theo parrish s/d

I love Theo (though not feeling the new one as much as some folks here) despite his dumb ass opinions. I ain't mad at him. House music needs shit disturbers. I'm glad he's expressing himself, at the very least.

really the question is why the fuck would anyone want to appropriate anything from Jews?

as a homo, i sometimes get a little miffed that people have no fcking clue about the real roots of a lot of disco and house music, but as long as those performing it do-- dude from Hercules and Love Affair has done interview with BUTT magazine, for example-- i can't care less.

that said, i agree with theo about a lot of what he says.

House music needs shit disturbers. I'm glad he's expressing himself, at the very least.

people keep saying this, and maybe it's true, but the so called shit disturbers in dance music almost always end up just backing up dumb negative opinions instead of dumb positive ones.

why can't we have a few genuine contrarians who come out and combine diametrically opposite views and genuinely challenge people....in techno a "shit disturber" seems to be any one of the 100 producers a year who does some bitchy interview about the genre du jour, OR A GUY FROM DETROIT.

sounds like one paranoid ass motherfucker that got baited by theakston into putting some dumb generalizations on the record

who is theakston anyways? if you're gonna do a "one question interview" aka give him a good rope you should at least insert a byline.

i think that the UR guys are shit disturbers to the max, and though they certainly have similar talking points to theo's, they're much more positive and inclusive.

I totally disagree.....I think it's a stuck record.

what's more....these guys ARE the status quo! they are the shit! (no negative aspersions intended)

Once they get it ready to put out, they’ll use pictures of little black children, and black women with afros- things they never could be, and never have been -on their cover art to help complete the illusion of having a truly down, soulful product to offer the market. Sometimes they’ll outright sample YOUR song, and copy your drumpattern, send it to a magazine and some adjective limited writer will say the copy sounds ’so-and-so esque’, never making that artist stand on their own, letting the thief who made it ride on the back of original artists.

so, who's this? i think definitely trus'me, but who else?

who is theakston anyways? if you're gonna do a "one question interview" aka give him a good rope you should at least insert a byline.

Some random dude who used to be Carl Craig's right-hand man at Planet E and helped establish both the DEMF and Ghostly.

oh i just read ronan's piece, good point, renders my question sort of moot

(BTW: "Theakston" = anagram for Totes Khan, his birth name.)

by the way, anyone else totally agree with pipecock's recent post about how much Planet-E has completely declined into major suck territoy?

really the question is why the fuck would anyone want to appropriate anything from Jews?

http://en.wikipedia.org/wiki/Irving_Berlin

okay, Irving Berlin aside?

by the way, anyone else totally agree with pipecock's recent post about how much Planet-E has completely declined into major suck territoy?

-- the table is the table

yeah, what the hell's with all of this new euro crap. bring back the real detroit shit, like, uh, ibex and jason hogans.

stick your neck out and blast the 4 or 5 planet e releases a year

why is he putting out euro-leaning tech-house when he could be putting out records by common factor, agent x and e-dancer?

"world hold on" (c2 remix #4)

really the question is why the fuck would anyone want to appropriate anything from Jews?

???

"yeah, what the hell's with all of this new euro crap. bring back the real detroit shit, like, uh, ibex and jason hogans.

-- moonship journey to baja"

the jason hogans records are not my favorite, but those Ibex records are both the hotness. Tony Ollivera is the shit, a highly underrated producer. his records on his own Dynamite Soul label are no joke either, neither are the DJ Genesis records he put out. i actually have a post about the new Ibex 12" he put out a few months back in the pipeline at ISM, that shit flew way under everyone's radar yet still manages to be better than almost every other techno record this year.

go ahead and keep clowning on shit you don't know about. the only one wearing a red nose and big floppy shoes is you.

"why is he putting out euro-leaning tech-house when he could be putting out records by common factor, agent x and e-dancer?

-- moonship journey to baja"

again showing your lack of knowledge. i just played that Agent X record on friday night, it is one of the best dancefloor Planet E's not by carl or recloose. of course Agent X is Mike Clark, only one of the best deejays on the planet and one of the people behind the Beatdown Sounds comps. he has only been putting out excellent records since 1992, you should probably clown on him and go buy Martin Buttrich records instead. the common factor records on Planet E are very nice as well, never been a fan of Saunderson's E Dancer project but i wouldnt call the records bad by any means.

"oh i just read ronan's piece, good point, renders my question sort of moot

-- moonship journey to baja"

does it? Ronan is laughable. i love quotes like this:

"In fact I’m imagining some hippy-dippy 90s strawman when I hear it suggested that white people eulogise about how race doesn’t matter in dance music."

i have seen THIS EXACT ARGUMENT only about 100 times on this message board alone.

"And why is racial militancy so much more a part of dance music discourse than sexual militancy? Wouldn’t it be quite easy to construct similar arguments about gay people in the music industry? About the theft of disco?"

this is another good one. disco music came from gay people listening to mostly black and mostly straight soul music. there were some gay artists initially, but that really changed as the dynamics of the audience listening to the music changed. regardless, i dont know anyone who doesn't acknowledge the gayness in dance music in the US even if the gay crowd has largely moved on to different stuff. in fact, the gayness was probably the largest factor in disco's "death" in mainstream culture here. it is not like the apparent secret that dance music is black, since it is widely known and appreciated probably due to the obvious gayness of the poppy disco artists.

"Above and beyond all of that, I can’t help but feel that there are much more serious issues of prejudice in the wider world than in the world of techno. Okay, so that’s easy for me to say, I’m not a black techno musician. And sure, making the world a better place is less about making prioritised lists of goals and more about a series of them being achieved in tandem, but still. Is the music industry really the first place you think of when you think of injustice? Of racial injustice?"

gee, i wonder why it doesnt matter to you, Ronan. could it be because you get paid to write about white artists for dance publications owned by white people and marketed to white audiences? it IS completely meaningless to you, you are part of the problem.

"In the end, like other Parrish interviews, the piece is so very scriptural, so biblical."

the only scripture is this: "and god said Ronan is a fucking moron". end of story.

"Beyond that, as soon as a white person begins to talk about or agree too keenly with the idea of white people “stealing” music of black origin, you must ask what right a white person has to define such a theft? Isn’t that once again seizing the controls?"

seriously, how does this guy get taken seriously by anyone? how does he get PAID to write about dance music? this boggles the mind. i think my 6 year old understands more about how not to be an asshole than he does.

"I wonder which race invented the idea of cultural appropriation in the first place. If you know the answer, please tell me."

coming from a white person, i love it. love it love it love it.

disco music came from gay people listening to mostly black and mostly straight soul music.

no, THIS is a great one!

blaming gays for the death of disco!

'the gay crowd' moved on, naturally - because the straight crowd continues to rep for 'real dance music' and couldn't POSSIBLY have shifted the boundaries of 'dance music' to fit their worldview of what that actually means

for better or worse (in the morning is a pretty decent track) that agent x ep sounds like a david guetta (or other generic french filterhouse) tune. i was listening to it a lot right after i graduated college, along with a lot of crydamoure records and similar sounding stuff.

you're right about disco's death, pipecock-- ie, this country's horrific homophobia, especially amidst the beginnings of AIDS, was a-raging-- but disco was definitely and pretty defiantly gay well until after the Disco Inferno incident, and well into when house music started piping out of clubs in Chicago.

and disco's death is more a timely thing-- more appropriate would be 'disco's decline in popularity.'

i love his claim to the straight origins of dance music though ... as if the gay clubs that essentially created disco as a dj form were somehow allllll full of white gays appropriating the sounds of straight blacks

and deej, he is right, he just doesn't talk about the reasons for it. which are mainly AIDS, the shutting down of various super-star US clubs due to various issues, and the arrivial of a little thing called house music.

any implication that 'the gay crowd' (L.O.L.) has 'moved on' from dance music = pipecock has never actually spent any time in chicago whatsoever

yeah, that is a bit off-- it was pretty much full of italians, latinos and blacks spinning to mostly-mixed audiences. and by mixed, we're talking economically, racially, sexually, etc.

never been a fan of Saunderson's E Dancer project but i wouldnt call the records bad by any means

ha ha, why not, will you lose your detroit patriot status?

or if he meant 'moved on' simply from disco ... also inaccurate

to be fair, deej, it is just his scene and his generalization about that scene-- techno is pretty much dead to gay people in the US, at least from what i've seen and experienced first hand. progressive house, shitty club house, hip-house and then disco reign.

"shitty club house"

" in fact, the gayness was probably the largest factor in disco's "death""

yeah, dude. unless you've had to experience the Stud then i'd stfu.

just quoting from someone's argument doesn't rebut it, vahid.

are you going to check my gay clubbing credentials?

stop and think

breathe and stop

no i'm not. but the music that i've heard at most strictly "gay" clubs is fucking horrific. exceptions being Aunt Charlies and The Gangway, but that's only because Bus Station John is the man.

ok, so you don't like US progressive house.

or danny tenaglia. big deal.

"disco music came from gay people listening to mostly black and mostly straight soul music.

no, THIS is a great one!

-- deej"

uh, it is true. have you heard of philadelphia soul? i mean, the early disco deejays were playing almost entirely straight black soul music, read "Love Saves the Day" for a pretty excellent recap of that time period since you obviously havent been paying any attention.

"'the gay crowd' moved on, naturally - because the straight crowd continues to rep for 'real dance music' and couldn't POSSIBLY have shifted the boundaries of 'dance music' to fit their worldview of what that actually means

-- deej"

say what? popular gay culture moved on from disco music, i do not see how this can be argued.

"for better or worse (in the morning is a pretty decent track) that agent x ep sounds like a david guetta (or other generic french filterhouse) tune. i was listening to it a lot right after i graduated college, along with a lot of crydamoure records and similar sounding stuff.

-- moonship journey to baja"

the french didn't invent filtered disco loops. has the timeline here really become that twisted? i know you have heard Chicago house before!

"you're right about disco's death, pipecock-- ie, this country's horrific homophobia, especially amidst the beginnings of AIDS, was a-raging-- but disco was definitely and pretty defiantly gay well until after the Disco Inferno incident, and well into when house music started piping out of clubs in Chicago.

and disco's death is more a timely thing-- more appropriate would be 'disco's decline in popularity.'

-- the table is the table"

that is why i phrased it as "gayness was probably the largest factor in disco's "death" in mainstream culture here". obviously i don't believe that disco died, and i am aware of what happened in the underground culture. most people are not so their knowledge of disco can be summed up as such. disco's gayness was more offensive than it's blackness, at least it was more socially acceptable at the time to be openly homophobic.

"i love his claim to the straight origins of dance music though ... as if the gay clubs that essentially created disco as a dj form were somehow allllll full of white gays appropriating the sounds of straight blacks

-- deej"

who said they were appropriating anything? they danced to the music because they felt it in their soul. that doesnt stop the artists who released the music from being straight in the beginning.

"any implication that 'the gay crowd' (L.O.L.) has 'moved on' from dance music = pipecock has never actually spent any time in chicago whatsoever

-- deej"

unless you try to count crappy trancey nonsense as house, techno, or disco, then the popular gay culture is just not as closely associated with that music as it was from 1975-199something. blame raving, blame whatever you want. in cities like New York or Chicago black and gay people are still down with that music, but it is not SOLELY their domain as it once was. i dont know how you can argue that unless it has been 20+ years since you have been to a gay club.

OK, i'll bite, pipecock. who invented filter loops? DJ sneak?

"to be fair, deej, it is just his scene and his generalization about that scene-- techno is pretty much dead to gay people in the US, at least from what i've seen and experienced first hand. progressive house, shitty club house, hip-house and then disco reign.

-- the table is the table"

exactly.

did paperclip people invent filter loops?