blah blah blah, why do ppl have to question it anyway?
Music is music. I like minimal stuff and abstract
stuff and even some commercial stuff. I listen to
4Hero and Moby and John Tejada and Geatano Parisio and
Titonton Duvante and The Detroit Escalator Co and
Marvin Gaye and Ennio Morricone etc etc etc... 

> But I insist, we all _must_ realize the seeds of
> argument in which has been circulating for the
> entire existence of our musics; that we all must   
> realize that there are
> stark, and rarely recognized
> differences amongst the listener...

WHY must we realise these differences? We all know
that most ppl who listen to STEPS are generally under
18 or gay(no diss intended to all who this concerns;).
Techno is a different thing depending on the person. 

There IS a difference between "underground" and
"commercial" music . Ppl go mental about that argument
tho so I'm not gonna stray down that path for long
except to say that, in my eyes, "commercial" music is
what the public is fed, "underground" music we have to
SEEK OUT to find, a need of a certain kind of people,
connoisseurs of music I s'pose...

Anyway, as far as I'm concerned, if it's hotter than
Satan's underpants... I want it...  

--- darw_n <[EMAIL PROTECTED]> wrote: > >For the
'techno-purists' amongst us Moby will never
> be real.
> > For others who aren't so purist-like really don't
> care that much.
> >
> 
> 
> I was simply waiting for that to be stated, and I
> apologize now for the
> length, this field is a passion of mine, and I enjoy
> testing new theories in
> debate...
> 
> Anyways, I got into this on the Axis site during the
> drum talk.  I truly
> feel that there is not a measurable difference
> between the quality of say
> Moby vs.. Paul Mac, both are pretty much on the same
> plain as far as over
> all skill is concerned.  But I insist, we all _must_
> realize the seeds of
> argument in which has been circulating for the
> entire existence of our
> musics; that we all must realize that there are
> stark, and rarely recognized
> differences amongst the listener...
> 
> "Techno-purists" are into minimal repetition for a
> reason, the reason being
> that repetition and minimalism is appealing and more
> so, comforting, in that
> there is very little information to interpret.  In
> other words, I think that
> the "techno-purist" tends to be introverted (very
> sensitive to environment
> and stimulation), thus gravitating towards to rawest
> art, in this case
> techno...
> 
> Moby and people like good 'ol Oakie have a tendency
> to attract the opposite,
> extroverts (not so sensitive to stimulation), people
> who need even more
> input then techno has, they need more than a raw
> emotion spooned out, they
> need defined emotion to fell truly satisfied...
> 
> Ever notice a techno freak listening to a Van Dyke
> record?  The result is
> often anxiety.  Same with a out going socialite
> listening to Oliver Ho
> playing locked grooves, their anxious because
> they're waiting for some
> defining moment to occur...
> 
> The magic that techno-purists feel however is
> something very unique, albeit,
> not in any way "better".  Because of the repetition
> and raw emotion of
> techno (as opposed to the defined emotion of say
> "epic-trance"), the
> listener/dancer has his/her emotional autonomy
> _returned_ to them, a first
> in modern music BTW (as far as I can tell, aside
> from tribal, correct me if
> I am wrong), the music needs the listener to be
> complete, repetition is
> merely a blue-print in which frames the listeners
> emotions in a stable
> platform- without real listeners, repetition is
> merely that, repetition.
> The is starkly different from pop music or epic
> trance in which the listener
> is fully controlled and told what to feel, it would
> be difficult to feel
> real anger during Binary Finary, but no one can
> truly describe any single
> set of emotions behind any Rob Hood record because
> it is unique from
> listener to listener...
> 
> I call this music/listener relationship in techno
> "toneshifting" in that the
> tendency to a person locked into a groove with
> techno is to project outwards
> melody which isn't there, they shift the tone of the
> track in their head.
> This again shows the beauty of techno in that each
> person listening may very
> well be hearing something entirely different than
> the person standing next
> to you...
> 
> I also propose that this is the fuel behind the
> earlier experiments of
> modern art, cubism, abstraction, ect., the artists
> (who funny enough, tend
> to be super introverts!!) were trying to return the
> autonomy back to the
> viewer, a single block of yellow painted on canvas
> is pure and undefined, it
> is raw emotion, nothing else.  It is the job of the
> viewer to project out
> onto the painting and add the emotional definition,
> thus making the painting
> totally unique from one person to the next.  This is
> why it's silly to go to
> openings like many that I do, and try to "figure out
> the artists pain" in a
> picture that simply is a couple of simple shapes,
> man, its _your_ job to put
> _your_ "pain" or happiness onto the picture, forget
> the artist...
> 
> I drift.
> 
> To finalize, the debate between Moby and Hood or
> whatever will never be
> solved in that they are two entirely different forms
> of art, despite the use
> of the same medium.  One is entertainment (Moby) one
> is guidance (techno),
> and it's your personality type the determines which
> art you need most for
> emotional gratification...
> 
> And last but certainly not least, techno can never
> be defined because it
> would require a definition of every Toneshift in
> every mind and in every
> ear...
> 
> sorry about the length,
> 
> darw_n
> 
> "create, demonstrate, toneshift..."
> http://www.mp3.com/darw_n
> http://www.sphereproductions.com/topic/Darwin.html
> http://www.mannequinodd.com
> 
> 
> 
>
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YYYYYYAAAAAAWWWWWWNNNN

l8r,
Nick (Dj Pacific:)

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