Re: (313) The instant globalisation of music?
lest anybody should get the wrong impression--hot 97 bascially plays the most commercial pap imaginable (think endless slow jams for the 'ladies') interspersed with equal time given to ads. they used to have frankie knuckles spining from 2-4 on saturday nights. i have a pile of great tapes. but that was a few years back now. let me take the chance to say radio sucks in new york. Agreed, Hot 97 is disappointing now. I used to listen to it all the time as well, then it faded to just Old School At Noon and Funkarama Thursday nights. Now I can't take it, it's the same shit over and over and over. Talk about getting programmed... I do have to say 98.7 Kiss can be sweet. It was most amazing a few years ago when Roger was still alive and doing his Uptown Saturday Night right into Jay Mixin' Dixon's Kiss Club Classics. I have a ton of tapes from then. It's since been replaced by the Allen brothers doing Saturday Night House Party which can be really good but also lame in spots - which Roger's show never was. However Saturday nights bring out a lot of amazing music - some pre-techno Detroit-style sounds, like Was Not Was, Kano and Kraftwerk. environ * 73 mandeville drive * wayne, NJ 07470-6566 * USA [EMAIL PROTECTED] * http://www.webspan.net/~environ
Re: (313) The instant globalisation of music?
In a message dated 2/10/00 7:05:04 PM, [EMAIL PROTECTED] writes: With any top radio format I just think there's more hoops to jump through and also less of a language barrie with techno than hip-hop where alot of the phrases and slangs might not translate. You'd be surprised. The biggest mainstream music worldwide (no matter what the music business would have you believe) is Rap/RB (note I don't say hip-hop). Whenever you have Japanese kids whose only English they know is the lyrics of a Method Man record (see the movie The Show) and Japanese girls who fry their hair and go to tanning booths to look like Brandy, I'd say the language is universal. There are kids from Australia who talk more black than I do because of the records. Back to techno music. Having put out my own records since '92, I'd say its globalization has grown right along with faster overnight shipping companies like FedEx and DHL, the Internet and Watts Music being the only distributor of any real consequence (not to dis Nemesis, Hardwax, et al). Having a hot-ass track doesn't hurt either. a.
Re: (313) The instant globalisation of music?
I think Cyclones statements below should be taken as relating to the eastern states. With perth Ben Stinga is on the job at Complex records and we get stuff at the same time the rest of the world does. Its all imports of course... Josh In Australia it comes down to the majors not having a clue about how to market urban music. The base for urban music is working class and ethnic and the labels are mainly staffed by people of Anglo backgrounds into rock. The urban kids do buy stuff on import and huge sales are lost. Dance releases are often delayed too. By the time Inner City's Good Life came out through Festival last year, they had lost the momentum in the clubs. With local pressings it is sometimes a scheduling and fiscal thing - Donell Jones' LP is about to drop now but that is because it's a quiet time of year release-wise and less likely to get looked over. __ Get Your Private, Free Email at http://www.hotmail.com
Re: (313) The instant globalisation of music?
- Hiphop and rb are much more controlled by major labels. They probably have a marketing strategy in which this lag is purposefully built in. The rationale for it is unclear to me though. I think this is about right. I had a friend who lived in europe last summer and he told me that the commercial dance tracks there are around before the blow up here. He had a few examples of songs you might hear on mtv or commercial crap radio (93.1 in detroit for example) whose names I don't know or care to know but we all would recognize. One that comes to mind is that La Da Dee La Da Da one that you hear all over which he said was like the song of the summer over in germany even though that was a while before it got drilled into skulls of americans. I've been told before that many of the shitty dance pop tunes (you know like in the venga boys, aqua, la bouche vein that get put on the sorrority girl friendly dance mix comps you see advertised on tv which some misguided souls might call techno) are popular in europe months or more before they get radio play in the US. So I've just always figured that the record companies program their hit computers like this. Since dance music has more commercial success in Europe that's like the test market to see if it will be worth releasing in the US. What you've said reaffirms my belief, they probably test hip hop and RnB for success in the states. fuck 'em all _joe
Re: (313) The instant globalisation of music?
...Old Skool Jams has gotten me through many a work day. Anyway on the globalization subject I also think its because the techno (what ever the hell you wanna call it:) community is smaller, more intertwined. A DJ gets a white label from his own or a friend,plays it out, it gets heard and people go the next and start asking for it or the said DJ passes some whites around. Word of mouth travels fast, even faster if he's given copies to his buddys who are traveling/playing it more at diff't venues around the globe. Then you count in that you are dealing with less label and distribution hoopla because the sources are smaller and are therefore going to be able to respond to the audience faster. With any top radio format I just think there's more hoops to jump through and also less of a language barrie with techno than hip-hop where alot of the phrases and slangs might not translate. ...just a thought. diana __ Get Your Private, Free Email at http://www.hotmail.com
Re: (313) The instant globalisation of music?
In a message dated 2/10/00 3:52:40 PM, [EMAIL PROTECTED] writes: Anyway, about Hot97: I was in NYC from July-September last year and listened to it quite a bit. One thing that struck me in the last one/two months or so, is the number of hiphop and rb tunes that are new in the charts or on the radio here in the Netherlands (and I presume in most of Europe) that were in heavy rotation on Hot97 three to six *months* earlier. Some examples, some slighty more recent than others: Donell Jones - U know what's up (v. good rb tune, btw) Montell Jordan - Get it on tonite (ditto) ODB - Baby I got your money 702 - You don't know (313 relevance courtesy of TP: Mark Kinchen produced this) Kelis - Caught out there aka 'I hate you so much right now' This several-month-lag between the US and Europe surprises me. Otto, With some of the music you just mentioned, it's critical that commercial rb/rap like that get sales momentum in the States before a European release is justified. This explains the time lag. When I was in Rotterdam watching MTV and that new Dutch music channel, it was like I never left the States. Destiny's Child, Foxy Brown and Jay-Z with the occasional Eurotrashdisco track (Alice Deejay's I Want You Back In My Life became the unofficial theme song of the whole trip) to remind me I wasn't still in Detroit, music-wise. VIVA and VIVA Zwei (GER) are my favorite European music channels. Also consider that the acts you just named would probably be considered second or third-tier at best. Puff Daddy's album was available worldwide on the same day or within the same week (for all the good it did him). Will Smith's Willennium also. Kelis is gorgeous, isn't she ? She can hate me all she wants. a.
