Re: [313] Regarding Business - get with it
am 07.03.2002 0:02 Uhr schrieb [EMAIL PROTECTED] unter [EMAIL PROTECTED]: > REGARDING BUSINESS : the truth I know is: many clubs don´t book the good european artists and labels either - just a few > WHAT ABOUT THE LOVE PARADE > 1.5 MILLION PEOPLE IN ONE AFTERNOON > THIS IS THE BIGGEST EVENT IN THE WORLD The Loveparade is a bunch of M*therf*ckers - The music they do promote is formular-gimmick-techno-rubbish running on MtV- Oakenfoald-style They don´t invite really good European Artists you won´t see Delsin, 2000black, Source (germs), Basic Channel, Archive, Cheap there - just maybe at night in the clubs but not organized by the Bluff-parade Maybe they will catch some of the Neo-Wave-Techno-trash this year and find this funky - when it´s Green Velvet it´s the revolution. The main reason why Detroit techno artists are not coming over here that often is because it´s too high quality and won´t sell as easy as the bullshit does ... m planetz2002 > 10 years ago the world promoter > radio, press will contacting you > for detroit artist > > 10 years ago all european > majors or big independant > label will contact you also > for your detroit artist > > now, 95 % of european promoter > does not want to book detroit > dj often scare of no show, not > collecting the money back > for the 50 % deposit or flight. > > Label company does not > want to deal anymore too much > with Detroit artist as they do not > deliver on time what they did promis... > > > Demf is now controlling by > Carol Marvin who think that is > the biggest festival in the world !!! > WHAT ABOUT THE LOVE PARADE > 1.5 MILLION PEOPLE IN ONE AFTERNOON > THIS IS THE BIGGEST EVENT IN THE WORLD > > > Business is business, I'm > in the business since more than 10 years > and if you don't handle the business correctly > people will not follow any more, > and the reputation going down, down, > down. > > > regards black and white, i think > this is more into the USA... > We don't have to deal too much with this > problem in europ, but for sure in the > usa it is a real problem and i'm agree > with Laura for this... > > Detroit artist are really respect > in europ may be more than the usa > and lots of people here in europ will > still keep to listen detroit stuff all the > time. > > Regards, > > Fdjaaleb. > > > - > 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]
Re: [313] Regarding Business
"Pouvrenoir": You have your opinion. But there is plenty in what you say that should be challenged. Oakenfold may "speak" to more people with his music, but then by that criteria we all ought to drop all of this and just talk about N Sync, Brittney and U2, because they talk to the most people of all. Juan Atkins doesn't have to "pull the race card." You say that like it's some kind of trick or excuse. How about considering that it represents *reality*. It's certainly not going to do his career much good with the industry and the public to have his picture on the cover of XLR8R with that being the main theme. Your position seems to be that if the man's observations about two decades of personal experience makes bystanders uncomfortable, then there is something wrong with that. The point that Juan makes that speaks the loudest to me, anyway, is that despite all the changes in our society, the structure of the music industry and how it promotes the attitude of racial separation is *still with us* -- 40 years after Miles Davis was talking about exactly the same thing. Take a look in a record chain store the next time you're there. How many of them relegate "urban contemporary" (i.e., song-oriented styles by African American artists) to a separate section from "rock". And yet much of the top-selling "rock" has much the same instrumentation, lyrical style and so on. As for there not being a racial divide in electronic music, as if it's different than the music business in general, that may be the key issue here. And my observation is, it's more true now than it was a decade ago. The audience, the labels, the promotion, the events are all highly segregated now in electronic music. There are subgenres where this is less the case, like Detroit techno itself. As for UR, they are certainly NOT "anti anything not black." Only those who are not paying attention would believe that. I also don't see UR trying to "monopolize the spotlight" -- quite the opposite, in fact. I was very pleased to see them come in as sponsors of the Porter St. weekly after a long period where they have not been very visible in the Detroit scene. Finally, as for DEMF being a "promo package" for Planet E, KMS and Metroplex, I completely disagree. If you look at the two years of DEMF, there are some who have been left out that should be included (AO and Rob Hood, to begin with, and I'd also like to see Billeebob who I have unfortunately never seen play, and people like Dwayne Jensen and Reggie Dokes and the others who have been around for a long time doing a good job on the decks, as well as some of the lesser known DJs from the UR crew -- and there are still some 313 list members who need their time in the spotlight!). But the one thing that stands out is the breadth and depth of the artist lineup that Carl Craig put together. It really has been the finest of Detroit. And I'm not wrong about this, and I am not out of touch with the Detroit scene. phred - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business - get with it
REGARDING BUSINESS : To Laura, 10 years ago the world promoter radio, press will contacting you for detroit artist 10 years ago all european majors or big independant label will contact you also for your detroit artist now, 95 % of european promoter does not want to book detroit dj often scare of no show, not collecting the money back for the 50 % deposit or flight. Label company does not want to deal anymore too much with Detroit artist as they do not deliver on time what they did promis... Demf is now controlling by Carol Marvin who think that is the biggest festival in the world !!! WHAT ABOUT THE LOVE PARADE 1.5 MILLION PEOPLE IN ONE AFTERNOON THIS IS THE BIGGEST EVENT IN THE WORLD Business is business, I'm in the business since more than 10 years and if you don't handle the business correctly people will not follow any more, and the reputation going down, down, down. regards black and white, i think this is more into the USA... We don't have to deal too much with this problem in europ, but for sure in the usa it is a real problem and i'm agree with Laura for this... Detroit artist are really respect in europ may be more than the usa and lots of people here in europ will still keep to listen detroit stuff all the time. Regards, Fdjaaleb. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Trance and everything else
> long boring plod-house Ooooh I love plod-house :) Cheers, -m - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business - get with it
>who >is that carl cox figure. >fat ass dj running intec nothing special >clap clap clap: there ya go! >I certainly didn't see richie in a commercial in europe where >he's got an apron on and mixing batter in a bowl in a kitchen, promoting >some mix cd or club night. Hold on there - you are comparing apples and oranges now. You are refering to a commercial that ran in Europe where people tend to be a bit more open minded about the arts - music included, and therefore about the people who create the arts - ie. Carl Cox Yeah, Cox leans toward a populist audience but when I've seen him play in Minneapolis he really went balls out with the techno - and you should all know by now how rare a techno artist comes here. So I think he knows what he's doing and staying true to himself. Juan Atkins - no offense to the man for I do respect him greatly - has not shown up for the last two event that I was aware he was supposed to attend here (no explanation was given by either the promoter or the artists camp so who knows what happened). You can't help but start thinking twice about going to see him again - will he show or won't he? Just for the record - I'll go because he just might show up and rock the place. I think I'm digressing but everything is so confused at the moment I can't tell for sure. Since I live in the US where the arts are slashed out of school programs and the tight ass right wing politicians attack it for, *gasp*, challenging their perspectives, I don't see either Richie or Carl Cox in a commerical - I hear Juan (Ford Focus) but I see and hear Moby (Nordstroms/SciFi channel)! Ah this thread is running in nasty evil circles! Plus - Carl Cox is a black man and I thought this was an issue of skin color and opportunity - though *maybe* (this is an assumption I am making not based on any facts of his life that I know) he's had it easier living across the ocean - seems like Jeff Mills, Claude Young and a slew of other black American artists always have (all the be-bop jazz artists for example). That's why they go there to play and live - it's easier for them and I don't blame them if they do. What would you rather do - stay some place where it never seems to get sorted out or go where people are going to respect you for who you are - not what color your skin is. I'm not saying that Europe is Wonderland - its got its problems with racial issues too but obviously if some of these cats are going there to live they must be doing something better there than we are here. Has Claude Young ever spoken about the differences between living in Detroit and living in Glasgow? I'd be interested in reading/hearing what he has to say. We shouldn't confuse this very important topic - it's not about if you are underground or if you are from Europe - if Carl Cox came to live in the US he'd probably run a greater chance of getting pulled over by a cop because he is black. The issue is being black and living in the "land of the free". Stop arguing over personal shit - take it off list. Let's get with the program and work this m*therf*cker out! MEK glyph1001 <[EMAIL PROTECTED]To: 313@hyperreal.org ink.net> cc: Subject: Re: [313] Regarding Business 03/06/02 04:04 PM Please respond to glyph1001 cox is definitely more known in a 'mainstream' type of way as opposed to richie. I certainly didn't see richie in a commercial in europe where he's got an apron on and mixing batter in a bowl in a kitchen, promoting some mix cd or club night. g. [EMAIL PROTECTED] wrote: >hmmm. hawtin or cox. internationally, i really think cox might have a >slightly higher profile, although i could be wrong. > > > >On Wed, 6 Mar 2002, Berislav wrote: > >> >>>trance: oakenfold, sasha digweed (white) >>>te
Re: [313] Trance and everything else
i actually dig the luke slater. am i the only one who hears a tinge of AC/DC in the vocal delivery? But I'm super diggin' the new baby ford & ifach collective- sacred machine On Wed, 6 Mar 2002, innercity records wrote: > well said. > > here's some music i like. > > the new one on delsin from stinkworx. > check it and buy it. superb deep metro > area style techno. > > youngsters - smile mixes on f-com > vocal's sounding like sade. wicked. > > user 15 double pack. top drawer dj tools. > > jeff mills - late night on tresor with the > new mix of axis9b. dirty. > > > and one i don't > the new luke slater. awful 80's influence with > godawful uk style tech-house (meaning > long boring plod-house) mixes. > > anyone heard the jaguar bootleg with > silicon soul vocal over top? is it as crap > as i think it will be? > > > paul > www.innercity.gemm.com > > > > > - Original Message - > From: Giles Dickerson <[EMAIL PROTECTED]> > To: 313@Hyperreal.Org (E-mail) <313@hyperreal.org> > Sent: Wednesday, March 06, 2002 8:56 PM > Subject: [313] Trance and everything else > > > Don't you all think it's time to accept that not everybody likes the same > music and to some people Trance is the best. I try to introduce people to > things they may not know about but some people enjoy liking trance and > that's OK. Diversity folks. Geez, LET'S GET BACK TO DISCUSSING MUSIC WE DO > LIKE. > > - Giles > > D I G I T A S // B O S T O N > -- > Giles Dickerson > Art Director > 800 Boylston Street > Boston, MA > 02199 > -- > mobile 617 899 9635 > office 617 369 8601 > > - > 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] > > - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] Same 'ole game/Different players (Was Regarding business)
Can we stop these childishnesses for 5 minutes ? please.
We have here a communication's issue, people just hear and understand what
they want to hear and what they want to understand, the main point of
Laura was , there is something wrong in the Music industry, and yes there is
something wrongnot only in technobut before music industry(MI)
classifies us, we, all of us , should know... is it so hard to analyse
what's going on for 40 years now ?
Introduction
Time and time again we can see examples of where culture that has been
observed, then joined, dominated, destroyed, then regurgitated and
reformatted for the benefit of those outside of the original culture. Most
often these outsiders then manifest themselves as a force of oppression.
Instinct of self-preservation…
* The systems -see nothing really new...-
-Mass Promotion
-MTV Rules
-The Warning games
If record companies will find something new, like a sound that they like,
later they will usually suck out all the soul to it and act like they
control it. They "heat it up"…..
- Trends (and how to make them)
- Forced Listening and other Hypocrisies
- How to raise sheep
Seeing how impressionable the average person is, the music industry can
succeed in getting everyone to buy whatever "product" they put out. Why do
you think that millions of dollars are spent on advertising? To not only
promote the product, but to convince people that they need that item. Is it
working?
Is New Music Relevant in an Industrial Society?
If you make a record, you are not automatically ensured that the song you
wrote or recorded will reach the marketplace, because some coward from the
record company may come up and say he can't allow it to be released for
"reasons."
-Majority Rules, Majority Sucks
It only matters to industries that make cash off of the weak public, whom
they have manipulated, and turned their brains into spaghetti.
- The racial side of the music industry
The career prospects are grim for a black musician who falls outside the
rigid stylistic confines of the "urban contemporary" sound. ("Urban
contemporary" is the industry’s code-name for music aimed at a
predominantly black audience.) Black musicians who don't croon romantic
ballads, rap, or make good-timely party records usually find themselves
locked outside both white and black markets.
Funk (as well as R&B and Hip-hop) has been traditionally a musical form of
Black America. Rock, (as well as Country) on the other hand, has been since
the late 60's and early 70's, the traditional musical form of White America.
But this is not the way it started out. The music industry has segmented the
genre, and our brains.
It's difficult to say exactly when the change occurred. But several factors
were definitely involved, many of whom were overt and deliberately racist.
Rock 'n Roll in the 50's was a form of music which was largely if not
predominantly created and formed by black artists. Chuck Berry, Bo Diddly,
Fat's Domino, Little Richard, Chubby Checker, The Isley Brother's, and many
more...were leaders in Rock 'n Roll along with white artists such as Jerry
Lee Lewis, The Big Bopper, and Buddy Holly. Latino's such as Richie
Valenzuela were also involved, but in his case his name had to be modified
to Richie Valens in order to hide his ethnicity (despite that, the song "La
Bamba" made it quite obvious what his roots were.
*The Switch Play
In the late 60's, songs released by black artists were often re-recorded by
white artists and released so quickly that they were actually in competition
with each other on the same charts. The simple fact that then, as now, the
majority of American radio listeners and buyers are white, and the
interpretations of these original songs of black artist by whites were more
palatable to a white audience.
One example is the fact that blues artist, Big Mama Thornton, originally
recorded Elvis Presley’s «Hound Dog»!
Gradually Elvis became all image, all hype...with little substance or true
significance other than looking good. A hollow God.
Perhaps the most obvious example of a "Hollow God" though, is Pat Boone's
rerecording of Little Richard's "Tooty Fruity", which charted simultaneously
(and higher) than the original. ….
When faced with multiple versions of the same songmany radio stations
simply stopped playing the "original" version and gradually those versions
dropped off the charts and the career of many of those artists, ended.
*The trend Thang
I won’t say anything on this subject, that too horrible for my brain
but in 60’ that started with the hair…….
*The End?
Gradually as a greater and greater percentage of white artist began playing
rock in response to the (black American inspired) British invasion –
the MI stopped seeing Rock as being a form of Black music. The MI
increasingly became to think of it as "white" people's music and not black
people music. This barrier had grown by the late 60's
By the late 60's
Re: [313] Regarding Business
I guess I must be speaking another language. you must be, because the below statement was either translated incorrectly of the dumbest thing anyone has said on this list (in my humble opinion of course). no one called Atkins a "racist" as if any "black" person could ever be. its kinda ironic that comments like this are full on racist, and if made by a black person, simply proof that black people can be racist. _ Chat with friends online, try MSN Messenger: http://messenger.msn.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business
cox is definitely more known in a 'mainstream' type of way as opposed to richie. I certainly didn't see richie in a commercial in europe where he's got an apron on and mixing batter in a bowl in a kitchen, promoting some mix cd or club night. g. [EMAIL PROTECTED] wrote: hmmm. hawtin or cox. internationally, i really think cox might have a slightly higher profile, although i could be wrong. On Wed, 6 Mar 2002, Berislav wrote: trance: oakenfold, sasha digweed (white) techno: carl cox? (black) jungle: goldie (black) come on, man ,techno carl cox if somebody is mega super star in techno thats got to be Richie Hawtin, who is that carl cox figure. fat ass dj running intec nothing special b. - 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] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business
clap clap clap: there ya go! i know we've been through this and the opinions of it is varied but that new de9 is slammin', even now. g. Berislav wrote: trance: oakenfold, sasha digweed (white) techno: carl cox? (black) jungle: goldie (black) come on, man ,techno carl cox if somebody is mega super star in techno thats got to be Richie Hawtin, who is that carl cox figure. fat ass dj running intec nothing special b. - 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]
Re: [313] Regarding Business
I guess I must be speaking another language. I said I do not have a problem with Atkins and I also suggested you read the article. no one called Atkins a "racist" as if any "black" person could ever be. Five - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Trance and everything else
well said. here's some music i like. the new one on delsin from stinkworx. check it and buy it. superb deep metro area style techno. youngsters - smile mixes on f-com vocal's sounding like sade. wicked. user 15 double pack. top drawer dj tools. jeff mills - late night on tresor with the new mix of axis9b. dirty. and one i don't the new luke slater. awful 80's influence with godawful uk style tech-house (meaning long boring plod-house) mixes. anyone heard the jaguar bootleg with silicon soul vocal over top? is it as crap as i think it will be? paul www.innercity.gemm.com - Original Message - From: Giles Dickerson <[EMAIL PROTECTED]> To: 313@Hyperreal.Org (E-mail) <313@hyperreal.org> Sent: Wednesday, March 06, 2002 8:56 PM Subject: [313] Trance and everything else Don't you all think it's time to accept that not everybody likes the same music and to some people Trance is the best. I try to introduce people to things they may not know about but some people enjoy liking trance and that's OK. Diversity folks. Geez, LET'S GET BACK TO DISCUSSING MUSIC WE DO LIKE. - Giles D I G I T A S // B O S T O N -- Giles Dickerson Art Director 800 Boylston Street Boston, MA 02199 -- mobile 617 899 9635 office 617 369 8601 - 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]
Re[2]: [313] RE: REGARDING BUSINESS
http://www.bprince.com/thread.jpg - Brian "balistic" Prince http://www.bprince.com - art and techno Strokes of Defiance EP . . . soon. "The other Prince of techno" - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business
I doubt that Juan would be making racist sounding > comments. why would you talk shit about the man when you > can EASILY contact him and hash things out with him? dont > you think he (or you if you were in his position) would > prefer that? in my humble opinion, if i was in his position, i would understand that people *will* talk shit about me, and leave it at that. People with fame status need to either blow that kind of shit off, or see if it helps them improves themselves. Talk shit would be something i would blow off. _ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business
my apologies for my comment if you arent the offending mic yeller at motor. Please dont beat me. :P - Original Message - From: <[EMAIL PROTECTED]> To: "keleigh casper" <[EMAIL PROTECTED]> Cc: <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>; <313@hyperreal.org> Sent: Wednesday, March 06, 2002 4:32 PM Subject: Re: [313] Regarding Business jesus h christ. you have no idea who i am. #1 i have never siad anythign in the motor mic about detroit. i don't get on the motor mic. #2 i don't particularly care what you think about the music magazines i write for. #3 i wouldn't do a feature on 'mixworks'. the comment about buzz pulling the old-school contacts is something that he said to me personally. as for the octive one piece, i wanted to talk to lenny about what's important to him, and that is the new music, the new emphasis on production quality and their re-invigorated push towards propely marketting their music. don;t let your priorities overshadow the artist's. #4 i explained to you and everyone else in private that the adriel thing was a typo. #5 laura stated in her message that sasha and digweed and the system that makes them popular keeps juan down, therefore restricting the financal rewards for each of them. On Wed, 6 Mar 2002, keleigh casper wrote: > 1. i said Mixer Incs. referring to whatever fill-in-the-blank trash music > pub you choose. > > 2. I'm clearly stating who you work for and how you might be protecting your > own interest, as you accuse others. > > 3. You never did a 'feature' on Mixworks. And the ONE time you mentioned the > night in your column, you refered to Buzz Goree, veteran dj, as pulling on > his 'old-school contacts' to build the night. We werent sure what that > meant, but you never asked one of us how we built the night, so that was at > least inaccurate, if not presumptuous. You also said that Adriel (local > promoter) was a member of Underground Resistance, when he is neither that > nor involved with the night anymore. Lastly, when you covered Octave One -- > you barely scratched the surface and in my opinion, did nothing to educate > the reader, but rather threw extremely untarget, unshaped questions at them, > requiring THEM to do the work. How journalistic. > > Good events and good music do not need you to report nor twist what the > essence and motivations are behind them. Please don't ever cover my night > again -- I'll do it myself. > > And as far as the Laura/Juan thing goes -- first, you're wrong in those > presumptions about how they earn their livelihood AND you're discussing the > innovator of what we call Techno and all your insifnificant sub-genres > created to make the egomaniac journalists sound smart when they cant gauge > quality on their own (is this cool to say is cool??) as well as one of the > innovators of dance music marketing and electronic artist representation. > She built the very industry and artists you crawl behind and drunkenly give > shout outs to on the motor stage so famously. > > > >From: <[EMAIL PROTECTED]> > >To: keleigh casper <[EMAIL PROTECTED]> > >CC: <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, > ><[EMAIL PROTECTED]>, <313@hyperreal.org> > >Subject: Re: [313] Regarding Business > >Date: Wed, 6 Mar 2002 15:50:37 -0500 (EST) > > > >number one- > > > >the magazine you are refering to is mixer. i have not ever written for > >them. > > > >#2- almost every single detroit artist of note has played motor, so i > >don't want to hear about it. > > > >#3- you didn't seem to have a problem with my politics when i was doing > >features on your night. > > > >THis entire discussion began when laura posted a completely unsolicited > >tirade about how everyone should work to make the sasha and digweed show a > >failiur because their sucess damages her and juans livelyhood. > > > >that is plain-old wrong and as an active member of the electronic > >community in Detorit, I felt obligated to counter her argument. > > > >I've always had a great time at mixworks and other Detroit-centric events. > > > >However, I will not limit myself to an us against them method of > >appriciating music or operating my business. > > > >Whenever there is a Detroit based event, I encourge ppl to attend, whether > >trough my writing, or though personal channels. But i will NEVER > >discourage ppl from attending any event because it goes against my > >personal taste. > > > >On Wed, 6 Mar 2002, keleigh casper wrote: > > > > > >my intention was to correct certain ppl who make their living off of > > >juan > > > >adn feel the need to discredit other artist in a vague attempt to >up > >their > > > >income. > > > > > > > > > and in that vein, who pays your bills (???) mr. i work for motor and > > > freelance for ad-driven, cheese filled, put lil' kim on the cover cuz > >she's > > > made of plastic and played a record once in tokyo magazines? > > > > > > so are you discrediting the innovators, the musicians, t
Re: [313] Regarding Business
jesus h christ. you have no idea who i am. #1 i have never siad anythign in the motor mic about detroit. i don't get on the motor mic. #2 i don't particularly care what you think about the music magazines i write for. #3 i wouldn't do a feature on 'mixworks'. the comment about buzz pulling the old-school contacts is something that he said to me personally. as for the octive one piece, i wanted to talk to lenny about what's important to him, and that is the new music, the new emphasis on production quality and their re-invigorated push towards propely marketting their music. don;t let your priorities overshadow the artist's. #4 i explained to you and everyone else in private that the adriel thing was a typo. #5 laura stated in her message that sasha and digweed and the system that makes them popular keeps juan down, therefore restricting the financal rewards for each of them. On Wed, 6 Mar 2002, keleigh casper wrote: > 1. i said Mixer Incs. referring to whatever fill-in-the-blank trash music > pub you choose. > > 2. I'm clearly stating who you work for and how you might be protecting your > own interest, as you accuse others. > > 3. You never did a 'feature' on Mixworks. And the ONE time you mentioned the > night in your column, you refered to Buzz Goree, veteran dj, as pulling on > his 'old-school contacts' to build the night. We werent sure what that > meant, but you never asked one of us how we built the night, so that was at > least inaccurate, if not presumptuous. You also said that Adriel (local > promoter) was a member of Underground Resistance, when he is neither that > nor involved with the night anymore. Lastly, when you covered Octave One -- > you barely scratched the surface and in my opinion, did nothing to educate > the reader, but rather threw extremely untarget, unshaped questions at them, > requiring THEM to do the work. How journalistic. > > Good events and good music do not need you to report nor twist what the > essence and motivations are behind them. Please don't ever cover my night > again -- I'll do it myself. > > And as far as the Laura/Juan thing goes -- first, you're wrong in those > presumptions about how they earn their livelihood AND you're discussing the > innovator of what we call Techno and all your insifnificant sub-genres > created to make the egomaniac journalists sound smart when they cant gauge > quality on their own (is this cool to say is cool??) as well as one of the > innovators of dance music marketing and electronic artist representation. > She built the very industry and artists you crawl behind and drunkenly give > shout outs to on the motor stage so famously. > > > >From: <[EMAIL PROTECTED]> > >To: keleigh casper <[EMAIL PROTECTED]> > >CC: <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, > ><[EMAIL PROTECTED]>, <313@hyperreal.org> > >Subject: Re: [313] Regarding Business > >Date: Wed, 6 Mar 2002 15:50:37 -0500 (EST) > > > >number one- > > > >the magazine you are refering to is mixer. i have not ever written for > >them. > > > >#2- almost every single detroit artist of note has played motor, so i > >don't want to hear about it. > > > >#3- you didn't seem to have a problem with my politics when i was doing > >features on your night. > > > >THis entire discussion began when laura posted a completely unsolicited > >tirade about how everyone should work to make the sasha and digweed show a > >failiur because their sucess damages her and juans livelyhood. > > > >that is plain-old wrong and as an active member of the electronic > >community in Detorit, I felt obligated to counter her argument. > > > >I've always had a great time at mixworks and other Detroit-centric events. > > > >However, I will not limit myself to an us against them method of > >appriciating music or operating my business. > > > >Whenever there is a Detroit based event, I encourge ppl to attend, whether > >trough my writing, or though personal channels. But i will NEVER > >discourage ppl from attending any event because it goes against my > >personal taste. > > > >On Wed, 6 Mar 2002, keleigh casper wrote: > > > > > >my intention was to correct certain ppl who make their living off of > > >juan > > > >adn feel the need to discredit other artist in a vague attempt to >up > >their > > > >income. > > > > > > > > > and in that vein, who pays your bills (???) mr. i work for motor and > > > freelance for ad-driven, cheese filled, put lil' kim on the cover cuz > >she's > > > made of plastic and played a record once in tokyo magazines? > > > > > > so are you discrediting the innovators, the musicians, the > >history-altering, > > > no matter how 'dusty', in a vague attempt to up yours? > > > > > > > > > > > > > > > > > > > > > >From: <[EMAIL PROTECTED]> > > > >To: <[EMAIL PROTECTED]> > > > >CC: <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, > ><[EMAIL PROTECTED]>, > > > ><313@hyperreal.org> > > > >Subject: Re: [313] Regarding Business > > > >Date: Wed, 6 Mar 2002 14:17:39 -0500 (EST) > > >
RE: [313] Regarding Business
Hi there. I haven't tried this out yet, so if anyone out there does please let me know. Rock out silverhawks & thundercats! ** Chocolate Brownie Cookies 1/4 cup all-purpose flour 1/4 teaspoon baking powder 1/8 teaspoon salt 2 eggs 2/3 cup sugar 1/2 tablespoon freshly brewed strong coffee 1 teaspoon vanilla extract 2 tablespoons unsalted butter 5 ounces bittersweet chocolate, chopped 2 ounces unsweetened chocolate, chopped 3/4 cup mini chocolate chips 1. Heat oven to 375°. Line baking sheets with parchment paper. 2. Whisk together the flour, baking powder and salt in small bowl until well blended. 3. Lightly beat the eggs in large bowl. Add the sugar, coffee and vanilla; beat with hand-held mixer on high speed for 10 minutes or until tripled in volume. 4. Meanwhile, heat together butter, bittersweet chocolate and unsweetened chocolate in top of double boiler over simmering water until butter and chocolate are melted. Remove top of double boiler from over water. Stir mixture until smooth. 5. Gently fold chocolate mixture into egg mixture until partially combined; some streaks should remain. Fold in flour mixture. Fold in chocolate chips. Let batter rest 10 minutes; batter will thicken slightly. 6. Drop the batter by heaping teaspoonfuls onto the prepared baking sheets, spacing the batter mounds about 2 inches apart. 7. Bake in 375° oven until the cookies are puffed and cracked, 8 to 9 minutes. Cool cookies on baking sheet on wire rack for 5 minutes. Remove cookies to rack and let cool completely. Variation: Substitute 1/2 cup chopped toasted nuts or dried sour cherries for 1/2 cup of the chocolate chips. -Original Message- From: keleigh casper [mailto:[EMAIL PROTECTED] Sent: Wednesday, March 06, 2002 4:15 PM To: [EMAIL PROTECTED] Cc: [EMAIL PROTECTED]; [EMAIL PROTECTED]; [EMAIL PROTECTED]; [EMAIL PROTECTED]; 313@hyperreal.org Subject: Re: [313] Regarding Business 1. i said Mixer Incs. referring to whatever fill-in-the-blank trash music pub you choose. 2. I'm clearly stating who you work for and how you might be protecting your own interest, as you accuse others. 3. You never did a 'feature' on Mixworks. And the ONE time you mentioned the night in your column, you refered to Buzz Goree, veteran dj, as pulling on his 'old-school contacts' to build the night. We werent sure what that meant, but you never asked one of us how we built the night, so that was at least inaccurate, if not presumptuous. You also said that Adriel (local promoter) was a member of Underground Resistance, when he is neither that nor involved with the night anymore. Lastly, when you covered Octave One -- you barely scratched the surface and in my opinion, did nothing to educate the reader, but rather threw extremely untarget, unshaped questions at them, requiring THEM to do the work. How journalistic. Good events and good music do not need you to report nor twist what the essence and motivations are behind them. Please don't ever cover my night again -- I'll do it myself. And as far as the Laura/Juan thing goes -- first, you're wrong in those presumptions about how they earn their livelihood AND you're discussing the innovator of what we call Techno and all your insifnificant sub-genres created to make the egomaniac journalists sound smart when they cant gauge quality on their own (is this cool to say is cool??) as well as one of the innovators of dance music marketing and electronic artist representation. She built the very industry and artists you crawl behind and drunkenly give shout outs to on the motor stage so famously. >From: <[EMAIL PROTECTED]> >To: keleigh casper <[EMAIL PROTECTED]> >CC: <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, ><[EMAIL PROTECTED]>, <313@hyperreal.org> >Subject: Re: [313] Regarding Business >Date: Wed, 6 Mar 2002 15:50:37 -0500 (EST) > >number one- > >the magazine you are refering to is mixer. i have not ever written for >them. > >#2- almost every single detroit artist of note has played motor, so i >don't want to hear about it. > >#3- you didn't seem to have a problem with my politics when i was doing >features on your night. > >THis entire discussion began when laura posted a completely unsolicited >tirade about how everyone should work to make the sasha and digweed show a >failiur because their sucess damages her and juans livelyhood. > >that is plain-old wrong and as an active member of the electronic >community in Detorit, I felt obligated to counter her argument. > >I've always had a great time at mixworks and other Detroit-centric events. > >However, I will not limit myself to an us against them method of >appriciating music or operating my business. > >Whenever there is a Detroit based event, I encourge ppl to attend, whether >trough my writing, or though personal channels. But i will NEVER >discourage ppl from attending any event because it goes against my >personal taste. > >On Wed, 6 Mar 2002, keleigh casper wrote: > > > >m
RE: [313] RE: REGARDING BUSINESS
The thread will defy you and continue to live for months for it is the spawn of SATAN!!! -Original Message- From: Kyle J Dupuy [mailto:[EMAIL PROTECTED] Sent: Wednesday, March 06, 2002 4:29 PM To: 313@hyperreal.org Subject: [313] RE: REGARDING BUSINESS DIE, thread...please, for the love of god, DIE - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] RE: REGARDING BUSINESS
DIE, thread...please, for the love of god, DIE - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
FW: Re: [313] Regarding Business
"every kind of music played by a black musician includes a black message" my favorite is "we are going to create something they can't steal because they can't play it" monk during the evolution of bop This list doesn´t even come to the point to reflect it in the way it should be because everytime someone appears to shout STOP IT yes as long so many people STILL keep bumpin it against the wall REJECT IT or IGNORE IT by calling it COMPLETELY OFF TOPIC it needs to be corrected, everytime amen and realize it is a _privilege_ to be able to ignore it.. realize that complaining about swearing and fighting speaks to your middle class background (or at least socialization) understand institutional privilege..for example artists like juan etc. may have made a name for themselves but no matter how much money they have made, no matter how much respect they receive in their community they can (and most probably will) be stopped at some point in their lives for dwb (driving while black) something %90 on this list will _never_ experience_that_ is an example of institutional privilege..until you understand these concepts you will never make sense of the barriers facing people in the music or any other industry kathleen - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] mail2web - Check your email from the web at http://mail2web.com/ . - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business
LOL HE'S the idiot who is hollering on the mic at motor?!??!? HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA kinda like the guy at every party who has to whistle real loud on the downbeat. - Original Message - From: "keleigh casper" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Cc: <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>; <313@hyperreal.org> Sent: Wednesday, March 06, 2002 4:15 PM Subject: Re: [313] Regarding Business > 1. i said Mixer Incs. referring to whatever fill-in-the-blank trash music > pub you choose. > > 2. I'm clearly stating who you work for and how you might be protecting your > own interest, as you accuse others. > > 3. You never did a 'feature' on Mixworks. And the ONE time you mentioned the > night in your column, you refered to Buzz Goree, veteran dj, as pulling on > his 'old-school contacts' to build the night. We werent sure what that > meant, but you never asked one of us how we built the night, so that was at > least inaccurate, if not presumptuous. You also said that Adriel (local > promoter) was a member of Underground Resistance, when he is neither that > nor involved with the night anymore. Lastly, when you covered Octave One -- > you barely scratched the surface and in my opinion, did nothing to educate > the reader, but rather threw extremely untarget, unshaped questions at them, > requiring THEM to do the work. How journalistic. > > Good events and good music do not need you to report nor twist what the > essence and motivations are behind them. Please don't ever cover my night > again -- I'll do it myself. > > And as far as the Laura/Juan thing goes -- first, you're wrong in those > presumptions about how they earn their livelihood AND you're discussing the > innovator of what we call Techno and all your insifnificant sub-genres > created to make the egomaniac journalists sound smart when they cant gauge > quality on their own (is this cool to say is cool??) as well as one of the > innovators of dance music marketing and electronic artist representation. > She built the very industry and artists you crawl behind and drunkenly give > shout outs to on the motor stage so famously. > > > >From: <[EMAIL PROTECTED]> > >To: keleigh casper <[EMAIL PROTECTED]> > >CC: <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, > ><[EMAIL PROTECTED]>, <313@hyperreal.org> > >Subject: Re: [313] Regarding Business > >Date: Wed, 6 Mar 2002 15:50:37 -0500 (EST) > > > >number one- > > > >the magazine you are refering to is mixer. i have not ever written for > >them. > > > >#2- almost every single detroit artist of note has played motor, so i > >don't want to hear about it. > > > >#3- you didn't seem to have a problem with my politics when i was doing > >features on your night. > > > >THis entire discussion began when laura posted a completely unsolicited > >tirade about how everyone should work to make the sasha and digweed show a > >failiur because their sucess damages her and juans livelyhood. > > > >that is plain-old wrong and as an active member of the electronic > >community in Detorit, I felt obligated to counter her argument. > > > >I've always had a great time at mixworks and other Detroit-centric events. > > > >However, I will not limit myself to an us against them method of > >appriciating music or operating my business. > > > >Whenever there is a Detroit based event, I encourge ppl to attend, whether > >trough my writing, or though personal channels. But i will NEVER > >discourage ppl from attending any event because it goes against my > >personal taste. > > > >On Wed, 6 Mar 2002, keleigh casper wrote: > > > > > >my intention was to correct certain ppl who make their living off of > > >juan > > > >adn feel the need to discredit other artist in a vague attempt to >up > >their > > > >income. > > > > > > > > > and in that vein, who pays your bills (???) mr. i work for motor and > > > freelance for ad-driven, cheese filled, put lil' kim on the cover cuz > >she's > > > made of plastic and played a record once in tokyo magazines? > > > > > > so are you discrediting the innovators, the musicians, the > >history-altering, > > > no matter how 'dusty', in a vague attempt to up yours? > > > > > > > > > > > > > > > > > > > > > >From: <[EMAIL PROTECTED]> > > > >To: <[EMAIL PROTECTED]> > > > >CC: <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, > ><[EMAIL PROTECTED]>, > > > ><313@hyperreal.org> > > > >Subject: Re: [313] Regarding Business > > > >Date: Wed, 6 Mar 2002 14:17:39 -0500 (EST) > > > > > > > >my intention was never to slap juan. > > > >my intention was to correct certain ppl who make their living off of > >juan > > > >adn feel the need to discredit other artist in a vague attempt to up > >their > > > >income. > > > > > > > >although, in a moment of blatent self appraisal, i suppose i have taken > >a > > > >few shots at juan in the interest of promoting otehr artist who i > > > >personally feel deserve the attention more than he does. > > > > > > > >w
Re: [313] Regarding Business
1. i said Mixer Incs. referring to whatever fill-in-the-blank trash music pub you choose. 2. I'm clearly stating who you work for and how you might be protecting your own interest, as you accuse others. 3. You never did a 'feature' on Mixworks. And the ONE time you mentioned the night in your column, you refered to Buzz Goree, veteran dj, as pulling on his 'old-school contacts' to build the night. We werent sure what that meant, but you never asked one of us how we built the night, so that was at least inaccurate, if not presumptuous. You also said that Adriel (local promoter) was a member of Underground Resistance, when he is neither that nor involved with the night anymore. Lastly, when you covered Octave One -- you barely scratched the surface and in my opinion, did nothing to educate the reader, but rather threw extremely untarget, unshaped questions at them, requiring THEM to do the work. How journalistic. Good events and good music do not need you to report nor twist what the essence and motivations are behind them. Please don't ever cover my night again -- I'll do it myself. And as far as the Laura/Juan thing goes -- first, you're wrong in those presumptions about how they earn their livelihood AND you're discussing the innovator of what we call Techno and all your insifnificant sub-genres created to make the egomaniac journalists sound smart when they cant gauge quality on their own (is this cool to say is cool??) as well as one of the innovators of dance music marketing and electronic artist representation. She built the very industry and artists you crawl behind and drunkenly give shout outs to on the motor stage so famously. From: <[EMAIL PROTECTED]> To: keleigh casper <[EMAIL PROTECTED]> CC: <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, <313@hyperreal.org> Subject: Re: [313] Regarding Business Date: Wed, 6 Mar 2002 15:50:37 -0500 (EST) number one- the magazine you are refering to is mixer. i have not ever written for them. #2- almost every single detroit artist of note has played motor, so i don't want to hear about it. #3- you didn't seem to have a problem with my politics when i was doing features on your night. THis entire discussion began when laura posted a completely unsolicited tirade about how everyone should work to make the sasha and digweed show a failiur because their sucess damages her and juans livelyhood. that is plain-old wrong and as an active member of the electronic community in Detorit, I felt obligated to counter her argument. I've always had a great time at mixworks and other Detroit-centric events. However, I will not limit myself to an us against them method of appriciating music or operating my business. Whenever there is a Detroit based event, I encourge ppl to attend, whether trough my writing, or though personal channels. But i will NEVER discourage ppl from attending any event because it goes against my personal taste. On Wed, 6 Mar 2002, keleigh casper wrote: > >my intention was to correct certain ppl who make their living off of >juan > >adn feel the need to discredit other artist in a vague attempt to >up their > >income. > > > and in that vein, who pays your bills (???) mr. i work for motor and > freelance for ad-driven, cheese filled, put lil' kim on the cover cuz she's > made of plastic and played a record once in tokyo magazines? > > so are you discrediting the innovators, the musicians, the history-altering, > no matter how 'dusty', in a vague attempt to up yours? > > > > > > > >From: <[EMAIL PROTECTED]> > >To: <[EMAIL PROTECTED]> > >CC: <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, > ><313@hyperreal.org> > >Subject: Re: [313] Regarding Business > >Date: Wed, 6 Mar 2002 14:17:39 -0500 (EST) > > > >my intention was never to slap juan. > >my intention was to correct certain ppl who make their living off of juan > >adn feel the need to discredit other artist in a vague attempt to up their > >income. > > > >although, in a moment of blatent self appraisal, i suppose i have taken a > >few shots at juan in the interest of promoting otehr artist who i > >personally feel deserve the attention more than he does. > > > >we're only human. > > > >On Wed, 6 Mar 2002 [EMAIL PROTECTED] wrote: > > > > > I cant believe what bullshit this list is. dont you fools > > > know that the music knows no color? cant you people > > > remember the days when no one knew what color the guy > > > putting out the record was and you just listened to it > > > for, *gasp* the MUSIC? > > > > > > This list bickers and bitches about race more than detroit > > > techno. I doubt that Juan would be making racist sounding > > > comments. why would you talk shit about the man when you > > > can EASILY contact him and hash things out with him? dont > > > you think he (or you if you were in his position) would > > > prefer that? > > > > > > you know he reads this and yet you co
Re: [313] Regarding Business
> I cant believe what bullshit this list is. dont you fools > know that the music knows no color? Theo Parrish: "every kind of music played by a black musician includes a black message" >for months on end on the [313] mailing list. that is just dumb, > not to mention COMPLETELY OFF TOPIC you call some lyrics, words, titles, music and statements by theo parrish, juan atkins, moodyman, robert hood, mike grant etc ... offlist ? - how can you expect people to shut up, when certain Detroit-tunes and lyrics they love include this subject directly ? This list doesn´t even come to the point to reflect it in the way it should be because everytime someone appears to shout STOP IT as long so many people STILL keep bumpin it against the wall REJECT IT or IGNORE IT by calling it COMPLETELY OFF TOPIC it needs to be corrected, everytime - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Regarding Business
hahaha! thanks rob On Wed, 6 Mar 2002, Rob Theakston wrote: > > #2- almost every single detroit artist of note has played motor, so i > don't want to hear about it. > > i've played motor. it was GREAT! i think the BEST time in the motor backroom > was when hannah and bill van loo threw down on my birthday, and my second > favorite time? well that was when Gilles Peterson played back there, and he > started off his set with this jerky boys type phone prank with (i think it > was) Shaggy asking if anyone had any "prunes" over and over again! > > i'll have a new non racist equal opportunity (tasty for house, techno and > trance heads alike!) recipie for everyone soon. so hang tight! > > > > - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Regarding Business
#2- almost every single detroit artist of note has played motor, so i don't want to hear about it. i've played motor. it was GREAT! i think the BEST time in the motor backroom was when hannah and bill van loo threw down on my birthday, and my second favorite time? well that was when Gilles Peterson played back there, and he started off his set with this jerky boys type phone prank with (i think it was) Shaggy asking if anyone had any "prunes" over and over again! i'll have a new non racist equal opportunity (tasty for house, techno and trance heads alike!) recipie for everyone soon. so hang tight! - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] Trance and everything else
Don't you all think it's time to accept that not everybody likes the same music and to some people Trance is the best. I try to introduce people to things they may not know about but some people enjoy liking trance and that's OK. Diversity folks. Geez, LET'S GET BACK TO DISCUSSING MUSIC WE DO LIKE. - Giles D I G I T A S // B O S T O N -- Giles Dickerson Art Director 800 Boylston Street Boston, MA 02199 -- mobile 617 899 9635 office 617 369 8601 - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business
*yawn* next. I don't have a "problem" with Juan but you don't know what you are talking about because you did not read the article. Do some research first before you start ranting. You just make yourself look ignorant when you don't. Five - 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]
Re: [313] Regarding Business
your eyes are open, but yet you sleep. once again, for the last time, take it up with atkins if you have a problem. if you dont have a problem with him, you're giving him good reason to have one with you. and what do you care anyways if someone is racist. at least he wont slag you on a mailing list for being white, black, red, green ect. and all of the people that have emailed me privately since you started this public pissing match. I'd appreciate no further coorespondance regarding this topic. Thanks in advance. I don't have a "problem" with Juan but you don't know what you are talking about because you did not read the article. Do some research first before you start ranting. You just make yourself look ignorant when you don't. Five - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business
number one- the magazine you are refering to is mixer. i have not ever written for them. #2- almost every single detroit artist of note has played motor, so i don't want to hear about it. #3- you didn't seem to have a problem with my politics when i was doing features on your night. THis entire discussion began when laura posted a completely unsolicited tirade about how everyone should work to make the sasha and digweed show a failiur because their sucess damages her and juans livelyhood. that is plain-old wrong and as an active member of the electronic community in Detorit, I felt obligated to counter her argument. I've always had a great time at mixworks and other Detroit-centric events. However, I will not limit myself to an us against them method of appriciating music or operating my business. Whenever there is a Detroit based event, I encourge ppl to attend, whether trough my writing, or though personal channels. But i will NEVER discourage ppl from attending any event because it goes against my personal taste. On Wed, 6 Mar 2002, keleigh casper wrote: > >my intention was to correct certain ppl who make their living off of >juan > >adn feel the need to discredit other artist in a vague attempt to >up their > >income. > > > and in that vein, who pays your bills (???) mr. i work for motor and > freelance for ad-driven, cheese filled, put lil' kim on the cover cuz she's > made of plastic and played a record once in tokyo magazines? > > so are you discrediting the innovators, the musicians, the history-altering, > no matter how 'dusty', in a vague attempt to up yours? > > > > > > > >From: <[EMAIL PROTECTED]> > >To: <[EMAIL PROTECTED]> > >CC: <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, > ><313@hyperreal.org> > >Subject: Re: [313] Regarding Business > >Date: Wed, 6 Mar 2002 14:17:39 -0500 (EST) > > > >my intention was never to slap juan. > >my intention was to correct certain ppl who make their living off of juan > >adn feel the need to discredit other artist in a vague attempt to up their > >income. > > > >although, in a moment of blatent self appraisal, i suppose i have taken a > >few shots at juan in the interest of promoting otehr artist who i > >personally feel deserve the attention more than he does. > > > >we're only human. > > > >On Wed, 6 Mar 2002 [EMAIL PROTECTED] wrote: > > > > > I cant believe what bullshit this list is. dont you fools > > > know that the music knows no color? cant you people > > > remember the days when no one knew what color the guy > > > putting out the record was and you just listened to it > > > for, *gasp* the MUSIC? > > > > > > This list bickers and bitches about race more than detroit > > > techno. I doubt that Juan would be making racist sounding > > > comments. why would you talk shit about the man when you > > > can EASILY contact him and hash things out with him? dont > > > you think he (or you if you were in his position) would > > > prefer that? > > > > > > you know he reads this and yet you continue to slap him in > > > the face with unsubstantiated rumors and other bullshit. > > > I dont consider myself a fan or his, but he seems like a > > > nice guy and for that matter, who on this list deserves > > > the cumulative bullshit you cats are so eager to dish out? > > > > > > as for DEMF, its free to get in, and free to get out. I > > > suggest if you are displeased with it, either dont go, or > > > leave... more room for the people that are there for the > > > music, not to say they went to demf all 3 years. > > > > > > is this where some of you try to guess my color? I would > > > bet you have already, after reading the above. > > > > > > --- > > > > > > this is my opinion. I welcome yours. > > > > > > -Joe > > > _ns_ > > > > > > > > > > > > > > > > > > > > > > > > Uh No the DEMF was not a Detroit clique thing and even if > > > it was it is called > > > the DETROIT ELECTRONIC MUSIC FESTIVAL. > > > > > > you must be a person living outside of the us or in the us > > > in a white skin > > > and ignorant of history. > > > > > > UR and Atkins are pioneers of this music and get no respect > > > from the business > > > end. > > > > > > why should Elvis or Eminem make more money and get more > > > credibility than Ike > > > Turner or Redman??? > > > > > > Because in AMerica white people doing Black art is always > > > seen as a > > > marvel... > > > > > > Look at NYSYNC and the list goes on. Look at Black rock > > > group Fishbone. Are > > > you telling me they are good enough to get paid. > > > > > > > > > The point is this; the people who run the business are full > > > of isms that > > > determine who gets the spotlight. > > > > > > No one is denying anyone their right to listen to what they > > > want but don't > > > forget the history. > > > > > > I spoke with a Black rocker in NYC and he told me that many > > > A & R men didn't > > > know what to do with Black guys playing soulful rock music. > > >
Re: [313] acid (house)
imo "acid trax" wasnt that great of a song. it merely opened the door to a new sub genre I think it was all 707 and 303 too. very amenic. a real good primer would be the hardfloor x-mix. it has tracks by dj pierre, armando, phuture. unfortuately, it doesn't have 'acid track', but i don't know of anyother real good chicago acid 'mix' cds. On Wed, 6 Mar 2002, Grammenos, Peter wrote: > > What about DJ Pierre ? > > "... he made 'Wild Pitch' famous throughout the European, Asian and > eventually US markets". > > Just wondering because last time he played in NYC the flyer touted him as > being the originator of acid house. Of course you can't believe everything > you read on a flyer but i've heard this from other people as well. > > -Pete > > > -Original Message- > From: Jongsma, K.J. [mailto:[EMAIL PROTECTED] > Sent: Wednesday, March 06, 2002 11:01 AM > To: 313@hyperreal.org > Subject: RE: [313] acid (house) > > > Of course there a lot of different opinions on what was the first acid track > but i think i am fairly save when say it's Phuture's Acid Tracks. There is a > nice interview with Marshal Jefferson in the Modulations documentary where > he explains how he made that track together with Nick Jones and Spanky. > > When you are looking for some good ol'acid house check the shit Armando > made, he made some amazing stuff. Tracks like 1-5-1, Land of Confusion and > Confusion Revenge still make me smile and bounce around. > > For more 313-related acid try WPA's Seawolf and the Acid Rain I - III > records on Underground Resistance. The old stuff on UR has a lot of TB in > it, Jupiter Jazz for instance... > > [EMAIL PROTECTED] > > > > Greetings all. > > Just to expand my knowledge a bit more, I have been recently > > interested in > > acid/acid house and its history. When I think of this "genre" > > Baby Ford and > > portamento'd 303 basslines come to mind, but I'm sure I am either just > > scratching the surface or overgeneralizing. The track "Are > > You Saved?" by > > Traxx and Deecoy on the Int. Deejay Gigolos comp. 5 got my > > gears turning > > mentally as to ask what the roots/sounds of acid truly are. > > If possible, please post links/discogs/mixes. > > > -- > DISCLAIMER > > De gemeente Almelo aanvaardt voor haar medewerkers geen enkele > aansprakelijkheid voor eventueel onjuist, onrechtmatig of > ontoelaatbaar geacht gebruik van e-mail (inclusief bijlagen). > > Dit e-mail bericht is door de gemeente Almelo gecontroleerd op > de aanwezigheid van eventuele virussen. Wij kunnen echter geen > garantie afgeven dat al onze e-mail berichten volledig virus > vrij zijn. Het is daarom verstandig uw binnenkomende e-mail > berichten zelf op de mogelijke aanwezigheid van virussen > te controleren. > -- > > - > 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] > > - 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]
[313] RH Single
Someone mentioned Richie Hawtin. Recently picked up Closer to the (Re-)Edit on CD single. 2 cuts totalling just 11 or so mins., "(Re-)edit #1: freak'd" which is actually rather subdued, & "(Re-)edit #2: ranged." This last one uses Rhythm & Sound, & some Bluetrain/Mosaic track(s) to quite devastating effect. Definitely worth a listen on a serious system, though it's hard to top the original source materials. Dean de Costa can do no wrong in my book. Wes - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business
i refuse to argue this point until you can present me with another reliable way to gauge anything. On Wed, 6 Mar 2002, keleigh casper wrote: > Or, its open to anyone with Internet access, anyone who the site has been > marketed to and is aware of it, anyone who has the personality-type that > participates in such polls, anyone who would want to contribute to such > bogusness, anyone who isn't turned off by the entire idea of polling dj > and/or the outcome of the tallies thus far, etc. its also open to anyone who > may want to skew the results -- that 'anyone' can be 'anyones' suddenly. > > That said, it may or MAY NOT overlap with your average club goer, your > average dj fan, your average person who thinks djs should have a profile to > start with, your music elitists, your MUSIC-fan (what if the producer > doesn't happen to dj in attempts to be appealing and secure market share), > your journalists (egoists would never submit their opinion to be handled and > sorted with the laymen's thoughts), your booking agent, your industry types, > your other artists/djs at hand. > > its a fan poll -- people go there to prop up their favorite dj, the dj of > the week, shit, oakie's probably on there himself voting, voting, > voting...again, that lends itself to more the marketed image of the artits, > versus the music quality or the music at all -- and that is just where the > problem lies. > > > >From: <[EMAIL PROTECTED]> > >To: keleigh casper <[EMAIL PROTECTED]> > >CC: <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, > ><313@hyperreal.org> > >Subject: Re: [313] Regarding Business > >Date: Wed, 6 Mar 2002 14:39:21 -0500 (EST) > > > >i'm quite certain this poll is simply open to anyone who wishes to vote. > > > >obviously there are flaws, but what otehr gauge could you possibly use to > >judge what djs have the highest profile 'overall' > > > >On Wed, 6 Mar 2002, keleigh casper wrote: > > > > > You'd think a 'journalist' would understand the bias associated with > >such a > > > poll. Feel free to continue picking and choosing such ethics and > >standards > > > as they suit your argument. > > > > > > That top-ten list could be renamed 'Biggest ads in Mixer' or similar. > >Again, > > > if these Web-access priviledged, magazine-subscribing, MONEY-having > > > consumers had access to other, WOULD THEY CHOOSE IT? > > > > > > And more importantly, how many of these ad-driven publications have even > > > attempted to teach these new 'uunch uunch' music consumers that there is > > > life after (and more importantly BEFORE) said blow-up djs with their > >faces > > > plastered all over their mixes, etc (remember when you didnt know what a > > > dj/producer looked like?). As mentioned before, the consumer holds the > > > buying power-->so why WOULD the Mixer Incs. of the world try to educate > >them > > > about the indies, the unknows, the innovators that don't plaster their > >faces > > > all over their mixes, don't live on Marketing Blvd.(relative i know) or > >more > > > importantly, steer them toward musicians who LET THE MUSIC SPEAK FOR > >ITSELF? > > > God forbid... > > > > > > neener neener neener > > > > > > >From: <[EMAIL PROTECTED]> > > > >To: <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]> > > > >CC: <[EMAIL PROTECTED]>, <313@hyperreal.org> > > > >Subject: Re: [313] Regarding Business > > > >Date: Wed, 6 Mar 2002 14:19:06 -0500 > > > > > > > >ever heard of, "thedjlist can suck it?" > > > > > > > >paul van oakenfag and sasha van digaho before hawtin? BAD BOY > >BILLLIEE > > > >"in the mix.. live.. understand?" > > > >PLUHHHLLLEEEAASSSEEE. > > > > > > > >gag me with a fucking 20inch penis. > > > > > > > >1 TIESTO 8080 > > > >2 PAUL VAN DYK 6845 > > > >3 PAUL OAKENFOLD 5338 > > > >4 GEORGE ACOSTA 4607 > > > >5 SASHA 4181 > > > >6 JOHN DIGWEED 4036 > > > >7 BAD BOY BILL 2787 > > > >8 CARL COX 2767 > > > >9 MAURO PICOTTO 2735 > > > >10 IRENE > > > > > > > >- Original Message - > > > >From: <[EMAIL PROTECTED]> > > > >To: <[EMAIL PROTECTED]> > > > >Cc: <[EMAIL PROTECTED]>; <313@hyperreal.org> > > > >Sent: Wednesday, March 06, 2002 1:59 PM > > > >Subject: Re: [313] Regarding Business > > > > > > > > > > > >is everyone here familiar with thedjlist.com? > > > > > > > >its a website where anyone can go and vote for their favorite dj, any > >dj. > > > > > > > >cox is # 8 > > > > > > > >hawtin is #36 > > > > > > > > > > > > > > > >- > > > >To unsubscribe, e-mail: [EMAIL PROTECTED] > > > >For additional commands, e-mail: [EMAIL PROTECTED] > > > > > > > > > > > > > > > > > > > _ > > > Send and receive Hotmail on your mobile device: http://mobile.msn.com > > > > > > > > > > > >- > >To unsubscribe, e-mail: [EMAIL PROTECTED] > >For additional commands, e-mail: [EMAIL PROTECTED] > > > > > > > __
Re: [313] Regarding Business
I don't have a "problem" with Juan but you don't know what you are talking about because you did not read the article. Do some research first before you start ranting. You just make yourself look ignorant when you don't. Five - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] acid (house)
about four or five years ago dj pierre played an acid house set at baktun in new york. absolutely amazing night. james www.jbucknell.com > From: "Grammenos, Peter" <[EMAIL PROTECTED]> > Date: Wed, 6 Mar 2002 12:16:17 -0500 > To: "'Jongsma, K.J.'" <[EMAIL PROTECTED]>, 313@hyperreal.org > Subject: RE: [313] acid (house) > > > What about DJ Pierre ? > > "... he made 'Wild Pitch' famous throughout the European, Asian and > eventually US markets". > > Just wondering because last time he played in NYC the flyer touted him as > being the originator of acid house. Of course you can't believe everything > you read on a flyer but i've heard this from other people as well. > > -Pete > > - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business
why don't you try reading Juan's piece first and if you really do feel that way, leave. Five - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] acid (house)
acid originated in chicago in the late 80s. it was the high point of human civilsation. some of the early producers are dj pierre and phuture and phortune, armando, bam bam, mike dunn, house master baldwin, laurent x. some of the labels are trax, dj international, future sound, early dance mania, warehouse. best acid track of all time: ace and the sandman 'let your body talk' on saber records. i've a mix of classic acid at www.jbucknell.com the track listing is below. there are also mixes at the deephouse pages of early chicago djs like farley jackmaster funk. +chip e like this (club mix) dj international, 1985 +chip e time to jack dj international, 1986 +phortune (dj pierre) can you feel the bass hotmix 5, 1988 +armando land of confusion warehouse, 198? +armando 151 warehouse, 198? +north and clybourne don't walk out the door gherkin, 198? +mario reyes whatever turns you on ( farley house mix) dj international, 198? +fast eddie acid thunder (aa aaacid mix) dj international, 1988 +pfantasy club never give up (dj pierre acid mix) dance mania, 1988 +the lincoln boys check it out (99st mix) dance mania, 1989 +house master baldwin don't lead me (medusa'a house mix) future sound, 1987 +pierre's fantasy club dream girl hotmix 5, 198? +gary jackmaster wallace house has taken over me (acid mix) dance mania, 1989 james www.jbucknell.com > From: [EMAIL PROTECTED] > Date: Wed, 6 Mar 2002 10:30:55 -0500 > To: 313@hyperreal.org > Subject: [313] acid (house) > > Greetings all. > Just to expand my knowledge a bit more, I have been recently interested in > acid/acid house and its history. When I think of this "genre" Baby Ford and > portamento'd 303 basslines come to mind, but I'm sure I am either just > scratching the surface or overgeneralizing. The track "Are You Saved?" by > Traxx and Deecoy on the Int. Deejay Gigolos comp. 5 got my gears turning > mentally as to ask what the roots/sounds of acid truly are. > If possible, please post links/discogs/mixes. > > > -jen > > > This transmission is confidential and > intended solely for the person or > organization to whom it is addressed. > It may contain privileged and > confidential information. If you are > not the intended recipient, you > should not copy, distribute or take > any action in reliance on it. > > If you believe you received this > transmission in error, please > notify the sender. > > > > - > 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]
[313] Michael Moore
I just finished reading his book Stupid White Men and was wondering the lists thoughts on his work. The book talks a lot about what it means to be a particular skin color and to live in the us. He will also be at St Andrews on 3/12 for a lecture and peace rally. Keith
Re: [313] Regarding Business
my intention was to correct certain ppl who make their living off of >juan adn feel the need to discredit other artist in a vague attempt to >up their income. and in that vein, who pays your bills (???) mr. i work for motor and freelance for ad-driven, cheese filled, put lil' kim on the cover cuz she's made of plastic and played a record once in tokyo magazines? so are you discrediting the innovators, the musicians, the history-altering, no matter how 'dusty', in a vague attempt to up yours? From: <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> CC: <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, <313@hyperreal.org> Subject: Re: [313] Regarding Business Date: Wed, 6 Mar 2002 14:17:39 -0500 (EST) my intention was never to slap juan. my intention was to correct certain ppl who make their living off of juan adn feel the need to discredit other artist in a vague attempt to up their income. although, in a moment of blatent self appraisal, i suppose i have taken a few shots at juan in the interest of promoting otehr artist who i personally feel deserve the attention more than he does. we're only human. On Wed, 6 Mar 2002 [EMAIL PROTECTED] wrote: > I cant believe what bullshit this list is. dont you fools > know that the music knows no color? cant you people > remember the days when no one knew what color the guy > putting out the record was and you just listened to it > for, *gasp* the MUSIC? > > This list bickers and bitches about race more than detroit > techno. I doubt that Juan would be making racist sounding > comments. why would you talk shit about the man when you > can EASILY contact him and hash things out with him? dont > you think he (or you if you were in his position) would > prefer that? > > you know he reads this and yet you continue to slap him in > the face with unsubstantiated rumors and other bullshit. > I dont consider myself a fan or his, but he seems like a > nice guy and for that matter, who on this list deserves > the cumulative bullshit you cats are so eager to dish out? > > as for DEMF, its free to get in, and free to get out. I > suggest if you are displeased with it, either dont go, or > leave... more room for the people that are there for the > music, not to say they went to demf all 3 years. > > is this where some of you try to guess my color? I would > bet you have already, after reading the above. > > --- > > this is my opinion. I welcome yours. > > -Joe > _ns_ > > > > > > > > Uh No the DEMF was not a Detroit clique thing and even if > it was it is called > the DETROIT ELECTRONIC MUSIC FESTIVAL. > > you must be a person living outside of the us or in the us > in a white skin > and ignorant of history. > > UR and Atkins are pioneers of this music and get no respect > from the business > end. > > why should Elvis or Eminem make more money and get more > credibility than Ike > Turner or Redman??? > > Because in AMerica white people doing Black art is always > seen as a > marvel... > > Look at NYSYNC and the list goes on. Look at Black rock > group Fishbone. Are > you telling me they are good enough to get paid. > > > The point is this; the people who run the business are full > of isms that > determine who gets the spotlight. > > No one is denying anyone their right to listen to what they > want but don't > forget the history. > > I spoke with a Black rocker in NYC and he told me that many > A & R men didn't > know what to do with Black guys playing soulful rock music. > > The record executive behind Digable Planets told them they > were not hard > translate "black enough" for hip-hop. > > So Juan is in the same position.. > > I don't have time to break this down anymore but Juan is > not crying he's > simply commenting on the truth; the music business is run > by a bunch of > culturally biased and/or ignorant people who have definite > ideas about the > value of the music based on their racist crap. > > if anyone does not understand where I'm coming from I will > make one more post > I don't have a lot of time to keep repeating this tired > story. > > - > 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] > > - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] _ Join the worlds largest e-mail service with MSN Hotmail. http://www.hotmail.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Regarding Business
So is this list unfortunately;) "i'm quite certain this poll is simply open to anyone who wishes to vote." obviously there are flaws, but what otehr gauge could you possibly use to judge what djs have the highest profile 'overall' On Wed, 6 Mar 2002, keleigh casper wrote: > You'd think a 'journalist' would understand the bias associated with such a > poll. Feel free to continue picking and choosing such ethics and standards > as they suit your argument. > > That top-ten list could be renamed 'Biggest ads in Mixer' or similar. Again, > if these Web-access priviledged, magazine-subscribing, MONEY-having > consumers had access to other, WOULD THEY CHOOSE IT? > > And more importantly, how many of these ad-driven publications have even > attempted to teach these new 'uunch uunch' music consumers that there is > life after (and more importantly BEFORE) said blow-up djs with their faces > plastered all over their mixes, etc (remember when you didnt know what a > dj/producer looked like?). As mentioned before, the consumer holds the > buying power-->so why WOULD the Mixer Incs. of the world try to educate them > about the indies, the unknows, the innovators that don't plaster their faces > all over their mixes, don't live on Marketing Blvd.(relative i know) or more > importantly, steer them toward musicians who LET THE MUSIC SPEAK FOR ITSELF? > God forbid... > > neener neener neener > > >From: <[EMAIL PROTECTED]> > >To: <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]> > >CC: <[EMAIL PROTECTED]>, <313@hyperreal.org> > >Subject: Re: [313] Regarding Business > >Date: Wed, 6 Mar 2002 14:19:06 -0500 > > > >ever heard of, "thedjlist can suck it?" > > > >paul van oakenfag and sasha van digaho before hawtin? BAD BOY BILLLIEE > >"in the mix.. live.. understand?" > >PLUHHHLLLEEEAASSSEEE. > > > >gag me with a fucking 20inch penis. > > > >1 TIESTO 8080 > >2 PAUL VAN DYK 6845 > >3 PAUL OAKENFOLD 5338 > >4 GEORGE ACOSTA 4607 > >5 SASHA 4181 > >6 JOHN DIGWEED 4036 > >7 BAD BOY BILL 2787 > >8 CARL COX 2767 > >9 MAURO PICOTTO 2735 > >10 IRENE > > > >- Original Message - > >From: <[EMAIL PROTECTED]> > >To: <[EMAIL PROTECTED]> > >Cc: <[EMAIL PROTECTED]>; <313@hyperreal.org> > >Sent: Wednesday, March 06, 2002 1:59 PM > >Subject: Re: [313] Regarding Business > > > > > >is everyone here familiar with thedjlist.com? > > > >its a website where anyone can go and vote for their favorite dj, any dj. > > > >cox is # 8 > > > >hawtin is #36 > > > > > > > >- > >To unsubscribe, e-mail: [EMAIL PROTECTED] > >For additional commands, e-mail: [EMAIL PROTECTED] > > > > > > > _ > Send and receive Hotmail on your mobile device: http://mobile.msn.com > > - 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]
Re: [313] Regarding Business
Or, its open to anyone with Internet access, anyone who the site has been marketed to and is aware of it, anyone who has the personality-type that participates in such polls, anyone who would want to contribute to such bogusness, anyone who isn't turned off by the entire idea of polling dj and/or the outcome of the tallies thus far, etc. its also open to anyone who may want to skew the results -- that 'anyone' can be 'anyones' suddenly. That said, it may or MAY NOT overlap with your average club goer, your average dj fan, your average person who thinks djs should have a profile to start with, your music elitists, your MUSIC-fan (what if the producer doesn't happen to dj in attempts to be appealing and secure market share), your journalists (egoists would never submit their opinion to be handled and sorted with the laymen's thoughts), your booking agent, your industry types, your other artists/djs at hand. its a fan poll -- people go there to prop up their favorite dj, the dj of the week, shit, oakie's probably on there himself voting, voting, voting...again, that lends itself to more the marketed image of the artits, versus the music quality or the music at all -- and that is just where the problem lies. From: <[EMAIL PROTECTED]> To: keleigh casper <[EMAIL PROTECTED]> CC: <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, <313@hyperreal.org> Subject: Re: [313] Regarding Business Date: Wed, 6 Mar 2002 14:39:21 -0500 (EST) i'm quite certain this poll is simply open to anyone who wishes to vote. obviously there are flaws, but what otehr gauge could you possibly use to judge what djs have the highest profile 'overall' On Wed, 6 Mar 2002, keleigh casper wrote: > You'd think a 'journalist' would understand the bias associated with such a > poll. Feel free to continue picking and choosing such ethics and standards > as they suit your argument. > > That top-ten list could be renamed 'Biggest ads in Mixer' or similar. Again, > if these Web-access priviledged, magazine-subscribing, MONEY-having > consumers had access to other, WOULD THEY CHOOSE IT? > > And more importantly, how many of these ad-driven publications have even > attempted to teach these new 'uunch uunch' music consumers that there is > life after (and more importantly BEFORE) said blow-up djs with their faces > plastered all over their mixes, etc (remember when you didnt know what a > dj/producer looked like?). As mentioned before, the consumer holds the > buying power-->so why WOULD the Mixer Incs. of the world try to educate them > about the indies, the unknows, the innovators that don't plaster their faces > all over their mixes, don't live on Marketing Blvd.(relative i know) or more > importantly, steer them toward musicians who LET THE MUSIC SPEAK FOR ITSELF? > God forbid... > > neener neener neener > > >From: <[EMAIL PROTECTED]> > >To: <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]> > >CC: <[EMAIL PROTECTED]>, <313@hyperreal.org> > >Subject: Re: [313] Regarding Business > >Date: Wed, 6 Mar 2002 14:19:06 -0500 > > > >ever heard of, "thedjlist can suck it?" > > > >paul van oakenfag and sasha van digaho before hawtin? BAD BOY BILLLIEE > >"in the mix.. live.. understand?" > >PLUHHHLLLEEEAASSSEEE. > > > >gag me with a fucking 20inch penis. > > > >1 TIESTO 8080 > >2 PAUL VAN DYK 6845 > >3 PAUL OAKENFOLD 5338 > >4 GEORGE ACOSTA 4607 > >5 SASHA 4181 > >6 JOHN DIGWEED 4036 > >7 BAD BOY BILL 2787 > >8 CARL COX 2767 > >9 MAURO PICOTTO 2735 > >10 IRENE > > > >- Original Message - > >From: <[EMAIL PROTECTED]> > >To: <[EMAIL PROTECTED]> > >Cc: <[EMAIL PROTECTED]>; <313@hyperreal.org> > >Sent: Wednesday, March 06, 2002 1:59 PM > >Subject: Re: [313] Regarding Business > > > > > >is everyone here familiar with thedjlist.com? > > > >its a website where anyone can go and vote for their favorite dj, any dj. > > > >cox is # 8 > > > >hawtin is #36 > > > > > > > >- > >To unsubscribe, e-mail: [EMAIL PROTECTED] > >For additional commands, e-mail: [EMAIL PROTECTED] > > > > > > > _ > Send and receive Hotmail on your mobile device: http://mobile.msn.com > > - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] _ Chat with friends online, try MSN Messenger: http://messenger.msn.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business
i'm quite certain this poll is simply open to anyone who wishes to vote. obviously there are flaws, but what otehr gauge could you possibly use to judge what djs have the highest profile 'overall' On Wed, 6 Mar 2002, keleigh casper wrote: > You'd think a 'journalist' would understand the bias associated with such a > poll. Feel free to continue picking and choosing such ethics and standards > as they suit your argument. > > That top-ten list could be renamed 'Biggest ads in Mixer' or similar. Again, > if these Web-access priviledged, magazine-subscribing, MONEY-having > consumers had access to other, WOULD THEY CHOOSE IT? > > And more importantly, how many of these ad-driven publications have even > attempted to teach these new 'uunch uunch' music consumers that there is > life after (and more importantly BEFORE) said blow-up djs with their faces > plastered all over their mixes, etc (remember when you didnt know what a > dj/producer looked like?). As mentioned before, the consumer holds the > buying power-->so why WOULD the Mixer Incs. of the world try to educate them > about the indies, the unknows, the innovators that don't plaster their faces > all over their mixes, don't live on Marketing Blvd.(relative i know) or more > importantly, steer them toward musicians who LET THE MUSIC SPEAK FOR ITSELF? > God forbid... > > neener neener neener > > >From: <[EMAIL PROTECTED]> > >To: <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]> > >CC: <[EMAIL PROTECTED]>, <313@hyperreal.org> > >Subject: Re: [313] Regarding Business > >Date: Wed, 6 Mar 2002 14:19:06 -0500 > > > >ever heard of, "thedjlist can suck it?" > > > >paul van oakenfag and sasha van digaho before hawtin? BAD BOY BILLLIEE > >"in the mix.. live.. understand?" > >PLUHHHLLLEEEAASSSEEE. > > > >gag me with a fucking 20inch penis. > > > >1 TIESTO 8080 > >2 PAUL VAN DYK 6845 > >3 PAUL OAKENFOLD 5338 > >4 GEORGE ACOSTA 4607 > >5 SASHA 4181 > >6 JOHN DIGWEED 4036 > >7 BAD BOY BILL 2787 > >8 CARL COX 2767 > >9 MAURO PICOTTO 2735 > >10 IRENE > > > >- Original Message - > >From: <[EMAIL PROTECTED]> > >To: <[EMAIL PROTECTED]> > >Cc: <[EMAIL PROTECTED]>; <313@hyperreal.org> > >Sent: Wednesday, March 06, 2002 1:59 PM > >Subject: Re: [313] Regarding Business > > > > > >is everyone here familiar with thedjlist.com? > > > >its a website where anyone can go and vote for their favorite dj, any dj. > > > >cox is # 8 > > > >hawtin is #36 > > > > > > > >- > >To unsubscribe, e-mail: [EMAIL PROTECTED] > >For additional commands, e-mail: [EMAIL PROTECTED] > > > > > > > _ > Send and receive Hotmail on your mobile device: http://mobile.msn.com > > - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business
What happened to the sarcasm? And people getting it? Oh yeah.. this is 313. I forgot for a second. To make this techno related. I finally broke down and bought richies closer to the edit cd. _L - Original Message - From: <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Cc: <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>; <313@hyperreal.org> Sent: Wednesday, March 06, 2002 2:31 PM Subject: Re: [313] Regarding Business what happened to courtesy and politeness. the debate we were having was simply which techno artist has the highest profile. On Wed, 6 Mar 2002 [EMAIL PROTECTED] wrote: > ever heard of, "thedjlist can suck it?" > > paul van oakenfag and sasha van digaho before hawtin? BAD BOY BILLLIEE > "in the mix.. live.. understand?" > PLUHHHLLLEEEAASSSEEE. > > gag me with a fucking 20inch penis. > > 1 TIESTO 8080 > 2 PAUL VAN DYK 6845 > 3 PAUL OAKENFOLD 5338 > 4 GEORGE ACOSTA 4607 > 5 SASHA 4181 > 6 JOHN DIGWEED 4036 > 7 BAD BOY BILL 2787 > 8 CARL COX 2767 > 9 MAURO PICOTTO 2735 > 10 IRENE > > - Original Message - > From: <[EMAIL PROTECTED]> > To: <[EMAIL PROTECTED]> > Cc: <[EMAIL PROTECTED]>; <313@hyperreal.org> > Sent: Wednesday, March 06, 2002 1:59 PM > Subject: Re: [313] Regarding Business > > > is everyone here familiar with thedjlist.com? > > its a website where anyone can go and vote for their favorite dj, any dj. > > cox is # 8 > > hawtin is #36 > > > - 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]
Re: [313] Regarding Business
You'd think a 'journalist' would understand the bias associated with such a poll. Feel free to continue picking and choosing such ethics and standards as they suit your argument. That top-ten list could be renamed 'Biggest ads in Mixer' or similar. Again, if these Web-access priviledged, magazine-subscribing, MONEY-having consumers had access to other, WOULD THEY CHOOSE IT? And more importantly, how many of these ad-driven publications have even attempted to teach these new 'uunch uunch' music consumers that there is life after (and more importantly BEFORE) said blow-up djs with their faces plastered all over their mixes, etc (remember when you didnt know what a dj/producer looked like?). As mentioned before, the consumer holds the buying power-->so why WOULD the Mixer Incs. of the world try to educate them about the indies, the unknows, the innovators that don't plaster their faces all over their mixes, don't live on Marketing Blvd.(relative i know) or more importantly, steer them toward musicians who LET THE MUSIC SPEAK FOR ITSELF? God forbid... neener neener neener From: <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]> CC: <[EMAIL PROTECTED]>, <313@hyperreal.org> Subject: Re: [313] Regarding Business Date: Wed, 6 Mar 2002 14:19:06 -0500 ever heard of, "thedjlist can suck it?" paul van oakenfag and sasha van digaho before hawtin? BAD BOY BILLLIEE "in the mix.. live.. understand?" PLUHHHLLLEEEAASSSEEE. gag me with a fucking 20inch penis. 1 TIESTO 8080 2 PAUL VAN DYK 6845 3 PAUL OAKENFOLD 5338 4 GEORGE ACOSTA 4607 5 SASHA 4181 6 JOHN DIGWEED 4036 7 BAD BOY BILL 2787 8 CARL COX 2767 9 MAURO PICOTTO 2735 10 IRENE - Original Message - From: <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Cc: <[EMAIL PROTECTED]>; <313@hyperreal.org> Sent: Wednesday, March 06, 2002 1:59 PM Subject: Re: [313] Regarding Business is everyone here familiar with thedjlist.com? its a website where anyone can go and vote for their favorite dj, any dj. cox is # 8 hawtin is #36 - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] _ Send and receive Hotmail on your mobile device: http://mobile.msn.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business
what happened to courtesy and politeness. the debate we were having was simply which techno artist has the highest profile. On Wed, 6 Mar 2002 [EMAIL PROTECTED] wrote: > ever heard of, "thedjlist can suck it?" > > paul van oakenfag and sasha van digaho before hawtin? BAD BOY BILLLIEE > "in the mix.. live.. understand?" > PLUHHHLLLEEEAASSSEEE. > > gag me with a fucking 20inch penis. > > 1 TIESTO 8080 > 2 PAUL VAN DYK 6845 > 3 PAUL OAKENFOLD 5338 > 4 GEORGE ACOSTA 4607 > 5 SASHA 4181 > 6 JOHN DIGWEED 4036 > 7 BAD BOY BILL 2787 > 8 CARL COX 2767 > 9 MAURO PICOTTO 2735 > 10 IRENE > > - Original Message - > From: <[EMAIL PROTECTED]> > To: <[EMAIL PROTECTED]> > Cc: <[EMAIL PROTECTED]>; <313@hyperreal.org> > Sent: Wednesday, March 06, 2002 1:59 PM > Subject: Re: [313] Regarding Business > > > is everyone here familiar with thedjlist.com? > > its a website where anyone can go and vote for their favorite dj, any dj. > > cox is # 8 > > hawtin is #36 > > > - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] acid (house)
try "mad on acid," a two-cd compilation of chicago classics plus a few other turn-of-the-decade acid tracks, including one by joey beltram (can't remember which). brian -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Wednesday, March 06, 2002 11:12 AM To: Grammenos, Peter Cc: 'Jongsma, K.J.'; 313@hyperreal.org Subject: RE: [313] acid (house) a real good primer would be the hardfloor x-mix. it has tracks by dj pierre, armando, phuture. unfortuately, it doesn't have 'acid track', but i don't know of anyother real good chicago acid 'mix' cds. On Wed, 6 Mar 2002, Grammenos, Peter wrote: > > What about DJ Pierre ? > > "... he made 'Wild Pitch' famous throughout the European, Asian and > eventually US markets". > > Just wondering because last time he played in NYC the flyer touted him as > being the originator of acid house. Of course you can't believe everything > you read on a flyer but i've heard this from other people as well. > > -Pete > > > -Original Message- > From: Jongsma, K.J. [mailto:[EMAIL PROTECTED] > Sent: Wednesday, March 06, 2002 11:01 AM > To: 313@hyperreal.org > Subject: RE: [313] acid (house) > > > Of course there a lot of different opinions on what was the first acid track > but i think i am fairly save when say it's Phuture's Acid Tracks. There is a > nice interview with Marshal Jefferson in the Modulations documentary where > he explains how he made that track together with Nick Jones and Spanky. > > When you are looking for some good ol'acid house check the shit Armando > made, he made some amazing stuff. Tracks like 1-5-1, Land of Confusion and > Confusion Revenge still make me smile and bounce around. > > For more 313-related acid try WPA's Seawolf and the Acid Rain I - III > records on Underground Resistance. The old stuff on UR has a lot of TB in > it, Jupiter Jazz for instance... > > [EMAIL PROTECTED] > > > > Greetings all. > > Just to expand my knowledge a bit more, I have been recently > > interested in > > acid/acid house and its history. When I think of this "genre" > > Baby Ford and > > portamento'd 303 basslines come to mind, but I'm sure I am either just > > scratching the surface or overgeneralizing. The track "Are > > You Saved?" by > > Traxx and Deecoy on the Int. Deejay Gigolos comp. 5 got my > > gears turning > > mentally as to ask what the roots/sounds of acid truly are. > > If possible, please post links/discogs/mixes. > > > -- > DISCLAIMER > > De gemeente Almelo aanvaardt voor haar medewerkers geen enkele > aansprakelijkheid voor eventueel onjuist, onrechtmatig of > ontoelaatbaar geacht gebruik van e-mail (inclusief bijlagen). > > Dit e-mail bericht is door de gemeente Almelo gecontroleerd op > de aanwezigheid van eventuele virussen. Wij kunnen echter geen > garantie afgeven dat al onze e-mail berichten volledig virus > vrij zijn. Het is daarom verstandig uw binnenkomende e-mail > berichten zelf op de mogelijke aanwezigheid van virussen > te controleren. > -- > > - > 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] > > - 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]
RE: [313] claude young tapes dated
amen. having attended sickness and recovery as a total newbie a few months earlier and been blown away by mills, hawtin and acquaviva, i attended blastoff as a budding convert to all things techno. hell and claude blew my mind - and still blow it, from time to time. brian -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Wednesday, March 06, 2002 10:50 AM To: [EMAIL PROTECTED] Cc: 313@hyperreal.org Subject: Re: [313] claude young tapes dated i bought the dexit tape at grammaphone in chicago fall of 1996. that night, mike dearborn threw his first Blast Off party with dj hell, claude young, miss djax, joey beltram, stacy pullen (jungle set). damn, why aren't there events like that anymore? (rhetorical question) On Wed, 6 Mar 2002, [EMAIL PROTECTED] wrote: > > someone sent me some tapes and i need them dated.. > > claude young as you like it > claude young dexit > > not recordings of tracks those "dj promo" ones > > thanks > > -k > > minus 63 in detroit (ok it just feels that way ;) > > > mail2web - Check your email from the web at > http://mail2web.com/ . > > > - > 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] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business
btw: i'm really too young to have been involved with either. but i defiantely knew what rap was long before i ever heard of techno. On Wed, 6 Mar 2002 [EMAIL PROTECTED] wrote: > > Ok sorry but I'm kinda going backward in reading my mail today - > After reading reading all the opinions on this very real very serious > problem several questions and other points come up in my head - > > Let me begin with this question - why has hip-hop replaced techno/house as > the accepted black music form among black people? > I've read countless times that techno was THE music for young black people > (at least in Detroit) until hip-hop came along - so I have to ask what > is/was it about techno that, apparently, makes it not relevant to the > greater black culture? And I'll ask the same about hip-hop? What was/is it > about hip-hop that pulled a previously techno listening audience toward it > and away from techno? > > >From there I have to bring up an article that I think was in Newsweek , and > another magazine which title slips my mind, about the latest Grammy Awards, > the drop in CD sales and rise in "pirated" music (Audiogalaxy, napster, > etc.). The author was making the point that the connection between the drop > in CD sales and the high rotation of music from the shallow well of pop on > radio and MTV has caused people to "turn off" and search out their own > music tastes. Where am I going with this > > >the music business is run by a bunch of culturally biased and/or ignorant > people who have definite ideas about the > >value of the music based on their racist crap. > > yeah, are they ignorant and completely clueless as to what people REALLY > want? - all they know is this current system makes them loads of money - > I'm talking about record and radio execs. So why is it that people listen > MORE and stayed tuned to one station MORE when less diversity is played??? > I've seen more and more essays on this topic in local and national press - > about how absolutely awful the current state of the recording and > broadcasting industry is and how people are getting more and more fed up > with the Brittanys and NYSYCs. But something doesn't jive with me when I > think about how people seem to tune in more often and stay tuned to music > that they don't like?! > Can anyone explain these things to me? > > MEK > > > > > [EMAIL PROTECTED] > com To: [EMAIL PROTECTED], > [EMAIL PROTECTED], 313@hyperreal.org >cc: > 03/06/02 09:42 AMSubject: Re: [313] Regarding > Business > > > > > > > Uh No the DEMF was not a Detroit clique thing and even if it was it is > called > the DETROIT ELECTRONIC MUSIC FESTIVAL. > > you must be a person living outside of the us or in the us in a white skin > and ignorant of history. > > UR and Atkins are pioneers of this music and get no respect from the > business > end. > > why should Elvis or Eminem make more money and get more credibility than > Ike > Turner or Redman??? > > Because in AMerica white people doing Black art is always seen as a > marvel... > > Look at NYSYNC and the list goes on. Look at Black rock group Fishbone. Are > > you telling me they are good enough to get paid. > > > The point is this; the people who run the business are full of isms that > determine who gets the spotlight. > > No one is denying anyone their right to listen to what they want but don't > forget the history. > > I spoke with a Black rocker in NYC and he told me that many A & R men > didn't > know what to do with Black guys playing soulful rock music. > > The record executive behind Digable Planets told them they were not hard > translate "black enough" for hip-hop. > > So Juan is in the same position.. > > I don't have time to break this down anymore but Juan is not crying he's > simply commenting on the truth; the music business is run by a bunch of > culturally biased and/or ignorant people who have definite ideas about the > value of the music based on their racist crap. > > if anyone does not understand where I'm coming from I will make one more > post > I don't have a lot of time to keep repeating this tired story. > > - > 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] > > - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Regarding Business
Philip Brian Harper wrote a book called "Are We Not Men?" which deals with the politics of homophobia, masculinity, and black music. mostly it talks about motown, but it gets into disco and post-disco dance music, too, including Sylvester. It's a good book and I suspect one could write an amended chapter on house and techno. ben On Wed, 6 Mar 2002, Jones, George wrote: > I can't remember a time when Techno was THE accepted black music among the > population in tha D. From the time I moved to Detroit in '85 until I > graduated high school, it was all about hip hop. Now, Techno and house were > acceptable, meaning, one could listen to either without getting stares or > someone questioning your sexual/ethnic preference. Why it did it stop being > acceptable? Possibly due to it being embraced by the gay community in > detroit. How could house or techno possibly good if a gay guy was vibin' to > the same song as some hard thug? That's the only reason I can think of. I > remember spinning in 1991 to crowds at colleges and house parties that had a > good percentage of gays there. If any of you on the list might remember, > back then, it almost seemed as though gays were the only folks that could > appreciate good house or techno. > > That alone is enough to turn the black male population of Detroit away from > Techno and House. > > When the brotha's stop listening to it, the sista's will too. To it's > credit, there were still some tracks that stayed in rotation on the radio > mix shows and in the clubs like "Clear", "Pacific 0101", "Blow Your House > Down", "Basstronic", "Gypsy Woman", "Plastic Dreams", and "Taxicab". > > I'm probably wrong. I hope I'm wrong. > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] > Sent: Wednesday, March 06, 2002 2:03 PM > To: 313@hyperreal.org > Subject: Re: [313] Regarding Business > > > > Ok sorry but I'm kinda going backward in reading my mail today - > After reading reading all the opinions on this very real very serious > problem several questions and other points come up in my head - > > Let me begin with this question - why has hip-hop replaced techno/house as > the accepted black music form among black people? > I've read countless times that techno was THE music for young black people > (at least in Detroit) until hip-hop came along - so I have to ask what > is/was it about techno that, apparently, makes it not relevant to the > greater black culture? And I'll ask the same about hip-hop? What was/is it > about hip-hop that pulled a previously techno listening audience toward it > and away from techno? > > >From there I have to bring up an article that I think was in Newsweek , and > another magazine which title slips my mind, about the latest Grammy Awards, > the drop in CD sales and rise in "pirated" music (Audiogalaxy, napster, > etc.). The author was making the point that the connection between the drop > in CD sales and the high rotation of music from the shallow well of pop on > radio and MTV has caused people to "turn off" and search out their own > music tastes. Where am I going with this > > >the music business is run by a bunch of culturally biased and/or ignorant > people who have definite ideas about the > >value of the music based on their racist crap. > > yeah, are they ignorant and completely clueless as to what people REALLY > want? - all they know is this current system makes them loads of money - > I'm talking about record and radio execs. So why is it that people listen > MORE and stayed tuned to one station MORE when less diversity is played??? > I've seen more and more essays on this topic in local and national press - > about how absolutely awful the current state of the recording and > broadcasting industry is and how people are getting more and more fed up > with the Brittanys and NYSYCs. But something doesn't jive with me when I > think about how people seem to tune in more often and stay tuned to music > that they don't like?! > Can anyone explain these things to me? > > MEK > > > > > > [EMAIL PROTECTED] > > com To: [EMAIL PROTECTED], > [EMAIL PROTECTED], 313@hyperreal.org >cc: > > 03/06/02 09:42 AMSubject: Re: [313] Regarding > Business > > > > > > > > > Uh No the DEMF was not a Detroit clique thing and even if it was it is > called > the DETROIT ELECTRONIC MUSIC FESTIVAL. > > you must be a person living outside of the us or in the us in a white skin > and ignorant of history. > > UR and Atkins are pioneers of this music and get no respect from the > business > end. > > why should Elvis or Eminem make more money and get more credibility than > Ike > Turner or Redman??? > > Because in AMerica white people doing Black art is always seen as a > marvel... > > Look at NYSYNC and the list goes on. Look at Black rock group Fishbone. Are > > you telling me t
Re: [313] Regarding Business
i don't really think that hip-hop 'replaced' techno. even in the 80's there really couldn't have been more than several thousand ppl attending the music institute. radio certainly had more variety back then, but hip-hop certainly had its cultural footing in place long before techno was even a contender. On Wed, 6 Mar 2002 [EMAIL PROTECTED] wrote: > > Ok sorry but I'm kinda going backward in reading my mail today - > After reading reading all the opinions on this very real very serious > problem several questions and other points come up in my head - > > Let me begin with this question - why has hip-hop replaced techno/house as > the accepted black music form among black people? > I've read countless times that techno was THE music for young black people > (at least in Detroit) until hip-hop came along - so I have to ask what > is/was it about techno that, apparently, makes it not relevant to the > greater black culture? And I'll ask the same about hip-hop? What was/is it > about hip-hop that pulled a previously techno listening audience toward it > and away from techno? > > >From there I have to bring up an article that I think was in Newsweek , and > another magazine which title slips my mind, about the latest Grammy Awards, > the drop in CD sales and rise in "pirated" music (Audiogalaxy, napster, > etc.). The author was making the point that the connection between the drop > in CD sales and the high rotation of music from the shallow well of pop on > radio and MTV has caused people to "turn off" and search out their own > music tastes. Where am I going with this > > >the music business is run by a bunch of culturally biased and/or ignorant > people who have definite ideas about the > >value of the music based on their racist crap. > > yeah, are they ignorant and completely clueless as to what people REALLY > want? - all they know is this current system makes them loads of money - > I'm talking about record and radio execs. So why is it that people listen > MORE and stayed tuned to one station MORE when less diversity is played??? > I've seen more and more essays on this topic in local and national press - > about how absolutely awful the current state of the recording and > broadcasting industry is and how people are getting more and more fed up > with the Brittanys and NYSYCs. But something doesn't jive with me when I > think about how people seem to tune in more often and stay tuned to music > that they don't like?! > Can anyone explain these things to me? > > MEK > > > > > [EMAIL PROTECTED] > com To: [EMAIL PROTECTED], > [EMAIL PROTECTED], 313@hyperreal.org >cc: > 03/06/02 09:42 AMSubject: Re: [313] Regarding > Business > > > > > > > Uh No the DEMF was not a Detroit clique thing and even if it was it is > called > the DETROIT ELECTRONIC MUSIC FESTIVAL. > > you must be a person living outside of the us or in the us in a white skin > and ignorant of history. > > UR and Atkins are pioneers of this music and get no respect from the > business > end. > > why should Elvis or Eminem make more money and get more credibility than > Ike > Turner or Redman??? > > Because in AMerica white people doing Black art is always seen as a > marvel... > > Look at NYSYNC and the list goes on. Look at Black rock group Fishbone. Are > > you telling me they are good enough to get paid. > > > The point is this; the people who run the business are full of isms that > determine who gets the spotlight. > > No one is denying anyone their right to listen to what they want but don't > forget the history. > > I spoke with a Black rocker in NYC and he told me that many A & R men > didn't > know what to do with Black guys playing soulful rock music. > > The record executive behind Digable Planets told them they were not hard > translate "black enough" for hip-hop. > > So Juan is in the same position.. > > I don't have time to break this down anymore but Juan is not crying he's > simply commenting on the truth; the music business is run by a bunch of > culturally biased and/or ignorant people who have definite ideas about the > value of the music based on their racist crap. > > if anyone does not understand where I'm coming from I will make one more > post > I don't have a lot of time to keep repeating this tired story. > > - > 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] > > - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Regarding Business
I can't remember a time when Techno was THE accepted black music among the population in tha D. From the time I moved to Detroit in '85 until I graduated high school, it was all about hip hop. Now, Techno and house were acceptable, meaning, one could listen to either without getting stares or someone questioning your sexual/ethnic preference. Why it did it stop being acceptable? Possibly due to it being embraced by the gay community in detroit. How could house or techno possibly good if a gay guy was vibin' to the same song as some hard thug? That's the only reason I can think of. I remember spinning in 1991 to crowds at colleges and house parties that had a good percentage of gays there. If any of you on the list might remember, back then, it almost seemed as though gays were the only folks that could appreciate good house or techno. That alone is enough to turn the black male population of Detroit away from Techno and House. When the brotha's stop listening to it, the sista's will too. To it's credit, there were still some tracks that stayed in rotation on the radio mix shows and in the clubs like "Clear", "Pacific 0101", "Blow Your House Down", "Basstronic", "Gypsy Woman", "Plastic Dreams", and "Taxicab". I'm probably wrong. I hope I'm wrong. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Wednesday, March 06, 2002 2:03 PM To: 313@hyperreal.org Subject: Re: [313] Regarding Business Ok sorry but I'm kinda going backward in reading my mail today - After reading reading all the opinions on this very real very serious problem several questions and other points come up in my head - Let me begin with this question - why has hip-hop replaced techno/house as the accepted black music form among black people? I've read countless times that techno was THE music for young black people (at least in Detroit) until hip-hop came along - so I have to ask what is/was it about techno that, apparently, makes it not relevant to the greater black culture? And I'll ask the same about hip-hop? What was/is it about hip-hop that pulled a previously techno listening audience toward it and away from techno? >From there I have to bring up an article that I think was in Newsweek , and another magazine which title slips my mind, about the latest Grammy Awards, the drop in CD sales and rise in "pirated" music (Audiogalaxy, napster, etc.). The author was making the point that the connection between the drop in CD sales and the high rotation of music from the shallow well of pop on radio and MTV has caused people to "turn off" and search out their own music tastes. Where am I going with this >the music business is run by a bunch of culturally biased and/or ignorant people who have definite ideas about the >value of the music based on their racist crap. yeah, are they ignorant and completely clueless as to what people REALLY want? - all they know is this current system makes them loads of money - I'm talking about record and radio execs. So why is it that people listen MORE and stayed tuned to one station MORE when less diversity is played??? I've seen more and more essays on this topic in local and national press - about how absolutely awful the current state of the recording and broadcasting industry is and how people are getting more and more fed up with the Brittanys and NYSYCs. But something doesn't jive with me when I think about how people seem to tune in more often and stay tuned to music that they don't like?! Can anyone explain these things to me? MEK [EMAIL PROTECTED] com To: [EMAIL PROTECTED], [EMAIL PROTECTED], 313@hyperreal.org cc: 03/06/02 09:42 AMSubject: Re: [313] Regarding Business Uh No the DEMF was not a Detroit clique thing and even if it was it is called the DETROIT ELECTRONIC MUSIC FESTIVAL. you must be a person living outside of the us or in the us in a white skin and ignorant of history. UR and Atkins are pioneers of this music and get no respect from the business end. why should Elvis or Eminem make more money and get more credibility than Ike Turner or Redman??? Because in AMerica white people doing Black art is always seen as a marvel... Look at NYSYNC and the list goes on. Look at Black rock group Fishbone. Are you telling me they are good enough to get paid. The point is this; the people who run the business are full of isms that determine who gets the spotlight. No one is denying anyone their right to listen to what they want but don't forget the history. I spoke with a Black rocker in NYC and he told me that many A & R men didn't know what to do with Black guys playing soulful rock music. The record executive behind Digable Planets told them they were not hard translate "black enough" for hip-hop. So Juan i
Re: [313] Regarding Business
my intention was never to slap juan. my intention was to correct certain ppl who make their living off of juan adn feel the need to discredit other artist in a vague attempt to up their income. although, in a moment of blatent self appraisal, i suppose i have taken a few shots at juan in the interest of promoting otehr artist who i personally feel deserve the attention more than he does. we're only human. On Wed, 6 Mar 2002 [EMAIL PROTECTED] wrote: > I cant believe what bullshit this list is. dont you fools > know that the music knows no color? cant you people > remember the days when no one knew what color the guy > putting out the record was and you just listened to it > for, *gasp* the MUSIC? > > This list bickers and bitches about race more than detroit > techno. I doubt that Juan would be making racist sounding > comments. why would you talk shit about the man when you > can EASILY contact him and hash things out with him? dont > you think he (or you if you were in his position) would > prefer that? > > you know he reads this and yet you continue to slap him in > the face with unsubstantiated rumors and other bullshit. > I dont consider myself a fan or his, but he seems like a > nice guy and for that matter, who on this list deserves > the cumulative bullshit you cats are so eager to dish out? > > as for DEMF, its free to get in, and free to get out. I > suggest if you are displeased with it, either dont go, or > leave... more room for the people that are there for the > music, not to say they went to demf all 3 years. > > is this where some of you try to guess my color? I would > bet you have already, after reading the above. > > --- > > this is my opinion. I welcome yours. > > -Joe > _ns_ > > > > > > > > Uh No the DEMF was not a Detroit clique thing and even if > it was it is called > the DETROIT ELECTRONIC MUSIC FESTIVAL. > > you must be a person living outside of the us or in the us > in a white skin > and ignorant of history. > > UR and Atkins are pioneers of this music and get no respect > from the business > end. > > why should Elvis or Eminem make more money and get more > credibility than Ike > Turner or Redman??? > > Because in AMerica white people doing Black art is always > seen as a > marvel... > > Look at NYSYNC and the list goes on. Look at Black rock > group Fishbone. Are > you telling me they are good enough to get paid. > > > The point is this; the people who run the business are full > of isms that > determine who gets the spotlight. > > No one is denying anyone their right to listen to what they > want but don't > forget the history. > > I spoke with a Black rocker in NYC and he told me that many > A & R men didn't > know what to do with Black guys playing soulful rock music. > > The record executive behind Digable Planets told them they > were not hard > translate "black enough" for hip-hop. > > So Juan is in the same position.. > > I don't have time to break this down anymore but Juan is > not crying he's > simply commenting on the truth; the music business is run > by a bunch of > culturally biased and/or ignorant people who have definite > ideas about the > value of the music based on their racist crap. > > if anyone does not understand where I'm coming from I will > make one more post > I don't have a lot of time to keep repeating this tired > story. > > - > 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] > > - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business
ever heard of, "thedjlist can suck it?" paul van oakenfag and sasha van digaho before hawtin? BAD BOY BILLLIEE "in the mix.. live.. understand?" PLUHHHLLLEEEAASSSEEE. gag me with a fucking 20inch penis. 1 TIESTO 8080 2 PAUL VAN DYK 6845 3 PAUL OAKENFOLD 5338 4 GEORGE ACOSTA 4607 5 SASHA 4181 6 JOHN DIGWEED 4036 7 BAD BOY BILL 2787 8 CARL COX 2767 9 MAURO PICOTTO 2735 10 IRENE - Original Message - From: <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Cc: <[EMAIL PROTECTED]>; <313@hyperreal.org> Sent: Wednesday, March 06, 2002 1:59 PM Subject: Re: [313] Regarding Business is everyone here familiar with thedjlist.com? its a website where anyone can go and vote for their favorite dj, any dj. cox is # 8 hawtin is #36 - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] acid (house)
a real good primer would be the hardfloor x-mix. it has tracks by dj pierre, armando, phuture. unfortuately, it doesn't have 'acid track', but i don't know of anyother real good chicago acid 'mix' cds. On Wed, 6 Mar 2002, Grammenos, Peter wrote: > > What about DJ Pierre ? > > "... he made 'Wild Pitch' famous throughout the European, Asian and > eventually US markets". > > Just wondering because last time he played in NYC the flyer touted him as > being the originator of acid house. Of course you can't believe everything > you read on a flyer but i've heard this from other people as well. > > -Pete > > > -Original Message- > From: Jongsma, K.J. [mailto:[EMAIL PROTECTED] > Sent: Wednesday, March 06, 2002 11:01 AM > To: 313@hyperreal.org > Subject: RE: [313] acid (house) > > > Of course there a lot of different opinions on what was the first acid track > but i think i am fairly save when say it's Phuture's Acid Tracks. There is a > nice interview with Marshal Jefferson in the Modulations documentary where > he explains how he made that track together with Nick Jones and Spanky. > > When you are looking for some good ol'acid house check the shit Armando > made, he made some amazing stuff. Tracks like 1-5-1, Land of Confusion and > Confusion Revenge still make me smile and bounce around. > > For more 313-related acid try WPA's Seawolf and the Acid Rain I - III > records on Underground Resistance. The old stuff on UR has a lot of TB in > it, Jupiter Jazz for instance... > > [EMAIL PROTECTED] > > > > Greetings all. > > Just to expand my knowledge a bit more, I have been recently > > interested in > > acid/acid house and its history. When I think of this "genre" > > Baby Ford and > > portamento'd 303 basslines come to mind, but I'm sure I am either just > > scratching the surface or overgeneralizing. The track "Are > > You Saved?" by > > Traxx and Deecoy on the Int. Deejay Gigolos comp. 5 got my > > gears turning > > mentally as to ask what the roots/sounds of acid truly are. > > If possible, please post links/discogs/mixes. > > > -- > DISCLAIMER > > De gemeente Almelo aanvaardt voor haar medewerkers geen enkele > aansprakelijkheid voor eventueel onjuist, onrechtmatig of > ontoelaatbaar geacht gebruik van e-mail (inclusief bijlagen). > > Dit e-mail bericht is door de gemeente Almelo gecontroleerd op > de aanwezigheid van eventuele virussen. Wij kunnen echter geen > garantie afgeven dat al onze e-mail berichten volledig virus > vrij zijn. Het is daarom verstandig uw binnenkomende e-mail > berichten zelf op de mogelijke aanwezigheid van virussen > te controleren. > -- > > - > 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] > > - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] claude young tapes dated
dexit came out at the same time his dexit album came out. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Wednesday, March 06, 2002 11:50 AM To: [EMAIL PROTECTED] Cc: 313@hyperreal.org Subject: Re: [313] claude young tapes dated i bought the dexit tape at grammaphone in chicago fall of 1996. that night, mike dearborn threw his first Blast Off party with dj hell, claude young, miss djax, joey beltram, stacy pullen (jungle set). damn, why aren't there events like that anymore? (rhetorical question) On Wed, 6 Mar 2002, [EMAIL PROTECTED] wrote: > > someone sent me some tapes and i need them dated.. > > claude young as you like it > claude young dexit > > not recordings of tracks those "dj promo" ones > > thanks > > -k > > minus 63 in detroit (ok it just feels that way ;) > > > mail2web - Check your email from the web at > http://mail2web.com/ . > > > - > 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] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business
Ok sorry but I'm kinda going backward in reading my mail today - After reading reading all the opinions on this very real very serious problem several questions and other points come up in my head - Let me begin with this question - why has hip-hop replaced techno/house as the accepted black music form among black people? I've read countless times that techno was THE music for young black people (at least in Detroit) until hip-hop came along - so I have to ask what is/was it about techno that, apparently, makes it not relevant to the greater black culture? And I'll ask the same about hip-hop? What was/is it about hip-hop that pulled a previously techno listening audience toward it and away from techno? >From there I have to bring up an article that I think was in Newsweek , and another magazine which title slips my mind, about the latest Grammy Awards, the drop in CD sales and rise in "pirated" music (Audiogalaxy, napster, etc.). The author was making the point that the connection between the drop in CD sales and the high rotation of music from the shallow well of pop on radio and MTV has caused people to "turn off" and search out their own music tastes. Where am I going with this >the music business is run by a bunch of culturally biased and/or ignorant people who have definite ideas about the >value of the music based on their racist crap. yeah, are they ignorant and completely clueless as to what people REALLY want? - all they know is this current system makes them loads of money - I'm talking about record and radio execs. So why is it that people listen MORE and stayed tuned to one station MORE when less diversity is played??? I've seen more and more essays on this topic in local and national press - about how absolutely awful the current state of the recording and broadcasting industry is and how people are getting more and more fed up with the Brittanys and NYSYCs. But something doesn't jive with me when I think about how people seem to tune in more often and stay tuned to music that they don't like?! Can anyone explain these things to me? MEK [EMAIL PROTECTED] com To: [EMAIL PROTECTED], [EMAIL PROTECTED], 313@hyperreal.org cc: 03/06/02 09:42 AMSubject: Re: [313] Regarding Business Uh No the DEMF was not a Detroit clique thing and even if it was it is called the DETROIT ELECTRONIC MUSIC FESTIVAL. you must be a person living outside of the us or in the us in a white skin and ignorant of history. UR and Atkins are pioneers of this music and get no respect from the business end. why should Elvis or Eminem make more money and get more credibility than Ike Turner or Redman??? Because in AMerica white people doing Black art is always seen as a marvel... Look at NYSYNC and the list goes on. Look at Black rock group Fishbone. Are you telling me they are good enough to get paid. The point is this; the people who run the business are full of isms that determine who gets the spotlight. No one is denying anyone their right to listen to what they want but don't forget the history. I spoke with a Black rocker in NYC and he told me that many A & R men didn't know what to do with Black guys playing soulful rock music. The record executive behind Digable Planets told them they were not hard translate "black enough" for hip-hop. So Juan is in the same position.. I don't have time to break this down anymore but Juan is not crying he's simply commenting on the truth; the music business is run by a bunch of culturally biased and/or ignorant people who have definite ideas about the value of the music based on their racist crap. if anyone does not understand where I'm coming from I will make one more post I don't have a lot of time to keep repeating this tired story. - 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]
Re: [313] Regarding Business
is everyone here familiar with thedjlist.com? its a website where anyone can go and vote for their favorite dj, any dj. cox is # 8 hawtin is #36 On Wed, 6 Mar 2002 [EMAIL PROTECTED] wrote: > In a message dated 3/6/02 10:18:18 AM Eastern Standard Time, [EMAIL PROTECTED] > writes: > > > > come on, man ,techno carl cox > > if somebody is mega super star in techno thats got to be Richie Hawtin, who > > is that carl cox figure. > > fat ass dj running intec nothing special > > > > >>>dude, you're either taking the piss or you're talking out of your ass. > > as far as the uk and europe goes, carl cox is THE MAN taking on the > > mainstream and breaking down the barriers and making techno acceptable > > again over there. > > > > and in america, out of all the UK superstar dj's, he's the one who actually > > has some humility and knows his role. he has no illusions that he's going > > to 'change' the scene here, he just wants to bring his influences to the > > fans here - and people like rich respect him for that. > > > > FYI: Although Carl is the face behind InTec, he doesn't run the label day > > to day. That's taken by a very competent group of people including a very > > talented DJ, C-1. InTec will be making moves this year, watch and see. > > > > pw > > - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] A shocking hobby... [soulseek]
in case some of you dont know of it yet, there is a napster-like file sharing service just for electronic music called soulseek (www.soulseek.org) lots of very very hard to find stuff on there. its PC only though. I found 3-4 speedy J live sets on there that just plain kick ass. also I found some future sound of london live shows on there. even thought fsol isnt detroit, its great great music and their live sets are known to be hard to find (because they dont think electronic music is suited for live performance) I hope you all enjoy soulseek! I have. -Joe a shocking hobby is good, although i think most in the IDM scene over-looked it. have you heard public energy #1? that's speedy j's 1997 album 9his last for +8). that's where he first made the switch from clean smooth techno to the serious noise. (attention 313 guards: i know the 'ni go snix' 12" came out just before that). that album really changed my concept of what techno can be. there used to be a real audio set from speedy j at tribal gathering from the public energy tour (www.speedyj.org) but i don't think that's up anymore. shame since i saw him a few days later in amsterdam (still in the top 3 sets i've ever heard in my life!!!) ever since 'shoking hobby' he's gone more straight bangin' techno (electric deluxe or krake 12") you can find a few live pa's of that style on winmx or audiogalaxy. it's some of the best hard techno i've heard. shit, everything he does is 'the best' of that style. but i wish he would explore the broken distorted style from public energy #1/shocking hobby a bit more. what does everyone else think? On Wed, 6 Mar 2002 [EMAIL PROTECTED] wrote: > Have been listening to Speedy J's album "a shocking hobby" for a few days > now. Lot's of distorted abstract noise, but I like it!!! > > I was wondering what the general opinion on this album is, and, whether this > album as considered to be a good example of IDM music (not to step on any > toes here), and if not, what good examples are? > > W > > > -- > The information in this Internet email is confidential and may be > legally privileged. It is intended solely for the addressee. Access > to this Internet email by anyone else is unauthorised. > > If you are not the intended recipient, any disclosure, copying, distribution > or any action taken or omitted to be taken in reliance on it, is prohibited > and may be unlawful. When addressed to our clients any opinions or advice > contained in this Internet email are subject to the terms and conditions > expressed in any applicable governing ING terms of business or > client engagement letter. > > Visit us at www.ing.com > > -- > > - > 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] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business
the DEMF did an amazing job representing everything in electronic music. and carl got knocked down by the playa haters network. On Wed, 6 Mar 2002 [EMAIL PROTECTED] wrote: > The point I was trying to make is that not wether Jaun or Oakenfold being one > dj better than the other, it's the fact that Oakenfold speaks to more people > with his music right now, even if there is some historical arguement against > that he's not as pioneering, who gives a fuck? I don't like the anit-black > references he's putting out there, when it's obvious he can't milk his > DETROIT stauts much longer, that the hype is dying down, so he has to pull > the RACE CARD. I'm tired of people who aren't the supersatr forever > reverting back to a time that doesn't exist here anymore in the US. Maybe you > can find racism elswhere, but it's certainly not in electronic music, unless, > I suppose you work for UR, which is anti anything not black. The racsim > thing is an attack on the culture on a whole, because people aren't trying to > be part of their inner clique. If you aren't part of their marketing machine > in Detroit, you are excluded. That early form of techno is not what you hear > in the clubs, the parties, or anywhere here. Yet they still try to > monopolize the spotlight. What was the DEMF? It wasn't representative of > Detroit. It was a planet e, KMS, metroplex promo package. And if you think > I'm wrong, you aren't in touch enough in the Detroit scene. > > - > 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]
Re: [313] Regarding Business
hmmm. hawtin or cox. internationally, i really think cox might have a slightly higher profile, although i could be wrong. On Wed, 6 Mar 2002, Berislav wrote: > > > > trance: oakenfold, sasha digweed (white) > > techno: carl cox? (black) > > jungle: goldie (black) > > come on, man ,techno carl cox > if somebody is mega super star in techno thats got to be Richie Hawtin, who > is that carl cox figure. > fat ass dj running intec nothing special > > > > > b. > > > > > > > - > 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]
Re: [313] claude young tapes dated
i bought the dexit tape at grammaphone in chicago fall of 1996. that night, mike dearborn threw his first Blast Off party with dj hell, claude young, miss djax, joey beltram, stacy pullen (jungle set). damn, why aren't there events like that anymore? (rhetorical question) On Wed, 6 Mar 2002, [EMAIL PROTECTED] wrote: > > someone sent me some tapes and i need them dated.. > > claude young as you like it > claude young dexit > > not recordings of tracks those "dj promo" ones > > thanks > > -k > > minus 63 in detroit (ok it just feels that way ;) > > > mail2web - Check your email from the web at > http://mail2web.com/ . > > > - > 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]
Re: [313] Regarding Business
what I SHOULD do is unsub and quit wasting the time I could be spending making tracks for the people on the list that actually love the music and not the shitstorm surrounding it. race issues will appear anywhere you let them and sometimes despite your wishes. i've yet to encounter race issues in my endevours in detroit techno, from a production and performance standpoint. but if I had, I surely wouldnt bitch about it all day and night for months on end on the [313] mailing list. that is just dumb, not to mention COMPLETELY OFF TOPIC you're obviously arguing semantics and not looking at the big picture here. also, if Juan Atkins is such a racist guy or whatever the hell problem you have with him, I ask again, why are you taking it up on a public mailing list when you can easily take it up with him, in private? not very courteous IMO. This is my last public post on this topic. I'll spare the list my continued rants :) pardon any errors, I am not proofing or spellchecking :) -Joe DelCimmuto you obviously didn't read all of our posts. Nor did you read Juan's interview. I would suggest you go to the submerge site and find the interview he did with the california paper. This should clear some things up about the "non-existence" race in the music business and "rumors" Five - 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]
Re: [313] A shocking hobby...
a shocking hobby is good, although i think most in the IDM scene over-looked it. have you heard public energy #1? that's speedy j's 1997 album 9his last for +8). that's where he first made the switch from clean smooth techno to the serious noise. (attention 313 guards: i know the 'ni go snix' 12" came out just before that). that album really changed my concept of what techno can be. there used to be a real audio set from speedy j at tribal gathering from the public energy tour (www.speedyj.org) but i don't think that's up anymore. shame since i saw him a few days later in amsterdam (still in the top 3 sets i've ever heard in my life!!!) ever since 'shoking hobby' he's gone more straight bangin' techno (electric deluxe or krake 12") you can find a few live pa's of that style on winmx or audiogalaxy. it's some of the best hard techno i've heard. shit, everything he does is 'the best' of that style. but i wish he would explore the broken distorted style from public energy #1/shocking hobby a bit more. what does everyone else think? On Wed, 6 Mar 2002 [EMAIL PROTECTED] wrote: > Have been listening to Speedy J's album "a shocking hobby" for a few days > now. Lot's of distorted abstract noise, but I like it!!! > > I was wondering what the general opinion on this album is, and, whether this > album as considered to be a good example of IDM music (not to step on any > toes here), and if not, what good examples are? > > W > > > -- > The information in this Internet email is confidential and may be > legally privileged. It is intended solely for the addressee. Access > to this Internet email by anyone else is unauthorised. > > If you are not the intended recipient, any disclosure, copying, distribution > or any action taken or omitted to be taken in reliance on it, is prohibited > and may be unlawful. When addressed to our clients any opinions or advice > contained in this Internet email are subject to the terms and conditions > expressed in any applicable governing ING terms of business or > client engagement letter. > > Visit us at www.ing.com > > -- > > - > 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]
Re: [313] Regarding Business
you obviously didn't read all of our posts. Nor did you read Juan's interview. I would suggest you go to the submerge site and find the interview he did with the california paper. This should clear some things up about the "non-existence" race in the music business and "rumors" Five - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business
I cant believe what bullshit this list is. dont you fools know that the music knows no color? cant you people remember the days when no one knew what color the guy putting out the record was and you just listened to it for, *gasp* the MUSIC? This list bickers and bitches about race more than detroit techno. I doubt that Juan would be making racist sounding comments. why would you talk shit about the man when you can EASILY contact him and hash things out with him? dont you think he (or you if you were in his position) would prefer that? you know he reads this and yet you continue to slap him in the face with unsubstantiated rumors and other bullshit. I dont consider myself a fan or his, but he seems like a nice guy and for that matter, who on this list deserves the cumulative bullshit you cats are so eager to dish out? as for DEMF, its free to get in, and free to get out. I suggest if you are displeased with it, either dont go, or leave... more room for the people that are there for the music, not to say they went to demf all 3 years. is this where some of you try to guess my color? I would bet you have already, after reading the above. --- this is my opinion. I welcome yours. -Joe _ns_ Uh No the DEMF was not a Detroit clique thing and even if it was it is called the DETROIT ELECTRONIC MUSIC FESTIVAL. you must be a person living outside of the us or in the us in a white skin and ignorant of history. UR and Atkins are pioneers of this music and get no respect from the business end. why should Elvis or Eminem make more money and get more credibility than Ike Turner or Redman??? Because in AMerica white people doing Black art is always seen as a marvel... Look at NYSYNC and the list goes on. Look at Black rock group Fishbone. Are you telling me they are good enough to get paid. The point is this; the people who run the business are full of isms that determine who gets the spotlight. No one is denying anyone their right to listen to what they want but don't forget the history. I spoke with a Black rocker in NYC and he told me that many A & R men didn't know what to do with Black guys playing soulful rock music. The record executive behind Digable Planets told them they were not hard translate "black enough" for hip-hop. So Juan is in the same position.. I don't have time to break this down anymore but Juan is not crying he's simply commenting on the truth; the music business is run by a bunch of culturally biased and/or ignorant people who have definite ideas about the value of the music based on their racist crap. if anyone does not understand where I'm coming from I will make one more post I don't have a lot of time to keep repeating this tired story. - 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]
RE: [313] Record stores in Detroit?
Too funny, my friend owns Neptune. I have a hat from there I wear out here a lot. Love Windy & Carl too... I'm actually from Dearborn. Cheers, -m -Original Message- From: Mxyzptlk [mailto:[EMAIL PROTECTED] Sent: Tuesday, March 05, 2002 7:16 PM To: Matthew Cloney Cc: 313@hyperreal.org Subject: Re: [313] Record stores in Detroit? Melodies & Memories on Gratiot (a few miles south of RT). Neptune in Royal Oak is good for indie and some IDM. The Record Collector in Ferndale is great for retro vinyl as is Car City records on Harper near 8 mile way over on the east side. WAY down in Wyandotte used to be a very odd, but cool store called Sprockets; they had every Ozric Tentacles CD in existence as well as tons of off the wall 70s stuff - almost nothing you'd think of as "rent paying" stock in the store. Stormy Records (ran by Windy & Carl) in Dearborn is fun - lots of indie stuff. East Alley Records in Rochester has a good rep, but I've never been there. It really is hard to beat RT for 313 related items. jeff At 07:13 PM 3/5/2002, you wrote: >Hey All, > >I was born and raised in 313, but have since moved away. When I was home >visiting in December last year, the buzz I got was that there were really >only a few record stores, and two of them were the Recordtime stores I went >to. While I thought they were ok, I'm looking for something even more >local/independent if possible. Can anyone help? I'm usually based near >Warren & Wyoming but will travel anywhere in Metro Detroit to shop! Looking >for all types of music, so recommendations by genre are greatly appreciated. >Will be home for DEMF, so if there are any ad-hoc stores that pop up around >that time please let me know. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] klubradio this week
is this strictly an internet broadcast, or is it on-air broadcast in germany? On Wed, 6 Mar 2002, Pit Schultz wrote: > *** this week > > -> Sven Vaeth (cocoon) Thursday night at Tresor > -> Chris Korda (gigolo rec.) Saturday night at Ostgut > -> Detroit Special Sat night at WMF (last week in this location!) > Todd Sines (Planet E/7Th City/Perlon/Force Tracks, Detroit) > Charles Noel (Good Lookin', Creation Rebel,Ongaku, Detroit) > Live: Archetype (Theory, Good Lookin, Ongaku , Detroit) > Todd Sines (Planet E/7Th City/Perlon/Force Tracks,Detroit) > and many more exclusive live dj sets, starting arround 23:30 GMT+1 > http://www.klubradio.de > > -> debug chart radio preview > best records of the month selected by debug magazine, berlin > http://www.klubradio.de/debugcharts.ram > full playlist & reviews: > http://www.de-bug.de > > -> our t-shirts in limited editition designed by daniel pflumm > http://www.klubradio.de/tshirts.html > > > *** new in the archive: > NIKAKOI (wmfrec) Alexander Kowalski (kanzleramt) feat. Raz Ohara > Heiko Laux (kanzleramt) Barbara Preisinger (~scape) and many more.. > > next week: > > Tresor/Globus: > DJ Rush (K'nee-Deep, Pro-jax / Chicago) > Recyver Dogs live PA (Berlin) > Joey Beltram (STX Rec. / NYC) > Sender Berlin live PA (Tresor Rec./ Berlin), > Tanith (Timing / Berlin), Wolle (Berlin), tbc. > John Acquaviva (+8, Definitive / Ontario) > Neil Landstrumm live PA (Tresor Rec., Scandinavia / NYC) > Dave Tarrida (Tresor Rec., Sativae / Barcelona) > Marc Snow (Boston - Berlin) > > wmf: > WMF STUNDE 0: LAST EXIT WMF! > Live: Mitte Karaoke, Djs: Ellen Allien, Highfish & Diringer, Mitja Prinz, > Ben E. Clock, Sven Vt > Daniel Wetzel, Andreas Sachwitz Exponence Floor: Sv Th?len, Bleed, > Bassdee, Feed, Manuela Krause > Video: Visomat Inc, Pfadfinderei > > phonodrome: > DJ Steve Mason, DJ Roland Casper und DJ PayTric > Kanzleramt - DJ Heiko Laux und Alexander Kowalsky Live, DJ Carsten Dessault > > ostgut: > George Morel (strictly rhythm/groove on) > Marc Dale (vinylium rec.) > Djoker (Daan bpctrl) > Vitalic (live gigolo) > Andr? Galluzzi (ostgut/taksi rec.) > Dafyr (rampe d) > > > - > 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]
RE: [313] A shocking hobby...
for a very different side of speedy j, check out 1998's self-titled debut
from slag boom van loon (NOT the recent remix album "so far," although
that's worth a listen, too). it's a collab b/t jochem paap and the
aforementioned mike paradinas but they seem to cancel out each other's
noisier tendencies. serense, sometimes playful and always quirky idm, with
the track titles ("angels at the gates of pandemonium," "butch," broccoli,"
"poppy seed") giving a good indication of the beautiful weirdness on
display.
brian dillard
-Original Message-
From: Gwendal Cobert [mailto:[EMAIL PROTECTED]
Sent: Wednesday, March 06, 2002 4:26 AM
To: 313@hyperreal.org
Subject: RE: [313] A shocking hobby...
Well, Speedy J has had quite a varied output, some of which I would rank as
drill'n bass (think Mike Paradinas et al), some of which is clearly IDM
(mostly what he released on Warp), some is Detroit techno - and good Detroit
techno too, I'm thinking about his +8 records... Haven't been listening to
this specific one for a while now, but I've got fond memories of it ; and it
certainly is a good example of good IDM. There are plenty of people putting
out excellent IDM these days - off the top of my head : check out the Leaf
comps - and there have been plenty releasing great IDM in the last ten
years... just check out the Warp catalogue
Gwendal
> Have been listening to Speedy J's album "a shocking hobby"
> for a few days
> now. Lot's of distorted abstract noise, but I like it!!!
>
> I was wondering what the general opinion on this album is,
> and, whether this
> album as considered to be a good example of IDM music (not to
> step on any
> toes here), and if not, what good examples are?
-
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RE: [313] acid (house)
According to my info Acid Tracks was produced by DJ Pierre, Spanky and Marshall Jefferson - no mention of Nick Jones. From the info I have it looks like Nick Jones wasn't involved with Phuture until around 92 or so after Pierre had left... I can check some record labels for credits when I get home... Eric At 12:16 PM 3/6/2002 -0500, Grammenos, Peter wrote: What about DJ Pierre ? "... he made 'Wild Pitch' famous throughout the European, Asian and eventually US markets". Just wondering because last time he played in NYC the flyer touted him as being the originator of acid house. Of course you can't believe everything you read on a flyer but i've heard this from other people as well. -Pete -Original Message- From: Jongsma, K.J. [mailto:[EMAIL PROTECTED] Sent: Wednesday, March 06, 2002 11:01 AM To: 313@hyperreal.org Subject: RE: [313] acid (house) Of course there a lot of different opinions on what was the first acid track but i think i am fairly save when say it's Phuture's Acid Tracks. There is a nice interview with Marshal Jefferson in the Modulations documentary where he explains how he made that track together with Nick Jones and Spanky. When you are looking for some good ol'acid house check the shit Armando made, he made some amazing stuff. Tracks like 1-5-1, Land of Confusion and Confusion Revenge still make me smile and bounce around. For more 313-related acid try WPA's Seawolf and the Acid Rain I - III records on Underground Resistance. The old stuff on UR has a lot of TB in it, Jupiter Jazz for instance... [EMAIL PROTECTED] > Greetings all. > Just to expand my knowledge a bit more, I have been recently > interested in > acid/acid house and its history. When I think of this "genre" > Baby Ford and > portamento'd 303 basslines come to mind, but I'm sure I am either just > scratching the surface or overgeneralizing. The track "Are > You Saved?" by > Traxx and Deecoy on the Int. Deejay Gigolos comp. 5 got my > gears turning > mentally as to ask what the roots/sounds of acid truly are. > If possible, please post links/discogs/mixes. -- DISCLAIMER De gemeente Almelo aanvaardt voor haar medewerkers geen enkele aansprakelijkheid voor eventueel onjuist, onrechtmatig of ontoelaatbaar geacht gebruik van e-mail (inclusief bijlagen). Dit e-mail bericht is door de gemeente Almelo gecontroleerd op de aanwezigheid van eventuele virussen. Wij kunnen echter geen garantie afgeven dat al onze e-mail berichten volledig virus vrij zijn. Het is daarom verstandig uw binnenkomende e-mail berichten zelf op de mogelijke aanwezigheid van virussen te controleren. -- - 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] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] acid (house)
he's got a new track out called "dancin" on nitegrooves that is great. i expect it to be a big hit. i was glad to see pierre have a new record out, as i used to be really into the sex trax/power music stuff. spanky, etc... -Original Message- From: Grammenos, Peter [mailto:[EMAIL PROTECTED] Sent: Wednesday, March 06, 2002 10:16 AM To: 'Jongsma, K.J.'; 313@hyperreal.org Subject: RE: [313] acid (house) What about DJ Pierre ? "... he made 'Wild Pitch' famous throughout the European, Asian and eventually US markets". Just wondering because last time he played in NYC the flyer touted him as being the originator of acid house. Of course you can't believe everything you read on a flyer but i've heard this from other people as well. -Pete -Original Message- From: Jongsma, K.J. [mailto:[EMAIL PROTECTED] Sent: Wednesday, March 06, 2002 11:01 AM To: 313@hyperreal.org Subject: RE: [313] acid (house) Of course there a lot of different opinions on what was the first acid track but i think i am fairly save when say it's Phuture's Acid Tracks. There is a nice interview with Marshal Jefferson in the Modulations documentary where he explains how he made that track together with Nick Jones and Spanky. When you are looking for some good ol'acid house check the shit Armando made, he made some amazing stuff. Tracks like 1-5-1, Land of Confusion and Confusion Revenge still make me smile and bounce around. For more 313-related acid try WPA's Seawolf and the Acid Rain I - III records on Underground Resistance. The old stuff on UR has a lot of TB in it, Jupiter Jazz for instance... [EMAIL PROTECTED] > Greetings all. > Just to expand my knowledge a bit more, I have been recently > interested in > acid/acid house and its history. When I think of this "genre" > Baby Ford and > portamento'd 303 basslines come to mind, but I'm sure I am either just > scratching the surface or overgeneralizing. The track "Are > You Saved?" by > Traxx and Deecoy on the Int. Deejay Gigolos comp. 5 got my > gears turning > mentally as to ask what the roots/sounds of acid truly are. > If possible, please post links/discogs/mixes. -- DISCLAIMER De gemeente Almelo aanvaardt voor haar medewerkers geen enkele aansprakelijkheid voor eventueel onjuist, onrechtmatig of ontoelaatbaar geacht gebruik van e-mail (inclusief bijlagen). Dit e-mail bericht is door de gemeente Almelo gecontroleerd op de aanwezigheid van eventuele virussen. Wij kunnen echter geen garantie afgeven dat al onze e-mail berichten volledig virus vrij zijn. Het is daarom verstandig uw binnenkomende e-mail berichten zelf op de mogelijke aanwezigheid van virussen te controleren. -- - 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] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] 313 Book List
>If the money is not behind an artist they will not succeed. And the people who determine who will succeed have >their own bias about what is valuable. I think that everything "cinqueorange" is saying is true but one thing must be made clear and that is this definition of "success" - it exists on many levels. What one person thinks as success, another may consider loss. Was is Alan Oldham that said that for him selling 5,000 records qualified as a hit but for a group like Warner Brothers - that would be a utter flop. Personally, I think that having a long history of releases that constantly sell, a back catalogue that's always in demand, seriously devoted followers of your every move, a festival to celebrate your music, an entire group of people who daily log in to their computers to discuss the music you've created, people who spend the better parts of their free time listening and looking for your music and spending their money on it, and new artists who have been inspired by you and model their sounds after yours, even a book dedicated to it - that's pretty f*cking successful if you ask me. I can only hope to have that kind of success and I most likely never will. I still acknowledge the FACT that racism has a major affect on FURTHER success. Yes, the music industry has a glass ceiling. Lets break the m*therf*cker. MEK -- I am sick of all this ignorant banter about racism not existing in dance music. Racism is in the world and the music is a part of the world. I'm not talking about some Kodwo Eshun discourse about sonic fictions I'm talking about the business side of things. We can talk all day about the various worlds/discourses inside a Dreciya record but that's not what I'm talking about. For those interested I would start a reading list for those interested. My point is this; Dance music marketing is no different than any other music at least rock, hip-hop, R & B and soul. If the money is not behind an artist they will not succeed. And the people who determine who will succeed have their own bias about what is valuable. I would like people to send me their stories, readings, etc. to me. I am going to compile my own list for a web site I am creating. Because I am tired of Laura Gavoor being at risk for carpel tunnel syndrome and others having to repeat themselves on this topic. It is very obvious to me that the record industry is racist etc. and that dance music suffers for it but now I want to do some hardcore research in this matter. FYI I am a person interested in a racialized, historical analysis of this situation. And for those interested we can definitely talk about a McLuhanesque style talk too but that's not what I'm getting at today. Peace, Five - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] acid (house)
What about DJ Pierre ? "... he made 'Wild Pitch' famous throughout the European, Asian and eventually US markets". Just wondering because last time he played in NYC the flyer touted him as being the originator of acid house. Of course you can't believe everything you read on a flyer but i've heard this from other people as well. -Pete -Original Message- From: Jongsma, K.J. [mailto:[EMAIL PROTECTED] Sent: Wednesday, March 06, 2002 11:01 AM To: 313@hyperreal.org Subject: RE: [313] acid (house) Of course there a lot of different opinions on what was the first acid track but i think i am fairly save when say it's Phuture's Acid Tracks. There is a nice interview with Marshal Jefferson in the Modulations documentary where he explains how he made that track together with Nick Jones and Spanky. When you are looking for some good ol'acid house check the shit Armando made, he made some amazing stuff. Tracks like 1-5-1, Land of Confusion and Confusion Revenge still make me smile and bounce around. For more 313-related acid try WPA's Seawolf and the Acid Rain I - III records on Underground Resistance. The old stuff on UR has a lot of TB in it, Jupiter Jazz for instance... [EMAIL PROTECTED] > Greetings all. > Just to expand my knowledge a bit more, I have been recently > interested in > acid/acid house and its history. When I think of this "genre" > Baby Ford and > portamento'd 303 basslines come to mind, but I'm sure I am either just > scratching the surface or overgeneralizing. The track "Are > You Saved?" by > Traxx and Deecoy on the Int. Deejay Gigolos comp. 5 got my > gears turning > mentally as to ask what the roots/sounds of acid truly are. > If possible, please post links/discogs/mixes. -- DISCLAIMER De gemeente Almelo aanvaardt voor haar medewerkers geen enkele aansprakelijkheid voor eventueel onjuist, onrechtmatig of ontoelaatbaar geacht gebruik van e-mail (inclusief bijlagen). Dit e-mail bericht is door de gemeente Almelo gecontroleerd op de aanwezigheid van eventuele virussen. Wij kunnen echter geen garantie afgeven dat al onze e-mail berichten volledig virus vrij zijn. Het is daarom verstandig uw binnenkomende e-mail berichten zelf op de mogelijke aanwezigheid van virussen te controleren. -- - 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]
[313] RE: (313) re: ismistik
from ad.techno.org (yes, it's still there) Djax-Up-132 Ismistik - Bonus Bouncers Djax-Up-140 Ismistik - Oasis Djax-Up-164 Ismistik - 3rd Trace Djax-Up-CD9 Ismistik - Remain W -Original Message- From: <[EMAIL PROTECTED]> at INET-1 Sent: Wednesday, March 06, 2002 2:28 PM To: 313@hyperreal.org at INET-1 Subject: RE: [313] re: ismistik Memo from Alex Bond of PricewaterhouseCoopers Start of message text I think there was 3 Ismistik 12's on Djax, I've certainly got two and I know of another. At the time they came out, I thought they were killer, Techno from Europe that had similarities to Detroit, there wasn't that much of it about at the time. Was it '93? Was glad to hear that the guy is still producing, a friend of mine picked up that 10" + I thought it was pretty good too. To be quite honest, I used to play them to death as a young lad. ah *goes all misty eyed*! Neil Wallace <[EMAIL PROTECTED]> on 06/03/2002 14:20:10 To:James David Beard <[EMAIL PROTECTED]>, 313@hyperreal.org cc: Subject:RE: [313] re: ismistik i have an ismistik record on djax (i think it has palm trees on the label or something) to be honest i dont think it was that great (though i cant tell you any more than that as ive not really played it much) neil :-Original Message- :From: James David Beard [mailto:[EMAIL PROTECTED] :Sent: Wednesday, March 06, 2002 2:15 PM :To: 313@hyperreal.org :Subject: [313] re: ismistik : : :I think all the ismistik releases are very nice. :They're some of my favorites. Trippy, refined melodic :techno with a pretty unique flavor--the kind that bounces :in your mind, makes you smile and sometimes pulls your :heartstrings. Classic sounds arranged in a direct, but :original way. They were definately channeling some good :vibes. I would fully recommend picking up a copy of Remain, :as I see it is currently available direct from djax... the :other three 12" are excellent as well, but may be harder to :find. : :david beard := : :I've never heard his Ismistik releases on Djax though? : :Otto : : :- :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] - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. The information transmitted is intended only for the person or entity to which it is addressed and may contain confidential and/or privileged material. Any review, retransmission, dissemination or other use of, or taking of any action in reliance upon, this information by persons or entities other than the intended recipient is prohibited. If you received this in error, please contact the sender and delete the material from any computer. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - ATTENTION: The information in this electronic mail message is private and confidential, and only intended for the addressee. Should you receive this message by mistake, you are hereby notified that any disclosure, reproduction, distribution or use of this message is strictly prohibited. Please inform the sender by reply transmission and delete the message without copying or opening it. Messages and attachments are scanned for all viruses known. If this message contains password-protected attachments, the files have NOT been scanned for viruses by the ING mail domain. Always scan attachments before opening them. - - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] 313 Book List
I am sick of all this ignorant banter about racism not existing in dance music. Racism is in the world and the music is a part of the world. I'm not talking about some Kodwo Eshun discourse about sonic fictions I'm talking about the business side of things. We can talk all day about the various worlds/discourses inside a Dreciya record but that's not what I'm talking about. For those interested I would start a reading list for those interested. My point is this; Dance music marketing is no different than any other music at least rock, hip-hop, R & B and soul. If the money is not behind an artist they will not succeed. And the people who determine who will succeed have their own bias about what is valuable. I would like people to send me their stories, readings, etc. to me. I am going to compile my own list for a web site I am creating. Because I am tired of Laura Gavoor being at risk for carpel tunnel syndrome and others having to repeat themselves on this topic. It is very obvious to me that the record industry is racist etc. and that dance music suffers for it but now I want to do some hardcore research in this matter. FYI I am a person interested in a racialized, historical analysis of this situation. And for those interested we can definitely talk about a McLuhanesque style talk too but that's not what I'm getting at today. Peace, Five - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] NL 313ers
Memo from Alex Bond of PricewaterhouseCoopers Start of message text A while ago while some friends and I were in Amsterdam, one of my friends who is based over there had a bag full of very rare Detroit records stolen. Like I say, it happened a while ago, (3 months) it has only just occured to me to post on here. If anyone who works in a record shop, or anyone gets offered these records, I would be grateful if you can contact me. We can't remember exactly what was in the bag but some of the things are listed below. You'd know this bag, it was full, and I mean full of sought after stuff. I know it's a long shot, but it's worth a try because the lad concerned can't afford to replace them. All the Buzz 12's in the silver sleeves, Virtual Sex LP, Telex - Sex LP, 33 1/3rd Queen - 'Searchin' Shop double pack on Planet E. Docile 12" Can't remember any more, these are just from the top of my head, there was 50 - 70 records in there though, a large black sports type bag. Thanks. - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. The information transmitted is intended only for the person or entity to which it is addressed and may contain confidential and/or privileged material. Any review, retransmission, dissemination or other use of, or taking of any action in reliance upon, this information by persons or entities other than the intended recipient is prohibited. If you received this in error, please contact the sender and delete the material from any computer. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] acid (house)
Of course there a lot of different opinions on what was the first acid track but i think i am fairly save when say it's Phuture's Acid Tracks. There is a nice interview with Marshal Jefferson in the Modulations documentary where he explains how he made that track together with Nick Jones and Spanky. When you are looking for some good ol'acid house check the shit Armando made, he made some amazing stuff. Tracks like 1-5-1, Land of Confusion and Confusion Revenge still make me smile and bounce around. For more 313-related acid try WPA's Seawolf and the Acid Rain I - III records on Underground Resistance. The old stuff on UR has a lot of TB in it, Jupiter Jazz for instance... [EMAIL PROTECTED] > Greetings all. > Just to expand my knowledge a bit more, I have been recently > interested in > acid/acid house and its history. When I think of this "genre" > Baby Ford and > portamento'd 303 basslines come to mind, but I'm sure I am either just > scratching the surface or overgeneralizing. The track "Are > You Saved?" by > Traxx and Deecoy on the Int. Deejay Gigolos comp. 5 got my > gears turning > mentally as to ask what the roots/sounds of acid truly are. > If possible, please post links/discogs/mixes. -- DISCLAIMER De gemeente Almelo aanvaardt voor haar medewerkers geen enkele aansprakelijkheid voor eventueel onjuist, onrechtmatig of ontoelaatbaar geacht gebruik van e-mail (inclusief bijlagen). Dit e-mail bericht is door de gemeente Almelo gecontroleerd op de aanwezigheid van eventuele virussen. Wij kunnen echter geen garantie afgeven dat al onze e-mail berichten volledig virus vrij zijn. Het is daarom verstandig uw binnenkomende e-mail berichten zelf op de mogelijke aanwezigheid van virussen te controleren. -- - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] BLAZE - 25 Years Later
If peeps aren't sick of this thread by tomorrow, I will post details of 'The Garage Sound Volume III' Rumor/Republic (1991) which features Blaze too. Also Colonel Abrams (I kid you not) Dave Lee, Larry Heard (I wouldn't lie to you) Paul Simpson (the same one) and Kirk Degiorgio(!) ... Unless someone else has it too and wants to spare me the toil between now & then. Peace, Ken >-Original Message- >From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] >Sent: Wednesday, March 06, 2002 12:52 PM >To: 313@hyperreal.org >Subject: [313] BLAZE - 25 Years Later > > >Hiya all, > >Back in 1992 Motown released Blaze's first ever album called "25 years >later". I am told it was a major flop. > >What are the chances that I might come accross a copy of that album? Is it >ultra rare & expensive? > >Anyone got a copy he/she wants to part with? :) > >Any info is appreciated. > >out > >W > > >--- >--- >The information in this Internet email is confidential and may be >legally privileged. It is intended solely for the addressee. Access >to this Internet email by anyone else is unauthorised. > >If you are not the intended recipient, any disclosure, copying, >distribution >or any action taken or omitted to be taken in reliance on it, is prohibited >and may be unlawful. When addressed to our clients any opinions or advice >contained in this Internet email are subject to the terms and conditions >expressed in any applicable governing ING terms of business or >client engagement letter. > >Visit us at www.ing.com > >--- >--- > >- >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]
Re: [313] Regarding Business
[EMAIL PROTECTED] wrote: > unless, I suppose you work for UR, which is anti anything not black. You just proved that you have got absolutely no clue what you're talking about. Otto - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business
what spotlight??? Juan Atkins was never in the "Spotlight" the techno were always larger overseas than at home. Those records were underground. KMS's "Big Fun" and "Good Life" were the biggest records for that whole scene. There was NEVER a time that Derrick got mobbed walking down the street in Detroit. so that is incorrect. you need to ask Carl Craig why the festival wasn't so inclusive if that is true.. I'm in Detroit and I do feel the first year was richer but that is not the point Juan is making. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
FW: [313] Regarding Business
Perhaps you can elaborate (with slightly better English, punctuation and spelling please, you are a journalist after all) on the cultural diversity of the electronic music scene in the US - which is what I think you're implying exists. By the way, if you haven't got any intention of causing deliberate insult (which I believe you don't - I hope you understand irony too) you might want to quit swearing and being generally discourteous to (1) the musicians who you're criticizing (b) to anyone who appears to disagree with you. Thx, Ken >-Original Message- >From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] >Sent: Wednesday, March 06, 2002 3:20 PM >To: [EMAIL PROTECTED]; 313@hyperreal.org >Subject: Re: [313] Regarding Business > > >The point I was trying to make is that not wether Jaun or >Oakenfold being one >dj better than the other, it's the fact that Oakenfold speaks to >more people >with his music right now, even if there is some historical >arguement against >that he's not as pioneering, who gives a fuck? I don't like the >anit-black >references he's putting out there, when it's obvious he can't milk his >DETROIT stauts much longer, that the hype is dying down, so he has to pull >the RACE CARD. I'm tired of people who aren't the supersatr forever >reverting back to a time that doesn't exist here anymore in the >US. Maybe you >can find racism elswhere, but it's certainly not in electronic >music, unless, >I suppose you work for UR, which is anti anything not black. The racsim >thing is an attack on the culture on a whole, because people >aren't trying to >be part of their inner clique. If you aren't part of their >marketing machine >in Detroit, you are excluded. That early form of techno is not >what you hear >in the clubs, the parties, or anywhere here. Yet they still try to >monopolize the spotlight. What was the DEMF? It wasn't representative of >Detroit. It was a planet e, KMS, metroplex promo package. And if >you think >I'm wrong, you aren't in touch enough in the Detroit scene. > >- >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]
RE: [313] Regarding Business
It was a planet e, KMS, metroplex promo package. number of planet e artists at DEMF 2000:2 (Recloose + Jason Hogans) number of KMS recording at DEMF 2000: 1 (Kevin Saunderson) number of metroplex recording artists: 0 (debatable, as Juan was scheduled but didn't perform) number of planet e artists at DEMF 2001:1 (IBEX) number of KMS artists at DEMF 2001: 1 (Innercity) number of metroplex artists at DEMF 2001: 1 (Juan) get your facts straight before you speak, son. get your facts straight. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business
Uh No the DEMF was not a Detroit clique thing and even if it was it is called the DETROIT ELECTRONIC MUSIC FESTIVAL. you must be a person living outside of the us or in the us in a white skin and ignorant of history. UR and Atkins are pioneers of this music and get no respect from the business end. why should Elvis or Eminem make more money and get more credibility than Ike Turner or Redman??? Because in AMerica white people doing Black art is always seen as a marvel... Look at NYSYNC and the list goes on. Look at Black rock group Fishbone. Are you telling me they are good enough to get paid. The point is this; the people who run the business are full of isms that determine who gets the spotlight. No one is denying anyone their right to listen to what they want but don't forget the history. I spoke with a Black rocker in NYC and he told me that many A & R men didn't know what to do with Black guys playing soulful rock music. The record executive behind Digable Planets told them they were not hard translate "black enough" for hip-hop. So Juan is in the same position.. I don't have time to break this down anymore but Juan is not crying he's simply commenting on the truth; the music business is run by a bunch of culturally biased and/or ignorant people who have definite ideas about the value of the music based on their racist crap. if anyone does not understand where I'm coming from I will make one more post I don't have a lot of time to keep repeating this tired story. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] UK TV heads up
> Tonight on BBC1 at 10.45: When Disco Ruled The World would be cool if someone could capture it and make an realvideo, avi, mpg file. i can share it but cannot capture it. - janne - - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] Booty/ghetto tech night in London
Hi, Just to let London 313'ers know that there's a booty/ghetto tech night on at Play bar on Old Street tomorrow night - last time round we had DJ Godfather and Ectomorph playing, but it's the residents this time! Play is at 58 Old Street, on the corner with Golden Lane - venue is open from 8pm, music starts at 9, ends at 2am, with free entry. DJs are Cutlass Supreme, 'big boy' Brelson (that's me - the name wasn't my idea though! :), Oli and Turna. I'll be presenting my own take on booty, which tends to involve mixing Splack Pack tracks over Silicon records and that sort of thing. If you do decide to pop down, remember that the action is upstairs rather than in the downstairs bar! (Sorry for the spam) Brendan Legal Disclaimer This message contains confidential information and is intended only for the individual named. If you are not the named addressee you should not disseminate, distribute or copy this e-mail. Please notify the sender immediately by e-mail if you have received this e-mail by mistake and delete this e-mail from your system. mail transmission cannot be guaranteed to be secure or error-free as information could be intercepted, corrupted, lost, destroyed, arrive late or incomplete, or contain viruses. The sender therefore does not accept liability for any errors or omissions in the contents of this message that arise as a result of e-mail transmission. If verification is required please request a hard-copy version. This message is provided for informational purposes only. our website at: http://www.widelearning.com Wide Learning is a trading name of Wide Multimedia Ltd Registered office: 33-41 Dallington Street, London EC1V 0BB Company number: 3339664 VAT number: 690 8399 83 - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business
In a message dated 3/6/02 10:18:18 AM Eastern Standard Time, [EMAIL PROTECTED] writes: > come on, man ,techno carl cox > if somebody is mega super star in techno thats got to be Richie Hawtin, who > is that carl cox figure. > fat ass dj running intec nothing special > > >>>dude, you're either taking the piss or you're talking out of your ass. > as far as the uk and europe goes, carl cox is THE MAN taking on the > mainstream and breaking down the barriers and making techno acceptable > again over there. > > and in america, out of all the UK superstar dj's, he's the one who actually > has some humility and knows his role. he has no illusions that he's going > to 'change' the scene here, he just wants to bring his influences to the > fans here - and people like rich respect him for that. > > FYI: Although Carl is the face behind InTec, he doesn't run the label day > to day. That's taken by a very competent group of people including a very > talented DJ, C-1. InTec will be making moves this year, watch and see. > > pw
[313] acid (house)
Greetings all. Just to expand my knowledge a bit more, I have been recently interested in acid/acid house and its history. When I think of this "genre" Baby Ford and portamento'd 303 basslines come to mind, but I'm sure I am either just scratching the surface or overgeneralizing. The track "Are You Saved?" by Traxx and Deecoy on the Int. Deejay Gigolos comp. 5 got my gears turning mentally as to ask what the roots/sounds of acid truly are. If possible, please post links/discogs/mixes. -jen This transmission is confidential and intended solely for the person or organization to whom it is addressed. It may contain privileged and confidential information. If you are not the intended recipient, you should not copy, distribute or take any action in reliance on it. If you believe you received this transmission in error, please notify the sender. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] secondhand (was Blaze - "25 Years Later" - available on CD at . . . . . . .
Speaking of finding rarities, I've just this afternoon been poking around a secondhand dance shop near me and found a copy of Rob Hood 'The Protein Valve' on M-Plant for £3. £3! And I didn't have a bean on me... so I hid it at the back of the stack. Also found a cool bass 12" by the Unknown DJ on Techno Kut for £1. I love secondhand shops, you just never know what you're going to find. - Original Message - From: Rob Theakston <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>; <313@hyperreal.org> Sent: Wednesday, March 06, 2002 1:56 PM Subject: RE: [313] Blaze - "25 Years Later" - available on CD at . . . . . . . > I agree. 21st century music is a world class place to find stuff. I think > I've picked up over half of my Patrick Adams collection from that place at > amazingly reasonable prices. And their service is top notch too. > > > -Original Message- > From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] > Sent: Wednesday, March 06, 2002 8:55 AM > To: 313@hyperreal.org > Subject: [313] Blaze - "25 Years Later" - available on CD at . . . . . . > . > > > Greetings Cats! > > Although it will be difficult, it's not impossible to find Blaze's "25 Years > Later" album on vinyl. However, if you check with www.NetSounds.com or > www.GEMM.com, you will find a couple of stores who have limited copies of > the > CD in stock. I would always suggest you begin your search for classics at > www.21centurymusic.com (New Jersey, USA). They have one of the best > selections of EXTREMELY RARE pieces! > > The track listing for "25 Years Later" is as follows: > > We Must All Live Together > I Wonder > Gonna Make It Work > All That I Should Know > Lover Man > Missing You > Get Up > So Special > Miss My Love > You Don't Really Love Me > Anything For Your Lovin' > > Released on Motown Records in 1990 > Catalog number (vinyl) MOT-6301 > Much respect to Timmy Regisford who was one of the project's executive > producers. > > I hope this helps! > > peace & respect, > > TP > > > - > 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]
RE: [313] claude young tapes dated
I believe 'Dexit' is circa 1996; not sure about the other. m >-Original Message- >From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] >Sent: Wednesday, March 06, 2002 9:07 AM >To: 313@hyperreal.org >Subject: [313] claude young tapes dated > > > >someone sent me some tapes and i need them dated.. > >claude young as you like it >claude young dexit - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Regarding Business
The point I was trying to make is that not wether Jaun or Oakenfold being one dj better than the other, it's the fact that Oakenfold speaks to more people with his music right now, even if there is some historical arguement against that he's not as pioneering, who gives a fuck? I don't like the anit-black references he's putting out there, when it's obvious he can't milk his DETROIT stauts much longer, that the hype is dying down, so he has to pull the RACE CARD. I'm tired of people who aren't the supersatr forever reverting back to a time that doesn't exist here anymore in the US. Maybe you can find racism elswhere, but it's certainly not in electronic music, unless, I suppose you work for UR, which is anti anything not black. The racsim thing is an attack on the culture on a whole, because people aren't trying to be part of their inner clique. If you aren't part of their marketing machine in Detroit, you are excluded. That early form of techno is not what you hear in the clubs, the parties, or anywhere here. Yet they still try to monopolize the spotlight. What was the DEMF? It wasn't representative of Detroit. It was a planet e, KMS, metroplex promo package. And if you think I'm wrong, you aren't in touch enough in the Detroit scene. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Regarding Business
Jeff Mills, Neil Lanstrumm -Original Message- From: Berislav [mailto:[EMAIL PROTECTED] Sent: 06 March 2002 15:16 Cc: 313@hyperreal.org Subject: Re: [313] Regarding Business > trance: oakenfold, sasha digweed (white) > techno: carl cox? (black) > jungle: goldie (black) come on, man ,techno carl cox if somebody is mega super star in techno thats got to be Richie Hawtin, who is that carl cox figure. fat ass dj running intec nothing special b. - 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]
Re: [313] Regarding Business
> trance: oakenfold, sasha digweed (white) > techno: carl cox? (black) > jungle: goldie (black) come on, man ,techno carl cox if somebody is mega super star in techno thats got to be Richie Hawtin, who is that carl cox figure. fat ass dj running intec nothing special b. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] UK TV heads up
Tonight on BBC1 at 10.45: When Disco Ruled The World Previews seem mixed, but it might be worth a look. Apparent Giorgio Moroder is one person interviewed. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] RE: Blaze
As promised:
Would love any further comments/info anyone has.
Cheers,
Ken
Paradise Regained (Compilation) Republic Records 1988
Title Artist MusiciansAuthor(s)
Production
1. Play To Win Sharone Josh Milan Tyler
Smack/Blaze
R Tyler Goode
R Goode Parkinson
K Hedge Cheshunt
Sharone
2. I Am SomebodyJerry Edwards J Edwards Blaze
Blaze
Hedge, Milan
Herbert
Kelton Cooper-Guitar
3.BlazinStardustBlaze Blaze
Blaze
4.Wake Up On Top J Milan On Top/Backroom On
Top/Blaze
D Jenkinson
D Richardson-Drums
K Cooper
5.Let Me Show You Tawana CurryBlaze G Louvis/Blaze
Blaze
Kenny+
Keisha Jenkins (b vox)
6.All Of My LoveSense Of Vision BlazeBlaze
Blaze
7.Best Part Of Me Cynthia 'Cookie'Blaze Blaze
Blaze
Abrams
8.Gotta Dance Breed Of Motion Blaze Blaze
Blaze
9.It's A Mystery
(Mystery II U Mix) Blaze Blaze Blaze
Blaze
10.Your Gonna Miss Me Turntable Hippie Hippie/Paul Scott
Hippie/Paul Scott
Orchestra
>-Original Message-
>From: Jonny McIntosh [mailto:[EMAIL PROTECTED]
>Sent: Wednesday, March 06, 2002 1:03 PM
>To: Odeluga, Ken; laura gavoor; [EMAIL PROTECTED] Org
>Subject: Blaze
>
>
>> An outfit called Phase II in the late 80s/early 90s, had
>substantially the
>> same members
>
>Most famously, Reachin'. From around the same time check out their other
>work on labels like Quark "If You Should Need A Friend", Movin' (check
>Before The Storm's "I Got The Music" and aforementioned Phase II
>"Reachin'")
>or Easy Street (my favourite Blaze track from this era's In-Sync feat Jerry
>Edwards' "Sometimes Love").
>
>> in collaboration with Dave Lee (who one could say is a well-known 'Brit
>Fad
>> freak', but I wouldn't dream of it ;o). The rest of the tracks
>were mostly
>> by Blaze under different names. I can post details Weds.
>
>Dave Lee (aka Joey Negro), I think, is about as far removed from a
>fad freak
>as you can get! I don't know of anyone as deep in the disco spirit as this
>man. Sure, he's had his pop hits, but this man is disco through
>and through.
>Success or no.
>Check out his excellent Sunburst Band releases on his own label Z, or many
>of his wicked remakes.
>
>> I've come across the names Hedge, Milan, Herbert so often on 'anonymous'
>> disco-house records from the early '90s, I've almost stopped noticing.
>
>Far from "anonymous disco house", Blaze are, if any group are, the most
>deserving of a chapter to themselves in the big ol' book o' house, from the
>90s. Check out any of their classic work for Shelter, Funky
>People, Simplex,
>Area Code ("Love For You" never leaves my bag). Their production of Debbie
>Pender's "Movin' On", alongside fellow New Jersey musicians, Smack
>and Kerri
>Chandler, helped define that UK garage sound (like it or no). Check out the
>comps on Easy Street, Blaze Productions vols 1 & 2 to see how massive they
>were in
>the 90s. Those signature Moog solos on "Moonwalk" and others are far from
>"anonymous disco" :) A closer analogy would be with "That's The Way OF The
>World" era EW&F, I reckon.
>
>Funnily enough, Blaze themselves are probably entirely unaware of their
>influence. They admit to knowing hardly anything about contemporary house
>music (KDJ? who's that?) beyond what they get at the Shelter. Or so said
>Timmy Regisford. Apparently they have a massive loft studio in New York,
>which they rarely get out of.
>
>Oh, and their Motown album was heralded by Motown execs - after
>they dropped
>them! - as one of the best 20 albums (I think) that the label had released!
>
>Of course, Blaze didn't stop making fine music in the 90s! They're at it
>more than ever now.
>
>Jonny.
>
>
-
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[313] RE: (313) Blaze
You are not talking here about "Pure Blaze" 1 & 2? I believe volume 2 came out a
few months back. Lot's of early 90s Blaze stuff on both of these compilations
W
"Jonny McIntosh" wrote:
Far from "anonymous disco house", Blaze are, if any group are, the most
deserving of a chapter to themselves in the big ol' book o' house, from the
90s. Check out any of their classic work for Shelter, Funky People, Simplex,
Area Code ("Love For You" never leaves my bag). Their production of Debbie
Pender's "Movin' On", alongside fellow New Jersey musicians, Smack and Kerri
Chandler, helped define that UK garage sound (like it or no). Check out the
comps on Easy Street, Blaze Productions vols 1 & 2 to see how massive they
were in
the 90s.
-
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[313] A Number of Names & Keith Tucker in Paris !
PARADISE MASSAGE PARTY DETROIT SESSION # 4 THURSDAY MARCH 14TH 2002 AT THE REX CLUB (Paris/France) A NUMBER OF NAMES (PUZZLEBOX RECORDINGS/ DETROIT) - LIVE KEITH TUCKER a.k.a. DJ K-1 (PUZZLEBOX RECORDINGS/ DETROIT) Dj Mic Mac (Fdb Rec.) / Residents Djs: Krikor + Serge Nicolas THE REX CLUB 5 BOULEVARD POISSONNIERE 75002 PARIS SUBWAY: BONNE-NOUVELLE FRANCE FEE: 8 EUROS DOORS OPENING AT 11:30 PM www.optic-universe.com To have more informations about the next parties, you can mail us at [EMAIL PROTECTED] You can listen Scan 7's live of the last Paradise Massage party on www.d-i-r-t-y.com (Mixes) - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] re: ismistik
Memo from Alex Bond of PricewaterhouseCoopers Start of message text I think there was 3 Ismistik 12's on Djax, I've certainly got two and I know of another. At the time they came out, I thought they were killer, Techno from Europe that had similarities to Detroit, there wasn't that much of it about at the time. Was it '93? Was glad to hear that the guy is still producing, a friend of mine picked up that 10" + I thought it was pretty good too. To be quite honest, I used to play them to death as a young lad. ah *goes all misty eyed*! Neil Wallace <[EMAIL PROTECTED]> on 06/03/2002 14:20:10 To:James David Beard <[EMAIL PROTECTED]>, 313@hyperreal.org cc: Subject:RE: [313] re: ismistik i have an ismistik record on djax (i think it has palm trees on the label or something) to be honest i dont think it was that great (though i cant tell you any more than that as ive not really played it much) neil :-Original Message- :From: James David Beard [mailto:[EMAIL PROTECTED] :Sent: Wednesday, March 06, 2002 2:15 PM :To: 313@hyperreal.org :Subject: [313] re: ismistik : : :I think all the ismistik releases are very nice. :They're some of my favorites. Trippy, refined melodic :techno with a pretty unique flavor--the kind that bounces :in your mind, makes you smile and sometimes pulls your :heartstrings. Classic sounds arranged in a direct, but :original way. They were definately channeling some good :vibes. I would fully recommend picking up a copy of Remain, :as I see it is currently available direct from djax... the :other three 12" are excellent as well, but may be harder to :find. : :david beard := : :I've never heard his Ismistik releases on Djax though? : :Otto : : :- :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] - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. The information transmitted is intended only for the person or entity to which it is addressed and may contain confidential and/or privileged material. Any review, retransmission, dissemination or other use of, or taking of any action in reliance upon, this information by persons or entities other than the intended recipient is prohibited. If you received this in error, please contact the sender and delete the material from any computer. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] re: ismistik
i have an ismistik record on djax (i think it has palm trees on the label or something) to be honest i dont think it was that great (though i cant tell you any more than that as ive not really played it much) neil :-Original Message- :From: James David Beard [mailto:[EMAIL PROTECTED] :Sent: Wednesday, March 06, 2002 2:15 PM :To: 313@hyperreal.org :Subject: [313] re: ismistik : : :I think all the ismistik releases are very nice. :They're some of my favorites. Trippy, refined melodic :techno with a pretty unique flavor--the kind that bounces :in your mind, makes you smile and sometimes pulls your :heartstrings. Classic sounds arranged in a direct, but :original way. They were definately channeling some good :vibes. I would fully recommend picking up a copy of Remain, :as I see it is currently available direct from djax... the :other three 12" are excellent as well, but may be harder to :find. : :david beard := : :I've never heard his Ismistik releases on Djax though? : :Otto : : :- :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]
RE: [313] Record stores in Detroit?
Doesn't Rick Wilhite run a store called "Vibes"? I could be mistaken. - Giles D I G I T A S // B O S T O N -- Giles Dickerson Art Director 800 Boylston Street Boston, MA 02199 -- mobile 617 899 9635 office 617 369 8601 > -- > From: Kevin > Sent: Tuesday, March 5, 2002 10:30 PM > To: 313@hyperreal.org > Subject: Re: [313] Record stores in Detroit? > > Detroit Threads in Hamtramck has a pretty good selection. It's been awhile > since I've been there, but I think it's on Jos Campaus St. > > Kevin > www.mp313.com > > - Original Message - > From: "Mxyzptlk" <[EMAIL PROTECTED]> > To: "Matthew Cloney" <[EMAIL PROTECTED]> > Cc: <313@hyperreal.org> > Sent: Tuesday, March 05, 2002 10:15 PM > Subject: Re: [313] Record stores in Detroit? > > > > Melodies & Memories on Gratiot (a few miles south of RT). > > Neptune in Royal Oak is good for indie and some IDM. > > The Record Collector in Ferndale is great for retro vinyl as is Car City > > records on Harper near 8 mile way over on the east side. > > WAY down in Wyandotte used to be a very odd, but cool store called > > Sprockets; they had every Ozric Tentacles CD in existence as well as tons > > of off the wall 70s stuff - almost nothing you'd think of as "rent paying" > > stock in the store. > > Stormy Records (ran by Windy & Carl) in Dearborn is fun - lots of indie > stuff. > > East Alley Records in Rochester has a good rep, but I've never been there. > > It really is hard to beat RT for 313 related items. > > jeff > > > > > > > > > > At 07:13 PM 3/5/2002, you wrote: > > >Hey All, > > > > > >I was born and raised in 313, but have since moved away. When I was home > > >visiting in December last year, the buzz I got was that there were really > > >only a few record stores, and two of them were the Recordtime stores I > went > > >to. While I thought they were ok, I'm looking for something even more > > >local/independent if possible. Can anyone help? I'm usually based near > > >Warren & Wyoming but will travel anywhere in Metro Detroit to shop! > Looking > > >for all types of music, so recommendations by genre are greatly > appreciated. > > >Will be home for DEMF, so if there are any ad-hoc stores that pop up > around > > >that time please let me know. > > > > > > > > - > > 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] > > > - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] claude young tapes dated
someone sent me some tapes and i need them dated.. claude young as you like it claude young dexit not recordings of tracks those "dj promo" ones thanks -k minus 63 in detroit (ok it just feels that way ;) mail2web - Check your email from the web at http://mail2web.com/ . - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Blaze - "25 Years Later" - available on CD at . . . . . . .
I agree. 21st century music is a world class place to find stuff. I think I've picked up over half of my Patrick Adams collection from that place at amazingly reasonable prices. And their service is top notch too. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Wednesday, March 06, 2002 8:55 AM To: 313@hyperreal.org Subject: [313] Blaze - "25 Years Later" - available on CD at . . . . . . . Greetings Cats! Although it will be difficult, it's not impossible to find Blaze's "25 Years Later" album on vinyl. However, if you check with www.NetSounds.com or www.GEMM.com, you will find a couple of stores who have limited copies of the CD in stock. I would always suggest you begin your search for classics at www.21centurymusic.com (New Jersey, USA). They have one of the best selections of EXTREMELY RARE pieces! The track listing for "25 Years Later" is as follows: We Must All Live Together I Wonder Gonna Make It Work All That I Should Know Lover Man Missing You Get Up So Special Miss My Love You Don't Really Love Me Anything For Your Lovin' Released on Motown Records in 1990 Catalog number (vinyl) MOT-6301 Much respect to Timmy Regisford who was one of the project's executive producers. I hope this helps! peace & respect, TP - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] Blaze - "25 Years Later" - available on CD at . . . . . . .
Greetings Cats! Although it will be difficult, it's not impossible to find Blaze's "25 Years Later" album on vinyl. However, if you check with www.NetSounds.com or www.GEMM.com, you will find a couple of stores who have limited copies of the CD in stock. I would always suggest you begin your search for classics at www.21centurymusic.com (New Jersey, USA). They have one of the best selections of EXTREMELY RARE pieces! The track listing for "25 Years Later" is as follows: We Must All Live Together I Wonder Gonna Make It Work All That I Should Know Lover Man Missing You Get Up So Special Miss My Love You Don't Really Love Me Anything For Your Lovin' Released on Motown Records in 1990 Catalog number (vinyl) MOT-6301 Much respect to Timmy Regisford who was one of the project's executive producers. I hope this helps! peace & respect, TP
