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more *******ing about 'tech house' and 'grand theft culture' (pg. 11)
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| nefardec |
| quote: | Originally posted by SYSTEM-J
I don't see who Aber is ripping off musically on this record, apart from other tech house dullards. Please inform. |
well I'm not going to disagree with you there :p
To me the tracks sound like watered down (i would be tempted to use the term whitewashed here, but..) detroit techno. So ripping off might be giving him too much credit. |
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| SYSTEM-J |
| quote: | Originally posted by nefardec
well I'm not going to disagree with you there :p
To me the tracks sound like watered down (i would be tempted to use the term whitewashed here, but..) detroit techno. So ripping off might be giving him too much credit. |
Well the whole reason this referentiality is so bunk to me is because this music sounds so little like the music it claims inspiration from. As we've said before, these guys were all gurning to progressive house 5-10 years ago, and this stuff is more an insipid reduction of the dark prog sound. These name-drops and references are extraneous packaging used to sell this sterile product, because Chicago house scores trendy points where prog house doesn't anymore. |
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| Forever Delayed |
| I will admit to taking major issue with the title of this album. This whole obsession amongst the wider tech-house scene with Chicago and Detroit is getting sickening at the moment. However, to suggest that there is some sort of racial appropriation going on here is ing ridiculous, and offensive to the intelligence of everyone on this board. No ing surprise that it's nefardec who started this thread though, his need to deride contemporary tech-house and it's listeners (regardless of the quality of the music) is so bad that he's resorted to grasping at this most non-existent of arguments. Blackface? Really? Give me a ing break. The appropriation of Chicago and Detroit dance music culture to such insipid, dull music is a disgrace, but to even suggest this is a race issue is ing insane. |
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| nefardec |
| quote: | Originally posted by Forever Delayed
I will admit to taking major issue with the title of this album. This whole obsession amongst the wider tech-house scene with Chicago and Detroit is getting sickening at the moment. However, to suggest that there is some sort of racial appropriation going on here is ing ridiculous, and offensive to the intelligence of everyone on this board. No ing surprise that it's nefardec who started this thread though, his need to deride contemporary tech-house and it's listeners (regardless of the quality of the music) is so bad that he's resorted to grasping at this most non-existent of arguments. Blackface? Really? Give me a ing break. The appropriation of Chicago and Detroit dance music culture to such insipid, dull music is a disgrace, but to even suggest this is a race issue is ing insane. |
Look, like it or not, race is tied up with this kind of music.
People like you who think that racism is non-existent are the reason it's still allowed to exist in all of its insidious forms. Racism doesn't have to be intentional, it's inbred, institutional, even.
Anyway, whether or not this particular album makes use of literal or metaphorical blackface I will admit is subjective. But either way, the guy is trying to identify himself with and claim inheritance to a basically black musical tradition, and I think it's unavoidably a cultural and racial issue. |
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| Halcyon+On+On |
| Where do you draw the line between where your purported 'black music' tradition began and where it borrowed from other traditions though? Your cherry-picking assumptions of supposed traditions being inherently original or somehow free from influence or device is rather bothersome, and not to mention rather racist in itself. |
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| EddieZilker |
| quote: | Originally posted by Halcyon+On+On
Where do you draw the line between where your purported 'black music' tradition began and where it borrowed from other traditions though? Your cherry-picking assumptions of supposed traditions being inherently original or somehow free from influence or device is rather bothersome, and not to mention rather racist in itself. |
Theo Parrish's own victim complex seems emblematic of racism. A lot like white people seem to adopt victim-hood as a fulcrum for their own leverage against their perceived persecutors, Parrish's laughable indignation seems misplaced and unearned against the back-drop of American Music, in general, let alone its grossly impeded thinking pertaining to house music. Thelonius Monk, Charlie Parker, Miles Davis, and Duke Ellington all had a fundamental right to complain about being ripped off by white-owned record-labels along with white musicians.
His tirade seems oddly anachronistic. Having heard a couple of his songs, it just does not measure up to the quality of ordained entitlement. When one considers how many producers there are along with how many divergent forms of music have been created for the purpose of dancing, be it at clubs, raves, et al it just seems wholly ridiculous for him to be so focused on this perceived indignation as though, even if part of the injustice is real, it deserves any attention, what-so-ever. |
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| SYSTEM-J |
One thing's for sure: Parrish is completely sugar-coating black producers by claiming they're too close-knit to steal from each and nobody with any cred uses the same sample sources as another black producer. Tell that to the ing Winstons.
Also, I've made the argument to nefardec before that black music is not hermetically sealed and culturally "pure". House and techno were strongly influenced by a variety of white musicians such as Kraftwerk, Giorgio Moroder and many European synth pioneers. For example, Cybotron - Clear samples two separate Kraftwerk tracks, but there's no credit give on the sleeve notes. If Parrish thinks "this music like all other music is originated on african/black experience" he's talking bull of the highest calibre. Notions of "black music" and "white music" are reductive and unrealistic because the two have relentlessly inspired/stolen from each other in the last century of pop music. |
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| Halcyon+On+On |
| quote: | | Originally posted by EddieZilker |
So, so true. Elvis is dead and gone, and only idiots hail him as the King of anything at all. Racism is omnipresent in our world, always has been so long as culture has had any cohesion and communication whatsoever. If it's not skin colour, it's geolocation and if it's not that, it's earning potential, etc.
Oh, but nefardec's going deep under cover to blow the top right off a secret racism ring affronted as an album nobody really gives two s about. Look out, world, you just aren't ready to accept this! |
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| Goebbel Goebbel |
i'm not a pill popper, but i do post pics of my in the cor...hmmmm.
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| Groundhog Boy |
| Just curious, do you get this infuriated about how straight people have taken over the music of the gays? |
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| Adam420 |
The fact is that the black producers from Detroit who are doing well for themselves these days are ones who have expanded their horizon and have come to terms with the fact that house and techno are a global business and that in this day and age they have to be open to the outside world if they want to get anywhere. Look at the latest RA podcast for example:
http://www.residentadvisor.net/podcast-episode.aspx?id=227
Delano Smith playing tracks by Reboot, Makam, Superlounge and Butch, among others. Delano Smith is relevant atm because he doesn't sulk in his own culture's legacy and has breached out to a wider audience. |
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| nefardec |
| quote: | Originally posted by Groundhog Boy
Just curious, do you get this infuriated about how straight people have taken over the music of the gays? |
Disco (I assume that's what you're talking about) was a very, very mixed scene. And disco is black music in origin.
But yeah, I can't stand going to parties or clubs that consist of straight guys creeping out straight girls. You need some gay creeps in there. For instance, one of the best house/disco parties for dancing in NYC is the Body & Soul party, whose crowd consists mainly of 50 year old gay, female, black, and latino veterans of the Paradise Garage, Shelter, etc. Seriously a fun, invigorating, and visceral dance experience. |
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