impromptu writings about (electronic) music history, long af
Y'know, with vaporwave not being nearly that big of a thing these days and the new version of Ishkur's Guide -finally- coming out, I've kinda been thinking about how sometimes the simplest things can have a tremendous impact on music as a whole.
Like, vaporwave itself is obviously not very out there anymore these days, but there's no denying it's had a huge influence on music from the early to mid-'10s onwards - even the most vanilla pop music these days just sounds a lot dreamier for lack of better words than it did up to around 2012, gated reverb on is back after having basically vanished altogether for two decades and then some with the start of the '90s, and the way samples are manipulated in vaporwave - itself primarily taken from chopped and screwed - has become a production staple in many genres since.
That said, this isn't even the first time this has happened.
Flash back to Belgium in 1986, when a DJ in a local nightclub (most likely Dikke Ronny in Ancienne Belgique, Antwerp) decided to play an EBM record (Flesh, by A Split Second - https://www.youtube.com/watch?v=-FDy-RVeI-A) at 33 1/3 RPM and with the pitch control set to +8 by accident, rather than its intended speed of 45 RPM. This slowed the fast and hard-hitting beats of the original down to a crawl - the sound of it all went from speedy and fierce to slow and menacing, with a tempo of around 105 BPM and a deep bass that was mostly unheard of on this side of the Atlantic at the time. (https://www.youtube.com/watch?v=k6XfRWVZvms)
People loved it, and new beat was born.
They also soon discovered that this sound gelled -very- well with the acid house craze that was coming over from Chicago via the UK at the time - naturally, as people began to produce their own records in the style they took on influences from that as well, and from their on out, after reaching a peak in popularity around 1988, the style began to slowly speed back up and diversify in the process - early hardcore and its descendants (happy hardcore, jungle/drum and bass and gabber among others) directly came from it, and it left its mark on other styles emerging at the time as well, ranging from eurodance that would dominate the European airwaves for much of the next decade to the then budding trance scene.
Together with Chicago house and early Detroit techno (both of which honestly deserve way more exposure of their histories as well) in the US, these three genres basically revolutionized electronic music in the mid-late '80s and set the stage for the absolute explosion of styles that would happen in the '90s.
With all that in mind, vaporwave (or related genres like synthwave and witch house) seem to show themselves more through their influence on already existing genres than spawning any big scenes on their own per se, so far at least - but then again, people in 1989 had no idea what was about to happen from 1991 onwards either. But between that, the diversification of people's tastes in general, and music (once again) hitting a point where making it has become more and more accessible with learning resources being widely available and software being more available than ever, I feel like we're headed towards a new explosion of stuff once again, much like what happened in the '90s and the late '00s/early '10s.
Mark my words, music in the 2020s is gonna be wild.
Music Will Survive You
Music is an adventure. Music is at its best when voices tell a story haunted by the music itself. I even think ballet is even more powerful since it offers the audience the bodies of the dancers for them to admire, dream of, desire them within the shrine of the dramatic story told by the voices and wrapped up in the music itself.
TABLE OF CONTENTS
71 pages – 15,000 words
“Super-short paragraphs and line breaks can aerate prose, throwing light into density, giving the reader space to think.”
-- from Meander, Spiral, Explode: Design and Pattern in Narrative by Jane Alison, page 38
Definitely not alone in noticing that trolling is both a cloak and a recruitment tool to make it impossible to recognize what’s a threat https://www.theatlantic.com/technology/archive/2019/03/the-shooters-manifesto-was-designed-to-troll/585058/
And it’s an old tactic https://twitter.com/HeerJeet/status/1106561615997136896
Hi! Here's the syllabus I made for the Introduction to Web Archiving course I taught recently: https://docs.google.com/document/d/11qzF1RlclqjHw5YgzXg4yq5ELPsqRJNVzK-heZuv5MI/edit?usp=sharing
us pol, gramsci, racism
I think it's interesting how Gramsci expounded on The German Ideology by saying - hey you know what else is part of ideologies? Names of roads. Architecture. The world you move around in.
This perfectly applies to America with our racist Confederate statues and street and building names through the country.
The Sharing Economy Was Always a Scam https://onezero.medium.com/the-sharing-economy-was-always-a-scam-68a9b36f3e4b
Y'know, Livejournal had a feature that Tumblr never adopted which would have made Tumblr 100% more usable:
Adding "?style=mine" to the end of a post's URL.
This forced the post to display in MY LJ style, rather than the poster's style (which could be garish or otherwise difficult to read), and was SO good for readability and accessibility.
I dunno why Tumblr never stole that, but they should have.
Why Are Young People Pretending to Love Work? https://www.nytimes.com/2019/01/26/business/against-hustle-culture-rise-and-grind-tgim.html
I've been taking some notes on the relationship between design and the conduct of life, aka self-design. In the first of these notes I propose a behavioral definition of design. http://networkcultures.org/entreprecariat/a-behavioral-definition-of-design/
Consolation Prizes | Alex Pareene https://thebaffler.com/salvos/consolation-prizes-pareene
Trend report on Authenticity
anti-capitalist / critical theory / history / coding / techno / graphic design
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