OT request, sorry
Haye! Could someone please send me the last 10 messages from the list? I had this little problem. Also, the person who asked me for the UR article on Jockeyslut, please email me again, I lost the address. Thanks, now back to our regular programming... Lay Unconditional Empowerment http://barkingcat.org/counterforce
DJ Godfather
Just a quick reminder because it wasn't anounced on this list. DJ Godfather plays tommorow, wensday at the Mazzo Amsterdam.
Fwd: Prince speaks
From: Alex Hillinger [EMAIL PROTECTED] To: Aaron Marsh [EMAIL PROTECTED], Adam Goldstone [EMAIL PROTECTED], amanda kgb [EMAIL PROTECTED], bpm [EMAIL PROTECTED], Dan Mandel [EMAIL PROTECTED], Darren Keast [EMAIL PROTECTED], David Glicksman [EMAIL PROTECTED], Diana Potts [EMAIL PROTECTED], Jason Douglas [EMAIL PROTECTED], Jason Kasnitz [EMAIL PROTECTED], Jason Zemlicka [EMAIL PROTECTED], Jennifer Cole Masset [EMAIL PROTECTED], Jon Cunningham [EMAIL PROTECTED], Masa [EMAIL PROTECTED], Matt MacQueen [EMAIL PROTECTED], Miss Guided [EMAIL PROTECTED], Nathan McBride [EMAIL PROTECTED], Phil Osophy [EMAIL PROTECTED], Reggie [EMAIL PROTECTED], Richard Martin [EMAIL PROTECTED], seth hillinger [EMAIL PROTECTED], Wesley Holmes [EMAIL PROTECTED] Subject: Prince speaks Date: Tue, 08 Aug 2000 15:14:18 -0700 The truth from the artist formerly known as the artist formerly known as Prince. (In his special numeric language and all...) http://www.npgonlineltd.com/freedomnews.html 4 The Love of Music: 2 Very Different Approaches Real music lovers do not simply consume music. Real music lovers develop a special relationship with the works of the artists they like. At some point of their xploration of the music of a new artist, usually something clicks and triggers a whole process of discovery which involves wanting 2 hear everything the artist has ever put out (including b-sides, non-album contributions, etc.), wanting 2 hear it in the best possible conditions, wanting 2 hear live renditions of the music and wanting 2 share this discovery with other people. They also feel that things like album packaging r an integral part of the musical experience, that the artwork, in so far as the artist has been involved in it, is an integral part of the artistic statement of a specific release and they want 2 own an original copy of it so that they can xamine it from all angles, in search of clues, or bits of in4mation which might enhance their understanding and appreciation of the music. On the other hand, some people just consume music. They want a copy of a song bcuz everyone else is in2 the song. They don't really care about top-notch sound quality, as long as it is more or less CD quality. They don't really care about the rest of the contents of the album bcuz all they really like is the hit single that every radio station and music TV station is playing non-stop. They just want 2 b able 2 listen 2 the track over and over again until they wear it out, they effectively consume it and then turn 2 something else. They r not really interested in music as an art 4m, but rather as a 4m of disposable entertainment always looking 4 the latest hit which is going 2 displace the previous chart topper in their social environment, so that they r sure they stay hip 2 the latest trend. Those r 2 very different approaches 2 music. The trouble with the current system is that it is primarily designed 2 meet the needs of music consumers and not of music lovers. There is some overlap, of course, and sometimes real musicians enjoy a fair amount of commercial success which indicates that they r benefiting from the system designed 4 music consumers, that their music is not only appealing 2 music lovers, but also 2 music consumers. This is fine with them as long as they don't have 2 compromise their artistic integrity. Un4tunately, once u become part of the music consuming system, u have 2 obey very different rules and many artists r, understandably, not comfortable with this, which creates all kinds of tensions after they have xperienced a certain amount of commercial success. A Fundamental Hypocrisy The fundamental hypocrisy of the music industry (and of some artists) in the current debate over the MP3 4mat, Napster and other 4ms of online xchange of music is that they r talking about copyright, intellectual property and other such noble concepts when the only thing that they r actually trying 2 protect is the commercial value of their musical product. It's indicative, 4 xample, that, in a recent interview with the Los Angeles Times, Time Warner President Richard Parsons would make comments such as these: An increasing number of young people don't buy albums, so we are not only losing that immediate revenue. They are also growing up with a notion that music is free and ought to be free. This statement deals with the relationship between music and the public from a purely commercial point of view. Nowhere in his statement is there any indication that what might happen with young people xchanging music is that they might develop a real appreciation of music in general and of certain artists in particular and turn out to b perfectly honest citizens who realize that artists should b compensated 4 their work and who will help
Fwd: Prince speaks
Pardon the previous, I got a bit trigger happy. Fellow 313er, Alex H., sent this to me. Though it is not _directly_ 313 related I thought it deals with some topics we've discussed on this list,from a man who has had such a part (what kind is matter of opinion) in music history (I dont know about you, but 'Manic Monday' brigtened my days as a youth:). Sorry, for the large post. Just delete it,instead of flaming me. d The truth from the artist formerly known as the artist formerly known as Prince. (In his special numeric language and all...) http://www.npgonlineltd.com/freedomnews.html 4 The Love of Music: 2 Very Different Approaches Real music lovers do not simply consume music. Real music lovers develop a special relationship with the works of the artists they like. At some point of their xploration of the music of a new artist, usually something clicks and triggers a whole process of discovery which involves wanting 2 hear everything the artist has ever put out (including b-sides, non-album contributions, etc.), wanting 2 hear it in the best possible conditions, wanting 2 hear live renditions of the music and wanting 2 share this discovery with other people. They also feel that things like album packaging r an integral part of the musical experience, that the artwork, in so far as the artist has been involved in it, is an integral part of the artistic statement of a specific release and they want 2 own an original copy of it so that they can xamine it from all angles, in search of clues, or bits of in4mation which might enhance their understanding and appreciation of the music. On the other hand, some people just consume music. They want a copy of a song bcuz everyone else is in2 the song. They don't really care about top-notch sound quality, as long as it is more or less CD quality. They don't really care about the rest of the contents of the album bcuz all they really like is the hit single that every radio station and music TV station is playing non-stop. They just want 2 b able 2 listen 2 the track over and over again until they wear it out, they effectively consume it and then turn 2 something else. They r not really interested in music as an art 4m, but rather as a 4m of disposable entertainment always looking 4 the latest hit which is going 2 displace the previous chart topper in their social environment, so that they r sure they stay hip 2 the latest trend. Those r 2 very different approaches 2 music. The trouble with the current system is that it is primarily designed 2 meet the needs of music consumers and not of music lovers. There is some overlap, of course, and sometimes real musicians enjoy a fair amount of commercial success which indicates that they r benefiting from the system designed 4 music consumers, that their music is not only appealing 2 music lovers, but also 2 music consumers. This is fine with them as long as they don't have 2 compromise their artistic integrity. Un4tunately, once u become part of the music consuming system, u have 2 obey very different rules and many artists r, understandably, not comfortable with this, which creates all kinds of tensions after they have xperienced a certain amount of commercial success. A Fundamental Hypocrisy The fundamental hypocrisy of the music industry (and of some artists) in the current debate over the MP3 4mat, Napster and other 4ms of online xchange of music is that they r talking about copyright, intellectual property and other such noble concepts when the only thing that they r actually trying 2 protect is the commercial value of their musical product. It's indicative, 4 xample, that, in a recent interview with the Los Angeles Times, Time Warner President Richard Parsons would make comments such as these: An increasing number of young people don't buy albums, so we are not only losing that immediate revenue. They are also growing up with a notion that music is free and ought to be free. This statement deals with the relationship between music and the public from a purely commercial point of view. Nowhere in his statement is there any indication that what might happen with young people xchanging music is that they might develop a real appreciation of music in general and of certain artists in particular and turn out to b perfectly honest citizens who realize that artists should b compensated 4 their work and who will help make sure that they r. Nowhere is it mentioned that the fundamental reason y those young people r xchanging music online is that they r xcited about the music, that they r actually developing a sense of appreciation of what good music is. Bcuz, of course, record companies don't really want the public 2 like good music. They want it 2 buy whatever product they come up with, whether it's
Re: [313] Cliff Thomas
Hi Jason, Here's what I know... u may already know the following already?? Cliff Thomas was part of the Detroit first wave and,as you quite rightly mention,he owned the Buy Rite store.In '87 he set up his first label Incognito,which was distributed thru Buy Rite,and released early work from Juan Atkins(Triple XXX Audio Tech,both released in'87),Kevin Saunderson(Keynotes + Reese,both released '87),a Chicago sounding track by a group called Hardhats,as well as stuff by Art Forest(Enterstate),Blake Baxter(Sexuality)and Fade II Black(a white label ep).A short while later he set up thee Express label(Separate Minds, Santonio Eccles,Janette Thomas feat.the classic Mayday mix,etc.).There's no doubt that Cliff helped and supported the first wave of artists but i'm not exactly sure what happend to him/if he dj anywhere(what with me not being from the D) Btw-I think he also put out stuff by Was Not Was under the name The Preps.Wasn't Lou Robinson also involved?? Peace Justice Jason wrote: From: Jason Birchmeier [EMAIL PROTECTED] To: '[EMAIL PROTECTED] Org' 313@hyperreal.org Subject: [313] Cliff Thomas Date: Tue, 8 Aug 2000 15:04:18 -0400 Yesterday I had this conversation, where Cliff Thomas' name was brought up. Sure, I'd heard of the name before, but I didn't quite remember what the story was on him. Guess he had a big role in Detroit's first wave, recording artists such as Atkins, Saunderson, Shakir, and Fowlkes. He also owned Buy Right records, where Mr. Dé and DJ Assault launched their early Electrofunk releases from. Is this factual info? You know how myths seem to litter all these old Detroit stories. I just want to make sure I have the facts straight before I start communicating this info to others. If anyone would like to fill in the blanks, I'm all ears... ...Jason Birchmeier - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] d-troit techno/bread n' butter (was Re: Ax-020)
I want to second what Michael said. I never worry about the ability of Detroit (broadly conceived, that includes you too, Kzoo :) to bring out excellent music. And the reason is there is 50 years plus of consistent history on that, going back to the great jazz era of the 1940s, followed by Motown, funk, electro, techno, hip hop, house, ghetto/booty/whatever and so on. It's not easy to see from the outside, and it may not be easy to see from inside the region, but the musical ferment there is unique and pervasive. Even though genres and audiences are quite separated now, it's only a matter of time before a period of synthesis starts again, like there was in the early 80s with Mojo and the birth of techno. In fact, the net and MP3 may well be the driver for that. The point is, there's MP3 and the net everywhere, but Detroit has the attitude and the talent and always will. I'll bet on that, even though I don't gamble :) phred
Re: [313] d-troit techno/bread n' butter (was Re: Ax-020)
Mike Taylor wrote: I think the thing to remember is that there is electronic music in Detroit beyond Detroit Techno. Right now there is a lot of stuff that doesnt go doof doof doof that you do not know about yet. There are a lot of cats doing good stuff that don't have deals yet, and even more getting their game together as we speak. If your talking about Booty Bass, Innerzone Orchestra and KDJ, I'm not impressed and I wouldn't call that beyond Detroit techno. Even though genres and audiences are quite separated now, it's only a matter of time before a period of synthesis starts again, like there was in the early 80s with Mojo and the birth of techno. In fact, the net and MP3 may well be the driver for that. The reason for Techno and House was because of the Drum machine. Mojo and the Hot Mix 5 happened under special circumstances and that was the 80's, its now the 21'st Century. You now live in the Digital age and electronic music operates on a Earth scale, the reason why you have all the different genres and audiences is because technology has evolved in such away that it allows you humans to individually express your selves giving you a greater sound pallet. The future of the internet will only lead to more regulations giving the world government and mainstream media more power. You are to beleive that you have more freedom but UR actually being manipulated and controlled by clever tactccs . As far as Detroit techno is concerned in the future people are going to look back at Detroit techno as a movement that took place in the late 80's with Derrick, Juan, and Kevin and the minimal techno movement of the early to mid 90's with artist like hood, mills, dbx pushing music forward. stephen
RE: [313]Detroit bread butter (Ax-20)
I just got one thing to say in this discussion first of all I'm a big fan of Kenny's music, but it don't really like his racial standpoints. And about the copying thing it would be easy to say that without Kraftwerk or even other german producers (E2-E4) there wouldn't be Techno. But I won't. All I'm interested in is hearing good music (and reading about good music) and that's important. And just saying that they're copying TSS TSS. That's no argument, everyone is influenced by good music (well unfortunatly not everyone ;-)) it is what you do with these influences that count there are people like Aphex Twin Christian Vogel who do completely different things. JayCee Original Message- From: [EMAIL PROTECTED] [SMTP:[EMAIL PROTECTED] Sent: dinsdag 8 augustus 2000 20:49 To: 313@hyperreal.org Subject:[313]Detroit bread butter (Ax-20) I find myself wondering where you guys are coming from... It seems your opinions regarding the state of music from Detroit is superficial at best...Where would your avant-guarde dj's be without someone to proceed them..to give them something to copy?Everyone has influeneces ..but in regards to techno those from other than the Detroit area are doing exactly what the Beatles did with rock-and-roll ..copying a black mans soul and claiming as their own and the uneducated pop music fans just consuming whatever's directed at them.All of the e_notes regarding this topic show an extreme lack of knowlegde regarding music from Detroit and it's quality and to prove this I need only say one name Kenny Dixon jrever heard of him? Get your own FREE, personal Netscape WebMail account today at http://webmail.netscape.com. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Ambient Zone RTRFM 92.1 Playlist
Ambient Zone RTRFM 92.1 Radio-thon Playlist 06.08.2K The year of the K! Thanks to everyone who supported the show and RTRFM 92.1. 2000 brought Ambient_Zone the highest amount of subscriptions ever. 1st hour by Emma Love Rue Malhuer - Andreas Fragel (MOS) Systemic -Twerk (Force Inc) Paused - Heiko Laux (Kanzleramt) Genstruktkr - Anthony Rother (Psi-Net) Raw Macro - Farben (Klang) Genesis - Larry Heard (Mecca) Rest - Isolee (Playhouse) Untitled - Sutekh (Mille Plateaux) Pathfinder - Sven Vath (Virgin) Atomic Smile - Peter F Spiess (Klang) Altitude - Daniel Wang (Environ) 2nd hour by A_Zed Albino - Codec/ Ocone mix (Component) Bliphop - Phonem (Jetlag) Editha (Live) - Freestyle Man Corrado Izzo (Airbag) Blessings - Darandland (Deep4Life) Commuter Love - CiM (deFocus) Arion 1 2 - Antartika (Toshoklabs) Bliss - Codec/ Proem Mix (Component) A1 - Prism (Sublime) Amine - Arovane (DIN) Synthetic Emotions - 0733 (Probe) Hope everyone who tuned in enjoyed the show. Please feel free to contact me about any querries you have about the show or the tracks featured. Best regards, A_Zed _ Program Co-ordinator, Ambient Zone RTRFM 92.1 Sunday Electronic Listening [http://rtrfm.ii.net] Perth, W.Aust (WST) 23.00-01.00 Detroit (EST) 10.00-12.00 Frankfurt (CET)/ London(GMT) 16.00-18.00
Re: [313] Cliff Thomas/Lou Robinson/The Preps
Robinson talks about The Preps in the interview with him on Cognition (http://techno.ca/cognition) hope this helps. andrew duke justice 808 wrote: Hi Jason, Here's what I know... u may already know the following already?? Cliff Thomas was part of the Detroit first wave and,as you quite rightly mention,he owned the Buy Rite store.In '87 he set up his first label Incognito,which was distributed thru Buy Rite,and released early work from Juan Atkins(Triple XXX Audio Tech,both released in'87),Kevin Saunderson(Keynotes + Reese,both released '87),a Chicago sounding track by a group called Hardhats,as well as stuff by Art Forest(Enterstate),Blake Baxter(Sexuality)and Fade II Black(a white label ep).A short while later he set up thee Express label(Separate Minds, Santonio Eccles,Janette Thomas feat.the classic Mayday mix,etc.).There's no doubt that Cliff helped and supported the first wave of artists but i'm not exactly sure what happend to him/if he dj anywhere(what with me not being from the D) Btw-I think he also put out stuff by Was Not Was under the name The Preps.Wasn't Lou Robinson also involved?? Peace Justice Jason wrote: From: Jason Birchmeier [EMAIL PROTECTED] To: '[EMAIL PROTECTED] Org' 313@hyperreal.org Subject: [313] Cliff Thomas Date: Tue, 8 Aug 2000 15:04:18 -0400 Yesterday I had this conversation, where Cliff Thomas' name was brought up. Sure, I'd heard of the name before, but I didn't quite remember what the story was on him. Guess he had a big role in Detroit's first wave, recording artists such as Atkins, Saunderson, Shakir, and Fowlkes. He also owned Buy Right records, where Mr. Dé and DJ Assault launched their early Electrofunk releases from. Is this factual info? You know how myths seem to litter all these old Detroit stories. I just want to make sure I have the facts straight before I start communicating this info to others. If anyone would like to fill in the blanks, I'm all ears... ...Jason Birchmeier - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] -- Cognition/Andrew Duke's In The Mix mailto:[EMAIL PROTECTED] http://techno.ca/cognition 1096 Queen St #123 Halifax NS Canada B3H 2R9
Re: [313] d-troit techno/bread n' butter (was Re: Ax-020)
And how dare you say that Detroit is stagnant so soon after DEMF!? ;P If this was in response to my comments about Detroit being stagnent then you are preaching to the converted. I totaly agree with you, Detroit is at the cusp of another great wave of freash producers. I greatly appreciate what former producers and djs have done for Detroit, but of late have been let down by the majority of releases and djs sets I have heard from here. Jared Wilson F.T.M. Records From: Mike Taylor [EMAIL PROTECTED] To: gord [EMAIL PROTECTED] CC: JARED WILSON [EMAIL PROTECTED], [EMAIL PROTECTED], 313@hyperreal.org Subject: Re: [313] d-troit techno/bread n' butter (was Re: Ax-020) Date: Tue, 08 Aug 2000 18:04:58 -0400 And how dare you say that Detroit is stagnant so soon after DEMF!? ;P I think the thing to remember is that there is electronic music in Detroit beyond Detroit Techno. Right now there is a lot of stuff that doesnt go doof doof doof that you do not know about yet. There are a lot of cats doing good stuff that don't have deals yet, and even more getting their game together as we speak. Detroit might not be tearing the roof off right now, but there are cats who will be banging you upside the head in another couple years. Detroit isnt going anywhere, there is still alot of time left in the game. take care, MT -- Michael Taylor : [EMAIL PROTECTED] Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
RE: [313] d-troit techno/bread n' butter (was Re: Ax-020)
Oh please not another 'Detroit has lost it' discussion. We had discusions like this before. If you think there is no more interesting techno comming from Detroit (or Detroit-influenced techno) why are those people still on a mailinglist about 313-techno? just wondering... [EMAIL PROTECTED] -Oorspronkelijk bericht- Van: JARED WILSON [mailto:[EMAIL PROTECTED] Verzonden: Wednesday, August 09, 2000 3:28 PM Aan: [EMAIL PROTECTED]; 313@hyperreal.org Onderwerp: Re: [313] d-troit techno/bread n' butter (was Re: Ax-020) And how dare you say that Detroit is stagnant so soon after DEMF!? ;P If this was in response to my comments about Detroit being stagnent then you are preaching to the converted. I totaly agree with you, Detroit is at the cusp of another great wave of freash producers. I greatly appreciate what former producers and djs have done for Detroit, but of late have been let down by the majority of releases and djs sets I have heard from here. Jared Wilson F.T.M. Records From: Mike Taylor [EMAIL PROTECTED] To: gord [EMAIL PROTECTED] CC: JARED WILSON [EMAIL PROTECTED], [EMAIL PROTECTED], 313@hyperreal.org Subject: Re: [313] d-troit techno/bread n' butter (was Re: Ax-020) Date: Tue, 08 Aug 2000 18:04:58 -0400 And how dare you say that Detroit is stagnant so soon after DEMF!? ;P I think the thing to remember is that there is electronic music in Detroit beyond Detroit Techno. Right now there is a lot of stuff that doesnt go doof doof doof that you do not know about yet. There are a lot of cats doing good stuff that don't have deals yet, and even more getting their game together as we speak. Detroit might not be tearing the roof off right now, but there are cats who will be banging you upside the head in another couple years. Detroit isnt going anywhere, there is still alot of time left in the game. take care, MT -- Michael Taylor : [EMAIL PROTECTED] _ ___ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Record Search
Looking for a copy of: Mike Ink We Call it Acid Force Inc. Anyone have a copy they are willing to sell? Jared Wilson F.T.M. Records Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
RE: [313] d-troit techno/bread n' butter (was Re: Ax-020)
this reminds me of lightbulbs, i wonder why 8 D 154
RE: [313] d-troit techno/bread n' butter (was Re: Ax-020)
I am not saying that there is no good techno coming from Detroit. However, the most avant techno I hear of late has come from elsewhere and has begun to influence Detroit (which always happens with anything). My point is not that Detroit has fallen off, but that I am excited to hear what will emerge from the next wave of Detroit producers. We are at another point in Detroit Techno life where we will witness a pacing of the torch. My discussion is not about Detroit has lost it, but about what will emerge from Detroit. I don't care about history, 'cause that's not where I wanna be!!! (The Ramones) Jared Wilson F.T.M. Records From: Jongsma, K.J. [EMAIL PROTECTED] To: 'JARED WILSON' [EMAIL PROTECTED], [EMAIL PROTECTED], 313@hyperreal.org Subject: RE: [313] d-troit techno/bread n' butter (was Re: Ax-020) Date: Wed, 9 Aug 2000 15:47:09 +0200 Oh please not another 'Detroit has lost it' discussion. We had discusions like this before. If you think there is no more interesting techno comming from Detroit (or Detroit-influenced techno) why are those people still on a mailinglist about 313-techno? just wondering... [EMAIL PROTECTED] -Oorspronkelijk bericht- Van: JARED WILSON [mailto:[EMAIL PROTECTED] Verzonden: Wednesday, August 09, 2000 3:28 PM Aan: [EMAIL PROTECTED]; 313@hyperreal.org Onderwerp: Re: [313] d-troit techno/bread n' butter (was Re: Ax-020) And how dare you say that Detroit is stagnant so soon after DEMF!? ;P If this was in response to my comments about Detroit being stagnent then you are preaching to the converted. I totaly agree with you, Detroit is at the cusp of another great wave of freash producers. I greatly appreciate what former producers and djs have done for Detroit, but of late have been let down by the majority of releases and djs sets I have heard from here. Jared Wilson F.T.M. Records From: Mike Taylor [EMAIL PROTECTED] To: gord [EMAIL PROTECTED] CC: JARED WILSON [EMAIL PROTECTED], [EMAIL PROTECTED], 313@hyperreal.org Subject: Re: [313] d-troit techno/bread n' butter (was Re: Ax-020) Date: Tue, 08 Aug 2000 18:04:58 -0400 And how dare you say that Detroit is stagnant so soon after DEMF!? ;P I think the thing to remember is that there is electronic music in Detroit beyond Detroit Techno. Right now there is a lot of stuff that doesnt go doof doof doof that you do not know about yet. There are a lot of cats doing good stuff that don't have deals yet, and even more getting their game together as we speak. Detroit might not be tearing the roof off right now, but there are cats who will be banging you upside the head in another couple years. Detroit isnt going anywhere, there is still alot of time left in the game. take care, MT -- Michael Taylor : [EMAIL PROTECTED] _ ___ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] Fwd: Prince speaks
Thanks for posting this. As cheesy as the man may have gotten over the years, he's still a big part of where the 313 sound came from, so it's still cool to hear his opinions and (occasionally) his music. This comes from someone who's first self purchased 45 (w/ paper route money) was Controversy, wy back in Dem Days. J. www.mp3.com/milkish From: Diana Potts [EMAIL PROTECTED] To: 313@hyperreal.org Subject: [313] Fwd: Prince speaks Date: Wed, 09 Aug 2000 01:15:40 GMT Pardon the previous, I got a bit trigger happy. Fellow 313er, Alex H., sent this to me. Though it is not _directly_ 313 related I thought it deals with some topics we've discussed on this list,from a man who has had such a part (what kind is matter of opinion) in music history (I dont know about you, but 'Manic Monday' brigtened my days as a youth:). Sorry, for the large post. Just delete it,instead of flaming me. d The truth from the artist formerly known as the artist formerly known as Prince. (In his special numeric language and all...) http://www.npgonlineltd.com/freedomnews.html 4 The Love of Music: 2 Very Different Approaches Real music lovers do not simply consume music. Real music lovers develop a special relationship with the works of the artists they like. At some point of their xploration of the music of a new artist, usually something clicks and triggers a whole process of discovery which involves wanting 2 hear everything the artist has ever put out (including b-sides, non-album contributions, etc.), wanting 2 hear it in the best possible conditions, wanting 2 hear live renditions of the music and wanting 2 share this discovery with other people. They also feel that things like album packaging r an integral part of the musical experience, that the artwork, in so far as the artist has been involved in it, is an integral part of the artistic statement of a specific release and they want 2 own an original copy of it so that they can xamine it from all angles, in search of clues, or bits of in4mation which might enhance their understanding and appreciation of the music. On the other hand, some people just consume music. They want a copy of a song bcuz everyone else is in2 the song. They don't really care about top-notch sound quality, as long as it is more or less CD quality. They don't really care about the rest of the contents of the album bcuz all they really like is the hit single that every radio station and music TV station is playing non-stop. They just want 2 b able 2 listen 2 the track over and over again until they wear it out, they effectively consume it and then turn 2 something else. They r not really interested in music as an art 4m, but rather as a 4m of disposable entertainment always looking 4 the latest hit which is going 2 displace the previous chart topper in their social environment, so that they r sure they stay hip 2 the latest trend. Those r 2 very different approaches 2 music. The trouble with the current system is that it is primarily designed 2 meet the needs of music consumers and not of music lovers. There is some overlap, of course, and sometimes real musicians enjoy a fair amount of commercial success which indicates that they r benefiting from the system designed 4 music consumers, that their music is not only appealing 2 music lovers, but also 2 music consumers. This is fine with them as long as they don't have 2 compromise their artistic integrity. Un4tunately, once u become part of the music consuming system, u have 2 obey very different rules and many artists r, understandably, not comfortable with this, which creates all kinds of tensions after they have xperienced a certain amount of commercial success. A Fundamental Hypocrisy The fundamental hypocrisy of the music industry (and of some artists) in the current debate over the MP3 4mat, Napster and other 4ms of online xchange of music is that they r talking about copyright, intellectual property and other such noble concepts when the only thing that they r actually trying 2 protect is the commercial value of their musical product. It's indicative, 4 xample, that, in a recent interview with the Los Angeles Times, Time Warner President Richard Parsons would make comments such as these: An increasing number of young people don't buy albums, so we are not only losing that immediate revenue. They are also growing up with a notion that music is free and ought to be free. This statement deals with the relationship between music and the public from a purely commercial point of view. Nowhere in his statement is there any indication that what might happen with young people xchanging music is that they might develop a real appreciation of music in
New Trackmode double pack
Hi all Any of you cats got your hands on the new double pack promo on trackmode records??The tracklisting is amazing:Theo Parrish,Larry Heard,Rick W etc.can't remember if Kenny is also on there.Can't believe I didn't have enough money to buy it today.Life sucks sometime. Btw-can anyone supply the full tracklisting?? Later Justice Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] New Trackmode double pack
Giles No,you don't know me.I am based in England.Justice 808 may be a new name to most of you on the 313 list,but I have been on the list for a number of years under various names;roc.raider/droid54 etc.Every year I change my name(kinda get bored using the same name all the time).My real name is Leon sewell,so now the truth is out! Peace Justice Giles wrote: From: Giles Dickerson [EMAIL PROTECTED] To: justice 808 [EMAIL PROTECTED] Subject: Re: [313] New Trackmode double pack Date: Wed, 09 Aug 2000 15:02:52 -0400 IS THIS THE JUSTICE THAT I KNOW? // giles justice 808 wrote: Hi all Any of you cats got your hands on the new double pack promo on trackmode records??The tracklisting is amazing:Theo Parrish,Larry Heard,Rick W etc.can't remember if Kenny is also on there.Can't believe I didn't have enough money to buy it today.Life sucks sometime. Btw-can anyone supply the full tracklisting?? Later Justice Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Trackmode in NYC tomorrow!
Just a reminder to come check out Trackmode Recordings Head Honcho Brett Dancer Thursday, Aug 10th. at FUNKBOX 95 Leonard St. b/w Church and Broadway, in Tribeca. $10 21 and over www.scatalogics.com 212.539-4591 Also Appearing will be rising star CASEY HOGAN as well as residents ULYSSES MARKUS MILLER.
New York Aug. 18-20th
Does anyone know of any good Techno events happening in the big apple the weekend of the 18th. Thanks in advance. Please respond in private. Hans ___ Say Bye to Slow Internet! http://www.home.com/xinbox/signup.html
UtilityPlasticsWho?
I have been trying to find out high and low who is behind the superb Utility Plastics series (8 releases this far) but to no avail. If anyone has more information on the label and on who is responsible for the releases, please respond privately. I know it's an UK label, but... -- nuutti-iivari meriläinen gordon at diversion dot org http colon slash slash www dot diversion dot org slash
Re: [313] Modulations
The more conceptual, intelligent, visionary doc. on Techno music. Actually, the name of this aged man is Abdul Haqq(belongs to UR camp),he has made among million things(walls and roof's artwork at Submerge...)Interstellar Fugitives artwork. In this documentary, he was speaking about the 4th dimension, a GREAT realistic sci-fi story. I'm still wondering why he doesn't write a book, including some artworks. From: [EMAIL PROTECTED] To: [EMAIL PROTECTED], 313@hyperreal.org Subject: [313] Modulations Date: Wed, 9 Aug 2000 14:11:02 EDT Somewhere midway Derrick May talks to a rather aged man with a Planet E cap who describes the existence of a 10th planet and how it's meant to represent this music we called techno. I still wonder how much more he knows. A_Zed _ Program Co-ordinator, Ambient Zone RTRFM 92.1 Sunday Electronic Listening [http://rtrfm.ii.net] Perth, W.Aust (WST) 23.00-01.00 Detroit (EST) 10.00-12.00 Frankfurt (CET)/ London(GMT)16.00-18.00 - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
paging markus miller
HEY! MARKUS! i keep seeing your name on these party announcements...how the hell is new york? what is your email address? san francisco sucks! -eli
Re: [313] Modulations
Re: Somewhere midway Derrick May talks to a rather aged man with a Planet E cap Was this in the Modulations video? I don't remember that...I'll have to go home and pop it in the VCR again. Talking about techno videos/tv has anyone ever seen the Space Night program on German BR tv, Bayerisches Fernsehen? Elektrolux artsits provide the soundtracks to images from outerspace (apparently), and the videos are for sale as well. I have some of the Space Night compilations and they are quite good. The website for the shows is: (http://www.br-online.de/wissenschaft/spacenight/) Fred From: xx xx [EMAIL PROTECTED] To: [EMAIL PROTECTED], [EMAIL PROTECTED], 313@hyperreal.org Subject: Re: [313] Modulations Date: Wed, 09 Aug 2000 19:53:21 GMT The more conceptual, intelligent, visionary doc. on Techno music. Actually, the name of this aged man is Abdul Haqq(belongs to UR camp),he has made among million things(walls and roof's artwork at Submerge...)Interstellar Fugitives artwork. In this documentary, he was speaking about the 4th dimension, a GREAT realistic sci-fi story. I'm still wondering why he doesn't write a book, including some artworks. From: [EMAIL PROTECTED] To: [EMAIL PROTECTED], 313@hyperreal.org Subject: [313] Modulations Date: Wed, 9 Aug 2000 14:11:02 EDT Somewhere midway Derrick May talks to a rather aged man with a Planet E cap who describes the existence of a 10th planet and how it's meant to represent this music we called techno. I still wonder how much more he knows. A_Zed _ Program Co-ordinator, Ambient Zone RTRFM 92.1 Sunday Electronic Listening [http://rtrfm.ii.net] Perth, W.Aust (WST) 23.00-01.00 Detroit (EST) 10.00-12.00 Frankfurt (CET)/ London(GMT)16.00-18.00 - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
[313]Detroit breadbutter
For the record :
the original email was in no way ment to incite racisim or from a
racist standpoint
But also for the record :
The orig. thread re: avant guarde techno...all of the artists mentioned as
being avant are white!...and to say that Detroit is in a slump or
letting people down etc...etc.. is not only an insult to those
African/American artists whose music changed the world, but also slaps them in
the face by now saying the white artist from overseas are now better!
Attention: Kraftwerk are amazing artists and have a style solely their own
(my point here...)..{oh yeah what would you call expo 2000...)
but Detroits techno influences albeit with a dab of Kraftwerk are mostly
other Black musicains/artistscan we say Pfunk or George Clinton?
Take for instantance ..Jimmy Hendrix, for those who appericate/understand
what he did, realize : though he had many influences ..his own music was
solely his own ..no one played ,produced , or had his style ..his music was
not a copy of his influences...thats what made him Hendrix
The truth convicts those who aren't within it..techno is not just a form of
music but an ideal ! Take all your lekabush's ,corolla's and even Cox's
and compare them to the innovaters ..the regular guys from Detroit who did it
from their basements in mostly Ghetto(an overused and misunderstood word)
areas with limited resorces and most importantly they did it without selling
their soul to an record label/company .
see [313] Prince speaks for more of the truth
~PEACE unto you all
Get your own FREE, personal Netscape WebMail account today at
http://webmail.netscape.com.
Re: [313]Detroit breadbutter
maybe i'm not a very percpetive person, but when i'm on the dancefloor, i can't
tell whether the music i'm dancing to is made by a black person, a white person,
or a chicken that was left in the studio.
i can't even tell what city or country the music was made in.
but i can remeber the lyrics of a song that used to get played years ago--
'brothers, sisters, one day we'll walk hand in hand to the promised land'.
james
For the record :
the original email was in no way ment to incite racisim or from a
racist standpoint
But also for the record :
The orig. thread re: avant guarde techno...all of the artists mentioned as
being avant are white!...and to say that Detroit is in a slump or
letting people down etc...etc.. is not only an insult to those
African/American artists whose music changed the world, but also slaps them in
the face by now saying the white artist from overseas are now better!
Attention: Kraftwerk are amazing artists and have a style solely their own
(my point here...)..{oh yeah what would you call expo 2000...)
but Detroits techno influences albeit with a dab of Kraftwerk are mostly
other Black musicains/artistscan we say Pfunk or George Clinton?
Take for instantance ..Jimmy Hendrix, for those who appericate/understand
what he did, realize : though he had many influences ..his own music was
solely his own ..no one played ,produced , or had his style ..his music was
not a copy of his influences...thats what made him Hendrix
The truth convicts those who aren't within it..techno is not just a form of
music but an ideal ! Take all your lekabush's ,corolla's and even Cox's
and compare them to the innovaters ..the regular guys from Detroit who did it
from their basements in mostly Ghetto(an overused and misunderstood word)
areas with limited resorces and most importantly they did it without selling
their soul to an record label/company .
see [313] Prince speaks for more of the truth
~PEACE unto you all
Get your own FREE, personal Netscape WebMail account today at
http://webmail.netscape.com.
-
To unsubscribe, e-mail: [EMAIL PROTECTED]
For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313]Detroit breadbutter
-Original Message- From: [EMAIL PROTECTED] [EMAIL PROTECTED] Take all your lekabush's ,corolla's and even Cox's and compare them to the innovaters .. i think it is impossible to compare them, all of the above mentioned artists are somehow unique, their work is the result of their influences and of course they had other influences and live or lived in environments that are different than these of people in detroit. everything that characterizes you as a person is what your environment, your experiences have made you to be. and of course, once the wheel is invented, you can't invent it for a second time, you can only try to develop it in a certain way, so in my opinion it often only seems that people copy something (well, sometimes at least)
