On Mon, 12 Jul 1999 wobblyATcompcurr.com wrote:
>>anyway). i somehow very much doubt that the dj boys would go "Yo! check
>>out this rumori shit, yo. what up wit dat oswald mofo? detournment shit
>>is dope!"
>
>not so fast, 'dude', why don't you buy one or two of these records or read
>an interview or two before you start making little jokes about these 'dj
>boys'. I'm not saying DJ Spooky's liner notes are typical for the genre
>but these days a lot of dj's are increasingly theory conscious.
Not so fast, 'G'. ;-)
DJ Spooky is definitely not typical. but, tho yes, more and more dj's are
"theory concious", there's theory and then there's theory. or should is
say, there's theory and then there's "dope science". haha. heh.
I think kevin stretched his point to make a point (and i think it was an
entertaining joke!), but it's still a good point. most ravers or hip
hoppers might UNDERSTAND the issues, but the way they might bring it up,
if they do at all, is completely different. ( I DARE any journalist to
ask someone like kid koala who the situationists were!)
>Anyone who listens to the local mainstream hip hop radio station here in
>the Bay Area would understand most of the ideas we've discussing here
>pretty readily; 94.9 is doing real time 1 to 3 source fragmentary collage
>during drive time for a demographic that includes 14 year old girls.
(ehhhh, i dunno if that's really an accurate demographic matchup there,
but whatever...)
that's technique, it's not theory. Yeah, dj's understand that when they
flip that cross-fader back and forth and do a crab scratch (or whatever)
they get this certain mixture of sounds which happen to have originated
with other musicians. but they have a different way of thinking and
talking about it.
and a different history. if anything, this underscores the way different
ideas can be handed down via different origins, but arrive you at similar
physical manifesations. You could trace the skratch picklz musical
roots up from the carribean, jamaican sound systems, brooklyn b-boys,
sugar hill gang, afrika bambata, etc etc i'll (nerdmark myself if i get to
specific). meanwhile we have varese, cage, pierre henri, fluxus and john
zorn leading us to Christan Marclay. (or whatever, i'm sure you could
correct me with more accurate footnotable references, wobbly).
Speaking of interviews, look at an interview with dj spooky and he's
quoting de Certeau and talking about the african diaspora and the end of
history. read an interview with skratch picklez and q-bert's saying "it
takes hella years to take and practice it, and there's levels beyond
levels." (bay guardian, 11/98) uh, yeah.
I think, jon, you might be referring to the almost reflexive way everyone
is getting used to slicing up culture, and reality. I mean look at those
funky "photosticker booths" in malls and arcades- you're encouraged to
paste your own visage onto a choice of collage-like surreal
landscapes/props. it's everywhere. postmodernism, i guess.
however, I'd guess most of us are here because we're interested in a more
conscious exploration and observation of these phenomena. the dj's, the
11-year old girls, they're coming at it a different way.
(just cuz everyone's used to simulacra dont mean they've read
Baudrillard!)
>Everything that comes up on this list, the mainstream has already
>assimilated in some form or another.
maybe, again, as we've discussed before, it's about intent. (hey, and
don't be so cynical!)
>So there is clearly no dividing line here.
i don't WANT to draw a line between "rumori types" and "dj types",
(mainly because neither "type" really exists, clearcut and black & white)
as my post the other day should have shown. but i think you've gone the
other extreme and homogenized everyone a little too far.
there's not a line, there's a big fuzzy grey interface - how about that?
smh
Steev Hise, Automagickal Adept
steevAThise.org http://www.cyborganic.com/people/steev
recycled art site: http://www.detritus.net
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