scratchapella

i just heard right now. . .will come back w/details. . .

this one time in hong kong. . . there was a typhoon 6 coming (6 being the worst/strongest level of typhoons). . . the entire island, peninsula, and parts of guangdong shut down. . .people were using it as an excuse to close business and go home. . .all the students on my campus took the first and last subways back to their respective homes. . .i didn't have a home to run back to. . .felt like the end of the world. . .we couldn't find food, power being spotty, no other entertainment than to wait for this typhoon. . .anyways, late afternoon rolls around when the typhoon supposed to hit, winds have been blowing all day. . .what happened? NOTHING we chilled on the building rooftop all night, smoked out, and watched the "typhoon" winds blow around the ocean. . .i have pictures!

actually, i listened to a lovely 3 hr set by freq nasty yesterday that was offthechain. . .streaming though. .but i HIGHLY recommend it to all heads. . .www.betalounge.com. . . .it's recent, so the link should be right there on the page.

what was that for?

i'm going to this fsho frost, do you know where i can find 95 north's last set at red in early august? did they record it that night?

hi! :waves:

oh, wait. . . i live in the basement apartment of a 70 year old townhouse. . .should i be worried?

dayamn. . .this makes me want to go surfing

another thing that makes me sad. . . .the popularity of DL music these days is killing the album. . .it's all about the singles, the i-tunes. . .of course some artists are going to make albums w/one or two hit singles and the rest filler shite. . .but i like buying the whole "album" as an artistic statement. . .but i don't htink musicians/record labels will see these as being as profitable in the future. . . ranting. sorry.

ouch. rather than fuckitup w/words. . . checkit: Viktor Duplaix/Looking For Love (58th Street Remix)/ Hollywood Records John Tejada & Tinton Duvante/Coax/Recreation In Es Project/I'm Feeling Good (Todd Terry Remix)/Inhouse and tell me that shit don't have flow, rhythm, or style. . . OR try listening to any of the pre-March 2003 sets (after that it's all minimal, which i'm still undecided about) on www.paxahau.com. . . all the lovely tricks, crazy mixes, lightening cues, etc. that you love about badboybill. . .he learned from watching jeff mills. . . (ok can't guarantee that, but i had to say it )

i never DL copyrighted music. . .that sentiment is kind of a fad at the moment, lots of anti-DL literature/talk going around. . .but they persuaded me about two years ago. . .esp. what it does to independent music taken from www.pro-music.org: Praga Kahn, (Lords of Acid) "It is turning into a catastrophe, especially for artists in our genre of music. We make techno music - so the guys are always playing with their computers. Our target audience are therefore 'techno-nerds' who download huge amounts. I can tell you that we have definitely lost 40% of our sales, and this is also due to the fact that we work a lot in the US. If after 150 or 160 days work in the studio to make an album, people can download it for free, then all the work has been for nothing. I think that people who propose this kind of thing should also hand over 40 per cent of their profits." IMPALA “The younger generation in particular feels that it is quicker, easier and cheaper to download. Yet marketing costs (for record companies) are increasing. It’s getting harder to have your records in the stores. It is more and more expensive to do so, for less revenue. The equation is very easy: more costs and less revenue equals bankruptcy. The traditional weakness of independent companies is working capital. In a market where access is harder, you need more staff and more means. As soon as you are in the red you have a problem because you have hardly any reserves. And the whole system is in jeopardy because nowadays to keep your artist you need to be able to compete with the majors and understand how to develop an act and that is a long and expensive process. A decreasing number of labels are capable of surviving. There are less sales on fewer products. Distribution companies have more and more problems because there is less revenue. So the whole chain is in danger. I think that we are living in a very contradictory time. There is more and more music consumption. The most popular thing on the internet, (apart from pornography), is music. It is one of the biggest attractions for cable operators selling broadband and rapid access to people. I wonder what would happen to the internet on the day that music disappears - because there would be no production houses. Some cable companies might be happy to see the music industry disappear, but this would put them in a more difficult position when it comes to selling broadband access.†Michel Lambot, Chairman of Impala FIM “The International Federation of Musicians (FIM) is the longest established and most comprehensive international organisation representing musicians in all genres of music. It has been fully involved in protecting musicians’ interests in all the developments arising from digital technology including the internet and associated communications technologies. Musicians generally have welcomed these developments but have sought - and continue to seek - a fair framework of legal protection and related statutory rights to enable them to practise their profession and continue to develop their skills and talents. Most fair-minded music lovers recognise that music performers, composers, producers and associated creative and technical contributors to music on the web and in the home need to be properly rewarded for their efforts in order that music can continue to develop and new artistes and works can flourish. Piracy - which includes free downloading - undermines all this and threatens the future of music. The International Federation of Musicians (FIM) and its member organisations throughout the world join with the other creative interests in a campaign to awaken public interest in these issues and to call on all legislators to provide a satisfactory national and international legal framework to safeguard new music, new markets and new consumer satisfaction. Piracy is the major threat to creativity and tomorrow’s music and musicians.†John Morton, President of FIM

funny thing. . .bad boy bill, for some reason , gets no love from his hometown, chicago. . .and whenever i talk to non-chicago people, they love bbb? aaaand techno is NOT boring. . . .using recorded scratch records and pretending like you're doing the tricks is boring (saw him do it in charlotte). . .no, actually it sucks. i think all "bangin the box" mixes (1-4. . .how many are there now?) sound alike. not a big fan of bad boy bill. . .

where's the rubik room going to be?

electric skychurch is an edm band. . .ooooollle skool. . .also used help throw the crazy moontribe parties out west (i dreamnt of taking roadtrips out there in high school). . .mmm. . musically, diverse. . . that trippy hard trance/techno sound. . . check out "deus" (moonshine?). . .i think they've been doing more recent stuff lately, but i haven't been following

i had to meet my friend from hongkong at the airport. but i showed up for the last two hours. . . glad to finally hear jesse saunders play out. how were the speeches?

i thought rocky misspelled "annandale". . .it made me think you were going to a korean restaurant. . . gawd, i miss kimchee

ooh! i want to see that! i'm coming out tomorrow! happy happy berfday vic!

yes, but he left the band recently. . .now it's whatshisname from big city rock. . .i think the lead singer or one of the guitarists played a role in donnie darko too

i was fascinated when i played w/my cousin's atari, pacman game and star wars action figures thinking they were "older kids' toys" i still have bad dreams about jaws being able to get me on land

jenn! not very "indie" but have you heard of phantom planet? been into them as of late. . along w/rilo kiley, the used, and makeout date. . .dug up weezer a few days ago too radiohead is timeless

fine, i'll start things off. . . lots of hip hip. . .zion i, aceyalone, herbaliser, mr. scruff, dj food, dialated peoples, awol one, emanon, talib kweli, abstract rude, unspoken heard, public enemy (always), tcq, digital underground, old massive attack. . . the "others" and classics. . .stevie wonder, issac hayes, curtis mayfield, michael jackson, al green, nina simone, david bowie, radiohead, donna summer, grace jones, bob marley, stan getz. . . outside of clubs/going out, i've been listening to edm less and less. . .

lifted from deep house page. . . washingtonpost.com Finding Sanctuary By Fritz Hahn Special to The Washington Post Friday, August 22, 2003; Page WE06 Every weekend at the D.C. Sanctuary, music and art intersect in dramatic fashion. Under blue lights and a disco ball, dancers shimmy to the thump of soulful house music. A painter in one corner of the room fills a canvas with colorful streaks and swirls, nodding his head in time. Upstairs, patrons take a break in couch-filled lounges and gaze at works that range from a portrait of Count Basie to dense, abstract images. "We're on the cutting edge of an arts district," owner Dorian Smith says proudly. He's not talking about Logan Circle, Shaw or Eastern Market. On Friday and Saturday nights, the D.C. Sanctuary (1355 H St. NE; 202-399-4033) is one of the only signs of life along the H Street Arts District in Northeast Washington -- quite a change from the club's former home in the bustling U Street corridor. Smith and partner Shadrach Gill (known to regulars as DJ Shadrach) looked at properties in Columbia Heights, Brookland and along North Capitol Street before deciding on the two-level building, formerly a barbershop and beauty salon. "We were conscious of the fact we were pioneering," he says. Although the neighborhood is part of a government-sponsored revitalization plan, much of the designated Arts District remains empty. The H Street Playhouse, a black-box theater and gallery space, opened last year. The art deco Atlas Theater is scheduled to reopen as a performing arts center in late 2004. Still, Smith says, the neighborhood's potential reminds him of "U Street in the early '90s." The Sanctuary was born in early 2000. Smith, who became hooked on underground disco in high school in the early '70s, was making regular pilgrimages to the legendary Shelter nightclub in New York City. He fell in love with the "uplifting" house music and the friendly crowds who danced until well after the sun came up. But the traveling began to take its toll. "I thought, 'I shouldn't have to drive to New York to experience this,' " Smith says. Joining forces with DJ Oji, who spun house music on Morgan State University's WEAA-FM, the Sanctuary took over Friday nights at Vicki's, a hole in the wall near 11th and U streets NW. The club built a steady crowd of dancers, black and white, straight and gay, who appreciated its welcoming atmosphere, excellent DJ lineup and lack of posturing or attitude. Eventually, the founders decided to find a different, larger venue. But after a blink-and-you-missed-it stint at Club Bintunami on 14th Street NW last summer, the Sanctuary went dark until the end of April 2003. It was, the owners explain, a matter of finding the perfect fit. The club's return got local house fans talking. Legendary DJs and producers Ron Trent and Larry Heard -- famous for his mid-'80s releases as Mr. Fingers -- have graced the decks this summer, and resident DJs include local favorites Sam "The Man" Burns, Brett Dancer, Pope and Oji. "We used the out-of-town DJs to get people here," Smith says. "And once they found the vibe, they'll keep coming back." Modeled after venues such as Shelter or the Paradise Garage, the Sanctuary lacks dress codes, burly bouncers and obvious pickup action. Instead, the focus is on soulful house and garage, laid-back forms of electronic dance music that generally meld deep bass grooves, lush keyboards and positive, soaring vocals. "I see a similarity in this music and the message music that emerged in the early '70s, like Stevie Wonder and Earth, Wind and Fire," Smith says. But the owners also stress that the club is about more than music; besides displaying the work of resident artist Jeffery Henriquez -- usually found painting near the DJ booth -- new exhibits open each month. Outside of club hours (11 p.m. to 5 a.m.), gallery viewings are by appointment only. Throughout the night, the crowd ebbs and flows; new faces are still arriving at 1 a.m. and 3 a.m. While the club is far from any Metro stop, Smith has struck deals with a few cab companies that will send taxis for those who need them -- just speak to the doorman. The club is off the beaten path, but Smith is undeterred. "Our clientele is loyal," he says. "They're not daunted by transitional neighborhoods." Aside from the couches, the numerous paintings and a large dance floor, the club is a bare-bones space, but that's how Smith and Shadrach like it. "It's not for everyone," Smith admits. "There's not enough glamour or glitz here for everyone. That's okay . . . We're committed to keeping this party underground." © 2003 The Washington Post Company

what kind of music do you listen to? favorite non-dj/producers?

i didn't even know he was going to be in town! what's alias? was he going to play a techno set?