First of all, we all have to remember that everyone's defintion of "techno"
is different.
Heck, some people out there define Moby, FAt Boy Slim, and the Chemical
Brothers as "techno". To some, techno means the swedish sound (i.e. Beyer,
Smith, Lekebusch ect.). Of course, the majority of the folks on this list
define techno as something that originated with the "detroit" sound and was
carried on further. The term "techno" is not only misrepresented alot, but
used in many situations that makes it a hard word to pin down a distinct
definition to. Obviously, The music that the Belville three were making was
"techno" as they titled it thus, but the discrepancy of terms is in the
listeners not the creators.
This would give someone like Christian Smith the grounds to use "techno" as
a word defining a music, and cunfuse us as to what music he is talking
about.
I think personally that the influence of Chicago House is very strong,
though I live in Chicago. Whenever a big-name DJ spins a set here in
Chicago, whether it be Derrick May, or even Adam Beyer, or Sven Vaeth, they
tend to play different than they would if they were in Frankfurt, Detroit,
or Stockholm. That is the nature of these cities in which musics were
created. Chicago influences people to play Housier sets, as Detroit
influences the Techno side of things.
I can understand what he's saying. As someone who grew up with both >May
et al, and Adonis et al, I do think that Chicago's gotten the short end >of
the stick. It may be because the house infrastructure in Chicago >>(clubs,
radio, etc.) didn't...I don't know, crumble for lack of a better
word...the way it did in Detroit. So May, and the others left detroit not
only because Europe was offering them the chance to get paid and fly, but
because Detroit was NOT offering them this chance. And once they went to
Europe we all know what happened.
Adonis, Farley, Hurley and the others didn't HAVE to leave Chicago.
I agree with this. I think that the hot mix 5 and all of the others didn't
have to leave chicago, as well as the fact that, outside of Chicago,
different things were being played. That, I believe, is what has led to the
stylistic impact of artists playing in Chicago.
Chicago will always have that intense House blood flowing in its veins...
unfortunately, I grew tired of it quickly...
Cheers everyone!
Dennis Donohue
From: Lester Kenyatta Spence <[EMAIL PROTECTED]>
To: lo sens <[EMAIL PROTECTED]>
CC: 313@hyperreal.org
Subject: Re: [313] Detroit techno isn't techno?
Date: Thu, 28 Dec 2000 12:05:21 -0500 (EST)
On Fri, 29 Dec 2000, [iso-8859-1] lo sens wrote:
> Wonder what people make of this, Christian Smith in
> our local street mag:
>
> People always say that Detroit was the beginning of
> everything. I think that the early so-called Detroit
> techno is more house than techno. And when you're
> talking house it's clear where that got started. Not
> Detroit, but Chicago. I have many friends in Detroit
> and regularly DJ at the Motor Lounge. Don't get me
> wrong, I respect a lot of producers from Detroit. I
> just think that Detroit has gotten too much attention
> and Chicago has almost completely been forgotten. What
> about Adonis, Farley Jackmaster Funk and Marshall
> Jefferson? You never hear their names as godfathers of
> house.
>
> He has a point about the Chicago people not being
> given their dues, but early Detroit techno more house
> than techno? Compared to the mono Swedish stuff that
> followed maybe
I can understand what he's saying. As someone who grew up with both May
et al, and Adonis et al, I do think that Chicago's gotten the short end of
the stick. It may be because the house infrastructure in Chicago (clubs,
radio, etc.) didn't...I don't know, crumble for lack of a better
word...the way it did in Detroit. So May, and the others left detroit not
only because Europe was offering them the chance to get paid and fly, but
because Detroit was NOT offering them this chance. And once they went to
Europe we all know what happened.
Adonis, Farley, Hurley and the others didn't HAVE to leave Chicago.
BUT....with this taken into consideration, it is unfair for Christian to
basically say that Chicago created May, Atkins, and Saunderson's sound,
JUST to give house credit. He wants to build a movement, I'm with
him....just don't do it at the Big THree's expense.
peace
lks
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