put emphasis on the music, and the person who make, by asking this racial questions u only make the racial problem. if u think about the persons who make the music as REAL live person and not as black or white but as human, things will be better. you might say i am just one little person and racial problem is a fact- well if u want a change do the change. and those try to demolish all this racial stuff from the discourse. i know what i am saying i am jewish. y. ----- Original Message ----- From: "Phonopsia" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>; <313@hyperreal.org> Sent: Sunday, February 10, 2002 6:23 PM Subject: Re: [313] Black techno artists]
> ----- Original Message ----- > From: "armin holzgethan" <[EMAIL PROTECTED]> > To: <313@hyperreal.org> > Sent: Sunday, February 10, 2002 7:51 AM > Subject: Re: [313] Black techno artists] > > > i still don't get it. > > > > what are you aiming at? how & where should this recognition express > itself? on > > mtv, usa today? how many people know stephen king? and how many know > malcolm > > lowry? > > I'm aiming at recognition in the electronic music underground. How to > quantify recognition? Sure it's oblique... How about references in histories > of house (AV and textual) for one. Prolly a lame definition, but you get > what I'm on about. > > > all those you mention are more or less known to people into this music. > some > > will reach a certain status as "innovators", some will be forgotten. some > will > > blow up by accident because the time is right and/or because they work > towards > > it. maybe this has sometimes to do with the quality and the aim of their > work > > too? to blame it all on the circumstances seems to me as banal as the > opposite, > > which is to blame it all on the lack of marketing skills. > > I don't think that's the whole cup of tea. There's a mythos attached to the > term "Chicago House DJ" that is not parallel to "Detroit House DJ" in the > mind of the average club-goer who is somewhat in-the-know. For instance, > "Chicago's Gene Farris" immediately has a credibility to the average house > club-goer that "Detroit's Terrence Parker" does not. To see this in effect, > look at a poster for Gene Farris' "Booked" CD. > > > tp has a relatively huge fanbase in germany because of his djing. all of > his > > records i know of are mediocre. alan oldham's stuff lacks originality big > time. > > just to be a detroiter and having started in 1988 is not enough. > > Yeah. TP has built a dedicated fan-base in Germany over the years, but he is > relatively unknown and hasn't played in Washington DC in years (if ever). > This is a house music city and has been for over a decade. Ron Trent has > been here (but he's known here for his work living in New York) and Alton > Miller has played here once. At the same time, at least 10 Chicago house DJs > have played here, not to mention endless DJs from New York (although they > have a geographical advantage to DJs form the midwest). In addition to that, > most "scenes" in the eastern U.S. "buy into" a New York version of the > history of house/garage. Statements like "everyone knows house came from New > York" would not be uncommon, and generally reinforced through local > promotions/myths/regional email lists, etc. Not only is the Chicago history > of house downplayed if recognized at all, the Detroit history of house is > completely absent. You could almost flip the coin and apply all of that to > Chicago - but not to the same degree, and again Detroit is missing from the > puzzle. History's are being written today, and it takes a history of house > and techno *in Detroit* to recognize Detroit House, although the impact of > Detroit house from the 80s was just as lasting as any other. Couldn't we put > the Music Institute right near the Warehouse and the Paradise Garage in > terms of legendary clubs that defined and nurtured scenes? You can't try to > tell me this is even 1/10th as recognizable as either of the former in > today's music histories. > > > self-esteem is not supposed to grow because of one's name in the paper or > a > > certain number on one's bank statement, but because one feels that he/she > is > > doing the right thing and maybe because one lifts the artform to new > heights. > > the name all over the paper and the big bucks in the bank are most of the > time > > & and as long as this capitalist etc society stands a sign that one > submitted & > > adapted oneself successfully to the expectations of society. same as good > marks > > at school. same as any institutional or mainstream recognition. in this > sense > > most of the time mainstream success can be used as a sign for irrelevance. > > What I was noting with my list was people who generally don't get the same > acclaim as their peers from the '80s in Chicago and New York in the > histories of house - not specifically in terms of bank rolls. Detroit house > is something that most people into house can't even recognize. > > Tristan > ---------- > http://www.mp313.com <- Music > http://www.metrotechno.net <- DC techno + more > http://www.metatrackstudios.com <- DC DJ/Production studios > http://phonopsia.tripod.com <- Hub > [EMAIL PROTECTED] <- email > <FrogboyMCI> <- AOL Instant Messenger > > > --------------------------------------------------------------------- > To unsubscribe, e-mail: [EMAIL PROTECTED] > For additional commands, e-mail: [EMAIL PROTECTED] > > --------------------------------------------------------------------- To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
