easy there... I think i'm still refering back to the original statements that started this entire thread of discussion last week.
your comments simply prompted some new ideas of my own. i personally respect juan as well. at least, i respect the stuff he did. and the vast majority of that stuff was between 85-90 (approx: 15 years). Nor do I disrespect him now. although i'll admit to have a hard time 'respecting' someone with the questionable work ethic (missing gigs) and questionable other ethics (demf commitee), but none of this is the point of the arguement. All I'm trying to address is the fact that this entire debate (and all the threads that started with Laura's original tirade) have almost exclusivly addressed older artist (Juan Atkins, Lil Louis...)and what 'could' have been. There are plenty of good underground artist who have had prosperous and creative careers since the first wave hit its peak. A great example would be Felix Da Housecat. Here's a guy who released his first record (Phantasy Girl) in 1987. His carer went up and down, and he is just now 'breaking-out' with his current record. And he's doing it on an indie label 'Emperor Norton' The point is, there are ways for artist to prosper, parallel to the same industry that supports 'mainstream' acts like Sasha and Digweed (who still aren't that mainstream- my dave matthews listening brother has never heard of them) that is all. On Tue, 5 Mar 2002, neon tse tse wrote: > no no no > > correction: > > this was not written for the use against any one > of the originators and artists from Detroit as Mr Atkins, > I was not saying that, no way, - > Juan Atkins is the father of this music. > He created this. - His Music is absolutely oustanding > His label is one of the best labels in the scene > and it?s not 15 years ago what the hell are you talking bout ? > When he want?s to move to another level and he is scanning the justice of > the music-industry by experience, by having created the ground for a scene > before - it?s something completly different to what my statement was about. > it was about the robot-kind-of-business-men-philosophy, ONLY being about > business, as I was responding to the communication between Otto and Big > Loada and that was about a different state of mind. I was answering > to the statement - business first and music second - > and yes giving special props to them staying independent > cauze it?s a long way to go and some failed before reaching the goal > and don?t deny that and what that can mean, how hard this can be. > it is about surviving too - > Mr Juan Atkins is a part of the scene whatever > he also is fighting for now and whereever he is living > this is his life and only because he is talking about business > aspects and is involved with bigger business > that doesn?t mean it?s his main subject - > his quotes make sense to me (as far as the xlr8r interview > for example was correct) and people can learn from it. > That doesn?t proove them wrong, taking another route. > Some things he is explaining seem to proove them > but all people of the scene who made this happen, > because they were about music first and then the business > they deserve my full respect and get it. > who am I to say anything else ? > so don?t use my words for your own moral concept > when your going to judge prooved outstanding artists > I was not talking about this point of view > though I will not reject your opinion for yourself > > but don?t play the artists against each other > > because I think there are other really shady people already > > calculating with this for some business, some big events ... > > > > > > yeah, i think a lot of people are forgetting that there are plenty of > > newer artist who do better with each release. > > > > just because juan or any of the old guard are having problems doesn't mean > > that al is lost. > > > > you shouldn't judge the strength of the scene by the career of the guys > > who did it fifteen years ago. Look at the people wo are doing it now. > > > > > > > > On Mon, 4 Mar 2002, Neontsetse wrote: > > > >> > >>> The fact that they don't do it for techno... *shrug*... Their loss. It > >>> gives us the chance to do it our way. And the fact that we've succeeded > >>> so far pretty much without them... it pisses them off to no end. I like > >>> :) > >>> > >> > >>> Otto > >>> > >> > >> yeah, keep em behind - > >> > >> all the hard working independent labels and artists > >> > >> will rise and rise and rise > >> > >> above the business machines > >> > >> soon Detroit techno labels will be even more succssfull, > >> > >> independent and many will be owned by briliant artists, > >> > >> many of them being black > >> > >> making highest quality music > >> > >> - that?s what I call good business > >> > >> making it happen, though no one > >> > >> would have seen this happen when it started > >> > >> full strike > >> > >> get of our back with any programmed vision > >> > >> how business works or should work > >> > >> and we still can blame the other?s, > >> > >> waiting for the bigger succes to step in then > >> > >> for making the quick buck?s > >> > >> buck off - Detroit techno shows us, what we want it to be like > >> > >> this is why this list is here > >> > >> DETROIT RISE > >> > >> > >> --------------------------------------------------------------------- > >> To unsubscribe, e-mail: [EMAIL PROTECTED] > >> For additional commands, e-mail: [EMAIL PROTECTED] > >> > >> > > > > > > --------------------------------------------------------------------- > > To unsubscribe, e-mail: [EMAIL PROTECTED] > > For additional commands, e-mail: [EMAIL PROTECTED] > > > > --------------------------------------------------------------------- To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
