quoted 11 lines I agree to some extent about the idol-worship Detroit thing, but there>> I agree to some extent about the idol-worship Detroit thing, but there
>> are also huge gaps where there shouldn't be. Sorry, but I think it's true.
>> A lot of this has to do with racism, I'd say..
>racism? Your not accusing me of it? (unclear) If so, race has not one
>fucking thing to do with why I like/dislike music. I mentioned nothing
>about race or color, I could care less if some of the musicians are black
>or white, half of them I have never even seen pictures of, so I don't
>even no what colot they are unless they bring it up themselves in
>interviews. Frankly, the racist accusation is way too of a typical
>response when talking about Detroit techno, you almost sound like you are
>rehashing things you have read.
No, I wasn't accusing you of being racist.
I KNOW you mentioned nothing about race or color. I was referring to the
"idol worship" Detroit thing. I was saying that although there is some
"idol worship" now, there was a huge Detroit scene for years which went
relatively ignored. I'm not saying Model 500 should have been called
"Black Man 500" or anything...the race-neutral names opened the way for
some listeners who might have shunned the music if it was overtly political
and alienating to their own segments of the population. What I was saying that
New Beat got huge, t-99, Moby...and these Dtrt. people who were doing shit way
back when and for a long time after had no major deals or even substantial
exposure (see 808 tale below).
By the way man, I *am* "rehashing" (maybe not rehashing, but referencing) things
I've read. I'm a white kid from suburban NJ. I've spent time in "bad" areas
but I've lived most my life in relative comfort and away from almost all forms
of racism towards. How the fuck else could I find out about this shit? I'll
repeat what I hear in this case because I believe it. Sorry if you've lived
in Detroit or with racism for the last 15 years and KNOW these people are
bullshitting or overemphasizing that aspect...
BTW, I think things are finally changing re: exposure, or so it seems. That's
what I meant about Detroit music deserving some of the hype or overenthusiasm -
it's too bit late. Why also make it too little?
I know *I* wish I discovered this stuff earlier on.
quoted 5 lines I am saying that there are not coincidences, that these people are fully>I am saying that there are not coincidences, that these people are fully
>aware of what the others are saying in interviews and rehashing the same
>words. It is almost like a few of these guys got the ball rolling and
>now the new generation is just living off the others words and
>reputations to furthur thier careers.
Well, I don't know what "new generation" you're talking about. If I'm part
of the new generation of people doing tracks with Detroit inspiration,
I can guarantee you I've never misrepresented (of course I've never been
interviewed...erm...I don't misrepresent to my mom). I firt heard Mojo three
weeks ago and except for a Detrechno track it sort of sucked! I'm white.
I'm not from the Cass Corridor. I was threatened on the highway with a knife
in NJ once while I was coming home from a doctor's visit and I can't say it
affected my music at all. No tough luck stories here.
So I won't "live off" the other's words...so there's one promise...
quoted 3 lines It is just like when the ambient techno thing got hyped up in late 93 and>It is just like when the ambient techno thing got hyped up in late 93 and
>everyone started mentioning Tangerine Dream as an influence, where as
>before nobody said shit about Tangerine Dream (in the techno community).
Good point. I hate the word "ambient." But you should realize something here.
9/10ths of the "ambient" listeners probably didn't know shit about Eno before
they heard the Orb or what have you. I'm the same way...my first "Detroity"
song I heard was a fucking 808 State track! Like the "amb. crowd," the same
happened with me. I didn't know who Derrick May was until after I was an
808 enthusiast. I think the key point here is to be honest about your
roots...which brings us back to me trusting what those Detroit folks say
about what they've encountered in their lives, musical and otherwise. BTW,
I don't want to sound brainwashed here...I'm sure there *are* people from
Detroit, Chicago, wherever that might take note of what others say and work
it. I just feel that isn't reason to discount what everyone else says.
quoted 4 lines That is fine to love the machines. Should everyone be trying to make>That is fine to love the machines. Should everyone be trying to make
>money off of something they love? The whole thing comes down to $$$$, I
>just think a lot of people are releasing records to make money, not to
>advance the music form of techno. Juan Atkins and all those guys say
What? Do you make records? You said you've played with synths etc. There
are so many better ways to make money! Guaranteed, you could sell your
stack of old shit, buy a K2000 and make more money from soundtracks to
commercials... I'd think you'd know this! There are very few making big
dough in techno, I'm sure...even some of the biggest probably aren't making
"raise a family" money (but who needs a family eh?)
Sorry if I've overreacted here, I just wasn't crazy about the sequence of
thoughts above (i.e. "That is fine to love the machines. Should everyone
be trying to make money off of something they love?")
On a totally different thought, I think it's fine to make money if you do
what you enjoy (I'm the first to say that one, right?)
Lastly, re: "Acknowledge the old, brink for the new" and "I don't care if
the bass sound came from a Juno 106 or a baby's fart." Agreed, but I personally
prefer some older sounds and may dislike baby farts. I also love a nice 106 eh!
I agree with all the pro-new, pro-originality things you've said, man...I just
don't think the "old" should be limited to "acknowledge." Not for everyone at
least, or at least not me I guess....
-morgan geist