Re: [313] Mo' Ghetto Tek
However, I feel that ghetto tek may be selling more in Australia than previously because, as with hip-hop and electro and some two-step, it fits into the 'nu skool breaks' scene here, which has marginalised progressive. So the local breaks DJs are playing it. Yeah New school/ bigbeat dj's here in Canberra (a small town that happens to be the capital of Australia for overseas people) have been buying ghetto tech by the bucket load. I heard an assualt track being dropped after a fat boy Cr*p (slim) track a few weeks ago. It just seems totally bizzare that all these people who like really bland music are digging it. Godfathers playing at a stock jeans fashion parade here in two weeks time at the National Science and Technology Center (weird i know) so I'll see what happens after they hear it played how its meant to be. Another thing a friend of mine who likes new school breaks commented Man this is an awsome new school track after i played mirage by perception laterz Sam --- Cyclone Wehner [EMAIL PROTECTED] wrote: Some interesting thoughts. Correct me if I am wrong, but I think the general industry perception is that two-step has failed to 'crossover' beyond the UK. Two of its most auspicious acts, Craig David and Ms Dynamite have cut more RB inspired efforts. Two-step, like ghetto tek, has a boutique, underground appeal in these parts. However, I feel that ghetto tek may be selling more in Australia than previously because, as with hip-hop and electro and some two-step, it fits into the 'nu skool breaks' scene here, which has marginalised progressive. So the local breaks DJs are playing it. __ Do You Yahoo!? Yahoo! Finance - Get real-time stock quotes http://finance.yahoo.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Mo' Ghetto Tek
Or they misunderstand the meaning of 'skills' I remember reading a UK magazine (perhaps DJ) a while back naming the top 50 DJ's in the world, Paul Oakenfold won which says it all really. I don't think that says anything. If you did the same poll in any other country you'd get similar results. Techno fans appreciate deck skills more than trance / prog fans, but then Techno fans are in the minority of clubbers in a lot of countries. That's why you'll never see Jeff at no.1 in a DJ / Muzik poll. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] Mo' Ghetto Tek
Thanks for all the great Ghetto Tek leads. DJ Godfather is making his first trip to Oz, hence my research. Why do you all think that Ghetto Tek has not crossed over (ie left its geographic base) in the same way that techno has? Miami bass hasn't either really - though Khia's My Neck has blown up lately across the US into the Billboard charts (such a great song)... I guess Washington go-go never did either. Yet James Lavelle did flirt with bass on Mo Wax... and occasionally DJs from hip-hop or breaks will drop ghetto-tech. Any thoughts? - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Mo' Ghetto Tek
There are a few reasons Ghetto Tech hasn't crossed over as well as techno: - Its emphasis on DJing skills: outside the US there's less of a culture of respect for a DJ's skills on the turntables. A ghetto tech promoter I work with booked Disco D to play in Brixton, and while the set was technically brilliant most people in the crowd standed around bemused. - Narrow emotional range: when you think about it, you're never going to get a Strings of Life, Someday, The Message or Inner City Life out of the ghetto tech scene; such a track would even cease to be ghetto tech at all. Ghetto tech has far less scope, melodically lyrically and emotionally, than other genres like house and techno, and as a result ghetto tech is unlikely to explode in the same way house and techno did. - You need a crowd that's pretty into taking off their clothes rather than dancing in a semi-ironic way to booty music, and most crowds in the UK are too reserved for that sort of thing... - Lack of understanding overseas: even the most clued-up people outside of the US still have a slightly patchy idea of how to promote ghetto tech. Do you pitch it to the breaks crowd, the techno crowd, the hip-hop crowd, or the drum'n'bass crowd? How do you sell, say, DJ Assault, to people who haven't heard of him? People like Neil Rushton (who was instrumental in breaking Detroit techno in the UK) haven't yet emerged in the non-US ghetto tech scene, so at the moment any promoters are battling a wave of public ignorance. James Lavelle's flirtation with booty came to an end partly because of poor sales and lukewarm response (again, only people who knew who DJ Assault was were buying Belle Isle Tech), but also because the bust-up between DJ Assault and Mr De happened at around the time Lavelle was dealing with them, causing lots of headaches over track clearance and so forth which put him off the whole scene. Also, Lavelle didn't do an amazing job of marketing the booty sound in the UK (as in the previous point) and the DJ Magic Mike album was pretty poor (apart from Drop The Bass of course!). So Lavelle has given up. The current main UK exponents of the sound are Ed DMX (who put out a DJ Nasty record on his label this year) and Andrea Parker (who has had Assault and Godfather collaborate on some new tracks). Miami Bass seemed *about* to blow up when people like Tag Team, 95 South and Sir Mixalot were impacting the UK pop charts in the early 1990s, but it didn't reach critical mass because at the time it was associated more with cheesy novelty hits than with banging dancefloor tracks. I know a kid who tried DJing Miami Bass in the mid-1990s, mainly to black crowds in London, but didn't have much luck and eventually sold all his records. The best thing about the whole booty scene, though, is the diversity of records you can mix in. From Taxi Cab to Planet Rock, Play At Your Own Risk to Jam The Box, Cosmic Raindance to Master Organism, you can pack a lot of historic or obscure tracks into a booty set without necessarily disrupting the flow. Brendan | -Original Message- | From: Cyclone Wehner [mailto:[EMAIL PROTECTED] | Sent: Thursday, August 22, 2002 3:18 PM | To: 313 Detroit | Subject: [313] Mo' Ghetto Tek | | | Thanks for all the great Ghetto Tek leads. | | DJ Godfather is making his first trip to Oz, hence my research. | | Why do you all think that Ghetto Tek has not crossed over (ie left its | geographic base) in the same way that techno has? | | Miami bass hasn't either really - though Khia's My Neck has blown | up lately | across the US into the Billboard charts (such a great song)... | | I guess Washington go-go never did either. | | Yet James Lavelle did flirt with bass on Mo Wax... and | occasionally DJs from | hip-hop or breaks will drop ghetto-tech. | | Any thoughts? | | | - | 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] Mo' Ghetto Tek
Its emphasis on DJing skills: outside the US there's less of a culture of respect for a DJ's skills on the turntables. I don't understand why people think this. Why do Americans understand appreciate mixing technique more than the rest of the world? If you're into hearing DJs then surely in time anyone can appreciate good or bad mixing? There must be millions of Americans that don't know sh*t about mixing - just like everywhere else in the world. Pls explain. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Mo' Ghetto Tek
| -Original Message- | From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] | Sent: Thursday, August 22, 2002 4:16 PM | | Its emphasis on DJing skills: outside the US there's less of a culture of | respect for a DJ's skills on the turntables. | | I don't understand why people think this... | There must be millions of Americans that don't know sh*t about mixing - | just like everywhere else in the world. | | Pls explain. You just have to look at the crowd attendance at, say, a Q-Bert gig in the UK against one in the US. The US spawned a genre of music, hip-hop, where skills on the decks are hugely important to the DJ, and that culture lives on quite strongly there. In the UK, you have to admit, the majority of people rate DJs more on their track selection / PR profile than their deck skills - there's not a lot of pressure on people like Norman Cook or Paul Oakenfold to show off dazzling new deck tricks. But there are indeed groups of people in both the US and the UK who like to see good mixing - it's just that in the UK they're largely confined to the hip-hop scene, and that's why there aren't any British techno DJs who mix like Claude Young, or booty DJs who mix like DJ Godfather. It's not necessarily a good or a bad thing but I do think that raw deck skills get you further in the US than in the UK (unless you're a hip-hop DJ). Brendan - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Mo' Ghetto Tek
are you saying that there are less people who understand the culture of mixing skills outside the US? thats a broad statement Brendan :0) If you mean most a percentage of UK trance - Judge Jules, Seb Fontaine etc listeners have a less understanding than the US then maybe your right but try and be specific as some may feel you are aiming it at there corner of muscial taste. I for one appreciate the mixing skills as I believe mixing is about creating something new not just blending one into the other. But I have to say without your Judge Jules etc..people like Young, Mills etc wouldn't shine so much in our eyes if all DJ's were capable of mixing like them. so thank god we can hear the differences,but then thats why we all sign to the 313 isn't it :0) -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 22 August 2002 16:16 To: [EMAIL PROTECTED] Cc: Cyclone Wehner; 313 Detroit Subject: RE: [313] Mo' Ghetto Tek Its emphasis on DJing skills: outside the US there's less of a culture of respect for a DJ's skills on the turntables. I don't understand why people think this. Why do Americans understand appreciate mixing technique more than the rest of the world? If you're into hearing DJs then surely in time anyone can appreciate good or bad mixing? There must be millions of Americans that don't know sh*t about mixing - just like everywhere else in the world. Pls explain. - 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] Mo' Ghetto Tek
aha you have answered it..apologise Brendan, I was late on my one finger typing then :0) there's not a lot of pressure on people like Norman Cook or Paul Oakenfold to show off dazzling new deck tricks ha ha mate its 30 secs for each Norman Cook track, every mix I hear of his is the same but then some might say it suits that music..same with Oakenfold but yeah its not for me..I want something exciting.. -Original Message- From: Brendan Nelson [mailto:[EMAIL PROTECTED] Sent: 22 August 2002 16:29 To: [EMAIL PROTECTED] Cc: Cyclone Wehner; 313 Detroit Subject: RE: [313] Mo' Ghetto Tek | -Original Message- | From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] | Sent: Thursday, August 22, 2002 4:16 PM | | Its emphasis on DJing skills: outside the US there's less of a culture of | respect for a DJ's skills on the turntables. | | I don't understand why people think this... | There must be millions of Americans that don't know sh*t about mixing - | just like everywhere else in the world. | | Pls explain. You just have to look at the crowd attendance at, say, a Q-Bert gig in the UK against one in the US. The US spawned a genre of music, hip-hop, where skills on the decks are hugely important to the DJ, and that culture lives on quite strongly there. In the UK, you have to admit, the majority of people rate DJs more on their track selection / PR profile than their deck skills - there's not a lot of pressure on people like Norman Cook or Paul Oakenfold to show off dazzling new deck tricks. But there are indeed groups of people in both the US and the UK who like to see good mixing - it's just that in the UK they're largely confined to the hip-hop scene, and that's why there aren't any British techno DJs who mix like Claude Young, or booty DJs who mix like DJ Godfather. It's not necessarily a good or a bad thing but I do think that raw deck skills get you further in the US than in the UK (unless you're a hip-hop DJ). Brendan - 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] Mo' Ghetto Tek
i think you're spot on with the below. in the uk most of the people who go to parties (from my experience) tend to be either mainstream (won't get ghetto tek _ever_, in the same way they wouldn't get jeff mills) or are 'alternative'/hippy/raver types who think booty is not politically correct enough for em to listen to, and therefore missing out on why this stuff is fun. i've played stuff with lyrics in like take it from the back (which is quite mild by booty stanadrds) to a room half full of horrified faces. robin... There are a few reasons Ghetto Tech hasn't crossed over as well as techno: - Its emphasis on DJing skills: outside the US there's less of a culture of respect for a DJ's skills on the turntables. A ghetto tech promoter I work with booked Disco D to play in Brixton, and while the set was technically brilliant most people in the crowd standed around bemused. - Narrow emotional range: when you think about it, you're never going to get a Strings of Life, Someday, The Message or Inner City Life out of the ghetto tech scene; such a track would even cease to be ghetto tech at all. Ghetto tech has far less scope, melodically lyrically and emotionally, than other genres like house and techno, and as a result ghetto tech is unlikely to explode in the same way house and techno did. - You need a crowd that's pretty into taking off their clothes rather than dancing in a semi-ironic way to booty music, and most crowds in the UK are too reserved for that sort of thing... - Lack of understanding overseas: even the most clued-up people outside of the US still have a slightly patchy idea of how to promote ghetto tech. Do you pitch it to the breaks crowd, the techno crowd, the hip-hop crowd, or the drum'n'bass crowd? How do you sell, say, DJ Assault, to people who haven't heard of him? People like Neil Rushton (who was instrumental in breaking Detroit techno in the UK) haven't yet emerged in the non-US ghetto tech scene, so at the moment any promoters are battling a wave of public ignorance. James Lavelle's flirtation with booty came to an end partly because of poor sales and lukewarm response (again, only people who knew who DJ Assault was were buying Belle Isle Tech), but also because the bust-up between DJ Assault and Mr De happened at around the time Lavelle was dealing with them, causing lots of headaches over track clearance and so forth which put him off the whole scene. Also, Lavelle didn't do an amazing job of marketing the booty sound in the UK (as in the previous point) and the DJ Magic Mike album was pretty poor (apart from Drop The Bass of course!). So Lavelle has given up. The current main UK exponents of the sound are Ed DMX (who put out a DJ Nasty record on his label this year) and Andrea Parker (who has had Assault and Godfather collaborate on some new tracks). Miami Bass seemed *about* to blow up when people like Tag Team, 95 South and Sir Mixalot were impacting the UK pop charts in the early 1990s, but it didn't reach critical mass because at the time it was associated more with cheesy novelty hits than with banging dancefloor tracks. I know a kid who tried DJing Miami Bass in the mid-1990s, mainly to black crowds in London, but didn't have much luck and eventually sold all his records. The best thing about the whole booty scene, though, is the diversity of records you can mix in. From Taxi Cab to Planet Rock, Play At Your Own Risk to Jam The Box, Cosmic Raindance to Master Organism, you can pack a lot of historic or obscure tracks into a booty set without necessarily disrupting the flow. Brendan | -Original Message- | From: Cyclone Wehner [mailto:[EMAIL PROTECTED] | Sent: Thursday, August 22, 2002 3:18 PM | To: 313 Detroit | Subject: [313] Mo' Ghetto Tek | | | Thanks for all the great Ghetto Tek leads. | | DJ Godfather is making his first trip to Oz, hence my research. | | Why do you all think that Ghetto Tek has not crossed over (ie left its | geographic base) in the same way that techno has? | | Miami bass hasn't either really - though Khia's My Neck has blown | up lately | across the US into the Billboard charts (such a great song)... | | I guess Washington go-go never did either. | | Yet James Lavelle did flirt with bass on Mo Wax... and | occasionally DJs from | hip-hop or breaks will drop ghetto-tech. | | Any thoughts? | | | - | 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] robin... -- Dr. Robin Pinning | E: [EMAIL PROTECTED] Manchester Computing, University of Manchester, | T: +44 161 275 7028
RE: [313] Mo' Ghetto Tek
and that's why there aren't any British techno DJs who mix like Claude Young *cough* Dave Clarke ;O) Thanks for explaining your theory though. I just thought that the likes of Sasha Digweed were now starting to blow-up (not literally unfortunately) in the US as well. I was under the impression (from 313 posts) that gigs involving big name DJs with not much ability were drawing in thousands and techno clubs are either playing trance now or closing down. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Mo' Ghetto Tek
and therefore missing out on why this stuff is fun. Why is it fun? Most peopole who listen to fun over here are into hardcore that was fun... (apparently) I used to hate it. I don't get the point of 'fun'... Fun to me is going out and hearing wikked tunes all night Placid -- http://www.acid-house.net Everything you wanted to know about acid house - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Mo' Ghetto Tek
You just have to look at the crowd attendance at, say, a Q-Bert gig in the UK against one in the US. The US spawned a genre of music, hip-hop, where skills on the decks are hugely important to the DJ, and that culture lives on quite strongly there. In the UK, you have to admit, the majority of people rate DJs more on their track selection / PR profile than their deck skills - there's not a lot of pressure on people like Norman Cook or Paul Oakenfold to show off dazzling new deck tricks. this last bit tickles me for some reason :) But there are indeed groups of people in both the US and the UK who like to see good mixing - it's just that in the UK they're largely confined to the hip-hop scene, and that's why there aren't any British techno DJs who mix like Claude Young, yeah i've seen claude clear dancefloors with blinding skills on more than one occasion...shame or booty DJs who mix like DJ Godfather. i've never seen a booty dj in the uk, how do uk booty djs mix? It's not necessarily a good or a bad thing but I do think that raw deck skills get you further in the US than in the UK (unless you're a hip-hop DJ). i think techno is the only other genre that may be an exception robin... - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Mo' Ghetto Tek
| -Original Message- | From: robin pinning [mailto:[EMAIL PROTECTED] | Sent: Thursday, August 22, 2002 4:40 PM | | in the uk most of the people who go to parties (from my experience) tend | to be either mainstream (won't get ghetto tek _ever_, in the same way | they wouldn't get jeff mills) or are 'alternative'/hippy/raver types who | think booty is not politically correct enough for em to listen to, and | therefore missing out on why this stuff is fun. | | i've played stuff with lyrics in like take it from the back (which is | quite mild by booty stanadrds) to a room half full of horrified faces. That's true - a lot of people say I like the music, but the words... I mean really! You have to be able to take things less than seriously to fully appreciate tracks like Let Them Hoes Fight and Nut In Your Eye... :) And if you strip out those sorts of vocals to sneak in under the radar of political correctness, you're missing out on the central essence of the music. It'd be like taking the 808 out of electro or the 303 out of acid house. Brendan - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Mo' Ghetto Tek
| -Original Message- | From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] | Sent: Thursday, August 22, 2002 4:43 PM | | and that's why there aren't any British techno DJs who mix | like Claude Young | | *cough* Dave Clarke | | ;O) That was quite a bad typo - I meant many rather than any :) | Thanks for explaining your theory though. I just thought that the likes of | Sasha Digweed were now starting to blow-up (not literally unfortunately) | in the US as well. I was under the impression (from 313 posts) that gigs | involving big name DJs with not much ability were drawing in thousands and | techno clubs are either playing trance now or closing down. That's true, but then again while good techno clubs are closing down the ghetto tech scene, which has massive respect for turntable skills, is going from strength to strength in the US. Also, there are all the hip-hop clubs which make even the UK's biggest look provincial, and deck skills are still in demand in those places so I think there's only so much Sasha and Digweed can hope to achieve in the US... Brendan - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Mo' Ghetto Tek
yeah i've seen claude clear dancefloors with blinding skills on more than one occasion...shame - that's because it's all very well mixing up a storm but if it interferes with the groove too much you can't really dance to it. I have been impressed by Young and his mixing nose but it did get on my nerves after a while. one of the reasons ghetto-tech doesn't do well in England is because it is viewed as a novelty. I couldn't get with hearing ass and titties all night - it's funny at first but after half an hour of it, it just gets boring. IMHO, of course. Ghetto Tech has been improving recently though - there are more records out that seem like they will stay in record boxes, rather than being just flavour of the month. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Mo' Ghetto Tek
| -Original Message- | From: robin pinning [mailto:[EMAIL PROTECTED] | Sent: Thursday, August 22, 2002 4:46 PM | | or booty DJs who mix like DJ Godfather. | | i've never seen a booty dj in the uk, how do uk booty djs mix? I'm one, and I'd describe myself as conventional... Guy Thackeray (another 313er) is one too, and is closer to the US style of mixing... and Cutlass Supreme is the most prominent UK booty DJ, who's more technical than me but IMHO not as good as Guy. You can listen to various UK booty mixes at http://www.wideadventure.com/radio.htm and see what you think! Brendan - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Mo' Ghetto Tek
Comparing Assault or Godfather to Sasha and Digweed is like comparing the Stooges to the Eagles. They cater for different markets and will continue to be followed by different markets. They're so far apart I don't see how they can affect each other's success. Sean. -Original Message- That's true, but then again while good techno clubs are closing down the ghetto tech scene, which has massive respect for turntable skills, is going from strength to strength in the US. Also, there are all the hip-hop clubs which make even the UK's biggest look provincial, and deck skills are still in demand in those places so I think there's only so much Sasha and Digweed can hope to achieve in the US... - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Mo' Ghetto Tek
I have been impressed by Young and his mixing nose but it did get on my nerves after a while. yeah this is quite an interesting point - as a DJ it can be hard to draw the line between pukka-skills (tm) and keeping a room alive. Claude whipped out his crazy mixing nose at fabric when I went to see him and sometimes he did go a bit overboard. i think the key is maybe good skills without disjointing the main flow too much. This is one problem I have with godfather/discoD - great tunes and skills but sometimes its just a bit too overboard with tha cuttin' an scratchin' Now let me see you shake... :) Marc -- This message is intended only for the personal and confidential use of the designated recipient(s) named above. If you are not the intended recipient of this message you are hereby notified that any review, dissemination, distribution or copying of this message is strictly prohibited. This communication is for information purposes only and should not be regarded as an offer to sell or as a solicitation of an offer to buy any financial product, an official confirmation of any transaction, or as an official statement of Lehman Brothers. Email transmission cannot be guaranteed to be secure or error-free. Therefore, we do not represent that this information is complete or accurate and it should not be relied upon as such. All information is subject to change without notice. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] Mo' Ghetto Tek
Some interesting thoughts. Correct me if I am wrong, but I think the general industry perception is that two-step has failed to 'crossover' beyond the UK. Two of its most auspicious acts, Craig David and Ms Dynamite have cut more RB inspired efforts. Two-step, like ghetto tek, has a boutique, underground appeal in these parts. However, I feel that ghetto tek may be selling more in Australia than previously because, as with hip-hop and electro and some two-step, it fits into the 'nu skool breaks' scene here, which has marginalised progressive. So the local breaks DJs are playing it. From: Langsman, Marc [EMAIL PROTECTED] Subject: RE: [313] Mo' Ghetto Tek Date: 23/08/2002 2:27:29 To: 'Robert Taylor' [EMAIL PROTECTED], '[EMAIL PROTECTED]' [EMAIL PROTECTED], Brendan Nelson [EMAIL PROTECTED] CC: 313 Detroit 313@hyperreal.org I have been impressed by Young and his mixing nose but it did get on my nerves after a while. yeah this is quite an interesting point - as a DJ it can be hard to draw the line between pukka-skills (tm) and keeping a room alive. Claude whipped out his crazy mixing nose at fabric when I went to see him and sometimes he did go a bit overboard. i think the key is maybe good skills without disjointing the main flow too much. This is one problem I have with godfather/discoD - great tunes and skills but sometimes its just a bit too overboard with tha cuttin' an scratchin' Now let me see you shake... :) Marc - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Mo' Ghetto Tek
- Its emphasis on DJing skills: outside the US there's less of a culture of respect for a DJ's skills on the turntables. Or they misunderstand the meaning of 'skills' I remember reading a UK magazine (perhaps DJ) a while back naming the top 50 DJ's in the world, Paul Oakenfold won which says it all really. However I have noticed quite a few more adverts for nights with DJ Craze , scratch perverts etc. So perhaps times are changing. Mike - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Mo' Ghetto Tek
| -Original Message- | From: Cyclone Wehner [mailto:[EMAIL PROTECTED] | Sent: Thursday, August 22, 2002 5:37 PM | | these parts. However, I feel that ghetto tek may be selling more in | Australia than previously because, as with hip-hop and electro and some | two-step, it fits into the 'nu skool breaks' scene here, which has | marginalised progressive. So the local breaks DJs are playing it. There's a similar trend here with breaks DJs playing it. But a lot of breaks DJs I know say I like the music but not the words, and so hesitate to commit to booty/ghetto tech all that much. Besides, no disrespect intended for breaks DJs, but I think people who come at the scene with prior knowledge of Chicago/Detroit music will have a better understanding of it, and by understanding the music in context do a better job of pitching it to ambivalent overseas crowds. Many breaks DJs don't seem to understand that context - for example, a lot of those people will turn their nose up at the 4/4 material on Dance Mania, or look at you strangely if you play Ectomorph or Cybotron in a booty set, but I feel they're missing the point of the whole thing. Neil Rushton (to use that analogy again) was from a Northern Soul background, and so when he first came across Transmat he already had quite a deep knowledge of Detroit's musical context and therefore understood it in context, enabling him to successfully open the UK up to that sort of sound. You might say that ghetto tech will only work overseas if the people promoting and playing it have a prior knowledge of Detroit and Chicago's musical scenes and are able to place the music in context for their listeners... Brendan - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Mo' Ghetto Tek
Yes, that is true as far as techno events (which are becoming more scarce daily). However, hiphop battle style DJing is everywhere (I mean it's not HUGE but it has just been around so long there are people all over that dig it), and a booty DJ could make it in that scene here in the US, as opposed to competing with trance DJs. A booty DJ would fit right in at a hip hop club, booty is often heard on hip hop nights at clubs. /dave [EMAIL PROTECTED] wrote: and that's why there aren't any British techno DJs who mix like Claude Young *cough* Dave Clarke ;O) Thanks for explaining your theory though. I just thought that the likes of Sasha Digweed were now starting to blow-up (not literally unfortunately) in the US as well. I was under the impression (from 313 posts) that gigs involving big name DJs with not much ability were drawing in thousands and techno clubs are either playing trance now or closing down. - 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] Mo' Ghetto Tek
-Original Message- From: David Powers [mailto:[EMAIL PROTECTED] Sent: Thursday, August 22, 2002 6:16 PM To: [EMAIL PROTECTED] Cc: Brendan Nelson; 313@hyperreal.org Subject: Re: [313] Mo' Ghetto Tek Would this have anything to do with the typically more reserved nature that the British are known for? (Not that they all are.) I am wondering not making a statement so correct me if I'm off base here. --- I don't think you're off base to be honest - that's one of the reasons the music doesn't travel amazingly well, people here tend to find the only reaction they can adopt upon hearing Ass'n'Titties or Hit it from the back is a semi-ironic one. Either that or outright moral indignation... the music would have to successfully penetrate strip joints and other such places over here (which I believe happened in Detroit? Didn't the ghetto tech sound partly originate from DJs continually pitching the bpm upwards and upwards in strip bars?) for it to find a non-ironic and sincerely booty audience! Brendan - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re[2]: [313] Mo' Ghetto Tek
BM (which I believe happened in Detroit? Didn't the ghetto BN tech sound partly originate from DJs continually pitching the bpm upwards BN and upwards in strip bars?) for it to find a non-ironic and sincerely booty BN audience! Hot damn! I would so tear that ass up. Sincerely! - Brian balistic Prince http://www.bprince.com - art and techno Strokes of Defiance EP . . . soon. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Mo' Ghetto Tek
I think there are large differences in the sets/styles i've heard between the two leading exponents of ghetto bass. dj assault may not have the hip hop styled skills of godfather - ie he doesn't double and scratch as much but listen to some of his sets and the genres that he covers are amazing. i've heard him play old italian stuff like kano, mixed in with poison clan/2live crew, old disco (albeit on 45), old hard to find house like zigzag and jesse saunders, old freestyle and electro (eg newcleus), rb and old rave tracks alongside daft punk etc. it takes balls to play like this - it's a real history lesson, and many people fail to look and listen past the superficial 'ass and titties' and don't realise what they're listening to to my mind ghetto tech is not so much a new genre - as a new way of playing old genres. many music journalists with short term memory loss seem to forget this. the sets i've heard from godfather are not as broad when it comes to genres covered but his skills are amazing. he works extremely hard and usually doesn't let 4 bars pass without a trick of some kind. he does tend to stick more within the electro/booty selection, rather the reaching into other styles. either way - dj skills involving scratching, working doubles and hotmixes are essential to the sound - it's not ghetto if you can't do these things. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
