"warm, funky, exultant records that were just right for nightclubs and
high-tech launch parties packed with gamines in $300 shoes sloshing
day-glo cocktails"

Really, if that isn't taking the piss (as the UK contingent says)
I don't know what is.

Well, it's pretty clear that Michelle Goldberg has the tenuous grasp
on techno that you would expect from the average clever music journo.
So it's not a bad article overall but clanks with the clotted phrases
that pass for insight in the high reaches of music journalism these
days.  (I'm an *owner* of Salon, dammit, and with my $0.14 a share
stock I can say whatever I want!)

Let me say, though, that there really were "office parties" at the
crest of the dotcom wave in San Francisco.  If you've seen the movie
"Groove" -- that's us.  (Aside from the speaking-part actors, although
that's my man Dmitri-from-the-Lower-Haight who snagged some on-screen
time and that classic promo shot with the disco ball on the Muni
Metro.)  A lot of the extras and small parts, and much of the equipment
seen in the movie were also in the "Expansion" parties that we threw
from time to time when various dotcom firms in South of Market
San Francisco were moving in and out of their spaces.  That was the
only way to get 1000 people to a good party in SF in the late 1990s
without getting busted (and one of the Expansion parties did get
busted, ostensibly for a faulty fire exit sign in a building used
365 days a year as office and workshop space :).

And you wouldn't see any woo-woo cocktails or $300 shoes at those
parties, and if there were any Chems tracks played at all they would
have been from the Dust Brothers days anyway.

And then at 7 am we'd clean up, leave nothing but footprints, and the
next week the place would be an Ethernet forest demarcated by a
terrain of Aeron chairs and big 19-inch monitors with inscrutable code
scrolling by :)

phred


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