From gonzo at quadrantcrossing.org Sun Sep 20 18:42:30 2009 From: gonzo at quadrantcrossing.org (> ! <) Date: Sun, 20 Sep 2009 09:42:30 -0700 Subject: [Dancecult-l] Detroit techno conference Message-ID: This ought to be a delight, though I wonder why academes are so quick to claim 'origin' in such contexts, given that the 'original' or 'roots' moment of Detroit techno claims its fame from sampling Kraftwerk. There is no origin in the mix ... also, according to this article, house is a 'subgenre' of techno, and there is nary a mention of Afrodiasporic (and not American) influences (i.e., dub). But perhaps this conference will offer the chance to break down the usual perceptions .. ==== First academic conference on techno music and its African American origins to be at IU on Oct. 21 http://newsinfo.iu.edu/web/page/normal/4157.html From theothergarypowell at gmail.com Sun Sep 20 19:52:14 2009 From: theothergarypowell at gmail.com (Gary Powell) Date: Sun, 20 Sep 2009 13:52:14 -0400 Subject: [Dancecult-l] Detroit techno conference In-Reply-To: References: Message-ID: <4AB66BCE.9010500@gmail.com> I'm sorry to tell you, but that article is really old. That conference happened about 2-3 year ago. It was very good. :) The conference we're doing this year is called, "Reclaiming the Right to Rock: Black Experiences in Rock Music." Regarding your statements about origin and that sort of thing, it's partially debatable, since Giorgio Moroder famously used electronics when he made disco, but the term Techno was originated by Juan Atkins, from Detroit. The statement that there is no origin in a mix isn't necessarily true, it's the culmination of an aesthetic that can ultimately develops into a genre. Secondly, they were producing their own music and spinning it themselves. Yes, they were inspired by Kraftwerk, but they were also inspired by a myriad of other things as well. Just because they were mixing other music into what they were making, doesn't mean that there isn't an origin there. Disco originally came from Soul and rock music being mixed till a set of common aesthetic aspects (primarily the beat, which is commonly directed toward the TSOP label and, in some ways, stems from Motown as well) that ultimately developed into the "disco sound." Techno develops similarly, only with their own productions. House and Techno developed mutually between Detroit and Chicago. I'm not sure if it's necessary to call it a "subgenre," but they do intertwine in some way. There is little/no dub influence because dub wasn't heavily distributed in the midwest. Dub influence hip-hop by way of Kool Herc, but that's because Harlem was becoming an opening for Caribbean settlers, while Detroit didn't have that going on. As a result, there isn't really a lot of dub influence in techno till it jumps back and forth over the Atlantic, which with Britain, has a stronger relationship with dub and reggae. -GP > ! < wrote: > This ought to be a delight, though I wonder why academes are so quick to > claim 'origin' in such contexts, given that the 'original' or 'roots' moment > of Detroit techno claims its fame from sampling Kraftwerk. There is no > origin in the mix ... also, according to this article, house is a > 'subgenre' of techno, and there is nary a mention of Afrodiasporic (and not > American) influences (i.e., dub). But perhaps this conference will offer the > chance to break down the usual perceptions .. > > ==== > > First academic conference on techno music and its African American origins > to be at IU on Oct. 21 > > http://newsinfo.iu.edu/web/page/normal/4157.html > > > > > _______________________________________________ > Dancecult-l mailing list > Dancecult-l at listcultures.org > http://listcultures.org/mailman/listinfo/dancecult-l_listcultures.org > No commercial use without permission > www.dancecult.net > From theothergarypowell at gmail.com Sun Sep 20 20:01:43 2009 From: theothergarypowell at gmail.com (Gary Powell) Date: Sun, 20 Sep 2009 14:01:43 -0400 Subject: [Dancecult-l] Detroit techno conference In-Reply-To: References: Message-ID: <4AB66E07.4090909@gmail.com> Hers' the conference website: http://www.indiana.edu/~aaamc/rootsoftechno/ -GP > ! < wrote: > This ought to be a delight, though I wonder why academes are so quick to > claim 'origin' in such contexts, given that the 'original' or 'roots' moment > of Detroit techno claims its fame from sampling Kraftwerk. There is no > origin in the mix ... also, according to this article, house is a > 'subgenre' of techno, and there is nary a mention of Afrodiasporic (and not > American) influences (i.e., dub). But perhaps this conference will offer the > chance to break down the usual perceptions .. > > ==== > > First academic conference on techno music and its African American origins > to be at IU on Oct. 21 > > http://newsinfo.iu.edu/web/page/normal/4157.html > > > > > _______________________________________________ > Dancecult-l mailing list > Dancecult-l at listcultures.org > http://listcultures.org/mailman/listinfo/dancecult-l_listcultures.org > No commercial use without permission > www.dancecult.net > From gonzo at quadrantcrossing.org Mon Sep 21 08:25:51 2009 From: gonzo at quadrantcrossing.org (> ! <) Date: Sun, 20 Sep 2009 23:25:51 -0700 Subject: [Dancecult-l] Detroit techno conference In-Reply-To: <2b5e5af40909201851m4189b411s1511d52b6b6b1767@mail.gmail.com> Message-ID: Thanks Gary & Denise -- and please do post here on the new conference. And absolutely hilarious that a link currently being passed around on Facebook with the date of October 21st is from 2006. I will make sure to mention that *cough* the conference took place three years ago... otherwise you might have some people showing up shortly. ;p Gary, you got me thinking that what I particularly like about techno is the mixed heritage and global birth of its "origins." I have no idea if Juan Atkins called 'techno' 'techno' first (every source offers different quotes on the matter), given it was really only pushed that way when marketed for a UK acid house scene on the LP 'Techno: The New Sound of Detroit' (1988). http://www.discogs.com/Various-Techno-The-New-Dance-Sound-Of-Detroit/release /57919 In fact house-heads claim 'techno' didn't exist as-such until that album, and that everything beforehand (May, Saunderson, Atkins et al) is house music (interesting, as this would be the opposite of the press release, that techno would be a subgenre of house). But I think this tries to extend the city limits of Chicago a bit too much .. Whatever the case of the signifier 'techno', I think its significance lies in its alien birth in the crossatlantic mix between Kraftwerk/Can and Detroit, Chicago's acieed & the UK's Manchester scene, Moroder's Italo-disco, post-disco house music and NYC new wave... which isn't to downplay at all the Afrofuturism of its 'roots'. I'm just thinking of what Mad Mike (UR) has commented on in many interviews, that both the Wizard (Mills) and Electrifying Mojo would mix up genres in their sets: droppin' the Rock Lobster.. in other words, refusing to draw lines around what is and isn't 'black music'. Dub plays a role but indeed it doesn't come "through" America overland -- which is what I think marks the crosscultural, global significance of the Afrofuturism at play here -- especially as dub comes to provide a whole sonic canvas for techno in so many ways, and arrives by way of Germany's Maurizio... who in the early '90s remixes Carl Craig (on Planet E), and arrives in part through the Berlin label Tresor, whose first release is by X-101 (UR). The crossatlantic birth ensures techno's global dominance, with Detroit as one pivot in the 'Axis' .. (as Mills puts it). What is sad (as a discussion on Facebook networks is commenting on) is how techno has been all but driven from North America thanks to a ClearChannel corporate controlled radio blackout and the MTV racespace / BET boundary of what constitutes 'black music'... Berlin now spins lonely and unhinged, with its connections to Detroit merely a thread of what was once a spider's web. best, t. > Hi Gary, thanks for your kind words regarding the conference. It was > a great conference (happened in 2006) and it was such an incredible > experience to organize it with the Archives of African American Music > and Culture. > > As far as house as a subgenre of techno, I would definitely not > categorize either style of music in that way today. I don't really > remember where some of the text for that article came from. Portia > Maultsby and I were both handling writing and editing for proposals > and PR for the conference. It is highly possible, however, that I was > not tuned in enough at that point to generic language to catch the > oddity of that statement. :) > > So you're working on the Rock conference? Sounds like it's going to > be a great one. Hopefully I'll be able to make it down for that! > > Denise . . tobias c. van Veen -----------++++ ! http://www.quadrantcrossing.org -- McGill Communication & Philosophy resistance . through . rhythm . ||||||||||||||||||| |||||||||||||| ||||||||||||||||||| ||||||||||||||||||||| |||||||||||| From r.till at hud.ac.uk Mon Sep 21 11:28:38 2009 From: r.till at hud.ac.uk (Rupert Till) Date: Mon, 21 Sep 2009 10:28:38 +0100 Subject: [Dancecult-l] Detroit techno conference In-Reply-To: Message-ID: Techno origins, like everything else, are a complex issue. Electrically amplified instruments, amplifiers, hammonds, rhodes and the like are an influence on techno. Soul influenced Jamaican sound system culture, which was the main root of hip hop, rapping/toasting, sound systems and turntablism all come from there. Afrika Bambaataa was a big kraftwerk fan, and of course planet rock samples them. The whole electro sound of Arthur Baker (?) Flash and White Lines and the Message, is an obvious influence on techno. So dub/reggae/jamaica and techno are absolutely linked. Techno is named by that album Techno-The-New-Dance-Sound-Of-Detroit, but it starts earlier, Pierre Shaffeur, Kraftwerk going to Stockhausen lectures, Kraftwerk, the human league, new Wave/New Romantics. And of course disco as you say, Giorgio Moroder, Vangelis, prog rock. Detroit techno is very different to European techno, and in the 1990s they were really considered completely different catagories/genres in the UK. UK techno was a mix of Belgian Electronic Body Music, Dutch Gabba, the electronic pop music of the time and before and detroit techno. Detroit Techno was one of the roots of techno as we know it now, but being the source of the name doesn't mean it is the only source of techno today. Obviously it is one of the most important sources, no one would deny that. But 808s 909s and 303s, samplers, sequencers were all being used in Disco and Electronic european music well before in techno. Listen to the 12" remix of I feel love and you can hear resonant filters being swept just like in techno. It's not as though disco and kraftwerk used synths in dance music and then years later detroit techno continued it. In between comes Tubeway Army, human League, Front 242, Cabaret Voltaire, New Order, OMD, Electro-funk hip hop, Hi-NRG, Laura Brannigan, Frankie Goes to Hollywood, Trevor Horn, Funkadelic; all techno by another name and all electronic dance music.... Of course techno would not be what it is without Detroit. Or without blues, soul, gospel, motown, stax, funk, james brown, hip hop, reggae, dub, ska...... Perhaps that's the prehistory of techno. I feel a paper coming on..... Rupert On 21/09/2009 07:25, "> ! <" wrote: Thanks Gary & Denise -- and please do post here on the new conference. And absolutely hilarious that a link currently being passed around on Facebook with the date of October 21st is from 2006. I will make sure to mention that *cough* the conference took place three years ago... otherwise you might have some people showing up shortly. ;p Gary, you got me thinking that what I particularly like about techno is the mixed heritage and global birth of its "origins." I have no idea if Juan Atkins called 'techno' 'techno' first (every source offers different quotes on the matter), given it was really only pushed that way when marketed for a UK acid house scene on the LP 'Techno: The New Sound of Detroit' (1988). http://www.discogs.com/Various-Techno-The-New-Dance-Sound-Of-Detroit/release /57919 In fact house-heads claim 'techno' didn't exist as-such until that album, and that everything beforehand (May, Saunderson, Atkins et al) is house music (interesting, as this would be the opposite of the press release, that techno would be a subgenre of house). But I think this tries to extend the city limits of Chicago a bit too much .. Whatever the case of the signifier 'techno', I think its significance lies in its alien birth in the crossatlantic mix between Kraftwerk/Can and Detroit, Chicago's acieed & the UK's Manchester scene, Moroder's Italo-disco, post-disco house music and NYC new wave... which isn't to downplay at all the Afrofuturism of its 'roots'. I'm just thinking of what Mad Mike (UR) has commented on in many interviews, that both the Wizard (Mills) and Electrifying Mojo would mix up genres in their sets: droppin' the Rock Lobster.. in other words, refusing to draw lines around what is and isn't 'black music'. Dub plays a role but indeed it doesn't come "through" America overland -- which is what I think marks the crosscultural, global significance of the Afrofuturism at play here -- especially as dub comes to provide a whole sonic canvas for techno in so many ways, and arrives by way of Germany's Maurizio... who in the early '90s remixes Carl Craig (on Planet E), and arrives in part through the Berlin label Tresor, whose first release is by X-101 (UR). The crossatlantic birth ensures techno's global dominance, with Detroit as one pivot in the 'Axis' .. (as Mills puts it). What is sad (as a discussion on Facebook networks is commenting on) is how techno has been all but driven from North America thanks to a ClearChannel corporate controlled radio blackout and the MTV racespace / BET boundary of what constitutes 'black music'... Berlin now spins lonely and unhinged, with its connections to Detroit merely a thread of what was once a spider's web. best, t. > Hi Gary, thanks for your kind words regarding the conference. It was > a great conference (happened in 2006) and it was such an incredible > experience to organize it with the Archives of African American Music > and Culture. > > As far as house as a subgenre of techno, I would definitely not > categorize either style of music in that way today. I don't really > remember where some of the text for that article came from. Portia > Maultsby and I were both handling writing and editing for proposals > and PR for the conference. It is highly possible, however, that I was > not tuned in enough at that point to generic language to catch the > oddity of that statement. :) > > So you're working on the Rock conference? Sounds like it's going to > be a great one. Hopefully I'll be able to make it down for that! > > Denise . . tobias c. van Veen -----------++++ ! http://www.quadrantcrossing.org -- McGill Communication & Philosophy resistance . through . rhythm . ||||||||||||||||||| |||||||||||||| ||||||||||||||||||| ||||||||||||||||||||| |||||||||||| _______________________________________________ Dancecult-l mailing list Dancecult-l at listcultures.org http://listcultures.org/mailman/listinfo/dancecult-l_listcultures.org No commercial use without permission www.dancecult.net ________________________________ --- This transmission is confidential and may be legally privileged. If you receive it in error, please notify us immediately by e-mail and remove it from your system. If the content of this e-mail does not relate to the business of the University of Huddersfield, then we do not endorse it and will accept no liability. From Sean.Albiez at solent.ac.uk Mon Sep 21 13:50:17 2009 From: Sean.Albiez at solent.ac.uk (Sean Albiez) Date: Mon, 21 Sep 2009 12:50:17 +0100 Subject: [Dancecult-l] Detroit techno conference In-Reply-To: Message-ID: Hi All, Here's a link to a paper on trans-cultural Techno origins and post-soul trends in black cultural politics I wrote a few years back if anybody is interested. ?Post Soul Futurama: African American cultural politics and early Detroit Techno? in European Journal of American Culture. Vol 24. No 2. 2005 http://tiny.cc/ebtl8 Sean Albiez Rupert Till Sent by: dancecult-l-bounces at listcultures.org 21/09/2009 10:28 To "Dancecult-l at listcultures.org" cc Subject Re: [Dancecult-l] Detroit techno conference Techno origins, like everything else, are a complex issue. Electrically amplified instruments, amplifiers, hammonds, rhodes and the like are an influence on techno. Soul influenced Jamaican sound system culture, which was the main root of hip hop, rapping/toasting, sound systems and turntablism all come from there. Afrika Bambaataa was a big kraftwerk fan, and of course planet rock samples them. The whole electro sound of Arthur Baker (?) Flash and White Lines and the Message, is an obvious influence on techno. So dub/reggae/jamaica and techno are absolutely linked. Techno is named by that album Techno-The-New-Dance-Sound-Of-Detroit, but it starts earlier, Pierre Shaffeur, Kraftwerk going to Stockhausen lectures, Kraftwerk, the human league, new Wave/New Romantics. And of course disco as you say, Giorgio Moroder, Vangelis, prog rock. Detroit techno is very different to European techno, and in the 1990s they were really considered completely different catagories/genres in the UK. UK techno was a mix of Belgian Electronic Body Music, Dutch Gabba, the electronic pop music of the time and before and detroit techno. Detroit Techno was one of the roots of techno as we know it now, but being the source of the name doesn't mean it is the only source of techno today. Obviously it is one of the most important sources, no one would deny that. But 808s 909s and 303s, samplers, sequencers were all being used in Disco and Electronic european music well before in techno. Listen to the 12" remix of I feel love and you can hear resonant filters being swe pt just like in techno. It's not as though disco and kraftwerk used synths in dance music and then years later detroit techno continued it. In between comes Tubeway Army, human League, Front 242, Cabaret Voltaire, New Order, OMD, Electro-funk hip hop, Hi-NRG, Laura Brannigan, Frankie Goes to Hollywood, Trevor Horn, Funkadelic; all techno by another name and all electronic dance music.... Of course techno would not be what it is without Detroit. Or without blues, soul, gospel, motown, stax, funk, james brown, hip hop, reggae, dub, ska...... Perhaps that's the prehistory of techno. I feel a paper coming on..... Rupert On 21/09/2009 07:25, "> ! <" wrote: Thanks Gary & Denise -- and please do post here on the new conference. And absolutely hilarious that a link currently being passed around on Facebook with the date of October 21st is from 2006. I will make sure to mention that *cough* the conference took place three years ago... otherwise you might have some people showing up shortly. ;p Gary, you got me thinking that what I particularly like about techno is the mixed heritage and global birth of its "origins." I have no idea if Juan Atkins called 'techno' 'techno' first (every source offers different quotes on the matter), given it was really only pushed that way when marketed for a UK acid house scene on the LP 'Techno: The New Sound of Detroit' (1988). http://www.discogs.com/Various-Techno-The-New-Dance-Sound-Of-Detroit/release /57919 In fact house-heads claim 'techno' didn't exist as-such until that album, and that everything beforehand (May, Saunderson, Atkins et al) is house music (interesting, as this would be the opposite of the press release, that techno would be a subgenre of house). But I think this tries to extend the city limits of Chicago a bit too much .. Whatever the case of the signifier 'techno', I think its significance lies in its alien birth in the crossatlantic mix between Kraftwerk/Can and Detroit, Chicago's acieed & the UK's Manchester scene, Moroder's Italo-disco, post-disco house music and NYC new wave... which isn't to downplay at all the Afrofuturism of its 'roots'. I'm just thinking of what Mad Mike (UR) has commented on in many interviews, that both the Wizard (Mills) and Electrifying Mojo would mix up genres in their sets: droppin' the Rock Lobster.. in other words, refusing to draw lines around what is and isn't 'black music'. Dub plays a role but indeed it doesn't come "through" America overland -- which is what I think marks the crosscultural, global significance of the Afrofuturism at play here -- especially as dub comes to provide a whole sonic canvas for techno in so many ways, and arrives by way of Germany's Maurizio... who in the early '90s remixes Carl Craig (on Planet E), and arrives in part through the Berlin label Tresor, whose first release is by X-101 (UR). The crossatlantic birth ensures techno's global dominance, with Detroit as one pivot in the 'Axis' .. (as Mills puts it). What is sad (as a discussion on Facebook networks is commenting on) is how techno has been all but driven from North America thanks to a ClearChannel corporate controlled radio blackout and the MTV racespace / BET boundary of what constitutes 'black music'... Berlin now spins lonely and unhinged, with its connections to Detroit merely a thread of what was once a spider's web. best, t. > Hi Gary, thanks for your kind words regarding the conference. It was > a great conference (happened in 2006) and it was such an incredible > experience to organize it with the Archives of African American Music > and Culture. > > As far as house as a subgenre of techno, I would definitely not > categorize either style of music in that way today. I don't really > remember where some of the text for that article came from. Portia > Maultsby and I were both handling writing and editing for proposals > and PR for the conference. It is highly possible, however, that I was > not tuned in enough at that point to generic language to catch the > oddity of that statement. :) > > So you're working on the Rock conference? Sounds like it's going to > be a great one. Hopefully I'll be able to make it down for that! > > Denise . . tobias c. van Veen -----------++++ ! http://www.quadrantcrossing.org -- McGill Communication & Philosophy resistance . through . rhythm . ||||||||||||||||||| |||||||||||||| ||||||||||||||||||| ||||||||||||||||||||| |||||||||||| _______________________________________________ Dancecult-l mailing list Dancecult-l at listcultures.org http://listcultures.org/mailman/listinfo/dancecult-l_listcultures.org No commercial use without permission www.dancecult.net ________________________________ --- This transmission is confidential and may be legally privileged. If you receive it in error, please notify us immediately by e-mail and remove it from your system. If the content of this e-mail does not relate to the business of the University of Huddersfield, then we do not endorse it and will accept no liability. _______________________________________________ Dancecult-l mailing list Dancecult-l at listcultures.org http://listcultures.org/mailman/listinfo/dancecult-l_listcultures.org No commercial use without permission www.dancecult.net From aliak77 at gmail.com Mon Sep 21 13:53:48 2009 From: aliak77 at gmail.com (Kath O'Donnell) Date: Mon, 21 Sep 2009 21:53:48 +1000 Subject: [Dancecult-l] Detroit techno conference In-Reply-To: References: Message-ID: <383607190909210453o145e8cdcn6e925fd2aacefd77@mail.gmail.com> there was tekno prior to techno too. at least that's the order I remember seeing the music named. belgian style the cds mostly had black covers if it was good tekno ;) From theothergarypowell at gmail.com Mon Sep 21 20:59:23 2009 From: theothergarypowell at gmail.com (Gary Powell) Date: Mon, 21 Sep 2009 14:59:23 -0400 Subject: [Dancecult-l] Detroit techno conference In-Reply-To: References: Message-ID: That's awesome! Thank you very much! I look forward to reading it! -GP On Mon, Sep 21, 2009 at 7:50 AM, Sean Albiez wrote: > Hi All, > > Here's a link to a paper on trans-cultural Techno origins and post-soul > trends in black cultural politics I wrote a few years back if anybody is > interested. > > ?Post Soul Futurama: African American cultural politics and early Detroit > Techno? in European Journal of American Culture. Vol 24. No 2. 2005 > > http://tiny.cc/ebtl8 > > Sean Albiez > > > > > Rupert Till > Sent by: dancecult-l-bounces at listcultures.org > 21/09/2009 10:28 > > To > "Dancecult-l at listcultures.org" > cc > > Subject > Re: [Dancecult-l] Detroit techno conference > > > > > > > Techno origins, like everything else, are a complex issue. > > Electrically amplified instruments, amplifiers, hammonds, rhodes and the > like are an influence on techno. Soul influenced Jamaican sound system > culture, which was the main root of hip hop, rapping/toasting, sound > systems and turntablism all come from there. Afrika Bambaataa was a big > kraftwerk fan, and of course planet rock samples them. The whole electro > sound of Arthur Baker (?) Flash and White Lines and the Message, is an > obvious influence on techno. So dub/reggae/jamaica and techno are > absolutely linked. > > Techno is named by that album Techno-The-New-Dance-Sound-Of-Detroit, but > it starts earlier, Pierre Shaffeur, Kraftwerk going to Stockhausen > lectures, Kraftwerk, the human league, new Wave/New Romantics. And of > course disco as you say, Giorgio Moroder, Vangelis, prog rock. Detroit > techno is very different to European techno, and in the 1990s they were > really considered completely different catagories/genres in the UK. UK > techno was a mix of Belgian Electronic Body Music, Dutch Gabba, the > electronic pop music of the time and before and detroit techno. Detroit > Techno was one of the roots of techno as we know it now, but being the > source of the name doesn't mean it is the only source of techno today. > Obviously it is one of the most important sources, no one would deny that. > But 808s 909s and 303s, samplers, sequencers were all being used in Disco > and Electronic european music well before in techno. Listen to the 12" > remix of I feel love and you can hear resonant filters being swe > pt just like in techno. > > It's not as though disco and kraftwerk used synths in dance music and then > years later detroit techno continued it. In between comes Tubeway Army, > human League, Front 242, Cabaret Voltaire, New Order, OMD, Electro-funk > hip hop, Hi-NRG, Laura Brannigan, Frankie Goes to Hollywood, Trevor Horn, > Funkadelic; all techno by another name and all electronic dance music.... > > Of course techno would not be what it is without Detroit. Or without > blues, soul, gospel, motown, stax, funk, james brown, hip hop, reggae, > dub, ska...... > > Perhaps that's the prehistory of techno. I feel a paper coming on..... > > Rupert > > > On 21/09/2009 07:25, "> ! <" wrote: > > Thanks Gary & Denise -- and please do post here on the new conference. And > absolutely hilarious that a link currently being passed around on Facebook > with the date of October 21st is from 2006. I will make sure to mention > that > *cough* the conference took place three years ago... otherwise you might > have some people showing up shortly. ;p > > Gary, you got me thinking that what I particularly like about techno is > the > mixed heritage and global birth of its "origins." I have no idea if Juan > Atkins called 'techno' 'techno' first (every source offers different > quotes > on the matter), given it was really only pushed that way when marketed for > a > UK acid house scene on the LP 'Techno: The New Sound of Detroit' (1988). > > > http://www.discogs.com/Various-Techno-The-New-Dance-Sound-Of-Detroit/release > > /57919 > > In fact house-heads claim 'techno' didn't exist as-such until that album, > and that everything beforehand (May, Saunderson, Atkins et al) is house > music (interesting, as this would be the opposite of the press release, > that > techno would be a subgenre of house). But I think this tries to extend the > city limits of Chicago a bit too much .. > > Whatever the case of the signifier 'techno', I think its significance lies > in its alien birth in the crossatlantic mix between Kraftwerk/Can and > Detroit, Chicago's acieed & the UK's Manchester scene, Moroder's > Italo-disco, post-disco house music and NYC new wave... which isn't to > downplay at all the Afrofuturism of its 'roots'. I'm just thinking of what > Mad Mike (UR) has commented on in many interviews, that both the Wizard > (Mills) and Electrifying Mojo would mix up genres in their sets: droppin' > the Rock Lobster.. in other words, refusing to draw lines around what is > and > isn't 'black music'. > > Dub plays a role but indeed it doesn't come "through" America overland -- > which is what I think marks the crosscultural, global significance of the > Afrofuturism at play here -- especially as dub comes to provide a whole > sonic canvas for techno in so many ways, and arrives by way of Germany's > Maurizio... who in the early '90s remixes Carl Craig (on Planet E), and > arrives in part through the Berlin label Tresor, whose first release is by > X-101 (UR). > > The crossatlantic birth ensures techno's global dominance, with Detroit as > one pivot in the 'Axis' .. (as Mills puts it). What is sad (as a > discussion > on Facebook networks is commenting on) is how techno has been all but > driven > from North America thanks to a ClearChannel corporate controlled radio > blackout and the MTV racespace / BET boundary of what constitutes 'black > music'... Berlin now spins lonely and unhinged, with its connections to > Detroit merely a thread of what was once a spider's web. > > best, t. > > > > > > > Hi Gary, thanks for your kind words regarding the conference. It was > > a great conference (happened in 2006) and it was such an incredible > > experience to organize it with the Archives of African American Music > > and Culture. > > > > As far as house as a subgenre of techno, I would definitely not > > categorize either style of music in that way today. I don't really > > remember where some of the text for that article came from. Portia > > Maultsby and I were both handling writing and editing for proposals > > and PR for the conference. It is highly possible, however, that I was > > not tuned in enough at that point to generic language to catch the > > oddity of that statement. :) > > > > So you're working on the Rock conference? Sounds like it's going to > > be a great one. Hopefully I'll be able to make it down for that! > > > > Denise > > > . > . > tobias c. van Veen -----------++++ ! > http://www.quadrantcrossing.org -- > McGill Communication & Philosophy > resistance . through . rhythm . > ||||||||||||||||||| > |||||||||||||| > ||||||||||||||||||| > ||||||||||||||||||||| > |||||||||||| > > > > > > _______________________________________________ > Dancecult-l mailing list > Dancecult-l at listcultures.org > http://listcultures.org/mailman/listinfo/dancecult-l_listcultures.org > No commercial use without permission > www.dancecult.net > > > ________________________________ > > --- > This transmission is confidential and may be legally privileged. If you > receive it in error, please notify us immediately by e-mail and remove it > from your system. If the content of this e-mail does not relate to the > business of the University of Huddersfield, then we do not endorse it and > will accept no liability. > > _______________________________________________ > Dancecult-l mailing list > Dancecult-l at listcultures.org > http://listcultures.org/mailman/listinfo/dancecult-l_listcultures.org > No commercial use without permission > www.dancecult.net > > > > _______________________________________________ > Dancecult-l mailing list > Dancecult-l at listcultures.org > http://listcultures.org/mailman/listinfo/dancecult-l_listcultures.org > No commercial use without permission > www.dancecult.net > -------------- next part -------------- An HTML attachment was scrubbed... URL: From g.stjohn at warpmail.net Tue Sep 29 04:45:18 2009 From: g.stjohn at warpmail.net (Graham St John) Date: Mon, 28 Sep 2009 19:45:18 -0700 Subject: [Dancecult-l] Journal Launch - Dancecult: Journal of Electronic Dance Music Culture Message-ID: After the initial call for contributions some ten months ago, I am now delighted to announce the launch of Dancecult: Journal of Electronic Dance Music Culture. The first edition of Dancecult, a peer-reviewed, open-access e-journal for the study of electronic dance music culture (EDMC), is now live, with downloadable PDFs accessible at http://dj.dancecult.net. Alongside Managing Editor Eliot Bates and Reviews Editor Karenza Moore - who have thrown themselves headlong into the journal - I am happy to see the EDMC research mothership slide down the sluiceway to begin her maiden voyage. Dancecult 1.1 2009 Contents: http://dj.dancecult.net Editor's Introduction Featured Articles IDM as a "Minor" Literature: The Treatment of Cultural and Musical Norms by "Intelligent Dance Music" - Ramzy Alwakeel Decline of the Rave Culture Inspired Clubculture in China: State Suppression, Clubber Adaptations, and Socio-cultural Transformations - Matthew M Chew Neotrance and the Psychedelic Festival - Graham St John Too Young to Drink, Too Old to Dance: The Influences of Age and Gender on (Non) Rave Participation - Julie Gregory DJ Culture in the Commercial Sydney Dance Music Scene - Ed Montano From the Floor Convergence and Soniculture: 10 Years of MUTEK - tobias c. van Veen The Hardcore Continuum? - Jeremy Gilbert The Abstract Reality of the "Hardcore Continuum" - Mark Fisher 12 Noon, Black Rock City - Graham St John The Inverted Sublimity of the Dark Psytrance Dance Floor - Botond Vitos Reviews We Call It Techno! A Documentary About Germany's Early Techno Scene (Sextro and Wick) - Hillegonda C Rietveld Lost and Sound: Berlin, Techno, und der Easyjetset (Rapp) - Sean Nye Chromatic Variation in Ethnographic Research: A Review of Psychedelic White: Goa Trance and the Viscosity of Race (Saldanha) - Anthony D'Andrea Global Nomads: Techno and New Age as Transnational Countercultures in Ibiza and Goa (D'Andrea) - Charles de Ledesma Breakcore: Identity and Interaction on Peer-to-Peer (Whelan) - Emily Ferrigno The High Life: Club Kids, Harm and Drug Policy (Perrone) - Lucy Gibson To be published twice annually, the journal features an advisory board of international experts, http://dj.dancecult.net/index.php/journal/about/displayMembership/3, and has emerged as an extension of the international EDMC research network, Dancecult: http://www.dancecult.net/. Submissions: The journal features a fully electronic submission and reviewing procedure. Once you have logged in and registered as an author you are able to submit content to the journal by clicking on "Author" in your "User Home" column. Once submitted, you are able to track the status of your submission. Dancecult wishes to thank: Eliot Bates for the logo design, pdf layout, and fearless wrangling with the OJS installation. Todd Thille for web design and banner. Tobias van Veen and Cato Pulleyblank for helpful advice and suggestions on web layout. Graham St John Executive Editor for Dancecult http://dj.dancecult.net/ -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: dancecultLogo-310x100 1.jpg Type: image/jpeg Size: 8395 bytes Desc: not available URL: