Tiësto buys a place in Miami....

[Guest pod]

holden - nothing (returning to 93 mix) ? he rinsed that!

I guess? It was in '04.

[Guest Cosmigonon]

If you don't know....now you know.

el_LVfoDC-I

LMAO...but yeah.. he Sucks.. :'(

Bienvenida a Cooljunkie!!

[Guest RzO]

I actually remember 3 years ago or so, he was at Space, I was snapping an image of him, and he randomly asked me if I liked this one track, and I did, turns out it was a James Holden production.

holden - nothing (returning to 93 mix) ? he rinsed that!

over and over as well as deep dish and all the prog jocks at the time, still a fan of james original but that one brought holden to masses...but james would always play tweeked out accapellas and edit's of it as he did in those years, one reason hes always been a fave of mine

anyhow like said earlier by ramon, the great thing about tiesto is no matter what, he has the ability to introduce music to masses. this is good for the scene so i"m glad it happens. at the private party he did @ the setai this wmc, ryan and i heard one ridiculous track , a la get physical, a good melodic minimal piece.

that is a good thing in terms of keeping edm alive, like everything, if their isn't some sort of mainstream, then there really cant be a developed underground.

so whatever it is, whether i'm over it or not, in a relative sense its definitely a good thing

[Guest pod]

Thank god someone realizes this. Without mainstream dance venues, "underground" dance venues and parties like the bulk of you guys go to these days, will not survive. Doesn't matter if it's minimal, techno, trance, or some guy from Belarus banging on an air conditioner at 120 BPM, and it's mic'd and run through an EFX unit, those parties need a mainstream to survive. The "underground" sounds need some sort of mainstream to be broken into, so the financial aspect happens, and the producers have a cashflow to continue producing.

[Guest RzO]

Thank god someone realizes this. Without mainstream dance venues, "underground" dance venues and parties like the bulk of you guys go to these days, will not survive. Doesn't matter if it's minimal, techno, trance, or some guy from Belarus banging on an air conditioner at 120 BPM, and it's mic'd and run through an EFX unit, those parties need a mainstream to survive. The "underground" sounds need some sort of mainstream to be broken into, so the financial aspect happens, and the producers have a cashflow to continue producing.

lol @ belarus guy with the a/c, dj amago freon, hehe

but yah its just common sense in terms of business and marketing, something that matters if all that we have is gonna last at a level it does now

there are some like minded folks it seems ;D

[Guest pod]

Well, you know me, I get pissy when people can't see the forest for the trees. I'm half tempted to start handing out beatdowns over this.

[Guest klubveteran]

http://blogs.herald.com/scene_in_the_tropics/2007/04/can_i_borrow_so.html

Enough to warrant a mention in Lesley's normally more celeb-oriented blog.

Over the past year or so, I've noticed many luminaries of the dance music world buying or renting places, big and small, in this area.

Now, Tijs has enough cash to do what he wants, but getting a place would imply spending more than a few days a year here.

Now, being Miami's a vacation spot, I wouldn't think it would imply more Tiësto sets.

way to go Pod. all the dj whore stalkers are loving you know. Saleen is going to jog by his place with out a shirt now in the evenings to get "noticed" the big Tiesto fan he secretly is.

[Guest klubveteran]

while were posting where to stalk djs....Erick Morillo has a place on Lagorce drive in Middle Miami Beach (33140) i never told you

[Guest LiquidX]

Man, You people need to hear James Holden - Horizons... :-)

[Guest ramon]

Man, You people need to hear James Holden - Horizons... :-)

horizons , solstice , his remix of pistolwhip , innerspace !!!

don't get me started

[Guest endymion]

The "underground" sounds need some sort of mainstream to be broken into, so the financial aspect happens, and the producers have a cashflow to continue producing.

Very good point, Pod. That's where I'm going with all of this and this. An industry that depends on creative output also depends on providing motivation for artists to produce creative output. The RIAA business model has proven to be ineffective at compensating dance artists so they make an ever-larger percentage of their income from live performances and sponsorships. Unless we find new ways to motivate artists, the dance music genre is threatened with extinction. Until then, the way to support the dance music genre and stave off its extinction is to support live performances. Supporting nothing but underground dance parties is the 2007 equivalent of 60s hippies sitting around in circles with drums around camp fires singing folk songs on acid. Great fun for all involved but the genre went extinct when the people moved on.

[Guest pod]

It's like the hippies in the South Park episode where Cartman has to exterminate them from the area. They went to the show to "start something", but never got beyond the music/doing drugs phase. And then Cartman made his move.

The 60's "movement" really went nowhere because of this. I see this now in dance music. A lot of producers are moving on, because the fanbase either sits on forums and bitches, or they're too self-absorbed/drugged out of their minds to notice what's going on.

Unfortunately, you can't make art out of thin air and charity. Even if your efforts are free, the equipment you use to make it isn't. That acrylic paint isn't cheap. That 1D MKIII costs $4200 for the body alone. That Mac Pro is $5,000+. Outfitting that Mac Pro with Pro Tools will set you back some. And so on. Even if you make zero profit on your work and just make enough to keep producing, it still gets to be a fairly expensive proposition. Thus, money needs to be made, or you gotta be ghetto enough to break into Cupertino and steal what you need.

[Guest 4040]

It's like the hippies in the South Park episode where Cartman has to exterminate them from the area. They went to the show to "start something", but never got beyond the music/doing drugs phase. And then Cartman made his move.

The 60's "movement" really went nowhere because of this. I see this now in dance music. A lot of producers are moving on, because the fanbase either sits on forums and bitches, or they're too self-absorbed/drugged out of their minds to notice what's going on.

Unfortunately, you can't make art out of thin air and charity. Even if your efforts are free, the equipment you use to make it isn't. That acrylic paint isn't cheap. That 1D MKIII costs $4200 for the body alone. That Mac Pro is $5,000+. Outfitting that Mac Pro with Pro Tools will set you back some. And so on. Even if you make zero profit on your work and just make enough to keep producing, it still gets to be a fairly expensive proposition. Thus, money needs to be made, or you gotta be ghetto enough to break into Cupertino and steal what you need.

Unless you jacked BT of all his tools. oops, did I say that outloud. :-\

[Guest pod]

BT has real bad luck with that. I remember like 8 or 9 years ago, he was robbed at gunpoint of some gear he was carrying from his car. Then maybe 3 or 4 years later, his studio was burglarized, and now this...poor guy.

[Guest endymion]

Even if your efforts are free, the equipment you use to make it isn't. That acrylic paint isn't cheap.

EXACTLY. There is a big difference between the guy who doodles with acrylics on a canvas every once in a while never even hoping to make a buck from it, and a professional artist who is plugged into a compensation structure that supports him while he paints full-time. There would be no fine art at all if we depended on part-time doodlers to make it.

Because we entrusted the RIAA with the task of compensating the artists, and they failed, niche genres of music are going extinct. If the RIAA won't compensate our artists then we have to. And if you go to a really cool underground warehouse party where the DJ plays some really unique and hip remix that samples Tiesto but the warehouse does't even have an ASCAP license, then you just fucked Tiesto over in two different ways and you contributed a little more to the extinction of the beats that you profess to love so much.

[Guest pod]

I see this a lot on the "part-time" level. A lot of the "part-timers" in the dance music world, think nothing of spreading around tracks. I would sort of understand if this was back in the day when slabs of vinyl cost $12 a pop. Not now though. Through Traxsource, Beatport, etc, you can get most stuff for a dollar or two. Now, if you can afford to buy a mixer and some CDJs, you can afford to stock your library with tracks.

[Guest frankthetank]

Sooo...is his place next to DT's or EM's?

[Guest pattya.br]

If you don't know....now you know.

el_LVfoDC-I

LMAO...but yeah.. he Sucks.. :'(

Bienvenida a Cooljunkie!!

well, it was about time, huh? thank u!!!

[Guest RzO]

Man, You people need to hear James Holden - Horizons... :-)

horizons , solstice , his remix of pistolwhip , innerspace !!!

don't get me started

the wheel, i have put out the light, a break in the clouds

ok you got me started now, since james was a big influence on me getting into dance music, holden productions were one of kind in that day, and he was but 18 when horizons came out

look at us now 7 yrs later, dj's making 6 figures to play parties (ie tiesto!) it all happened for a reason, and shit im actually glad it is the way it is, i mean i like the underground and all, but its alot nicer aesthetically above, and how can there be a moving ug without the mainstream to dictate what can't be cool anymore , i digress...

anyhow glad to see the thread has progressed nicely!

[Guest Buck White]

If you don't know....now you know.

el_LVfoDC-I

Ladies & Gentleman.....this is real talk.

[Guest endymion]

Would 'the underground' be inherently uncool if there were more money in it?

What is "The Underground" exactly? Power to the people, what does that mean. Does it mean an independent sound free of all commercial forces?

[Guest Buck White]

Actually I admire the guy. I'm sure he had a humble beginning. He's large now, though. You gotta make fun of the big guys.

When asked, "do you think you're talented.....?" is when I immediately begin to lose it.

[Guest pod]

Tech, the thing is, none of these people can answer that question. Or if they can, it usually involves playing in some hole in the wall one violation short of being shut, and the only people present "get it", and everyone else can go to hell.

The minute someone's become successful in this industry, it's all over. I've seen a few DJs who post on here from time to time, get plum gigs, and it's congratulations for about a week, then there's grumblings of 'sellout' and 'oh I could do better than that'.

A top DJ (in the world) from Miami said to me once "Yeah, we're not local talent anymore since we make money..."

Apparently money is evil to them. However, if you look at their bank accounts and lifestyle, half the time flush with evil. Usually through someone else...mom, dad, etc...

Success breeds contempt or something.

[Guest coqui x]

latin collaboration and new change for tiesto... omg i might want to hear this

He is due a change in style. Maybe a few years overdue.

amen.

i dont understand how some awesome djs played wmc for like 20 bucks...and his entrance was 75. :

i guess w.e tickles ur pickle.

[Guest pod]

It's called market forces. If he wants to charge $75 or $750, let him.