----- Original Message ----- From: "Tosh Cooey" <[EMAIL PROTECTED]> To: <[email protected]> Sent: Friday, March 15, 2002 9:24 PM Subject: [313] live vs. dj
> uh....... > > A DJ can play the best music from many artists for a long bloody time, a > LIVE artist can only play a couple of their good tracks and a bunch of > their boring stuff for two hours MAX... *you* decide what you want to > pay for. And who decided this was an either/or proposition? One would think this was a corps of HPDJs waiting in the wings, ready to swipe gigs from "real DJs" with impeccable taste. God forbid someone would want to showcase their music in a format other than vinyl... One of the most gratifying experiences I've had as a DJ was spinning a set of my own music from CD, although the technical element was nearly boring for me (because my music is very structured and doesn't leave a lot of room to mix). Is this what I want to do every time I spin? God no. Was it a good time for all involved? Yes. Sorry in advance for being a producer (who was a DJ first) that likes to see people get off to his music sometimes. Sorry for exposing music in a way that would otherwise never be heard. Is it still OK to play unreleased tracks from Reel-to-Reel as was done once upon a time? If I just made music for my own pleasure, wouldn't that be elitist? If no one liked it that would be one thing, if it's challenging people's preconceptions about what performance is, or exposing unheard music that's another. Or if it's just a good time, and this is the method a producer has chosen to vocate in, that should be enough. If seeing five of fifty people go crazy to your own stuff for an hour is not adequate, what is? Isn't this what most underground DJs contend with most of the time anyway? I've heard endless stories about the "method" of reading a crowd as a DJ (which is generally a lofty idea aggrandized for effect) and in almost every case that DJ says they focus on a few people and try to drive them to new heights. How on earth could a DJ view an entire crowd and move them as one unless they had the hype-of-license-to-do-so or the hype of the party in advance? Isn't crowd reaction based on hype 90% of the time anyway? Let's demystify this discussion for clarity's sake. Don't you think some of the negative response to PAs is because there's a stigma against them? Wouldn't you like to showcase something that's entirely your own if people would respond to it? Isn't that the key, not method but response - assuming the music is quality? I recall a number of pro-Final Scratch arguments that would lead me to believe this is how you feel. Why is Final Scratch so much more legit than a PA, or a CD mix of unreleased material, or a vinyl mix of one's own dubplates (as is approximated with drum 'n bass)? Why the method fascism from someone who is so keen on driving into the "future of DJing" with Final Scratch? For the record, I have no beef with Final Scratch and would rather not see a rehashing of that debate. God knows there are an assload of bad PAists. SO WHAT? There are even more bad DJs. The rarity of good performances does not equate to a dismissal of all of them. Tristan ------------------- Upcoming Gigs: 3/16/02 - Centripetal Force @ The Edge, DC 4/6/02 - The Basics @ The Abyss, DC 4/14/02 - Filler @ Blue Room, Adams Morgan, DC http://www.mp313.com <- Music http://www.metrotechno.net <- DC techno + more http://www.metatrackstudios.com <- DC DJ/Production studios http://phonopsia.tripod.com <- Hub [EMAIL PROTECTED] <- email --------------------------------------------------------------------- To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
