It's more the colour codes that exist in America. Black artists are still expected to make 'urban' music - ie R&B and hip-hop - and American record companies and to an extent the wider public can't conceive of a Black electronic muscian. So they would view a Stacey as unmarketable - and that's his point, and I have heard others say the same. That's why he loves and always references Lenny Kravitz in interviews as he has broken the codes. A lot of it is today's radio.
I think in other countries different boundaries exist. Like in the UK there seem to be new boundaries - American DJs/producers seem to be getting less bookings (with the exception of R Sanchez & E Morillo). That's why in Australia we have to fight the British colonial takeover mentality. They're bringing the Gatecrasher Sound System to Oz and I don't mind but I want it to reflect Australian sensibilities - which means we want big name headliners from the UK and the US and Australia, not just the names the UK media deem big. They may think that we are 'backward' in that we still support US names like a Stacey, it's not that, it's divergence. DJ Pierre was recently saying that while the UK presents itself as the centre of the universe, he can very happily make a good living as a DJ playing other countries than the UK. An you can see this of Jeff Mills' DJ schedule too. >Is the problem with 'lack of support' actually a "lack" of support, or just >less enthusiastic support than artists receive in other countries? I don't >think Americans take music as seriously as Europeans... Particularly techno >and other forms of electronic music.s --------------------------------------------------------------------- To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
