Re: (313) UR live at the LimeLight
I'd guess Mills, per 14:18 The Punisher! 27:51 you want more punishment?' 29:10 It's the Punisher besides, the sampling-scratching sounds VERY Wizard. Cheers. -marc On 24-Oct-05, at 4:13 PM, Wojtek wrote: http://basiclanguage.net/download/live%20at%20limelight.mp3 Is this with Mills as DJ or it already with Alan Oldham?
Re: (313) friday question
My tongue-in-cheek response (to un-ruin the genre) says it already happened DJ T-1000 The Last DJ On Earth But that hasn't stopped folks from releasing some fine detroit techno records afterwards. I think it's obvious that it'll be the last DJ left on earth who makes the last 313 record. (Barring space travel, rebirth from watery graves a la Drexciya, etc etc.) Detroiters are survivors, after all. -marc who will make the last detroit techno record? I've got 10 bux that says I can ruin the genre for everyone
Re: (313) Hello 313, I am....
Since Matt has so kindly pointed out the livejournal aspect of the 313 this AM, I'll reveal the moment of shame that begins my association with 313 music. Name: Marc Christensen Age: 35 Born: Baltimore. Lived: Detroit '72-'01. Victoria, BC, Canada '01-present. First 313 experience: participating in a 1985 high school dancefloor sit-down to protest the Jit content of some whack DJ who was supposed to be the sh*t. There was supposed to be alt-mod-new wave-italo content, but no, it seemed like the DJ just wanted to play hip hop, and scratch things together way too fast. That DJ was Jeff Mills, and he bitterly recalls this experience in a mid-90's interview. Sorry, Jeff. IIRC, it would have been at Redford High, or something like that. Made up for waking up on the wrong side of the 313 by: visiting Alan Oldham's ancient WAYN-FM radio studio for further New Wave guidance during '85 and '86. There's irony for you. Track that still does it all: It Is What It Is. Track that goes even further: Red Planet 1: A2. Lost Transmission from Earth. A kicker at 45rpm, but at 33 it goes beautifully downtempo with DEE-EEE-P bass, and Cleaver's voice is perfectly distorted. Favorite 313 memory: DEMF 1, Sunday Morning (okay, early afternoon), Saunderson kickin' out a glorious gospel-tinged set in the sunshine at the main stage. I dance almost the whole set with my two-year-old son on my shoulders. Of all the 313 events I've missed, I would have wanted to be here: Sunday Brunch at that One X place on Michigan Ave just downtown from the Michigan Gallery (now Zeitgeist). Mostly because I heard it was kid-friendly, outside in the sunshine, and walking distance from home. A lost opportunity. Favorite club: I'll be able to answer this question a bit better in six weeks' time, after visiting the D again. Clubs in or near Corktown will be favored, since I'll be able to stumble home from them without endangering anyone on the road. In-town suggestions for the week of July 2-8, and July 28-August 4 warmly welcomed.
Re: (313) iPod DJ
At 2:36 PM -0400 4/14/05, /0 wrote: id like to play somewhere with sound good enough for me to differentiate between a 320k mp3 and a wav file I'd like to *dance* at a club with sound that good, too! Anyway, I still don't like the idea of computer files substituting for vinyl. Just think, if DJs ripped their vinyl favs onto their ipods (or laptop hard drives), where would taste-setting airline baggage handlers get their bumpin' tunes? I tell ya, the world will be a sadder and poorer place if those poor baggage handlers have only old Neil Diamond and Burl Ives records to listen to after work. It'll set civilization (or at least airline service) back at least forty years. -marc
Re: (313) the most expensive techno record ever?
That's exactly it, lee. It's rare, nobody's heard it, it's got to be worth 1K! (But don't play it if you actually get your hands on one -- it'll degrade its value! Who knows, this may have been one of mr g's famous self-destructing slabs o vinyl. Bang! You're out your grand.) -marc At 9:43 AM -0500 3/17/05, lee herrington wrote: Excuse my ignorance. What does a Clarence G EP sound like? Straight up electro, free jazz noodlings, Drexcyan aqua bliss?
Re: (313) that clarence g on ebay
If neither seller nor bidder are really game on doing the transaction, then all they're out is their ebay ID. Seller can simply file a non-paying bidder claim, and all they're out is a two-buck listing fee. what a har. On the other hand, it might have people's attention, now. har twice. -marc At 7:45 PM + 3/17/05, Derek Plaslaiko. wrote: no matter if its fake or not, doesnt someone have to pay ebay once the auction closes? how much is THAT figure up to? On Thu, 17 Mar 2005 [EMAIL PROTECTED] wrote: currently at 5,400 pounds - $10,800 dollars (approx.) what insurance agent would insure the record for that much?! MEK
Re: (313) one million Italian dj's fined over stupidity
At 10:45 AM + 2/18/05, [EMAIL PROTECTED] wrote: Err, btw, apologies for talking loads of rubbish yesterday. It's not everyday that alex will say THAT! Mark this date in the 313 archives! heh. -marc
Re: (313) are they serious?
Does that explain why Sean Deason is suddenly copyright protected? -m. At 5:29 PM +0100 10/19/04, Martin Dust wrote: And Sean's doing a remix *LOL* On 19 Oct 2004, at 17:20, Brendan Nelson wrote: Err, there are... 3 of them, making up... 1 band, and they've worked with... 3 producers on their most recent album? -Original Message- From: Robert Taylor [mailto:[EMAIL PROTECTED] Sent: 19 October 2004 18:23 To: SeanDeason©; Martin Dust Cc: 313@hyperreal.org Subject: RE: (313) are they serious? Not sure I get this - what's this to do with 313? :) -Original Message- From: SeanDeason© [mailto:[EMAIL PROTECTED] Sent: Tuesday, October 19, 2004 4:20 PM To: Martin Dust Cc: 313@hyperreal.org Subject: Re: (313) are they serious? dammit Martin! I had my eye on the one on the right. hands off fella!
(313) By Bot or By Mouse? ( Was: (313) Emotion Electric shutdown)
Help me understand -- do we believe emotion electric got singled out by bot, or by person? Before we get too far in collectively imagining how to defeat the mega-corporate worms, crawlers, bots by using any of the combined methods described below (graphically representing the tracklist, flash site, haX3R naming practices, SMIL, ZIP, RAR, whatever) it'd be nice to know if BPI and/or the RIAA are primarily using automated data sweeps, or whether they're also using real living investigating clods (you know, humans of varying levels of intelligence) who are probably paid, like $6.50 an hour to poke around and google in order to find encroaching sites. admittedly, they're probably only using real living people to sniff out P2P encroachment, but I'd like to hear a contrarian's view before anyone puts time energy into defeating bots Anyone think they're using PEOPLE? -m PS. Can anyone else hear the eerie refrain? Soylent Corp is PEOPLE! - Soylent Corp is PEOPLE!!! At 2:41 PM -0500 10/15/04, [EMAIL PROTECTED] wrote: the 313 list members - what a bunch of resourceful criminals we are eh? ;) MEK
Re: (313) This weekend's tracklists
Now that these have been referenced in another thread, can we expect to see the sets posted somewhere soon? (please...) -marc At 6:56 PM +0100 9/19/04, Tristan Watkins wrote: [313] 10th Anniversary - UK (all tracks were created by one-time [313] list participants) Newworldaquarium - Daze [Delsin] Newworldaquarium - Tresspassers [Delsin] Morgan Geist - I Want To... [SSR] $tinkworx - Saliva (Putsch '79 Remix) [Delsin] $tinkworx - Yinmao [Platinum Projects] Deep Forces - You're my One Only [Foreplay Recordings] Metro Area - The Art of Hot [Environ] Ani - Love is the Message (For Those Who Didn't Hear It) [Prescription] Merrick Brown - Stealth Crime [Tektite Recordings] Stewart Walker - Something for You [Tektite Recordings] Jacek Sienkiewicz - New Direction [Recorgnition] Juan Atkins - Dusk Til Dawn [New Religion records] Non Stop DJs - Furious (Raw Fury Dub) [Non Stop Productions] T-Funkshun (may have a recording of this available soon) == Substance Abuse and MF Doom - Profitless Thoughts (Street) [Fat Beats] The Pharcyde - Soul Flower (Remix) [Delicious Vinyl] Renaissance Records - Do it to it [Renaissance Recordings] The Afrobutt Express - Funk Surprise [Bigger Bear] Tony Foster - After Party [Mode Recordings] Diviniti - Find a Way (PirahnaHead's Intense Dub) [Women on Wax Recordings] Omar-S - Always There [FXHE Records] Omar S - Oasis Detroit #1 [FXHE Records] Silvio Manuel - La Mente Oscura que es Carlo Marx (The Dark Mind that is Carlo Marx) [Ferrispark Records] Rick Wade - Night Station [Music Is... Records] 3 Chairs - Dreamz [MRKT Chairs Publishing] The Rotating Assembly - Them Drums [Sound Signature] Abe Duque - What Happened? (B1) [ADR] Joshua - Rails [Music for Freaks] Henrik Schwarz - Marvin [Mood Music] Henrik Schwarz - Chicago [Mood Music] Ron Trent Chez Damier - Warfare [Track Mode Recordings] Just One - Love2Love [Neroli] Freeq Unique - Mind Soul [Bitasweet Records] DKD - Future Rage [Bitasweet/2000 Black] Umod - Tromboline (Domu Rmx) [Sonar Kollektiv] Rima - Telos (Isoul8 Remix) [Compost Records] Orgue Electronique - Here I Come (Vengo) [Crème Organization] Etienne de Crecy - Soul Seek [Different] Aroy Dee / Peel Seamus - Razar [MOS Recordings] Omar S - U - [Subgroundz Records] DJ Yoav B - Luv Iz [Delsin] I:Cube - Freez [Versatile Reocrds] Perception and Mad Mike - Windchime [UR] Juan Atkins - Dusk Til Dawn [New Religion records] Mathew Jonson - Decompression [Minus] Electrofunk - Bounce [Electrofunk Records] Dan Curtin - Autonomic Groove [Down Low] R-Tyme - R-Theme (Mayday Mix) [Transmat] Kenny Larkin - Breathe [Peacefrog] Dabrye - Magic Says [Ghostly International] Tristan === http://www.phonopsia.co.uk [EMAIL PROTECTED]
Re: (313) If
Why has no one mentioned Inkster? Or Belleville itself? Or Ann Arbor? They're cities too! Sorry, alex has been such a cheeky devil in this thread, I wanted in on the game too. -m PS my vote's for whatever special city in the clouds that Moritz Von Oswald clearly lives in. I assume (perhaps incorrectly) that this means Berlin. Every time I hear a Basic Channel / Maurizio / 3MB / Quadrant, I think I've been transported into a Mills set. At 3:51 PM +0100 9/21/04, Martin Dust wrote: If Detroit is the First City of Techno, which IYHO is the Second... Cheers Martin
Re: (313) run dmc remixes released on sm:)e?
RUN-DMC is 313-related insofar as the same kids who were trying to bring the whole hip-hop thing into the D back in '84/85 had no trouble dropping a Kraftwerk tape into their boom boxes: It was of the moment. Though I think most of the preps thought RUN-DMC (and the dude who did the Funky Cold Madina track) were worse than dirt, not everyone was so snooty. And it was just damn funny how DMC were willing to rip off guitar noise. Pardon my private nostalgia. Maybe I'll go watch their Tougher than Leather movie again. Or maybe not. -m On Tue, 21 Sep 2004, /0 wrote: has anyone heard these? have them? if you dont think run dmc is 313 related, you're not me :) -Joe
(313) fontspotting -- more songs about food revolutionary art
okay, anybody know the name (or a source for) the script font used on carl craig's more songs about food revolutionary art? i've seen it in several places recently, and it's driving me nuts. cheers in advance, -marc c.
(313) fontspotting -- solved
excuse my ignorance. it was P22's Cezanne font. cheers, -m
RE: (313) Detroit Techno
The original question, IIRC, was whether Detroit Techno (as a term) brought to mind abstract, string-laden melodies (the kind that demand emotional as well as physical response) or abstract-minimal-but-bangin' nonetheless tracks like the ones that have long made Mills famous. Of course, the question, what does Detroit techno mean today? is open, and answerable by all who care. Whether they're Aril Brikha (not from Detroit) or KDJ (militantly from it, and of it), all who care contribute to the ongoing answer. Which is why Detroit Techno as a term, like the 313 list itself, hasn't shrivelled into a too-narrow, too-precise, and too-uptight-to-have-fun genre. (This is, BTW, exactly what Simon Reynolds continually argues about Detroit and Detroit-o-philes in _Generation Ecstacy_. A big raspberry to him.) But asking whether Hood and Mills count as mainstream Detroit techno actually pins quite nicely the *historical* (not present-interpretive) component of the question. What if ALL of Mills' output is really taken as a centre or mainstream of Detroit Techno. I mean everything from Wizard sets (which are contemporaneous to the prep scene in Detroit, and predate the very coinage techno as do the early works of Atkins, May Saunderson) to his work with the industrial Final Cut to his abstract soundtrack works to the hardest Punisher Axis releases... I don't mean to diminish the work of anyone else with this example, but if you consider Mills as the very centre around which Detroit Techno has whirled and developed, you get an answer that takes you back to the very beginning: In the beginning, there was a crowd of kids who tried different things. They experimented -- with analog synths, with turntables, with backtracking their way out of mixes, they tried on early hip-hop electro mixing techniques, and were driven both by the mad techne (technical wizardry, whatever) of pounding rhythms and by the desire to express something through machines, without recourse to what they clearly saw as limiting forms of balladry storytelling in RB, rock-n-roll, etc. They have truck with hard percussion stripped of all melody, and they put out lush instrumental soundtracks that sound like they come from American Minimal composers like Steve Reich or John Cage. They try nearly *everything*. Put simply, the *breadth* of the field, and the willingness to engage and invent, are what characterize early techno. And I think, given the immense musical variety of those who still point back to Detroit, these things still characterize Detroit Techno today. Please continue to discuss at length. That's what this list has been here for -- ten years now. -marc c. At 11:30 AM +0100 9/7/04, Brendan Nelson wrote: I remember when I first came across that Flash guide to electronic music that was put together by a bloke called Ashok or something, which attempted to sum up Detroit techno with an audio snippet of Hood's Pole Position and a spiel about how Detroit techno is supposed to make you feel quite disoriented and lost. Of course, that *totally* missed the point, and I remember he was getting so many emails from people on 313 that he even put up a little notice saying if you're on the 313 list, don't email me OK!?... However, I do think that Hood and Mills count as Detroit techno (obviously!) even though they're not what might be called mainstream Detroit techno. One of the things I most like about Detroit techno in general is the fact that it's quite difficult to pigeonhole - you go to a Detroit techno party, and you're going to hear a very wide range of music as the night progresses. Most other styles of dance music can't really boast that degree of internal variation, I don't think. Brendan -Original Message- From: Matt Chester [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 11:30 To: 313@hyperreal.org; [EMAIL PROTECTED] Subject: Re: (313) Detroit Techno For my part though, the mention of 'Detroit Techno' always makes me think of the richer, funkier and melodic side of things - tracks like Amazon and Final Frontier are the first in my thoughts. The likes of Mills and Hood wouldn't spring to mind at all, although I do love their earlier material and they are obviously just as much a part of Detroit's history...
RE: (313) May Saunderson Win Awards
It's amazing to me that the Governors' people didn't more clearly focus on the Techno then - to DEMF now connection. Making that link would have allowed them to award May Saunderson, and opt-in *or* opt out both Atkins Carl Craig. But sometimes people in government aren't really as good at spinning their arbitrary decisions as those on the ground... -marc At 5:50 PM + 9/7/04, Robert Taylor wrote: Weird reason given for not awarding him isn't it? -Original Message- From: placid [mailto:[EMAIL PROTECTED] Sent: Tuesday, September 07, 2004 4:47 PM To: Robert Taylor; 313@hyperreal.org Subject: RE: (313) May Saunderson Win Awards But no juan that's f*^%d up p -Original Message- From: Robert Taylor [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 18:46 To: 313@hyperreal.org Subject: (313) May Saunderson Win Awards Saw this on LD: Governor recognizes Mich. contributors to cultural history August 30, 2004 BY FRANK PROVENZANO FREE PRESS STAFF WRITER Two pioneers of what was once considered underground music will receive the state's highest recognition for artistic success from Gov. Jennifer Granholm. Today, Detroiters Derrick May and Kevin Saunderson, who as DJs and music producers helped propel techno into a worldwide phenomenon, will be named recipients of the International Achievement Award as part of this year's Governor's Awards for Arts Culture. While techno has been embraced by the European masses since the late '80s, it's only been in the past five years that the men who most people credit as the godfathers of the music have won broad acclaim in their hometown. First, there was the Detroit Electronic Music Festival, which brought hundreds of thousands of music lovers to Hart Plaza for Memorial Day weekend dance music. Then there was Techno: Detroit's Gift to the World, an 18-month-long exhibit that ended this month at the Detroit Historical Museum, which illuminated their role in putting techno on the international music map. Then came May and Saunderson's prominent roles in shaping Movement, the techno music festival in Detroit's Hart Plaza that replaced DEMF. The pair joins a Who's Who of Michigan cultural history who have received the award, including Aretha Franklin, Lily Tomlin, James Earl Jones, the Four Tops, Elmore Leonard, Arthur Miller and Smokey Robinson. Earlier in my career, I would've thought that being part of a tradition would mean that I was giving up some independence and control, but now, I see it as part of our legacy, said Saunderson, 39, preparing to leave Detroit for a concert tour of Holland, Belgium and Germany. Everywhere we go around the world, people realize the scene wouldn't be what it is if it wasn't for our ambition, he said. In discussing the history of Detroit techno, Juan Atkins is typically cited along with May and Saunderson as the most important groundbreakers. Officials say that Atkins was not included because he no longer lives in Michigan, though other winners had moved before their awards. The governor's awards also include patrons Maxine and Stuart Frankel of Bloomfield Hills for donating $10 million to the University of Michigan Museum of Art; Dr. C. Robert Maxfield, superintendent of Farmington Public Schools, for pushing the arts as part of core curriculum classes, and former Detroit Symphony Orchestra artist-in-residence Michael Daugherty, who has composed a homage to the city titled MotorCity Triptych. The 19th annual Governor's Awards for Arts Culture event is coordinated by ArtServe Michigan, a statewide nonprofit arts advocacy agency aiming to increase public arts funding and recognition for the state's artists.. This year's ceremony will be Nov. 18 at the Henry Ford in Dearborn. Tickets are $50-$300, with proceeds going to ArtServe, which typically grosses $300,000 at the event. A call for nominations went out in May. In mid August, a selection committee sifted through 250 nominations. The final decision was based on the impact and contributions that the nominees made to a community. These choices signify the size, breadth and diversity of our cultural umbrella, said ArtServe President Barbara Kratchman. Michigan artists are on the level of those in New York, Chicago, L.A. and anyplace else. We need to recognize what we have here. Like past years, the recipients are from around Michigan. Among the winners are Latin pop singer Liliana Rokita of Saginaw as Emerging Artist of the Year; while the award for Cultural Organization of the Year is shared among Blissfest Music of Petoskey, Grand Rapids Ballet and the city of Marquette's arts department. For Rokita, 32, who recently recorded her first CD and often steps from the stage to dance with fans, the award means immediate credibility. Now, when people hear I've won this award, they will stop and say, 'Let's see why,' said Rokita, who 11 years ago emigrated from Toluca, Mexico.. The attention is so important when you live outside
Re: (313) [berlin spam] shrinking cities music
Let's not forget that Dan Sicko made a nice contribution to the shrinking cities project, too. It's on the website, under working papers IIRC. Cheers, -marc taken from http://www.shrinkingcities.com/ : Shrinking cities are a cultural challenge to us. In the Shrinking Cities project, architects, academics and artists investigate recent developments in Detroit, Ivanovo, Manchester/Liverpool and Halle/Leipzig - and make suggestions. [...] Shrinking Cities Music acoustically and theoretically addresses the question how music production developed and established itself in shrinking cities. Are shrinking cities especially productive sites for music? How is the city reflected and thematized in music production? Shrinking Cities Music comprises discussion groups, live performances, and parties. more information: http://www.shrinkingcities.com/ ines -- http://www.circonium.de
Re: (313) downloading, peer-to-peer, etc
Full Text of Article MEK mentioned. It's funny, like techno, it uses _analog_ technology. Heh. -m The New York Times , Oct 27, 2003 pC1 col 03 (23 col in) With Cable TV at M.I.T., Who Needs Napster ?(Business/Financial Desk)(the Libraries Access to Music Project) John Schwartz. Full Text: COPYRIGHT 2003 The New York Times Company Two students at the Massachusetts Institute of Technology have developed a system for sharing music within their campus community that they say can avoid the copyright battles that have pitted the music industry against many customers. The students, Keith Winstein and Josh Mandel, drew the idea for their campus-wide network from a blend of libraries and from radio. Their effort, the Libraries Access to Music Project, which is backed by M.I.T. and financed by research money from the Microsoft Corporation, will provide music from some 3,500 CD's through a novel source: the university's cable television network. The students say the system, which they plan to officially announce today, falls within the time-honored licensing and royalty system under which the music industry allows broadcasters and others to play recordings for a public audience. Major music industry groups are reserving comment, while some legal experts say the M.I.T. system mainly demonstrates how unwieldy copyright laws have become. A novel approach to serving up music on demand from one of the nation's leading technical institutions is only fitting, admirers of the project say. The music industry's woes started on college campuses, where fast Internet connections and a population of music lovers with time on their hands sparked a file-sharing revolution. ''It's kind of brilliant,'' said Mike Godwin, the senior technology counsel at Public Knowledge, a policy group in Washington that focuses on intellectual property issues. If the legal theories hold up, he said, ''they've sidestepped the stonewall that the music companies have tried to put up between campus users and music sharing.'' Hal Abelson, a professor of computer science and engineering at M.I.T., called the system an imaginative approach that reflected the problem-solving sensibility of engineering at the university. ''Everybody has gotten so wedged into entrenched positions that listening to music has to have something to do with file sharing,'' he said. The students' project shows ''it doesn't have to be that way at all.'' Mr. Winstein, a graduate student in electrical engineering and computer science, described the result as ''a new kind of library.'' He said he hoped it would be a legal alternative to file trading that infringes copyrights. ''We certainly hope,'' he said, ''that by having access to all this music immediately, on demand, any time you want, students would be less likely to break the law.''' While listening to music through a television might seem odd, it is crucial to the M.I.T. plan. The quirk in the law that makes the system legal, Mr. Winstein said, has much to do with the difference between digital and analog technology. The advent of the digital age, with the possibility of perfect copies spread around the world with the click of a mouse, has spurred the entertainment industry to push for stronger restrictions on the distribution of digital works, and to be reluctant to license their recording catalogues to permit the distribution of music over the Internet. So the M.I.T. system, using the analog campus cable system, simply bypasses the Internet and digital distribution, and takes advantage of the relatively less-restrictive licensing that the industry makes available to radio stations and others for the analog transmission. The university, like many educational institutions, already has blanket licenses for the seemingly old-fashioned analog transmission of music from the organizations that represent the performance rights, including the American Society of Composers, Authors and Publishers or Ascap, the Broadcast Music Inc. or B.M.I., and Sesac, formerly the Society of European Stage Authors and Composers. If that back-to-the-future solution seems overly complicated, blame copyright law and not M.I.T., said Jonathan Zittrain, who teaches Internet law at Harvard and is a director of the university's Berkman Center for Internet and Society. The most significant thing about the M.I.T. plan, he said, is just how complicated it has to be to fit within the odd boundaries of copyright law. ''It's almost an act of performance art,'' Mr. Zittrain said. Mr. Winstein, he said, has ''arrayed the gerbils under the hood so it appears to meet the statutory requirement'' -- and has shown how badly the system of copyright needs sensible revamping. Representatives of the recording industry, including the Recording Industry Association of America, Ascap and B.M.I., either declined to comment or did not return calls seeking comment. Although the M.I.T.
Re: Re: (313) 'Techno' Music
The canonical history holds that it was indeed out of the marketing of the Ten Records Techno comp that the term techno first came to be used to describe the 313 sound and differentiate it more concretely from the sounds of Chicago's scene. But there's more than one example of May in particular mentioning that he doesn't like techno as a term. Techno was clearly Juan's afterthought, and it suited Rushton and the marketing campaign just fine. Up until '88, techno did not exist in Detroit. It was house, or Detroit house at best. I think this fact is often covered over because it's felt to undermine the genre differences between techno and house, or to undermine techno's claim to independent consideration. But it would be clearly incorrect to consider techno as merely a cousin of house. The scenes in Chicago and Detroit were related, but LKS uses very good concrete examples to show the differences. If we can give up just a touch of our collective 313-centricity, just for an instant, and ask seriously what House/Techno would have been without the terms to stabilize them, I think the relatively provisional and even kind of arbitrary limits of the genres become clearer. Sure Chicago Detroit had rather different sounds, but the sounds within each city's scene were also wildly divergent. House today rarely sounds as broad, or experimental, as it did when it was local, and stood as a local practice. The earliest tracks (and mixing practices) of the belleville three, plus d-wynn, mills, baxter, fawlkes, and *all* the other folks who were already well-established by '87-'88, were also very different, track-by-track, from each other.(1) There was a *lot* of musical experimentation going down at the time, in both cities. This is not to say that the experimentation of 313-related artists today is insignificant. But it's worth thinking through how house and techno came to be understood, sometimes out of listening for a common thread in the music of the 313, and sometimes by ignoring interesting ventures into its early outer reaches... My overly academic .02, at any rate. -marc (1) I'd be more than willing to bet that this incredible diversity of sound, and movement which seemed to *defy* rather than produce genre, also helps to account for the individualistic strain in Atkins-May-Saunderson-Mills interviews. May relentlessly hits on individual innovation, and on *not* sounding like the thing before. Atkins and Mills both say techno (which they use as a descriptor in the early 90's, rather than a categorical definition) should be the sound of the new. When they say It should (or did) sound really *techno* they clearly meant that it sounded wild, and really out there. At 11:07 AM -0400 10/24/03, Lester Kenyatta Spence wrote: On Fri, 24 Oct 2003, Dr. Nutcracker wrote: I always thought that Juan coined the term by taking the phrase from Toffler's book when he made 'Techno City' . It was Rushton who jumped on it and pushed it as a genre name to try and differentiate thier music from Chicago House. And that's exactly what these heads were doing in the beginning on their labels... simular equipment as in Chicago House and with influeces from a dozen european bands. So can we conclude then... that in early stages a lot of so called 'Detroit Techno' classics are at least very simular to Chicago House? Yes and no. They are similar enough to mix w.o. problem. But there is nothing coming out of Chicago during this time that sounds anything like Clear or Cosmic Cars. Similarly there is nothing coming out of Detroit that sounds like Love Can't Turn Around. Strings of Life, and maybe Triangle of Love are the two songs that sound like Detroit songs with Chicago influences. The Acid stuff (Phuture's stuff jumps out) are the Chicago songs that exhibit Detroit influences.
(313) Old Derrick May interview
Hey, does anyone know where to find the pre-'95 interview with Derrick, conducted over a cell phone with a (British?) journalist, where Derrick is tearing all over town in his sportscar talking about how the Detroit landscape has been a primary influence for techno? I was reading it last month (or so) and thought it was a riot -- displacement all over the place -- cellphone, sportscar, describing Detroit's peculiar landscape to a reporter across the Atlantic, etc... I just don't remember where to look for that interview now. Racked my brain (and bookshelf) overnight with no luck. Suggestions anyone? -m
Re: (313) Detroit Cops' Behavior towards afterparty's: a conspiricy theory
Indeed, Detroit cops' behaviour towards Detroiters (or out-of-town guests) isn't exactly exemplary. IIRC, in 2001, there were nearly a dozen unarmed civilians shot dead by Detroit cops in situations where the use of lethal force was certainly questionable. (Can you count holding a rake as being armed?) Don't judge Detroit by the opinions or behaviours of its police officers, judges, elected officials, bankers, insurance agents, pawn shop owners, etc. etc. In short, parts of the establishment that are meant to be enforcers of one sort or another aren't usually known for their forward-thinking ideals or behaviour. Much of the real spirit of Detroit exists in a tense relationship with these enforcers, who for instance don't like people hanging out on their front porches with friends late on summer evenings. To cops and judges, we're all potential perpetrators. In a similar vein, and more on topic, the independently-organized events that made house and techno viable in Detroit weren't exactly the kinds of events that cops endorsed either, though it was back in the day before the media scare about raves, ecstasy, etc. As for the future of the DEMF-now-Movement festival, if the most regressive elements of the police force had their way, *both* the Downtown Hoedown and the African American World Fest would have been shut down in their second years. Thankfully, the police aren't in charge of scheduling Hart Plaza. My .02, of course. -marc At 9:34 PM -0400 5/28/03, Sheralyn wrote: So many posts about party's being busted by the cops. To you out of towners I'm offering a Detroiters apology for our wonderful police department. What can I say they are cops, some of them are not known for using all their mental faculties when they should :). Just a little joke to anyone in law enforcement. As a native Detroiter the police behavior makes no sense to me. How often does Detroit have loads of international visitors as well as folks from other states. Maybe during the auto show and then most of the international vistors are media or car executives from non USA car companies. Not nearly as many people as for the DEMF/Movement. SO here we have this great festival that has already been reported to be behind the 8 ball money wise, the organizers have put up their own money pulled a rabbit out of their hat and made it happen. And what do the Detroit police think, oh yeah lets go harrass folks so this can never happen again. GO figure. As far as conspiracy theories for the cops actions go I offer this. Kwame Kilpatrick, our hip-hop party mayor has been in big time hot water the last few weeks. Each day the local paper has a new article about alleged bad behavior on the part of the mayor or his security detail. Much of it may be untrue, but my grandmother always said where there's smoke there'e gotta be at least a small fire. In any case, the mayor is being closely scrutinized by the media and all his actions are being watched. Kwame is usually the first one dancing and sweating it up at local party's and clubs according to the grape vine, with his problems of late I'm sure he had to lay low for Movement. Maybe he is one of those people that don't think anyone else should have fun if he can't so he sent the cops out to bust up everyone else's fun. Ciao
(313) Fancy talk about Sheffield and Detroit
Speaking of Sheffield and Detroit, look at the concluding paragraph to this article I never thought much of much of this article as a whole, but it does make some sense in places. -m (from) Analogical reasoning, digital imagining / Author: Kihm, Christophe.; Penwarden, C., tr. Source: Art Press no260 (Sept. 2000) p. 28-9 ISSN: 0245-5676 It is certainly a very modern activity to conceive, realize and fantasize forms of post-utopia (in the community, in exchange and transmission) or post-dystopia (cloning, the disappearance of the subject, the loss of referents), all predicated on technological developments. But to argue that what is happening constitutes a real aesthetico-social revolution is to underestimate both the issue of access to technology (dominated, of course by the elite, even if this domination is relative) and the power of the anthropological rules governing different forms of art and the way in which their representations are communicated and geographically sited. UNDERGROUNDThe Web society does not mean the end of frontiers between men: rather, it redistributes those frontiers, creates new ones and new forms of exclusion resulting from the impact of the space of flux on physical space. The fact that in this new situation each culture should be seeking to redefine the limits of its space, that it should be providing the new with a new scene, certainly does not mean that it is pushing back its frontiers. Sheffield and Detroit, the two related cultural scenes analyzed in the articles that follow, are of interest to us here because they are concrete examples of situations in which new social and aesthetic projects grew out of communities in crisis, projects in which the collective memory and individual consciousness found a new outlet in the use of new technologies. Founded as they are on the search for a lost identity (Detroit), or a shared secret offering access to a parallel world (Sheffield), these two underground cultures are both mythic and their sites are temporally ephemeral (hangars, squats, wastelands, Internet) and culturally malleable (open to multiple influences, aesthetically porous). Such is their mythology, that of an empty frame. Historically on the shadowy side of the law in that it encourages the free circulation of drugs and the contestation of authority (the state, the law, the work ethic), the underground is built in and from rejection. Its history has taken a new turn as a result of two major phenomena. Firstly, the established tendency of its communities to function as a network, with individuals and groups connected to one another and their productions circulating like drugs, has taken on a new importance with the advent of the Internet and digital technologies. Secondly, with the models furnished by community resistance proving of increasing importance for the construction of the individual subject, at the expense of the models derived from civil society, the underground has become the great definer of identities. Whereas only recently its ritual practices (involving the body, dance, dress and assembly) were a discreet, minority affair, today they have become extremely high-profile, to the extent that they are almost dominant. As a result of network and historical serendipity, Sheffield and Detroit, which were simply two nodes among many others on the web of underground connections, have brought about a lasting change in electronic music around the world. Added material. Translation, C. Penwarden. (Ph. L. Edeline). (Ph. L. Edeline). FirstSearch(r) Copyright (c) 1992-2002 OCLC as to electronic presentation and platform. All Rights Reserved.
Re: (313) iPod pictures (that work)
He probably figured that since he'd be playing a very public NYC gig, he didn't want to be mistaken for Moby... (This would be funnier if it weren't so close to likely.) And the glasses, of course, as Gary noted. What's the consensus -- contacts or laser surgery? -m At 10:03 AM -0700 5/6/03, [EMAIL PROTECTED] wrote: a decade of shaving your head probably gets old after a while... - Original Message - From: ian cheshire [EMAIL PROTECTED] To: [EMAIL PROTECTED]; [EMAIL PROTECTED] Cc: 313@hyperreal.org Sent: Tuesday, May 06, 2003 5:19 AM Subject: RE: (313) iPod pictures (that work) tragic is the word that springs to mind, he should keep his baldness, I think as it suits him better :) -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 06 May 2003 12:53 To: [EMAIL PROTECTED] Cc: ian cheshire; 313@hyperreal.org Subject: RE: (313) iPod pictures (that work) Yes, this confused my friends when they went to see him at The End. They thought he hadn't turned up until someone pointed out it was him. 'Dodgy' haircut was how they described it no trademark specs any more. robin pinning [EMAIL PROTECTED] on 06/05/2003 12:24:19 Please respond to [EMAIL PROTECTED] To: ian cheshire [EMAIL PROTECTED] cc: 313@hyperreal.org Subject: RE: (313) iPod pictures (that work) erm sorry to be a pain but does Richie now have hair or something? possibly, tho it looks like he's borrowed sven vath's barnet for the night :) robin... --- Incoming mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.476 / Virus Database: 273 - Release Date: 24/04/03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.476 / Virus Database: 273 - Release Date: 24/04/03
Re: (313) more demf stuff...
At 11:37 AM -0500 1/28/03, Ian wrote: A spokesman of Kilpatrick says: If necessary, Dickens says, the name will change to the Detroit International Electronic Music Festival, or some such variation. D.I.E.M.F.? Die M-F? Personally, I'd like to see the acronym M.F.I.C. worked into this. Now *THAT* would be a sincerely Detroit reference. Music For International Cultures? Music From Inner Cities? heh. I hope Coleman's laughing at us all somewhere. -m
(313) How to kill electroclash (was: swayzak)
Instead of accepting the term electroclash (which has obviously allowed this thing to go on way longer than the music's 15-minutes of fame one-note humor deserves) why don't we steal a term from architecture and call it Electro Revival in the breathiest upper-class british accent we can muster. sort of like a house -- you know, it's a tudor Reh-VI-val, dee-ah.(Remember, a tudor revival bears about as much similarity to tudor architecture as electroclash bears to the 80's as many of us lived it...) I think the term Revival might be extra fun too, for Detroiters -- if intoned with a fake British accent, it might have the amusing effect of reminding folks of the dreadfully affected pseudo-british accents some locals took on during the early-to-mid 80's yeesh. two weeks of that kind of treatment, and electroclash will be gone. RIP. -m. At 7:15 AM -0500 12/17/02, sean deason wrote: sean lived the 80's, no need to recreate them deason
(313) sub-zero
here's a test of folks' techno history: who was sub-zero? On the Techno City Records 1989 compilation There's no way out (of the groove), the Subzero track Right there that's it gives producer credit to final cut; engineer: Jeff Mills. Is this just mills, or do folks have a clue as to who else was behind this? This compilation also includes the Santonio Echols track It's not over which was also discussed as part of the let no man put asunder thread this week -marc
Re: (313) sub-zero
On the discogs.com site, the compilation in question doesn't seem to appear, nor do either the mills page or the final cut page show this track, or any subzero pseudonym. The Final Cut who had an album with Nettwork Records (i believe the album was _Consumed_) were the same Final Cut folks that Mills recorded with, though. As for a Chris Connely connection, I just don't know. cheers, -marc At 7:21 PM + 12/6/02, Tristan Watkins wrote: - Original Message - From: marc christensen [EMAIL PROTECTED] To: 313 list 313@hyperreal.org Sent: Friday, December 06, 2002 6:59 PM Subject: (313) sub-zero here's a test of folks' techno history: who was sub-zero? On the Techno City Records 1989 compilation There's no way out (of the groove), the Subzero track Right there that's it gives producer credit to final cut; engineer: Jeff Mills. Is this just mills, or do folks have a clue as to who else was behind this? http://www.discogs.com/artist/Final_Cut I often hear it discussed here but I've never bothered to ask if there's any relationship between 'Final Cut' and 'The Final Cut', which was an Industrial album from '92 or '93 (they have one compilation appearance listed here: http://www.discogs.com/artist/The_Final_Cut but it says nothing about the album, which I believe was also released on Netwerk). IIRC, they had something to do with Chris Connely of Wax Trax fame, but this goes back a decade since I've heard this stuff. I remember the very end of the last song on the the album samples Malcolm McDowell in 'Clockwork Orange' saying, Is that the end then? I was quite enjoying that! Any relation between the two? I always assumed there was, but I don't know what it is. Tristan = Text/Mixes: http://phonopsia.tripod.com Music: http://www.mp313.com Contact: [EMAIL PROTECTED] New Mix in mp3, 'Live in Iowa City' available for a short time from http://phonopsia.isoprax.com
RE: (313) books on techno: more brilliant than the sun
I'm not about to defend Eshun's -- uh -- excesses in More Brilliant than the Sun. He has a tendency to throw a lot of stuff about, and frankly a lot of it is more like an academic version of scat-poetry than serious analysis. (I've always liked that he included fiction in the subtitle -- it's appropriate.) But if you're willing to follow along, and excuse the sometimes excessive dips into self-created jargon, he has some interesting ideas. No digging for a needle in a haystack -- they're good, fairly big ideas. But they sit alongside the specialized terms he invents, and you just have to be willing to accept that he uses his own ridiculous shorthand for things. Often, I don't like his terms, or his willingness to invent dozens of terms that don't really hold water, but I do like some of his ideas. And his attitude, which might not be great for hangin' out with, is perfect for approaching Sun-Ra, and the Martian, or the pre-revealed Drexciya. Who else besides Dan S. went out of their way to demonstrate **belief** in the stories of extraterrestrial (or subaquatic) origins that these acts clearly saw as part of the deal? And he's even got an almost cute kind of belligerence in defending that. (For this alone, he ought to be adored by candy ravers everywhere who still believe in Santa Claus.) Fair enough? -marc PS. I'd still rather read Eshun's writing, which can be hard to take, than Simon Reynolds', whose work is easier to read and easier still to disagree with. Reynolds basically calls all of 313 purist wusses, worshipping a dead-end aesthetic. All because not enough of us, apparently, take as many freakin' drugs as he would like us to. As the KMS website used to ask -- do you want the red pill, or the green one? At 11:11 AM + 11/25/02, Neil Wallace wrote: Ive always avoided this book as ive seen kodwo on a few music documentaries and he always seems to be completely up his own a$$
(313) Fwd: Music created in the Motor City
Reply-To: [EMAIL PROTECTED] From: Contemporary Art Institute of Detroit [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Music created in the Motor City Date: Wed, 20 Nov 2002 20:06:29 -0500 X-Priority: 3 (Normal) Importance: Normal Re:sounding Detroit: a comparative presentation and discussion of music created in the Motor City Presented by the Contemporary Art Institute of Detroit, and sponsored by Wayne State University's Honors Program. www.caidonline.org Participants: Lars Bjorn, Ben Edmonds Dan Sicko (information below) Panel Moderator: Liz Copeland (WDET and CAID) Saturday, November 23rd, 3-5 pm Bernath Auditorium inside the David Adamany Undergraduate Library on the campus of Wayne State University Free and open to the public Book signing to follow event Synopsis of the idea behind Re:sounding Detroit: Re:sounding Detroit is an attempt to discover the common points between the various music forms to emerge out of Detroit. It's a city whose sounds have reverberated from our own back yards to around the world: jazz, blues, Motown, rock, electronic and beyond - earning Detroit the reputation of being an acclaimed music city. What are the factors that have given Detroit this common art form across generations, expressed in such varied and unique ways? With the aid of sound and visuals, each presenter will examine the relationship between music and culture (and subculture) applicable to the era. The forum will conclude with a comparative, mediated discussion between all participants. Participant Information: Lars Bjorn. Lars Bjorn is a Professor of Sociology at the University of Michigan-Dearborn campus, as well as author of Before Motown: A History of Jazz in Detroit, 1920-60 (University of Michigan Press 2001). He has published From Hastings Street to the Bluebird: The blues and jazz traditions in Detroit (Michigan Quarterly Review 1986) and is the author of numerous articles on jazz in Detroit. Joining Bjorn from the audience will be his collaborator on Before Motown, Jim Gallert. Ben Edmonds. Originally from the New England area, Ben Edmonds has been a Detroiter since 1968. He's since become an accomplished music journalist, as an editor for the legendary Creem magazine up until today's position of US editor for the UK-based Mojo magazine - while contributing to several publications in between including Rolling Stone, New Musical Express The Los Angeles Times. Edmonds has written liner notes for many, including the relatively recent reissue of Love's Forever Changes and the Deluxe Edition of Marvin Gaye's What's Going On, which will be acknowledged with the ASCAP Deems Taylor Award presented at Lincoln Center in New York this December. Edmonds is the author of What's Going On (Mojo Books/Canongate 2001), an unauthorized biography of Marvin Gaye. Dan Sicko. A Detroit native, Dan Sicko has been writing about techno music for over ten years. In fact, techno music inspired him to write in the first place, ultimately making him change his profession in 1996 and take on copywriting and advertising full-time. But he never stopped writing about music, his articles appearing in publications such as Wired, Rolling Stone, Urb and his own online techno magazine Reverb. In 1997 Sicko proposed the idea of a book about the history of techno - the first from an American (not to mention Detroit) perspective. Publisher of Urb magazine Raymond Leon Roker has said about Sicko's book Techno Rebels (Billboard Books) published in 1999, Dan Sicko demonstrates an acute awareness of the racial, cultural, and historical implications of the late twentieth century's digital soundtrack, exploring it with a depth that few have captured in print. Media sponsors for LINK include WDET-FM 101.9 Detroit Public Radio and Metro Times. Visit the Contemporary Art Institute of Detroit on the world wide web at http://www.caidonline.org +++ If you have received this message in error and need to be removed from the list, please respond with REMOVE in the subject heading. Duplicate e-mail notices may be prevented in the future by responding to this e-mail with DUPLICATE in the subject heading. +++
Re: (313) Fw: Techno: Detroit's Gift to the World
Three categories of people ought to be honored by the exhibit: 1) the whole damn scene and taste culture that collectively led to (and helped to develop) what was then simply Detroit House -- that fine music we all know as Detroit techno. Without audiences deciding what was fresh, and not so fresh, the cycle of innovation would not have worked as it did. Without a scene, the music wouldn't have happened -- none of these cats were bedroom virtuosos which marks a difference between dance music and other genres. 2) the whole group of people who were actively making music significantly in and around this scene. Which means that not only should Fowlkes be given due, but so too should Mills Mojo a whole bunch of other folks. Including Chicago artists, since Detroit and Chicago ended up being musical siblings to a great degree. Just as Detroit House was not merely Detroit simply stealing the Chicago sound (as a few books on music have foolishly mentioned and argued), so too the Chicago sound wouldn't have been the same without some Detroit influence. So 'nuff said -- it's bigger than the Belleville Three. 3) The Belleville Three. They have been techno's most visible and loyal stalwarts, through thick and thin. Every ounce of credit and respect are also due to them. Not *all* the credit for techno, as points 1) and 2) have hopefully made clear. But due and generous credit, nevertheless. Fowlkes doesn't rank here. Mills? As great as his achievements are, this category has at least as much to do with the *identification* of celebrity with Detroit Techno. And, as Sterling Silver once tried to call me out on, neither America nor Europe really identifies Mills with his history, or Detroit per se. Atkins, May and Saunderson are the celebrities of techno's founding moment. No matter what the achievements of any other performers, from then until now, these three play a unique role *as* celebrities, even as their music veers wildly from Saunderson's heavy Gospel-inflected work to Atkins' RB projects. They are techno not for what they make, but for who they are and what they *made*. But they didn't make it all alone, in anyone's basement. They made it in the context of a city, and a specific scene, at a particular cultural moment. All of which deserves to be remembered, and explained. I do hope they do a good job of it. -marc At 12:33 PM -0800 11/20/02, ed612313 wrote: so you think eddie fowlkes deserves to be mentioned along with the other three? if he does, then so do about another 10 artist! story of how Juan Atkins, Eddie Fowlkes, Derrick May and Kevin Saunderson, four young men from metro Detroit, created and developed this electronic style of dance. what has eddie done to get this sort of mention? An originator? stick to 3 peace ed - Original Message - From: Tristan Watkins [EMAIL PROTECTED] To: 313 313@hyperreal.org Sent: Sunday, November 17, 2002 11:41 AM Subject: (313) Fw: Techno: Detroit's Gift to the World Optic Studios just sent this out, and I figured this would be something essential to post here. Seems like this is something that's been talked about for a long time and has finally happened. Great to see Eddie Fowlkes name in the same breath as the other 3. Nice that if there's a DEMF this year, this exhibit will still be on then. BTW - I finally got the 3MB feat. Eddie Flashin' Fowlkes album on Tresor, mostly just for Illuminism. I'd only heard the Sun Electric edit of this track on the Tresor 2 comp until now, but damn the full version is even better! Tristan LINK http://www.detroithistorical.org/exhibits/index.asp?MID=368 Techno: Detroit's Gift to the World January 2003 - June 2004 Detroit Historical Museum's Stark Hall History is often thought of as a series of events that occurred a very long time ago. The truth is, history is also what happened yesterday, five minutes ago, and in fact, today's events will be tomorrow's history. With this in mind the Detroit Historical Museum has partnered with the originators of Techno to share the story of their music. This groundbreaking exhibit will trace Techno's early beginning from its Detroit roots to its emergence as a global sensation. An ambitious new exhibit - the world's first on the subject -- that celebrates a style of music born in Detroit that has kept the world dancing for more than 20 years. Learn the straight story of how Juan Atkins, Eddie Fowlkes, Derrick May and Kevin Saunderson, four young men from metro Detroit, created and developed this electronic style of dance music and trace its early beginnings from local Detroit clubs to its emergence as a global sensation.
Re: (313) Fw: Techno: Detroit's Gift to the World (correction)
Correction: in my last message, I meant to say Scott Sterling not Sterling Silver heh. call it a Freudian slip. -m
Re: (313) 8-Mile
that's an excellent thing to read, sean -- the media coverage of 8 Mile, even well beyond Detroit, has been really outrageous. Witness the appearance of Eminem on the cover of last Sunday's New York Times Magazine. The studios couldn't *pay* to get that kind of treatment. And I have to say, the Times article not only made me want to see the movie, but my wife, who's not usually real interested in **anything** from the hip-hop side of the world, wants to go, too. So it's good to hear a positive review here. And it's great that the plot doesn't get all Hollywood. cheers, -marc so. I went to see 8Mile yesterday (okay. first showing on opening day. I know. I'm a geek :^). It's actually a much better movie than I expected it to be, and it doesnt end with the typical Hollywood ending I was expecting either. It actually breaks away from the Purple Rain formula hinted at by the trailers. From the trailers for the movie, 8Mile looked like it would be a rags to riches slash boy meets girls story, but instead delivers an artist coming out of his shell and into his own story. Whatever your feelings about Marshall are, this movie has its moments of brilliance only when he's on screen doing what he does best: rhyming. I dare anyone not the cheer him on at the movies finale. sean - Original Message - From: Cyclone Wehner [EMAIL PROTECTED] To: 313 Detroit 313@hyperreal.org Sent: Saturday, November 09, 2002 7:16 AM Subject: Re: (313) 8-Mile I have an interview CD from Universal Music and he elaborates and says he never liked techno, and remembers it all over Detroit radio, etc, so he knows what he's talking about. He says it's his personal taste - not that he's 'anti-techno' just that he never got into it. It's a shame he can't differentiate Moby from Mills, but... Have to give Eminem props for his production, his beats on that soundtrack were really good. Inbox Message From: T.J.Johnson [EMAIL PROTECTED] Subject: Re: (313) 8-Mile Date: 09/11/2002 12:24:33 To: [EMAIL PROTECTED] CC: [EMAIL PROTECTED], 313@hyperreal.org yeah, but he's referring to Moby, so I don't know if he even knows that he is not dissing techno... [EMAIL PROTECTED] wrote:
Re: (313) 8-Mile - Detroit music history
dear techno -- It's nice to see you can couple a good, fresh insight to a troll. Because you're right -- the old-school elitism of the NW side GQ cliques was very palpable, and has been documented well in interview sources. Your reminder even makes the self-justifying marginalization of disagreement implicit in your original post much more bearable. But doesn't this also mean it would be more Detroit techno of us not only to disagree, but also to withhold more information? If so, I will continue to do so, and shut up now. -marc At 6:46 PM -0600 11/8/02, techno wrote: Of coure the elitist will disagree with me on this. At 8:38 PM -0500 11/8/02, Lee Herrington IV wrote: does the elitist post to this list? At 11:05 AM -0600 11/9/02, techno wrote: Yes and they do not always share information. Elitism has always been a part of Detroit techno and underground dance music culture a social and political aspect to the music.
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(313) Metro Area in today's New York Times
Making Something New Out of Dance Music's Past By KELEFA SANNEH LAST year, disco and new wave underwent a dance-floor revival, as electronic producers mimicked the pop songs they had grown up loving. Smart, beguiling albums by Daft Punk and Felix Da Housecat paid exuberant (if tongue-in-cheek) tribute to the sounds of the late 70's and early 80's. An enterprising promoter gave this new old sound a name - electroclash - and organized a three-day music festival in New York last October to celebrate the genre. The 2002 Electroclash tour started in New York earlier this month and ends on Tuesday in Los Angeles. Darshan Jesrani and Morgan Geist, the two producers who make music together as Metro Area, seem personally offended by the swift rise of electroclash, and they hope its fall will be even swifter. It's weird seeing people take something that could be really important to you and turn it into this ironic, cool fashion, Mr. Geist said. The duo's debut album, Metro Area, was released last week by Environ Records (the label run by Mr. Geist), and it's proof that an obsession with pop history need not lead to imitation. Metro Area is one of a number of new acts creating abstract dance music that gestures toward the rhythms of disco and new wave. The two producers, both 29, grew up outside New York City: Mr. Jesrani in upstate New York and Mr. Geist in New Jersey. When they met, in the mid-90's, they discovered that they had both found electronic music the same way: by listening to rock 'n' roll. I heard `Tom Sawyer,' by Rush, with an electronic intro, Mr. Jesrani recalled. And that led me into Devo, Thomas Dolby. Similarly, Mr. Geist noticed that lots of progressive-rock records used electronic sounds as sound effects. So I just focused on the sound effects, he said. Soon they were discovering hip-hop, R B and club music, but they concentrated on the little things: the amount of reverb on a kick drum, the timbre of a particular synthesizer. Working together in New York City in the mid-90's, they developed a simple, meticulous style. When they sample an old record, Mr. Geist said, they don't swipe a chorus or even a bar - they swipe a single drum beat, using that snippet to create a new rhythm. The tracks they create are sleek and skeletal, like old-fashioned dance music with the vocals - and nearly everything else - taken out. Mr. Geist explains the group's approach by referring to the Jamaican-born technique of dubbing, in which a producer remixes a song by removing virtually everything except the beat and the bass line. We consider ourselves to be making dubs of old tracks that never really existed, he said. This process may sound clinical, but the music itself doesn't. Starting in 1999, Metro Area released a series of four 12-inch singles; six tracks from the series appear on the album. Like most electronic producers, the members of Metro Area are D.J.'s, too, and that gives them a chance to observe firsthand which tracks dancers love. They are hosts of a get-together called Party Out of Bounds, which takes place on the second Thursday of each month at the nightclub APT in the meatpacking district. The Metro Area album is highly danceable, and highly listenable, too. The tracks bear out Mr. Geist's assessment: they sound like extended remixes of pop records you've never heard. Piña, one of the group's earliest tracks, uses four electric piano chords to tie together all the sounds that wander in and out of the mix: snapping fingers, conga drums, echoing sound effects. Part of the trick is to make the music sound less busy than it actually is. A number of musicians contributed to the album, including a flutist and a string quartet, but the producers use them judiciously: an instrument might add a few small phrases and then disappear for a few minutes. Using a system of gradual substitution and evolution, the producers ensure that no two bars sound the same. In dance music, every act must belong to a subgenre, and every subgenre must have a name. So what do you call whatever it is that Metro Area is doing? The German record label Force Inc. has an idea: a Metro Area track appears on the label's new compilation, Digital Disco. Not surprisingly, Mr. Geist doesn't love the name. Unfortunate title, he said. Still, Digital Disco brings together a number of electronic producers who are making adventurous disco-influenced music. One of the most interesting producers on the compilation is Marc Leclair, from Montreal, who records as Akufen. The first Akufen album, My Way (Force Inc.), was released earlier this year, and it shows off an impressive technique Mr. Leclair calls microsampling: he stitches together kicky, playful tracks from tiny, unrecognizable fragments of sound. The British producer Brooks finds a different way to pay tribute to his influences. On his excellent debut album, You, Me and Us (Mantis), he reimagines disco as an eerie, seductive genre, full of propulsive rhythms and unexpected
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Re: (313) Derrick May - The Mayday Mix
Now if only it were easy to *get* this disc heck. -marc At 2:52 PM -0500 10/15/02, [EMAIL PROTECTED] wrote: Holyfunkola! love love love this disc good thing half the office is going to be out today - I can dance around now!
Re: (313) Dan Bell sample
okay, you guys are dead-on. but where did Shakir get the quote? Who is speaking? -marc At 12:29 AM +0100 10/10/02, Tristan Watkins wrote: - Original Message - From: Matthew MacQueen [EMAIL PROTECTED] To: [EMAIL PROTECTED] org [The Music Institute] (E-mail) 313@hyperreal.org Cc: Tristan Watkins [EMAIL PROTECTED]; marc christensen [EMAIL PROTECTED] Sent: Wednesday, October 09, 2002 11:49 PM Subject: RE: (313) Dan Bell sample I always figured it was the intro to the Shake track 'Detroit State of Mind', since he fades out to it and the tempo drops so much... err wait, sounds like I have the wrong Shake release then.. [[OOPS]]. Is this track from 'Waiting for Russell' on Frictional, then ? sorry! Per the fine work at http://www.twoplayer.co.uk/shake/, you are correct, sir! Waiting For Russell it is. Tristan = Text/Mixes: http://phonopsia.tripod.com Music: http://www.mp313.com Contact: [EMAIL PROTECTED]
Re: (313) what was the first techno record ever?
At 9:40 PM +0200 10/10/02, Maarten Baute wrote: or it would be a cybotron .. liek clear ... or a numer of names - sharivari both ´82 and Maarten's correct, these are both usually credited as being the first techno records. Despite the fact that when they came out, there wasn't any descriptive term that matched the sound. Soon, it would be widely considered Detroit House though it's not really fair to use that term, since it implies that Detroit got its sound from Chicago, which isn't a particularly accurate way to look at it. when did the start to use the term techno anyway? I think it first appeared on the techno, new dance sounds of detroit compilation on 10. indeed, it's the byproduct of the marketing hype to move the sound into Europe. as of 1990-2, you could ask the old school freaks what techno is, and they wouldn't know. but they'd been to the parties, and knew the sound. the terminology comes after the sound. -marc
(313) Dan Bell sample
anybody know who the heck Dan Bell is sampling between the last two songs of his Globus 4 -- Button Down Mind -- Mix album? the quote: for those of you don't know much about me, i'm from Detroit, the Black Power capital of America. Some of y'all don't dig the term Black Power, well, let me put it this way, I'm from the city from which tan energy emanates -- Black Power. 'Course a lot of us, even in Detroit, got so hung up on Black that Power shot clean on past us.\ Thx in advance, -marc
Re: (313) Whitney V Krafwerk bootleg
At 8:13 PM +0200 10/4/02, Maarten Baute wrote: Isn´t Richie Hawtin a player hater (at times)? He used to diss Dave Clarke for playing zombie nation - kernkraft 400... Richie would be a funny Janus-faced playa-hata' at that, since he's probably the most simultaneously adored dissed techno DJ/producer since Jeff Mills (who is, i think, still the most polarizing force in 313-discussions -- either you worship his stuff or you think he's terribly overrated). But y'know, at least Jeff Mills never (to my knowledge) openly dissed anybody for what they chose to put in their sets. And as popular (and wealthy) as Hawtin is, you'd think he could afford to buy himself some magnanimity. (*IF* he actually dissed Dave Clarke, which I never read before or heard him say.) -marc
(313) test
trouble posting, please ignore
Re: (313) George Clinton Answers Techno#8217;s Greatest Question
At 8:42 AM +0200 10/1/02, [EMAIL PROTECTED] wrote: Legendary funkateer George Clinton has finally revealed what he thought of Derrick May#8217;s classic description of Detroit techno as sounding like George Clinton and Kraftwerk stuck in an elevator, in typically robust fashion. Speaking to Australian journalist Cyclone recently, he chuckled when asked what he'd really create if he genuinely got stuck with the Germans in the aforementioned lift. I'm sure that quote probably ended up annoying George C. as much as it probably annoyed everybody in the 313 for its all-too-frequent repetition. Unfortunately, with all that has been said about techno, it was this comment that always made the final print. and usually without the with only a sequncer to keep them company proviso. sheesh, the comment's more than ten years old. let it die. let it die. -marc -- NRR. have folks seen the HL server at det.servemp3.com? -- _ In the U.S. you have to be a deviant or exist in dreary boredom. Make no mistake; all intellectuals are deviants in the U.S. -- William S. Burroughs, Yage Letters (1963)
Re: (313) George Clinton Answers
At 11:55 PM +1000 10/1/02, Cyclone Wehner wrote: From Derrick's standpoint, I think in interviews he has always been someone who carefully thinks about what he says because he knows it's for prosperity. I think the longevity of that one quote has certainly added to May's historically-conscious introspection. Not that he wasn't a thoughtful and articulate guy before, but that quote has just been beat like a dead horse. Does that quote really annoy anyone? I would be interested to know. The annoying thing about it at this point is that every time i see it in print, i ask: couldn't they put something fresher in here? can't they get a writer who can do a little bit of real *work* on their topic? Imagine how much fun XLR8R would be to read if each and every issue had to run that quote just one more time. I've got little against the quote itself (except that one reading of it overemphasizes the specificity of the Kraftwerk influence, which Simon Reynolds uses to pretty directly diss detroit). I object to its mass republication-as-oversimplification. -marc
Re: [313] Drexciya and the DEMF
Amen, Fred, Amen. -m At 4:08 PM -0700 4/15/02, Fred Heutte wrote: My sense is that Dan has it exactly right. The selection board did its job, and the follow-through wasn't there. No surprise. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Technical Question
Alex- this is a more problematic (and contentious) issue than you perhaps know. Streambox ripper is a program that used to do this -- but they had legal problems exactly because it could rip mp3s from streamed audio (which goes against the intent of the streaming thing not depriving the owner of ownership). The last version that could is (i believe) 2.0.09, which is no longer available for download. What's worse (for me) is that it doesn't run on a Mac! It's a dreaded PC-only program. Good luck! -marc At 2:43 PM + 3/28/02, [EMAIL PROTECTED] wrote: Memo from Alex Bond of PricewaterhouseCoopers Start of message text Right, I've been trying to get a copy of a few things that are on the net in Real Audio format burnt on to CD. Does anyone know how to do this? I only have a computer at work so it'll have to be some sort of software. Failing that, if anyone has a copy of these mixes on CD, I would gladly pay someone to burn me a copy My most wanted are as following; TEE SCOTT from deephousepage.com KENNY DIXON JNR from Groovetech DEMF archives THEO PARRISH from Groovetech DEMF archives RON HARDY from deephousepage.com (any of the ones that aren't mp3) Thanks, Alex. - End of message text This e-mail is intended only for the person to whom it is addressed. If an addressing or transmission error has misdirected this e-mail, please notify the author by replying to this e-mail. If you are not the intended recipient you must not use, disclose, copy, print or rely on this e-mail. The principal place of business of PricewaterhouseCoopers and its associate partnerships is 1 Embankment Place, London WC2N 6RH where lists of the partners' names are available for inspection. All partners in the associate partnerships are authorised to conduct business as agents of, and all contracts for services to clients are with, PricewaterhouseCoopers. The UK firm of PricewaterhouseCoopers is authorised by the Institute of Chartered Accountants in England and Wales to carry on investment business. PricewaterhouseCoopers is a member of the world-wide PricewaterhouseCoopers organisation. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. Visit our website http://www.pwcglobal.com The information transmitted is intended only for the person or entity to which it is addressed and may contain confidential and/or privileged material. Any review, retransmission, dissemination or other use of, or taking of any action in reliance upon, this information by persons or entities other than the intended recipient is prohibited. If you received this in error, please contact the sender and delete the material from any computer. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Blade II (OT)
At 2:27 PM -0500 3/23/02, Lester Kenyatta Spence wrote: the soundtrack is supposed to meld hiphop with electronica artists. just imagine if ice cube was with carl craig instead of whomever... funny -- as if carl craig *needs* ice cube to do hiphop. sorry, but i pointed out in print when it came out that the musical ghost behind innerzone *PROGRAMMED* was hiphop -- not jazz, as had been previously expected, based on bug in the basebin. i'm not meaning to diss craig or jazz or hiphop here -- only to point out that craig already knows how to do crossover. speaking of funny crossovers, maybe carl and ICE T could get together instead? like a carl's innerzone meets ice t's body count project? now *that* would be funny!!! my OT (and hopefully funny) .02 -marc NP: Ice T's _Power_ (I'm your pusher) -- sorry, but i've always liked this album, and not just because he hilariously puts down LL Cool J. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Interesting Indeed
At 10:27 AM -0500 3/11/02, Lester Kenyatta Spence wrote: Did you read the full article? The reason is clear enough whether true or false. May allegedly did it to prevent the sale of the festival to a foreign entity. And clearly, where most are concerned, Carol Marvin counts as a foreign entity. (laugh track, please) -m. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Interesting Indeed
Indeed, though *most* of what you've said is correct, the first point -- that the name is inconsequential -- is the only one under real question. let's not forget that the other big 3-day festival (jazz, you know, during whichever one of those labor day/memorial day weekends isn't in may and is in september, right?) built an *enormous* international reputation, and generated almost as much foreign tourism to detroit, and almost as many festival attendees, as the DEMF did in its first year. and what is that festival called now? i can't remember anymore, now that it's not montreaux. i mean, i'm serious -- no one knows what the name is. but ask anyone connected to detroit's rather limited tourism industry (with the exception of the boileau dude, right?) and they'll tell you that the lack of the name hurt international tourism for the jazz fest. at least for the first two years. and, BTW, let's not forget that teh way the freep article was written, May gets only six or seven words to give his framework for the suit. and any six or seven words that end and begin with the possibilty of the DEMF being bought by a foreign concern are gonna sound like the rantings of someone who's a little paranoid, or just into getting promotion. until you remember what happened to that other festival. you know. whatever its name is now -- i can't remember. cheers, -marc At 10:42 AM -0500 3/11/02, [EMAIL PROTECTED] wrote: the name is rather inconsequential. the city of detroit owns hart plaza the city of detroit fronts the money for the festival (it is later paid back by the sponsors) the city will decide who gets the contract next year. this strikes me as a publicity stunt. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Interesting Indeed/ DetroitJazzFest
at once, this kind of both misses the original point (about the loss of the montreaux name) and displays the difficulty of finding accurate info (especially on self-serving internet sites). the piece of info below sounds like it was written by a Detroit Renasissance emplyee, simperingly gushing over the magnamity of his boss, rather than waxing poetic over Gillespie or Miles or even Brubeck. Not coincidentally, I don't believe that Gillespie or Miles or Brubeck ever played ath the Detroit Jazz Fest. They all played at Montreaux. Same place, same weekend, different years. Which the detroitjazzfest site surprisingly doesn't mention. At all. Shame, shame, shame. You'd think it was run by a Carol Marvin history-bending leech, instead of the well-adjusted corporate hack McCabe. ah well. -marc At 4:28 PM + 3/11/02, xx xx wrote: Festival History / 1980-2001 http://www.detroitjazzfest.com/ Takes place during the labor day WE. The Detroit Jazz Fest was conceived as an effective means to combat the challenges facing the city in the late 1970s. Its creators believed that this world-class cultural event would bring both people and positive media attention to downtown Detroit, which was suffering from dwindling populations, businesses and visitors. From its birth in 1980, the festival attracted hundreds of artists and hundreds of thousands of visitors to Hart Plaza, Detroit's beautiful riverfront park, each year. The combined effect of the outstanding programming, great family activities, unsurpassed educational offerings and exceptional setting resulted in an international reputation for excellence. In 1994 this legacy and all it meant to the area was endangered when its founder, Detroit Renaissance, refocused on its core mission of economic development. Special events like the jazz festival would no longer be a part of the southeast Michigan community life unless other organizations adopted them. Detroit's Renaissance president, Robert E. McCabe (also known as the Godfather of Detroit Jazz), approached Music Hall Center for the Performing Arts, a non-profit historical theatre in downtown Detroit, urging them to take on this massive, but rewarding project. The artistic tradition and significance to the community motivated the trustees to add the festival to Music Hall's annual line-up of theatre, dance, music, family and comedy presentations. From: [EMAIL PROTECTED] To: marc christensen [EMAIL PROTECTED],[EMAIL PROTECTED], marc christensen [EMAIL PROTECTED] CC: Lester Kenyatta Spence [EMAIL PROTECTED],Jongsma, K.J. [EMAIL PROTECTED],'313@hyperreal.org' 313@hyperreal.org Subject: Re: [313] Interesting Indeed Date: Mon, 11 Mar 2002 11:18:30 -0500 hey when IS that jazz festival? I saw dizzy gillespy (sp?) there when I was a kid and would like to go back for some live jazz :) -Joe Indeed, though *most* of what you've said is correct, the first point -- that the name is inconsequential -- is the only one under real question. let's not forget that the other big 3-day festival (jazz, you know, during whichever one of those labor day/memorial day weekends isn't in may and is in september, right?) built an *enormous* international reputation, and generated almost as much foreign tourism to detroit, and almost as many festival attendees, as the DEMF did in its first year. and what is that festival called now? i can't remember anymore, now that it's not montreaux. i mean, i'm serious -- no one knows what the name is. but ask anyone connected to detroit's rather limited tourism industry (with the exception of the boileau dude, right?) and they'll tell you that the lack of the name hurt international tourism for the jazz fest. at least for the first two years. and, BTW, let's not forget that teh way the freep article was written, May gets only six or seven words to give his framework for the suit. and any six or seven words that end and begin with the possibilty of the DEMF being bought by a foreign concern are gonna sound like the rantings of someone who's a little paranoid, or just into getting promotion. until you remember what happened to that other festival. you know. whatever its name is now -- i can't remember. cheers, -marc At 10:42 AM -0500 3/11/02, [EMAIL PROTECTED] wrote: the name is rather inconsequential. the city of detroit owns hart plaza the city of detroit fronts the money for the festival (it is later paid back by the sponsors) the city will decide who gets the contract next year. this strikes me as a publicity stunt. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED
Re: [313] 313 pops up
At 6:21 PM -0800 2/22/02, Dan Sicko wrote: hehe. you'll see it everywhere if you try indeed. it's quite frightening, once you're tuned into the numerology. when we stayed in Edmonton, Alberta (which reminded me a *lot* of suburban detroit - yowch!), the hotel we stayed at inexplicably had NO room 313. No other apparent omissions, but no 313. A week before, we stayed in room 313 at a brewpub hotel an hour north of Vancouver. Coincidences? or just FATE? =^0 -marc NP: my imaginary background music for this thread: a martian/red planet remix of the theme from the twilight zone -- dee dee dee dee THUMP-DA! ... dee dee dee dee THUMP-DA! -- with those weird aqueous drexciyan waveforms floating eerily behind the surfaces of the twilight zone drone... At 6:21 PM -0800 2/22/02, Dan Sicko wrote: hehe. you'll see it everywhere if you try In my daughter's book Officer Buckle Gloria, it says Officer Buckle told his safety tips to 313 schools. -d At 10:44 PM +0100 2/22/02, W Lammerts wrote: At my office I am printer on this brand new HP 8550 printer, the internal code name for it is AMSBOP313... Coincidence? W - Original Message - From: Giles Dickerson [EMAIL PROTECTED] To: 313@Hyperreal.Org (E-mail) 313@hyperreal.org Sent: Friday, February 22, 2002 10:37 PM Subject: [313] 313 pops up I don't know if anyone's played Max Payne (rpg game for ps2, etc.) but = I was sneaking up a stairwell on my way to make a mafia hit in a seedy = redlight district hotel and there he was in room 313. Coincidence? - Giles D I G I T A S // B O S T O N -- Giles Dickerson Art Director 800 Boylston Street Boston, MA 02199 -- mobile 617 899 9635 office 617 369 8601 - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Deze e-mail is door E-mail VirusScanner van Planet Internet gecontroleerd op virussen. Op http://www.planet.nl/evs staat een verwijzing naar de actuele lijst waar op wordt gecontroleerd. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] UR at Porter Street
Shame on you for making me even more homesick than i already was! I used to live five blocks from porter street (that's two blocks from Parabox, mind). Now i live about 5,000 km away! i can't believe i moved. -marc At 2:57 AM -0500 2/22/02, Alexandres Lugo wrote: This was by far one of the best shows I've seen in Detroit in a long time... Shame on anyone living in Detroit for not seeing this. Porter Street has it going on ...recognize... Even Mad Mike and Pennington was having a good time! Eric was there as well (DJ Bone) I know a lot of people on this list are not in Detroit but those that are have no excuse...let's do this...! Peace, Alex www.fulcruminn.net - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] unpaid DEMF bills (was: Never mind the bollocks...)
Anyone know whether this is true, that the sound bill hasn't been paid? If true, can anyone give me a contact name # for that company. I'm also looking for verifiable cases where acts had to shell out their own cash for hotel rooms, etc., which were to have been covered by the DEMF/PopCulture folks. In short -- if the media hasn't mentioned this yet, we can correct that, folks. Email me privately, please. -marc christensen At 11:53 AM -0500 2/18/02, scotto you know wrote: From: Kent williams [EMAIL PROTECTED] Interesting to see if they can get anyone to do sound, since they apparently haven't paid the bill yet for the last two years. Not to mention all the artist reimbursements that slipped their minds. I'm very curious as to why the media has not menchened this? maybe the city should hire a cpa? see where the money for the artist has gone. _ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] the Music Institute
Dan LKS- it doesn't help the 1315/1515 confusion factor that Chris J. (like i can spell a last name with two nonsequential zs in it!), who owns 1515, was also around parties way *before* 1315 hosted the MI (which was two blocks away). Dan's book hits on that relationship. NRR: The opera house parking garage sits on a block between both locations, accounting for all the 14xx addresses, including a people mover station, a printshop, and a wall street journal subscription delivery pick-up location. I worked in two of these businesses at one time or another. Cheers, -m At 7:03 PM -0800 2/17/02, Dan Sicko wrote: (in reply to Lester Kenyatta Spence's posting) in fact...it was ALWAYS at 1315. got numbers wrong. Right ... I guess I always counted the parties at 1515 in with the M.I. aesthetic. I don't remember how long the crowd hung around that block of Broadway before the whole thing fizzled out. -d - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] any mention of Carol Marvin = trolling
there probably aren't four people on this whole contentious list who will defend Carol Marvin. hopefully, we can all accept that mock-praise in her name is just trolling, ignore it, and get on with other topics. cheers. -m. Slated for release this week, a hearty congratulations to those who will be accepting a committee position in order to help Carol Marvin keep the magic going. Way to go team! Your 2002 DEMF Selection Committee! Kelli Hand DJ Bone Alan Oldham Mike Grant Mike Huckaby Eddie Fowlkes Juan Atkins One can only hope that this group of lucky individuals will make use of this opportunity to further their career based on the efforts and artistic vision of others! Just think, Kelli Hand can do another volume of Detroit history, DJ Bone can earn enough to officially change his name to Mike Banks, and Eddie Fowlkes can continue to do whatever it is he does in LA. I'm personally looking forward to the added bonus that maybe Juan Atkins will have a reason to actually show up on time, if at all! I'm psyched! - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] test, please ignore
test - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Ishkur's guide to electronic music
but lauryn g obviously didn't explore the site far enough to find this: http://ishkur.com/exposes/articles/t1000.htm for *this* list, i'd claim this page as funniest. -marc At 10:33 AM -0500 7/26/01, miss lauryn g wrote: that...HANDS DOWN...was the funniest thing from the site. ;) - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] kenny larkin mixes (and others)
Does this mean that the main stage performances from DEMF 2001 *ARE* available for listening somewhere? (Where, where, where?) -marc At 4:38 AM + 7/14/01, Michael Kim wrote: unfortunately, Kenny and Stacey weren't broadcasted on the main stage so you can't listen to their sets. also unfortunately, neither was Glenn Underground or TP. Mike - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
