> ----- Original Message ----- > From: "glyph1001" <[EMAIL PROTECTED]> > To: "313 List" <[email protected]> > Sent: Sunday, February 10, 2002 2:48 AM > Subject: [Fwd: Re: [313] Black techno artists] > > > Eddie "Flashin'" Fowlkes (or is it "Old Skool" now) - he was there along > > with the other magnificent three but never got the recognition. > > Alan Oldham - not only is he a great music producer but without him > > DJAX-UP-BEATS would not be the same. Has never made enough comic books. > > Word!!! I've been thinking that for some time now. > > How about Butch Strange? Saw him at the Motor 5 year anniversay party and he > ripped it up! > > I guess DEMF2 counts as recognition, but what about Keith Worthy? He had a > great set, and I never hear about him here. > > In the broader sense, how about Ron Trent, Chez Damier, Alton Miller, Marc > Kinchen, TP, Mike Clark and others who helped make the house scene in > Detroit early on, but have never really been recognized outside of Detroit > for their contributions to the entire history of house (at least relative to > those from Chicago and New York). It's obvious that the more recent Detroit > house artists like Theo Parrish don't get their just due, but what about > these guys that have been prominent for a while but don't get the > recognition they deserve globally? > > Tristan > ----------
i still don't get it. what are you aiming at? how & where should this recognition express itself? on mtv, usa today? how many people know stephen king? and how many know malcolm lowry? all those you mention are more or less known to people into this music. some will reach a certain status as "innovators", some will be forgotten. some will blow up by accident because the time is right and/or because they work towards it. maybe this has sometimes to do with the quality and the aim of their work too? to blame it all on the circumstances seems to me as banal as the opposite, which is to blame it all on the lack of marketing skills. tp has a relatively huge fanbase in germany because of his djing. all of his records i know of are mediocre. alan oldham's stuff lacks originality big time. just to be a detroiter and having started in 1988 is not enough. theo parrish & moodymann are in the game since what, 5 years? and they are veritable stars in their circles already. but they don't produce music that can be played in a handy-dandy friday night house-set, which is a precondition for "global recognition". i think one has to refrain from taking popmusic as a reference, because it is subjected to mechanisms that lie beyond the music. one has to play to these rules if one wants to be constantly successful. one has to adapt and deny oneself constantly. success is the only criteria for the value of this type of shit. self-esteem is not supposed to grow because of one's name in the paper or a certain number on one's bank statement, but because one feels that he/she is doing the right thing and maybe because one lifts the artform to new heights. the name all over the paper and the big bucks in the bank are most of the time & and as long as this capitalist etc society stands a sign that one submitted & adapted oneself successfully to the expectations of society. same as good marks at school. same as any institutional or mainstream recognition. in this sense most of the time mainstream success can be used as a sign for irrelevance. despite the subject of this so far lame thread i'm not touching concrete exploitation & repression of black people in the usa. i'm not very familiar with the details. "black history month" seems a cynical joke to me though. basta! armin --------------------------------------------------------------------- To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
