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Jake Fairley & Nathan Fake in LA? (pg. 9)
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View this Thread in Original format
| Clovis |
| I'm glad something interests you. There's a lot more where that came from. |
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| rizo |
| quote: | Originally posted by Miss Julia
I LOVE LOVE LOVE this video!!! And ya that song at 3:11 ROCKS! Rizo, where are you for the ID? lol jk
I just read one of the comments on that video:
See, even some random guy on youtube agrees that the music lately has been ty. That's why I like Border Community music so much, because it's the perfect combination of dirtyness, darkness, tech/house, and melodic (without the cheesyness). |
lol sorry dont know the ID :o |
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| pointer |
| quote: | Originally posted by alan
Fair enough, you dont book, you are a DJ, but the question was hypothetical so I can check your logic behind it.
Second, obviously you just dont want to get boxed into a genre. But whatever you do, perception is king. Consumers see you play as such, as some DJs are seen as such. Nothing wrong in that. I answered a question to Julia, and she understood what I meant. But let me go further and try to explain.
As Robtronic points out, "All of us do that are known for it, but because the branding we do is so laser like to get traction and attention with certain genres, its easy to think that's all those of us in that area (currently) do." That is my point, thats what some events are known for, one cannot change brand equity and personality overnight.
You can always play one song to change it up, surprise the crowd, tickle them, etc. But again, from my side of the fence, consumer perception defines reality and most events in the industry do have automatic associations, regardless if they are reality or not.
Deep can book Tiesto, but Tiesto will always be known as a Trance DJ. And yes, Cache has been to a party at someones home where Tiesto played Deep House all night. But he will still be perceived as a Trance DJ, as Deep will always be perceived as a Deep House night, and Compression & Droid will be known for more Techno/House. Yes, Compression and Droid can play Hed Kandi house or mashups even, but their branding is so ingrained to consumers minds, that thats what they will remember. And movement to a different genre will be hard in terms of booking DJs. That is why Rob has Boombox, then Compression, then whatever comes next. He can't brand extend, he launches new brands. That is because the same constraint that restricts him, restricts anyone who is associated with a genre or style of music (and yes it can be changed, takes some time and marketing, but it can).
Also you say I'm "attempting to box in artists that I really know nothing about....just house & techno guys is a misstatement". For some weird reason, I'm not so sure you know the artists as well as you think they do? I don't pretend to be a DJ, nor pretend to be a know it all, but I can read and a cursory check of their OFFICIAL biographies say otherwise. Unless of course they were lying or mistaken about their own music. See below:
Three:
"Three is a "DJ's DJ" who has always leaned toward the cutting edge without losing touch with the roots of HOUSE and TECHNO".
Shaun Reeves:
While searching deep in the back catalogue of HOUSE and TECHNO for forgotten tracks that sound decidedly fresh and exciting, Shaun remains committed to pushing all genres of dance music forward. His is music not just for the dance floor, but also for the body, soul…and brain. As the recent resurgence of interest in the border between HOUSE and TECHNO makes all too clear, Shaun has always been one to set musical trends rather than follow them.
Dyed Soundroom
Look at their myspace, it says clearly below their name:
HOUSE/TECHNO
http://www.myspace.com/dyedsoundorom
...I could keep on going as well. And its peculiar that they dont mention any other genre in their official bios, except...House & Techno.
As Robtronic mentioned he will not book Marshall Jefferson, while we have. As the parties you just play in will never play DnB, we have already. But we have booked John Selway, Ida Engberg, James Holden, Kollman, Larry Tee, Santiago & Bushido in the same breath, and recently had DJ Kerry play to open up for Chymera.
To each his own. If you as a DJ dont think some other events have constraints in booking DJs, then so be it. As for me as an event organizer, its clear as daylight they do. Again, there is no wrong path in either way.
To consumers like Julia etc, she might not like our Ekkohaus night. And she obviously loved it when we booked James Holden & Ricardo Tobar. But if we bring in the numbers and if we satisfy the needs & wants of our ever growing loyal consumer base and each night expand their musical taste to what we think is good music, regardless of genre, then to us, we have achieved one of our objectives. |
Its probably worth noting that I don't really tackle "my" clubs as brands per se, but rather see them as extensions of whatever sound I'm currently into.
What's interesting is that Boom Box lasted about 4 years - and so has Compression.
They both contain essential musical missions that I will always resonate with. But when I become bored with a sound, then I have to move on. Otherwise I'm just doing it to keep a "brand" alive or to continue to just be part of the scene or whatever.
That's a downer to me if only because the music for me is the main driver - and if I push along for any other reason, then it becomes an exercise in coldness (to me) and clinical evaluations of what will work or not.
But making a night, for me, is an intuitive process and very emotive. If I don't feel it, then I don't do it.
FWIW, I'm not saying that making decisions around building a brand need be a cynical exercise in bringing bodies through door - as obviously, a promoter does need to take that into account at some level. But there are two ways to view solving that problem:
1) How do I get people in through the door so I can ensure I make my money - or be profitable
2) How do I get people in through the door so I can be sure to expose as many people as possible to this incredible music I want them to hear?
Depending on your perspective of getting people through the door (i.e. pick one above), it will yield different results and activities to achieve that same goal - how to get more people through the door.
Some interesting side effects to, let's say, choosing option 1: You cut costs, you look for the best bang for your buck with high profile DJs but at the lowest possible price, you essentially get away with what you can so if you have a lower turn out, you can still make money. One might consider thinking that bodies is more important than what music is being played that night, etc.
Choosing option 2, can also reveal decisions about how to get people through the door: Picking DJs that represent what you like and what you want others to hear, even though they might not be that well known. It usually means that the night will be dedicated to a particular sound (or, let's say, an ethos - like a themed party, for instance) - it will generally eschew cost as a determining factor where it can, and is driven by a sense of artistic purpose, etc.
The funny thing is, its usually Option 1 that tend to last longer and the Option2 clubbing events that flame bright for awhile but generally burn out quicker.
So the trick is that you need to find a balance. That's an extremely hard thing to do in a fickle environment like the clubbing scene which LOVES the flavor of the moment. On a personal note, I think I've been fairly successful in my two clubs here in LA having them last multiple years with some impact (as limited as it might be).
But I'm a victim of Option 2 - and I'll probably never change that approach. Clubs and music is an emotive endeavor for me and the pay off is the cultural footprint you get to contribute to the lives around you that want escape, fun, and a place to fully embrace humanity etc. Its why I strive to build immersive environments (first through amazing sound systems, then through personal vibe, then through impeccable DJ selections, and then through other more rote things like price, accessibility, and whatnot).
I guess I find it important to say the above because for purposes of explaining Compression in the context of this brand discussion, its less about the science of it for me and more about the artistic expression I gain through putting it all together.
And that approach, by default, cannot last forever because all good things come to and end - unless you ruin the core inspiration and reason that you wanted to start to do it in the first place (simply to keep the night going).
Think of it this way - imagine if DaVinci decided to keep painting and revising the Mona Lisa rather than stopping at the moment he did when he knew it was done? We'd never have the Mona Lisa to appreciate and wonder over. It'd be an unrecognizable mess.
That's how I view the clubs I do - as an artistic expression of my interests at the time. When those ebb - so goeth the night I'm doing.
And BTW, Clovis - do the extended writings above reveal the inner workings of someone who is burnt out? No way - I'm not burnt out at all. Bored does not equal burnt out. Someone who is burnt out doesn't give a . I'm exactly the opposite.
I just know when call something what it is: There is a lot of uninspired, derivative, and boring crap out there that is getting played out far too much at this point. I think the reaction of who's going out and by what amount of numbers is very much proof of that.
People are motivated when they are inspired. 100 people at some party in a city of millions is pretty much all we need to see that there is a problem, Houston. lol
And like I said, there will always be bright spots in every down turn, but the general down turn is there as an overall trend. I think Beatport and the lack of diversity with regard to distribution is playing a part in the samey-ness of the music too - Its like Beatport is one GIANT record label and everyone is drawing their inspiration and reference points from that same place - which over time (and we've had a few years now for this to happen), causes homogeneous output, despite genre.
Artists are mimicing what sells and its causing an interesting side effect of distinguished releases over time. I think its only getting worse.
But this is only part of the problem of the downturn, as I've alluded to above in my prior posts.
.02 and my personal perspective of course. :)
rob. |
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| pointer |
oh and for what its worth, I think what Julia and a lot of people like her want in dance music is more tension and then release.
That's an essential part of any successful dance track. Almost without exception, all successful dance floor bombs have them... build the right amount of tension, then give the dancers a release.
Good DJ sets manage this need over time to a dance floor.
There seems to be a relationship between what is cheesy and tons of quick tension/release in a track/DJ set (think bad trance) and what is considered more sophisticated where that tension is held over the dance floor for long periods of time making the release a huge pay off because its been building for such a long time.
MNML gets its rap because it didn't feel like it was going anywhere and the release part of the tracks were so few and far between (or unrecognizable to the uninitiated) that it was deemed as boring. But to the initiated ear - or the person in the right frame of mind - it was just as mind blowing as the more "mainstream" dancer who thrives on the immediate pay off of some huge arpeggiated lead line in the latest trance hit (and gets it every 45 seconds or so lol).
There is probably no way to figure this formula out with any predictability - people's tastes evolve over time and one person's garbage is another person's treasure. So, the best answer to picking the music you like, is to pick what you like.
There is invariably others out there that like what you do. So you go find them and make a club. LOL
I personally am trending towards more obvious music that gives me, as well as others like me, a way to expend more energy and be blatant about it. IOW, have some fukin' fun out there you know?
Dirty Bird last night is a great representation of that ethos. They have almost nothing to do with what Compression is supposedly attached to in terms of genre, and yet everyone understood their music, LOVED it (as in: hands in the air, screaming kind of love at the tension / release moments), and it was about tech house, dub step, drum and bass, and all that mixed in last night.
It was ing amazing. Kinda made me happy because I plan on more of that approach in 2010.
But, I'm still thinking about it...natch.
rob. |
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| alan |
| quote: | Originally posted by pointer
Its probably worth noting that I don't really tackle "my" clubs as brands per se, but rather see them as extensions of whatever sound I'm currently into.
What's interesting is that Boom Box lasted about 4 years - and so has Compression.
They both contain essential musical missions that I will always resonate with. But when I become bored with a sound, then I have to move on. Otherwise I'm just doing it to keep a "brand" alive or to continue to just be part of the scene or whatever.
That's a downer to me if only because the music for me is the main driver - and if I push along for any other reason, then it becomes an exercise in coldness (to me) and clinical evaluations of what will work or not.
But making a night, for me, is an intuitive process and very emotive. If I don't feel it, then I don't do it.
FWIW, I'm not saying that making decisions around building a brand need be a cynical exercise in bringing bodies through door - as obviously, a promoter does need to take that into account at some level. But there are two ways to view solving that problem:
1) How do I get people in through the door so I can ensure I make my money - or be profitable
2) How do I get people in through the door so I can be sure to expose as many people as possible to this incredible music I want them to hear?
Depending on your perspective of getting people through the door (i.e. pick one above), it will yield different results and activities to achieve that same goal - how to get more people through the door.
Some interesting side effects to, let's say, choosing option 1: You cut costs, you look for the best bang for your buck with high profile DJs but at the lowest possible price, you essentially get away with what you can so if you have a lower turn out, you can still make money. One might consider thinking that bodies is more important than what music is being played that night, etc.
Choosing option 2, can also reveal decisions about how to get people through the door: Picking DJs that represent what you like and what you want others to hear, even though they might not be that well known. It usually means that the night will be dedicated to a particular sound (or, let's say, an ethos - like a themed party, for instance) - it will generally eschew cost as a determining factor where it can, and is driven by a sense of artistic purpose, etc.
The funny thing is, its usually Option 1 that tend to last longer and the Option2 clubbing events that flame bright for awhile but generally burn out quicker.
So the trick is that you need to find a balance. That's an extremely hard thing to do in a fickle environment like the clubbing scene which LOVES the flavor of the moment. On a personal note, I think I've been fairly successful in my two clubs here in LA having them last multiple years with some impact (as limited as it might be).
But I'm a victim of Option 2 - and I'll probably never change that approach. Clubs and music is an emotive endeavor for me and the pay off is the cultural footprint you get to contribute to the lives around you that want escape, fun, and a place to fully embrace humanity etc. Its why I strive to build immersive environments (first through amazing sound systems, then through personal vibe, then through impeccable DJ selections, and then through other more rote things like price, accessibility, and whatnot).
I guess I find it important to say the above because for purposes of explaining Compression in the context of this brand discussion, its less about the science of it for me and more about the artistic expression I gain through putting it all together.
And that approach, by default, cannot last forever because all good things come to and end - unless you ruin the core inspiration and reason that you wanted to start to do it in the first place (simply to keep the night going).
Think of it this way - imagine if DaVinci decided to keep painting and revising the Mona Lisa rather than stopping at the moment he did when he knew it was done? We'd never have the Mona Lisa to appreciate and wonder over. It'd be an unrecognizable mess.
That's how I view the clubs I do - as an artistic expression of my interests at the time. When those ebb - so goeth the night I'm doing.
And BTW, Clovis - do the extended writings above reveal the inner workings of someone who is burnt out? No way - I'm not burnt out at all. Bored does not equal burnt out. Someone who is burnt out doesn't give a . I'm exactly the opposite.
I just know when call something what it is: There is a lot of uninspired, derivative, and boring crap out there that is getting played out far too much at this point. I think the reaction of who's going out and by what amount of numbers is very much proof of that.
People are motivated when they are inspired. 100 people at some party in a city of millions is pretty much all we need to see that there is a problem, Houston. lol
And like I said, there will always be bright spots in every down turn, but the general down turn is there as an overall trend. I think Beatport and the lack of diversity with regard to distribution is playing a part in the samey-ness of the music too - Its like Beatport is one GIANT record label and everyone is drawing their inspiration and reference points from that same place - which over time (and we've had a few years now for this to happen), causes homogeneous output, despite genre.
Artists are mimicing what sells and its causing an interesting side effect of distinguished releases over time. I think its only getting worse.
But this is only part of the problem of the downturn, as I've alluded to above in my prior posts.
.02 and my personal perspective of course. :)
rob. |
well said. its like the field of dreams in my analysis, "If I build it, they will come". Its your creative outlet.
Allow me clarify our stand one point though:
1) How do I get people in through the door so I can ensure I make my money - or be profitable
2) How do I get people in through the door so I can be sure to expose as many people as possible to this incredible music I want them to hear?
INCOGNITO rationale is this way though and might be Option 3:
3) How do I create a community that will get people in through the door so I can be sure to expose as many untapped consumer segments as possible to this incredible music I want them to hear, while at the same time they share with us the music they love as well?
We TRY to make it a relationship. There is a reason why the current model of promoters where they book the same usual suspects(droid djs, hawt djs, etc) as supporting DJs at events + residents and meanwhile, we're open to such giving shots to DJs like Yutax, TJ Oka, Germano Kuerten, The Apartment DJs, Camacho & Vass, Terrakroma etc, people no one ever heard of, to play for INCOGNITO (of course, Gerard and Cache ensure quality/skill level first).
It should be good to note also that we also composed of three individuals who have different tastes in music(primarily but not limited to these of course) and reflects what we do. Gerard is more House + Techno. Cache is more House, Tech, Dub & Funk. I am Downtempo, Tech, House and Deep. (Ok, we've never done downtempo!)
So always, our programming reflects that where we have slower BPM to highest BPM (for lack of a better way to explain it). For example, we start a night with deep or mnml or deep tech, headline with Tech, House or Techno, close with Electro, Tech, Breaks, Breaks, Dub and as previously mentioned, did DnB too. So in that sense, we try to create a musical journey. If we decide one music need to be highlighted, then we accordingly adjust. |
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| Clovis |
| quote: | Originally posted by pointer
And BTW, Clovis - do the extended writings above reveal the inner workings of someone who is burnt out? No way - I'm not burnt out at all. Bored does not equal burnt out. Someone who is burnt out doesn't give a . I'm exactly the opposite.
I just know when call something what it is: There is a lot of uninspired, derivative, and boring crap out there that is getting played out far too much at this point. I think the reaction of who's going out and by what amount of numbers is very much proof of that.
People are motivated when they are inspired. 100 people at some party in a city of millions is pretty much all we need to see that there is a problem, Houston. lol |
I suppose. I just don't really agree that the music is the problem. There are still people making, playing, and pushing great music out there imo. I'm glad music with soul and more warmth has finally come back into vogue more or less. I enjoyed the tech and minimal of the 06-07 years but these days I much prefer music that has warmth and an inviting feel to it, whatever the genre.
I don't think that there is any more crap coming out than usual, ever since I started buying music to DJ with it has been largely a tedious affair of, like I said, wading through a sea of in order to find a few gems and a few things that really sound good. And there have been tons of people playing that same for years, bad Djs playing what I consider to be sub par music or just not the best of what is out there.
I have also seriously noticed the trend of less people going out but I think it has more to do with a lack of new people entering the scene and discovering what we're doing, and the fact that a lot of the people who got into this music on the crest of the last big wave in dance music earlier in this decade are now reaching points where going out all the time is less attractive and they are sort of moving away from the lifestyle. I have lots of friends who fall into this category. The kids now getting into this music also seem to prefer Deadmau5 and big productions to the smaller, intimate parties that I prefer.
In the end I don't think anything you are talking about is particularly unique or new, these swings of up and down have been going on for years an years. I can look at the past 20 years of music and find great music that was released every single year, regardless of the rise and fall of trends.
As for the tension & release thing, I tend to agree but I am much more appreciative of groove and mood than tracks that always focus on build/drop gratification. I think appropriately placed builds and breakdowns within a set focused on groove and mood are much more fun. I almost never buy tracks with white noise build ups any more, just absolutely sick of that type of instant simple gratification, even if the majority of folks who go to clubs seem to want that quick, obvious delivery. Personal preference that puts myself and many others like me in a minority, but thats just what I really enjoy. |
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| david.sound |
| quote: | Originally posted by rizo
+1
also julia since fake is already coming. lets hope for fairley + luke abbott (new release next week!) or petter! |
totally forgot about petter. he needs to be more active! good though. |
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| pointer |
| quote: | Originally posted by alan
well said. its like the field of dreams in my analysis, "If I build it, they will come". Its your creative outlet.
Allow me clarify our stand one point though:
1) How do I get people in through the door so I can ensure I make my money - or be profitable
2) How do I get people in through the door so I can be sure to expose as many people as possible to this incredible music I want them to hear?
INCOGNITO rationale is this way though and might be Option 3:
3) How do I create a community that will get people in through the door so I can be sure to expose as many untapped consumer segments as possible to this incredible music I want them to hear, while at the same time they share with us the music they love as well?
We TRY to make it a relationship. There is a reason why the current model of promoters where they book the same usual suspects(droid djs, hawt djs, etc) as supporting DJs at events + residents and meanwhile, we're open to such giving shots to DJs like Yutax, TJ Oka, Germano Kuerten, The Apartment DJs, Camacho & Vass, Terrakroma etc, people no one ever heard of, to play for INCOGNITO (of course, Gerard and Cache ensure quality/skill level first).
It should be good to note also that we also composed of three individuals who have different tastes in music(primarily but not limited to these of course) and reflects what we do. Gerard is more House + Techno. Cache is more House, Tech, Dub & Funk. I am Downtempo, Tech, House and Deep. (Ok, we've never done downtempo!)
So always, our programming reflects that where we have slower BPM to highest BPM (for lack of a better way to explain it). For example, we start a night with deep or mnml or deep tech, headline with Tech, House or Techno, close with Electro, Tech, Breaks, Breaks, Dub and as previously mentioned, did DnB too. So in that sense, we try to create a musical journey. If we decide one music need to be highlighted, then we accordingly adjust. |
That's an interesting angle that I hadn't thought of with regard to having people share music back to you as well. It's true that I tend to think of what I do as a one-way street of sort.
In some ways I might be the Apple model and what you are forwarding is an open source development model.
Both have their advantages depending on your goals.
I like the idea of it however. I'm gonna let that simmah in mah brain for awhile. :)
rob. |
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| pointer |
| quote: | Originally posted by Clovis
I suppose. I just don't really agree that the music is the problem. There are still people making, playing, and pushing great music out there imo. I'm glad music with soul and more warmth has finally come back into vogue more or less. I enjoyed the tech and minimal of the 06-07 years but these days I much prefer music that has warmth and an inviting feel to it, whatever the genre.
I don't think that there is any more crap coming out than usual, ever since I started buying music to DJ with it has been largely a tedious affair of, like I said, wading through a sea of in order to find a few gems and a few things that really sound good. And there have been tons of people playing that same for years, bad Djs playing what I consider to be sub par music or just not the best of what is out there.
I have also seriously noticed the trend of less people going out but I think it has more to do with a lack of new people entering the scene and discovering what we're doing, and the fact that a lot of the people who got into this music on the crest of the last big wave in dance music earlier in this decade are now reaching points where going out all the time is less attractive and they are sort of moving away from the lifestyle. I have lots of friends who fall into this category. The kids now getting into this music also seem to prefer Deadmau5 and big productions to the smaller, intimate parties that I prefer.
In the end I don't think anything you are talking about is particularly unique or new, these swings of up and down have been going on for years an years. I can look at the past 20 years of music and find great music that was released every single year, regardless of the rise and fall of trends.
As for the tension & release thing, I tend to agree but I am much more appreciative of groove and mood than tracks that always focus on build/drop gratification. I think appropriately placed builds and breakdowns within a set focused on groove and mood are much more fun. I almost never buy tracks with white noise build ups any more, just absolutely sick of that type of instant simple gratification, even if the majority of folks who go to clubs seem to want that quick, obvious delivery. Personal preference that puts myself and many others like me in a minority, but thats just what I really enjoy. |
I agree with everything you've written above. The bolded parts in particular - especially the second bolded part.
That is one of the problems that I have been noticing over this year too. Its the entry points that are more interesting for new folks than what we might be into (which can be, at times, a bit more obtuse in accessibility not only with the music itself but also the environment its played in - people, vibe, etc.).
Stuff to think about. No answers from me yet - but coming up with solutions require us to understand the problem first. That's what I've been thinking about a lot lately. Hence the break.
:)
rob. |
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| bas |
Solution:
Free hooker with paid entry. Win/win imo. |
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| pointer |
| For you, maybe. lol |
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| R!CH |
| quote: | Originally posted by Clovis
I suppose. I just don't really agree that the music is the problem. There are still people making, playing, and pushing great music out there imo. I'm glad music with soul and more warmth has finally come back into vogue more or less. I enjoyed the tech and minimal of the 06-07 years but these days I much prefer music that has warmth and an inviting feel to it, whatever the genre.
I don't think that there is any more crap coming out than usual, ever since I started buying music to DJ with it has been largely a tedious affair of, like I said, wading through a sea of in order to find a few gems and a few things that really sound good. And there have been tons of people playing that same for years, bad Djs playing what I consider to be sub par music or just not the best of what is out there.
I have also seriously noticed the trend of less people going out but I think it has more to do with a lack of new people entering the scene and discovering what we're doing, and the fact that a lot of the people who got into this music on the crest of the last big wave in dance music earlier in this decade are now reaching points where going out all the time is less attractive and they are sort of moving away from the lifestyle. I have lots of friends who fall into this category. The kids now getting into this music also seem to prefer Deadmau5 and big productions to the smaller, intimate parties that I prefer.
In the end I don't think anything you are talking about is particularly unique or new, these swings of up and down have been going on for years an years. I can look at the past 20 years of music and find great music that was released every single year, regardless of the rise and fall of trends.
As for the tension & release thing, I tend to agree but I am much more appreciative of groove and mood than tracks that always focus on build/drop gratification. I think appropriately placed builds and breakdowns within a set focused on groove and mood are much more fun. I almost never buy tracks with white noise build ups any more, just absolutely sick of that type of instant simple gratification, even if the majority of folks who go to clubs seem to want that quick, obvious delivery. Personal preference that puts myself and many others like me in a minority, but thats just what I really enjoy. |
valid points, every word of it.
i'm at the point myself where the music is about creating a mood and a groove, what some people call samey background music. i couldn't give less of a if it's not reinventing the wheel as long as the sounds are rhythmic, pleasant and consistent. it doesn't have to be the constant mind-bending focal point of my interest while i'm listening and it doesn't have to revolutionize my thinking about it. that's nice for partying in the club, but even then not necessary. the constant tension and release formula is in my opinion only a necessary requirement for those modernly-americanized ears. what i mean by that is the adhd culture of severely under-challenging instant gratification most americans come to expect when it comes to anything that has a mainstream appeal to it. that's an important segment to capture if you're running a business, but as a true critic of music it's less of a factor. for me anyway.
at the same time i'm going out a lot less, not because i've fallen out of sorts with the music, but because i'm just not into developing unhealthy long-term routines such as a weekend routine of blowing money going out, getting drunk/high, staying out late, sleeping in, tearing my body down in every instance no matter what degree i take it to. it gets old. it's been getting old for me for a while now, but the spate of amazing day parties over the last 6 months has kept me engaged with the 'scene' to this point. otherwise i've been more about the music and less about the party than ever. i still enjoy the party, but in a much more refined and selective manner, which is more gratifying to me as the act of spending a night out becomes more of a commodity, but it can be seen by promoters as me just not liking their bookings or parties or the scene as a whole. totally not the case.
it's also worth noting that unemployment is at all time high of 12.5% in california, which translate to something closer to 20% of californians not being gainfully employed, wages across the board stagnating for over a decade and more people than ever worrying about their future. for these people, it's all about buckling down for the long haul as their salaries don't keep up with inflation and their unemployment checks dry up while cover is still $20 in some cases and drinks are still $9. going out every weekend becomes less of a priority in general. when the economy rebounds in a year or two or more, everyone will start lining up down the block at the clubs again and loving all the music and the parties regardless of its relative quality, just like several years ago. |
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