On 6/27/07, Tristan Watkins <[EMAIL PROTECTED]> wrote:
Man, I really never got into that stuff when I lived there. It just sounded like garbage re-hashed hardcore with incredibly tired beat samples to me. It still eludes me.
its just another variation on the ghetto tech/booty house/miami bass family of black dance music. though obviously, this sound goes way back in baltimore, check frank ski's "whores in this house" and of course "doo doo brown" by 2 hyped brothers and a dog.
I also think it's hillarious that Tittsworth is making that stuff now. When I lived there he was a drum n' bass DJ. I never would have expected that move, especially given the way that DC always lapped up drum n' bass.
there's alot more money and fame right now in selling local black musics to white hipsters than there is in drum and bass.
Yeah, go-go is good. They used to have a good prime time Sunday night show on FM radio. You get bucket drummers all over the streets in D.C. as well, which is kind of an extension (or maybe the origination) of the go go rhythm. Phred's a bit more of an authority on this stuf than I am.
i love me some gogo too, ive been breaking out lots of old stuff on DETT and the like and mixing it up with disco and funk stuff.
I guess what I was gonna say is that I couldn't see it as farther away from the Bmore club sound, but your point is taken that it's interesting that these two isolated musics have popped up in such close proximity to each other.
but really, almost every US city with a large black population has some variety of local dance music that has sprung up from it. miami has bass music, new orleans has bounce (check manny fresh's stuff from way back in the 80s, long before cash money blew up), atlanta had lots of bootybass stuff and now crunk, memphis had stuff like eightball and mjg, houston had a similar bassy hiphop sound, detroit has techno electro and ghetto, chicago has house and booty, the list goes on and on. eve going back farther, you have motown in detroit and philly international in philadelphia amongst others. some of these sounds blow up and become a more universal cultural touchstone, others never break out past their backyard. usually though, the people who make it are the ones who break it out. now suddenly, we're seeing hipster appropriations become the standard while no one else is getting the props they deserve. its weak. tom
