Suština godišnjih lista se sastoji u mogućnosti da se pronađe nova, pažnje vredna muzika. Poštujem činjenicu da se mnogi ne zamaraju vrednovanjem što je posledica trenutne aksiološke relativnosti koja ide u prilog kapitalu kao neupitnom temelju svega postojećeg. Drugim rečima, sve je manje-više nebitno, dok para vrti tamo gde je naumila.
Pošto pripadam šačici koja liste shvata pre u revelatornom nego klasifikatorskom smislu, više kao mogućnost nego kao diktat, već neko vreme unazad na razmeđu dvaju godina besomučno skidam ono što sam u toku godine propustio. Za većinu stvari mogu da kažem da je bolje da ih nisam spoznao, ali šta da radim kad nisam od onih blaženih u neznanju. Umesto lakog prepuštanja, gusto sito radi danonoćno, ali se među gomilom mediokritetskih pomija pronađe i neki istinski biser koji čami u neosvetljenom uglu diskografske staje. Tako je u moj život ušao DJ Sprinkles.
Midtown 120 Intro
House isn't so much a sound as a situation.
There must be a hundred records with voice-overs asking, "What is house?" The answer is always some greeting card bullshit about "life, love, happiiness...." The House Nation likes to pretend clubs are an oasis from suffering, but suffering is in here with us. (If you can get in, that is. I think of one time in New York when they wouldn't let me into the Loft, and I could hear they were actually playing one of my records on the dance floor at that very moment. I shit you not.)
Let's keep sight of the things you're trying to momentarily escape from. After all, it's that larger context that created the house movement and brought you here. House is not universal. House is hyper-specific: East Jersey, Loisaida, West Village, Brooklyn - places that conjure specific beats and sounds. As for the sounds of New York dance floors themselves, today's house classics might have gotten worked into a set once in a while, but the majority of music at every club was major label vocal shit. I don't care what anybody tells you. Besides, New York Deep House may have started out as minimal, mid-tempo instrumentals, but when distributors began demanding easy selling vocal tracks, even the label "Strictly Rhythm" betrayed the promise of it's own name by churning out strictly vocal after strictly vocal. Most Europeans still think "Deep House" means shitty, high energy vocal house.
So what was the New York house sound? House wasn't so much a sound as a situation. The majority of DJ's - DJ's like myself - were nobody's in nowhere clubs: unheard and unpaid. In the words of Sylvester: reality was less "everybody is a star," and more "I who have nothing."
Twenty years later, major distribution gives us Classic House, the same way soundtracks in Vietnam war films gave us Classic Rock. The contexts from which the Deep House sound emerged are forgotten: sexual and gender crises, transgendered sex work, black market hormones, drug and alcohol addiction, loneliness, racism, HIV, ACT-UP, Thompkins Sq. Park, police brutality, queer-bashing, underpayment, unemployment and censorship - all at 120 beats per minute.
These are the Midtown 120 Blues.
Sisters, I Don't Know What This World Is Coming To
Ili možda bolje rečeno ušla, pošto je reč o transvestitu koji je 1986. sa srednjeg Zapada stigao u Njujork kako bi učio umetničku školu, konsekventno postajući svedok rađanja i prvog buma deep-house kulture u memljivim klubovima u kojima je mogla da se izrazi sopstvena ličnost bez straha od nasilničkih reperkusija zgrtački nastrojenog, nemilosrdnog spoljnog sveta. Njeno pravo ime je Terre Thaemlitz i poznata je od ranije ljubiteljima visoko profilisanog elektronskog zvuka. Zbog čega tek sada saznajem za nju, kaže ona sama u intro numeri debija koji potpisuje kao DJ Sprinkles, koji se pojavio početkom sada već prošle godine na japanskoj etiketi Mule Musiq (DJ Sprinkles trenutno živi u Kawasakiju), tvrdeći da "Evropljani i dalje misle da je deep-house neka vrsta visoko energetskog vokalnog sranja." Bolje ni sam ne bi sročio.
To je tek vrh ledenog brega koji očekuje slušaoca tokom 80 minuta duge pastoralne elektronske vožnje u kome dominira repetitivni srednjetempaški ritam i tople, životnim dahom obojene zvučne teksture. Već sama muzika koju potpisuje DJ Sprinkles dovoljan je razlog da joj poklonite pažnju. Ali, za razliku od većine autora slične provinijencije, kao istinski pripadnik "old-schoola" Sprinkles, veran kulturi sećanja usled tiranije trenutka, koristi svoj debi kao poligon za teoretsko razmatranje osnova housea, za koji kaže da je "situacija a ne zvuk (ovo podseća na produžetak jedne priče) te da nije univerzalan već poseban" (sve navodeći i geografske toponime u kojima je nastao) , dekontekstualizacije etničke, queer & transeksualne supkulture u kojoj je jedini zločinac bez fer suđenja šou biznis. Stoga ne čudi da je najintrigantnija numera posvećena kraljici popa Madonni, koja je u svom hitu Vogue beskrupulozno eksploatisala čitav priču obespravljenih i zgrnula gomilu keša, dok je HIV virusom izmučena populacija koja je učestvovala u stvaranju osnova te iste priča bila osuđena na kako Sprinkles kaže "genocid", i nije daleko od istine.
Stoga, Midtown 120 Blues, iako elektronski do same svoje srži ,nije kolekcija plesnih tema, već retko produhovljeni artefakt u kome je monumentalno predstavljena beskrajna podijumska tuga i žalost postojanja drugačijosti, te njena zloupotreba u korporativne svrhe, ne mnogo daleko od smisla poruke numere Fake Fags queercore sastava Limp Wrist. Sama DJ Sprinkles se, sudeći po retko elokventnim, teorijski potkovanim i iscrpnim intervjuima koji se mogu pronaći na netu, ne bi složila s ovom analogijom, pošto prezire i rok i tehno zbog njihovih nesumnjivih mačističkih korena. Neverovatno dosledno, ali ne samo to; Midtown 120 Blues je fascinantno, izazovno, katarzično, toplo i pre svega ljudsko slušalačko iskustvo koje baca novo merodavno svetlo na neke od veoma aktualnih društevnih pojava.
Ball'r (Madonna-free zone)
When Madonna came out with her hit "Vogue" you knew it was over. She had taken a very specifically queer, transgendered, Latino and African-American phenomenon and totally erased that context with her lyrics, "It makes no difference if you're black or white, if you're a boy or a girl." Madonna was taking in tons of money, while the Queen who actually taught her how to vogue sat before me in the club, strung out, depressed and broke. So if anybody requested "Vogue" or any other Madonna track, I told them, "No, this is a Madonna-free zone! And as long as I'm DJ-ing, you will not be allowed to vogue to the decontextualized, reified, corporatized, liberalized, neutralized, asexualized, re-genderized pop reflection of this dance floor's reality!"
Pošto pripadam šačici koja liste shvata pre u revelatornom nego klasifikatorskom smislu, više kao mogućnost nego kao diktat, već neko vreme unazad na razmeđu dvaju godina besomučno skidam ono što sam u toku godine propustio. Za većinu stvari mogu da kažem da je bolje da ih nisam spoznao, ali šta da radim kad nisam od onih blaženih u neznanju. Umesto lakog prepuštanja, gusto sito radi danonoćno, ali se među gomilom mediokritetskih pomija pronađe i neki istinski biser koji čami u neosvetljenom uglu diskografske staje. Tako je u moj život ušao DJ Sprinkles.
Midtown 120 Intro
House isn't so much a sound as a situation.
There must be a hundred records with voice-overs asking, "What is house?" The answer is always some greeting card bullshit about "life, love, happiiness...." The House Nation likes to pretend clubs are an oasis from suffering, but suffering is in here with us. (If you can get in, that is. I think of one time in New York when they wouldn't let me into the Loft, and I could hear they were actually playing one of my records on the dance floor at that very moment. I shit you not.)
Let's keep sight of the things you're trying to momentarily escape from. After all, it's that larger context that created the house movement and brought you here. House is not universal. House is hyper-specific: East Jersey, Loisaida, West Village, Brooklyn - places that conjure specific beats and sounds. As for the sounds of New York dance floors themselves, today's house classics might have gotten worked into a set once in a while, but the majority of music at every club was major label vocal shit. I don't care what anybody tells you. Besides, New York Deep House may have started out as minimal, mid-tempo instrumentals, but when distributors began demanding easy selling vocal tracks, even the label "Strictly Rhythm" betrayed the promise of it's own name by churning out strictly vocal after strictly vocal. Most Europeans still think "Deep House" means shitty, high energy vocal house.
So what was the New York house sound? House wasn't so much a sound as a situation. The majority of DJ's - DJ's like myself - were nobody's in nowhere clubs: unheard and unpaid. In the words of Sylvester: reality was less "everybody is a star," and more "I who have nothing."
Twenty years later, major distribution gives us Classic House, the same way soundtracks in Vietnam war films gave us Classic Rock. The contexts from which the Deep House sound emerged are forgotten: sexual and gender crises, transgendered sex work, black market hormones, drug and alcohol addiction, loneliness, racism, HIV, ACT-UP, Thompkins Sq. Park, police brutality, queer-bashing, underpayment, unemployment and censorship - all at 120 beats per minute.
These are the Midtown 120 Blues.
Sisters, I Don't Know What This World Is Coming To
Ili možda bolje rečeno ušla, pošto je reč o transvestitu koji je 1986. sa srednjeg Zapada stigao u Njujork kako bi učio umetničku školu, konsekventno postajući svedok rađanja i prvog buma deep-house kulture u memljivim klubovima u kojima je mogla da se izrazi sopstvena ličnost bez straha od nasilničkih reperkusija zgrtački nastrojenog, nemilosrdnog spoljnog sveta. Njeno pravo ime je Terre Thaemlitz i poznata je od ranije ljubiteljima visoko profilisanog elektronskog zvuka. Zbog čega tek sada saznajem za nju, kaže ona sama u intro numeri debija koji potpisuje kao DJ Sprinkles, koji se pojavio početkom sada već prošle godine na japanskoj etiketi Mule Musiq (DJ Sprinkles trenutno živi u Kawasakiju), tvrdeći da "Evropljani i dalje misle da je deep-house neka vrsta visoko energetskog vokalnog sranja." Bolje ni sam ne bi sročio.
To je tek vrh ledenog brega koji očekuje slušaoca tokom 80 minuta duge pastoralne elektronske vožnje u kome dominira repetitivni srednjetempaški ritam i tople, životnim dahom obojene zvučne teksture. Već sama muzika koju potpisuje DJ Sprinkles dovoljan je razlog da joj poklonite pažnju. Ali, za razliku od većine autora slične provinijencije, kao istinski pripadnik "old-schoola" Sprinkles, veran kulturi sećanja usled tiranije trenutka, koristi svoj debi kao poligon za teoretsko razmatranje osnova housea, za koji kaže da je "situacija a ne zvuk (ovo podseća na produžetak jedne priče) te da nije univerzalan već poseban" (sve navodeći i geografske toponime u kojima je nastao) , dekontekstualizacije etničke, queer & transeksualne supkulture u kojoj je jedini zločinac bez fer suđenja šou biznis. Stoga ne čudi da je najintrigantnija numera posvećena kraljici popa Madonni, koja je u svom hitu Vogue beskrupulozno eksploatisala čitav priču obespravljenih i zgrnula gomilu keša, dok je HIV virusom izmučena populacija koja je učestvovala u stvaranju osnova te iste priča bila osuđena na kako Sprinkles kaže "genocid", i nije daleko od istine.
Stoga, Midtown 120 Blues, iako elektronski do same svoje srži ,nije kolekcija plesnih tema, već retko produhovljeni artefakt u kome je monumentalno predstavljena beskrajna podijumska tuga i žalost postojanja drugačijosti, te njena zloupotreba u korporativne svrhe, ne mnogo daleko od smisla poruke numere Fake Fags queercore sastava Limp Wrist. Sama DJ Sprinkles se, sudeći po retko elokventnim, teorijski potkovanim i iscrpnim intervjuima koji se mogu pronaći na netu, ne bi složila s ovom analogijom, pošto prezire i rok i tehno zbog njihovih nesumnjivih mačističkih korena. Neverovatno dosledno, ali ne samo to; Midtown 120 Blues je fascinantno, izazovno, katarzično, toplo i pre svega ljudsko slušalačko iskustvo koje baca novo merodavno svetlo na neke od veoma aktualnih društevnih pojava.
Ball'r (Madonna-free zone)
When Madonna came out with her hit "Vogue" you knew it was over. She had taken a very specifically queer, transgendered, Latino and African-American phenomenon and totally erased that context with her lyrics, "It makes no difference if you're black or white, if you're a boy or a girl." Madonna was taking in tons of money, while the Queen who actually taught her how to vogue sat before me in the club, strung out, depressed and broke. So if anybody requested "Vogue" or any other Madonna track, I told them, "No, this is a Madonna-free zone! And as long as I'm DJ-ing, you will not be allowed to vogue to the decontextualized, reified, corporatized, liberalized, neutralized, asexualized, re-genderized pop reflection of this dance floor's reality!"
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carska priča!
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