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Posts Tagged ‘EDM

“The Work of Art in the Age of Mechanical Reproduction”*…


From the annals of the $20 billion phenomenon that is Electronic Dance Music (EDM)

The latest craze, known as miss-mixing, is proving very popular amongst digital DJs as a way of highlighting that they are actually manually mixing tracks rather than using the sync button.

Michael Briscoe, also know as DJ Whopper, spoke about miss-mixing with Wunderground, “Flawless mixing is now a thing of the past, especially for any up and coming digital DJs. You just can’t afford to mix without mistakes these days or you’ll be labelled as a ‘sync button DJ.’”

“I learned how to mix on vinyl years ago so naturally I’m pretty tight when it comes to matching beats,” continued the resident DJ. “I swapped to digital format a couple of years ago because it’s convenient, now I spend more time practicing making mistakes than I do practicing actual mixing.”

“I like to drop in on the second or third beat, leave it play for a couple of bars and then quickly correct myself,” explained Mr. Briscoe. “It’s subtle yet affective, I call it The Perplexer. People who don’t know what they’re listening to won’t even notice it while other DJs will be thinking ‘that’s a great mistake, who is this DJ Whopper lad anyway?’ d’ya know what I mean?”…

Ponder the price of authenticity at “DJs Now Deliberately Making Mistakes To Prove They Are Real DJs.”

* The title of a seminal work by recent (R)D “honoree” Walter Benjamin


As ask ourselves if it’s real or if it’s Memorex, we might recall that it was on this date in 1985 that the first Farm Aid concert was held, in Champaign, Illinois.

It started with an offhand remark made by Bob Dylan during his performance at Live Aid, the massive fundraising concert held at Wembley Stadium, London, and JFK Stadium, Philadelphia, in the early summer of 1985. As television viewers around the world phoned in donations in support of African famine relief, Dylan said from the stage, “I hope that some of the money…maybe they can just take a little bit of it, maybe…one or two million, maybe…and use it, say, to pay the mortgages on some of the farms and, the farmers here, owe to the banks.” Dylan would come under harsh criticism from Live Aid organizer Bob Geldof for his remarks (“It was a crass, stupid and nationalistic thing to say,” Geldof would later write), but he planted a seed with several fellow musicians who shared his concern over the state of the American family farm. Less than one month later, Willie Nelson, Neil Young and John Mellencamp announced plans for “Farm Aid,” a benefit concert for America’s farmers.

As one might have expected of a concert staged to “raise awareness about the loss of family farms and to raise funds to keep farm families on their land,” Farm Aid featured a number of performers from the worlds of country, folk and rootsy rock music. There were the three main organizers and the instigator Bob Dylan, for instance, along with Hoyt Axton, Johnny Cash, Merle Haggard, Emmylou Harris, Waylon Jennings, Loretta Lynn, Joni Mitchell and Charley Pride. But the first Farm Aid, more than any of the annual Farm Aid concerts since, was a bit of a stylistic free-for-all, featuring artists united only by their interest in supporting a good cause.

“As soon as I read in the paper that there was gonna be such a thing,” Sammy Hagar told MTV’s cameras on the day of the show, “I called my manager and said, ‘I wanna do it.’ And he said, ‘It’s all country.’ I said, ‘I don’t care. It’s America. I wanna do it.’ If there was anything more surprising than hearing Hagar perform his hard-rock anthem “I Can’t Drive 55” on the same stage that had earlier featured the quiet folk of Arlo Guthrie, it was hearing Lou Reed perform “Walk On The Wild Side” on a stage that had featured John Denver.

Over the years since its first charity concert on this day in 1985, the Farm Aid organization has raised upwards of $33 million to support small farmers, promote sustainable farming practices and encourage consumption of “good food from family farms.”


Coincidentally, it was on this date in 1962 that Dylan played his first gig at Carnegie Hall…




Written by LW

September 22, 2014 at 1:01 am

Dance! Dance! Dance!…


While your correspondent is quite sure that his readers are among the hippest of the hip, he imagines that even they may be surprised to know that EDM– Electronic Dance Music– is eclipsing other musical genres.  According to a recent study (pdf; summary here):

The EDM market is a $15.0 to $20.0 billion global industry, with the major players in the global festival market achieving $4.5 billion in sales for 2012. Digital music revenues grew an impressive 9.8% in 2012 (IFPI, 2013)…  Attendance for the top 50 EDM specific festivals was two times the number in attendance of concerts for all other music genres combined…

So perhaps it’s only natural that those at the controls of this musical juggernaut– the DJs– are feeling… well, a bit entitled.

@DJsComplaining chronicles their pain, then djscomplaining.com illustrates (and adds very amusing commentary)…

Imagine having 30,000 followers. 30,000 people who listen to every little thing that you compulsively fart out in 140 characters or less. 30,000 souls, as 3-dimensional and full of dreams as you or I. 30,000 humans, all over the world. Falling in love. Laughing. Getting lonely. Buying fags and scratch-cards. And they all care about you. Isn’t that amazing? Isn’t it Max Graham? It’s not enough is it though? Poor Max Graham.

One of the many problems facing the international DJ in the twitter era is that no amount of followers is ever enough. 30,000 zorks reading about your every move might seem like a lot to your average hairy-arsed chancer, but there’s always some Johnny-come-lately with a cap balanced on his head who releases one All Back To My Late Night Fabric Factory mix and BAM! – he’s leapfrogged you to 50k. Yes, envy is a powerful player in the music world, and in this age of information it is almost impossible to avoid those more successful than you…

Rave on!


As we reach for out glo-sticks, we might recall that it was on this date in 1966 that NBC greenlit that series The Monkees. The prior September, the creators of the show, Bob Rafelson and Bert Schneider, had placed an add in Daily Variety:



Folk & Rock Musicians-Singers

For Acting Roles in New TV Series

Running Parts for 4 Insane Boys, Age 17-21

In fact, the show’s production company, Screen Gems, had already put Davy Jones– who had appeared the same night as the Beatles on The Ed Sullivan Show, performing in his role as the Artful Dodger in Oliver— under contract.  The other three Monkees, chosen from among 437 aspirants, were of course  Michael Nesmith, Peter Tork and Micky Dolenz, all of whom had musical backgrounds and two of whom (Dolenz, the star of Circus Boy, and Nesmith, a drama student) had acting backgrounds.  The show ran successfully (initially in a time slot that pitted it against Gilligan’s Island) for almost five years; at the same time, the band released a clutch of hits (e.g., “Last Train to Clarksville”, “Pleasant Valley Sunday”, and “Daydream Believer”).  At their peak in 1967, The Monkees outsold both the Beatles and the Rolling Stones; as of 2012, their albums and singles have sold over 65 million copies worldwide.


Written by LW

January 17, 2014 at 1:01 am

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