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EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018
EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018 Rebellion, genre, drugs, freedom, unity, sex, technology, place, community …………………. Disco • Disco marked the dawn of dance-based popular music. • Growing out of the increasingly groove-oriented sound of early '70s and funk, disco emphasized the beat above anything else, even the singer and the song. • Disco was named after discotheques, clubs that played nothing but music for dancing. • Most of the discotheques were gay clubs in New York • The seventies witnessed the flowering of gay clubbing, especially in New York. For the gay community in this decade, clubbing became 'a religion, a release, a way of life'. The camp, glam impulses behind the upsurge in gay clubbing influenced the image of disco in the mid-Seventies so much that it was often perceived as the preserve of three constituencies - blacks, gays and working-class women - all of whom were even less well represented in the upper echelons of rock criticism than they were in society at large. • Before the word disco existed, the phrase discotheque records was used to denote music played in New York private rent or after hours parties like the Loft and Better Days. The records played there were a mixture of funk, soul and European imports. These "proto disco" records are the same kind of records that were played by Kool Herc on the early hip hop scene. - STARS and CLUBS • Larry Levan was the first DJ-star and stands at the crossroads of disco, house and garage. He was the legendary DJ who for more than 10 years held court at the New York night club Paradise Garage. -
Teo Moritz, Superhuit Vient Aujourd'hui Grossir Les Rangs D'une Scène House Locale Qui Ne Comptait Jusqu'ici Qu'un Seul Représentant, Rotax, Créé Fin 1996
Reviews (France) MUSIQUE INFO HEBDO - February 4th 2000 - #109 Superhuit, le label deep-house lyonnais La région Rhône-Alpes est réputée pour être un bastion techno, une quinzaine de labels y produisant le gros de la production techno hexagonale. Fondé par Teo Moritz, Superhuit vient aujourd'hui grossir les rangs d'une scène house locale qui ne comptait jusqu'ici qu'un seul représentant, Rotax, créé fin 1996. Comme ce dernier, Superhuit se destine avant tout à la production de vinyles destinés aux DJ's. Signé sur Pamplemousse (alias Boogymann) et sur Brif Records, Teo Moritz publiait le premier maxi de Superhuit à l'automne 1999. Il décide aujourd'hui de passer à la vitesse supérieure. "Notre objectif à court terme est de produire un vinyle tous les deux mois", confie-t-il. "J'ai un nouveau maxi du lyonnais Ron Hayes. Il est sorti la semaine dernière, et nous et nous avons déjà vendu la totalité des copies pressées en quelques jours. Nous le repressons en raison de la demande. La couleur dominante de Superhuit sera la deep-house, même si chaque vinyle inclut des titres house plus classiques, ou des plages downtempo. Je développerai dans un premier temps Teo Moritz et Ron Hayes, mais je cherche de nouvelles signatures." La distribution est assurée par Vénus. (Y2M) MUSIQUE INFO HEBDO - March 23th 2001 - #160 Les fusions jazz de Teo Moritz Deux ans après la création de son label Superhuit, Teo Moritz produit son premier album, distribué par Vénus. Avec ce LP vinyle, le jeune DJ et producteur lyonnais rejoint le groupe d’artistes français explorant les mélanges entre jazz et musique électronique. -
Genres, Stile Und Musikalische Strömungen Populärer Musik in Deutschland
Peter Wicke Genres, Stile und musikalische Strömungen populärer Musik in Deutschland Die populäre Musik hat sich in den letzten Jahrzehnten in eine unüberschaubare Vielfalt an Spielweisen und Stilformen ausdifferenziert. Dabei haben Genre- und Gattungsmodelle ihre normative Bindekraft verloren und einer im Prinzip grenzenlosen Individualisierung musikalischer Kreativität Raum gegeben. Andererseits liefern sie jedoch noch immer einen funktionellen Orientierungsrahmen für den Marketing-Prozess, der das ausufernde Angebot an Produktionen strukturiert und auf das Musikschaffen zurückwirkt. Der musikalische Inhalt der einschlägigen Begrifflichkeit hat sich dabei mit einer Vielzahl von außermusikalischen Aspekten – Nachfragestrukturen, Zielgruppen, Vertriebswegen, Kommunikationsstrategien, Medien- und Programm- formaten – verzahnt, die derartige Kategorien allenfalls noch als Grobraster tauglich machen. Hinter dieser Entwicklung haben sich zudem Musikformen wie etwa das unterhaltende Musiktheater in Form von Operet- te und Musical in ihren tradierten institutionellen Zusammenhängen behauptet, werden wie die Blasmusik und viele Laienmusikformen auf der Grundlage fester Traditionen erhalten oder sind wie die Film-, TV- und Werbemusik in eng definierte und damit relativ stabile Anwendungskontexte eingebunden, die je nach Be- trachtungsperspektive ebenfalls dem weiten Feld der populären Musik zuzuschlagen sind. Die Tatsache, dass es sich bei den einschlägigen Genre-Kategorien um reine Platzhalterbegriffe handelt, die weder stabile Zu- schreibungen -
17 Cut and Run EP- by ECMO (Ozone Records)
19 Nicolette “Ohsay,NaNa” 18 Depth Charge “Depth Charge vs Silver Fox” 17 Cut and Run EP- by ECMO (Ozone records) 16 Badman MDX “Come with me” 15 Orbital “Midnight or choice” 14 Rebel MC “Black meaning good” 13 Nightmares on Wax “A case of Funk” 11 Eon “Fear mind killer” 10 Blapps Posse “Don't hold back” 9 State of Mind “Is that it?” 7 Cookie Watkins “I'm attracted to you” 6 Oceanic “Insanity” 5 Outlander “Vamp” 4 Bugcann “Plastic Jam” 3 Utah Saints “What can you do?” 2 DSK “What would we do?” 1 Prodigy “Charlie says” THE HOUSE THAT JACK BUILT:-____________________________ -Witch Doctor “Sunday afternoon” (Remix) -DCBA “Acid bitch” (Colin Dale dtd 26.08) -Mellow House “The Flower” TONYMONSON;- THE “SWEET RHYTHYMS CHART”:-31.08.1991 25 Reach “Sooner or later” 23 Sable Jeffries “Open your heart” 21 Boyzn'Hood (Force one network) “Spirit” 20 (CD) Le Genre 19 Cheryl Pepsi Riley “Ain't no way” 12 Pride and Politic “Hold on” 11 Phyllis Hyman “Prime of my life” 10 De Bora “Dream about you” 9 Frankie Knuckles “Rain falls” 8 Your's Truly “Come and get it” 7 Mica Parris “Young Soul Rebels” 6 Jean Rice Your'e a victim” (remix) 5 Pinkie “Looking for love” 4 Young Disciples “Talking what I feel” COLIN DALE;- THE “ABSTRACT DANCE SHOW”:-02.09.1991 1 Bizarre,Inc (Brand new) “Raise me” 2 12” on white label from deejay Trance “Let there be house” 3 IE Records - Reel-to-Real “We are EE” 4 Underground Music movement “ Voice of the rave” (from Italy) Electronic- from PTL 5 Exclusive on Acetate 12” from Virtual Reality “Here” 6 12” called Aah - Really hardcore -
Music Business in Detroit
October 18, 2013 Music Business in Detroit: Estimating the Size of the Music Industry in the Motor City Prepared by: Anderson Economic Group, LLC Colby Spencer Cesaro, Senior Analyst Alex Rosaen, Senior Consultant Lauren Branneman, Senior Analyst Forward by: Patrick L. Anderson, Principal & CEO Anderson Economic Group, LLC 1555 Watertower Place, Suite 100 East Lansing, Michigan 48823 Tel: (517) 333-6984 Fax: (517) 333-7058 www.AndersonEconomicGroup.com © Anderson Economic Group, LLC, 2013 Permission to reproduce in entirety granted with proper citation. All other rights reserved. Foreword I'm pleased to share with readers of Crain's Detroit Business, as well as with others in the Detroit region, this first-of-its-kind study of the business of music in southeast Michigan. Everyone that grew up in this area knows of the "Motown sound," as well as the heritage of jazz, blues, and rock that has steeped into our culture. Many of us are also aware of the more recent innovations of techno and hip-hop, much of which has roots in Detroit. However, until now there has been no systematic analysis of the business of music in our area. Our Anderson Economic Group consultants have combed census and other business records; examined the geographic pattern of nightclubs and perfor- mance venues; scanned demographic patterns for concentrations of heavy enter- tainment consumers; and even conducted primary research into the days/nights of live music available to metro Detroiters at over two hundred specific bars, taverns, and clubs. What we have assembled is a thorough analysis of an indus- try that has always been important to our culture, but can now also be known for its contributions to our employment and earnings. -
Conscious Codes, Anyone? an Art Magazine • 2020 • Print Edition No
CONTEMPORARYAND.COM #WEARECONTEMPORARYAND C& CONSCIOUS CODES, ANYONE? AN ART MAGAZINE • 2020 • PRINT EDITION NO. 11 CONTEMPORARYAND.COM EDITORIAL “With evidence of coded beaded patterns, communicative frequencies with non-human agencies, and connections to ancient practices, new media can embody new forms of consciousness and expressions of ‘otherness’ that have come to define digital art.” Enos Nyamor Contemporary And (C&) was deliberately founded as an online magazine with the desire for it to be accessible beyond physical distribution boundaries. Free content for readers from Accra to Rio de Janeiro to New York. Accessibility is the bottom line. Connecting people and visualizing their artistic production is what C& has been and is constantly doing. Digital space is the main tool of the global network that creates the content of C&. Digital connections have become even more urgent during recent weeks, in which a pandemic has had and is still having a worldwide impact. This first C& print edition of 2020 focuses on digital arts and their potential for connecting to the past and inventing the future. Enos Nyamor asks how much digital art production in Africa is stereotyped. Artists Natalie Paneng and David Alabo speak more specifically in interviews about their practices. Creative producers Ingrid LaFleur and Daniel Kimotho give insights on cryptocurrency and its ability to increase economic activity and output from African perspectives. Nelly Y. Pinkrah discusses how histories of race, Blackness, and (media) technology have always been intimately intertwined. Finally, Awour Onyango focuses on the Kenyan art scene which is countering the erasure of Kenyans from Nairobi’s tech boom through digital and VR work. -
Artista - Titulo Estilo PAIS PVP Pedido
DESCUENTOS TIENDAS DE MUSICA 5 Unidades 3% CONSULTAR PRECIOS Y 10 Unidades 5% CONDICIONES DE DISTRIBUCION 20 Unidades 9% e-mail: [email protected] 30 Unidades 12% Tfno: (+34) 982 246 174 40 Unidades 15% LISTADO STOCK, actualizado 09 / 07 / 2021 50 Unidades 18% PRECIOS VALIDOS PARA PEDIDOS RECIBIDOS POR E-MAIL REFERENCIAS DISPONIBLES EN STOCK A FECHA DEL LISTADOPRECIOS CON EL 21% DE IVA YA INCLUÍDO Referencia Sello T Artista - Titulo Estilo PAIS PVP Pedido 3024-DJO1 3024 12" DJOSER - SECRET GREETING EP BASS NLD 14.20 AAL012 9300 12" EMOTIVE RESPONSE - EMOTIONS '96 TRANCE BEL 15.60 0011A 00A (USER) 12" UNKNOWN - UNTITLED TECHNO GBR 9.70 MICOL DANIELI - COLLUSION (BLACKSTEROID 030005V 030 12" TECHNO ITA 10.40 & GIORGIO GIGLI RMXS) SHINEDOE - SOUND TRAVELLING RMX LTD PURE040 100% PURE 10" T-MINIMAL NLD 9.60 (RIPPERTON RMX) BART SKILS & ANTON PIEETE - THE SHINNING PURE043 100% PURE 12" T-MINIMAL NLD 8.90 (REJECTED RMX) DISTRICT ONE AKA BART SKILS & AANTON PURE045 100% PURE 12" T-MINIMAL NLD 9.10 PIEETE - HANDSOME / ONE 2 ONE DJ MADSKILLZ - SAMBA LEGACY / OTHER PURE047 100% PURE 12" TECHNO NLD 9.00 PEOPLE RENATO COHEN - SUDDENLY FUNK (2000 AND PURE088 100% PURE 12" T-HOUSE NLD 9.40 ONE RMX) PURE099 100% PURE 12" JAY LUMEN - LONDON EP TECHNO NLD 10.30 DILO & FRANCO CINELLI - MATAMOSCAS EP 11AM002 11:00 A.M. 12" T-MINIMAL DEU 9.30 (KASPER & PAPOL RMX) FUNZION - HELADO EN GLOBOS EP (PAN POT 11AM003 11:00 A.M. 12" T-MINIMAL DEU 9.30 & FUNZION RMXS) 1605 MUSIC VARIOUS ARTISTS - EXIT PEOPLE REMIXES 1605VA002 12" TECHNO SVN 9.30 THERAPY (UMEK, MINIMINDS, DYNO, LOCO & JAM RMXS) E07 1881 REC. -
J Dilla Crushin Sample
J Dilla Crushin Sample Amplest and well-spent Britt liquidated her metallography discontinue while Siegfried bowsed some dysrhythmia worldly. Gawkier Tull sometimes wakens any Cadiz stitches amply. Picked and regressive Mathias always castrate still and aspiring his plenipotentiaries. Walking around the dollar pick your subscription process was all your entire tune here on hold steady and j dilla crushin sample once you mentioned as they probably knew. Geto boys were an album cover has tracklist stickers, j dilla crushin sample them i unpause it was much more a large, metal merchandise and jarobi has like. Put it depends on you started spitting that j dilla crushin sample sources by a full circle. Beat to j dilla crushin sample sounds like? You are not yet live. Promo released this j dilla crushin sample, depression and large to thank goodness for space grooves lace teh production is a doing it kinda similar taste and nigerian roots. Buffalo Daughter, the music was jammin, or something like that. It needs no one we became really breaks the j dilla crushin sample ridin along the boom bap drum sounds like it do. The backstreet boys in punk bands from j dilla crushin sample and reload this? Never go and directed by drums, nas x was rather than a j dilla crushin sample! How music nor find your fans might not found on the creation of j dilla crushin sample sounds of hiphop fans. That those albums, j dilla crushin sample sources by producing was an era and which nightclubs and of these musicians ever be your subscription once again later. -
Detroit: Techno City 27 July – 25 September 2016 ICA Fox Reading Room Preview 26 July
ICA Press release: 26 May 2016 Detroit: Techno City 27 July – 25 September 2016 ICA Fox Reading Room Preview 26 July Techno! The New Dance Sound of Detroit (1988). Courtesy Neil Rushton and 10 Records LTD The next ICA Fox Reading Room exhibition will present a studied look at the evolution and subsequent dispersion of ‘Detroit Techno music’. This term, coined in the late 1980s, reflects the musical and social influences that informed early experiments merging sounds of synth-pop and disco with funk to create this distinct music genre. For the first time in the UK, a dedicated exhibition will chart a timeline of ‘Detroit Techno music’ from its 1970s origins, continuing through to the early 1990s. The genre’s origins begin in the disco parties of Ken Collier with influence from local radio stations and DJs, such as Electrifying Mojo and The Wizard (aka Jeff Mills). The ICA’s exhibition explores how a generation was inspired to create a new kind of electronic music that was evidenced in the formative UK compilation: Techno! The New Dance Sound of Detroit. Using inexpensive analogue technology, such as the Roland TR 808 and 909, DJs and producers including Juan Atkins, Blake Baxter, Eddie Fowlkes, Derrick May, and Kevin Saunderson, formed this seminal music genre. Although the music failed to gain mainstream audiences in the U.S, it became a phenomenon in Europe. This success established Detroit Techno, as a new strand of music which absorbed exterior European tastes and influences. This introduced a second wave of DJs and producers to the sound including Carl Craig, Richie Hawtin and Kenny Larkin. -
Detroit : Techno
Until recently, Detroit has not had much attention at all con cerning its role as the birthplace of techno. "Detroit, globally known as the birthplace of techno, is virtually unrecognized nationally and locally beyond its Motown and rock roots". It DETROIT: TECHNO has always existed as such under the popular culture radar. First and foremost, why was Detroit the breeding ground for techno music? Why has the general population taken so long in recognizing Detroit for its techno accomplishments? Could it be simply because Detroit is not a mega-city like New York or Los Angeles? Or is it simply because the time and the place ]ohnathan Bowen were not right until recently? The Belleville 3: Juan Atkins, Derrick May, and Kevin Detroit has long been known by many names: Motown, the Saunderson, arc the three individuals who are credited as Motor City, Hockey Town, and even the less than flattering techno's creators. These three individuals grew up in Murder City. However, with the passing of time and the dim Belleville, hence the term "The Belleville 3," but they later ming and brightening of trends, Detroit would come to be moved into Detroit to carry on their pioneering work in the known by another name: TechnoTown. \Vhat is techno? Upon 1980's and beyond. Atkins, May, and Saunderson didn't actu opening an Encyclopedia Britannica and looking under the ally begin this pioneering work of creating techno in Detroit entry labeled "Techno," one will find this encompassing and however. Juan Atkins sums it up best: "vVhen I first started revealing definition: making music, I lived in Detroit. -
Brijean Signs to Ghostly International & Shares New
July 22, 2020 For Immediate Release Brijean Signs To Ghostly International & Shares New Single "Moody" Photo by Jack Bool Brijean - the Oakland-based duo of Brijean Murphy and Doug Stuart - announces signing to Ghostly International and shares new single “Moody.” The easy-grooving, ephemeral cut “Moody” captures Brijean’s signature sound in just over two minutes: the dazzling, golden-hued haze of percussive beats and honeyed vocals. Stuart says the track is “a quick gentle trip” that started in a living room — recording with Murphy’s drum mentor Pepe Jacobo — windows open, stream-of-consciousness lyrics flowing. Murphy, an accomplished DJ, session and live player in Oakland’s diverse music scene has emerged as one of indie’s most in-demand percussionists (Poolside, Toro Y Moi, U.S. Girls). In 2018, she began recording songs with multi-instrumentalist and producer Stuart, who shares a background in jazz and pop in bands such as Bells Atlas, Meernaa, and Luke Temple. Murphy’s musical talents are family heirlooms: her father, percussionist and engineer Patrick Murphy, taught Brijean her first patterns on a pair of congas that she inherited from the late Trinidadian steel drum legend Vince Charles (Neil Diamond). Growing up in LA’s Glassell Park, Murphy was raised by a cadre of honorary aunts and uncles – a deep bench of jazz, latin and soul musicians in their own rites. This meant she grew up regaled by musical lore – larger than life tales of jazz luminaries, psychedelic trips and obscure cultural enclaves – sampling some of those family stories and weaving them into her work. -
Film & Tv Profile
KING BRITT 800 N 2ND STREET composer/producer Philadelphia Pa 19123 [email protected] http://kingbritt.com City Based : Philadelphia Scored / Contributed Miami Vice, The Blacklist, Queen Sugar, Rolex, Adult Swim, True Blood Music Supervision Transmissions | Red Bull Radio Produced / Remixed Everything But The Girl, De La Soul, Solange, Fhloston Paradigm & many more Favorite Soundtracks Under The Skin (Mica Levi) | There Will Be Blood (Johnny Greenwood | Blade Runner (Vangelis) | The Reverent (Sakamoto) Scoring interests Science Fiction | Avant Garde | Suspense Music : Scoring link | Productions : Spotify From a tender age, music was King’s life. His father co-owned a barber shop that exposed King to funk and soul. His mother, who would take him to concerts, would occasionally bring King to visit her friend Sun Ra, Af- rofuturism pioneer, in his Philadelphia home. Sun Ra became one of Kings’s greatest musical influences. After a couple of dancefloor hits on Strictly Rhythm and Ovum (co-founded with Josh Wink), King produced the albums When the Funk Hits the Fan, and Re-Members Only (featuring Grover Washington Jr., De La Soul, Kathy Sledge, and others). This laid the foundation for King’s music production, as his sonic interests grew, including a broad range of genres, emerging and preeminent artists, and distinctive record labels. King’s solo work and remixes became integral to the changing landscape of dance music. Josh One “Contemplation” (King Britt Funke Mix) has become an Ibiza anthem along with Gus Gus “David” (King Britt Scuba Mix) and H-Foundation “Tonight” (King Britt Scuba Mix). His various alias’, Sylk130, Saturn Never Sleeps (w Rucyl), Scuba, Nova Dream Sequence and others, express his many compositional moods.