<<the firing of Carl Craig is a direct attack on what i thought we all held
so close to our hearts, our music.>>
Oh, boo hoo.
Mr. Hawtin, allow me to introduce you to capitalism. Capitalism, Mr.
Hawtin. No, the pleasure is mine. Craig's dismissal wasn't the critical
juncture of "direct attack" on underground music; it was when Craig sold his
soul to the Co.s a couple years ago that the real selling out occurred. The
rest isn't particularly surprising. Although there was inevitably personal
politics involved, the corporations honestly realize that they don't have a
clue about what's cool re: electronic music... that's why they deferred to a
local techno magnate in the first place. They could've booked Oakey/Moby
from day one but they knew better. Besides, Carl's hands aren't totally
clean in all of this, and we have to remember he's the one who decided to
sign a deal with the Devil. He thrust himself into the middle of the
corporate melee and now he's paying for it.
Among all this facile corporation bashing most people seem to have forgotten
that the corporations are the only reason that DEMF is possible in the first
place. If you can throw a collosal free techno festival at the Hart Plaza,
by all means, do. But as long as the proverbial Man is footing the bill,
where do we get off with the hubris to assume that everything should go
according to our wishes? DEMF, through better and worse, is nothing more
than a marketing experiment. If they book a bunch of crap next year, I
won't go back. But I'm not about to flail around whining about how a free
party doesn't book my personal favorite styles of music.
(Sorry for the flame bait, but I just wanted to offer a slightly different
perspective. I'm not pretending like I have any idea what's happening
behind the scenes, I'm just trying to look at the big picture from afar. If
you can school me on where I've gone astray, please do.)
np: "Man Parrish - Hip Hop Be Bop (L Ray Robison Remix) 11:09" from
Napster... It's nothing like Man Parrish, but it's a kick-ass track...
Everything great about disco meets contemporary breaks... Any idea where
this comes from?
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