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L Oca Tion Condominiums by the East Side Gallery
CONDOMINIUMS BY THE EAST SIDE GALLERY SIDE EAST THE BY CONDOMINIUMS LOCATION LOCATION e the food and nightlife and nightlife e the food PAGE 2 INTRODUCTION In the midst of the inspiring bustle of the metropolis, around a lovingly landscaped garden courtyard, a pleasant refuge that lends its inhabitants peace and energy for the vibrant life outside its front entrance is emerging. The enduring, timeless elegance of the architecture and the stylish serenity of the mate- rials and surfaces sourced with self-assured taste create this pure reflection of a distinctive residential lifestyle. Few places in Berlin condense the city’s new cosmopolitan places in Berlin condense the city’s Few Spree. of the River on the banks Anschutz site the flair like new world a whole of Friedrichshain, district In the vibrant busi- and lifestyle work-life shopping, of entertainment, and labels with an international hip Berlin startups nesses, all from the same time, visitors At is opening up. reputation and the Gallery Side the East to flocking are the world over neighbourhoods wher surrounding Berlin flair. with a pure entice Berlin flair Pure lifestyle residential of a distinctive expression Pure Berlin – world-class metropolis by the Spree PAGE 4 LOCATION As established as Paris, as liveable as Copenhagen, as hip as New York – the German capital is very popular in many respects. Visitors are flocking to Berlin to experience its diverse cultural landscape and retrace European history. Students, artists and those with great ambitions are mov- ing to Berlin to be part of the vibrant art or startup scene and experience the spirit of the city that is constantly reinventing itself. -
An Oral History of Berlin Minimal Techno
Menu Search Red Bull Music Academy Daily An Oral History of Berlin Minimal Techno A look back at the stripped-down subgenre that defined the German capital from 1998-2008 September 7, 2018 By Joshua Glazer In 1998, the rave scene that gripped Germany after reunification was at its apex. What had started in the literal underground spaces of post-GDR Berlin after the fall of the Wall had gone mainstream, with millions of young people celebrating the colorful culture of electronic dance music all across the country. But the techno utopia envisioned by many as the new millenium approached was already starting to come undone. The trend was swiftly co-opted – ironically, by some of the same capitalist forces that had defeated the communist system a decade earlier. The bubble soon burst, and many of those truly dedicated to the music were forced to rebuild. The result was something that was the opposite of rave’s over-the- top excess, a movement that idealized a minimalist aesthetic in sound, visuals and fashion. It was a lifestyle that resisted the unbridled exuberance of rave in favor of something more sustainable – and sustain it did, with tracks that filled whole sides of vinyl and parties that went on for days at a time. Berlin became the center for this new creative community, drawing in techno practitioners and aficionados from around the world who came for the party and stayed for the ease of living made possible by cheap rents and easy access to artist visas. “Minimal” became the buzzword around this scene, and while overindulgences were aplenty in freewheeling afterhours, the “arm, aber sexy” (poor but sexy) slogan coined by then-mayor Klaus Wowereit could not have been a more accurate appraisal of Berlin’s appeal. -
The Queer of Color Sound Economy in Electronic Dance Music
The Queer of Color Sound Economy in Electronic Dance Music Blair Black Within electronic dance music cultures (EDMCs), musicality and experi- mentation have been indebted to black and Latinx DJs of color since its inception in the 1980s. Even today, queer DJs of color continue to push the envelope of experimental EDM by showcasing dance music from the “global south,” centering remix styles that border between hip hop and EDM, and sampling cultural references popular in queer communities of color. This article explores music’s complex entanglements with identity and community for queer people of color in underground electronic dance music scenes. To be specific, the individuals within these communities self-identify as racial/ethnic minorities on the genderqueer spectrum of non-normative gender and sexual identities (gay/lesbian, trans, non- binary, etc.). Moreover, I argue that these socio-economic positions act as an impetus of a sound economy – the shared system of socio-cultural aesthetics – for queer communities of color in EDM. The first section dis- cusses the identity politics that underlie this sound economy by tracing how intertextuality allows DJs to display these minoritarian1 perspectives. I then highlight why (re)centering racialized queer identities is radical by tracing EDM’s political shifts. Specifically, I highlight how narratives sur- rounding EDM changed due to the demographic turn in Europe during the 1990s. The last section explores the re-emergence of pivotal queer DJs of color and the scenes they founded in Los Angeles, Chicago, and New York by focusing on the flows of culture and people between cities to point to a more extensive global network of racialized queer communities in constant musical and political dialogue. -
January 2012
JANUAR 2012 Freitag 06.01.2012 Start 24 Uhr ... get perlonized! Panorama Bar > Daniel Bell Sammy Dee Zip Samstag 07.01.2012 Start 24 Uhr Klubnacht Berghain > Mathew Jonson LIVE Levon Vincent Objekt Ron Albrecht Panorama Bar > Âme Oskar Offermann & Edward Shonky Freitag 13.01.2012 Start 24 Uhr Clink Nacht Freitag 06.01.2012 Start 24 Uhr ... get perlonized! SONNTAGS: Marc Schneider Jan Krüger Nico Purman Panorama Bar Panorama Bar Donnerstag 12.01.2012 Start 20 Uhr Certain People 3 Daniel Bell Sammy Dee Zip Heartthrob LIVE m_nus Ambivalent m_nus Tim Xavier clink Camea clink Berghain > Star Slinger Niki & The Dove Vondelpark Jörg Franzmann VIDEO Ein Technolabel, das von einer Frau geführt wird, ist nach wie vor keine Selbstverständlichkeit. Dienstag 17.01.2012 Start 20 Uhr Elektroakustischer Salon Freitag 27.01.2012 Start 24 Uhr Moodmusic Freitag 13.01.2012 Start 24 Uhr Clink Nacht Blip. Blurp. Bleep. Daniel Bell hat die Essenz seiner Musik schon selbst bestens auf den Camea Hoffman hat Clink vor sechs Jahren in Brooklyn, New York gegründet, inzwischen Panorama Bar Panorama Bar > Heartthrob LIVE Ambivalent Tim Xavier Camea Punkt gebracht. Der große schweigsame Nomade des Technos hat sich vor allem mit seinem Berghain ist sie nach Berlin übergesiedelt. Ihr Label steht mit Künstlern wie Alexi Delano, Tony Rohr, Projekt DBX und dessen radikal entschlacktem, futuristischem Funk für immer in die Dance- Jon Rose The Palimpolin Project Martin Dawson LIVE Samstag 14.01.2012 Start 24 Uhr Klubnacht Tim Xavier oder Mark Henning für einen puristischen Minimal Techno Sound, der genauso Geschichtsbücher eingeschrieben. Bisher hat sich noch jede neue Generation an DJs und Francisco Lopez Sonopolis Sasse Alexander Maier La Fleur Michelle Owen Berghain > LIVE abstrakt wie kickend ist. -
ENJOY RIGHT NOW Het Spanningsveld Tussen Nieuwe Media En De Kernwaarden Van Clubcultuur
ENJOY RIGHT NOW Het spanningsveld tussen nieuwe media en de kernwaarden van clubcultuur Beau Louisse 7 april 2015 Master Kunst- & cultuurwetenschappen Radboud Universiteit Nijmegen Abstract Enjoy Right Now. The field of tension between new media and the core values of club culture. Recently more and more clubs started to ban smartphones and cameras from their dancefloors. The club scene is divided in two sides: one that happily uses club photography and aftermovies as marketing for their events and another that wishes to ban all wearable technology. That gave rise to the suspicion that new media clash with elements of the clubbing ideology. This study therefore examines how new media create a field of tension between the core values of club culture and the practice on the dancefloor. It analyses how core values such as freedom, escapism, collectivity, and hedonism fit within the media saturated club environment and how new media influence the functioning of club culture. Finally, there will be explored how new technologies have possibly influenced the core values of club culture. The research focuses on clubs and festivals in the Benelux and Germany (Berlin) between 2010 and 2014. The new media that are being examined are mainly smartphones, digital cameras, social media and websites. Statements made in the media by clubbing insiders such as clubbers, organizers, dj’s, and other club culture affiliates are analyzed in order to map out how new media are being used in club culture and also how they affect the dance scene. Editorials by websites on electronic music and dance culture make up another important part of the primary sources. -
Techno's Journey from Detroit to Berlin Advisor
The Day We Lost the Beat: Techno’s Journey From Detroit to Berlin Advisor: Professor Bryan McCann Honors Program Chair: Professor Amy Leonard James Constant Honors Thesis submitted to the Department of History Georgetown University 9 May 2016 2 Table of Contents Acknowledgements 3 Introduction 5 Glossary of terms and individuals 6 The techno sound 8 Listening suggestions for each chapter 11 Chapter One: Proto-Techno in Detroit: They Heard Europe on the Radio 12 The Electrifying Mojo 13 Cultural and economic environment of middle-class young black Detroit 15 Influences on early techno and differences between house and techno 22 The Belleville Three and proto-techno 26 Kraftwerk’s influence 28 Chapter Two: Frankfurt, Berlin, and Rave in the late 1980s 35 Frankfurt 37 Acid House and Rave in Chicago and Europe 43 Berlin, Ufo and the Love Parade 47 Chapter Three: Tresor, Underground Resistance, and the Berlin sound 55 Techno’s departure from the UK 57 A trip to Chicago 58 Underground Resistance 62 The New Geography of Berlin 67 Tresor Club 70 Hard Wax and Basic Channel 73 Chapter Four: Conclusion and techno today 77 Hip-hop and techno 79 Techno today 82 Bibliography 84 3 Acknowledgements Thank you, Mom, Dad, and Mary, for putting up with my incessant music (and me ruining last Christmas with this thesis), and to Professors Leonard and McCann, along with all of those in my thesis cohort. I would have never started this thesis if not for the transformative experiences I had at clubs and afterhours in New York and Washington, so to those at Good Room, Flash, U Street Music Hall, and Midnight Project, keep doing what you’re doing. -
BEAUTIFUL NOISE Directions in Electronic Music
BEAUTIFUL NOISE Directions in Electronic Music www.ele-mental.org/beautifulnoise/ A WORK IN PROGRESS (3rd rev., Oct 2003) Comments to [email protected] 1 A Few Antecedents The Age of Inventions The 1800s produce a whole series of inventions that set the stage for the creation of electronic music, including the telegraph (1839), the telephone (1876), the phonograph (1877), and many others. Many of the early electronic instruments come about by accident: Elisha Gray’s ‘musical telegraph’ (1876) is an extension of his research into telephone technology; William Du Bois Duddell’s ‘singing arc’ (1899) is an accidental discovery made from the sounds of electric street lights. “The musical telegraph” Elisha Gray’s interesting instrument, 1876 The Telharmonium Thaddeus Cahill's telharmonium (aka the dynamophone) is the most important of the early electronic instruments. Its first public performance is given in Massachusetts in 1906. It is later moved to NYC in the hopes of providing soothing electronic music to area homes, restaurants, and theatres. However, the enormous size, cost, and weight of the instrument (it weighed 200 tons and occupied an entire warehouse), not to mention its interference of local phone service, ensure the telharmonium’s swift demise. Telharmonic Hall No recordings of the instrument survive, but some of Cahill’s 200-ton experiment in canned music, ca. 1910 its principles are later incorporated into the Hammond organ. More importantly, Cahill’s idea of ‘canned music,’ later taken up by Muzak in the 1960s and more recent cable-style systems, is now an inescapable feature of the contemporary landscape. -
“House and Techno Broke Them Barriers Down”: Exploring Exclusion Through Diversity in Berlin's Electronic Dance Music Nigh
Gender Studies Department of Thematic Studies Linköping University “House and Techno Broke Them Barriers Down”: Exploring Exclusion through Diversity in Berlin’s Electronic Dance Music Nightclubs Naomi Alice Rodgers Supervisor name: Silje Lundgren Gender Studies, LiU Master’s Programme Gender Studies – Intersectionality and Change Master’s thesis 30 ECTS credits ISRN: LIU-TEMA G/GSIC2-A—15/003—SE 1 ABSTRACT Berlin is heralded worldwide as being a city that is open, innovative and diverse: a true multicultural metropolis. Music plays a central role in the city’s claim to this title. Go to any one of Berlin’s many notorious alternative nightclubs and you will hear techno, house and electronic dance music blasting out to hoards of enthusiastic partygoers. Many of these clubs and their participants claim that these parties represent diversity, acceptance, equality and tolerance: Spaces within which social divisions are suspended, difference is overcome and people are united. This ubiquitous discursive assertion is referred to in this thesis as a “diversity discourse”. This “diversity discourse” will be deconstructed and situated within a wider political context, with a specific focus on perceptions of race, ethnicity, sexuality and gender. Engaging with theories of intersectionality, post-colonial theory (looking specifically at Jasbir Puar’s important work on homonationalism) and employing qualitative methods such as in-depth interviews and autoethnographic inquiry, it will be argued that the “diversity discourse” works as a mask to conceal a reality of social segregation. Far from being sites of equality and diversity, it will be suggested that access to these nightclubs is premised on the possession of societal privilege. -
Berlin, Zwischennutzung, Gentrification and Public Participation
ESTONIAN URBANISTS' REVIEW 13 OUTSIDER'S PERSPECTIVE Vegetable garden near the Brandenburg Gate, 1947. Postcard garden near the BrandenburgVegetable 1947. Gate, BERLIN, ZWISCHENNUTZUNG, GENTRIFICATION AND PUBLIC PARTICIPATION JEKATERINA BALICKA, landscape architect and PhD candidate at Estonian University of Life Sciences THE GLORY OF BERLIN The past decade has been characterized by a boom of urbanism. Buzzwords, such as ‘grass-root urban initiatives’, ‘participation’ and ‘creative districts’ have become hip, actual and important. Berlin is still often cited as an ex- ample of being cool, creative and livable – as if Berlin was implementing the heritage of Jane Jacobs directly in its urban development strategies. The city profits from its low-budget coolness – the mayor of Berlin, Klaus Wowereit (2001–), has stated, that ´Berlin is poor, but sexy´, attracting people from dif- ferent parts of Germany and other parts of the world, for both short stays or long-term living. The object of touristic interest over the past decade was not only its architecture and museums, but its quality of life: its freedom, ESTONIAN URBANISTS' REVIEW 13 OUTSIDER'S PERSPECTIVE its uncertainty. There remains an idea of Berlin being cool, an example of which could be eating a kebab under a scaffold, with people passing by just next to you; or watching a Karaoke event at Mauerpark after some flea-market shopping; or taking a picture in a retro photo booth next to the S-Bahn station Warschauer Straße; or standing in the long queue to get through the face- control at the legendary Berghain club, or any other scenes of the easyJet influenced touristic Berlin-idyll of the years 2006–2010. -
BEN ASSITER Essay
Basic Channel and Timelessness: Negotiating Canonisation, Resemblance and Repetition in House and Techno Ben Assiter In the related musical worlds of house and techno, there is rarely a shortage of new sounds to complement and complicate what is already a saturated archive. Across a wide spectrum of scenes, from the adamantly underground to the unabashedly mainstream, tracks seem to appear almost as reliably and consistently as the kick drums that characterise the sound. Of course, much of this material has only fleeting significance. Functional, generic ‘DJ tools’ circulate for a short period, before being replaced by similarly ephemeral tracks. Attali’s notion of ‘repeating’ comes to mind, in which ‘the minor modification of a precedent’ becomes the thinly disguised replacement of innovation (1977: 109). Yet, within this ever-expanding cultural cache, certain tracks have managed to attain a greater longevity, forming what may tentatively be thought of as a canonic repertoire. Here I employ the concept of canon in Katharine Bergeron’s prescriptive sense, to denote a ‘locus of discipline’ that constructs standardised values and behaviours, within prescribed and internalised networks of power (1992: 2-4). This formulation emphasises the nature of canons as on-going, cultural processes of construction, and thus as necessary sites for reflexive critique. With these thoughts in mind, I would like to undertake a comparative close reading of two techno tracks that share apparent similarities, both stylistically and in terms of production practice, despite their temporal separation of seventeen years. The first, ‘M-4’ (1995) by Maurizio has, as I will go on to describe, received a degree of enduring critical acclaim that I would argue affords it a canonic status within the genre. -
Dubstep - Wikipedia, the Free Encyclopedia Dubstep from Wikipedia, the Free Encyclopedia
6/18/2014 Dubstep - Wikipedia, the free encyclopedia Dubstep From Wikipedia, the free encyclopedia Dubstep /ˈdʌbstɛp/ is a genre of electronic dance music that originated in South London, England. It emerged in the late Dubstep 1990s as a development within a lineage of related styles Stylistic Reggae, dub, grime, 2-step garage, such as 2-step garage, broken beat, drum and bass, jungle, origins drum and bass, breakstep dub and reggae.[1] In the UK the origins of the genre can be Cultural Late 1990s — early 2000s, traced back to the growth of the Jamaican sound system origins London, England, United Kingdom party scene in the early 1980s.[1][2] The music generally features syncopated drum and percussion patterns with bass Typical Sequencer, turntables, sampler, drum lines that contain prominent sub bass frequencies. instruments machine, synthesiser, keyboard, personal computer The earliest dubstep releases date back to 1998, and were Derivative Future garage, post-dubstep, brostep, usually featured as B-sides of 2-step garage single releases. forms trap These tracks were darker, more experimental remixes with less emphasis on vocals, and attempted to incorporate Other topics elements of breakbeat and drum and bass into 2-step. In List of musicians, Drumstep, Dubstyle 2001, this and other strains of dark garage music began to be showcased and promoted at London's night club Plastic People, at the "Forward" night (sometimes stylised as FWD>>), which went on to be considerably influential to the development of dubstep. The term "dubstep" in reference to a genre of music began to be used by around 2002 by labels such as Big Apple, Ammunition, and Tempa, by which time stylistic trends used in creating these remixes started to become more noticeable and distinct from 2-step and grime.[3] A very early supporter of the sound was BBC Radio 1 DJ John Peel, who started playing it from 2003 onwards. -
Lisk Center Berlin Area Recommendations
Lisk Center Berlin Area Recommendations Lisk Center Berlin is located between three districts - Mitte, Friedrichshain, and Kreuzberg. Mitte, as the most central district of Berlin, is full of museums, galleries, and MITTE Fernsehturm Berlin historical architecture 30 MIN WALK FRIEDRICHSHAIN (Alexanderplatz, Museum Island, Ostbahnhof U-Bahnhof 15 MIN WALK and Reichstag are only Heinrich-Heine-Strasse 7 MIN WALK examples of what you should visit here). KREUZBERG Friedrichshain is well known for its artsy and alternative vibe. With soviet architecture and many techno clubs (also the most famous techno club in the Lisk Center Berlin Köpenicker Str. 126, 10179 Berlin, Germany world - Berghain), it’s a must-visit place in Berlin. From the poorest area in Berlin, Kreuzberg became the trendiest place in the city. It’s famous for its multicultural vibe and the best hipster cafes, restaurants, and bars in the city. PLACES TO STAY MITTE BerlinLux Apartments Living Hotel Großer Kurfürst **** Adalbertstraße 42, 10179 Berlin Neue Roßstraße 11 - 12, 10179 Berlin 2 mins walk from the Lisk Center Berlin 14 mins walk from the Lisk Center Berlin Lisk Center Berlin Recommendations - Page 1 Hotel Catalonia Berlin Mitte **** Park Plaza Wallstreet Berlin Mitte **** Köpenicker Str. 80-82, 10179 Berlin Wallstraße 23-24, 10179 Berlin 7 mins walk from the Lisk Center Berlin 15 mins walk from the Lisk Center Berlin The Dude Berlin **** Hotel Motel One Berlin-Spittelmarkt Köpenicker Str. 92, 10179 Berlin Leipziger Str. 50, 10117 Berlin 9 mins walk from the Lisk Center Berlin 7 mins drive from the Lisk Center Berlin Living Hotel Berlin Mitte **** Hotel Motel One Berlin-Spittelmarkt Neue Roßstraße 13, 10179 Berlin Leipziger Str.