Fw: Underground Music Academy - Movement Weekend Detroit

[Fred Heutte]

[The new UMA building has quite a history.  Not only was it the NAACP
Detroit Branch for decades, it was originally built by a politician who
then became governor -- Alexander Groesbeck.  It, along with the
Submerge building and many others, is now part of the Jam Handy -
North End/East Grand Boulevard Historic District:

https://detroitmi.gov/sites/detroitmi.localhost/files/2018-08/Jam%20Handy%20North%
20End%20East%20Grand%20Blvd_Final%20Report.pdf

The Jam Handy Organization is a whole story all by itself.  Go to
Youtube and put that in.

-- fh




-- mail forwarded, original message follows --

From: i...@undergroundmusicacademy.com 
Subject: Underground Music Academy - Movement Weekend Detroit
Date: Wed, 25 May 2022 14:00:56 +

UMA Pop Up Record Shop
Memorial Day Weekend

For the first time, Underground Music Academy will be hosting an open house for 
our
community and friends this Memorial Day Weekend, Thursday, May 26th till 
Tuesday, May
31st. Our doors will be open 10am - 6pm.

Join us for our first annual pop up record shop in collaboration with our 
neighbors Submerge
(SID). We’ll have exclusive tee shirts, totes  and over 3000 hand selected 
vinyl for sale.
All proceeds from sales will go towards completing Phase Two of construction. We
welcome people of all ages! Bring your kids, bring your parents, bring your 
grandparents!
Accessibility Info for UMA Memorial Weekend Pop-up​

Please note that our space is still under some construction and only some rooms 
will be
used for the event. We will have an all gender restroom and some seating 
available. While
we will make sure that it is safe for us to host visitors, we ask that young 
kids come with an
adult. Our only other request is that guests wear masks in our space to make 
sure that
visitors who need this to feel safe can attend too.

Please feel free to DM us on instagram @undergroundmusicacademy or send us an 
email
at i...@undergroundmusicacademy.com (mailto:i...@undergroundmusicacademy.com) if
you have any questions about being able to attend.
Getting Here:

Our space is located on the second floor of the former NAACP building at 2990 
E. Grand
Blvd. We are on the corner of the Blvd & Brush St in the North End 
neighborhood. Please be
aware that our front entrance has 9 steps, and there are another 21 steps to 
reach the
second floor entrance to our space. At this time, we do not have lift access.

Bus: We are off of the Dexter (16) bus and two blocks from the Woodward (4) bus.

Bike: At this time there is no designated bike parking. You can secure your 
bike to any part
of the fence surrounding our space. Please be mindful to keep sidewalks clear 
for
pedestrians and not to block access from the accessible parking space.
Parking: There are a number of on-street parking and off-street spots available 
in our lot.
There is one off-street accessible parking space in our lot nearest to the 
building entrance.
You can get into the lot from Brush street heading South before you get to the 
Blvd. Vehicles
left over a four hour period will be towed.
MIND POWER MIND CONTROL

If you're in town for Movement weekend in Detroit you must reserve a seat to 
see Jeff Mills
MPMC Screening Detroit, MIND POWER MIND CONTROL
. It's a collection of 
conceptual
films extracted from the Universe of the Iconic musician and artist Jeff Mills. 
Consisting of
various styles of segments that relate to the idea and theme behind his newest 
and
forthcoming album Mind Power Mind Control.

MPMC Screening Detroit

When:

Sunday May 29th, 2022

Location:

Cinema Detroit

4125 Third Street, Detroit MI, 48201

Showings:

1st Showing: 17:00 hrs (5pm) 2nd Showing: 19:00 hrs (7pm) 3rd Showing: 21:00 
hrs (9pm)

Jeff Mills will introduce the film at the beginning of each screening.

Charitable Proceeds:

All ticket sale proceeds will be donated to the Detroit Public School System 
Music
Education and the Underground Music Academy.

RSVP 
at www.axisrecords.com

Acts of Love Mixtape: Act Three

It's been almost two years since a release from Waajeed. His Acts of Love 
Mixtape series
is back and will drop on June 10th. All proceeds from this project goes to 
Phase 2 of
Underground Music Academy's construction.

Our mailing address is:
Underground Music Academy
2990 E Grand Blvd
Detroit, MI 48202-3134
USA

Re: Movement festival

[Fred Heutte]

Also just arrived, and heading out to Spot Lite shortly.

I was remembering some of our 313 gatherings and just saw that
Pizza Papalis in Greektown is no more, although their other locations
are still open.

I'm keeping it fairly low key this year but hope to see y'all . . .

fh
503.757-6222

Re: Submerge?

[Fred Heutte]

The new outdoor stage at the Tangent is quite something -- let me
leave it at that!

fh

-
>I know that all the people from around the midwest that I've been seeing at
>parties since the 1990s will be there!
>
>
>On Wed, Feb 23, 2022 at 4:57 PM John Sokolowski 
>wrote:
>
>> It appears the Wavejumpers can be spotted in Detroit on Memorial Day
>> weekend at the Interdimensional Transmissions shindig:
>>
>> Return to the Source 2022
>>
>> Saturday May 28
>> Return to the Source — Day 1
>> Tresor 313
>> 10pm - 8am
>>
>> Underground Resistance presents Wavejumpers (live)
>> Shake
>> Claude Young
>> Daniel Bell (sunrise set)
>> Ectomorph (DJ set)
>> Batu
>> Boyz II Them (Russell E.L. Butler & ADAB)
>> Whodat
>> Israel Vines
>>
>> https://interdimensionaltransmissions.com/events/return-source-2022
>>
>> On Feb 23, 2022, at 2:16 AM, Tristan Watkins  wrote:
>>
>> Do you reckon the Wavejumpers spotted off the coast of Scotland are there
>> to find Nessie?
>>
>> On Wednesday, 23 February 2022, Patrick Wacher  wrote:
>>
>>> Oh man, I didn’t even see the others. That Mana de Fuego record really
>>> takes me back to that Jupiter Jazz era. Straight up killer.
>>> On Feb 22, 2022, 6:15 PM -0800, jwan allen , wrote:
>>>
>>> all three records sound good to me. Glad to see there's new material in
>>> the pipeline!
>>>
>>> On Tue, Feb 22, 2022, 8:31 PM Patrick Wacher  wrote:
>>>
 Someone was listening!

 https://rubadub.co.uk/products/the-sunken-treasure-ep

 Thanks DG for the tip!


 On Fri, Jan 28, 2022 at 2:52 PM Edvard Thomson 
 wrote:

> Hi all,
> I know this has probably been covered but what has happenned to the
> submerge website? And UR website? Both been inactive for years now. Is UR
> no more? What was there last release?
> Ed612313
>

>

Re: Okay, so, buying records in the metro area is now.... What...?

[Fred Heutte]

One word, ok two words:  Spot Lite.  Had a wonderful trip to tha D
in August (for Charivari) and that place is a gem -- cool daytime
coffee shop/hangout, evening shows, most of them streamed
(last night was Alton Miller, Malik Alston and Osunlade, I mean,
serious fun!) -- and a record shop that is rapidly growing.  Crate
digging at midnight!  I got quite a lot of new stuff and, a really
big surprise, a copy of K. Hand's first track Think About It (it was
reissued in 2015).

https://www.spotlitedetroit.com
twitch.tv/spotlitedetroit

fh




-
>Where are people getting records these days? I know the dance room at
>record time is gone. I dont assume there is zero techno to be found there
>but clearly its status as Detroit Techno mecca has long since faded.
>
>Neptune records... Gone.
>
>Submerge.com has had the same meaningless message up for i dont know how
>long. Supposedly there is some avenue available for buying records at
>S.I.D. but its not the type of place that you can just walk in the door
>browse and buy. Is their online ordering service ever coming back I'm
>starting to wonder? I could IM Cornelius but I try not to be a pest.
>
>There are tons of UR and other releases available in digital too which I'm
>not in the know about either.
>
>Pretty sure Flat Black and Circular is still open in East Lansing. Havent
>walked through those doors in over a decade. Its 10 minutes away... Maybe a
>good place to revisit.
>
>I dont really know what else there is. I kinda wish i could just browse the
>submerge catalog online and place an order but alas.
>
>Any input is appreciated, thanks.
>

Re: Charivari Aug 12-15

[Fred Heutte]

The event is all outside. Today the Rendez-Vous du Detroit was there,
here's some pics:

https://www.freep.com/story/news/local/michigan/detroit/2021/08/01/detroit-fort-wayne-french-le-rendez-vous/5435441001/

I've been looking at Michigan COVID data (Wayne County and Detroit are
counted separately), the new case rate in Detroit has been pretty stable
for a couple months -- meanwhile we are seeing a big spike on the west
coast right now.

Lots of other things happening that weekend, including at Spot Lite, Marble
Bar, Alley Deck, TV Lounge.  Also the national opening of "Respect,"
the Aretha Franklin biopic, is August 13, and Cinema Detroit in the
Cass Corridor is showing it all three weekend days.

fh

-
>Really does have a killer lineup! Al Ester, Minx, Blake Baxter, Glenn
>Underground and many more.
>
>Not to get too off topic here, but there is no mention of COVID safety
>protocols or whatnot on their site, especially with Delta on the rise. Is
>Michigan in a really good way atm?
>
>Anyways, enjoy the music and stay safe!
>
>- Patrick
>
>On Sat, Jul 31, 2021 at 5:43 PM Fred Heutte  wrote:
>
>> late nite typo  -- 6325 W Jefferson : )
>>
>> fh
>>
>> -
>> >https://www.charivaridetroit.com/schedule-1
>> >
>> >Really good lineup, and an interesting venue -- Fort Wayne way out
>> >on East Jeff.  I'm leaning toward going and interested to see who else
>> >will be there.
>> >
>> >fh
>> >
>> >
>> >
>> >
>>
>>
>

Re: Charivari Aug 12-15

[Fred Heutte]

late nite typo  -- 6325 W Jefferson : )

fh

-
>https://www.charivaridetroit.com/schedule-1
>
>Really good lineup, and an interesting venue -- Fort Wayne way out
>on East Jeff.  I'm leaning toward going and interested to see who else
>will be there.
>
>fh
>
>
>
>

Charivari Aug 12-15

[Fred Heutte]

https://www.charivaridetroit.com/schedule-1

Really good lineup, and an interesting venue -- Fort Wayne way out
on East Jeff.  I'm leaning toward going and interested to see who else
will be there.

fh

Re: Favorite Track

[Fred Heutte]

There's no single favorite of course, but my list always starts with:

Santonio Echols - Visions of Music

fh

-
>Mayday mix of Neuropolitique - Artemis or G2G - Journey Of The Dragon
>
>Sent from my iPhone
>
>> On 20 Apr 2021, at 20:09, Daniel Bean  wrote:
>>
>> 
>> Infophysix, all day.
>>
>>> On Tue, Apr 20, 2021 at 7:46 PM Thorin Teague  wrote:
>>> Really hard to choose. Probably something by Dale Lawrence I think,
>>> but I don't know which one.
>>>
>>> On Mon, Apr 19, 2021 at 4:08 AM Matt Chester  wrote:
>>> >
>>> > Beat me to it – same for me
>>> >
>>> >
>>> >
>>> > From: Edvard Thomson 
>>> > Date: Monday, 19 April 2021 at 08:33
>>> > To: David Mansfield 
>>> > Cc: list 313 <313@hyperreal.org>
>>> > Subject: Re: Favorite Track
>>> >
>>> >
>>> >
>>> > Ur 003
>>> >
>>> >
>>> >
>>> >
>>> >
>>> > On Mon, 19 Apr 2021, 9:05 am David Mansfield,  
>>> > wrote:
>>> >
>>> > Hi all:
>>> >
>>> >
>>> >
>>> > If you had to choose one Detroit techno track as your favorite, what 
>>> > would you
choose?  My favorite is Carl Craig Dreamland.
>

another Charivari multi-day event through Saturday

[Fred Heutte]

Not many big names, but some very good sets so far:

https://www.mixcloud.com/live/charivariworldwide/

https://www.charivaridetroit.com/schedule

happy Xmas and holiday-of-your-choice!

fh

Marble Bar (Wax2Max): Pandemania Relief

[Fred Heutte]

As my man Mikebee says (Vinyl Dreams, check it out, vinyldreamssf.com):

Don't sleep on this!!!

--

https://marblewax2max.bandcamp.com/album/marble-bar-pandemania-relief-an-
employee-benefit-compilation

1.  Afriqua - Groundfloor 04:23
2.  Alexi Delano - The Last Dance 07:14
3.  Amen Andrews - Riotously Rhapsodic Rhythms 03:57
4.  Andrés - John C Lodge Cruise 03:40
5.  Anja Schneider - Hometown 05:34
6.  Ataxia, Mister Joshooa - Adult Use 06:01
7.  Brian Kage - Limitless 07:01
8.  Chuck Daniels - Traffic 05:40
9.  Cosmin Trg - Celestial 07:53
10. Delano Smith - Travels 07:00
11. DJ Minx - Do It Anyway 07:43
12. DJ T-1000 - Ne Plus Ultra 05:08
13. Ellen Allien - Gender Fluid 04:45
14. Erika - A Cellular Meltdown (Bmg Club Edit) 04:56
15. Hotwaxx Hale, Ccc Square - Don't Cry 4 Me 06:14
16. Juju & Jordash - De School (Live) 07:05
17. Kate Simko - Two Yous 05:47
18. Kevin Reynolds - Behind It All 05:07
19. Lord Scrummage & Erno The Inferno - The Key (Erno The Inferno Remix Ft.  
Lisa
Stocking) 05:19
20. Loren - Beat2Beatcoast2Coast 06:01
21. Luke Hess, Jeff Hess - Epistle 06:17
22. Moppy, Sonia Marissa - Tribal Dance 03:39
23. Move D - Princess And The Table Cloth 07:02
24. Nitin - Lingo 07:14
25. Norm Talley - Iso-Vision 08:15
26. Osunlade - Synesthesia 05:56
27. Rebecca Goldberg - The Moon Is High And So Am I (Inner Worlds Rework) 06:46
28. Ryan Crosson - Seqqs 06:35
29. Shaun Reeves - D- Love 07:00
30. Terrence Dixon - Off Linwood 05:02
31. Terrence Parker - Optimistically 07:17
32. The Bernabela Project - Magnetize 07:28
33. Todd Osborn - Snap-Tite 05:37

An Employee Benefit Compilation to bring relief for the displaced
workers of Marble Bar, an independent venue in Detroit, Michigan.

This V/A collection features artists who've had a special place in our
program, and have contributed music to give back to our staff during
this insanely difficult time. We are eternally grateful for this
support and sign of good faith that we will one day commune again to
dance our asses off together.

Out of concern for community health and public safety, Marble Bar made
the difficult to stomach decision to close our doors until further
notice on March 12. The health and safety of our patrons, employees,
DJs, fellow humans and their families are of extreme importance to us.
We do not have an opening date planned. We feel that in our industry
more than any other, based around putting people together on the dance
floor, creates a risky environment for transmission of COVID-19. That
said, we are striving to be part of the solution and not add to the
problem.

We want to be dancing with you all, badly. Now more than ever…but until
the next spin of the disco ball, we are suspending our party program at
the venue. While there is no replacing the intimacy and energy of the
dancefloor here in Detroit, we are streaming sets from the club on a
weekly basis with DJs from Detroit.

These are times of concern greater than anything we’ve experienced
since opening. We encourage you all to continue wearing your masks so
that we can see you sooner than later. Thank you for doing your part to
help mitigate the spread of COVID-19. We hope to be dancing and
laughing together again in a not so distant future.

Stay Safe. Much love from Detroit <3
credits
released December 11, 2020

Mastered in Detroit by Brian Kage @ Kage Mastering.

Paxahau stream tonight

[Fred Heutte]

Kevin Reynolds is on atm.  Last night, Inner City was quite good but Aux
just blew the doors out.  New stuff, old stuff (Direct Drive, My AUX Mind, 
more),
all great.

Tonight:

twitch.tv/paxahau

Movement Selects Vol. 2 Replay Marathon Set Times (in EST) | [ FRIDAY 11/27 ] 
7pm Chuck
Daniels | 8pm Kevin Reynolds - LIVE | 9pm DJ Minx | 10pm Terrence Parker | 11pm 
Heidi |
12am Carl Craig | 1am Turtle Bugg | 2am Ataxia | 3am Erika | 4am John Collins | 
5am Robert
Hood | 6am Carl Cox - Special live set | *Set times are approximate, some DJs 
may go over
their allotted time.

Thanksgiving weekend - Paxahau stream

[Fred Heutte]

Hi all, looks like a good weekend, here's today's schedule:

www.twitch.tv/paxahau

Replay Marathon Set Times (in EST) | [ THURSDAY 11/26 ] 1pm LOREN | 2pm DJ 
Seoul |
3pm Brian Kage | 4pm Sama’ Abdulhadi | 5pm Eddie Fowlkes | 6pm Juan Atkins | 7pm
Rebecca Goldberg - live | 8pm DJ Psycho | 9pm Scan 7 - live | 10pm AUX88 - live 
| 11pm
Maceo Plex | 12am Inner City - live | *set times are approximate, some DJs may 
go over their
allotted time.

Hope you're all having a good T-day . . .

kia kaha / stay strong

fh

Fw: Charivari Sweet Sixteen -- Oct. 16-31

[Fred Heutte]

The August two-week series was really great, so looking forward to this!

www.charivaridetroit.com

fh

-- mail forwarded, original message follows --

From: i...@charivaridetroit.com 
Subject: Sweet 16
Date: Thu, 15 Oct 2020 03:33:50 +

We need your support!


** We need your donations and support!


Charivari Detroit Music Virtual Festival ran for 15 days straight in August so 
we are going to
do you one day better this time •
Charivari Worldwide Sweet Sixteen • Friday • October 16th thru Halloween 
Saturday â
€¢ October 31st.  And you heard it here first. We are going to draw over 
#100,000 plus
listeners to this music we love as the Number #1 worldwide stream this month.

We invite you to join our Fam and let yourself go #16 days straight • 128 DJ 
sets • 24
hours a day with an endless mix of the best DJs in Detroit, the United States 
and Beats
Beyond. Once again eight DJs per day with an opportunity to catch your 
favorites three
times daily over a 24 hour period at charivariworldwide on Mixcloud or Twitch 
Live.

Juan Atkins • Delano Smith • Eddie Fowlkes • Terrence Parker • DJ Minx 
•
Bruce Bailey • Rick Wilhite • sillygirlcarmen and so many more… Charivari
Worldwide Sweet Sixteen is FREE! Every day at 6 p.m. EST daily will begin a new 
#8 DJ
cycle. Join the chats. Share the streams.

More chances to catch your favorite DJs or discover someone Fresh by joining 
the biggest
DJ party on the planet! Go check out the DJ set times (schedule will be up 
Thursday). Share
the news. Support the festival by donation or grab some gear at 
www.charivaridetroit.com
(https://charivaridetroit.us20.list-manage.com/track/click?u=ea6a7e5604a728e71f1427b34
&id=6d175331b8&e=f530d41427)

Charivari Detroit brings the world together in music while you let yourself go! 
#driven
(https://charivaridetroit.us20.list-manage.com/track/click?u=ea6a7e5604a728e71f1427b34
&id=14faa628db&e=f530d41427) #charivariworldwide 
(https://charivaridetroit.us20.list-
manage.com/track/click?u=ea6a7e5604a728e71f1427b34&id=ad4002d5d9&e=f530d41427)

We are excited to announce that Charivari Internet Radio will launch in 
November featuring
curated shows of music, news and interviews from some of your favorite 
#charivarifam.  You
will get you first taste soon with the full schedule to follow in 2021.

As always we hope that you share this email with anyone you think would like to 
participate
in the festival or any of the upcoming activities.  You can be informed of all 
the latest
information or just stay in contact by coming to www.charivaridetroit.com and 
filling out the
contact form.

Thank you in advance.  #future

Re: Still on?

[Fred Heutte]

Still on.  Great to see phonopsia again!

kia kaha / stay strong

fh

-
>I think there’s still a bunch of us still on! Just quiet ...
>
>On Sat, 10 Oct 2020 at 03:57, Tristan Watkins  wrote:
>
>> Thanks Jwan! Glad you're feeling that. It only took me ten years to finish
>> it. 😅 Also feeling the FBA album, and Kent's new ambient album..
>>
>> On Friday, 9 October 2020, jwan allen  wrote:
>>
>>> Well you should be more shameless in your self promotion, that
>>> Prepaternal (Paternal Revision) is some funky shit! TIP! Outside the things
>>> that you mentioned in your email,  the futute beat alliance album ,
>>> beginner's mind has been doing it for me, and we just learned there's a
>>> claude yong remix forthcoming of one of the tracks. The new Jay Daniel, Jon
>>> Dixon, Theo and listmember contributions from Kevin and Kent are also doing
>>> the damn thing. While there's no scene to speak of, I've enjoyed having the
>>> time to really get down and examine this thing we call dance music. This
>>> has been a shit year, but we gotta keep going and dancing, if we can.
>>>
>>> On Fri, Oct 9, 2020 at 10:51 AM Tristan Watkins 
>>> wrote:
>>>
 Hey all,

 Pleased to see the madness has died down here. Sad to see the lack of
 activity. Still trying to keep abreast of the new Detroit stuff. New
 Moodymann, the recent John Beltran releases, and the Reggie Dokes remix of
 Teyana Taylor (really superb) have been doing it for me lately. Also a bit
 immersed in Gamelan presently. Send tips offline if you have any.

 Putting my head above water to remind myself if this actually works when
 I post from Gmail (rather than the bounces I get normally), and to quickly
 mention I have a handful of new tracks up on Soundcloud if you're
 interested https://soundcloud.com/phonopsia

 Tristan (super-secretive stealth self-promo expert)

>>>
>>>
>>> --
>>> Technoir Audio
>>> Broken Planet
>>>
>>> "dealing with your imperfect world"
>>>
>>
>

Re: Happy Birthday, Dan Sicko

[Fred Heutte]

Dan was the real deal -- smart, aware, engaging.  I miss him loads --
we all do.

fh


-
>So sad that he's gone... worse that there will not be another.
>
>On Sat, Sep 26, 2020, 11:56 AM Andrew Duke 
>wrote:
>
>> Happy Birthday, Dan. "Daniel S. Sicko [26Sep1968-28Aug2011] was a music
>> journalist and scholar of techno music dedicated to legitimizing Detroit
>> techno and establishing its place in music history. He earned a B.S. from
>> the University of Detroit in 1990 and established a career in digital
>> advertising, ultimately serving as a Creative Director of the Detroit
>> office of the advertising firm Organic, Inc. Early in his career Sicko was
>> a freelance writer for *Rolling Stone*, electronic and underground music
>> periodicals such as *Alternative Press* and *URB*, and the digital
>> technology magazine *Wired*. He also founded *Reverb*, one of the first
>> periodicals exclusively devoted to digital music. Sicko is perhaps best
>> known for his book *Techno Rebels: The Renegades of Electronic Funk* (first
>> published in 1999 and reissued in 2010), which is widely considered to be a
>> groundbreaking text with regard to the history of Detroit techno music. 
>> *Techno
>> Rebels* chronicles the genre's origins as an underground movement led by
>> Detroit's African-American high school students. Sicko also gave lectures
>> on the Detroit music scene and was a key figure in the establishment of the
>> 313 Mailing List (a 1990s mailing list critical for enthusiasts of Detroit
>> techno). Throughout his career Sicko engaged in extensive researches on the
>> Detroit music industry and on electronic music in general, for which he
>> conducted dozens of interviews with Detroit-based techno artists and
>> producers."
>>
>> Source: Kirn, Peter. "Loss of a Techno Rebel: Why Dan Sicko will be Sorely
>> Missed." *createdigitalmusic.com * , 29
>> August 2011.
>>
>

DEMC replays -- Re: Charivari

[Fred Heutte]

Looks like most or all of the DEMC sessions are here:

https://www.twitch.tv/demc_conference/videos

fh

-
>Really enjoying this.  While the sets are prerecorded, the chat is pretty
>good (I measure that by the number of times the word or emoji for "fire"
>comes up per hour, and it's reasonably low here) and each set comes
>up three times in an 8-hour rotation.  Ash Lauryn, Norm Talley and
>especially Delano Smith were really good yesterday.
>
>Right now liking Walter Glasshouse, who I haven't seen before, as he
>mixes in what sounds like a remake of one of my fave Ron Trent tracks,
>I Feel the Rhythm.
>
>Also caught bits of the Detroit Electronic Music Conference last week,
>including Stacey Hotwaxx Hale talking with the vocal trio Dames Brown,
>and Mike Fotias from Paxahau/Audio Rescue Team with a chalk talk
>on audio basics.
>
>The bad part of the current crisis is nearly everything, but the good
>part is participating at least a bit in things I couldn't be at otherwise.
>
>fh
>
>
>
>-
>>Odd haven’t seen much about this here. One of my favorite sources of new 
>>music. Live
>now and for literally the next 15 days.
>>
>>www.charivaridetroit com
>>www.mixcloud.com/live/charivaridetroit
>>
>>Always skews toward house, but really good house.
>>
>>Lauren
>>
>>Sent from my iPhone
>>
>>
>
>
>
>

Re: Charivari

[Fred Heutte]

Really enjoying this.  While the sets are prerecorded, the chat is pretty
good (I measure that by the number of times the word or emoji for "fire"
comes up per hour, and it's reasonably low here) and each set comes
up three times in an 8-hour rotation.  Ash Lauryn, Norm Talley and
especially Delano Smith were really good yesterday.

Right now liking Walter Glasshouse, who I haven't seen before, as he
mixes in what sounds like a remake of one of my fave Ron Trent tracks,
I Feel the Rhythm.

Also caught bits of the Detroit Electronic Music Conference last week,
including Stacey Hotwaxx Hale talking with the vocal trio Dames Brown,
and Mike Fotias from Paxahau/Audio Rescue Team with a chalk talk
on audio basics.

The bad part of the current crisis is nearly everything, but the good
part is participating at least a bit in things I couldn't be at otherwise.

fh



-
>Odd haven’t seen much about this here. One of my favorite sources of new 
>music. Live
now and for literally the next 15 days.
>
>www.charivaridetroit com
>www.mixcloud.com/live/charivaridetroit
>
>Always skews toward house, but really good house.
>
>Lauren
>
>Sent from my iPhone
>
>

the noise level on this list

[Fred Heutte]

The noise level and disrespect on this list are unbearable.  Check
yourselves and consider: are you part of the problem or are you
part of the solution?

peace

fh

---

It was always about the music:
Is it hot or is it not?
-- Electrifying Mojo

Re: Michael Huckaby RIP

[Fred Heutte]

I first saw Huck playing at St Andrews in 1995 and my reaction was,
"damn!"  And then I got to see him in action at RT.  As much talent
as he had as a DJ and producer, his real gift was as a teacher,
whether in a store, with the kids in the classroom, or on the road
with the Sun Ra material and the reels.

So for me, Mike Huckaby was not merely a great DJ, he was a
world class musical training master.  And most of all, for a quarter
century, my friend -- as he was to thousands.

fh



-
>A man who taught so many has left this physical plane. RIP Huck
>

Movement/Beatport all dayer on Sunday, April 26 -- Carl Craig, KMS, more

[Fred Heutte]

[This is great and I'm completely thrilled my pal Ladymonix is on
the bill! -- fh]

---

https://www.movement.us/blogs/news/movement-presents-live-from-detroit

Movement Presents: Live From Detroit

Just Announced! Live from Detroit in partnership with Beatport happening
this Sunday April 26 at 12pm EDT with Carl Craig, Kevin Saunderson,
Stacey Pullen, DJ Minx, DJ Holographic, and Ladymonix ?? Join us on
Twitch, Facebook, Youtube and Twitter ??  #MovementDetroit #TechnoCity

(primary) Beatport: https://www.twitch.tv/beatportofficial

(supporting) Paxahau: https://www.twitch.tv/paxahau_events

on the mend -- Re: Kevin Saunderson

[Fred Heutte]

He posted a short video and says he's getting better, will be staying
at home for a while.  So good to see this . . .

https://www.facebook.com/kevinsaundersonofficial/

kia kaha/stay strong

fh


-
>Let's all keep Kevin Saunderson in our thoughts please, folks. The Detroit
>master has announced that his being sick for the last 2 weeks has just been
>diagnosed as COVID-19.
>
>Andrew
>

Re: Keep it real (and on topic)

[Fred Heutte]

Let me be very clear -- Kent is a good friend and has been an
absolute stalwart maintaining this list since . . . a long time : )
He has bent over backwards to be fair and my point about
respect applies just as much if not more to our interaction with those
like Kent who take on responsibility to manage community resources.

fh


-
>I know...my bad for not realizing the list wasn’t cc’d on my reply which I
>thought it was.
>
>
>On Wed, Feb 26, 2020 at 11:57 AM Fred Heutte  wrote:
>
>> I'm not Kent.
>>
>> -
>> >Good job Kent, risk losing many rather than risk “offending† (or
>> better
>> >yet, removing) one.  I’m sure she’ll have fun taking to 
>> >herself since
>> she’s
>> >probably used to it.
>> >
>> >Something tells me if she was a dude she’d be 86’d by now (or 
>> >at
least
>> >severely warned).
>> >
>> >
>> >
>> >On Wed, Feb 26, 2020 at 11:28 AM Fred Heutte 
>> wrote:
>> >
>> >> I'm also basically a lurker these days but a list member since 1994.
>> Also
>> >> had the great fortune to meet Lakuti along with Earl Gateshead and the
>> >> Flying/Plastic People crew in London 20 years ago -- and saw her play
>> >> at the Detroit Artist Test Lab during the festival last year.  (damn,
>> that
>> >> was
>> >> a Throw Down!)  She has listings on RA (so many!).
>> >>
>> >> https://www.residentadvisor.net/dj/lakuti/dates?yr=2020
>> >>
>> >> She has been a friend to so many, built so much along the way, opened
>> >> doors and kept them open.  I hope my good friend decides to stay on
>> >> 313, but either way I honor the decision.
>> >>
>> >> So here is what I have to say: this raises core questions about the
>> >> ongoing purpose of this list.  If we can't respect each other, why
>> >> should any of us continue to subscribe?
>> >>
>> >> The 313 list has been a valued and even inspirational resource for me
>> >> for a quarter century.  It has persisted long after most of the other
>> >> mid-1990s
>> >> mailing lists have faded away.  It has enabled lifetime friendships.
>> >>
>> >> Interaction online exposes different viewpoints and that's actually
>> >> beneficial -- as long as we truly demonstrate respect for each other.
>> >> Without that, there is no reason to continue.
>> >>
>> >> peace
>> >>
>> >> fh
>> >>
>> >>
>> >>
>> >>
>> >>
>> >> -
>> >> >crikey . classic example of how not to built community .
>> >> >i am writing to you as a black african queer woman denise who has put a
>> >> lot
>> >> >into supporting and nurturing a lot of djs and artists .
>> >> >and i continue to work hard to support communities within the global
>> music
>> >> >network young and old often from marginalized communities who do not
>> get a
>> >> >look in , in the current climate in electronic music but yeah carry on
>> >> >being tone deaf .
>> >> >my last word . thanks for everything to everyone else over the yrs .
>> >> >keep supporting music not egos .
>> >> >i am out of here .
>> >> >
>> >> >On Wed, 26 Feb 2020 at 18:52, Denise Dalphond <
>> denisedalph...@gmail.com>
>> >> >wrote:
>> >> >
>> >> >> Hey guys, I owe you nothing. You don’t have to like my
>> communication.
>> >> I’ll
>> >> >> take up as much space as I need. Most people expect women to be
>> quiet.
>> >> I’m
>> >> >> not. You can read my writing in some published books. 
>> >> >> It’s
>> all on my
>> >> >> website, which is in my signature. Next up is an article on Detroit
>> and
>> >> >> resistance in the first Oxford Handbook of Electronic Dance Music.
>> >> It’s a
>> >> >> pretty big series.
>> >> >>
>> >> >> I’ve never unsubscribed. This is the 313 list, not 
>> >> >> the IDM
>> list.
>> >> It’s
>> >> >> pretty importan

Re: Keep it real (and on topic)

[Fred Heutte]

I'm also basically a lurker these days but a list member since 1994.  Also
had the great fortune to meet Lakuti along with Earl Gateshead and the
Flying/Plastic People crew in London 20 years ago -- and saw her play
at the Detroit Artist Test Lab during the festival last year.  (damn, that was
a Throw Down!)  She has listings on RA (so many!).

https://www.residentadvisor.net/dj/lakuti/dates?yr=2020

She has been a friend to so many, built so much along the way, opened
doors and kept them open.  I hope my good friend decides to stay on
313, but either way I honor the decision.

So here is what I have to say: this raises core questions about the
ongoing purpose of this list.  If we can't respect each other, why
should any of us continue to subscribe?

The 313 list has been a valued and even inspirational resource for me
for a quarter century.  It has persisted long after most of the other mid-1990s
mailing lists have faded away.  It has enabled lifetime friendships.

Interaction online exposes different viewpoints and that's actually
beneficial -- as long as we truly demonstrate respect for each other.
Without that, there is no reason to continue.

peace

fh





-
>crikey . classic example of how not to built community .
>i am writing to you as a black african queer woman denise who has put a lot
>into supporting and nurturing a lot of djs and artists .
>and i continue to work hard to support communities within the global music
>network young and old often from marginalized communities who do not get a
>look in , in the current climate in electronic music but yeah carry on
>being tone deaf .
>my last word . thanks for everything to everyone else over the yrs .
>keep supporting music not egos .
>i am out of here .
>
>On Wed, 26 Feb 2020 at 18:52, Denise Dalphond 
>wrote:
>
>> Hey guys, I owe you nothing. You don’t have to like my communication. 
>> I’ll
>> take up as much space as I need. Most people expect women to be quiet. I’m
>> not. You can read my writing in some published books. It’s all on my
>> website, which is in my signature. Next up is an article on Detroit and
>> resistance in the first Oxford Handbook of Electronic Dance Music. It’s a
>> pretty big series.
>>
>> I’ve never unsubscribed. This is the 313 list, not the IDM list. It’s
>> pretty important. I used to never or rarely talk on this list. Now I speak
>> up more. It’s super patriarchal of everyone to gang up on the woman. Often,
>> I get private messages of support from subscribers when I speak up on this
>> list.
>>
>> I’ll email the 313 list any time I have something to contribute.
>>
>> Denise Dalphond
>>
>>
>>
>>
>>
>> On Wed, Feb 26, 2020 at 12:45 PM Joe Marougi  wrote:
>>
>>> Very well said.  What’s worse is the lack of remorse. Just empty
>>> “admissions of guilt”
>>>
>>> On Wed, Feb 26, 2020 at 9:42 AM Lerato Khathi <
>>> booki...@uzuriartistbookingsandmanagement.com> wrote:
>>>
 i do not know you denise but i have been subscribed to this group for a
 long time therefore i feel that i am a bit qualified to make a comment ..
 i am a lurker and posted sometimes but only occasionally yrs back .
 i do find though that your approach denise  can be very confrontational
 and can often take up a lot of space . it often feels like the list is
 dormant bar the denise show .
 i am personally not gaining a lot from the list  compared to former
 times and will need to unsubscribe shortly because i get no joy from these
 occasional outbursts .



 On Wed, 26 Feb 2020 at 18:20, Denise Dalphond 
 wrote:

> Well, Kent, nobody knows who’s unsubbing except for you. So maybe it’s
> just your family.
>
> I wish I had money to go clubbing more often in Detroit. I wish I had a
> boyfriend to go clubbing with. But I’m pretty sure I never been wishin I
> was Black because then you have to suffer racism.
>
> I do love the internet though because I can follow Liquid Sky and other
> NYC 90s rave accounts on Instagram and see pics of clubs I used to go
> raving at in NYC in 1995-1999 when I was going to NYU. Like Twilo, I 
> forgot
> about Twilo. And Shelter. And Vinyl. And Roxy. I brought baby powder for
> the floor at the Roxy sometimes in my bright blue Adidas backpack, or my
> Lisa Frank backpack, cause I was a preppy raver. And the nights, like
> Konkrete Jungle.
>
> Too off topic? Too emotional? I’m so irrational.
>
> Denise Dalphond
>
>
>
>
>
> On Wed, Feb 26, 2020 at 12:10 PM kent williams 
> wrote:
>
>> The Tom Cox battles were epic, but at the same time, ultimately not
>> that great for the list.  Every time there's a big emotional flare-up on
>> 313 people unsubscribe; people I regard as essential members of the 
>> family.
>>
>> I'm all for people being opinionated, but it would be great if they
>> were m

Re: Aux 88 Boiler Room

[Fred Heutte]

BR is so crowded nobody goes there anymore : )  I missed Aux but
have seen some good older stuff there, but everything recently seems
to be the same identikit club/festival stuff, even from DJs I already like.

I don't avidly seek these out, but keep an eye across various sites to
see what is currently on offer.  Watching the Dekmantel sets in particular
(they are -on- BR but not -in- BR, so to speak) has been reasonably
rewarding.  But in general, we are in an era where bland is grand, or
whatever.

The Jeff Mills 3-deck mix on RA -- now that was something.

https://www.residentadvisor.net/features/3451

fh

-
>How did I miss this? More to the point why did this list miss this?
>https://youtu.be/XW6lxLUBu64
>

Re: Leandro Gore's Electro Mix (from one of São Paulo's biggest ghettos).

[Fred Heutte]

Nice one, good to hear I-f's Space Invaders at 15:05 : )

fh

-
>Hello!
>
>I'm Lucas Esquerdo from São Paulo (Brazil), and never presented myself
>here. Partially because I was a bit intimidated as I'm quite young and
>don't know much about how mailing lists work, but now I feel it's time to
>get out of the cave :)
>
>Leandro's from one of the biggest and most violent ghettos in São Paulo,
>Grajaú. Him and his brother have been putting out some amazing 90s Electro
>for over 15 years without much recognition as the duo Lux 4 Attack, so I
>feel it's adequate to share this with you guys. I was truly mind blown when
>I first found out about them and I feel you guys will like it too :)
>
>https://soundcloud.com/sinkpodcast/leandro_gore
>
>Hopefully I didn't break any rules and thank you all in advance for the
>amazing content you guys post here. From a "newcomer" 's perspective, this
>list is truly amazing! There's so much knowledge that I really wouldn't be
>able to get elsewhere...
>
>Best Regards,
>Lucas Esquerdo
>Área de anexos
>

Re: Why Drexciya Took Detroit Electro Underwater

[Fred Heutte]

Hello everyone, long time list member here (1994).  We can have
disagreement, argument, debate, and do it with respect.

What we are seeing here is not acceptable.

Joe, you're way over the line

Time for everyone to take a step back and check yourself.

peace out

fh

-
>You really are a miserable fucking person Denise.
>
>Ironic how people like you see “the other side” as the bullies when you lot
>are the biggest bullies when it comes to discussing different views.
>
>I’m sure many more folks here would like to tell you to go f yourself but
>aren’t doing so because they have more class than you’ll ever have.
>
>
>
>On Tue, Nov 6, 2018 at 9:58 AM Peter Bense  wrote:
>
>> This kind of snide attitude is not needed here. Please direct it elsewhere.
>>
>> Den tis 6 nov. 2018 18:03 skrev :
>>
>>> Steven had a “dream” and then had to tell us all about this amazing
>>> “dream.”
>>>
>>> A long while after the conversation ended.
>>>
>>> Are you my mother?
>>>
>>> On Nov 6, 2018, at 08:38, Benn Glazier  wrote:
>>>
>>> Denise - Steven has cap in hand apologised. You are now denigrating him
>>> for that. I do not feel it serves a purpose to further chastise him about
>>> the matter.
>>>
>>> We know how you feel, and rightly or wrongly people will agree with you.
>>> You've spent a lot of time discussing your point of view and others have
>>> shared theirs which I'm all for. Remember, all of us do not live in Detroit
>>> or the US or have had first-hand contact with racial discrimination.
>>>
>>> Whilst that doesn't at all mean for one minute we're disagreeing with how
>>> blacks have been downtrodden in society, it means our exposure is
>>> different. In my eyes your points are more than valid but one's own
>>> experiences elicit a response, and whilst we can be more well read than in
>>> previous years thanks to technology, there's still a lot to learn for
>>> anyone who has not grown up with or been subject to this oppression. Humans
>>> are fickle and behaviour to get people on board needs to be constructive..
>>> Short answer, it would have been great if RA had of produced the piece in
>>> the way that has been discussed!  Bottom line, Denise, you made Stephen dig
>>> deeper and read and learn and that's great, but don't beat him down further!
>>>
>>> Now to not be faceless, for those that don't know me I'm a white guy (who
>>> has some north African roots!) who grew up in Australia. Where does even
>>> one start to discuss what we've done to our Indigenous population.  I live
>>> in London now, and I look around the office today and I can see people of
>>> all backgrounds getting on harmoniously - and that's London for you. Our
>>> racial issues, whilst still existing, pale in comparison with many other
>>> countries and cities.  Speaking of London, for those of you here, check
>>> these black history walks around the city (I just did the Soho one) -
>>> http://www.blackhistorywalks.co.uk/
>>>
>>> Hatchet buried? Just not in his head (or mine).  Where's George M Smiley
>>> these days?
>>>
>>> Now... I just picked up on some music by Javonntte.  Hadn't heard of him
>>> until a couple of weeks ago. Great to find a new name.
>>>
>>> BG
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>> On Tue, 6 Nov 2018 at 13:12 Steven Robertson  wrote:
>>>
 If I am, I really don't mean to be.  Guilty of poor communication.

 Conversation very confusing.

 On Tue, 6 Nov 2018, at 1:08 PM, denisedalph...@gmail.com wrote:


 Your tone is extremely condescending. I chose the emoji because it is
 rude.

 You could read my works. My latest essay that addresses Drexciya and UR
 and Moodymann and revolution is getting some pretty good reviews.

 I already shared the book in an earlier email. I’m arrogant, but not
 arrogant enough to post the link again.

 Also, I don’t care about 1 or 10 or 50 white people who are bigots,
 you’re all the same to me. I’m not gonna waste my energy debating with 
 you
 about who you are. And I have to look like you. It sux. 😢

 Denise




 On Nov 6, 2018, at 07:42, Steven Robertson  wrote:

 Yes I suppose it did. I wasn't aware that I was thinking about it, but
 as it happens I came across other information a couple of days ago which
 opened my eyes, and I will admit when I was wrong. To be fair, I am
 sometimes processing things well beyond a conversation.  I do not have a
 neuro-typical mind, and often struggle to keep up with a conversation.

 The feeling I woke up with this morning was that James Stinson did feel
 very strongly about it, that I should know, and I hand't really listened to
 what he said in the interview. I felt bad about it, because it was
 ignorant. In the same manner I would defend other parties that fail to
 appreciate the sensitive nature of it, as probably not aware of the insult.
 I 

Re: new subscribers

[Fred Heutte]

Somewhere I still have the mouse pad with Alan Oldham's classic
artwork that came with the Miss Djax Spiderwoman red vinyl 7"
(Djax 268).  Used that mouse pad for many years until I retired my
last desktop computer.

fh


-
>
>hi there -
>
>I'm Marsel and since I'm 15 I trying to complete my Transmat record
>collection - although since I yet didn't manage to 100% complete it, I
>started a label -
>and now we're doing a re-issue of MS-31 ->
>https://www.delsinrecords.com/release/6196/indio/inca-ep - (although I
>now see we still have track B2 wrong... :-/
>
>also after 25 years I still didn't find out how to unsubscribe from this
>list, but luckily there still pleny of those same other 40+ aged people
>who didn't
>
>and of course I've got a print from both Alan Oldham and Abdul Qadim
>Haqq on my wall - I also already purchased another cover of Abdul, but
>we don't have a release yet - ideas welcome
>oh, and for who didn't notice, Transmat just released three new releases
>this summer - wasn't really impressed to be honest
>and they also did finally a proper re-issue of MS008
>
>further more I think all techno artists should stop performing along
>with complete orchestras,
>same as Derrick shouldn't have been in the studio with Dj Marcello and
>maybe also not with Steve Hillage,
>like Ashley Beedle shouldn't have remixed String Of Life,
>maybe remixes should be forbidden anyways (i.e. Luciano remixing Model
>500's No UFO's)
>and I never had, but now eagerly want a Red Planet t-shirt
>
>

Re: Why Drexciya Took Detroit Electro Underwater

[Fred Heutte]

There is a basic misunderstanding here.  Getting paid enough to
cover the bills and have a reasonable life is important.

Making as much money as possible is not the purpose.

Detroit techno is all about retaining that difference.

Twenty years ago, Sony Japan issued its crappy unauthorized and
uncompensated remake of Jaguar.  We all understood what that
represented, and UR made the right choice.

Detroit techno is far more than just UR (and it's also true that 
"the D in Detroit stands for Drama").  But also remember, leadership
is shown by action, not just words.

fh


-
>Fred,
>
>I don't scorn UR they are my heroes.
>I just WANT THEM TO MAKE MORE MONEY!!!
>I'm being realistic about how well the business model is doing.
>You can't solve a problem by pretending it doesn't exist.
>Making money is a problem for musicians right now--not just UR, but changes
>in music as a whole might be hitting their business model hard.
>The move from streaming to owning hurts some underground business models.
>This is just reality.
>
>Likewise, yes, you are right, it's amazing that an email list from 1994
>exists at all.
>But be honest, the list today is nothing like what it was in its prime.
>
>Anyway, you are missing the point. As a musician, I care about the music
>and the community around music.
>My job is to act to help the community grow in positive ways, and make kick
>ass music.
>I'm trying to do that within the reality of 2018, and streaming.
>I have no interest in CRITIQUING shit out of the past. I only care about
>finding ways to do shit that work, now.
>And that includes Submerge being able to sell records.
>I want them to succeed and I want to develop resources to help all local
>community initiatives and cooperatives and grassroots cultural efforts to
>succeed. But that requires strategy and actual new ideas.
>
>Traditions are built over generations, but something I learned as a jazz
>musician, is that each generation is responsible for moving the music
>forward, and each individual. Not only that, we inherent a responsibility
>as caretakers when we become participants within a tradition. I'm
>interested in how I can get better at doing my job as a participant in
>three living musical traditions, jazz, classical, and techno. You
>participate in the tradition, FYI, by working with people in the tradition
>and gaining their blessing, not just be declaring yourself to be a member.
>I played with Detroit drummer Djallo Djakate's group, and recorded
>keyboards with Alton Miller (it's supposed to come out on a Sound Signature
>album eventually), so I'm actively involved with Detroit musicians recently
>and have more projects in the works. So I have a direct stake in all this.
>
>I'm starting a record label, so I need to know, for instance, if I put out
>a record by a talented Detroit cat, how can I help him sell more records?
>And if people won't buy records, how can I get my artists paid???
>
>~David
>
>
>
>On Fri, Oct 19, 2018 at 11:34 AM Fred Heutte  wrote:
>
>> For those who haven't seen it:
>>
>>
>> http://daily.redbullmusicacademy.com/2017/06/drexciya-infinite-journey-to-inner-space
>>
>> fh
>>
>>
>

Re: Why Drexciya Took Detroit Electro Underwater

[Fred Heutte]

For those who haven't seen it:

http://daily.redbullmusicacademy.com/2017/06/drexciya-infinite-journey-to-inner-space

fh

video on 10 years of No Way Back

[Fred Heutte]

The track No Way Back was released 32 years ago -- basically one
and a half human generations and many more musical generations ago.
It was part of a sonic breakthrough that seemed raw and unlimited and
unfinished at the time . . . and still does.  And so does the party that
took the name and the inspiration . . .

https://www.youtube.com/watch?v=3Wf4uHyfW5g

I wasn't at the original bank blizzard party but have been at all the
ones during the festival.  Many many great moments: Carlos Souffront
gave me a ride to Bo-House (Bohemian National Home) one year
and I am quite sure neither of us remember very much about that
night . . . but it was fantastic . . . more I do remember -- Tin Man doing
his live 303 set last year . . . all the great acid house-sourced and
inspired sets -- Servito and Plaslaiko and BMG with his laptop
mashups . . . but most of all the impromptu 2x2 set Carlos and Patrick
Russell did at 5 am at 1515 Broadway that was likely the most off-the-
chain hour and a half I will ever experience . . .

Not a fan of the Tangent, but the party has gotten so big and
popular it has to be somewhere with a lot of square footage.
There's no way to set a long term plan for something like this
(speaking as a founding member of an SF-based party collective
that has been going since 1994), so when it's there you go for it.

fh

Re: Beyond the sixth/seventh/eight wave?

[Fred Heutte]

btw big shout out to Rush Hour -- I was in their expanded store a month
ago, they moved down the street and it has gone from excellent to great : )

fh

-
>anyone still using Last.FM since they overhauled the site? got a couple
>friends that still swear by it and are trying to talk me into scrobbling
>plays againnot so sure i'm sold. been doing just fine without it
>honestly :P
>
>On Sun, Dec 17, 2017 at 9:43 AM, the Beauty and Belief Society <
>thequietoverh...@gmail.com> wrote:
>
>> In all honesty Spotify gives me some pretty accurate suggestions.
>>
>> On Nov 27, 2017 3:14 AM, <3...@coke-smyth.net> wrote:
>>
>> I for one love discogs in all its imperfection. The new release listings
>> for artists in yr collection is nice when you've been away for a while.
>>
>> Besides 'discover function' algorithms always vary, juno's always feels a
>> bit weak but Rushhour and Hhv.de are good.
>>
>> Plus its nice to surf outta discogs too, maybe some like myspace sprawl or
>> something, the whole web should be branching + connecting..
>>
>> No pleasing some people. ;-P
>>
>> C
>>
>>
>> On 2017-11-03 22:26, Ronny Pries wrote:
>>
>>> Hm, yeah - bit too tedious to dig for those. I just wanna browse e.g.
>>> labels by year + genre…
>>>
>>> Do we know anyone at discogs one could talk to? And isn’t the
>>> database open for third parties? Maybe something like that already
>>> exists somewhere. hmhmhm.
>>>
>>> Am 03.11.2017 um 19:24 schrieb John Sokolowski
 :

 Imagine the potential of discogs IF it had a reasonable discovery
>>>
>> function... meh!

 So true. I find the lists some users make of 'favorite artists,
 labels, best of 2017, etc' to somewhat helpful in that regard.

>>>
>>
>>
>

Re: 20-year service pin

[Fred Heutte]

Greg!  good to see ya!

1995 here also.  Got on a few months before the Metroplex 10th anniversary
party which was my first intro to many 313ers.

Although it's not new (2005 I think), been playing Abe Duque/Blake Baxter
"What Happened" a lot this year . . .

fh

-
>> From:majord...@hyperreal.org
>> Subject: Majordomo results: subscr!be
>> Date:November 6, 1997 at 4:14 AM
>> To:  [Me]
>
>Just realized I recently passed my 20th anniversary on this list.
>
>(And I remember hearing about it a couple of years beforehand, but hey -
>I was lazy.)
>
>Shout-outs to the other old-timers!
>
>   - Greg
>
>P.S. Re:
>
>> 2017
>> Vatican Shadow ‎– Luxor Necropolitics
>> The Exaltics ‎– Das Heise Experiment 2 [The Prequel]
>> ASC - Sentinel
>> [...]
>
>No lists for me this year but I just wanted to say that James/ASC is a
>genius.
>
>

RE: Female Producers

[Fred Heutte]

Yes, exactly.

Also, sorry if I missed it but how could K. Hand not be on this list:

http://k-handmusic.com

fh


---

From: hko...@jwkorth.com 
Subject: RE: Female Producers
Date: Fri, 18 Aug 2017 19:40:13 +

The simple fact that it is hard for anyone here to name more than a handful of 
female
producers is, in itself, a reason to mention them. Clearly, the music should be 
judged
for itself, but in an ecosystem that is 95% (guessing here) male, there is 
indeed some
merit in just identifying female producers in order to hold them up, track down 
their
music, and judge for oneself whether it is worthy of praise independent of the 
context
of the maker.

However, the fact is that most music  cannot be judged independent of the 
identity of
the maker. Techno is unique in that respect since it is largely visually 
anonymous and
devoid of vocals. I proffer that from a male perspective it seems easy to say 
“just
get over it and judge the music based on the music” but that does not take 
into
account the possible reasons for wanting to listen to and seeking out female 
produced
music, and the possible systemic challenges women and girls face both in 
learning to
produce music and getting it published and distributed.

(I’m couching this with “possible” here because I’m LONG out of the
scene and the internet has changed a lot. But I don’t think it’s changed 
many
ingrained attitudes and knee-jerk reactions….)



From: Peter Bense [mailto:textur...@gmail.com]
Sent: Friday, August 18, 2017 4:30 PM
To: Holly MacDonald-Korth
Cc: denisedalph...@gmail.com; christiaan76; Cole Evelev; Matthew Kane; kent
williams; Aidan O'Doherty; Marsel van der Wielen; list 313; Suzanne Heinrichs;
3...@coke-smyth.net
Subject: Re: Female Producers




Have any of you ever attended those electronic music events events with 
exclusively
female artists?





I have.  And in a lot of cases it seemed really awkward -- like the reason they 
were
selected as performers was due to their sex/gender over their accomplishments 
as a
performer/musician.  (To say nothing of the male patrons weirdly 'gawking' over 
them,
which is also super creepy.  A separate issue unto itself.)





So here we are listing out producers/djs, etc. and not discussing their works 
or what
makes them good (maybe one or two have, but most replies haven't).





That turns this into an ad-hoc roll call.  Which again sort of reminds of those 
types of
events I just mentioned.  To what end?





How about indicate what makes them interesting to mention here, aside from their
sex/gender?  That would seem like a more favorable way to approach this 
discussion,
while crediting them appropriately.





On Fri, Aug 18, 2017 at 12:40 PM, Holly MacDonald-Korth
 wrote:


Exactly.




From: denisedalph...@gmail.com [mailto:denisedalph...@gmail.com]
Sent: Friday, August 18, 2017 3:27 PM
To: christiaan76
Cc: Peter Bense; Cole Evelev; Matthew Kane; kent williams; Aidan O'Doherty;
Marsel van der Wielen; list 313; Suzanne Heinrichs; 3...@coke-smyth.net
Subject: Re: Female Producers





The only way gender will be gotten over is when sexism, homophobia, and
transphobia are done. I love this thread.



On Aug 18, 2017, at 15:21, christiaan76  wrote:


   exactly.

   Sent from my iPhone



   On Aug 18, 2017, at 21:09, Peter Bense  wrote:


   More generally: why is this gender thing so important?  Can't we get over it
   already..





   On Fri, Aug 18, 2017 at 10:16 AM, Cole Evelev 
   wrote:


   Sorry about that. This is who I was referencing.





   https://www.discogs.com/Powder-H/release/9983256

   Sent from my iPhone

NYT: Letter of Recommendation: Detroit Techno

[Fred Heutte]

https://www.nytimes.com/2017/07/13/magazine/letter-of-recommendation-detroit-techno.html

Letter of Recommendation: Detroit Techno

By SHUJA HAIDER JULY 13, 2017

In the early ’80s, the Roland Corporation, a Japanese electronics
company, developed two machines that would soon become obsolete and
change the world, in that order. The TR-808 Rhythm Composer and the
TB-303 Bass Line — synthesizers with built-in sequencers — were designed
for musicians to practice with at home, by programming artificial
accompaniment. They used voltage-­controlled oscillators to generate
sound waves intended to resemble an acoustic drum set and an electric
bass. Sonically harsh and rigid, they were considered largely unsuitable
by serious musicians, and they trickled into thrift stores, garage sales
and pawn shops. Eventually, they were discovered by D.J.s in the Midwest,
who used them to create sounds that no existing instrument was capable of
making.

People often forget that the most visionary musical styles to come from
America in the late 20th century — house and techno — are not from the
coastal capitals of modern culture but the perennially neglected Rust
Belt. House was born in Chicago and got its name somewhat incidentally,
from a club at the center of the scene called The Warehouse. But the word
‘‘techno’’ was chosen by design: Juan Atkins, a Detroit musician who put
out the genre’s first records, named it after a section in Alvin
Toffler’s book ‘‘The Third Wave,’’ called ‘‘The Techno-­Rebels.’’ Toffler
was describing what we might now refer to as hackers — those who refused
to limit their uses of machines to the intentions of their manufacturers.

Roland’s engineers couldn’t have anticipated the mutant synthesis of
funk, disco, post-punk and electroacoustic music coaxed out of their
machines by Atkins and his first collaborators, two friends from high
school named Derrick May and Kevin Saunderson. Theirs is such an
all-­American story that it could be a Bruce Springsteen song: teenagers
from the outskirts of an industrial town, united by music, ambition and
cars. The three formed a D.J. crew named Deep Space Soundworks, upstaging
competitors by mixing in a live TR-808. The next step was to start making
records of their own.

What the uninitiated always notice first is the beat. Most techno uses
the ‘‘four on the floor’’ rhythm it got from disco and shares with house
— the thump of the bass drum on every downbeat. Traditional instruments
like pianos and strings make occasional appearances. But more often than
not, synthesizers and sequencers are used to form sound waves from
scratch. I like to imagine what the instruments making these sounds would
look like were they to take physical form — maybe some fleshy contraption
from a David Cronenberg movie, capable of mutating, with the twist of a
knob, into a completely different shape right before our ears. Or maybe
the sound of a star shooting past your windshield as you drive up the
freeway into outer space.

‘‘The music is just like Detroit, a complete mistake,’’ May said in the
liner notes to a seminal techno compilation, 1988’s ‘‘Techno! The New
Dance Sound of Detroit.’’ ‘‘It’s like George Clinton and Kraftwerk are
stuck in an elevator with only a sequencer to keep them company.’’
Perhaps it’s Kraftwerk’s legacy that led techno to become such a huge
success in Europe. Unfortunately, that trajectory has overshadowed the
other half of May’s equation. Despite its heartland origins, techno gets
a bad rap in America. We associate it with party drugs, velvet ropes,
glow sticks. Rave culture in England, club culture in Germany and a
string of Scandinavian superstar D.J.s have made black artists like
Atkins, May and Saunderson appear to be an anomaly in electronic music.

‘It’s like George Clinton and Kraftwerk are stuck in an elevator with
only a sequencer to keep them company.’

This erasure might have something to do with Detroit techno’s complicated
relationship with the black musical tradition — in particular, Detroit’s.
Atkins has said, somewhat heretically, that he’s ‘‘more interested in
Ford’s robots than [Berry] Gordy’s music.’’ The radical act of Detroit’s
techno rebels was that they entered an inhuman network of machinery and
found a voice within it — which aligns them with a different Detroit
legacy. The city’s first independent black autoworkers’ organization was
called the Dodge Revolutionary Union Movement — or DRUM. Members chanted
the word while marching, as though keeping a beat.

The same wave of technological advancement that brought the world the
TR-808 and the TB-303 was also supposed to bring Detroit’s industry into
the future; instead, it facilitated the calamitous undoing of its
economy. These conditions gave techno an urgent relevance. The refusal to
allow machinery to dictate human activity unites the shop floor and the
dance floor. When I listen to techno, I don’t just hear the electronics;
I hear the hands operating them.

This quality is evident 

MT: Mayor Duggan considers proposals to make Detroit a destination for techno and drag racing

[Fred Heutte]

https://www.metrotimes.com/detroit/detroit-mayor-mike-duggan-considers-proposals-to-
make-detroit-a-destination-for-techno-and-drag-racing/Content?oid=4372459

Mayor Duggan considers proposals to make Detroit a destination for techno and 
drag
racing

By Violet Ikonomova @violetikon

Last week, in a nondescript East Grand Boulevard building that houses
the world's lone techno museum, a group of world-renowned Detroit techno
DJs and producers convened with big names from the street racing
industry to promote turning the two vibrant scenes into economic drivers
for the city. Theo Parrish was there. Omar-S was there. And, remarkably,
so was Detroit Mayor Mike Duggan, who sat, listened, and asked how he
could support.

The message of the meeting at Submerge, which doubles as the home of
acclaimed Detroit techno label Underground Resistance, was clear:
Detroit is sitting on a wealth of talent that it's forced to export, and
other places wind up profiting.

"Around the world, when you ask people about Detroit ... what they say
is cars and music," said Cornelius Harris of UR. "We spend all this time
and money saying how do you brand the city, but we don't have to ask
those questions, it's already there. What happens is we have to embrace
them."

"When you see movies like the Fast and the Furious, all that car culture
came from here," said UR cofounder Mike Banks, noting the films on
illegal street racing make up one of the highest-grossing movie
franchises in history. "Electronic music is a $6.5 billion industry
globally. It was created here. The question is, of course, how much of
that money makes its way back into the city? And the answer is very
little."

Banks, Harris, and a group of UR affiliates are hoping to make Detroit a
destination place for techno and racing, much like Berlin has become a
global hub for electronic music. That city embraced and adopted Detroit
techno early on, and has become a place for DJs and producers around the
world to go to grow their talent. Lax policies surrounding nightlife
have allowed the club culture associated with the genre to thrive, and
electronic music tourism has given Berlin a huge economic boost, with
hundreds of nightclubs that legally operate around the clock. Solid
numbers on how much money techno tourism brings to the city are
unavailable, but Banks says Berlin's economic minister has estimated it
at $900 million a year.

In order to make something like that happen in Detroit, the music
artists and race organizers say they will need two things from Duggan
and city leaders: a willingness to loosen restrictions surrounding
nightlife, and permission to turn City Airport — which could soon be
slated for a redesign — into a race track.

Let's take these ideas one at a time.

Historically, Detroit has not offered a friendly environment for
underground and all-night parties. Save for one weekend a year — when
the city welcomes an influx of electronic music fans from around the
world for Movement — bars generally close or stop serving alcohol at 2
a.m., and Detroit police regularly raid or break up parties in
unsanctioned locations they characterize as "blind pigs." According to
those who've helped cultivate the techno scene here, the genre has been
unable to realize its full potential because of this lack of support.

In late 2014, however, with Detroit just exiting bankruptcy, city
officials began to recognize the untapped economic potential in techno.
It was then that the nonprofit Detroit-Berlin Connection was formed by
members of UR and Berliner Dimitri Hegemann — who founded the famed club
Tresor and has been eyeing the Packard Plant as the site for a sister
venue. The following year, the group brought Detroit city council
members and mayoral staff to Berlin, where they looked at how nurturing
a creative subculture and repurposing industrial spaces could aid in
Detroit's economic recovery.

But little has changed since that trip, and Detroit techno insiders
hoping to push the issue further are now looking to Duggan for support.
Suggestions made to the mayor at the meeting included adding a nightlife
liaison to his staff and designating an official entertainment district
where parties can go later and be held in unconventional spaces. The
district is envisioned for the North End neighborhood that is home to UR
and Submerge. DJ-producers Moodymann and Theo Parrish work out of spaces
within a mile of the site.

"We can get the people here, we can do all that," said Harris. "We don't
need help from the city for that, we're just looking for an environment
that's amenable for that kind of thing happening."

Duggan seemed open to the idea of having a staffer handle nightlife but
stopped short of offering supporting for an official entertainment
district.

"I feel like if the government designates something as the place where
the creative types should go, I get a sense that a bunch are going to go
the other way, just by their nature," Duggan told those gathered.

Still, he

MT: initial 2017 Movement lineup

[Fred Heutte]

http://www.metrotimes.com/city-slang/archives/2016/12/15/it-is-revealed-movement-2017-
lineup-phase-one-carl-cox-headlines-monday

It is revealed: Movement 2017 lineup phase one; Carl Cox headlines Monday!

Posted By Mike McGonigal on Thu, Dec 15, 2016 at 12:00 pm

OK friends, the moment you've been waiting for has arrived, and we have
the first batch of close-to-70 confirmed artists for Movement 2017 —
which takes place at Hart Plaza, Detroit, on Memorial Day weekend,
Friday, May 27-Monday, May 29. Three-day weekend passes are now available
at both VIP and general admission rates at www.movement.us.

The main headliner on the main stage for Monday has been revealed and
it's none other than British house legend Carl Cox. Another super
exciting development is the Movement debut of the Belleville Three
(which, as well know, is Juan Atkins, Derrick May and Kevin Saunderson).
So, they've really got dance music history sewn up, as you'd expect. In
addition, Death in Vegas, Audion, Danny Brown, Nicole Moudaber, Earl
Sweatshirt, and Adam Beyer are part of the initial lineup.

The full list of performers who can now be confirmed is as follows. More
will be revealed soon, of course, including the headliners for the other
two nights.

Kai Alcé
Ambivalent
ANNA
Daniel Avery
Audion - live
AX&P (Adam X & Perc)
The Bellevile Three
Adam Beyer
Danny Brown
Joseph Capriati
Cassy
Kerri Chandler
Carl Cox
Coyu
Carl Craig
Barclay Crenshaw
Death In Vegas present: Transmission - live
Dixon
Dopplereffekt - live
Drumcell
Dusky
Altstadt Echo
Ryan Elliott
Factory Floor - live
Function - live
Golf Clap
DJ Harvey
Headless Horseman - live
Larry Heard aka Mr. Fingers - live
Luke Hess
DJ Hyperactive
Robert Hood - live
Anthony Jimenez
Jamie Jones
Mathew Jonson - live
Ben Klock
Chris Liebing
Mirko Loko
Francesca Lombardo
Matrixxman
Michael Mayer
Sheefy McFly
Earl “Mixxin” McKinney
Alton Miller
Nicole Moudaber
Mount Kimbie - live
Orphx - live
Pan-Pot
Paranoid London - live
Project 313 - live
DJ Psycho
Recondite - live
Rodriguez Jr. - live
Rrose - live
Stacey Pullen
Shiba San
Kevin Saunderson as E-Dancer - live
Kate Simko
Sleeparchive - live
DJ Seoul
Soul Clap - live
Earl Sweatshirt
Norm Talley
Teklife: DJ Spinn & DJ Taye
River Tiber
Patrick Topping b2b Nathan Barato
Leon Vynehall
Waajeed
Josh Wink
Keith Worthy


To learn more, visit movement.us.

MT: Legendary DJ Carl Craig's techno tour of Detroit

[Fred Heutte]

http://www.metrotimes.com/Blogs/archives/2016/07/29/legendary-dj-carl-craigs-techno-tour-
of-detroit

Legendary DJ Carl Craig's techno tour of Detroit

Posted By Aaron Robertson on Fri, Jul 29, 2016 at 12:33 pm

Late one February night, I found myself trekking along an empty road in
Bologna, Italy with a friend. Occasional streetlights lifted the
darkness, but it was getting cold. We were surrounded by empty fields. A
tanker rolled by headed towards God knows where.

We were lost, but we didn't say as much. I felt awful. I'd convinced my
friend to take the bus with me to a popular warehouse-turned-club just
outside the walls of Bologna called Link. I didn't know that the bus stop
was about a thirty minute walk away from where we meant to go.

For weeks, I had preached to my Californian friend about the Detroit
musician Jeff Mills, whom the Italians lovingly call l'Alieno, the Alien
("The Alien is our Alien," they say). Techno wasn't really her scene, but
she was open-minded. I'd seen flyers advertising a Mills performance at
Link and couldn't believe my luck. As a Detroiter, I was obliged to go.
The Wizard - another of Mill's monikers - was part of the influential
second-generation of Detroit techno artists who spread their gospel of
sound around the world, and particularly in Europe.

Eventually, we found our way there. Link was a pulsing eyesore in the
middle of nowhere. Young Italians thronged the space outside, and a few
tried pushing us drugs with cryptic names. My friend and I had a good
time but, funnily enough, we only stayed long enough to hear the two sets
before Mills, who began playing around 3 or 4 in the morning.

Since then, I've romanticized the night that I almost saw a musical god.
But, as a recent story by VICE's Michelle Lhooq makes clear, Detroiters
are surrounded by the techno divine.

Lhooq was able to go on a unique tour of landmarks connected to Detroit's
techno past, and her guide was the one and only Carl Craig, a seminal
figure of second wave techno. He was central to the creation of the
Detroit Electronic Music Festival (now known as Movement) and through his
label Planet E, Craig released music from artists like Moodymann (Kenny
Dixon Jr.) and Kevin Saunderson. The latter, along with Juan Atkins and
Derrick May, formed the holy trinity of first wave techno known as the
"Belleville Three."

"Everybody knows everybody, pretty much," Craig told Lhooq in reference
to Detroit's tight-knit community of electronic musicians.

At Submerge, a former union hall that now serves as a techno museum and
studio space, Craig and Lhooq ran into "Mad" Mike Banks who, along with
Jeff Mills, formed the militant musical collective Underground
Resistance. Submerge is located on 3000 East Grand Blvd. and the techno
exhibit is appropriately called "Exhibit 3000." There are glass cases on
the walls containing relics from UR's early trips abroad, displays of
drum machines and synthesizers, and collages featuring the likenesses of
Jackie Robinson, the Tuskegee Airmen, and more.

The tour also included: Moodymann's three-floor brick "Prince House,"
which has purple drapes in all of its windows and an extensive collection
of Prince memorabilia inside; the building that houses
Metroplex/Transmat, the record labels of Atkins and May; the historic
Majestic Theater, where artists like Eddie Fowlkes and Blake Baxter
played; and the studio where influential DJ Electrifying Mojo helped
introduced techno to the masses.

Ben Ratliff/NYT: Made in Detroit, Differing Music Models

[Fred Heutte]

http://www.nytimes.com/2016/06/01/arts/music/movement-music-festival-trip-metal-
detroit.html

Made in Detroit, Differing Music Models

By BEN RATLIFF MAY 31, 2016

DETROIT — If the giant commercial music festival seems to be a model of the
recent past and the small, carefully framed festival seems one of the
evolving future, Detroit experienced both past and future last weekend.

The Movement Electronic Music Festival had its tenth annual edition here on
Memorial Day weekend, attracting a total of more than 100,000 people from
Saturday to Monday to Hart Plaza downtown and to after-parties until
daybreak around the city. They wandered among six stages in the waterfront
plaza to see artists from various eras, places of origin and levels of
popularity: Kraftwerk, Adam Beyer, Four Tet, Carl Craig, Kevin Saunderson,
the Black Madonna, the duo of Juan Atkins and Moritz Von Oswald. For a
major festival with sponsorships and heavy promotion, it’s low on flash —
no fireworks shows, no A-list movie stars on private terraces. But Movement
is easy to understand from a distance. It’s a dance-music locus and a
tourist draw in the city that gave rise to techno. It appeals to the body.

Running concurrently with it was Trip Metal, approximately 100 times
smaller: a first-time, and perhaps only-time, festival of largely nondance
music, experimental or improvised or freaky or aggressive, in small clubs
and cafes. It was organized in part by Nate Young, from the 20-year-old
Detroit band Wolf Eyes, who headlined Sunday’s show. A few years ago one of
its members, John Olson, who plays saxophone and electronics, started using
the poetic term “trip metal” to describe its sound. Wolf Eyes is
essentially an improvising rock trio with crude electronics and no drummer;
it has often been called a noise band, and is certainly not a metal band.
Its set at times came within shouting distance of jazz. Any confusion the
term may have caused is only the kind of confusion that Wolf Eyes likes.

Most of the smaller event took place in El Club, a new venue in the
Mexicantown neighborhood that holds 300 people; it was free, supported by
private fund-raising and a small matching grant from the Knight Foundation.
(Mr. Young has been clear that he has no plans to continue Trip Metal, at
least under that name.) Its only advertisement, paid for by the club, was a
billboard on the corner of Trumbull Street and Michigan Avenue, by the site
of the old Tiger Stadium, with only four words — all caps, no punctuation,
no website address: “Trip Metal Is Free.” That would raise a series of
questions: What is Trip Metal? Why is it free? Why is it happening at the
same time as Movement? Do these two festivals have something to do with
each other?

Maybe, yes.

The story that led to Movement began with the 1980s work of African-
American D.J.s and producers including Mr. Atkins, Mr. Craig, Rik Davis,
Eddie Fowlkes, Derrick May and Mr. Saunderson. They were creating the
language of techno, triangulating a new sound from funk and electronic
music — all the electronic music that existed then, whether from German
art-pop groups like Kraftwerk or American experimental composers like
Morton Subotnick. And they were interested in the future — technologically,
philosophically, sometimes in a dystopian way.

At a daytime panel discussion on Saturday at the Museum of Contemporary Art
in Detroit — separate from the festival — Mr. May was asked about the
future. “I think the future is going back into the past,” he shot back.
“We’ve forgotten so much so quick that we don’t know where we’re going.”

All of them, except for the reclusive Mr. Davis, remain on the scene. Mr.
Craig, Mr. Fowlkes and Mr. Saunderson played D.J. sets in this year’s
Movement festival. And Mr. Atkins played a live set on Saturday afternoon
in his austere, minimal duo with Mr. Von Oswald, the German techno
producer.

Movement has had to negotiate a balance. For several years starting in
2000, before it was called Movement and taken over by the local production
company Paxahau, it was called the Detroit Electronic Music Festival and
was directed by Mr. Craig. Because it focused on local artists, didn’t
charge admission and was hospitable to entire families, it generated a
certain kind of civic pride. After growth and financial troubles, it became
rebranded in 2006 as a more commercial proposition, charging admission and
half-tilting toward currents in the exploding global club-music landscape:
exactly what ensures a young audience, and turns off an aging and
discriminating one.

It’s trying to serve both functions, and fills the park doing it, but the
thrills can sometimes feel rootless. Jason Huvaere, a Paxahau founder, told
me that the festival tries to keep roughly 40 percent Detroit artists in
the lineup. This is where you can hear the Detroit originators, but also
where you hear D.J.s from the world market, if generally not the most
commercial ones (though Skrillex did play Movement last year, as

"the one man storm"

[Fred Heutte]

Prince and Mojo

https://www.youtube.com/watch?v=NJZCoxZ5COY

https://www.youtube.com/watch?v=ftKtWgXzMS8

2016 Movement initial lineup with Kraftwerk/3D

[Fred Heutte]

or just ignore this for now and go see Servito at TV Lounge tomorrow.


Phase 1 Lineup:
Kraftwerk-3D
Adam Beyer
Âme-DJ SET
Art Department
Boys Noize
Caribou
Carl Craig
Chris Liebing
DJ Pierre
Dubfire: Live Hybrid
Eddie Fowlkes
Four Tet
Get Real: Green Velvet & Claude VonStroke
Guy Gerber
J.Phlip
John Digweed
Juan Atkins and Mortiz von Oswald Present: Borderland
Justin Martin
Kevin Saunderson
Loco Dice
Maceo Plex
Magda
Matador-LIVE
MK (Marc Kinchen)
Mic Fanciulli
Nina Kraviz
Richie Hawtin
Seth Troxler
Stacey Pullen
Tale of Us

Andrew Morant
Anja Schneider
Bruce Bailey
Davide Squillace
Delano Smith
DeWalta & Shannon - LIVE
DJ Tennis
Ellen Allien
Guti-Live
Heidi
Hito
Honey Soundsystem
Job Jobse
Kyle Geiger
La Fleur
Lee Curtiss
Marc Houle-LIVE
Mike Huckaby
Mister Joosha
No Regular Play-LIVE
Paul Woolford
Project 313-LIVE
Ryan Crosson
Scuba
Shaun Reeves
Sonja Moonear
The Black Madonna
tINI
Will Sessions feat. Amp Fiddler-LIVE
Zip

Amsterdam this weekend and next

[Fred Heutte]

Hi all, sorry for the non-313 content but hoping some of our Dutchie friends
are here and can give advice on events this weekend and next in Amsterdam.

Please reply offlist...

Sorry to say, I have to miss Jeff Mills at the Concertgebouw on Friday night,
I'll be mid-air over Detroit around that time ...  But what a show:

http://www.concertgebouw.nl/en/concerten/jeff-mills-light-from-the-outside-world

Jeff Mills: Light from the Outside World
 From the clubs to the classical stage - DJ Jeff Mills has done it all. He 
performs his cinematic
techno-symphony, Light from the Outside World, with the North Netherlands 
Symphony
Orchestra. Experience The Bells from the comfort of your chair!


cheers

fh

oral history of the Motor

[Fred Heutte]

Some of it's from here, too . . .

http://daily.redbullmusicacademy.com/2015/06/nightclubbing-motor-oral-history

MT: Ghostly brings back 'Techno Rebels' T-shirts for Dan Sicko scholarship

[Fred Heutte]

http://www.metrotimes.com/Blogs/archives/2015/05/20/ghostly-brings-back-
techno-rebels-t-shirts-for-dan-sicko-scholarship

Ghostly brings back 'Techno Rebels' T-shirts for Dan Sicko scholarship

Posted By Lee DeVito on Wed, May 20, 2015 at  1:48 PM

Among the many artifacts on display at Exhibit 3000 — Underground
Resistance's secret techno museum in Detroit — is a book enclosed in
a glass case called Techno Rebels: The Renegades of Electronic Funk
by journalist Dan Sicko. Our tour guide for the day gave the book
props, saying he felt it accurately captured the essence and told the
story of Detroit techno in a way few other books have.

Sicko died in 2011 at the age of 42, having battled ocular melanoma
since being diagnosed in 2008. Shortly after, Ghostly adapted his
book title into a "Detroit Renegade of Electronic Funk" limited run
T-shirt with all proceeds going to help raise money for Sicko's
family.

Fours years later, the Detroit Sound Conservancy has launched a
campaign to create a special music journalism scholarship in Sicko's
name, and Ghostly is bringing back the T-shirt to help raise funds.
The shirt is now offered in black and indigo, and proceeds from all
online sales will go directly to DSC.

Head over to Ghostly's store to grab one, or WSU Press to pick up a
copy of the book. Check out MT's original review of the book here.

http://www.theghostlystore.com/collections/frontpage/products/detroit-renegade-
of-electronic-funk-black

http://www.wsupress.wayne.edu/books/detail/techno-rebels

http://www.metrotimes.com/detroit/future-perfect/Content?oid=2169476

MT: Octave One on twenty-six years of techno

[Fred Heutte]

http://www.metrotimes.com/detroit/octave-one-on-twenty-six-years-of-
techno/Content?oid=2345101

Octave One on twenty-six years of techno

They believe

By Carleton S. Gholz

The origins of Octave One —primarily Lenny and Lawrence Burden, but
initially a band of brothers that included Lorne, Lynell, and Lance
Burden — run simultaneous with the emergence of techno in the 1980s.

Pittsburgh-based electro-sonic aficionado Shawn Rudiman respects what
these second-generation techno musicians do live. "They keep music as
instruments, not as backing tracks. It's a more human and rawer, more
exciting — to both artist and audience — way to play. When computers
came of age, most went that one-stop-shop route. They didn't. It's a
fuller, heavier, and warmer sound. It's more intense sounding, less
sonically perfect. It has personality."

Their first live show was only a decade ago, at the now-defunct Motor
Lounge, performing as Random Noise Generation. And I was there. They
improvised onstage with prerecorded as well as live sounds. At the
time, our techno city had been reborn with the first festivals.
Everyone seemed to be a DJ and to have a label. Hamtramck's Motor
Lounge was cooking multiple nights a week. But not everyone played
live. That night, Lawrence, the eldest brother and the group's DJ
during the 1990s, jumped onstage while younger brother Lenny took
control of the visuals, in addition to performing live.

"I was looking at him trying to work a lot of gear," Lawrence says.
"And he just looked like he had more than he could handle. He was
running the mixing desk, and I think at that time he had some lights,
or some visuals running on the laptop — he was all over the place! So
I ran up onstage and my idea was just to kind of control the sound
but I was amped up from DJing, so I started tweaking EQs and punching
things in and out. And he started jamming even more, 'cause he was
free up to start doing what he wanted to do, live-wise. So that's how
literally, before people's eyes, that's how we built the live show —
that particular show, the very first one!"

The Octave One crew and their label are now based in Atlanta. But the
label name carries the address of their first studio: 430 West, a
small, two-story building still standing in Ferndale. At one point
the label was host to a number of artists, including Anthony "Shake"
Shakir and Terrence Parker. Shake appreciates their "straight to the
point no holds barred" approach to creating music. Parker adds his
appreciation for their "integrity in both their personal and
professional lives." However, the label is now more of a personal
production company for their own work.

I caught up with them over the phone to discuss their live show
Saturday night at the Movement Electronic Music Festival, the album
release party scheduled for Sunday, and their career, going back to
its start in 1989.

Metro Times: What's the performance going to be like at this year's
festival? How might it differ from your normal road show?

Lenny Burden: Well, we're releasing our album, Burn It Down. Last
year at the festival, we had the opportunity of debuting a few cuts
from the album and we're going to play a lot more [of it] this time.
Last year, we were on the Detroit stage; this time, we are actually
going onstage with Disclosure, Method Man, things like that. For us,
we always try to feel the crowd. We felt a little more aggressive
last time, and who knows what we are going to feel this time —
playing before Method Man and after Kerri Chandler — so we'll see how
it goes. We like to be very versatile. We've played harder techno
events, more housier events; it just depends on how we feel.

Lawrence Burden: Yeah, really. How we feel, and how we feel the
crowd. What they can handle at that particular time kind of dictates
where we go. But this is going to be intense and progressive, because
that is how we like to do things.

MT: In terms of technical stuff, how many boxes of things, how many
suitcases, how many — what's the metaphor here — what's the stuff?

Lenny: We carry a lot of gear with us, man. I don't know how many
synths to be honest [laughs]. Lots of synths, lots of drum machines,
lots of effects; this is primarily a complete recording studio, minus
the recorder, onstage.

Lawrence: Even for certain things we carry backup, so for certain
things there is double as well, just in case something happens. We
hope it never happens, but we need to know we are covered in that
aspect as well.

MT: Let's talk about the album. Why choose Spectacles for the release
party?

Lenny: For one thing, Zana [Smith, owner of the shop Spectacles] is a
staple in Detroit, just period. She's been there for such a long
time, and she's been part of the scene for such a long time, and we
never had the opportunity to actually work with Zana. We don't get
that opportunity to play at something so intimate very often. And we
wanted to be a free event and we want to play downtempo, stuff that
we normally wou

DetNews: Originator: Kevin Saunderson on Movement's past, future

[Fred Heutte]

http://www.detroitnews.com/story/entertainment/music/2015/05/20/originator-
kevin-saunderson-movements-past-future/27678797/

Originator: Kevin Saunderson on Movement's past, future

The Detroit techno pioneer (and one-time festival producer) talks
about Movement's history and his own Origins program

Adam Graham, The Detroit News

9:08 a.m. EDT May 21, 2015

Kevin Saunderson is, in many ways, the heart of Movement.

At this weekend's 16th annual event, Saturday through Monday at Hart
Plaza, Saunderson marks his 14th appearance at the festival. In 2005,
when the fest had no producer and its future was in jeopardy,
Saunderson stepped up and acted as organizer (and hired Paxahau to
produce a stage, paving the way for them to take over as producers of
the festival the following year). And without Saunderson's
contributions to techno music in its formative years, there might not
be any Memorial Day weekend techno celebrations in the first place.

At this year's Movement festival, Saunderson returns with his second
annual Origins showcase, where he'll shine a spotlight on the past,
present and future of techno music. His day of programming, Monday on
the Made In Detroit/ Thump stage, includes Detroiters DJ Minx, D.
Wynn, Dink & TK, Al Ester and Marc Kinchen; Chicago's Phuture and Lee
Foss; Toronto's Greg Gow, and Saunderson's sons Dantiez and DaMarii
Saunderson, who perform as the Saunderson Brothers. Kevin Saunderson
himself will close out the day by teaming up with fellow Detroit
techno pioneer Derrick May for a tandem performance under the banner
of Hi Tech Soul.

Kevin Saunderson's showcase is part of an adventurous three days of
music that includes performances by sizzling hot English electronic
duo Disclosure, Skrillex and Boys Noize's collaboration Dog Blood.
Also featured are Southfield-bred producer-DJ-sax man GRiZ, Detroit
rapper Danny Brown, Wu-Tang Clan rapper Method Man, Windsor techno
godfather Richie Hawtin and West Coast rap general Snoop Dogg, who
will close out the festival Monday night under his nom-de-DJ, DJ
Snoopadelic.

Earlier this week, we caught up with Saunderson at Hart Plaza to talk
about Movement, his involvement in the festival and dance music in
general.

Q: What is the concept behind your Kevin Saunderson Presents: Origins
showcase?

A: It's bringing new artists together with artists that were
influenced by me or Detroit. We had some great artists last year and
a welcome turnout from the fans. It's important to educate. We have
EDM and all these new divisions of music, so we want people to
understand the history of our music and why it is what it is. We also
like to celebrate it. It gives you a new kind of energy to do it for
another 10 years.

Q: How have you seen the rise of EDM affect electronic music culture?

A: At first I think there was a backlash against it, and I didn't
really pay attention to it. I did a show in Australia with Deadmau5,
and I was like, 'Who is Deadmau5? He wears a mouse?' I had no clue.
But he was really popular over there and I was like, 'OK, this is
what they do.'

But I think what happened is it helped give people more awareness of
the underground. It made them realize that there was more music than
just listening to Deadmau5 or David Guetta or Avicii. It started
opening festivals to experiment more with the techno, more house,
deep house and really giving a broad spectrum. So younger kids, they
might have had no idea about who Kevin Saunderson or Derrick May or
Carl Craig is, but they started finding out slowly. It started
cultivating at festivals and events we were playing, and we started
to get more awareness.

So it brought that out, and it helped the club scene too. People go
out to clubs more than they used to. And obviously festivals are just
popping up all over the country now. So I think it helps, as much as
people might slag the music. My son, believe it or not, he started
out listening to people like Avicii.

Q: How have you seen Movement grow and change over the years?

A: This festival for me is one of the top in the world, and I've been
to many. It's up there at the top. And everybody still wants to come
to Detroit. When I say everybody, I mean every DJ wants to play in
this city, because of what started here and how they've been
influenced. And again, that still connects to Origins, because we
have touched so many people around the world with our sound and our
music that they want to come here and play.

Also the production has gotten better. The guys from Paxahau care.
I've seen many clubs, many promoters, they keep the same sound
system, they don't upgrade, and they wonder in seven, eight years,
'What happened?' Paxahau doesn't do that. They put back into the
production, they do things right, they change little things every
year. And they're bringing talent in from all over the world.

Q: What did you learn from doing the festival yourself?

A: It was weird for me. I know I had the festival, the city wanted me
to do it, and it was Ma

Kraftwerk tour in the US/Canada

[Fred Heutte]

Just got tickets for Portland Sep. 19 -- for once we aren't the city all the
tours skip over!

http://www.kraftwerk.com/concerts/index-concerts.html

Here are the US/Canada dates:

16 SEP 2015 20:00   EDMONTON JUBILEE AUDITORIUM 3D CONCERT
17 SEP 2015 20:00   CALGARY  JUBILEE AUDITORIUM 3D CONCERT
19 SEP 2015 19:00   PORTLANDKELLER AUDITORIUM   3D CONCERT
23 SEP 2015 20:00   DENVER  OPERA HOUSE 3D CONCERT
25 SEP 2015 19:00   AUSTIN  BASS CONCERT HALL   3D CONCERT
27 SEP 2015 19:00   NASHVILLE   RYMAN AUDITORIUM3D CONCERT
29 SEP 2015 20:00   MIAMI   OLYMPIA THEATER 3D CONCERT
02 OCT 2015 20:00   PHILADELPHIAELECTRIC FACTORY3D CONCERT
03 OCT 2015 20:00   BOSTON  WANG THEATRE3D CONCERT
05 OCT 2015 20:00   DETROIT MASONIC TEMPLE THEATRE  3D CONCERT
07 OCT 2015 20:00   MINNEAPOLIS NORTHROP3D CONCERT
09 OCT 2015 20:00   KANSAS CITY ARVEST BANK THEATRE 3D CONCERT

one more from RBMA

[Fred Heutte]

More than the usual recitation about Mojo, etc.

http://www.redbullmusicacademy.com/magazine/detroit-radio-feature

At the 1997 Detroit Regional Music Conference there was a panel on the
state of Detroit radio, and someone said, "When radio is happening,
Detroit is happening."  At the time, Gary Chandler was the ruler of the
mix shows, and every car in Greektown and all the avenues was boomin'
on weekend nights.  But other than that, even then the window had closed
for local music on the radio, and everyone knew what the consequences
were...

fh

Re: Members of the House: The Greatest House Music Band That Never Happened

[Fred Heutte]

Thanks -- still playing Members of the House and others on Happy and related
labels: People Hold On, Keep Pushin', Sunshine, Tuk My Love, all four classics
on Happy Trax vol. 3, Got to Give it Up.  Unforgettable, timeless stuff . . .
Detroit house in the early 1990s is the unknown mother lode -- all this plus
KMS, TP, Chez and Ron, Santonio, the unstoppable MK, Shake, many more . . .

fh

-
>RBMA track down Mike Banks's forgotten Detroit supergroup, Members Of
>The House, for an extended chat.
>
>http://www.redbullmusicacademy.com/magazine/members-of-the-house-interview
>
>--
>Best,
>Jeremy
>
>As You Like It
>Founder & Executive Producer
>skype: jeremybispo
>www.ayli-sf.com
>
>

Re: NYT article on UR @ MoMA PS1

[Fred Heutte]

Not the greatest article but it's remarkable that it happened at all . . .

fh

-
>Thanks for the heads-up, Patrick.
>
>On Saturday, December 20, 2014, Patrick Wacher  wrote:
>
>>
>> http://mobile.nytimes.com/2014/12/17/arts/music/underground-resistance-speaks-of-
music-and-politics.html
>>
>> Regards,
>> Patrick.
>>
>
>
>--
>http://andrewdukeinthemix.com
>

UR travel guide to Detroit

[Fred Heutte]

http://thump.vice.com/en_uk/words/underground-resistance-share-10-things-that-make-detroit-
the-city-it-is



PS They are very fair about the Coney Islands, but let's be clear, it's
all about Lafayette. -- fh

AO @ RBMA

[Fred Heutte]

Big booties, stiletto heels, spaceships and robots...

http://www.redbullmusicacademy.com/magazine/alan-oldham-feature

Thump: Remembering Landmark 80s Dance Programme The New Dance Show

[Fred Heutte]

http://thump.vice.com/en_uk/words/detroits-new-dance-show-keeps-it-movin-keeps-it-
groovin

Remembering Landmark 80s Dance Programme The New Dance Show

The New Dance Show, aired from 1988-1995 on Detroit’s WGPR-TV 62, the
first black-owned and operated television station in the country. The
show featured local kids in the flyest clothes and hairstyles of the
time breaking it down to a mix of Detroit techno, ghettotech, Chicago
house and music from overseas artists like Kraftwerk and A Guy Called
Gerald. It brought emerging underground music into the living rooms of
households all over lower Michigan. The new sound of Detroit was
introduced to a massive city-wide and suburban audience outside of the
clubs and late night warehouse parties as now-classics like “Clear” by
Cybotron, “Big Fun” by Inner City and “NO UFOS” by Model 500 were spun
by the show’s resident DJs as dancers like The Count, LaWanda and Miss
Energy showed off their impressive skills. The highlight of each
episode were the dance lines, where everyone got the chance to flaunt
their signature moves and unique personas:

“We were the people who would introduce certain artists - along with
The Electrifying Mojo and some other radio jocks - and we could make it
happen for them,” explains RJ Watkins, The New Dance Show’s creator,
producer and host. “If The Dance Show got on it- we could introduce it
to the world. We helped a lot of groups go national just by playing
their tracks on our show.”

Often lazily described as Detroit’s version of Soul Train, The New
Dance Show was unique not just in its music selection but because of
Watkins’ talent for editing. His background in dance studies and ear
for music allowed him to cut shots to match the beats, giving the show
a live energy and flow unlike any other, including its equally
legendary predecessor, The Scene.

Watkins, who now dedicates his energy to his current role as President
and CEO of Detroit’s  TV33 WHPR and 88.1 FM, began his career in
television by hosting and producing his own show, Late Night With RJ
Watkins. He cites Johnny Carson as an early inspiration and remains
passionate about the power that television has to bring people
together. Not for nothing, everyone in Detroit knew and loved his
catchphrase from the show: “Keep it movin’, keep it groovin’.”

“If we still had a show like that on, we could curb some of the grave
stuff that’s happening in Detroit right now,” he says. “We gave people
a reason to be home for an hour, we locked the city down. Sit down,
shut up, laugh—whether you love hate it, like it, you’re gonna be home
at 6 o'clock and you’re gonna watch. It gave everyone something to talk
about. We had characters, like in any family, that everyone knew and
loved. You had your neighborhood sister down the street, you had your
neighbourhood gay guy, your neighbourhood dyke, your neighbourhood fat
girl, small girl, your neighbourhood hustler, your neighbourhood pimp.
We had all walks of life on that show.”

In a culturally divisive time, The New Dance Show acted like the Pied
Piper, luring suburban kids into the city and city kids out into the
clubs, ultimately helping to nurture an underground dance music scene
where gender, ethnicity, socioeconomics, race and sexual orientation
were, inexplicably, practically a non-issue.

Now, almost two decades after the show went off the air, Black Milk’s
“Detroit’s New Dance Show” is reconnecting his audience to that legacy.
It may be a stylistic departure for the artist whose hometown roots
usually come through in the soulful, Motown sounds that he’s prone to
sampling, but it’s not a total left field move. Black has already
established himself as a creative force in the hip-hop industry, known
for his ever-broadening repertoire of diverse production styles and
collaborators like J. Dilla, Jack White and Black Thought of The Roots.
According to Black, it was really only a matter of time before he
dipped his toe into the techno pool,

“Cats like Juan Atkins brought this sound to Detroit and the world in
the early to mid 80s,” he explains. “Hip-hop was still pretty new then,
too. It was just a natural progression for people that were into hip-
hop to also be into electronic music, if you lived in Detroit.
Musically, it’s different but the vibe and the feel and the artists
that were making techno had a certain ghetto-ness and attitude that
meshed well with hip-hop. The attitude and approach wasn’t that
different.”

He concedes that isn’t necessarily going to cater to his typical
fanbase, but that wasn’t the point. “It’s a Detroit thing, man,” he
says. “When I released that song, I expected only a select few people
to get it. I didn't expect it to appeal to everyone.”

Black Milk isn’t the first artist to tip his hat to The New Dance Show.
In 2009, techno producer Osborne used clips from the show for the video
accompanying his track “The Count” and producer/singer Mayer Hawthorne
did the same with 2011’s “A Long Time”. In discussing early i

Re: festival represent

[Fred Heutte]

I may do that.  That's the old Elysium, right?  Only was there a couple times
but one was the commemoration for Laura Gavoor, a night for the ages.

Also, Bruce Bailey did my favorite bar set in a long time last year at LIV.

fh

---


Looking forward to seeing you tomorrow Denise.

I'll be at Inside the Shadows on Sunday.
https://www.facebook.com/events/710875155644684/
Derrick May, Bruce Bailey, Stacey Hale, plus a whole bunch more of amazing
music.  I have to honestly say its the party I'm looking forward to most.  The 
fact
that the venue is big enough where I won't feel like I'm sandwiched into a sweat
box... that's a definite bonus for me, cos I love to dance, and not 
particularly in one
of those circles.

Jodie Svagr

313-915-1164
uandidesigndetr...@gmail.com
Events, Promotions, & Development


On Thu, May 22, 2014 at 9:52 PM,  wrote:
   Pizza!! Yes. Also, welcome to town. See you tomorrow.

   > On May 22, 2014, at 18:50, Fred Heutte  wrote:
   >
   > Just hit the streets of the D.  Going to this thingie tonight at the Red 
Bull place
   > in Eastern Market -- Jerry Abstract (now in Portland, we had a good
   > time when Carlos Souffront came up from SF last month to do a gig)
   > and others...
   >
   > https://www.facebook.com/events/1434539443464848
   >
   > Tomorrow, the Tigers but before that, the Detroit Sound Conservancy
   > at DPL.  This looks really great, got a nice short piece in MT also:
   >
   >
   
http://blogs.metrotimes.com/music-blahg/city-slang-detroit-sound-conservancys-sound-
   > conference-friday/
   >
   > After that, see you everywhere . . . is it time for another 313 pizza
   > gathering?
   >
   > peace
   >
   > fh
   > 503.757-6222
   >

festival represent

[Fred Heutte]

Just hit the streets of the D.  Going to this thingie tonight at the Red Bull 
place
in Eastern Market -- Jerry Abstract (now in Portland, we had a good
time when Carlos Souffront came up from SF last month to do a gig)
and others...

https://www.facebook.com/events/1434539443464848

Tomorrow, the Tigers but before that, the Detroit Sound Conservancy
at DPL.  This looks really great, got a nice short piece in MT also:

http://blogs.metrotimes.com/music-blahg/city-slang-detroit-sound-conservancys-sound-
conference-friday/

After that, see you everywhere . . . is it time for another 313 pizza
gathering?

peace

fh
503.757-6222

Re: (313) EZMLM problem

[Fred Heutte]

I don't recommend changing to googlegroups.  My office uses it
extensively for staff and external lists and we are finding intermittent
but persistent issues with delivery delays ranging up to 48 hours.
Apparently the internal spam filtering there is very sensitive to small
changes in text or delivery patterns and implements holds of
varying lengths.

Our inquiries to Google have, of course, not been answered.

Fred

-
>Mailman 2.1.16 has the Threadable change.
>
>On Fri, Apr 25, 2014 at 10:12 AM, kent williams  wrote:
>> Apparently there is a problem with something called DMARC that big e-mail
>> providers are implementing.  I've quoted the e-mail from Brian Behlendorf
>> (who is the man behind hyperreal.org) on the subject.
>>
>> The big problem is people with yahoo.com e-mail addresses. The way EZMLM
>> works is that it takes your e-mail and resends it to all the list members.
>> Any mail server implementing DMARC rejects e-mails where the FROM: address
>> is x...@yahoo.com, but it doesn't come from a yahoo mail server.
>>
>> This has resulted in people getting bounce notices from hyperreal. It has
>> happened to me, and I don't even have a yahoo.com e-mail address.
>>
>> Bottom line is the hyperreal team is working on a solution, but this will
>> likely screw up 313 emails for the near term.
>>
>> If you're an e-mail list wizard and can suggest a linux based mailing list
>> server that can circumvent this stupidity, please let me and
>> (br...@hyperreal.org) know.
>>
>>
-
>>
>> If you list is still active and hasn't been swept away by folks moving to
>> Facebook or whatever, you might have heard complaints from yahoo.comusers,
>> or possibly even folks who have started to see strange bounces where
>> yahoo.com senders are involved.  This is due to a current hullabaloo about
>> an anti-spam tech called DMARC and Yahoo's recent and strict implementation
>> of it.
>>
>> http://thehackernews.com/2014/04/yahoos-new-dmarc-policy-destroys-every.html
>>
>> DMARC is a system designed to allow domain owners to specify policies and
>> rules regarding how to deal with email from senders using that domain. For
>> example, for an email with a From header like:
>>
>> From: Brian 
>>
>> Yahoo published a policy that says unless that email came from Yahoo's
>> servers, it should be rejected.  This is a great anti-spam technique given
>> that lots of spammers use yahoo.com addresses fraudulently (I guess?). But
>> what it means for senders to mailing lists like those we host at Hyperreal,
>> when that mail goes through Hyp and comes back to Yahoo's servers, it
>> bounces.  Not only that, but that Yahoo sender's mail bounces at Gmail and
>> other mail service providers who implement DMARC.  Those bounces can cause
>> chaos, of course.  Ezmlm/qmail will keep track of those bounces and at least
>> let subscribers know they're missing messages and why, and shouldn't unsub
>> those users automatically, but it still causes chaos.
>>
>> More details on technically why this is wrong:
>>
>> http://www.ietf.org/mail-archive/web/ietf/current/msg87153.html
>>
>> Yahoo appears to not get why this is a big deal:
>>
>> http://yahoo.tumblr.com/post/82426971544/an-update-on-our-dmarc-policy-to-protect-
our-users
>>
>> There is no good fix here.  Changing the From: header to say something like
>>
>> From: Brian Behlendorf via 
>>
>> seems wacky, but it's what Threadable did, specifically for DMARC-checking
>> recipients and DMARC-policy-publishing sender domains:
>>
>> http://blog.threadable.com/how-threadable-solved-the-dmarc-problem
>>
>> Sadly, though, no open source mailing list manager has implemented this
>> well.  Mailman seems to have implemented this partially, but no one's even
>> talking about this for ezmlm and I doubt it'll happen.  I've not decided
>> whether to move the Hyperreal mailing lists to Mailman or something else,
>> but clearly we need to move off of ezmlm anyways.  I was hoping to be able
>> to choose between a couple of them, but now that choice seems much more
>> narrow (and not necessarily the best - Sympa was looking promising too).
>>
>> Anyways - I am sad that this is how things have played out, that I can't
>> provide a quick resolution to this.  For now all I can suggest is asking
>> youryahoo.com users to switch to another domain if they want to participate.
>> But that sucks as an answer.  If anyone has better ideas (or
>> programming/migration talent to contribute) let me know.
>
>
>
>--
>matt kane
>twitter: the_real_mkb / nynexrepublic
>http://hydrogenproject.com
>
>

Re: (313) Juan Atkins at U Street Music Hall in Washington, DC ( 10/5/13)

[Fred Heutte]

Good room, decent sound, but overrun with a bunch of drunken hipsters
when I saw Stacey Pullen there this past February.  Turns out it's on
Soundcloud, one of the better gigs I've heard from him in recent times:

https://soundcloud.com/uhalldc/stacey-pullen-live-at-u-street

fh

-
>Just noticed this. Should be fun.
>
>http://www.ustreetmusichall.com/event/349343-juan-atkins-samo-sound-boy-washington/
>
>

Re: (313) Testing

[Fred Heutte]

See:

http://comicsanscriminal.com/

http://bancomicsans.com/main/

Also, because for every issue there are two sides, even if
one is wrong:

http://comicsansproject.tumblr.com/

that is all : )

fh

-
>Thanks for the laugh!
>
>
>On Mon, Jun 3, 2013 at 11:51 AM, Rob Taylor 
>wrote:
>
>> Why is everyone so down on Comic Sans? It has its uses!
>>
>> On 3 Jun 2013, at 16:49, Matthew Kane  wrote:
>>
>> > Comic sans? You failed, that's for sure :)
>> >
>> > On Mon, Jun 3, 2013 at 11:47 AM, kent williams 
>> wrote:
>> >> This is a test. fuck.
>> >
>> >
>> >
>> > --
>> > matt kane
>> > twitter: the_real_mkb / nynexrepublic
>> > http://hydrogenproject.com
>>
>
>
>
>--
>Denise Dalphond
>www.schoolcraftwax.com
>

(313) movement represent

[Fred Heutte]

How y'all feeling out there?

Met up with John Sokolowski yesterday and heard rumors that
Mr. Earle is in the house...

Good sets yesterday from 16 Lolitas, KDJ, CC, Alton MIller.
Mr. Parker, playing the classics.  But the difference
between me playing those classics (Nightcrawlers, No UFOs,
and on and on) is what makes Terrence so special.  He was
on -fire- despite playing in a t-shirt in 50 degree weather.

Dubstep has arrived at the festival (in its highly fragmented genre
state).  Nuff said.

The weather is actually very nice if on the coolish side, and there
was a great full moon rising over the Detroit River last night.

See you on the plaza and at the parteez... because there's no
way back, at all...

fh
503.757-6222

(313) Scott Hardkiss

[Fred Heutte]

Peace, my brother...

http://www.youtube.com/watch?v=CIS9C1tA7Hc

---

http://newsflash.bigshotmag.com/features/23958/

R.I.P. Scott Hardkiss

Mar 25th, 2013 | By Darren Ressler | Category: Featured Post, Features

DJ/producer Scott Hardkiss passed away unexpectedly earlier today. In
the early ’90s Scott Friedel was a member of pioneering San Francisco
DJ/producer trio Hardkiss which was rounded out by musical partners
Gavin and Robbie. The Hardkiss Brothers (who weren’t biologically
related) helped nourish and influence the era’s fledgling West Coast
sound — psychedelia mixed with Balearic, house and techno — via Bay
Area warehouse parties as well as remixes and productions issued on
Hardkiss Music. After relocating to New York City in the late ’90s,
Scott, who also recorded under the God Within moniker (listen to his
classic “Raincry” below), went on to remix for the likes of Elton John,
George Clinton and The Flaming Lips. In 2009 he released his well-
received debut album, Technicolor Dreamer, and he also contributed
music to various film, television and commercial projects led by Spike
Lee, Wes Anderson and Richard Linklater.

When I was running Mixer magazine, I worked closely with Scott on Mixer
presents United DJs of America Vol. 17: Scott Hardkiss released in
2001. I got to know him well on a professional and social basis. Scott
was a singular individual who marched to his own beat; he was an
exceptionally talented individual who saw the world with a unique view.
He was wildly intelligent and had an incredibly dry sense of humor that
always brought a smile to my face. Whenever Scott was behind the decks,
I’d marvel at the soundtrack he wove together with strains of house,
breaks, trance and beyond that few could replicate.

Have a listen to his Essential Mix and soak in the essence of Scott
Hardkiss’ beautiful musical soul.

Rest in peace, my friend.

Update, March 26 12:00pm: There has been an outpouring of love from
people remembering Scott on social media. (See below.)

Wade Hampton (a.k.a. WishFM), who knew Scott during their days on the
San Francisco scene, told Big Shot: “Scott was a visionary. Although he
was as elusive as any DJ could be at the dawn of our EDM movement, he
helped build a loyal strong family unit with Hardkiss Family. That’s
all that mattered to us. As long as we knew he always reaching for
perfection, the path we took really didn’t matter…and this cool cat
attained it all the time. I’ll miss my homie dearly.”



http://www.vibe.com/article/dance-community-refelections-rip-scott-“hardkiss”-friedel

Dance Community Refelections: RIP Scott “Hardkiss” Friedel

Jorge Hernandez Posted March 26, 2013

Influential San Francisco DJ and producer Scott "Hardkiss" Friedel
passed away Monday night at the age of 43. The cause of death has not
been confirmed at this time but is believed to be an aneurysm. It has
previously been noted that Hardkiss had keratoconus, a degenerative eye
condition that required transplant surgery in 2011, and one of his last
social posts a few days ago was about him not feeling well.

A key player in growing the early ‘90s rave scene in San Francisco as
one third of the Hardkiss Brothers (along with "spiritual kin" Gavin
and Robbie Hardkiss), Scott also had a successful solo career as a DJ
and producer. One of his best-remembered tracks is 1993's "Raincry"
released under his God Within alias. In the late ‘90s, Scott moved to
New York and assumed his full-time persona as Scott Hardkiss, purveyor
of pop songs touched with Balearic breakbeats and transcendent funk. He
went on to do remixes for artists as varied as Elton John, the Flaming
Lips and George Clinton. His debut album Techinicolor Dreamer was
released in 2009 and was accompanied by remixes from Christian Prommer,
Bjorn Torske, Telepathe and Brennan Green. Scott is remembered as an
adventurous collaborator by those that worked with him, including Lisa
Shaw, Dean & Britta, and Q-Burn's Abstract Message just to name a few.

In a blog post, Q-Burns (Michael Donaldson) recalls meeting Scott in
the early ‘90s when he was shopping around some of his music. "I still
remember this sort of hippie-ish thing he said to me then… ‘This isn’t
a song … it’s a living being.’ In a follow up email, Q-Burns tells
Vibe, "'I bet I'd be a different type of producer and DJ if it weren't
for Scott Hardkiss, or maybe not even a DJ as I was more of an indie-
rock kid at the start. Scott showed that it was okay to be many things
musically at once."

Via email, Derrick Carter  remembers Scott for his humanity, as well as
for his talent. "Apart from his grand musical tastes, he was a great
guy. During one of my early SF adventures, I'd been stiffed by a
promoter who'd only bought an outbound ticket for me to play at his
party. Scott let me crash on his couch for about a week as I sorted
things out. He took me in and treated me like a brother. I'm going to
miss having him in this world."

Among the many DJs posti

Re: (313) history always favours the winners

[Fred Heutte]

"it was about getting up and having a go"

That's it completely and in a nutshell.

I grew up in the same neighborhood as Bad Brains and those guys
(with a background in hard bop jazz and reggae) could -play-.

But they were playing at a time when many in the same circuit
(the Washington DC underground of 1977 onward) really couldn't
-- including some, like Half Japanese, who made a fetish of that.
Some got better, some didn't.

Many of us who DJ or make tracks have drawn on the DIY punk
attitude -- itself an outgrowth of, among other things, the garage band
ethos in the 1960s in the US, of course commemorated by "Garageland"
by the Clash, a band who could really really play.

It's easy to overlook now the profound influence of the Ramones
on the Pistols and everyone else.  And what were they doing?
Basically 1960s garage.

but I digress :)

fh


-
>
>On 4 Mar 2013, at 14:25, David Powers  wrote:
>
>> First of all, it's the opposite, punk was (supposedly) influenced by
>> situationism,
>>
>> 'Marcus quotes the musician Paul Westerberg as saying that he became
>> enthralled with the Sex Pistols because “It was obvious that they
>> didn’t know what they were doing and they didn’t care.”
>
>Talcy Malc did rip off a hell of a lot of dada and situationism but he didn't 
>try to hide it.
>He tried some of it on the New York Doll but it didn't work or stick.
>
>It's interesting that the myth of them not being able to play still continues,
>Jones, Cook, and Matlock could all play very well.
>
>I think the key part about punk for me was that it was about getting up and 
>having a go.
>
>Here's the names and addresses of the studio's, pressing plants and venues --- 
>GO
>
>m
>

re: (313) roll call?

[Fred Heutte]

Joined spring 1995, mostly lurking recently.  Portland, Oregon although
at the moment I'm in Doha for the UN climate meeting.

My first such was the 4AD list in 1989, then sfraves when hyperreal
was just the box under Brian Behlendorf's desk in 1992, ne-raves,
uk-dance and others that have long since disappeared.

313 is still on it... we owe Kent a big thanks for keeping this list
tolerant of different styles and views and intolerant of bull.
And for avoiding the dross and glop of htmlized mail : )

fh

RE: (313) You know you've finally "made it" when...

[Fred Heutte]

Jeff Mills -- always a thoughtful and clear view.  Although I must say
this "space, space travel and UFOs" thing makes me grin a little,
it's so retro but then retro is major style these days :)

Also it's great to see Tamara getting some space with "big media."

Fred

-
>
>Detroit hustles harder and Mills hustles the hardest.
>
>> Date: Tue, 16 Oct 2012 16:57:37 -0500
>> From: cybo...@gmail.com
>> To: 313@hyperreal.org
>> Subject: (313) You know you've finally "made it" when...
>>
>> ... Forbes does a profile on you as "Artist, Producer, DJ and Entrepreneur"!
>>
>> Decent interview, although not in a place I'd expect to find it.
>> http://www.forbes.com/sites/tamarawarren/2012/10/08/jeff-mills-artist-producer-dj-and-
entrepreneur/
>>
>> ~David
>   

(313) 313-ish in SF

[Fred Heutte]

Had a chance to catch this while in SF this weekend.  A nice gallery
with a decent sound system, bar and good beats, what more could you
ask.  Well, how about my runnin' buddy Mikebee, Kuri Kondrak from
Seattle and the return of the dynamic duo of Matt Macqueen (late of
these precincts) and David Siska.

Matt sends regards to all -- he's been living in Palo Alto for a while
working at Motorola and gets out to play once in a while.

fh

--

QUADRANT
 Aug 4, 2012—Aug 5, 2012 |  10:00 pm—2:00 am

Come celebrate David Siska’s 40th (can you believe it? I can’t!) with us! Mass 
amounts of
deep cuts, art, cocktails and dancing will surely make this evening a memorable 
one!

NOTE: This is a surprise event for David so please do not post this on your 
wall – BUT do
share with your friends by sending this invite!

Beats provided by:

mossmoss
 AYLI, RACECAR, SF

Kuri Kondrak
 Night Gallery, LWE, MLAT, Seattle

Matt MacQueen & David Siska
 Sonic Sunset, SF

Mike Bee
 Vinyl Dreams, SF

Additional special surprises are in the works for the evening!

Photographic Painter exhibition by Franz Szony

Project 1 Gallery
 251 Rhode Island, SF, CA
www.p1sf.com

9pm – 2am // FREE B4 11 > $5 after

Re: (313) From the mouth of babes...

[Fred Heutte]

What else can be said about a guy who's party brand is "Fsck Me
I'm Famous."

Naturally, he plays music by serious people.

http://www.youtube.com/watch?v=hgZGsMGU4GE

Next.

fh

-
>http://www.thedailyswarm.com/headlines/david-guetta-mocks-underground-resistance/
>
>'For [David] Guetta, dance music’s newfound popularity can only be a
>good thing. He won’t convince everyone, but few in the industry would
>deny his phenomenal success in the US has given the industry as a
>whole a healthy financial boost. “Listen, some people take themselves
>very, very seriously,” Guetta says. “I’m not a politician, you know
>what I mean? You remember in the old days you had people like
>Underground Resistance?” [a late 80s militant dance collective from
>Detroit]. He pauses and smiles. “I never took myself so seriously.”'
>
>WOW.
>
>~David
>
>

Re: (313) Re-issue "In The Dark: The Soul of Detroit"

[Fred Heutte]

The term "deep house" has been around since at least the
late 1980s and has meant a great many different things along the
way.  Discussions like the one on Wikipedia completely miss the
point -- "deep" has been in the eye of the beholder since the
start.  Some would insist that all deep house has vocals, and others
would say it mostly doesn't.  And so on.  The only term that's even
less helpful is "progressive house," which has been completely
different things at different times.

That said, here's one I think everyone would agree qualifies as
"deep house":

http://www.youtube.com/watch?v=TTBRkL2gltk

fh

-
>To keep it on somewhat on topic for this list, Though they  cover other
>styles, I myself would say that both Rick Wade... Any of the 3
>ChairsLarry Heard, check out Fred  P/Black Jazz Consortium,
>DJ Aakamael  Ron Trent... At least for me, those are definitely ones
>that I would include in the Deep House category amongst other categories.
>
>That might not be what may be the newest trend of "Deep House" in
>Europe, but that's what has and always will be deep house to me
>
>
>
>Dave
>
>
>On 7/9/2012 7:03 PM, darnistle wrote:
>> This probably isn't the forum for such a question, but could someone
>> give some examples of "deep house" in contradistinction to other
>> styles of house?
>>
>> The term seems to be thrown about very often, but I still have no real
>> sense of what "deep house" sounds like as opposed to (for example)
>> jazzy house or disco house or micro house or whatever.
>>
>>
>>
>> On 7/9/2012 1:06 PM, kent williams wrote:
>>>  From what I gather the trend in Europe is away from Minimal and Tech
>>> House to 'Deep House' -- a term that in context covers a multitude of
>>> sins.  I think that this has upped the visibility of real house music
>>> in general and Detroit House in particular.
>>>
>>> Even if the mainstream of the new 'Deep House' thing is just tech
>>> house with more 707 beats and out of context soul vocal samples, it
>>> may be a case of rising water floating all boats.
>>>
>>> On Mon, Jul 9, 2012 at 11:51 AM, David Powers  wrote:
 Hi,

 Jason, regarding In The Dark: The Soul of Detroit, you said: 'not so
 long ago you couldn't give music like this away so it's nice to see
 people "rediscovering" Detroit House'... Any idea why this would be
 the case? What has changed, and what do you think made such music
 undesirable in this time 'not so long ago'?

 ~David

>>
>
>
>

Re: (313) what up Detroit

[Fred Heutte]

They were superb -- and certainly not pretending to play with a
backup CD.  They played about 10 compositions, most of them with
an arpeggio line to tie things together with slow and deep bass
themes and lots of light effects.  "Ambient techno" would not do it
justice, really, the Wikipedia page says some have compared this to
musique concrete.  Given the known problems of the underground
stage as a sonic space, it worked really well there but would have
been even better outside.

fh


-
>Just saw Dopplereffekt Friday in Dallas and I can confirm it's the
>more ambient stuff, Infophysix style. Great show, though - but I
>suspect many people just don't know WHAT to expect when they play. It
>was very, very Detroit!
>
>On Sun, May 27, 2012 at 4:31 PM, Patrick Wacher  wrote:
>>
>> From reports of other Doppler shows, they tend to play the atmospheric 
>> tracks as
apposed to any of the Dataphysics material.
>>
>> Anyways, looking forward to hearing some reviews from their 313 performance.
>>
>> --
>> Patrick Wacher
>>
>> On Sunday, May 27, 2012 at 1:21 PM, Williams Graham G wrote:
>>
>> That doesn't surprise me the last time I saw them play "Live" they used a 
>> backing cd,
they mimicked playing a keyboard for some of the tracks.
>>
>> G
>>
>> On 27 May 2012, at 19:15, "Fred Heutte"  wrote:
>>
>> The word I'm hearing is that Dopplereffekt got booed at a recent
>> show in NY. So this could be interesting, at least. I still play a
>> couple tracks from the Infophysix EP and they certainly had an
>> impact back in the day.
>>
>> So, see you at 8:30 and we'll have something to talk about!
>>
>> fh
>>
>>
>> -
>>
>> Pizza papolis 830.
>>
>> Awesome.
>>
>> On May 26, 2012, at 7:17 PM, Fred Heutte  wrote:
>>
>> I always think of Plaka as the place to go at 6 am :)
>>
>> I'm kind of curious to see what Dopplereffekt will actually do --
>> Underground stage at 7-8, otherwise I'm open. Denise, how
>> about just picking a time and place and let's go with it.
>>
>> fh
>>
>>
>> -
>>
>> I have not been to plaka in YEARS. What time?
>>
>> On May 26, 2012, at 1:15 PM, Kevin Kennedy  wrote:
>>
>> I suggest Plaka.
>>
>> On May 26, 2012 11:42 AM,  wrote:
>> 313 dinner Sunday sounds great. Where we meeting?
>>
>> On May 24, 2012, at 11:22 PM, Fred Heutte  wrote:
>>
>> Back again and ready to take it all on, although it's going to be hot
>> this weekend and I'm planning to take things back from +4 to +1
>> as a result : )
>>
>> Not happy the Tigers aren't in town, but so it goes.
>>
>> 313 should do a dinner get-together or something... Sunday?
>>
>> cheers
>>
>> fh
>>
>>
>

Re: (313) what up Detroit

[Fred Heutte]

The word I'm hearing is that Dopplereffekt got booed at a recent
show in NY.  So this could be interesting, at least.   I still play a
couple tracks from the Infophysix EP and they certainly had an
impact back in the day.

So, see you at 8:30 and we'll have something to talk about!

fh


-
>Pizza papolis 830.
>
>Awesome.
>
>On May 26, 2012, at 7:17 PM, Fred Heutte  wrote:
>
>> I always think of Plaka as the place to go at 6 am :)
>>
>> I'm kind of curious to see what Dopplereffekt will actually do --
>> Underground stage at 7-8, otherwise I'm open.  Denise, how
>> about just picking a time and place and let's go with it.
>>
>> fh
>>
>>
>> -
>>> I have not been to plaka in YEARS. What time?
>>>
>>> On May 26, 2012, at 1:15 PM, Kevin Kennedy  wrote:
>>>
>>>> I suggest Plaka.
>>>>
>>>> On May 26, 2012 11:42 AM,  wrote:
>>>> 313 dinner Sunday sounds great. Where we meeting?
>>>>
>>>> On May 24, 2012, at 11:22 PM, Fred Heutte  wrote:
>>>>
>>>>> Back again and ready to take it all on, although it's going to be hot
>>>>> this weekend and I'm planning to take things back from +4 to +1
>>>>> as a result : )
>>>>>
>>>>> Not happy the Tigers aren't in town, but so it goes.
>>>>>
>>>>> 313 should do a dinner get-together or something... Sunday?
>>>>>
>>>>> cheers
>>>>>
>>>>> fh
>>>>>
>>>
>>
>

Re: (313) what up Detroit

[Fred Heutte]

I always think of Plaka as the place to go at 6 am :)

I'm kind of curious to see what Dopplereffekt will actually do --
Underground stage at 7-8, otherwise I'm open.  Denise, how
about just picking a time and place and let's go with it.

fh


-
>I have not been to plaka in YEARS. What time?
>
>On May 26, 2012, at 1:15 PM, Kevin Kennedy  wrote:
>
>> I suggest Plaka.
>>
>> On May 26, 2012 11:42 AM,  wrote:
>> 313 dinner Sunday sounds great. Where we meeting?
>>
>> On May 24, 2012, at 11:22 PM, Fred Heutte  wrote:
>>
>> > Back again and ready to take it all on, although it's going to be hot
>> > this weekend and I'm planning to take things back from +4 to +1
>> > as a result : )
>> >
>> > Not happy the Tigers aren't in town, but so it goes.
>> >
>> > 313 should do a dinner get-together or something... Sunday?
>> >
>> > cheers
>> >
>> > fh
>> >
>

Re: (313) what up Detroit

[Fred Heutte]

Might suggest Pizza Papalis, other ideas?

fh
503.757-6222

-
>313 dinner Sunday sounds great. Where we meeting?
>
>On May 24, 2012, at 11:22 PM, Fred Heutte  wrote:
>
>> Back again and ready to take it all on, although it's going to be hot
>> this weekend and I'm planning to take things back from +4 to +1
>> as a result : )
>>
>> Not happy the Tigers aren't in town, but so it goes.
>>
>> 313 should do a dinner get-together or something... Sunday?
>>
>> cheers
>>
>> fh
>>
>

(313) now that's what we're talking about

[Fred Heutte]

Prelude at TV Bar -- actually more like TV Alley, fine sound
system, up for it crowd, excellent weather.  Not even sure who
played after midnight but it was good.

And then around 2, Delano Smith and Norm Talley took over for
two and a half brilliant hours.  I left a little while ago and it was still
going.  Right behind the DJ booth was Cass Tech stadium and
off to the side a grand view of downtown Detroit at night.

fh

(313) nothing ventured...

[Fred Heutte]

Went to the "Toxic Tempest" at the 4731 (Grand River) gallery --
the flyer had TP, Johnny Fiasco, others, looked good.  More info
about the space at 4731.com

Well you don't have to guess how it turned out.

When I arrived around 12:30 TP was playing Din Daa Daa and other
classics and starting to work up a pretty good set, though there were
only about 40 people in the 4th floor gallery space.

Good sound system, well stocked bar -- but if I say "blind pig" you say...
"party's over"... and sure enough at 1:15, hello po-po, a couple street
uniforms and about six plain clothes come running in and in a very
disorganized and yet predictably ill-mannered way shuffled most of
us out after checking IDs.  Under 21s and the crew were held inside
and I'm not sure what happened.

Outside, Johnny Fiasco looked pretty crestfallen -- he's a good guy,
good DJ and has done some tracks from the day that I still play.
But he's heading back to Chicago I think without getting a chance to
play here...

Heck of a way to start the weekend.  But as always, nothing
ventured, nothing gained.

fh

(313) what up Detroit

[Fred Heutte]

Back again and ready to take it all on, although it's going to be hot
this weekend and I'm planning to take things back from +4 to +1
as a result : )

Not happy the Tigers aren't in town, but so it goes.

313 should do a dinner get-together or something... Sunday?

cheers

fh

(313) Chuck Brown

[Fred Heutte]

Chuck Brown passed away today at age 75.  The conventional press
coverage only captures the reflection of what Chuck was, and is: the
musical soul and heart of Washington, DC.

The go go beat came from "Mr. Magic," Grover Washington Jr's mid
1970s tour de force that was a huge hit in DC.  But the sound of go go
came from Chuck's wide ranging musical taste and his love for
performing.  He did it until he could do it no mo'.

When I was growing up in DC, too young to hang out at dive bars,
he played every weekend at Mr. Y's on Rhode Island Ave. NE, maybe
a half mile from my house.  At that time he, and his audience, were
making the transition from blues and jazz covers to create DC's own
sound -- go go is party music, but party music with a seriousness that
comes from its musical roots.

And as go go evolved to create a space for bands that were being
crowded out by the rise of the DJ, who could fill a club for a much
lower cost than live musicians, go go in turn influenced DJs (including
me) - keeping dance floors going between songs in hours-long sets
long before most people ever heard DJs mixing tracks.

The sound never really caught on with the mass audience,  There were
a few radio hits and an ill-fated attempt by Chris Blackwell of Island
Records to break go go out globally (and make a lot of money) the
way he did for reggae.  All that is history now.

Go go is the sound of noontime concerts in DC's downtown squares
with throngs of office workers.  It's the sound of hot summer evening
concerts at Carter Barron and a dozen other bandshells around the
region.  It's a highlight at the 9:30 Club (the current one and the
original, at 930 F St).  But most of all it's the sound of neighborhood
clubs on the east side of the city into the Maryland suburbs, "meet me
at the go go, about half past nine" and "party til dawn."

Chuck Brown didn't do it all on his own, but he truly was the godfather
of go go.  And as he often said, his ability to connect to the audience
and to inspire other bands to follow the groove and the musicianship
were the most satisfying results of all.

The go go sound has been picked up on countless hits and influenced
many other genres (hip hip, house, techno...).  It's a reminder that there
are two cities: Washington, the nation's capital and a world center,
and DC, a real city with a real history and a real presence.

The article by RIchard Harrington (my boss in the late 1970s at
the long-expired Unicorn Times, predecessor to the City Paper) in
the Washington Post in 2001 isn't readily available online, but here's
a good story:

http://www.washingtonpost.com/wp-dyn/content/article/2009/09/25/AR2009092502858.html

The best interview:

http://www.nea.gov/av/avCMS/Brown-podcast-transcript.html

A documentary that captures go go at its apogee:

http://www.youtube.com/watch?v=nC7bzLib0GY

And Chuck and the band at their best: "That'll Work!"

http://www.youtube.com/watch?v=wRn2EM9KepQ

-- fh

---

http://www.washingtonpost.com/local/obituaries/chuck-brown-dies-the-godfather-of-go-
go-was-75/2012/05/16/gIQAJAfPUU_print.html

Chuck Brown dies: The ‘Godfather of Go-Go’ was 75

By Chris Richards, Wednesday, May 16, 1:43 PM

Chuck Brown, the gravelly voiced bandleader who capitalized on funk’s
percussive pulse to create go-go, the genre of music that has
soundtracked life in black Washington for more than three decades,
died May 16 at Johns Hopkins Hospital in Baltimore. He was 75.

The death, from complications from sepsis, was confirmed by his
manager, Tom Goldfogle. Mr. Brown had been hospitalized for pneumonia.

Known as the “Godfather of Go-Go,” the performer, singer, guitarist
and songwriter developed his commanding brand of funk in the mid-1970s
to compete with the dominance of disco.

Like a DJ blending records, Mr. Brown used nonstop percussion to
stitch songs together and keep the crowd on the dance floor, resulting
in marathon performances that went deep into the night. Mr. Brown said
the style got its name because “the music just goes and goes.”

In addition to being go-go’s principal architect, Mr. Brown remained
the genre’s most charismatic figure. On stage, his spirited call-and-
response routines became a hallmark of the music, reinforcing a sense
of community that allowed the scene to thrive. As go-go became a point
of pride for black Washingtonians, Mr. Brown became one of the city’s
most recognizable figures.

“No single type of music has been more identified with Washington than
go-go, and no one has loomed so large within it as Chuck Brown,”
former Washington Post pop music critic Richard Harrington wrote in
2001.

Mr. Brown’s creation, however, failed to have the same impact outside
of the Beltway. The birth of go-go doubled as the high-water mark of
Mr. Brown’s national career. With his group the Soul Searchers, his
signature hit “Bustin’ Loose” not only minted the go-go sound, it
spent four weeks atop the R&B singles chart in 1978.

“Bustin’ Loose” 

(313) New Yorker: Sound Machine

[Fred Heutte]

http://www.newyorker.com/arts/critics/musical/2012/04/30/120430crmu_music_frerejones?
currentPage=all

Sound Machine

How did a pop band end up in a museum?

by Sasha Frere-Jones

April 30, 2012

On an August night in 1981, the German band Kraftwerk played at the
Ritz, on East Eleventh Street in Manhattan, in support of its latest
album, “Computer World.” The only instruments onstage were actually
machines: reel-to-reel tape recorders, synthesizers, keyboards, and a
calculator. All four members of the group had short hair and dressed
identically, in black button-down shirts, black pants, and shiny
shoes, which made them look more like valets than like musicians. That
didn’t bother them, as they didn’t like the idea of being a band—or
even musicians—and often referred to themselves as “operators.”

For the song “Pocket Calculator,” one member triggered percussion with
a drumstick. Another used a Stylophone, a metal keyboard played with a
small stylus. Florian Schneider, a founding member, played the
calculator, which was wired into the sound system, so that pressing
the keys made audible beeps. His partner, Ralf Hütter, who is the only
remaining original member of Kraftwerk, sang the lyrics of the song in
a monotone—an approach that he calls Sprechgesang, or “spoken
singing”—and played a small Mattel keyboard. “By pressing down a
special key / it plays a little melody,” he intoned. Schneider
responded by playing something sort of like a melody with the
calculator. At one point, Hütter bent down and let the audience play
the keyboard. Recently, Hütter said, “I wanted to show them that
anyone could make electronic music.”

That year, songs from “Computer World” were played on “urban” radio
stations in New York, such as Kiss-FM and WBLS. The Bronx d.j. and
hip-hop pioneer Afrika Bambaataa was in the audience at the Ritz. He
had found Kraftwerk’s 1977 album, “Trans-Europe Express,” in a record
bin several years earlier. “I was just looking at these guys on the
cover and saying, ‘Whoa, whoa, what the hell is this?’ ” he told me.
“Wow! Something’s here that’s very funky, and I got to play it for my
audience.” He added that Kraftwerk’s battery of gear at the Ritz made
it look as if they were playing “washing machines.” (Because of the
difficulty of re-creating their recordings with such complicated
equipment, the band has visited the U.S. only seven times in its
forty-two-year history. Now they use laptops.) The following year,
Bambaataa, along with the musician John Robie and the producer Arthur
Baker, combined the beat of “Numbers,” from “Computer World,” and the
melody of the title track from “Trans-Europe Express” to create
“Planet Rock,” an early hip-hop song that spawned a small clutch of
genres, including electro, Miami bass, and Brazilian baile funk.
“Computer World,” Kraftwerk’s masterpiece, sold less than a million
copies, yet its influence has been surprisingly broad—even Coldplay,
for its single “Talk,” from 2005, has used a melody from the album.

One song on “Computer World,” called “Home Computer,” has a
distinctive, ascending arpeggio that feels a bit like bubbles rising
quickly through mercury. That arpeggio shows up in LCD Soundsystem’s
single “Disco Infiltrator,” from 2005. It’s also referenced in Missy
Elliott’s “Lose Control,” from the same year. A few days ago, I was
walking through SoHo and passed the Uniqlo store, with its painfully
fluorescent lighting, which illuminates only slightly less fluorescent
clothing. Nicki Minaj’s hit “Starships,” a savvy combination of
dubstep and traditional house, was bleeding onto the street. When I
listened closely, I realized that this version was actually a mashup
with one of the many songs that has used “Home Computer” ’s arpeggio.
Maybe it was Kraftwerk, or LCD Soundsystem, or Missy, or someone else
entirely. It didn’t matter—the sound still signifies newness, joy, and
some kind of ascent.

It turned out not only that anyone could make electronic music but
that almost everyone wanted to. Kraftwerk is perhaps the only group
that played the Ritz in 1981 that sounds entirely current today.
Plenty of people saw the machines coming, but nobody else has listened
as carefully to them, or documented their strengths as lovingly.

This month, the Museum of Modern Art opened a retrospective of
Kraftwerk, its first for a musical act. In the six-story atrium,
Kraftwerk played an abbreviated version of its repertoire, in
chronological order of its albums, on eight consecutive nights. The
shows cherry-picked from each, followed by an hour or so of the
group’s best-known songs. “These aren’t concerts,” Klaus Biesenbach,
the chief curator at large for the Museum of Modern Art, who organized
the exhibit with the curatorial assistant Eliza Ryan, explained. “It’s
a retrospective; it’s curated. They aren’t playing everything they
ever recorded, any more than we could fill the museum with every photo
Cindy Sherman has ever taken.”

Demand for tickets overloaded the Web site 

Re: (313) Demf hotel rooms?

[Fred Heutte]

I can't figure it -- the situation this year is really messed up.
Even six weeks ago almost everything downtown except the Holiday Inn
Express and Doubletree were full, including my standby the Hilton
Garden and even the Milner.  I think the same is true today.  I booked
a room at the Inn on Ferry St.  Plenty of rooms in the suburbs and in
Windsor, of course.

Then I read how many of these (including the Inn on Ferry and the
Westin Book Cadillac) are behind on their payments to a federal loan
program so the city has to pull in funds that would otherwise go to
neighborhood development.  One more body blow as the city slides
toward handing over most financial control to the state, one way or
another, as soon as tomorrow:

http://www.freep.com/article/20120316/NEWS01/303160007/Detroit-to-step-up-collection-
efforts-as-most-developers-fail-to-repay-HUD-loans

http://www.freep.com/article/20120402/NEWS01/120402036/Detroit-financial-crisis-union-
contracts-Counil-meeting

fh

-
>Rooms are probably still available.  Last year a bunch of promoters
>realized they could make money by buying discounted room blocks and
>selling them to their friends/audience.
>
>Last year, Liaison Artists had a massive room block with a couple
>hundred rooms at MGM.
>
>I'm sure if I asked around I could find out who's got room blocks this year.
>
>Jodie
>
>313-915-1164
>uandidesigndetr...@gmail.com
>Events, Promotions, & Development
>U&I Design llc - managing director
>"What can you and I design together?"
>
>http://uxidesign313.wordpress.com
>http://detroiturbanballet.wordpress.com
>
>
>
>
>
>On Mon, Apr 2, 2012 at 8:00 AM, David Smith  wrote:
>>
>> I did the reverse once, went to Windsor for the day and spent the night in 
>> the ren-cen.  I
think they just black-out that weekend so they can charge more than the normal 
online rate.
 I've also stayed at the Ponch and Courtyard.  Now I think I'd try the>
>> DS
>>
>>
>>
>> On 04/02/2012 01:37 AM, Mel N wrote:
>>>
>>> I found a good deal on priceline a couple of years back
>>>
>>> or you could try windsor and just travel across the border? A but of a
>>> pain, but my Michigan relatives do that when they go to downtown
>>> Detroit on weekends
>>>
>>> On Sat, Mar 24, 2012 at 2:18 AM, David Powers  wrote:

 Does anyone know how I might find a (non-ghetto) hotel room for DEMF
 at this point?
 I didn't think two months is an unreasonable lead time for a vacation,
 but apparently everything is already all booked up.
 Not looking to share a room as I have a roommate lined up to split the
 room with already.

 ~David
>>
>>
>
>

Re: (313) Hawtin interviews Skrillex.

[Fred Heutte]

Around the time the Chemical Brothers went mainstream... :)

In May 1997, the Chems supported by the Orb played at the
Oakland Kaiser Auditorium (the building is currently boarded
up and Occupy Oakland recently made an unsuccessful attempt
to get in...)

The Orb, who we were really there to see, were fantastic, and when
the Chems came on and played Setting Sun and the crowd *rushed
the stage*, we left.

fh

-
>
>On 2 Apr 2012, at 01:14, Fred Heutte wrote:
>
>> "edm crossover to mainstream"
>
>When did people start using the term EDM in this context? Seems a little 
>strange.
>
>m
>

Re: (313) Hawtin interviews Skrillex.

[Fred Heutte]

"edm crossover to mainstream"

Same as it ever was.

fh

PS They still actually have music on MTV?!

-
>My head just exploded…
>
>
>http://www.teshno.com/2012/03/richie-hawtin-interviews-skrillex.html
>
>
>Peace,
>Patrick.
>
>
>
>

RE: (313) Movement Line Up

[Fred Heutte]

Good start.  I'm bemused by whether Major Lazer will bring it
"pon de floor" :)

But for the remainder I still want more local content than we have
seen in the last couple of years.

fh

-
>
>Not too shabby. That is only one day worth of music as well.
>
>
>> Date: Wed, 15 Feb 2012 11:12:55 -0600
>> From: cybo...@gmail.com
>> To: 313@hyperreal.org
>> Subject: (313) Movement Line Up
>>
>> Okay, this is better than expected!!!
>>
>> Headliners = Public Enemy :: Lil Louis :: The Wizard
>> http://www.movement.us/?page_id=8
>>
>> ~David
>   

Re: (313) Drexciya re-issue/compilation available now.

[Fred Heutte]

I'll tell you what, not that this is news to anyone, but Ron Murphy
was a wizard.  I give you Exhibit A: Wavejumper.

fh

-
>Great point about the mastering perhaps giving a more consistent
>quality, Emile...
>
>I hadn't been so interested in actually listening to the comp, since I
>know it all already, until you guys reminded me about the
>remastering...It'll be interesting to hear how esp. certain tracks
>might sound better/different -- Wavejumper & The Countdown Has Begun
>come to mind off the top of my head, the 909 in the originals is so
>punchy and I think that record is kinda crusty, in a good way and in a
>bad way...
>
>I think some stuff could really benefit in some ways but maybe others
>might lose some specialness, even if they sound technically better,
>I'm pretty curious now...Especially I think where Ron Murphy was
>involved, it'll be interesting to hear the difference because it's
>bound to be pretty different...Everything he mastered (like
>Wavejumper/UR-030) had his touch, a bit of wildness that fit the music
>so well..On the other hand, it wasn't always a 100% success...;)
>
>jt
>
>On Wed, Dec 7, 2011 at 5:29 AM, Emile Facey  wrote:
>> As Marsel says, it'll depend on what Alden Tyrell has done in his mastering
>> process, and if it's to your taste. Mastering techniques have definitely
>> come a long way since some of this stuff was released originally but not
>> everyone will agree that they've got better. He's normally a really good
>> engineer though and the clips sound great to me.
>>
>> One thing that might be interesting is that remastering everything in one
>> session from the original tapes might give the tracks a more consistent
>> sound. I don't know for sure but I'd imagine that because a lot of them were
>> released on different labels, most of these 12"s were mastered by different
>> engineers at different cutting sessions and that as a result all the records
>> sound a bit different, well at least to my ears, they do.
>>
>> 07 UNKNOWN JOURNEY is definitely something I've never heard before or seen
>> on any original releases.
>>
>>
>>
>>
>> On 7 Dec 2011, at 09:48, Marsel van der Wielen wrote:
>>
>>>
>>> well, mastering is meant to have it sound better :-)
>>>
>>> but it's always personal judgement if it does of course
>>> and can depend on which system the music is played after (home headphones
>>> vs 100k stadium)
>>>
>>>
>>>
>>> Op 7-12-2011 10:45, Placid schreef:
>
>
> all re-mastered -


  A quick question.  Does remastering actually man its going to sound
 better.  What if the technique they use isn't as good as it originally
 was

 Going back to a post a few months back on how the trax stuff had been
 remastered to sound great on big sound systems but lacked mids and hi end
 clarity

 here - http://www.offmodern.com/2011/06/revisionist-house/

 just thinking...


>>
>
>

Re: (313) Silly fanboy collectors question...

[Fred Heutte]

I don't generally go for autographs at all (for some reason I do
have a concert poster from the mid-1980s signed by Taj Mahal,
and my old Oregon Bluegrass Association membership card
signed by Bill Monroe -- autograph signing is a serious ritual in
bluegrass circles).

I also have a couple that have come my way -- one in particular
is KDJ's initials on a Strictly Rhythm release that he put in a
giveaway box at Laura Gavoor's memorial event in 2003 at Panacea.

I like that because it reminds me how important people like Laura
are in building a great music scene...

fh

-
>..so, how many of you out there have signed records in your
>collection?  I don't mean ones you've picked up in a store (I still
>kick myself after all these years remembering passing up a complete
>set of signed and sealed Transmat and Fragile releases in Ruadub
>because they were £1 more expensive than the normal copies and I had
>the majority of the tracks anyway)...I mean the ones you've actually
>taken the time and bother to drag down to a club night where somebody
>you totally respect is about to play and you run up to them with a
>silver or black marker and...well, you know the rest :)
>
>Tonight, whilst going through my vinyl for the first time in a LONG
>time, I found:
>
>Mr Fingers - Amnesia - of course I was new to the signing thing then
>and had brought a ball point pen instead of a marker and poor old
>Larry had to sort of inscribe the cover as the pen wouldn't write -
>this would have been roughly 1994-1995 when he played live (DX7, Emax
>II and live vocals- I recoreded the gig on DAT and of course, it
>didn't work) in the Volcano club on a Thursday night (where the club
>scene in Trainspotting was filmed fact fans!)
>
>Orlando Voorn - 1987 DMC MegaMix - signed at his Art School gig back
>in 2001 just before I moved over to Amsterdam - he ended the show by
>coming out of the DJ booth, dancing like a crazy man and then
>scratching in the next track by leaning back into the booth whilst
>still dancing - pretty impressive stuff!
>
>Of course the hardest part after making a fool of yourself is getting
>the said record home in one piece..or home at all!
>
>Come on you lot, what you got?
>
>Jason
>
>

(313) Claude in Portland last night

[Fred Heutte]

Very good set, I think he played close to two hours (I came in a
little late).  Close to the finish he was -jumping- in time to a track with
some Very Big Beats.  Big smiles all around at the end.

Wish I could be in Michigan for the whatzis...

fh

Re: (313) [EVT][Portland] Claude Young - Brian Zentz - The Mitchell Brothers - Sept 3, 2011

[Fred Heutte]

I think this is what Claude is referring to:

http://www.madeevent.com/ElectricZoo/

http://www.brooklynvegan.com/archives/2011/09/richie_hawtin_c.html

And that's what you get for your $499 Platinum Experience.

fh

-
>I keep hearing great things about the Awakenings festival in Holland
>with people saying it's not like other festivals and a couple of good
>things in Croatia (think half of Glasgow went there this year.its
>the new Barcelona!) but I've not quite got the energy to go and find
>out for myself.  I've always been a "small dark room with 100 people
>in it" sort of guy really.
>
>Jason
>
>On 2 September 2011 21:33, David Powers  wrote:
>> I don't blame him for not wanting to play festivals, those giant
>> festival sets are always the most boring and dumbed down sets that
>> DJ's do--and anyone who knows me knows I like things as deep as
>> possible these days. Definitely takes guts to turn down the cash
>> though, I have a whole new level of respect for Claude!
>>
>> ~David
>>
>> On Fri, Sep 2, 2011 at 3:15 PM, ja...@iridite.com  wrote:
>>> There's an excellent Claude interview on the Resident Advisor site:
>>>
>>> http://www.residentadvisor.net/feature.aspx?1398
>>>
>>> I definitely miss the days when Claude stayed in Glasgow (from the
>>> little I remember of them) - every time I left his flat (he stayed
>>> just around the corner from me) I had a BAG of Detroit gossip and
>>> incendiary stories- none of which I could ever remember when I woke up
>>> the next day unfortunately :)
>>>
>>> He says at the end:
>>>
>>> "I don't think I'll ever go back to the point where I want to do
>>> festivals. Financially it would be fantastic, but that would put me in
>>> a situation where I'd have to play records I don't want to. I'd much
>>> rather play the back rooms and be free. You know, you meet a lot of
>>> DJs—the really big ones—and they're kind of characters. I'm the
>>> farthest away from a character you can get. When you see Derrick May
>>> there is something iconic about the way he carries himself. He's an
>>> artist. I'm not really like that. I'm just a tech geek who does music.
>>> That's my thing."
>>>
>>> I think he does himself a MAJOR disservice here - Claude is definitely
>>> an artist and a character - maybe if he'd seen Derrick May's truly
>>> pitiful set at last years Bloc Festival he wouldn't hold himself in
>>> such low esteem!
>>>
>>> cheers
>>>
>>>
>>> Jason
>>>
>>> On 2 September 2011 20:44, John Sokolowski  wrote:

 That was brilliant. Claude and Shawn played off each other amazingly. They 
 went on
early.

 Then it was the tequila :)

 
> Date: Thu, 1 Sep 2011 21:05:48 -0700
> From: the...@gmail.com
> To: chaircrus...@gmail.com; 313@hyperreal.org
> Subject: Re: (313) [EVT][Portland] Claude Young - Brian Zentz - The 
> Mitchell Brothers
- Sept 3, 2011
>
> exactly!
>
> On Thu, Sep 1, 2011 at 8:36 PM, kent williams  
> wrote:
> > I was mostly sober. It was brilliant. You know how Jazz players can
> > just work into the cracks of each others' grooves? That was Sean and
> > Claude.
> >
> > On Thu, Sep 1, 2011 at 8:26 PM, Matt Kane's Brain
> >  wrote:
> >> This happened once before. (at a DEMF pre party)
> >>
> >> I don't remember much except about the tequila. 8)
> >>
> >> On Thu, Sep 1, 2011 at 21:17, Kevin Kennedy  wrote:
> >>> SEPTEMBER 10TH IN PITTSBURGH IS GOING TO BE ABSOLUTELY NUTS!
> >>>
> >>> Shawn Rudiman AND Claude Young in the same room? I don't think I can
> >>> miss this:)
> >>
> >>
> >> --
> >> matt kane's brain
> >> http://hydrogenproject.com
> >>
> >
>
>
>
> --
> fbk
>
> sleepengineering/absoloop US
>>>
>>
>
>

Re: (313) the D this weekend...

[Fred Heutte]

I was at Club Waterfalls one night during the festival, it brings out
the "old school heads."  Nice patio in the back although it was
raining when I was there.

Stacey, Bruce Bailey, Reggie Harrell, Earl McKinney, Malik, Dwayne
I've seen on the decks over the years.  Felton Howard played an
amazing set in one of the tents along the walkway at the festival
a couple years ago.  I know a little bit of his history and he's goes
way way back in the whole Detroit DJ thing...

Speaking of the true old school, what's Art Payne been doing?

fh

> DJ Cent, Stacey Hale, Minx, Sarena Tyler, Christa Schrupp,
> Marc Duncan, Al Ester, Felton Howard, Mike Brown, Norm Talley,
> Bruce Bailey, Mike Melody, Reggie Harrell, Earl McKinney, Rick Wilhite,
> Andre Murph, DJ Taz, Eric Johnson, Phil Da Mixx, Malik Alston, Mondo
> Blaze & Dwayne Jensen...

-
>So..I've heard of a few of the names below (Minx, Talley, Ester,
>Wilhite) but the rest are all new to me - are these new peepz or have
>they been around forever and I've never came across them?
>
>cheers
>
>Jason
>
>On 3 September 2011 00:12, david smith  wrote:
>> I caught these on facebook, pretty hot Detroit House line up!  There
>> is also the Jazz festival @ Heart Plaza all labor day weekend.
>>
>> P-funk night (Tonight Friday)
>> Bagley Optical
>> 2150 Bagley Corner of 14th
>> Detroit, MI
>>
>>
>> Club Waterfalls
>> 673 Franklin
>> Detroit, Michigan
>> Toe Tappin House on the River is an all day event on Saturday,
>> September 3, 2011 - Labor Day Weekend from 2pm - 2am.
>> This event is free until 10pm. After 10pm there will be a $10 cover.
>>
>> DJ Cent, Stacey Hale, Minx, Sarena Tyler, Christa Schrupp,
>> Marc Duncan, Al Ester, Felton Howard, Mike Brown, Norm Talley,
>> Bruce Bailey, Mike Melody, Reggie Harrell, Earl McKinney, Rick Wilhite,
>> Andre Murph, DJ Taz, Eric Johnson, Phil Da Mixx, Malik Alston, Mondo
>> Blaze & Dwayne Jensen...
>>
>
>

Re: (313) Lets start some old topics

[Fred Heutte]

Who is J### M and why does he keep throwing records at me?

fh

-
>Okay now we have new subscribers and i am seeing some old cats back on the 
>list, lets start
some 90's topic all over again :-)
>
>I will start:
>- Is Plus 8 considered to be real Detroit techno?
>
>:-))
>
>KJ
>

Re: (313) [EVT][Portland] Claude Young - Brian Zentz - The Mitchell Brothers - Sept 3, 2011

[Fred Heutte]

And from www.claudeyoungjr.com, he'll be at Belvedere's in Pittsburgh
on Sep. 10, National Underground in NY (I don't know the place but it's
at E. Houston and 1st), and this . . .

Sat, 17 Sep 2011
There is No Planet Earth at Secret Location / Michigan


-
>Hi All,
>I'm sure anybody in the area that's on the 313 list already knows
>about this, but just in case...
>
>
>Renegade Rhythms presents Claude Young, Bryan Zentz and The Mitchell Bros
>
>Saturday Sept 3@9:00pm- 4:00am
>Location: Someday Lounge 125 NW 5th Ave Portland, OR
>
>We are proud to announce the Portland debut of Detroit Techno Legend!
>
>
>Claude Young - Cynet:media, 7th City, Frictional Records, Surface, DJAX
>- Up Beats - Tokyo / Detroit
>
>
>Local support by:
>
>Bryan Zentz - Plus 8, AMAN
>
>The Mitchell Bros - Renegade Rhythms, Mixworks, Creme Organization,
>Muzique Records, Antenna International
>  - Portland
>
>
>
>Lighting by ... 1313 Effect will be in da HOUSE!
>
>
>
>10 dollar advanced tix available @ portlandmercury.com
>
>15 dollars @ the door
>
>more info:
>info line: 503-732-0313
>twitter: twitter.com/renegaderhythms
>

(313) more on Dan: DetNews

[Fred Heutte]

http://detnews.com/article/20110830/ENT09/108300409/1424/ENT04/Shirt-honors-Detroit-
techno-writer-Dan-Sicko

Last Updated: August 30. 2011 3:27PM

Shirt honors Detroit techno writer Dan Sicko

Adam Graham/ Detroit News Pop Music Writer

A T-shirt honoring late Detroit author Dan Sicko is being made
available through the website of Ann Arbor-based electronic music label
Ghostly International.

Sicko, author of 1999's Detroit techno book "Techno Rebels," died
Sunday of ocular melanoma, a form of eye cancer. He was 42.

The T-shirt, available for pre-order at www.theghostlystore.com,
carries the phrase "Detroit Renegade of Electronic Funk," a play off
the "Techno Rebels'" subtitle, "the renegades of electronic funk." The
shirt was designed by Sicko's friend, John Stoll.

"It's something that we thought Detroit techno fans would want to
wear," says Sam Valenti IV, founder of Ghostly International. "It's a
symbol of pride, and we thought it was something that hopefully Dan
would like."

The shirt was printed with the approval of Sicko's family, and profits
from its sales will go toward a fund to help pay Sicko's medical
expenses and his daughter's education.

Shirts are $25 and are expected to be delivered in late September.

"Techno Rebels" is well regarded as the defining text of Detroit
techno's storied history, and focuses on the origins of the scene in
the 1980s. The book was reissued in an expanded second edition in 2010.

A visitation for Sicko will be held from 2 to 9 p.m. Wednesday at
Spaulding & Curtin Funeral Directors, 500 W. Nine Mile Road in
Ferndale. Sicko's funeral will be at 10:30 a.m. Thursday at St. James
Catholic Church, 241 Pearson St. in Ferndale.

(313) Dan: Freep, MT, Billboard, RS

[Fred Heutte]

http://www.freep.com/article/20110829/FROMPRINT08/108290418/Journalist-
shared-Detroit-s-techno-music-world

Journalist shared Detroit's techno music with world

Aug 29, 2011  |

BY B.J. HAMMERSTEIN

Before the Motor City became home to Movement, there was Dan Sicko, the
pioneering journalist who provided one of the world's first definitive
looks at the exploding underground electronic music scene.

Mr. Sicko died of ocular melanoma, a rare form of eye cancer, Sunday at
his home in Ferndale. He was 42.

Mr. Sicko worked as a freelance writer for magazines such as Urb and
Wired and released the acclaimed book "Techno Rebels" in 1999.

"Really, I know this is a serious statement, but he was the first guy
who legitimized Detroit's techno history," Jason Huvaere, director of
Movement: Detroit's Electronic Music Festival, told the Free Press on
Sunday. "Now, the world is drowning in Detroit techno coverage. But
before that, there was Dan, who not only understood the history of the
city and electronic music, but he was the historian who put it all down
on paper."

Mr. Sicko, who wrote "Techno Rebels" after being inspired by the
experimental underground scene he witnessed firsthand in Detroit during
the 1980s, went back to documenting artists such as techno's founding
fathers Juan Atkins, Derrick May and Kevin Saunderson after the
popularity for the genre and its Motor City roots soared to new
heights.

In 2010, through the Wayne State Press, "Techno Rebels: The Renegades
of Electronic Funk" was released, an expanded and cleaned-up second
edition that explored in even greater detail Detroit's role of shaping
techno.

John Cathel, best known as DJ Powdr Blu, said Mr. Sicko paved the way
for DJs and fans alike.

"He might not have been a programmer, but through his language, as a
writer, he played all the right keys," Cathel said.

Sicko's wife, Amy Lobsiger, said that she and her 11-year-old daughter
Anabel are extremely grateful for the support that has been shown to
them both financially and spiritually through
www.mattsicko.blogspot.com . It's there that Lobsiger details the
challenges Mr. Sicko and his family faced while fighting cancer,
including medical costs.

"I was always interested in Dan's work before, but over these last few
days we're now starting to grasp the impact he had," she said.

"This whole thing has been mind-boggling, a real stinker," Lobsiger
said of the 2008 diagnosis. "But the community has been so supportive.
It's really meant a lot to us."

Lobsiger said the "Dan's Story" Web site will continue to be used to
keep people informed and that Dan's co-workers at the marketing firm
Organic, where he was an assistant creative director since 2005, are
looking into developing a Web page for his book.

As of Sunday evening, Lobsiger said funeral arrangements at St. James
Church in Ferndale are still pending. She said visitation likely will
be at Spaulding & Curtin in Ferndale on Wednesday.

---

http://blogs.metrotimes.com/index.php/2011/08/city-slang-rip-dan-sicko/

City Slang: RIP Dan Sicko

August 29, 2011

By Brett Callwood

We are saddened to learn today that writer Dan Sicko passed away on
Sunday, having battled ocular melanoma, a form of eye cancer, since he
was diagnosed in 2008. He was just 42.

Sicko was a freelance writer with publications like Wire, but he’ll be
best remembered for his book, Techno Rebels. In it, Sicko documented
the story behind the pioneering Detroit electronic music scene, while
profiling the cast of notable characters in the scene. It will stand up
with time as a book that tells an otherwise untold tale.

Personally, I remember Dan, myself, plus Gary Graff and Tom Weschler,
doing a joint book signing at Record Time in Roseville. Sicko was
signing Techno Rebels, while I had my MC5 book, and Graff and Weschler
their Seger book. It was an odd combination of books, but all covered
Detroit music and all were published by Wayne State Press. We had a
blast, and I’ll remember Dan Sicko fondly.

He is survived by his wife, Amy, and their daughter Anabel. City Slang
sends our love and best wishes to Dan’s family and friends.



http://www.billboard.biz/bbbiz/genre/dance/dan-sicko-detroit-music-
journalist-techno-1005331982.story

Dan Sicko, Detroit Music Journalist, 'Techno Rebels' Author, Dead at 42

August 29, 2011

By Billboard Staff

Dan Sicko a Detroit-based music journalist who chronicled Detroit's
techno music died Sunday (Aug. 28) from ocular Melanoma at his home in
Ferndale, Mich., according to the  Detroit Free Press.

Sicko, may be best know for his book "Techno Rebels: The Renegades of
Electronic Funk" (1999, Billboard Books), one of the first books to
chronicle in-depth the advent and rise of techno music in Detroit and
beyond. As Sicko wrote about the book, now in an expanded second
edition, on his Tehcho Rebels site,  "when it was originally published
Techno Rebels became the definitive text on a hard-to-define but vital
genre of music."

Re: (313) Dan Sicko

[Fred Heutte]

The extraordinary thing about Detroit techno is not just the music
but the people.  I usually do a practice mix once or twice a week
and last night played Kano's "I'm Ready" in honor of Dan and
remembering some of the other extraordinary people who have passed --
Ken Collier, Laura Gavoor. Aaron-Carl.

I saw Dan on the first day of the first DEMF, missed seeing him this
year on Friday.  He worked for the last 6 years at Organic -- one of the
ironies is that when I joined 313 in 1995, hyperreal.org was living at
Brian Behlendorf's desk at the original location of Organic in
San Francisco.

Dan was a gifted writer, as we all know.  But even more importantly,
he was a clear thinker and was able to locate where the real meaning
is among a messy overlay of facts and suppositions.  Like many of
us he tried blogging a bit, and these short pieces give a bit of Dan's
perceptive view of life...

http://www.metromode.com/blogs/bloggers/dansicko0157.aspx

A true friend of all of ours, and of Detroit.

fh

-
>SO shocked over this ... I have no idea what to even say.
>
>
>Rest in peace, Dan... we will forever miss and remember you.
>
>
>
>
>
>On Sun, Aug 28, 2011 at 4:38 PM, Minto George  wrote:
>>
>> :(
>>
>> On Aug 28, 2011, at 9:30 AM, Klaas-Jan Jongsma  wrote:
>>
>> > without words: http://www.gofundme.com/DanSicko
>> >
>> > We will miss you
>

Re: (313) As I'm sure most of you heard: Real Scenes: Detroit RA

[Fred Heutte]

We've discussed this all for many years on 313.  As BMG says in the
RA piece, there is a tendency to think that what happens on one
weekend in Detroit is how it is all the time.  Another tendency is to
pay homage to the Belleville Three (usually without delving into
the breadth of what they actually accomplished) and forget all that
has happened since.  Or to focus entirely on one aspect like
minimal, etc.

Like Motown, Detroit techno has had global influence.  But as the
RA oral history of the festival last year showed, the mayor of Detroit,
Dennis Archer, did not even know about it when the festival idea
first surfaced a dozen years ago.

The surface view of Detroit electronic music ranges from total
hype to total invisibility.  The reality is different, much deeper and
richer, and ties back to the history of a city that has traced to a
stronger degree than most the trajectory of the American economy.

fh


-
>I would like you to expand on the idea of Detroit being 'hyped.' Do
>you mean the stories on US media that come up every few months on slow
>news days about the 'sorry plight of detroit' with stock footage of
>ruins? Or...
>
>What vexes me is musicians who use Detroit as a touchstone without any
>real appreciation for the music, or ever having visited. Exhibit A
>Fedde Le Grand's "Put Your Hands Up For Detroit." And I don't know the
>guy's music at all but 'Motor City Drum Ensemble' doesn't seem a good
>name for a german producer. OTOH he is from Stuttgart...
>
>On Fri, Aug 12, 2011 at 2:43 AM, Fred Heutte  wrote:
>> I am more impressed with this Real Scenes piece than I expected to be.
>> The real story of Detroit is a lot more interesting than the hype, if
>> you ask me.
>>
>> fh
>>
>>
>> -
>>>What a wicked, wicked post.
>>>
>>>I totally agree. I've sensed the same thing about Mr. Huckaby for a few 
>>>years. But of
>> course, I've not articulated it as well, even to myself.
>>>
>>>Ken
>>>--Original Message--
>>>From: Kent Williams
>>>To: Jeff Davis
>>>Cc: 313@Hyperreal. Org
>>>Subject: Re: (313) As I'm sure most of you heard: Real Scenes: Detroit RA
>>>Sent: 11 Aug 2011 15:43
>>>
>>>Mike Huckabee's educational work is amazing.  He's a guy that, unlike
>>>many of his peers in Detroit, stayed in Detroit and dedicated himself
>>>to keeping it a vital center for musical innovation.  He did it, I
>>>believe, at a personal cost.  If all he cared about was making money
>>>and becoming famous, he could easily have moved to Berlin, gotten a
>>>good booking agent, and hooked up with European labels.  I don't mean
>>>to criticize the people who have taken that path -- if it works for
>>>them it's fine -- but there's no denying that moving away changes
>>>their music.
>>>
>>>Instead he's stayed true to the city, true to his own music, and
>>>perfected the art of DJing.  And he's taken direct action to help the
>>>young people of Detroit, who face serious obstacles to finding a place
>>>in the world.
>>>
>>>I admire a lot of Detroit musicians, and certainly isn't alone in his
>>>commitment to Detroit.  In particular Underground Resistance and
>>>Submerge have demonstrated  a deep and sustained commitment to the
>>>people of Detroit.  There are others but to list them is to risk
>>>leaving someone out.
>>>
>>>What really makes me return again and again to the music that comes
>>>out of Detroit isn't a particular style, it's the deep, clear-eyed
>>>emotion and soul that infuses the best Detroit music. Music can point
>>>to itself, it can reflect listeners' aspirations back on them, it can
>>>start a party.  Or music can do all that, and point up and out of
>>>itself. It can make you think about the world in a different way.
>>>
>>>
>>>
>>>On Thu, Aug 11, 2011 at 6:55 AM, Jeff Davis  wrote:
>>>>
>>>> I left this vid having even more respect for huckabee than I did before
>>>>
>>>
>>>Sent from my BlackBerry® wireless device
>>>
>>
>>
>

Re: (313) As I'm sure most of you heard: Real Scenes: Detroit RA

[Fred Heutte]

I am more impressed with this Real Scenes piece than I expected to be.
The real story of Detroit is a lot more interesting than the hype, if
you ask me.

fh


-
>What a wicked, wicked post.
>
>I totally agree. I've sensed the same thing about Mr. Huckaby for a few years. 
>But of
course, I've not articulated it as well, even to myself.
>
>Ken
>--Original Message--
>From: Kent Williams
>To: Jeff Davis
>Cc: 313@Hyperreal. Org
>Subject: Re: (313) As I'm sure most of you heard: Real Scenes: Detroit RA
>Sent: 11 Aug 2011 15:43
>
>Mike Huckabee's educational work is amazing.  He's a guy that, unlike
>many of his peers in Detroit, stayed in Detroit and dedicated himself
>to keeping it a vital center for musical innovation.  He did it, I
>believe, at a personal cost.  If all he cared about was making money
>and becoming famous, he could easily have moved to Berlin, gotten a
>good booking agent, and hooked up with European labels.  I don't mean
>to criticize the people who have taken that path -- if it works for
>them it's fine -- but there's no denying that moving away changes
>their music.
>
>Instead he's stayed true to the city, true to his own music, and
>perfected the art of DJing.  And he's taken direct action to help the
>young people of Detroit, who face serious obstacles to finding a place
>in the world.
>
>I admire a lot of Detroit musicians, and certainly isn't alone in his
>commitment to Detroit.  In particular Underground Resistance and
>Submerge have demonstrated  a deep and sustained commitment to the
>people of Detroit.  There are others but to list them is to risk
>leaving someone out.
>
>What really makes me return again and again to the music that comes
>out of Detroit isn't a particular style, it's the deep, clear-eyed
>emotion and soul that infuses the best Detroit music. Music can point
>to itself, it can reflect listeners' aspirations back on them, it can
>start a party.  Or music can do all that, and point up and out of
>itself. It can make you think about the world in a different way.
>
>
>
>On Thu, Aug 11, 2011 at 6:55 AM, Jeff Davis  wrote:
>>
>> I left this vid having even more respect for huckabee than I did before
>>
>
>Sent from my BlackBerry® wireless device
>

Re: (313) As I'm sure most of you heard: Real Scenes: Detroit RA

[Fred Heutte]

Mike came to Portland back in June did something quite extraordinary --
a set of Sun Ra classics and his edits (which are being released on
Kindred Spirits, a label associated with Rush Hour in Amsterdam).  He's
been doing these sets on occasion over the last year or so.

http://www.kindred-spirits.nl/release_detail.php?idxItem=58807

fh

-
>What a wicked, wicked post.
>
>I totally agree. I've sensed the same thing about Mr. Huckaby for a few years. 
>But of
course, I've not articulated it as well, even to myself.
>
>Ken
>--Original Message--
>From: Kent Williams
>To: Jeff Davis
>Cc: 313@Hyperreal. Org
>Subject: Re: (313) As I'm sure most of you heard: Real Scenes: Detroit RA
>Sent: 11 Aug 2011 15:43
>
>Mike Huckabee's educational work is amazing.  He's a guy that, unlike
>many of his peers in Detroit, stayed in Detroit and dedicated himself
>to keeping it a vital center for musical innovation.  He did it, I
>believe, at a personal cost.  If all he cared about was making money
>and becoming famous, he could easily have moved to Berlin, gotten a
>good booking agent, and hooked up with European labels.  I don't mean
>to criticize the people who have taken that path -- if it works for
>them it's fine -- but there's no denying that moving away changes
>their music.
>
>Instead he's stayed true to the city, true to his own music, and
>perfected the art of DJing.  And he's taken direct action to help the
>young people of Detroit, who face serious obstacles to finding a place
>in the world.
>
>I admire a lot of Detroit musicians, and certainly isn't alone in his
>commitment to Detroit.  In particular Underground Resistance and
>Submerge have demonstrated  a deep and sustained commitment to the
>people of Detroit.  There are others but to list them is to risk
>leaving someone out.
>
>What really makes me return again and again to the music that comes
>out of Detroit isn't a particular style, it's the deep, clear-eyed
>emotion and soul that infuses the best Detroit music. Music can point
>to itself, it can reflect listeners' aspirations back on them, it can
>start a party.  Or music can do all that, and point up and out of
>itself. It can make you think about the world in a different way.
>
>
>
>On Thu, Aug 11, 2011 at 6:55 AM, Jeff Davis  wrote:
>>
>> I left this vid having even more respect for huckabee than I did before
>>
>
>Sent from my BlackBerry® wireless device
>

RE: (313) NPR: How The Internet Transformed The American Rave Scene

[Fred Heutte]

Actually I thought there was some good stuff and some that was so
bad it was basically also good.

I joined the 4AD list, not really rave oriented but one of the first
standalone music oriented mailing lists, in 1989.  At one point around
mid-1992 I was on sfraves, socal-raves, ne-raves and uk-dance
(nwraves a little later and 313 in early 1995), and a regular on vrave
so I know the actual history quite well.

In retrospect I think the lists reflected rather than drove the state of
the "scene", but they were important to reaching out and seeing
that there was more to all this than a few scattered oddball breakouts
of electronic music.

And there were some priceless moments.  I don't indulge in nostalgia
much but I bring out the bit below once in a while for grins...  The 
contributors
to this (on  ne-raves) were from every part of the US, coast to coast, north
to south.

Coincidentally at the moment I am in Salt Lake City, home of Pete
Ashdown to whom goes the credit for the eternal phrase, "Go away Moby!"
I think Pete is still involved with xmission.com

http://en.wikipedia.org/wiki/Pete_Ashdown

The first rave in Utah:

http://groups.google.com/group/alt.rave/msg/2179de90e9d7ce5f

fh


-

(ne-raves archive)

Date: Mon, 7 Dec 92 14:08:49 EST
From: [EMAIL PROTECTED]
Subject: Moby update

Hello everyone!

Ummm, just thought I would mention this interesting tidbit that
happened to me this morning.  I was woken up from a deep slumber at 11AM by
a phone call from none other than MOBY.  He wanted my address so he could
send me a revised version of the MOBY FAQ that Mike Brown is currently
maintaining (I gave him a copy a few weeks ago).  He then asked me about
recommendations for Macintosh computers.  He was shopping for one to use
in his studio.  When I get the update, I'll make sure I both

a) post it
b) send it to Mike for revision/addition

Sorry to waste bandwidth, but I thought it was cool.

dieselBoy

PS : Anyone who is anyone *should not* miss Laura's party.  They are the best!
PPS: Evan, Mars, Kreig and Fluid : you boys better be there!

   [] [] [][] [][] [] [][] [][] [] []

Date: Wed, 9 Dec 92 18:02 EST
From: [EMAIL PROTECTED]
Subject: Re: Moby update

Egh!  Can we keep the rumors about my party DOWN please!  Moby *MIGHT*
have come to the *LAST* one, but that's in the past and has no bearing
on this weekend.  As far as I know he wasn't even invited.  I don't know
him personally.

Laura

   [] [] [][] [][] [] [][] [][] [] []

Date: Thu, 10 Dec 1992 08:51:25 -0800
From: Robert Campanell <[EMAIL PROTECTED]>
Subject: Re: Moby update

Maybe Damian can advise him to get a modem with hix Mac, and then he can
subscribe to ne-raves and go to all of our fabulous pre-rave parties.

- Rob

   [] [] [][] [][] [] [][] [][] [] []

Date: Thu, 10 Dec 1992 14:20:52 EST
From: [EMAIL PROTECTED] (mindFsck)
Subject: Re: Moby update


>As far as I know he wasn't even invited.

ah, but damian is supposed to have invited him...

>I don't know him personally.
>

damian is so famous these days that everyone calls him up on the phone. :)

 e va n
 trEE

   [] [] [][] [][] [] [][] [][] [] []

From: [EMAIL PROTECTED] (Pete Ashdown)
Subject: Re: Moby update
Date: Thu, 10 Dec 92 16:03:52 MST

> damian is so famous these days that everyone calls him up on the phone. :)

Nahh, that Moby is just such a wanker he'll bother anyone for silly reasons.
He's always over at my place wanting to borrow CDs and read my magazines.
I'll often come home and he's sitting on the porch waiting for me to arrive,
usually, I'll just groan, "Moby go away, I'm busy."





Joke son, it's a JOKE.

   [] [] [][] [][] [] [][] [][] [] []

From: Mike J. Brown <[EMAIL PROTECTED]>
Subject: Re: Moby update
Date: Thu, 10 Dec 92 23:22:15 EST

>
> > damian is so famous these days that everyone calls him up on the phone. :)
>
> Nahh, that Moby is just such a wanker he'll bother anyone for silly reasons.
> He's always over at my place wanting to borrow CDs and read my magazines.
> I'll often come home and he's sitting on the porch waiting for me to arrive,
> usually, I'll just groan, "Moby go away, I'm busy."

that's nothin.  every time i turn around he's stopping in where i work,
begging me to be his manager and asking for my input on all his songs.
seems like every time he hits a creative block he comes running to me,
"mike, mike, you gotta help me, i can't think of anything to write" so
sometimes i say something like "why don't you sample a bunch of stuff
from tones on tail and twin peaks and stick a breakbeat under it?" or
other times i'll groan, "moby go away, i'm busy."

mike

   [] [] [][] [][] [] [][] [][] [] []

Date: 10 Dec 1992 23:57:44 -0500 (EST)
From: [EMAIL PROTECTED]
Subject: moby

listen folks.. moby lives 4 doors down from me 

(313) 212/718 report

[Fred Heutte]

I was in NY for meetings this past week but managed to poke around
a bit to see what is happening musically.

Went to a loft party in Brooklyn on Friday night, one room upstairs
in a nondescript part of town with a keg, a small sound system,
a good crowd, a couple stage lights and one red light :)  A couple
guys were tag-teaming and the tracks were pretty good, lots of
1989-ish NY and Chicago stuff.

Saturday I went down to Coney Island (first time ever there) and
watched the annual Mermaid Parade for a bit, not overwhelming
but good fun.

Then visited Halcyon now in their new location in DUMBO. and when
they say "under the bridge" they just about mean it.  I had been
to the old store several years ago and was impressed, but the new
one is really cool, the stock highlights local releases (including
Adam X's Traversible Wormhole project on vinyl!) and they have
a militant attitude about vinyl and keeping it real that I fully
endorse.

They are hardly stick-in-the-muds, you can order MP3s there too --
as they say, "if you're gonna do it, at least buy 'em from a real
record store."  And yeah, you can buy dubstep but I noticed one
of the section dividers is labeled "bro-step"...  {grin}

Got an old Meters album, Doug Lazy's "H.O.U.S.E." (I collect
hip house), and some new releases.  Highly recommended -and-
their web site features this year's Detroit festival front and center:

http://halcyonline.com

Last night I stopped in to 25A, a long-running place at 2nd and A with
bars on two levels and the DJ on the upper one with wrap-around
windows.  They still project movies on the wall of the building across
the street -- last night it was Spanky and Our Gang.  The DJ was
pretty decent, playing Latin-tinged tech-house to a small crowd. 
I wandered around the neighborhood for a while later on but it is
long past its edgy Alphabet City days and the bars and sidewalks
were overflowing with drunk college kids.

Sunday I wanted to see Bang on a Can, the superlative experimental
music festival, but it was at the World Financial Center in a hard to
reach part of downtown (especially given the severe restrictions on
subway travel for the weekend while the MTA does upgrades), I had
limited time before my flight and didn't want to pay for a couple of
very spendy cab rides.  But just look at the program:

http://bangonacan.org/

Anyway I barely scratched the surfaced but it's evident things are
happening (as always) in New York and especially Brooklyn, now that
the "scene" around electrocl### has pretty much died out.  Some
OK club nights, good one-offs and lots of interesting local productions
in various genres, and I think Atomly was floating around town this
weekend too.  Resident Advisor is an excellent source for all
things NY

fh

Re: (313) Fwd: New Public Radio Documentary Explores the Black Roots of Chicago House and Detroit Techno! (for posting)

[Fred Heutte]

Listening to the audio now -- very enjoyable.

I would point out that the origins of house -have- been the
subject of academic writing.  My friend Gonnie -- er Dr Hillegonda
Rietveld -- published her Ph.D. dissertation in 1998 as "This
Is Our House: House Music, Cultural Spaces and Technologies."
And there are others too, although I have to say they vary in
quality

fh



-
>-- Forwarded message --
>From: Marlon Bishop 
>Date: Thu, Jun 16, 2011 at 6:55 PM
>Subject: New Public Radio Documentary Explores the Black Roots of
>Chicago House and Detroit Techno! (for posting)
>To:
>
>
>Hello electronic music press -
>
>I'm writing to share with you a new, hour-long radio documentary being
>released this week about the history of Chicago House and Detroit
>Techno, focusing on the music's role in African-American music
>history. We hope you consider posting the program in your blog or
>webzines (or simply your twitters!) and help get this under-reported
>story out there.
>
>Here is the link to the podcast on Soundcloud, easy to embed:
>http://soundcloud.com/afropop-worldwide/midwest-electric-the-story-of
>
>The show was produced by Afropop Worldwide, a public radio program
>dedicated to music and stories from the African diaspora, with support
>from the National Endowment for the Humanities. To make the program,
>producers Marlon Bishop (myself) and Wills Glasspiegel travelled to
>Chicago and Detroit to interview great names from the past and present
>of electronic music, including: Paul Johnson, Vince Lawrence, Robert
>Johnson (original owner of the Warehouse), Lady D, Maurice Joshua,
>Ghetto Division, DJ Deon, DJ Gantman, RP Boo, Jeff Mills, Juan Atkins,
>Cornelius Harris, Carl Craig, Brendan Gillen, Anthony "Shake" Shakir,
>and many others, as well as scholars, bloggers, footwork kids, city
>employees, and house music lovers. We look at the disco era, the
>classic house and techno days, and also, the ways in which those
>styles transformed into juke, footwork, and ghetto-tech by later
>generations.
>
>All together, we like to think we've painted a rich portrait of the
>history of House and Techno music in a way that's never been done
>before on a national level by a US media organization. NPR Music has
>already picked this up, so we feel like we're on the right track. We
>would be honored if you chose to post our documentary and help spread
>the story.
>
>To stream the show on the Afropop.org website, as well as check out
>interviews, pictures and other supplemental web materials, click here.
>http://www.afropop.org/radio/radio_program/ID/826
>
>Best,
>Marlon Bishop
>Associate Producer, Afropop Worldwide
>

Re: (313) track id: want/need/feel my love

[Fred Heutte]

That's a good one -- don't know anything about Elis Pacheco,
but DJ Camacho and DJ Disciple did additional work on this remix,
two of the best exponents of mid-90s NY house before it got
completely formulaic.  Disciple in particular put out a lot of
really top-level tracks I think he was involved with Eightball
Records when I visited there in 1995 with label boss Ramon
Wells (who used to live here in Portland, and has been running
his own dot dot dot records since 1999).

fh

-
>Alex always schools me on bomb vocal house cuts that I don't know. Every time!
>Thanks for finding this Frank...
>
>~David
>
>On Thu, Jun 2, 2011 at 10:12 PM, Frank Glazer  wrote:
>> found it!  http://youtu.be/IVLMt7_49fo
>>
>> On Wed, Jun 1, 2011 at 4:05 PM, Wibo Lammerts  wrote:
>>> Davina "Don't you want it"? Or is that just too easy?
>>>
>>> 2011/6/1 Frank Glazer :
  hi all

 omar s killed it on saturday at deep detroit.  pretty much his whole
 set was unidentifiable mid 90s house/garage/acid.  one track in
 particular had lyrics which presumably should make it easier to
 identify though my efforts so far have failed.  basically it was a
 female vocal that repeated the following in a call and response style:
 "don't you want it? don't you want my love? don't you need it? don't
 you need my love? don't you feel it? don't you feel my love?"

 any ideas?

 --
 peace,

 frank

 http://www.deejaycountzero.com
 http://www.infinitestatemachine.com

>>>
>>>
>>>
>>> --
>>> http://soundcloud.com/w1b0 |
>>> http://network.technobass.net/profile/w1b0 | http://twitter.com/w1b0
>>> --
>>>
>>
>>
>>
>> --
>> peace,
>>
>> frank
>>
>> http://www.deejaycountzero.com
>> http://www.infinitestatemachine.com
>>
>

(313) more thoughts on Movement 2011

[Fred Heutte]

Monday was a good day at the festival.  I arrived in time to hear TP on
the main stage bring Strings of Life into a remix of Patrice
Rushen's "Haven't You Heard" (I like Steve Rachmad's "A Lot of Love" on
Spiritual/Outland more but this version was slower and more in line
with the mix). Terrence was in a vocal mood, singing along with several
tracks.  And he played "Blow Your House Down."  Couldn't ask for more.

I liked DJ Three (Chris Milo) on the Beatport stage playing an
unhurried set of solid acid-tinged stuff.  Boo Williams and GU were
unfortunately stuck in the underground stage; when will Paxahau finally
admit house just doesn't work in there?

But I spent most of the day at the Made in Detroit stage.  Just missed
seeing Franki Juncaj (formerly the friendly guy at the register at
Somewhere in Detroit and also a quite good DJ), but heard a lot
of District 909 (Tim Baker and HD Substance).  Tim Baker has had some
interesting releases but I wasn't sure what to expect, and what they
deliver is basic stripped down live techno sliding back and forth
between really tough and cool and somewhat aimless.

Next up was DTM on 5 turntables, that's right, count 'em, 5x5.  It
could have been a classic pileup but actually it was kind of fun. First
up was Throw as the soundbed, which is the obvious way to get started
and it went from there.  Layers and layers of tracks'n'scratches.

Then DJ T-1000 or as known among these parts, Alan.  You know what
he does and that's bring it up to a high level of intensity and lets
it  roll.

As good as AO was, Claude Young finally had the time, the space and
the crowd to really throw down -- nearly two and half hours worth.
Everyone I talked to including the man himself felt the inspiration.
It's not just about playing the great old records, as great as they
remain, or the great new ones, still fresh and not struggling against
familiarity.  It is about playing great music with purpose and
precision.  It's what Detroit techno at its best truly represents.



And now some comments on the festival itself (I'll save my rant about
afterparties for another time).  With a year away due to work
requirements last year, I have a little more perspective perhaps than
I used to, having been to all ten from 2000 to 2009.

First of all, what's working right?  Paxahau has a business model that
actually works.  They are putting serious, serious cash into upgrading
the sound, the staging, the lights and all the little things needed to
make this work better every year.  Even the underground.  The big
improvement to me was the decision to get rid of the tents for the
Beatport and Made in Detroit areas and invest in real stages.

The music selection is somewhat less adventurous than I suppose could
be imagined, but it is a pretty decent job for what it does.  There are
too many overrated European superstar-or-wannabes on stage for my
taste, but they bring in a crowd (see "business model").  On the
other hand, I can complain about Fatboy Slim or whatever but they
also bring in Adam X who rocks the box.  I didn't feel this year like
there were periods where nothing decent was on offer, which was the
case in previous years ago for considerable parts of the weekend.

And I want to call Paxahau out for praise very specifically for one
thing: the strong commitment to live performances across all genres.
They not only book creatively on that, but they obviously put serious
effort into providing the staging and support needed, from equipment
setups to sound and lights.

The ticket prices are reasonable given the size and breadth of the
event.  The lines were better run this year, and amidst the usual
carney fare they brought in Slows -- epic win.

The not so good parts.  Well, obviously it's a white people festival
now.  I'm not sorry to say it so bluntly.  It is in the city of
Detroit, but it does not represent Detroit the city.  Why?  This gets
back to "business model."  When the festival was free, the city did
come, and not just because it was free, but because the proportion of
known Detroit talent was higher.  The organizing of the festival was
drama supreme in the early years, but out on the walks and in the stage
audiences, it was inclusive for all of Detroit and the region.

So Movement has evolved from being a somewhat disorganized civic
celebration to being more of a destination event for the suburbs (see
"business model").  Give Paxahau credit, the Made in Detroit stage is
an explicit nod to where this all comes from and provides (some) space
for the various threads of Detroit techno and house for the last 30
years -- but only some, and we aren't seeing much space at all for new
upcoming local talent.  Much more has been put into the big and up-and-
coming talent elsewhere in the US and Europe.

I look forward to seeing non-Detroit performers, and many are quite
good and really add to the general diversity and enjoyment.  I'd
maybe never see someone like Ana Sia otherwise, and she was 

(313) NPR: Detroit Techno City: Exporting A Sound To The World

[Fred Heutte]

http://www.npr.org/blogs/therecord/2011/05/27/136718287/detroit-techno-city-exporting-a-
sound-to-the-world

Detroit Techno City: Exporting A Sound To The World

May 27, 2011

by Wills Glasspiegel

Carl Craig says he's always thought of his music as "a personal
beautification of Detroit."

This Memorial Day weekend, techno music and its fans come home — to
Detroit — for the annual Movement Electronic Music Festival.

Today, most of techno's audience is in Europe. But its futuristic sound
was nurtured by African-Americans in Detroit in the 1980s. It all
started in the late '70s, when a Detroit radio DJ named Electrifying
Mojo put music on the air in a way that had never been heard before in
the city: Kraftwerk plus Jimi Hendrix; Rick James plus the B52s and
Phillip Glass – all on a spaceship.

Mojo's sci-fi persona dominated Detroit's urban radio back then. The
pieces he assembled became the raw materials for techno. Juan Atkins is
often called the first techno artist. In 1981, Atkins was 19 years-old
and technology-obsessed. He co-produced a song called, "Alleys of Your
Mind," on a rudimentary drum machine.

"Mojo dropped 'Alleys of your Mind' on his radio show and it just blew
up," Atkins recalls. "It was like a breath of fresh air on the radio.
And nobody knew that this was some black kids from Detroit making this
record. They thought it was from Europe or somewhere."

Through Mojo's radio show, the alien sounds of techno piqued the
interest of Detroit natives — but the music's largest audience quickly
grew in Europe.

"I'm fortunate because I exported my business," says Carl Craig, one of
techno's biggest ambassadors. "If I kept it in the U.S., we would have
failed a long time ago."

In addition to making his own music, Craig runs a record label he
started two decades ago in Detroit. Last year, it shipped nearly 20,000
vinyl records out of the city — 70 percent went to Europe. Craig is a
star in Berlin and Paris.

But in Detroit, his profile is low key, his studio an anonymous bunker
near a slew of abandoned buildings. "You go around the block from here,
there are buildings [where] the windows are blown out," he says.
"They've been abandoned for 30 years." Craig says he stays in Detroit
because it's cheap, but the city is also central to his creative
process. "My music has always been for me a personal beautification of
Detroit."

He's not the only one who sees possibility in the rubble. There's also
a small but steady stream of "techno tourists" who visit Detroit.
"We've had several people that have come from Germany, mostly from
Europe, specifically for the techno scene here," says Nicole Stagg,
who hosts visitors through www.couchsurfing.org.

They come to see the abandoned factories where techno parties happened,
and to visit Detroit's techno landmark, Submerge — an iconic label,
studio, techno museum and record shop on Detroit's east side. Label
manager Cornelius Harris says Submerge defies the negative trends in
Detroit and in the music industry itself.

"The key with being able to function in Detroit is not to look at what
it is, but to understand what's possible and to move from that place,"
Harris says. "People in music do it all the time. They do it every day,
which is amazing to me. You've got this thing that doesn't exist and
you bring it into existence. That's the definition of magic."

One of those musical pieces of magic, "Falling Up," by local artist
Theo Parish, could be a metaphor for Detroit. Parish is a torchbearer
for his city's music, but he hardly ever plays there. His regular gig
is at a club called Plastic People — in London.

Marlon Bishop contributed reporting to this story. Both he and
Glasspiegel are producing a radio documentary on Detroit techno and
Chicago house for Afropop Worldwide.

(313) day 3

[Fred Heutte]

Just a quick note to say that AO and Claude Young just raised things
to the heights tonight.  AO was properly intense and Claude was
totally on in every sense -- mixing, selection, scope, sonic contrast,
what a great ride.

fh

(313) NPR: Get Familiar With Detroit Techno: 10 Essential Songs

[Fred Heutte]

cool pix too...!



http://www.npr.org/2011/05/27/136655438/get-familiar-with-detroit-techno-10-essential-
songs?sc=fb&cc=fp

Get Familiar With Detroit Techno: 10 Essential Songs

Wills Glasspiegel and Marlon Bishop

May 27, 2011

Although widely associated with Europe, techno music was invented in
Detroit and its suburbs in the early 1980s by young African-Americans
armed with drum machines, futurist ideals and a predilection for
Kraftwerk. Artists like Juan Atkins, Derrick May and Kevin Saunderson
used whatever technology they could get their hands on to pioneer a
cutting-edge sound made up of growling synths and driving dance beats.
In the process, they set in motion one of the essential musical
movements of the 20th century.

The music eventually found its largest audience across the Atlantic,
but most of the original techno innovators still work out of the Motor
City. This Memorial Day weekend most will be in town for the annual
Movement Electronic Music Festival. You can hear the Movement
Electronic Music Festival live from Detroit streaming all weekend at
Resident Advisor.

In the list below originators, producers, DJs, label owners and
musicologists pick 10 tracks that define the Detroit techno sound.

Wills Glasspiegel and Marlon Bishop spoke to the musicians and writer
below in the course of reporting a story for All Things Considered and
producing a radio documentary on Detroit techno and Chicago house for
Afropop Worldwide.

The 10 Essential Tracks

Juan Atkins on "Cosmic Cars" by Cybotron (1982)

On "Cosmic Cars," I envisioned being in a car and driving on the
highway, and all of a sudden just taking off and going into space. My
music has always to a certain degree been about a certain escapist
attitude. Because there are times that you can be in a city like
Detroit and it can get really bad. You just want to fly away. Sometimes
you wish you could just sail off to another time and space. A lot of my
tracks allude to that kind of adventure.

JUAN ATKINS is often considered to be the father of techno. As a
teenager growing up in the Detroit suburb of Belleville, Atkins made
bold musical experiments with a Korg MS-10 synthesizer and a tape deck,
eventually releasing the genre's earliest tracks under the names
Cybotron and Model 500.

Mark Flash on "Alleys of Your Mind" by Cybotron (1981)

Oh, man. I heard it for the first time in my mom's basement, washing
clothes, and it came on the radio. And I was like, "Oh. My. God." I was
listening to The Electrifying Mojo. That track blew my mind. I turned
the washer off and went and just stood there because it felt so good I
couldn't even move. That was just the most awesome song I had ever
heard. I bought two copies when it first came out. I was like, "What is
this guy thinking?" What got me most was the sound, the beat — that was
the first time electronic music really got to me. I knew "Planet Rock"
already, but "Alleys Of Your Mind" was a different sound all together."

MARK FLASH is a Detroit percussionist, DJ and producer. As a kid, his
musician father moved their family from Brooklyn to Detroit to try to
make it in Motown. While his father's dreams failed, Flash made up for
it by becoming a name in the local rave scene.

Brendan Gillen on "Sharevari" by A Number of Names (1981)

The guys who did "Sharevari" told me an anecdote about going to a party
in 1980 in Detroit, a high-school party. It was one of these backyard
parties where somebody was lucky enough to have a pool. They tried to
make the parties seem elite, so they had elite names like "Gables,"
which was complete with a Clark Gables logo. They even wore satin
jackets. There were a bunch of groups and Charivari was the name of one
these groups, and that's where the band got the name of this tune. So
the story goes that they went to this party and the DJ was doing the
trick of playing with two copies of the same record at once. The DJ was
doing it with the Italo Disco record, "Holly Dolly" by Kano [the group
sampled by Tag Team on "Whoomp There It Is"]. The DJ would play these
records and instead of "Holly, Dolly," it would go "Holly, Holly,
Dolly, Dolly." That's how they got to "Share, Vari, Share Share, Vari
Vari." That's them imitating what the DJ did. Most people say this is
the first record of Detroit techno.

BRENDAN GILLEN fell in love with Detroit techno while attending college
in nearby Ann Arbor. Today, he's one half of the experimental techno
group Ectomorph, manager of the record label Interdimensional
Transmissions and a walking encyclopedia of Detroit techno trivia.

Carl Craig on "No UFOs" by Model 500 (1985)

We had a lot of great music that was on the radio. It was easy as a kid
to hear the newest music from Detroit because it was being supported on
the radio back then. When I first heard "No UFOs," which was Juan
Atkins' first independent record on Metroplex, it was being played at 5
o'clock drive time on weekdays. It wasn't just at nighttime or midday.
It was dri

(313) fest day 2

[Fred Heutte]

The rains almost entirely went around Detroit, so it was actually
rather nice.

The music overall was pretty decent: I liked Space Dimension Controller,
low-key dubby spacy.  Ana Sia came on right after like a house afire,
though I thought her first 20 minutes were the strongest.  She's picked up
bits and pieces of every dance music genre and blended them in with
bass-heavy breakbeats of various flavors.  Good stuff and if anyone
can have an actual stage presence while twisting knobs and pressing
laptop keys she's got it.

It was great to finally see Deepchord/Echospace and the underground
stage sound was pretty suitable -- dubby and muddy.  Steve Rachmad
rocked it later on there -- kept it clean and simple to deal with the
acoustics.  Something fritzed out on stage halfway through his set
and he lost some momentum, it might have been epic otherwise
with very pleasing hard but not banging techno

Hung out at the Beatport stage for a while... the flavor of the moment from
Europe seems to be put a pretty groovy tech-house beat up and riff
off it for an hour.  Good for toe-tapping but not memorable.

I liked Delano Smith most of all last night, he's always been one to
challenge the floor with a mixture of classic house styles and offbeat
tracks and this was no exception.

Someone said to me last night Movement is more like an outdoor club
than a festival.  That seems about right.  The great vibe of the first
couple years (along with the heavy drama) is all gone, but it's still
interesting to dip back in and see what is currently on the musical
menu...

fh