In a message dated 2/2/01 9:57:30 PM, [EMAIL PROTECTED] writes:
<< > Re: the ongoing debate about Jeff's mixing skills, he is one of the most
> innovative electronic music talents of the 20th Century. Until you all
invent
> an entire sub-genre of techno music (lock-grooved, loop techno) and a host
of
> imitators, you need to keep your criticisms to yourselves.
err, no i don't.
That's your right. God Bless America !
see, that's the whole thing about opinions. each person's is as valid as
the next, be they innovator, inventor, or first-time listener.
Ever been to a movie you didn't like? Better yet, ever seen a movie
billed as "innovative" or "a classic" that you didn't like?
"Blair Witch" filled that bill.
I highly doubt you've directed a feature-length motion picutre which has
recieved
national distribution. Yet I bet you'd feel free (as a bird) to voice your
opinion if you thought a movie was crap.
Well, the thing is, not only did I major in Radio-TV-Film at Wayne State, a
classmate of mine from those days is now a film professor at USC (and had a
co-writing credit on the film "The Wood" as well as a cameo) and my best
friend in LA is a screenwriter and former assistant to John Singleton ("Boyz
N The Hood"). That same friend has been telling me for years I should come
out to LA and storyboard (because *snicker* I can draw too). Plus, I'm a
published writer (Mixer, Psycomic.com). Not film criticism, granted, but I
could probably do that too if given the chance. Plus I used to know Elvis
Mitchell (New York Times or The Voice film critic, can't remember which) when
he lived in Detroit ! We got our comics from the same place. Great analogy !
Next.
The whole idea of having to pay some sort of unattainable dues before
you're entitled to voice any sort of criticism is ridiculous. You may be
ALAN OLDHAM,
You're damn right I am. HA !
but your position as a figure of some importance in the
detroit scene
Hmmm, the jury's still out, there ! I think Sean Deason is more important
than I am. He played DEMF =)
doesn't place your opinion above any of ours. if you'd like
to start a dialogue where we discuss Jeff Mills's current performances in
relation to his past works, I'll be more than glad to participate. But
hovering in the background and coming out to tell us all to shut up just
doesn't work.
Sure it does. Are you out here doing better mixes than Jeff ? Making better
records ? The whole idea of this thing is DIY. Anyway, if folks can get on
here and criticize, then I can critique the critics. A vicious cycle, but
then, this is a free country. Supposedly.
Aside: I have been working my a** off in the studio and DJing, and my GF has
been fwd'ing me posts from 313 and it's been so interesting I decided to
resub for awhile. Aren't you glad ? Blame her !
AND to the person who asked what lock-groove, loop (aka "bangin") techno is,
the first record ever with lock grooves was Jeff Mills "Cycle 30" on Axis.
This release and others from Mills ("Live at the Liquid Room", "Waveform
Transmissions") single-handedly inspired the entire early sound of British
and Swedish Techno (Surgeon, Regis, Oliver Ho, James Ruskin, Marco Carola,
Adam Beyer, etc.)
AND, Misstress Barbara banged the living s*** out of Motor tonight.
AND, I got to hang out briefly with my hero, the genius of modern music,
Stacey Pullen (who was also off tonight).
a.
=================================================================
DJ T-1000 "The Last DJ On Earth" Mix CD March 2001. "Hyper-Stylized Life"
vinyl EP May 2001 from Pure Sonik. Alan D. Oldham "The Sexy Adventures of
Orietta St. Cloud" full-color comic and soundtrack CD from Tresor Berlin
(release TBA). This is Pure Sonik Records. www.puresonikrecords.net
