If you think DJs are the coolest people in the world I’ll let you know this. Sometimes you don’t get great line ups because they can’t come to an agreement of where the names go on a JPEG they post to the internet.
Infrastructural challenges in Electronic Music:
1. Any scene tied to legacy formats ideas are too slow for this fast world we live in. Your vinyl EP takes 4 months to come back from the plant. Profit from any money made takes 6 months to come back for you to be able to reinvest.
My take on Skrillex, Fred Again…, Four Tet wave that everyone can learn from:
1. Work with your friends that you enjoy working with
2. Over deliver on the live experience
3. Keep surprising people on the music drops
My 17 year old cousin sent this to me, he said that everybody in his college has been listening to this on repeat. It’s crazy how much drills changed since I was in college
FAQ: Agents. Agent's don't 'get you bookings'. It's a better view to see an agent as a manager of the live side of your work. You produce the demand, and they help build a strategy and value around it. -- This thread is more DJ specific but hopefully it helps
Encourage young people around you doing stuff you don’t understand to keep at it. I’ve seen my two childhood hobbies become Olympic Sports - Taekwondo & Skateboarding. I’ve seen Grime go from pirate radio to headlining the largest festival in the U.K + Drill on an Asda advert.
This moment is also 10 years old today 🗣️
General Levy performing "Incredible" to a room full of grime legends is a great full circle moment in the lineage of sound system culture.
I brought out my baba to open my debut
@boilerroomtv
set with me. It made no sense to curate the first SWANA line up in UK history without baba on oud🥹❤️.
How different would U.K. music be if the wealthiest artists funded some of the most exciting artists with no strings? Sizeable grants like £100,000 - so they have a stipend for living, studio and creating their first project that they can own fully?
VIP - variation in production from producer of the original
Edit - variation in production not from producer of the original
Remix - Commissioned original production with existing track by new or same artist.
Bootleg - Non commissioned original production with existing track
Mash
there should only be 3 line up orders
1. Headliner [then a-z]
2. All A-Z
3. How much people are getting paid top down.
Its not complicated. Stuff takes 1 min of brain power
A good feature for any electronic music magazine this year would be - Who really made [insert track] - and a story about why it's not credited to them.
Don’t say your excited about your new tune dropping. Too obvious. Be honest. Say you aren’t sure about it. Say you don’t give a shit how many other people like it you are feeling it. Say you have been needlessly adjusting things nobody will ever notice for months
We are more likely to see clubs set up boiler room style and surround the dj before putting the person in a corner of the room not many people can see.
uk needs more black bands
- I already know why this formation doesn't happen much
- There's prob an interesting intersection between punk, grime, jungle, rap and jazz that a band can bring together
- black rock stars in england would scare certain people and thats fun
The reason I tell people making art that have no desire to be global pop stars to get jobs / other work is so you have some sort of secure base that allows you to create what you want, even if it's less of it, and slower. Full time (broke/miserable) artist isn't the one.
I disconnect djing (playing with music) from being a dj (working in music) - people think djing is the second one not realising they can have this joy by themselves in a room with no quest for more djing in the house with friends and family.
I’m sure if you told the people that were djing in London in the year 2000 that people would want to still be hearing those songs 22 years later they would have thought you you were mad but here we are.
How it gets written about you would think grime and dubstep happened in two completely diff eras in two different places. It was living side by side. There should have been a lot more crossover. Grateful for DJs like Plastician, Kode 9 and Tubby that bridged the gap always.
Beyond the bassline: 500 years of Black British Music at the British library. There are 100s of ways to make frameworks like this. A rich history we have and why I get so mad we get reduced to ‘hip hop and r&b’ in so many places.
no audience - no risk
no risk - no gain
no gain - just vibes
just vibes - audience comes
audience comes - feels like risk
dont take risk - no vibes
no vibes - no gain
back to no audience
start over again
Two opposing philosophies lyrically going back to back. This is one of the most important moments in Grime ever captured. Im glad these two had massive success since. Songs could never really capture this kind of energy. Big up Logan
My 9th year managing Flava D today. I did this under a pseudonym for most of the time as at the start I didn’t think people would take me seriously and I didn’t want my own artistic endeavours / opinions to be crossed over with hers. I’ve learned a lot this way.
Say what you want about the music, but the diversity of successes that people are having that started in Grime is inspiring. Radio, TV, Netflix, Theatre, Restaurants, Books, Gaming, Tech it's quite mad.
The idea that a good album only is one that has crafted like a film is one of these foolish notions that costs artists a lot of time, energy and money. You put 10 bangers that have no narrative link on an album. This is still a good album.
I’m going to write a list of 300 songs from British Music History the man dem can sample for the next decade of bangers so we can stop using rinsed Garage songs
All DJs don’t need to produce songs but if you want to have a bigger contribution than just playing in clubs you should build environments where interesting things can happen or find ways of funding interesting artists and projects.