros \u00bb ! <\/span><\/p>\n

En 2019, il y a eu tout un d\u00e9bat entre Le Parisien et Lib\u00e9ration, pour savoir si \u201couais, gros\u201d \u00e9tait une expression raciste ou pas.  Selon Le Parisien, l’\u00e9tymologie du terme \u00ab gros \u00bb serait un diminutif du mot n\u00e9gro mais d\u00e9nu\u00e9, dans ce sens, de toute connotation raciste et injurieuse. Il est inspir\u00e9 du terme anglais nigger ou nigga, tr\u00e8s populaire aux Etats-Unis au sein de la communaut\u00e9 afro-am\u00e9ricaine.<\/span><\/p>\n

Mais selon Lib\u00e9ration, gros ne vient pas de n\u00e9gro mais plut\u00f4t du vocabulaire du banditisme. Il trouve sa source dans l\u2019expression \u00ab gros bonnet \u00bb d\u00e9signant \u00ab le voyou, le ca\u00efd \u00bb et commence \u00e0 amplifier dans le Val-de-Marne des ann\u00e9es 90. C\u2019est donc bien 113 qui va populariser l’expression dans toute la France en 1999 ! Et ouais, gros !<\/span><\/p>\n

INSERT \u2014 <\/b>Ouais gros<\/b><\/p>\n

Le premier album \u201cPrinces de la Ville\u201d, et le suivant \u201c113 fout la merde\u201d vont cartonner. J\u2019ai une anecdote marrante d\u2019ailleurs \u00e0 ce sujet. Les mecs ils sont tellement au summum pour l\u2019\u00e9ternit\u00e9 qu\u2019en 2006 on leur propose un featuring avec une jeune chanteuse qui d\u00e9bute, la nouvelle signature de Jay-Z, elle s\u2019appelle Rihanna. Mais elle va se prendre un gros vent : le 113 leur dit non. \u201cC\u2019\u00e9tait dance-hall, ce n\u2019\u00e9tait pas rap, pas dans notre d\u00e9lire.\u201d Dommage moi j\u2019aurais bien aim\u00e9 un feat avec elle.<\/span>[\/vc_column_text][\/toggle][toggle color=\u00a0\u00bbDefault\u00a0\u00bb heading_tag=\u00a0\u00bbdefault\u00a0\u00bb heading_tag_functionality=\u00a0\u00bbdefault\u00a0\u00bb title=\u00a0\u00bbLe making-of de \u00ab\u00a0Les Princes de la Ville\u00ab\u00a0\u00ab\u00a0][vc_column_text el_class=\u00a0\u00bbw1 18px\u00a0\u00bb]MANU \/ C\u2019est dommage moi j\u2019aurais bien voulu voir \u00e7a. Allez on est pr\u00eat maintenant pour aller dans les coulisses de l\u2019enregistrement de ce premier album du 113, avec toi Gr\u00e9goire. On peut dire que \u201cPrinces de la Ville\u201d c\u2019est une disque qui a \u00e9t\u00e9 fait avec beaucoup d\u2019amour, mais peu de moyens\u2026<\/b><\/p>\n

C\u2019est toujours bon de le rappeler mais le rap c\u2019est un genre musical encore minoritaire et hormis quelques cadors, on gal\u00e8re encore pas mal chez les rappeurs et notamment du c\u00f4t\u00e9 de Vitry sur Seine.<\/span><\/p>\n

L\u2019album a en fait \u00e9t\u00e9 enregistr\u00e9 sur plusieurs mois, dans plusieurs studios de la r\u00e9gion parisienne dans une p\u00e9riode estim\u00e9e entre la fin de l\u2019ann\u00e9e 98 et le milieu de 99.<\/span><\/p>\n

Il faut savoir que le processus n\u2019a pas \u00e9t\u00e9 lin\u00e9aire : les membres du groupe alternaient entre s\u00e9ances d\u2019\u00e9criture, d\u2019enregistrement et de concertation avec DJ Mehdi pour finaliser les morceaux qui lui-m\u00eame travailler dans son home studio.<\/span><\/p>\n

L\u2019exception dans tout \u00e7a c\u2019est <\/span>Hold-up<\/span><\/i>, titre \u00e9crit et enregistr\u00e9 au cours d\u2019une seule session nocturne. L\u2019id\u00e9e \u00e9tait de retranscrire l\u2019urgence et la tension d\u2019un braquage.<\/span><\/p>\n

INSERT \u2014 <\/b>HOLD UP<\/b><\/p>\n

MANU \/ A la prod de l\u2019album on retrouve Manu Key, homme de l\u2019ombre du rap fran\u00e7ais et membre fondateur du collectif Mafia K1 Fry. L\u2019autre personnage essentiel derri\u00e8re le son de l\u2019album, c\u2019est \u00e9videmment DJ Mehdi.<\/b><\/p>\n

Oui Dj Mehdi c\u2019est vraiment lui qui va faire passer les rappeurs de Vitry au stade sup\u00e9rieur, d\u2019abord en les encourageant \u00e0 pers\u00e9v\u00e9rer dans la musique et \u00e0 se professionnaliser. On le surnomme parfois le quatri\u00e8me membre de 113, tant son influence a \u00e9t\u00e9 d\u00e9terminante. Plus qu\u2019un beatmaker, DJ Mehdi va endosser un r\u00f4le de directeur artistique sur l\u2019album.<\/span><\/p>\n

La patte DJ Mehdi c\u2019est d\u2019avoir \u00e0 la fois un pied dans le hip-hop, un autre dans l\u2019\u00e9lectro alors en pleine bourre avec la fameuse French Touch.<\/span><\/p>\n

Il d\u00e9bute en 1992 en int\u00e9grant Ideal J, groupe form\u00e9 par Kery James \u00ab <\/span>O’riginal MC’s sur une mission et le combat continue<\/span><\/i>, publi\u00e9 en 1998. On le retrouve \u00e9galement \u00e0 la baguette sur l\u2019album collectif \u00ab les liens sacr\u00e9s \u00bb la m\u00eame ann\u00e9e, on s\u2019\u00e9coute un petit extrait d\u2019Ideal J avec \u00ab une vie de malheur \u00bb<\/span><\/p>\n

INSERT \u2014 Ideal J<\/b><\/p>\n

MANU \/ Parall\u00e8lement \u00e0 cette casquette de beatmaker rap, il fonde le label espionnage et officie sous le pseudo de Cambridge Circus<\/b><\/p>\n

C\u2019est un peu l\u2019autre facette de DJ Medhi qui s\u2019exprime pendant cette p\u00e9riode, celle du Dj \u00e9lectro, une influence qu\u2019il cherche naturellement \u00e0 faire infuser dans le milieu du Hip-hop mais les fronti\u00e8res sont encore bien marqu\u00e9es \u00e0 l\u2019\u00e9poque et ces sons matin\u00e9es d\u2019\u00e9lectro s\u00e9duisent peu de rappeurs en cette fin des ann\u00e9es 90, une aubaine pour les petits gars de Vitry qui vont h\u00e9riter d\u2019instrumentaux dont personne ne veut. Le premier coup d\u2019essai avec le 113 intervient avec l\u2019EP \u201cNi barreaux, ni barri\u00e8res, ni fronti\u00e8res\u201d, un an plus tard on retrouve les gars de VItry sur l\u2019EP espion Vol.1 de Cambridge Circus avec le titre Camille Groult Starr, premi\u00e8re version un peu brut de d\u00e9coffrage de \u201couais gros\u201d qui figurera ensuite sur les Princes de Ville<\/span><\/p>\n

INSERT \u2014 <\/b>Ouais gros (1ere version)<\/b><\/p>\n

MANU Cette influence \u00e9lectro, elle est aussi bien palpable sur le titre phare de l\u2019album, les \u00ab Princes de la ville \u00bb<\/b><\/p>\n

Oui carr\u00e9ment, on l\u2019a dit Mehdi en cette fin des ann\u00e9es 90 gravite autour de l\u2019univers de la French Touch, il est fan absolu de Daft Punk, c\u00f4toie Zdar et Boombass du groupe Cassius et il est fascin\u00e9 par ces musiciens \u00e9lectro qui travaillent avec les m\u00eames machines, samples les m\u00eames disques disco et funk, et qui sont en train de conqu\u00e9rir le monde.<\/span><\/p>\n

Sur les princes de la Ville, cette influence French Touch elle est \u00e9vidente avec ce sample de violon hyper classieux sur lequel on reviendra, cette guitare funky, ces effets de compression du son amis aussi le tempo du morceau. On est autour de 115 BPM, bien plus rapide qu\u2019un titre rap (autour de 90 BPM) et m\u00eame proche de la cadence d\u2019un morceau house.<\/span><\/p>\n

MANU \/ Faut qu\u2019on dise un mot maintenant sur les samples utilis\u00e9s dans l\u2019album, DJ Mehdi \u00e9tait vraiment pass\u00e9 ma\u00eetre dans l\u2019art de cr\u00e9er des boucles.<\/b><\/p>\n

Oui DJ Medhi, il combinait toutes les qualit\u00e9s pour devenir l\u2019un des grands noms du sampling : une culture musicale \u00e9norme, une curiosit\u00e9 insatiable, et un haut niveau technique, pas \u00e9tonnant que ce bourreau de travail parvenait \u00e0 sortir des p\u00e9pites. C\u2019est ce qu\u2019explique en substance Mokob\u00e9, l\u2019un des trois membres du 113 dans la quatri\u00e8me partie du docu D\u2019ARTE consacr\u00e9 \u00e0 la carri\u00e8re de DJ Mehdi<\/span><\/p>\n

INSERT \u2014 <\/b>ITV Made in France MOKOBE<\/b><\/h3>\n

Effectivement les samples de l\u2019album du 113 c\u2019est une \u00ab tuerie \u00bb pour reprendre l\u2019expression de Mokob\u00e9. Je vous propose d\u2019entrer dans le vif du sujet avec l\u2019intro qui se base sur \u00ab Here s that rainy day \u00bb, du g\u00e9nial guitariste Wes Montgomery.<\/span><\/p>\n

INSERT \u2014 <\/b>SAMPLES \/ COMMENTAIRES SAMPLES<\/b><\/h3>\n
    \n
  • Intro \/ Sample here s that rainy day (wes montgomery 1965)<\/span><\/li>\n
  • Ouais gros \/ Kraftwerk Trans Europe express<\/span><\/li>\n
  • Jackpotes 2000 \/ Rene and Angela I love you more (1981), duo RnB<\/span><\/li>\n
  • Tonton du Bled \/ Ahmed Wabhy, chanteur alg\u00e9rien, un disque trouv\u00e9 dans la collection de vieux morceaux ra\u00ef de la famille de Rim k avec ce sample aussi festif que m\u00e9lancolique<\/span><\/li>\n
  • Les Princes de la Ville \/ Curtis Mayfield make me believe in you,<\/span><\/li>\n<\/ul>\n

    Vous l\u2019entendez c\u2019est un vrai travail d\u2019orf\u00e8vre qui fait aujourd\u2019hui de DJ Mehdi une figure tut\u00e9laire dans le rap fran\u00e7ais mais aussi l\u2019un des rares musiciens \u00e0 avoir su cr\u00e9er des ponts entre le hip hop et la French Touch.<\/span> A tel point qu\u2019il parvient \u00e0 rendre possible cette collaboration un peu improbable entre Bangalter des Daft Punk et le 113, ce sera sur le deuxi\u00e8mes album avec le titre \u201c113 fout la merde\u201d  <\/span> <\/b><\/p>\n

    Manu : Merci Greg pour cette super chronique ! Voil\u00e0 cet album est un classique, il s\u2019est vendu \u00e0 500.000 exemplaires + 1 millions de singles et pourtant il est absent de Deezer et Spotify, introuvable nulle part depuis 2009. Le probl\u00e8me vient de droits impay\u00e9s pour les samples par les \u00e9diteurs du 113 tiens tiens ! J\u2019ai men\u00e9 mon enqu\u00eate, en fait les labels Arianna et Double H (qui ont co-produit l\u2019album sous licence chez Sony) ont fait faillite entre temps ! Du coup, l\u00e9galement, personne ne pouvait plus exploiter l\u2019album et il s\u2019est vu retir\u00e9 des plateformes du jour au lendemain. Ce qu\u2019il faut comprendre c\u2019est que c\u2019est un beau bordel, un no man\u2019s land<\/i> juridique, une sorte de fant\u00f4me de la crise qui avait mis l\u2019industrie \u00e0 genoux au d\u00e9but des ann\u00e9es 2000\u2026 souvenez-vous. <\/strong><\/p>\n

    Mais heureusement tout semble enfin s’arranger. Rim\u2019K a fini par racheter les enregistrements originaux de l\u2019album, et il a dit qu\u2019il devrait ressortir tout bient\u00f4t, c’est promis ! On attendant vous pourrez l\u2019\u00e9couter sur Youtube\u2026 <\/strong>[\/vc_column_text][\/toggle][toggle color=\u00a0\u00bbDefault\u00a0\u00bb heading_tag=\u00a0\u00bbdefault\u00a0\u00bb heading_tag_functionality=\u00a0\u00bbdefault\u00a0\u00bb title=\u00a0\u00bbL’univers visuel du 113″][vc_column_text el_class=\u00a0\u00bbw1 18px\u00a0\u00bb]Manu :<\/b> On va maintenant d\u00e9couvrir l\u2019univers visuel du 113 avec toi Fanny, et je crois que tu avais un petit message perso \u00e0 diffuser avant de commencer !<\/strong><\/p>\n

    Fanny : Oui \u00e7a m\u2019est d\u00e9j\u00e0 arriv\u00e9 de commencer parfois en poussant un petit coup de gueule, mais cette fois-ci je vais d\u00e9roger \u00e0 la r\u00e8gle et formuler un \u00e9norme et sinc\u00e8re MERCI parce que je suis pleine de gratitude aujourd\u2019hui !<\/span><\/p>\n

    Manu :<\/b> Ah ouais ? Et merci qui ? Merci la vie ?<\/strong><\/p>\n

    Je souhaite remercier personnellement Thibaut de Longeville, le directeur artistique de la pochette des Princes de la ville parce que j\u2019ai rarement aussi peu ram\u00e9 pour trouver des infos de bonne qualit\u00e9 ! D\u2019habitude quand je pr\u00e9pare une \u00e9mission je fais des heures de recherches, je ratisse internet pour trouver plein de d\u00e9tails. Et quand on parle d\u2019albums fran\u00e7ais, je te raconte pas la gal\u00e8re, c\u2019est beaucoup plus compliqu\u00e9 que quand on parle de trucs \u00e9trangers. Pour Cabrel, Zebda, 1 2 3 Soleil, t\u2019imagine m\u00eame pas comment j\u2019ai gal\u00e9r\u00e9 ! Et l\u00e0 pour une fois, j\u2019ai eu toutes les infos int\u00e9ressantes, de la bouche m\u00eame du principal int\u00e9ress\u00e9, franchement c\u2019est royal, donc je dis merci !<\/span><\/p>\n

    Manu : <\/b>Comment \u00e7a du principal int\u00e9ress\u00e9 ? T\u2019as interview\u00e9 Thibaut de Longeville ?<\/strong><\/p>\n

    Nan, nan, on se calme ! J\u2019ai pas eu besoin. Figure-toi qu\u2019il y a 2 ans, de Longeville a particip\u00e9 \u00e0 l\u2019exposition \u00ab Hip Hop 360 \u00bb qui a eu lieu \u00e0 la Philharmonie de Paris. Me demande pas comment \u00e7a se fait, mais j\u2019ai rat\u00e9 cette expo et j\u2019ai un seum monumental\u2026 Je suis en plein FOMO !<\/span><\/p>\n

    Bref, \u00e0 l\u2019occaz, avec sa boite de prod qui s\u2019appelle \u2018360 Creative\u2019 il a produit un mini documentaire de 10 minutes dans lequel il explique tout le processus de cr\u00e9ation de la pochette du 113, il d\u00e9voile les premi\u00e8res recherches, le concept valid\u00e9, les secrets de fabrication, le logo, le livret int\u00e9rieur, avec toutes les images pour \u00e9tayer son propos, c\u2019est hyper bien foutu, je me suis r\u00e9gal\u00e9e !!<\/span><\/p>\n

    Manu : <\/b>G\u00e9nial ! Du coup, comment elle s\u2019est faite cette pochette ?<\/strong><\/p>\n

    Bon \u00e9videmment y\u2019a plusieurs pistes graphiques qui ont \u00e9t\u00e9 \u00e9voqu\u00e9es, mais celle qui a \u00e9t\u00e9 retenue par 113, c\u2019est un pompage assez d\u00e9lib\u00e9r\u00e9 de la pochette de l\u2019album \u00ab Da Dirty 30 \u00bb du groupe de rap am\u00e9ricain Cru, sur laquelle on voit le nom du groupe reconstitu\u00e9 gr\u00e2ce \u00e0 une mosa\u00efque de photos. Il est d\u00e9cid\u00e9 aussi que le nom de l\u2019album \u00ab Les princes de la ville \u00bb serait, lui, \u00e9crit avec des images de devantures de magasins comme dans le clip \u00ab La tour de Pise \u00bb r\u00e9alis\u00e9 par Michel Gondry.<\/span><\/p>\n

    A partir de ces 2 id\u00e9es l\u00e0, de Longeville et son acolyte Alexander Wise, ont d\u00e9cid\u00e9 de capturer l\u2019\u00e2me de Vitry-sur-Seine, territoire des trois membres du groupe, en allant prendre eux-m\u00eames sur place toutes les photos n\u00e9cessaires \u00e0 la conception de la mosa\u00efque. Et le moins qu\u2019on puisse dire c\u2019est que y\u2019avait du boulot, on \u00e9coute de Longeville nous raconter \u00e7a :<\/span><\/p>\n

    INSERT \u2014 Docu Thibaut <\/b>de Longeville <\/b>
    \n<\/b>3\u2019\u201932 \u00ab Alex avait au pr\u00e9alable r\u00e9alis\u00e9 une grille (\u2026)\u00bb \u00e0 4\u201917 \u00ab avec une seule image \u00bb<\/b><\/p>\n

    En dehors de ces \u00e9l\u00e9ments visuels tr\u00e8s pr\u00e9cis pour tracer les contours du chiffre 113, de Longeville a de son c\u00f4t\u00e9 r\u00e9alis\u00e9 un reportage quasi documentaire sur ce que c\u2019est de vivre dans une cit\u00e9 de banlieue. Il y a la dimension humaine, avec les enfants qui jouent, les bandes de potes qui trainent, les mecs qui font des roues arri\u00e8re sur leur moto, etc et la dimension urbaine avec les immeubles, les voitures cram\u00e9es, les murs tagu\u00e9s, les panneaux de signalisation. Tout \u00e7a se retrouve \u00e0 l\u2019image. On est vraiment ancr\u00e9s dans le r\u00e9el. La volont\u00e9 d\u2019AP, Mokob\u00e9 et Rim-K pour cette pochette c\u2019\u00e9tait de laisser parler leur ville et sa symbolique, plut\u00f4t que de se montrer eux. Ce grand po\u00e8me visuel de la banlieue, comme de Longeville l\u2019explique, \u00e7a pr\u00e9figure clairement le clip de \u00ab Pour ceux \u00bb qui sera tourn\u00e9 quelques ann\u00e9es plus tard par Romain Gavras et Kim Chapiron de Kourtrajm\u00e9 pour la Mafia K\u20191 Fry. <\/span><\/p>\n

    Manu : <\/b>En attendant, on reste avec le 113. Il me semble que c\u2019est de Longeville et Alexander Wise aussi qui ont r\u00e9alis\u00e9 leur logo !<\/strong><\/p>\n

    Oui, et on va \u00e9couter un nouvel extrait du docu pour mieux comprendre le sens cach\u00e9 de ce logo :<\/span><\/p>\n

    INSERT \u2014 Docu Thibaut <\/b>de Longeville <\/b>
    \n<\/b>6\u2019\u201922 \u00ab j\u2019ai propos\u00e9 qu\u2019on fasse un logo 113 \u00bb \u00e0 7\u2019\u201920 \u00ab les transports en commun \u00bb<\/b><\/p>\n

    Franchement c\u2019est ultra smart ! En bossant l\u00e0-dessus, je me suis rappel\u00e9e qu\u2019on avait vu une police d\u2019\u00e9criture \u00ab Dot Matrix \u00bb sur une autre pochette y\u2019a pas si longtemps, c\u2019\u00e9tait sur l\u2019album d\u20191, 2, 3 Soleil sorti une ann\u00e9e avant Les Princes de la ville. Franchement vu le succ\u00e8s d\u20191,2,3 Soleils \u00e0 l\u2019\u00e9poque, impossible que de Longeville soit pass\u00e9 \u00e0 c\u00f4t\u00e9. Donc est-ce qu\u2019il y a un lien ou pas ? Malheureusement on saura jamais ! <\/span><\/p>\n

    Manu : <\/b>Finissons notre tour d\u2019horizon avec le clip de Tonton du Bled. <\/strong><\/p>\n

    Oui, j\u2019avais envie d\u2019en parler parce que c\u2019est l\u2019un des morceaux les plus embl\u00e9matiques du 113, et d\u2019ailleurs c\u2019est eux trois qui ont co-r\u00e9alis\u00e9 la vid\u00e9o.<\/span><\/p>\n

    Tonton du Bled c\u2019est une v\u00e9ritable ode \u00e0 l’exp\u00e9rience des \u00ab\u00a0bledards\u00a0\u00bb, ces enfants d’immigr\u00e9s qui passent leurs vacances dans les pays d’origine de leurs parents. Et le clip sorti en l\u2019an 2000 illustre parfaitement les contrastes culturels d\u00e9crits dans la chanson.<\/span><\/p>\n

    Ici, le groupe met en sc\u00e8ne l\u2019incontournable voyage de retour au bled, incarn\u00e9 par la fameuse Peugeot 504 break, surcharg\u00e9e de cadeaux et de cabas Tati remplis \u00e0 ras bord. Cette voiture, devenue un symbole dans l\u2019imaginaire collectif des diasporas maghr\u00e9bines, roule vers le port de Marseille, premi\u00e8re \u00e9tape de ces d\u00e9parts estivaux vers l’Alg\u00e9rie. Le voyage est ponctu\u00e9 de sc\u00e8nes qui illustrent les petites p\u00e9rip\u00e9ties du s\u00e9jour, les retrouvailles familiales \u00e0 B\u00e9ja\u00efa, les caf\u00e9s en bord de plage \u00e0 Boulimat, les courses au souk, le quotidien des vacances quoi ! Le tout avec une touche d’humour et d’autod\u00e9rision.<\/span><\/p>\n

    Manu : <\/b>Ce clip est bien plus qu\u2019une simple promotion musicale : il cristallise une r\u00e9alit\u00e9 partag\u00e9e par de nombreux Fran\u00e7ais issus de l\u2019immigration, avec ses joies et ses contradictions.<\/strong><\/p>\n

    Oui, la description affectueuse de ce voyage a touch\u00e9 un public large, au-del\u00e0 des amateurs de rap. Mais ce morceau raconte aussi cette sensation de d\u00e9calage qui se creuse entre les g\u00e9n\u00e9rations d\u2019immigr\u00e9s : dans les paroles, RimK dit qu\u2019il ne comprend pas l\u2019argot de bl\u00e9dard dans lequel on lui parle en Alg\u00e9rie. Il fait partie de ces jeunes qui peuvent \u00eatre vus comme des Alg\u00e9riens ici, et vus comme des Fran\u00e7ais l\u00e0-bas. Qui ne se sentent pas compl\u00e8tement l\u2019un et l\u2019autre et cherchent leur place tout le temps. Bref, ce morceau raconte beaucoup de choses, il d\u00e9crit de mani\u00e8re sinc\u00e8re les liens complexes entre les diasporas et leur terre d\u2019origine. Je pense que c\u2019est pour \u00e7a qu\u2019autant de gens se le sont appropri\u00e9 et qu\u2019il a eu un succ\u00e8s si \u00e9norme.<\/span><\/p>\n

    Tonton du bled et son clip restent des r\u00e9f\u00e9rences dans l\u2019histoire du rap fran\u00e7ais, mais pas que. C\u2019est un morceau qui appartient \u00e0 la France et \u00e0 l\u2019histoire de l\u2019immigration en France. D\u2019ailleurs, et je vais terminer avec \u00e7a, j\u2019ai appris en faisant mes recherches que le clip de \u00ab Tonton du Bled \u00bb fait partie de la collection permanente du Mus\u00e9e de l\u2019immigration qui se trouve au Palais de la Porte Dor\u00e9e \u00e0 Paris. C\u2019est dingue franchement, quelle reconnaissance et quelle fiert\u00e9 pour le 113 ! Moi je trouve \u00e7a g\u00e9nial, \u00e7a me donne envie d\u2019aller d\u00e9couvrir ce mus\u00e9e \ud83d\ude42<\/span><\/p>\n

    Manu : Et d\u2019ailleurs, au Mus\u00e9e de l\u2019Immigration il y a une grosse s\u00e9lection musicale, \u00e0 la rencontre d\u2019artistes, des ann\u00e9es 1930 jusqu\u2019aux ann\u00e9es 2000, dont les parcours personnels ou les \u0153uvres \u00e9voquent l\u2019exp\u00e9rience migratoire. Dont quelque uns qu\u2019on a d\u00e9j\u00e0 chroniqu\u00e9 dans Radio K7 : la Mano Negra, Noir D\u00e9sir, IAM, NTM, Minist\u00e8re A.M.E.R, Zebda, Rachid Taha, Khaled. <\/b>[\/vc_column_text][\/toggle][\/toggles][\/vc_column][\/vc_row][vc_row type=\u00a0\u00bbin_container\u00a0\u00bb full_screen_row_position=\u00a0\u00bbmiddle\u00a0\u00bb column_margin=\u00a0\u00bbnone\u00a0\u00bb column_direction=\u00a0\u00bbdefault\u00a0\u00bb column_direction_tablet=\u00a0\u00bbdefault\u00a0\u00bb column_direction_phone=\u00a0\u00bbdefault\u00a0\u00bb scene_position=\u00a0\u00bbcenter\u00a0\u00bb top_padding=\u00a0\u00bb0″ bottom_padding=\u00a0\u00bb0″ left_padding_desktop=\u00a0\u00bb0″ right_padding_desktop=\u00a0\u00bb0″ text_color=\u00a0\u00bbdark\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb row_border_radius=\u00a0\u00bbnone\u00a0\u00bb row_border_radius_applies=\u00a0\u00bbbg\u00a0\u00bb overflow=\u00a0\u00bbvisible\u00a0\u00bb overlay_strength=\u00a0\u00bb0.3″ 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    \u00c0 PROPOS DE RADIO K7 PODCAST<\/h5>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=\u00a0\u00bbyes\u00a0\u00bb content_placement=\u00a0\u00bbmiddle\u00a0\u00bb column_margin=\u00a0\u00bb20px\u00a0\u00bb column_direction=\u00a0\u00bbdefault\u00a0\u00bb column_direction_tablet=\u00a0\u00bbdefault\u00a0\u00bb column_direction_phone=\u00a0\u00bbdefault\u00a0\u00bb top_padding=\u00a0\u00bb0″ bottom_padding=\u00a0\u00bb0″ left_padding_desktop=\u00a0\u00bb100″ right_padding_desktop=\u00a0\u00bb100″ top_padding_tablet=\u00a0\u00bb0″ bottom_padding_tablet=\u00a0\u00bb0″ left_padding_tablet=\u00a0\u00bb0″ right_padding_tablet=\u00a0\u00bb0″ top_padding_phone=\u00a0\u00bb0″ bottom_padding_phone=\u00a0\u00bb0″ left_padding_phone=\u00a0\u00bb0″ right_padding_phone=\u00a0\u00bb0″ text_align=\u00a0\u00bbleft\u00a0\u00bb row_position=\u00a0\u00bbdefault\u00a0\u00bb row_position_tablet=\u00a0\u00bbinherit\u00a0\u00bb row_position_phone=\u00a0\u00bbinherit\u00a0\u00bb class=\u00a0\u00bbcol-a-propos\u00a0\u00bb overflow=\u00a0\u00bbvisible\u00a0\u00bb pointer_events=\u00a0\u00bball\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1664972558970{margin-top: 0px !important;margin-bottom: 0px !important;border-top-width: 1px !important;border-bottom-width: 1px !important;}\u00a0\u00bb][vc_column_inner column_padding=\u00a0\u00bbpadding-4-percent\u00a0\u00bb column_padding_tablet=\u00a0\u00bbpadding-2-percent\u00a0\u00bb column_padding_phone=\u00a0\u00bbno-extra-padding\u00a0\u00bb column_padding_position=\u00a0\u00bball\u00a0\u00bb top_margin=\u00a0\u00bb6%\u00a0\u00bb bottom_margin_tablet=\u00a0\u00bb0″ column_element_direction_desktop=\u00a0\u00bbdefault\u00a0\u00bb column_element_spacing=\u00a0\u00bbdefault\u00a0\u00bb desktop_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb tablet_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb phone_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb background_color_opacity=\u00a0\u00bb1″ background_hover_color_opacity=\u00a0\u00bb1″ column_backdrop_filter=\u00a0\u00bbnone\u00a0\u00bb column_shadow=\u00a0\u00bbnone\u00a0\u00bb column_border_radius=\u00a0\u00bbnone\u00a0\u00bb column_link_target=\u00a0\u00bb_self\u00a0\u00bb overflow=\u00a0\u00bbvisible\u00a0\u00bb gradient_direction=\u00a0\u00bbleft_to_right\u00a0\u00bb overlay_strength=\u00a0\u00bb0.3″ width=\u00a0\u00bb1\/2″ tablet_width_inherit=\u00a0\u00bbsmall_desktop\u00a0\u00bb animation_type=\u00a0\u00bbdefault\u00a0\u00bb enable_animation=\u00a0\u00bbtrue\u00a0\u00bb animation=\u00a0\u00bbfade-in-from-bottom\u00a0\u00bb animation_easing=\u00a0\u00bbdefault\u00a0\u00bb bg_image_animation=\u00a0\u00bbnone\u00a0\u00bb border_type=\u00a0\u00bbsimple\u00a0\u00bb column_border_width=\u00a0\u00bbnone\u00a0\u00bb column_border_color=\u00a0\u00bb#f5fbdc\u00a0\u00bb column_border_style=\u00a0\u00bbsolid\u00a0\u00bb][vc_raw_html]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[\/vc_raw_html][vc_column_text el_class=\u00a0\u00bbsize18 pod_violet txt28 sep66″ css=\u00a0\u00bb.vc_custom_1663856470951{padding-top: 0px !important;}\u00a0\u00bb]Chaque mois dans Radio K7 on discute d\u2019un album avec mes copains autour d\u2019une table, parfois avec des invit\u00e9s comme P\u00e9n\u00e9lope Bagieu ou Nicolas Berno. Il y a des chroniques et des d\u00e9bats, on s’interroge sur l\u2019histoire du disque : comment il a \u00e9t\u00e9 produit, ce qui a fait son succ\u00e8s, et puis finalement ce qu’on a envie d’en retenir 20 ou 30 ans plus tard.<\/p>\n

    Le 5 janvier 2020, Radio K7 est devenu le premier podcast ind\u00e9pendant sur la musique en France au classement Apple Podcast !<\/b>[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=\u00a0\u00bbpadding-4-percent\u00a0\u00bb column_padding_tablet=\u00a0\u00bbpadding-2-percent\u00a0\u00bb column_padding_phone=\u00a0\u00bbno-extra-padding\u00a0\u00bb column_padding_position=\u00a0\u00bball\u00a0\u00bb top_margin_tablet=\u00a0\u00bb0″ left_margin_tablet=\u00a0\u00bb0″ right_margin_tablet=\u00a0\u00bb0″ top_margin_phone=\u00a0\u00bb0″ column_element_direction_desktop=\u00a0\u00bbdefault\u00a0\u00bb column_element_spacing=\u00a0\u00bbdefault\u00a0\u00bb desktop_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb tablet_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb phone_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb background_color_opacity=\u00a0\u00bb1″ background_hover_color_opacity=\u00a0\u00bb1″ column_backdrop_filter=\u00a0\u00bbnone\u00a0\u00bb column_shadow=\u00a0\u00bbnone\u00a0\u00bb column_border_radius=\u00a0\u00bbnone\u00a0\u00bb column_link_target=\u00a0\u00bb_self\u00a0\u00bb overflow=\u00a0\u00bbvisible\u00a0\u00bb el_class=\u00a0\u00bbpaddbot90 img100-foot1″ gradient_direction=\u00a0\u00bbleft_to_right\u00a0\u00bb overlay_strength=\u00a0\u00bb0.3″ width=\u00a0\u00bb1\/2″ tablet_width_inherit=\u00a0\u00bbsmall_desktop\u00a0\u00bb animation_type=\u00a0\u00bbdefault\u00a0\u00bb enable_animation=\u00a0\u00bbtrue\u00a0\u00bb animation=\u00a0\u00bbfade-in-from-bottom\u00a0\u00bb animation_easing=\u00a0\u00bbdefault\u00a0\u00bb bg_image_animation=\u00a0\u00bbnone\u00a0\u00bb border_type=\u00a0\u00bbsimple\u00a0\u00bb column_border_width=\u00a0\u00bbnone\u00a0\u00bb column_border_style=\u00a0\u00bbsolid\u00a0\u00bb column_padding_type=\u00a0\u00bbdefault\u00a0\u00bb gradient_type=\u00a0\u00bbdefault\u00a0\u00bb][vc_column_text el_class=\u00a0\u00bbGT size50 pod_violet txt28 margintopmob vc_custom_1662370609207″ css=\u00a0\u00bb.vc_custom_1663856419329{margin-bottom: 0px !important;}\u00a0\u00bb]\u00ab On veut red\u00e9couvrir les 90s, apprendre des trucs et se marrer. \u00bb<\/span>[\/vc_column_text][vc_column_text el_class=\u00a0\u00bbsize18 pod_violet txt28 marginbottom1mob\u00a0\u00bb]Manu, Fanny, Olivia et Gr\u00e9goire [\/vc_column_text][image_with_animation image_url=\u00a0\u00bb131″ image_size=\u00a0\u00bbfull\u00a0\u00bb animation_type=\u00a0\u00bbentrance\u00a0\u00bb animation=\u00a0\u00bbFade In\u00a0\u00bb animation_easing=\u00a0\u00bbdefault\u00a0\u00bb animation_movement_type=\u00a0\u00bbtransform_y\u00a0\u00bb hover_animation=\u00a0\u00bbnone\u00a0\u00bb alignment=\u00a0\u00bb\u00a0\u00bb border_radius=\u00a0\u00bbnone\u00a0\u00bb box_shadow=\u00a0\u00bbnone\u00a0\u00bb image_loading=\u00a0\u00bbdefault\u00a0\u00bb max_width=\u00a0\u00bbnone\u00a0\u00bb max_width_mobile=\u00a0\u00bbdefault\u00a0\u00bb margin_left=\u00a0\u00bb10%\u00a0\u00bb margin_right=\u00a0\u00bb10%\u00a0\u00bb margin_left_phone=\u00a0\u00bb0″ margin_right_phone=\u00a0\u00bb0″][vc_column_text el_class=\u00a0\u00bbsize18 pod_violet txt28 sep66″ css=\u00a0\u00bb.vc_custom_1663856492497{padding-top: 0px !important;}\u00a0\u00bb]\u201c Le but de ce podcast c’est de red\u00e9couvrir la bande-son des nineties. Parce que c’\u00e9tait celle de notre adolescence, qui a marqu\u00e9 toutes nos premi\u00e8res fois. 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