Tuesday, December 3, 2013
EDM vs. "The Underground"
Do You Know Jack?
Wether it be old school, Chicago-style deep house, acid house from the 90's, or a recent techno banger, the name "Jack" always seems to come up somewhere. Is this "Jack" a real person, or is the phrase a slang term for something else? The answer is… it's not that simple.
Originally, the term "Jack," or "jacking," referred to dancing back in the old days of the warehouse parties in Chicago where house music began. Initially, the dance similar to "grinding," but later it became more of a "freestyle-esque." The fact that is "Jack" was considered to be a "free-style," type of dance indicates that the dance allowed for self-expression and personalization. When house music came on at a party, you expressed your feelings through the music, creating your own unique movements to go along with the music you were listening to. The dancer didn't have to conform to a strict dance style; the dancer danced the dance, rather than the dance dancing the dancer (boy, that was a tongue twister…. but you get my point.) You came together as one with others at a party, but you weren't all conforming to one set style of dancing. You were being yourself. Later on, the meaning of "Jack" took on a deeper meaning. It didn't just refer to a style of dancing anymore. What do I mean, you ask? I'll allow this Mr. Fingers unforgettable vocal answer the question of what "Jack" eventually became:
Originally, the term "Jack," or "jacking," referred to dancing back in the old days of the warehouse parties in Chicago where house music began. Initially, the dance similar to "grinding," but later it became more of a "freestyle-esque." The fact that is "Jack" was considered to be a "free-style," type of dance indicates that the dance allowed for self-expression and personalization. When house music came on at a party, you expressed your feelings through the music, creating your own unique movements to go along with the music you were listening to. The dancer didn't have to conform to a strict dance style; the dancer danced the dance, rather than the dance dancing the dancer (boy, that was a tongue twister…. but you get my point.) You came together as one with others at a party, but you weren't all conforming to one set style of dancing. You were being yourself. Later on, the meaning of "Jack" took on a deeper meaning. It didn't just refer to a style of dancing anymore. What do I mean, you ask? I'll allow this Mr. Fingers unforgettable vocal answer the question of what "Jack" eventually became:
Now some of you might wonder,
"Who is Jack, and what is it that Jack does?"
Jack is the one who gives you the power to jack your body!
Jack is the one who gives you the power to do the snake.
Jack is the one who gives you the key to the wiggly worm.
Jack is the one that can bring nations and nations of all Jackers together under one house.
You may be black, you may be white; you may be Jew or Gentile. It doesn't make a difference in OUR house.
And this is fresh.
This clip really crystalizes the meaning of "Jack."
Today, the spirit lives on in our clubs…
What is "Jack," to me? Jack is more than a style of dancing. Jack is the groove personified. Jack is the passion in the air at a party. Jack is the vibe, Jack is the beat. Jack is the Holy Spirit of house music. As long as house is properly respected, appreciated, and loved, Jack will always be among us. Now… LET THERE BE HOUSE!
And in the music we love. Check this track that German producer Sidney Charles put out last month.
What is "Jack," to me? Jack is more than a style of dancing. Jack is the groove personified. Jack is the passion in the air at a party. Jack is the vibe, Jack is the beat. Jack is the Holy Spirit of house music. As long as house is properly respected, appreciated, and loved, Jack will always be among us. Now… LET THERE BE HOUSE!
Saturday, November 30, 2013
Wednesday, November 20, 2013
F#CK THE VIP
At 2:30 AM on Saturday, November 16th, I arrived at the newly opened Sankey's NYC, a venue that I have been dying to check out for some time now. When I walked in, a smile came over my face. Sankey's had done a lot with the place since the days of old District 36, the nightclub that used to be in its place. I no longer felt as if I was in someone's basement (which I never cared about aesthetics that much, but hey… if you're going to make it as a Manhattan spot you need to be at least somewhat pleasing to the eye.) A myriad of lights that hung over the dance floor provided an uncommonly funky feel and the sound system was in a class all it's own--full-bodied, rich, and engaging. As far as the music went, it was no frills. It could be described as a pure and honest mix of deep, funky grooves with a tribal twist (it was a "Tribal Sessions Party.") At that moment, the night was looking pretty good to me, and I was ready to take it all in… every last bit of it.
A view of the main floor of Sankey's NYC from the booth
Unfortunately, my experience was short lived. My group and I had wrist bands, which meant we had snagged a spot in VIP. And of course you can't turn down an opportunity like that, right? We walked up the stairs, and strolled into the VIP area. Before you could say, "bitch, don't kill my vibe," the atmosphere of the place immediately changed. The VIP area was semi-empty. There was absolutely no sign of vibrancy anywhere. Everyone was sitting down in a nonchalant fashion, talking amongst themselves. Yeah, I saw a head bop here and there, but this was in no way, shape, or form my kind of party… not by a long shot. Now, VIP is usually a great idea when you are at a club that packs you in like sardines.. you know, packed past the legal limit set by the fire department. But that wasn't the case this time. As I looked down, there was plenty of space on the dance floor--more than enough space. And boy, was everyone having a good time. I secretly envied all of my fellow party goers moving and grooving across the main floor. The experience could be likened to that of a misbehaved child sitting inside during lunchtime detention as they watched their peers run around on the playground outside.
The conversations, head bopping, and the pouring of drinks continued until closing time. As we walked through the exit doors, everyone commented on how "dope" the party was and how they couldn't wait to go back. I felt like I was the only person who didn't enjoy themselves. In the end, when it comes down to it, it's all about taste. Everyone comes out to events for different reasons. Some people rather just relax and enjoy themselves. I understand that, because every so often, I rather chill out myself. Usually, however, I can't just sit down and relax. The reason I come out is for the party is for the experience, the energy--that "underground vibe." For me the party is on the dance floor. It's where people are clapping their hands, swaying their bodies to the music, letting themselves just loose it. In VIP, it's hard to be a part of that energy and that intensity. Only the dance floor can give you that.
As for Sankey's, I'll surely be back. Next time, however, you won't find me in the VIP.
This oldie says it all.
Wednesday, November 13, 2013
Way, Way Back Wednesday: Special Edition
As always, it's all about the music, but today I'm going to take you guys back in time. Way, way back in time. For one reason or the other, whenever I'm getting ready for work, on the train, cleaning on a Sunday, cooking a meal, at the gym, etc. I always have to be surrounded by four to the floor beats. It never fails. Half the time, I'm constantly searching for new music I can listen to wether it be on Beatport (top 40, as well as obscure places and sections of the database that I can think of,) YouTube browsing, other music blogs, or on my boyfriend's iTunes (yes, I'm a track thief, and I have no shame in my game.) The other half of the time, however, I choose to feed my nostalgia. More often than I should, I like to tap into the house and techno music of past decades. Although I didn't party to these tunes, I grew up listening to them, and for that reason feel a deep attachment to them. One of my favorite features of old school house and techno tracks are their vocals. Maybe it's just me, but a good vocal always takes things to another level. It has the power to make the body move, the power to inspire, the power to uplift. Here are some of my favorites.
Detroit-based techno group Inner City was arguably the first out of Detroit who was responsible for bringing techno to the masses. No one can deny the fact that once they hear the crooning of Paris Gray, "Let me take a place I know you want to go, it's a good life…" clapping your hands and bobbing your head are an absolute must. Not only is this song one of the first techno tracks, but, above all, it's message uplifting. It's all about leaving your troubles behind for happiness and joy… it is titled, "good life," after all.
This vocal is so damn popular to this day that you will still hear it being spun on dance floors here in New York City. And for good reason. It's another feel good tune that is to put a smile on anyone's face and makes you want to raise your head a little bit higher. "Just be yourself, and no one else." The message that this track provides is something special. It's all about being proud of who you are, and being comfortable in your own skin. It's what the scene was meant to be about. It's about coming as you are, no matter who you are. The dance floor is a sanctuary where anyone and everyone can "be themselves." This vocal embodies that idea for sure.
Before "Bigger Than Prince," there was "Preacher Man." Green Velvet's Chicago classic house classic comes paired with a powerful, spoken vocal that is supposed to sound similar to a preacher's voice. Encased within this vocal is a powerful message coming out of 80s/90s Chicago: problems that were arising within the black church. Who said vocals were all fluff? Not this track. House is versatile. The vocal is making a powerful political statement, and encapsulates a valuable piece of Chicago's cultural history.
Okay. Sometimes I'll play this song for people and it creeps them out. Some of my friends have likened the spoken vocals to the devil beckoning someone come with him to the depths of hell every time he bellows, "follow me." But, that's not what this song is about. If you get past the guy's sinister voice, his calls to "so get up, forget the past…" sound a lot more like leaving behind everything that's holding us back and living the one life we have to life to the fullest extent. The tone of the voice and it's message are a contradiction, but it works.
"Not everyone understands house music; it's a spiritual thing; a body thing; a soul thing…" I think this vocal speaks for itself. This is the classic that everyone knows, and no matter if it's the first time or hundredth time that you've heard it, chills will go down your spine. It's the kind of vocal that justifies why we all love house music so much. It's so much more than just music; it's an entire culture. Moving our feet to the music, being together with friends, coming together to celebrate life through it all, wether it be in a friend's living room, a club, or even a warehouse. Some people may shake their heads at house lovers, and it's okay. Once you spend one night out at a club, you will know what this thing called house music is all about.
Black Box actually was an Italo-house group from the late 80s/ early 90s. Their production is on point, but the vocals shine in this one. They're more than powerful. They command attention. Just the tone and range of the vocalist are so different. With this vocal, it's less about what the vocals are saying, and more about the emotion the vocalist is putting into them as she's singing. Fun fact: the title of this song should have been "Right on Time," but the producers, not knowing English, understood it to be "Ride on Time" instead. Those damn Italians.
Friday, November 8, 2013
Wednesday, November 6, 2013
Underground Halloween in NYC: Recap
How about that 2 weekend-long Halloween extravaganza we just had, folks? Some people might kill me for saying this, but I could probably go for another week of Halloween! The amount of parties in the NYC Underground was insane these past two weekends, I counted about 50 myself (including after hours) between the two weekends (correct me if I'm wrong, because I'm sure there were more.) I happened to go to three of them myself. First, I went to Boris and Cristian Arango at Stage 48, which was packed to the brim, but a good time none the less. Immediately after Stage 48, I ventured on to see Chriss Vargas at Pacha for his after hours party, dubbed "Erotica," which, in my opinion, is always a must for Halloween--his dark tech/ techno style just fits! I finished then finished off my two week long Halloween celebration with Carlo Lio, The Junkies, and Nathan Barato, who all played back to back to back, at Studio Square Loft in Queens on the 31st, which although it wasn't essentially as wild as the first two parties, the music was some of the best, and the cherry on top of what was one of my best Halloweens ever since I gave up trick-or-treating. I desperately wanted to go check out Sankey's , Manhattan's newest underground clubbing destination, but I unfortunately was unable to do so. As soon as I go (hopefully within the next two weeks) I will definitely put my two cents in.
Back to my Halloween recap. Each DJ's set was executed to creepy, eerie Halloween perfection. But, although the music was on point, I was more taken with another element of the parties. What a VIBE! Everywhere I went, I saw everyone dancing, socializing, and smiling. I also must mention that I saw a ton of creative, sick costumes! Check my boy Michael and I below at Studio Square Loft--I was a "Futuristic Sugar Skull" (loved everything about my look except for my dress, which looking back did not go with the rest of my look..oh well) but this kid blew it out of the park with his outfit he was an evil-looking demon, but lightened up his costume and face makeup with shiny jewels and reflective pieces. House Heads love to go all out on Halloween, that's for sure!
Check it: Michael on the left, me on the right at Studio Square in Queens, NY. That dres did not
go with the rest of my costume, but how fabulous does he look?!? This boy had heels on, too. Uff!
Something else was in the air these past two weeks. People had a different attitude, a different swagger. Perhaps since it's the one night a year you can dress up however you want (scratch that-two weekends to dress up however you want,) people allow themselves to step out of their comfort zones and be whatever they want to be. No matter where I was this weekend, everyone held their heads high and WERKED it (more so then usual,) wether they were socializing with others, dancing, or just bobbing their heads up and down to the beat. In addition to this increased confidence, I noticed that people didn't have their smart phones weren't out half as much. Less people were constantly taking flicks with their friends and recording a DJ sets, and more club goers were actually getting into and enjoying the party! This energy was infectious, and everyone caught on. I know that I certainly did. I soaked it up, loving every second of it. I danced and danced all night, hung out with old friends, and met some new ones. I didn't want to leave any of the parties I went to, even when the music stopped playing. Need some visuals to match my description? Just peep this video from Stage 48 from October 25th, and you'll surely catch my drift.
What inspired all of this passion and excitement these past two weekends? I honestly think the holiday is to blame. Halloween, is something special. It's more than besides horror movies and endless candy (although all of those things are amazing.) It inspires creativity. Everyone displays the costumes they made/ put together proudly. DJs change things up, plan their sets around it. Everyone, especially those who don't go out as often, comes out to celebrate. It's a combination of all of that and more. It all feels like something new and different, and that's exciting for people. From the professional gogo dancers on stage, to the party goers on the main dance floors, everyone had a little extra pep in their step. There is just something special about Halloween that makes underground nightlife all that more magical, and I already cannot wait to see what next year is going to bring (and have already begun thinking up another costume… still don't know what I was thinking when I picked that dress for my last costume… mistake!!!)
Back to my Halloween recap. Each DJ's set was executed to creepy, eerie Halloween perfection. But, although the music was on point, I was more taken with another element of the parties. What a VIBE! Everywhere I went, I saw everyone dancing, socializing, and smiling. I also must mention that I saw a ton of creative, sick costumes! Check my boy Michael and I below at Studio Square Loft--I was a "Futuristic Sugar Skull" (loved everything about my look except for my dress, which looking back did not go with the rest of my look..oh well) but this kid blew it out of the park with his outfit he was an evil-looking demon, but lightened up his costume and face makeup with shiny jewels and reflective pieces. House Heads love to go all out on Halloween, that's for sure!
go with the rest of my costume, but how fabulous does he look?!? This boy had heels on, too. Uff!
Something else was in the air these past two weeks. People had a different attitude, a different swagger. Perhaps since it's the one night a year you can dress up however you want (scratch that-two weekends to dress up however you want,) people allow themselves to step out of their comfort zones and be whatever they want to be. No matter where I was this weekend, everyone held their heads high and WERKED it (more so then usual,) wether they were socializing with others, dancing, or just bobbing their heads up and down to the beat. In addition to this increased confidence, I noticed that people didn't have their smart phones weren't out half as much. Less people were constantly taking flicks with their friends and recording a DJ sets, and more club goers were actually getting into and enjoying the party! This energy was infectious, and everyone caught on. I know that I certainly did. I soaked it up, loving every second of it. I danced and danced all night, hung out with old friends, and met some new ones. I didn't want to leave any of the parties I went to, even when the music stopped playing. Need some visuals to match my description? Just peep this video from Stage 48 from October 25th, and you'll surely catch my drift.
What inspired all of this passion and excitement these past two weekends? I honestly think the holiday is to blame. Halloween, is something special. It's more than besides horror movies and endless candy (although all of those things are amazing.) It inspires creativity. Everyone displays the costumes they made/ put together proudly. DJs change things up, plan their sets around it. Everyone, especially those who don't go out as often, comes out to celebrate. It's a combination of all of that and more. It all feels like something new and different, and that's exciting for people. From the professional gogo dancers on stage, to the party goers on the main dance floors, everyone had a little extra pep in their step. There is just something special about Halloween that makes underground nightlife all that more magical, and I already cannot wait to see what next year is going to bring (and have already begun thinking up another costume… still don't know what I was thinking when I picked that dress for my last costume… mistake!!!)
Tuesday, October 29, 2013
“Listen to them, children of the night, what music they make!”
Halloween is one of my favorite holidays. The costumes, the candy (yes, admittedly I'm still a child at heart,) the movies, and, most importantly, the spirit of the holiday itself. In the Underground, fall marks a time when music is started to get a little less light hearted, and a little deeper and darker. Halloween itself usually takes it to a whole other level. Club goers and party throwers live for Halloween. I ask anyone to go out to any Underground event the weekend or on Halloween and you will see what I mean. A sea of costumes, decorations, and eerie beats that would make your inner creep grin with sinister pleasure. Going along with this idea, I have here some tracks that will surely chill you to the bone and will surely get you excited for this Halloween.
Eerie, deep house. Haunting, repetitive vocals. Some kind of creepy child's laugh in the background. Sure to please even the pickiest house music elitist. This track is bewitching to say the least, and deserving of a spot on the list.
This one comes from the young, yet super talented producer Rich Gior. This song is not new, no, but is Halloween material through and through and certainly does not disappoint. Gior takes a disturbing classic house vocal, "Rippin Kittin," and elevates it through simple, yet sophisticated and spotless production. The strong foundation allows the creepy vocals shine in this song. This is the stuff nightmares are made of.
Getting away from vocals for a bit, but still holding true to the spirit of Halloween, David G Tronic hits us with a dope groove that will make your skin crawl. No, the track doesn't have any vocals, but the production alone shows us that it can stand alone on it's own, no problem. This track would put anyone in a very danceable, groovy mood, and yet also would freak anyone who heard it before their bedtime (exactly what I'm doing now… uh oh.) All in all, thumbs up!
Getting away from vocals for a bit, but still holding true to the spirit of Halloween, David G Tronic hits us with a dope groove that will make your skin crawl. No, the track doesn't have any vocals, but the production alone shows us that it can stand alone on it's own, no problem. This track would put anyone in a very danceable, groovy mood, and yet also would freak anyone who heard it before their bedtime (exactly what I'm doing now… uh oh.) All in all, thumbs up!
BPM lineup is here!
I have never been here myself, but from what I am told it is quite the destination. Playa del Carmen, Mexico in January, the ultimate escape from a brutal NYC winter. Here, the industry and clubbers come together in perfect harmony to enjoy the ultimate musical vacation. The event boasts 250+ artists, day and night parties from January 3rd up to the 12th. It also doesn't hurt that it's in Playa del Carmen, so making it into one's ultimate dream winter vacation would be a no-brainer (e.g. pairing partying with sun, sand, and some sight-seeing.) I have some money saved up, so hopefully this year I'll be able to make it! Here's the official line-up:
Tuesday, October 22, 2013
Way Back Wednesday
Here's some underrated classics GOLD from 1998. One of my favorite vocals of all time for sure. If you feel like being nostalgic for the next 9 minutes, you should most definitely press play.
It's Not A Popularity Contest: Why Quantity Over Quality Won't Work In The Long Run
It's rantin' time. The Underground, like any other music scene, has it's pitfalls. We know this. Nothing is perfect, as we've seen in my last post about "Pet Peeves." With that being said, there are some larger problems in the NYC Underground that aren't any laughing matter.
Some of the DJs in New York City (not pointing any fingers and naming names, you can use your imagination on this one,) who are chosen to play at parties don't hold up to my standards of what I would consider "talented." The room they're playing in may be packed to the brim, but that usually is the extent of it all. The vibe isn't all the way there, their mixing is sub par, if not sloppy, and their track choices are the same Beatport Top 100 that I've heard over time and time again.
Why is lackluster talent a reality in NYC? Yes, NYC of all places, a city that is chock full of 100s of talented local hopefuls. Well, let me break it down for you.
Who do you think throws these parties? Clubs and other sorts of venues, obviously. How do these places make their money? Entrance/ ticket fees and drinks. Usually, venue owners are too busy with their own business to worry about how to entice people to come in for parties. This is where promoters come in. Promoters, as we all know, are dudes and gals who are hired by venues so they can pack them out, fill them up with people. That's a promoter's job. The more people promoters get to come in, the more money they make.
How do DJs for these events get chosen? Is the hiring mostly talent-based? That would generally make sense, am I right? Not exactly. As of late, some promoters have gotten lazy. And on top of that, have become taken with the green-eyed monster: greed. They want to make the most amount of money they can with the least amount of effort. How can they do this? Well, it's simple. Promoters usually leave it up to the DJ and/ or his team and manager do some work for the promoter. By putting in the DJ that guarantees to bring the most amount of people, the promoters will be able to make the most money possible by doing the least amount of work possbile. It doesn't matter if the DJ is talented, mediocre, or just plain sucks. The more people a DJ is able to bring, the more eligible they are to play.
This way of doing things poses a big problem. Why? I'll tell you why. It's beyond the fact that it's unfair to talented, hardworking DJs who deserve a time slot. It's way more than that. It's the fact that this way of doing things is going to impact the scene for the worse. This business practice just doesn't affect the DJs, it affects the party-goers, promoters, club owners, and the entire music industry. It's dangerous, and I'm going to tell you why.
"DJ Popular" may be able to draw a crowd, but the clientele within the crowd is only so limited each week. The crowd that a "popular" DJ is going to be able to draw is going to comprised of the same people, namingly their friends and acquaintances. This is going to drive away new party-goers who have come to hear some quality music on the decks. New patrons who don't know the DJ won't care about how "chill" the DJ's personality may be… they just care about enjoying the music. If the music is average, they ain't coming back for more. A DJ's popularity may be able to draw people in, but it's going to be the same old 50-200 people each week. Mediocracy will drive away newcomers. It's that simple. New patrons won't care about how much of a cool dude the DJ is, or how good looking they are. If their music sucks, new business will not be coming in. They will steer clear, rolling their eyes in disgust. No mercy.
If popularity is placed before talent, the bar is going to be set a lot lower for DJs in New York. This is dangerous, because "friendly competition" is necessary in the the scene. Why? Without friendly competition, DJs won't work as hard. Instead of concentrating on their music (which should come first) they're going to be sending out Facebook invites to all their peeps, and partying all weekend for networking purposes. If they're guaranteed a spot already, why do they have to try to play any better in the first place? They will be concentrating more on the networking/ promoting side of things rather than on perfecting their talent. Improving their skills and preparing long and hard for a set isn't necessary if acquiring their set time isn't based on "friendly competition." No fair playing field will exist, and thus, DJs are going to stop trying hard. They're going to settle for their second best. They're going to focus on the less important things, like getting the most followers on Facebook or Sound Cloud, they will lose sight of what's important. They won't be on their A-Game.
Finally, and most importantly, it's this kind of thinking that is going to cause the death of musical creativity here in New York. Creativity absolutely necessary when it comes to the arts, especially when it comes to music. You need creativity to play and appreciate music. The more plentiful talent and new, fresh ideas that are out there, the more DJs will be able get inspired, and the higher the bar will be able to be set. Setting the creativity bar high will inspires these DJs to play better and think outside the box, thus performing to the best of their ability. If DJs are not being hired based on talent, and talent is placed second to popularity, this creativity that once existed here in NYC will surely stagnate. If mediocrity is the standard that DJs are held to, they're not going to aspire to play better and grow to their full potential. If we allow this subpar standard continues to stay in place for so long, it shall soon become the norm. Do we really want this to happen?
If this mediocrity continues to remain acceptable, everyone will lose out, not just the talented DJs who are pushed to the side because they couldn't bring in 50 of their friends. What the man behind the curtain doesn't know (aka club owners, promoters, etc.) is that they're going to ultimately hurt themeselves as well. The heart of the NYC Underground that we all have always loved so much is the music. As corny as it sounds, it's the heart and soul of the party. Turning away from this reality in favor of greed will destroy the true meaning of the scene as we know it. It will be cheapened. The magic will cease to exist. Everyone will lose in the end, but no one realizes it… yet.
Some of the DJs in New York City (not pointing any fingers and naming names, you can use your imagination on this one,) who are chosen to play at parties don't hold up to my standards of what I would consider "talented." The room they're playing in may be packed to the brim, but that usually is the extent of it all. The vibe isn't all the way there, their mixing is sub par, if not sloppy, and their track choices are the same Beatport Top 100 that I've heard over time and time again.
Why is lackluster talent a reality in NYC? Yes, NYC of all places, a city that is chock full of 100s of talented local hopefuls. Well, let me break it down for you.
Who do you think throws these parties? Clubs and other sorts of venues, obviously. How do these places make their money? Entrance/ ticket fees and drinks. Usually, venue owners are too busy with their own business to worry about how to entice people to come in for parties. This is where promoters come in. Promoters, as we all know, are dudes and gals who are hired by venues so they can pack them out, fill them up with people. That's a promoter's job. The more people promoters get to come in, the more money they make.
How do DJs for these events get chosen? Is the hiring mostly talent-based? That would generally make sense, am I right? Not exactly. As of late, some promoters have gotten lazy. And on top of that, have become taken with the green-eyed monster: greed. They want to make the most amount of money they can with the least amount of effort. How can they do this? Well, it's simple. Promoters usually leave it up to the DJ and/ or his team and manager do some work for the promoter. By putting in the DJ that guarantees to bring the most amount of people, the promoters will be able to make the most money possible by doing the least amount of work possbile. It doesn't matter if the DJ is talented, mediocre, or just plain sucks. The more people a DJ is able to bring, the more eligible they are to play.
This way of doing things poses a big problem. Why? I'll tell you why. It's beyond the fact that it's unfair to talented, hardworking DJs who deserve a time slot. It's way more than that. It's the fact that this way of doing things is going to impact the scene for the worse. This business practice just doesn't affect the DJs, it affects the party-goers, promoters, club owners, and the entire music industry. It's dangerous, and I'm going to tell you why.
"DJ Popular" may be able to draw a crowd, but the clientele within the crowd is only so limited each week. The crowd that a "popular" DJ is going to be able to draw is going to comprised of the same people, namingly their friends and acquaintances. This is going to drive away new party-goers who have come to hear some quality music on the decks. New patrons who don't know the DJ won't care about how "chill" the DJ's personality may be… they just care about enjoying the music. If the music is average, they ain't coming back for more. A DJ's popularity may be able to draw people in, but it's going to be the same old 50-200 people each week. Mediocracy will drive away newcomers. It's that simple. New patrons won't care about how much of a cool dude the DJ is, or how good looking they are. If their music sucks, new business will not be coming in. They will steer clear, rolling their eyes in disgust. No mercy.
If popularity is placed before talent, the bar is going to be set a lot lower for DJs in New York. This is dangerous, because "friendly competition" is necessary in the the scene. Why? Without friendly competition, DJs won't work as hard. Instead of concentrating on their music (which should come first) they're going to be sending out Facebook invites to all their peeps, and partying all weekend for networking purposes. If they're guaranteed a spot already, why do they have to try to play any better in the first place? They will be concentrating more on the networking/ promoting side of things rather than on perfecting their talent. Improving their skills and preparing long and hard for a set isn't necessary if acquiring their set time isn't based on "friendly competition." No fair playing field will exist, and thus, DJs are going to stop trying hard. They're going to settle for their second best. They're going to focus on the less important things, like getting the most followers on Facebook or Sound Cloud, they will lose sight of what's important. They won't be on their A-Game.
Finally, and most importantly, it's this kind of thinking that is going to cause the death of musical creativity here in New York. Creativity absolutely necessary when it comes to the arts, especially when it comes to music. You need creativity to play and appreciate music. The more plentiful talent and new, fresh ideas that are out there, the more DJs will be able get inspired, and the higher the bar will be able to be set. Setting the creativity bar high will inspires these DJs to play better and think outside the box, thus performing to the best of their ability. If DJs are not being hired based on talent, and talent is placed second to popularity, this creativity that once existed here in NYC will surely stagnate. If mediocrity is the standard that DJs are held to, they're not going to aspire to play better and grow to their full potential. If we allow this subpar standard continues to stay in place for so long, it shall soon become the norm. Do we really want this to happen?
If this mediocrity continues to remain acceptable, everyone will lose out, not just the talented DJs who are pushed to the side because they couldn't bring in 50 of their friends. What the man behind the curtain doesn't know (aka club owners, promoters, etc.) is that they're going to ultimately hurt themeselves as well. The heart of the NYC Underground that we all have always loved so much is the music. As corny as it sounds, it's the heart and soul of the party. Turning away from this reality in favor of greed will destroy the true meaning of the scene as we know it. It will be cheapened. The magic will cease to exist. Everyone will lose in the end, but no one realizes it… yet.
Wednesday, October 16, 2013
Underground Pet Peeves
I think I'm not alone when I say I'd pick clubs like Cielo, Output, or even System After Hours over 1 Oak any day. Strict dress codes, judgmental bouncers, and overpriced drinks have never been my thing. When I go out, I'm going out for the music and because want to dance in a comfortable, judgement-free zone. On a more personal note, although I'm a girl, I despise wearing heels. I can't dance in them, and I am terrible at feigning comfort after three hours of being confined to the things. I will never be at home in the more upscale venues, and I'm OK with that. I'm hopelessly devoted to Underground Club Land. However, that doesn't mean that my favorite spots are perfect. Underground parties also have their fair share of the weird, the awkward, and the just plain annoying.
1. The Overcrowded Sweatbox of Death
It's Saturday night, and you're heading out to see your favorite house (or techno) DJ that you've been dying to see for months. You pay the fee to get in, then happily waltz into the venue. Oh. My. God. The amount of people is so nauseating that you're getting claustrophobic by just looking upon the crowd. You join your fellow club-goers anyway. This little setback won't prevent you from enjoying your night. Once you dive into the sea of people before you, you discover that the guy next to you is profusely sweating, and the girl in front of you keeps stepping on your shoes while doing the two step. You try to bust a move, but you barely have half an inch to do so. You just can't win. This, my friends, is the overcrowded sweatbox of death.
2. The Stage 4 Creeper
This one is for my ladies. There's always that one dude lurking in the shadows waiting to pounce. Homeboy is usually alone, about thirty-ish, and has a Jack Torrence-ish look in his eye (if you've familiar with the film The Shining, you catch my drift.) No matter how many times you politely try to get away from him, he will follow you around all night, staring. Perhaps he'll even stalk you all the way to After Hours. Stage 4 Creeper, ladies and gents. He never misses a party.
3. "House Hipsters"
Hipsters are known far and wide for thinking that they are too cool for anything and everything, claiming to be innovators and non-conformists. You don't only find Hipsters in Williamsburg, though. They can be found in all walks of life, especially in the Underground House Music Scene in New York. These are the people who pride themselves on being experts on the genre more so than anyone else. They think they're too cool for NYC, and constantly proclaim that clubbing is better in Europe (although they themselves have never actually been to Europe.) They hate "ravers," and the colorful costumes they wear ("House Hipsters" prefer black because it matches the color of the depths of their soul) and act like they weren't listening to David Guetta four years ago.
5. Techno Overload
The closing DJ is an hour into his set. Although techno is awesome, the DJ's sound is all starting to monotone. The set has no groove anymore, only pure, glorious repetition. You start to get bored. Your boredom slowly turns into annoyance. Instead of the music taking you on a journey, your head is about to explode instead. You my friend, are experiencing techno overload. Don't get me wrong, techno is a beautiful thing when it's done right. If a DJ is simply playing what sounds good, the "heavy stuff," aka pure UNTZ UNTZ UNTZ, rather than concentrating on the musical journey that that he or she is supposed to be taking the crowd on, it's going to be a recipe for disaster.
6. Track Thieves
This one is for the DJs. There's always that other DJ (whether he's playing that night or not) cozying up to you, either on your left or right side smiling keeping one eye on you and the other on your computer. Perhaps the thief is looking over your shoulder, writing down the name of the joint you're about to drop on his or her phone, plotting to download it in the morning. You wonder to yourself, "why they couldn't have just asked me for the song and be professional instead of acting like an 8 year old?" That would be impossible, my friend. Why? Because it would mean that the thief would be admitting to the fact that they admire their competition. Track thieves… there's always one in the booth.
That's my list so far. There are so many more annoyances out there, but these are just the ones that popped into my mind at the moment. Feel free to go ahead and post a comment sharing your own Underground Pet Peeves! I would love to add more to the list.
1. The Overcrowded Sweatbox of Death
It's Saturday night, and you're heading out to see your favorite house (or techno) DJ that you've been dying to see for months. You pay the fee to get in, then happily waltz into the venue. Oh. My. God. The amount of people is so nauseating that you're getting claustrophobic by just looking upon the crowd. You join your fellow club-goers anyway. This little setback won't prevent you from enjoying your night. Once you dive into the sea of people before you, you discover that the guy next to you is profusely sweating, and the girl in front of you keeps stepping on your shoes while doing the two step. You try to bust a move, but you barely have half an inch to do so. You just can't win. This, my friends, is the overcrowded sweatbox of death.
2. The Stage 4 Creeper
This one is for my ladies. There's always that one dude lurking in the shadows waiting to pounce. Homeboy is usually alone, about thirty-ish, and has a Jack Torrence-ish look in his eye (if you've familiar with the film The Shining, you catch my drift.) No matter how many times you politely try to get away from him, he will follow you around all night, staring. Perhaps he'll even stalk you all the way to After Hours. Stage 4 Creeper, ladies and gents. He never misses a party.
3. "House Hipsters"
Hipsters are known far and wide for thinking that they are too cool for anything and everything, claiming to be innovators and non-conformists. You don't only find Hipsters in Williamsburg, though. They can be found in all walks of life, especially in the Underground House Music Scene in New York. These are the people who pride themselves on being experts on the genre more so than anyone else. They think they're too cool for NYC, and constantly proclaim that clubbing is better in Europe (although they themselves have never actually been to Europe.) They hate "ravers," and the colorful costumes they wear ("House Hipsters" prefer black because it matches the color of the depths of their soul) and act like they weren't listening to David Guetta four years ago.
5. Techno Overload
The closing DJ is an hour into his set. Although techno is awesome, the DJ's sound is all starting to monotone. The set has no groove anymore, only pure, glorious repetition. You start to get bored. Your boredom slowly turns into annoyance. Instead of the music taking you on a journey, your head is about to explode instead. You my friend, are experiencing techno overload. Don't get me wrong, techno is a beautiful thing when it's done right. If a DJ is simply playing what sounds good, the "heavy stuff," aka pure UNTZ UNTZ UNTZ, rather than concentrating on the musical journey that that he or she is supposed to be taking the crowd on, it's going to be a recipe for disaster.
6. Track Thieves
This one is for the DJs. There's always that other DJ (whether he's playing that night or not) cozying up to you, either on your left or right side smiling keeping one eye on you and the other on your computer. Perhaps the thief is looking over your shoulder, writing down the name of the joint you're about to drop on his or her phone, plotting to download it in the morning. You wonder to yourself, "why they couldn't have just asked me for the song and be professional instead of acting like an 8 year old?" That would be impossible, my friend. Why? Because it would mean that the thief would be admitting to the fact that they admire their competition. Track thieves… there's always one in the booth.
That's my list so far. There are so many more annoyances out there, but these are just the ones that popped into my mind at the moment. Feel free to go ahead and post a comment sharing your own Underground Pet Peeves! I would love to add more to the list.
October Ear Porn
Tuesday, October 8, 2013
It's Official
The British are officially coming on October 31, 2013 when the Ibiza nightclub frainchize Sankey's will officially be making it's long-awaited debut. The club will be located on 29 West 36th Street, in the Midtown West section of Manhattan, the previous location of District 36 The two-room club will be fitted with a Void Incubus sound system. It also boasts "the world’s first hydraulic LED Grid Matrix system," according to a press release.
Sankey's opening weekend will feature a Halloween party on Thursday night with a 2-hour set by multi-talented musical maestro, Reboot along with No Regular Play, My Favorite Robot, and Dave Rosario. Friday, the fun continues with Amarali, Slow Hands, Fur Coat, and Tanner Ross. These action-packed three days will round off with a Saturday party being headlined by the controversial, self-proclaimed "House Gangster," DJ Sneak along with Julian Perez and Deep and Disco presents JKRIV.
“Working alongside the same team (Antonio Piacquadio, Paolo Angelo and Rob Toma) that helped me make Sankeys Ibiza become another world-respected nightclub, I am very much looking forward to creating a new nightclub for New York. I have always wanted to live and open a club in my favourite city in the world since I went to Vinyl to see Danny Tenaglia in the early 2000s… I really cannot wait to finally bring a lot of new music and artistes to the city that taught me about what house music really means. If we can achieve even half what the great clubs like Sound Factory, Paradise Garage and Tunnel did for the city then I will be more than happy. We have waited three years for this project to finally become a reality. Hopefully it will be worth the wait.”
-Vincent, Sankey's Creative Visionary
First we had Marco Carola's residency at Marquee, now Sankey's is opening… and we can't forget that popular nightclub brand Space will be joining the party sometime in the near future. New York City nightlife seems like it's finally making a comeback since the 1990s. Will NYC live up to expectations set forth by the rich, club-culture heritage of it's past? Will it surpass it? Only time will tell, but one thing that's for sure is that it's going to be one hell of a ride.
Sunday, October 6, 2013
Friday, October 4, 2013
Track Talking
Well, I hope that whoever is reading this is having/ has had a better Friday night than I'm having at this very moment. Normally, I'd be getting ready for a long night of musical fun with my friends, but no. Being that I have three midterms next week, I promised myself I'd behave. You have to start acting like an adult sometime, right? Currently, I'm posted up in my bed with a cold glass of Pinot Grigio (maybe not behaving so well) casually glossing over a mess of review sheets for each of my classes, trying to flirt with the idea of delving into the immense workload that lays before me. Why am I being so lazy you ask? Well, it could be my intense senioritis that I've been coming down with in the past two weeks. Or maybe this second glass of wine is going to my head. (Haha!) However, how the latter may be a part of the equation, neither are completely to blame for my current goldfish-like attention span. I must confess that Beatport and Soundcloud have taken over both my mind and body. My head won't stop from moving side to side, and my foot bobbing up and down to the beat. My mind is five feet in the air above me. The music has taken over. For me (and I'm sure for many others) your favorite music can the most distracting, yet most wonderful thing in this world. Right now for me, it's all about the tech and deep house. About 30 minutes ago, I downloaded some musical therapy off of Beatport. Actually, I can't take all the credit. I stole about ten tracks from my DJ boyfriend who, although I pride myself on being and Underground aficionado, is a lot more knowledgable than me when it comes to underground sound. So, just in case you're staying in on a Friday night (like me) or if you're reading this noontime on Saturday, here is what all my fussing around is about.
This track right here, "Infinity" by Infinity Ink, is too GOOD! This is perfect for listeners who can't live without their vocals. It's even sweeter for the 90s kids, like me. Both the lyrics and the voice of the guy belting them out sounded like something that would have appeared on TRL in 1998. This joint is definitely what I like to dub "old school sound with a new school flair." Although the vocals are vintage-inspired, everything else about the song fits perfectly into today's scene. Give it a listen.
Unlike the first one, I actually didn't steal this track from my boyfriend. If you're looking to "get deep," this baby will help you find your happy place. It's soothing, with a rap vocal snippet with an attitude that commands attention (I don't know if anyone listened to The Game's track "Dreams," before, but that is where the snippet is from.) It's smooth and bad ass all at the same time.
Sidney Charles is by far one of my favorite producers right now. Most of the songs this dude churns out, in my opinion, are pure musical gold. This joint is no different from his other masterpieces. This track is techy, it's raw, and, to top it all off, features a nice NWA sample. Did you hear what he just did there? Heck yeah, gangster house music. Thank you, Mr. Charles.
Wednesday, October 2, 2013
"Bigger" Isn't Better
At age 4, I decided upon two things: one, I was going to marry Ricky Martin. Two, when I was old enough, I was going to go to New York Underground dance music clubs, dancing until the early hours of the morning just like I saw my older cousins do every weekend. Obviously, I never met my first goal, but at least I made the other happen.
As a kid, practically every weekend, I would see my cousins would go about their regular ritual preparing to hit the New York Underground. Van Helden, Danny Tengalia, (my personal favorite was "Elements") and Hex Hector (not to mention others, admittedly I'm not really good with remembering the names of the producers and more so the tracks they produced) would boom throughout my my Aunt's house. I would beg my cousins to take me with them, and they would crack a smile and say, "see ya later." Later, they would come home when it was time for breakfast, and stagger into their beds. My Zia would shake their heads and sigh. Ever since then, I promised myself that I would be let in on this sacred tradition as soon as I was old enough to partake. It just looked too fun to pass up.
A trailer for an upcoming documentary on House Music culture in the 90s.
The trailer does a beautiful job of capturing the flavor of the time.
So now I'm here. And, as you can see, I've fallen in love with the club scene in the past four years that I have been going out. However, in today's day and age, Dance Music (except for Tech House and Techno somewhat) is made up of all types of even more genres than before and has become bigger than it ever has been. It's not as exclusive as it once was anymore. The people who created the music and built it from the ground up--the blacks, Italian Americans, Latinos, gays, and other members from working class who were the initial participants and revelers--aren't the only people throughout the world who are enjoying the music anymore. House music is now in the most upscale of places (like Vegas,) bottle service and all. 10 or 20 years ago, this would have been unheard of. Back in the day it wasn't about high heels and patron shots, but was rather a niche for the misfits. Now it's the "cool" thing to do. And boy, is American mainstream media is taking advantage of it. Everywhere you look, there's a new Festival or event taking place, and the public is more than willing to shell out half of their paycheck to experience it (EDC, Electric Zoo, Tommorow World, and even Coachella.) The exclusivity is gone. It totally sucked when people would poke fun at dance music, (how could one forget Eminem's line in "Without Me," "Nobody listens to Techno!") but on the other end of the coin, it was exclusive and personal. That felt good. In the past few years, that hasn't been the case. House music has now been heavily commercialized is now on Top 40 radio.
Now I'm going to be a nerd and put my college education to use here. Has anyone ever heard of Horkheimer and Adorno's theory about the mass-prodcution of culture? "Horkheimer and Adorno argue that mass-produced entertainment aims, by its very nature, to appeal to vast audiences and therefore both the intellectual stimulation of high art and the basic release of low art. This is not suggesting that all products of this system are inherently inferior, only simply that they have replaced other forms of entertainment without properly fulfilling the important roles played by the now defunct sources of culture... Horkheimer and Adorno draw attention to the problems associated with a system that ‘integrates its consumers from above’, arguing that in attempting to realise enlightenment values of reason and order, the holistic power of the individual is undermined." In plain and simple English, the further removed people are from the culture that they are consuming due to the existence of mass production, the more artificial that culture becomes. This mass production is truly not defining of a culture, and rather marks the absence of it. Let's think of it this way. DJs were never superstars. DJs, promoters, partiers… they were all equals back in the day. Today, it's a popularity contest. I know I sound a little "hipster-esque," but it's true. House Music, by getting bigger and more mainstream, it's integrity is suffering.
Swedish House Mafia EDC 2011, when house music officially started to
become a staple in mainstream music culture.
What does this have to do with the Underground Scene? Plenty. It is a fact that Underground House Music constantly tries to separate itself as much as possible from what is mainstream. However, the mentality of mainstream culture has been trickling into the New York Scene lately. It's very subtle, but, oh, it's there. First of all, everyone wants to be a DJ. I see new DJs coming on the seen every week. Why? Well, some obviously for all the right reasons, like for the love of the music and for the love of making listeners happy. Other "DJs" have other motives. For others, it's a popularity contest. It's for recognition and acceptance. The worst part about this dichotomy is that at the end of the day, the DJs who get the most recognition aren't judged by their talent, but by the amount of people they are going to bring to the event, A.K.A. how popular they are. Next, More and more promo teams and parties are being thrown to make more money. Friendly competition is unheard of these days... some parties are thrown on the exact same day, competing. You even hear of other promoters calling cops on other parties that are going on so the party goers will flock over to that particular promoter's event. The greed factor is insane. Last but not least, photographers are now almost at every event that's thrown. Being photographed with your friends are awesome, but it was never been a huge part of House Music Culture before this. Now, instead of worrying about dancing and enjoying yourself, people have to worry about how good they're going to look. Sweat isn't a good thing anymore… God forbid you get your hair messed up for a picture of yourself that's going to be on Facebook that EVERYONE will see.
Some have taken steps to combat this new attitude within the scene. For example, Output in Williamsburg, Brooklyn does not allow photos to be taken inside the club. However, even with minor changes such as this one, the grassroots quality of Underground House Music Culture that once was is starting to fade out little by little… the question is, what are we going to do about it?
Wednesday, September 25, 2013
So Many Parties, Such Little Time
Fall is finally here! 'Tis the season of hoodies, hot chocolate, and… wait, house music? Yes, house music. Tons and tons of sweet, sexy underground sound is coming to a club or warehouse near you sooner than you think. Although the weather is growing colder, the event roster is teeming with hot new events. Here's a quick list of the parties that I will not be missing (and that you should definitely check out) this fall.
Stacey Pullen & Tony Rohr at Coliseum Nightclub, White Plains, NY
Okay, so Westchester may not be known as your typical go-to party destination. Although this is true, Fridays at Coliseum always deliver. The venue is generously sized, the crowd is always good , and the talent is even better. This Friday, Detroit legend-in-the-making Stacey Pullen will headlining the event. This will be Pullen's first time in Westchester, so it's sure be a treat. Also, vinyl purists can rejoice--this guy always kicks it old school. As if Stacey wasn't enough, the Drumcode label's most talented newcomer Tony Rohr will be in the building as well. Along with all this talent under one roof, you get to beat steep New York City prices.. entry will be $20 and the party goes until about 4 AM. Not bad, not bad at all. 
October 3, Dance Here Now presents Joseph Capriati at Cielo (Meatpacking District) New York, NY
I think I've died and gone to heaven. Joseph Capriati, one of the Drumcode label's newest up and comers, is by far one of my favorites in the game. I must admit, I'm biased… it doesn't hurt that he hails from the same area of Italy (Naples) as my mother is from, but that's not the only reason why I love 'em! Capriati is super passionate about his craft… watch any interview he's done and you will know. This guy doesn't play his music for recognition or to show off, he does it because he eats, lives, and breathes the stuff. His dedication and love for music really shows when he plays a set. I saw him last May in a grungy basement club in New Haven, CT (don't ask.) Now, this place wasn't the hippest, most trendy of places, and I've seen many a well-known DJ end a set early or not live up to expectations at the club in question. Not Joseph Capriati. Once he got on, everyone around me went nuts. Since he is a techno DJ, some house music aficionados (like myself, admittedly) who were initially might have been concerned about the techno sound as not being soulful, having no rhythm, and being excessively monotone were proved wrong. His set could be likened to a musical journey. Capriati's style of techno was not at all overbearing, hard, and fast, but rather could be described as deep, funky techno style (which definitely had house, hip hop and electronica influences) to keep things interesting. Although it wasn't the best venue the guy's played at (it wasn't a "Music On" party in Ibiza, that's for sure,) Capriati put his heart and soul into the set. It was amazing. On October 3rd, Capriati will be at Cielo, one of the top rated night clubs in the city. Combine an incredible venue with Capriati's amazing passion and talent, and you've got yourself a real party.
October 31, UNION Halloween: Carlo Lio, The Junkies, Nathan Barato at Studio Square, Queens, NY
This is something I'd like to call "Torontopia." Some of the Toronto Scene's top talent will be making it to Queens this Halloween and it's sure to be a night to remember. First up, we have Carlo Lio. From humble beginnings in Canada's house music seen, to gracing the spacious dance floor of New York City's Marquee Nightclub, Carlo Lio has quickly become a crowd favorite among New York Underground listeners within the past few years (and for good reason.) Lio's style incorporates an eclectic mix of funky, groovy, and deep tech house that effort. He has New York Club-Goers constantly coming back for more. Next, we have The Junkies. Also hailing from Toronto, Canada, this duo has recently become more and more recognizable and popular throughout the dance music scene here in New York City and throughout the world. The group has a real talent for command a crowd by pumping out everything from tech house, something deeper, to heart-pumping techno. I'll be honest, I've never really followed Nathan Barato until recently. However, I'm so glad that I did. His sound is quite versatile and not restricted to the norms of generic tech house and monotone techno. He is all about everything four to the floor. He's an old school soul with a new school flare. Also, the guy usually answers when you comment on his Facebook posts. Put all four of these guys in the booth together, and you'll be going no the musical joyride of your life all Halloween night long.
Wednesday, September 18, 2013
Tech House Takeover
If you haven’t already heard, Neopolitan music maestro Marco Carola will be heating up the dance floor at Marquee Nightclub. TECH YES!! The NYC Underground has been buzzing all day about Marco’s new residency that will begin October 25th.
Only a a single question remains: Who else is Marco going to bring along for these new musical journeys we are about to embark on? We can only wait in fierce anticipation...
Only a a single question remains: Who else is Marco going to bring along for these new musical journeys we are about to embark on? We can only wait in fierce anticipation...
Tuesday, September 17, 2013
Nothing to "Rave" About
Time to address a topic that everyone and their mother have been dancing around for weeks. I'm talking about drugs, more specifically "Molly." It seems like it's been the topic of many conversations from the internet to your office at work because of the events that occurred at Electric Zoo Festival a little less than a month ago.
So, just in case you've been hiding under a rock for the past month, let me quickly break down the situation for you. Two people, both aged 20 and 23, died at the popular New York festival due to a supposed overdose on "Molly," (might I add that I say supposed with great emphasis.) Molly is a pure powder form of "MDMA,"which is commonly known to all of us as ecstasy. In the 80s up to the early 2000s, ecstasy was commonly found in pill form, and it was recognized as a risk to users. These pills were pressed and it was hard to tell if they were laced with other unknown substances. Fast forward to today. Pressed pills are hardly being made anymore and now have been replaced with "Molly." Molly is usually found inside a capsule. Taking Molly allows users to feel a little more at ease than they did in the past with ecstasy pills simply because of the fact that users can see the white powder moving around in the capsule. People believe that the white powder they see equals to pure MDMA.
But let's think about that for a moment. Are drug dealers really that trustworthy? That question is an oxymoron in itself. Hey, I'm not one to judge, but if we're being honest here, the aim of drug dealing is to make quick, easy money. If you honestly think a drug dealer is going to sell you a 100% pure MDMA, if you seriously think that a dealer won't lie to you about the quality of the substance that he or she is slipping into your hand for a cool $20 a pop, I hate to burst your bubble, but you are living in a fantasy world.
Here's a little-known fact that had appeared in the New York Post a few weeks ago. This aspect of the Electric Zoo deaths wasn't plastered across the internet and newspaper headlines as much as "Molly" was but it's something that everyone should take note of. Of the 23 year old young man who passed away after Electric Zoo, "Law-enforcement sources said he also had crystal meth in his pocket when he died." Yes, the kid could have been also doing crystal meth… but also it is very probable that the substance that was found is his pocket was fake "Molly," probably what he had taken before he died. So does "white powder" determine the "safety" of the ecstasy you're putting into your mouth? Wouldn't say so.
It's important to note that in the drug trade, there's no quality control. I've heard it all. Blame the War on Drugs for being unfair, cry that MDMA "should be legalized because the drug proven to be helpful in couples therapy and for post-trauamatic stress," but that won't save you. MDMA is a Schedule 1 Drug, meaning it's ILLEGAL. When you take it, you take it at your own risk. It's not like you've taken a bad batch of aspirin. You're on your own here if you want to mess around with the stuff. The substance that you're holding in your hand could be powdered poison for all you know. So, case in point, if you take the drug based on someone else's word, you are threatening your own life. I might sound blunt, but it's the honest truth.
Let me end with this. I hate to be preachy, I really do. Some of you may be asking why I even care. I hear very often "if you really love the music, you don't need drugs to enjoy it." I totally agree. However, no one, and I mean NO ONE can deny that House Music (Underground or Mainstream,) just like every other musical genre in history (pick one, any one) has a drug culture aspect to it. People are going to do drugs no matter what. That fact has been proven time and time again. People who try to be unrealistic about it just push the issue under the rug, which is a problem in itself. If you don't want to do drugs, I think that's awesome and I wish others will follow suit. The fact is some won't. However, turning a blind eye and having a strict, firm attitude about them isn't going to help others from harming themselves. It's going to be detrimental, just as we have seen with the two tragic deaths at Electric Zoo. Some of you who perhaps use or have used drugs may be rolling your eyes at me. You may think too you're "smart" or "experienced." Perhaps you've heard this speech before. I get it, you're invincible! But just hear me out. I'm not one to judge, and no one else is either. However, if you're going to put yourself at risk--at least be careful. Know the risks. Buy a test kit. Think twice, or it may be your last time thinking at all. Don't let the two deaths be in vein. Sober or not, keep yourselves safe.
So, just in case you've been hiding under a rock for the past month, let me quickly break down the situation for you. Two people, both aged 20 and 23, died at the popular New York festival due to a supposed overdose on "Molly," (might I add that I say supposed with great emphasis.) Molly is a pure powder form of "MDMA,"which is commonly known to all of us as ecstasy. In the 80s up to the early 2000s, ecstasy was commonly found in pill form, and it was recognized as a risk to users. These pills were pressed and it was hard to tell if they were laced with other unknown substances. Fast forward to today. Pressed pills are hardly being made anymore and now have been replaced with "Molly." Molly is usually found inside a capsule. Taking Molly allows users to feel a little more at ease than they did in the past with ecstasy pills simply because of the fact that users can see the white powder moving around in the capsule. People believe that the white powder they see equals to pure MDMA.
But let's think about that for a moment. Are drug dealers really that trustworthy? That question is an oxymoron in itself. Hey, I'm not one to judge, but if we're being honest here, the aim of drug dealing is to make quick, easy money. If you honestly think a drug dealer is going to sell you a 100% pure MDMA, if you seriously think that a dealer won't lie to you about the quality of the substance that he or she is slipping into your hand for a cool $20 a pop, I hate to burst your bubble, but you are living in a fantasy world.
Here's a little-known fact that had appeared in the New York Post a few weeks ago. This aspect of the Electric Zoo deaths wasn't plastered across the internet and newspaper headlines as much as "Molly" was but it's something that everyone should take note of. Of the 23 year old young man who passed away after Electric Zoo, "Law-enforcement sources said he also had crystal meth in his pocket when he died." Yes, the kid could have been also doing crystal meth… but also it is very probable that the substance that was found is his pocket was fake "Molly," probably what he had taken before he died. So does "white powder" determine the "safety" of the ecstasy you're putting into your mouth? Wouldn't say so.
It's important to note that in the drug trade, there's no quality control. I've heard it all. Blame the War on Drugs for being unfair, cry that MDMA "should be legalized because the drug proven to be helpful in couples therapy and for post-trauamatic stress," but that won't save you. MDMA is a Schedule 1 Drug, meaning it's ILLEGAL. When you take it, you take it at your own risk. It's not like you've taken a bad batch of aspirin. You're on your own here if you want to mess around with the stuff. The substance that you're holding in your hand could be powdered poison for all you know. So, case in point, if you take the drug based on someone else's word, you are threatening your own life. I might sound blunt, but it's the honest truth.
Let me end with this. I hate to be preachy, I really do. Some of you may be asking why I even care. I hear very often "if you really love the music, you don't need drugs to enjoy it." I totally agree. However, no one, and I mean NO ONE can deny that House Music (Underground or Mainstream,) just like every other musical genre in history (pick one, any one) has a drug culture aspect to it. People are going to do drugs no matter what. That fact has been proven time and time again. People who try to be unrealistic about it just push the issue under the rug, which is a problem in itself. If you don't want to do drugs, I think that's awesome and I wish others will follow suit. The fact is some won't. However, turning a blind eye and having a strict, firm attitude about them isn't going to help others from harming themselves. It's going to be detrimental, just as we have seen with the two tragic deaths at Electric Zoo. Some of you who perhaps use or have used drugs may be rolling your eyes at me. You may think too you're "smart" or "experienced." Perhaps you've heard this speech before. I get it, you're invincible! But just hear me out. I'm not one to judge, and no one else is either. However, if you're going to put yourself at risk--at least be careful. Know the risks. Buy a test kit. Think twice, or it may be your last time thinking at all. Don't let the two deaths be in vein. Sober or not, keep yourselves safe.
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