Letting music speak...

keeping the dream alive

Sampling is NOT a Crime, its an art.

The title of Benjamin Franzen and Kembrew McLeod's documentary airing on PBS stations implies that sampledelia is a crime.
Copyright Criminals asks DJs, producers, label heads, lawyers and music critics, how sampling music and using it to make new music became a crime.

Sampling as we know it today began in the late 80's as early hip hop and house music producers used various samplers to take snippets of records, and combined them to make music which would eventually dominate music charts and dance floors around the world.

The doc does show a little about how musicians are 'influenced' by other musicians to the point of mimicking and how the Beatles (viciously anti sampling) sampled stuff for their White Album.

I've always championed electronic music artists and their sampling ways. I believe the main reasons record labels and artists took such a hard stance against this new form of music making was because of course money and good old discrimination. The majority of early sampledelia artists were black and brown and some were gay. Many had kept gay disco and their clubs open through the musical drought that preceded them where 'the best' at the top of the charts at that time were Bruce Springstein and Fleetwood Mac (sp?). When these new generation producers began making sounds out of other sounds, labels (their lawyers) and artists saw a way to make money and give some innovative, creative artists that were making sound scapes never heard before, a hard time.

I admit that some folks who sample and simply loop a part of a popular song over and over with out changing its pitch, or adding any of the various effects available, are lazy and not very creative. They are just using the sample for its popularity. See: MC Hammer "Can't Touch This" (samples Rick James' "Super Freak") and anything by Puffy who blatantly rips off Bowie and The Police.


The majority of artists that utilize samplers often spend days digging through music for the perfect beat or chromatic scales. They reverse, speed up or slow down, delay, reverb, pan, split, make stereo into mono, and many other tricks to change the sample to make it work in their piece.

Many often employ complicated mathematic algorithms to make sure they are not clashing frequencies and some to intentionally clash frequencies in order to produce never before heard frequencies. A lot of dedication and work goes into a lot of production, but many stuck in the 'musician with a traditional instrument can only make music- mindset, don't see (or hear) the revolution happening in their ears.

Check the website for future air dates. The doc is worth viewing much like Scratch and Maestro are essential in understanding music forms made from the margins.

Those who...

Those who know, don't say (or can't)
Those who say, don't know.
- Lao Tzu, Tao Te Ching

On vacation, trying to input final grades but my online grade book is giving me problems. Hopefully it will be resolved by the end of the day.

Been laying low online, at least in blogotitlan, because I don't have much to say. I guess my brain has shut down, probably like my student's once that last paper is submitted and it is in the hands of fate. Of course there is always a lot to talk about and share, but nothing seems to compel me to sit here and write.

Compel. I like that word in context ; )

The good kind of context. Like I'm compelled to write right now about how I don't have anything to write. Maybe it's to shake the brain cells and get them to write about something good?

Oh here is a good one, I was taken to what I think is the best Thai restaurant I've ever been to, and I've had a lot of Thai, Daisy Mint in Pasadena. From there I went on a nice walk through Cal Tech and found out that Jackson Katz was going to be there the following Tuesday. That meant another meal at Daisy Mint and another walk onto Cal Tech. Cal Tech is so beautiful. I love that place. I want to bring Katz to CSUN next semester as well as organize a panel on Latinos in the new era of media.

Ah Malcolm X's b-day is today. Who doesn't love Malcolm X?


Yes the parties are always there for me. Last Sunday Marques Wyatt rocked his DEEP like only he can. Tonight is Richard's B-day party at Ecco, which will like always be huge (Will I Am DJing?); Saturday Raul Campos and Tony Largo welcome Tony Powell to Flow; Doc Martin is doing the Doc Martin thing which is always tops w/ Luke Solomon; Sunday of a Memorial Day weekend in LA is always special and this time we got The Heist (the biggest 18+ party) teaming up with Solmatic Records (21+ party pros) for a big shingdig at the legendary Florentine Gardens AND right next door DEEP has the Shelter's Timmy Regisford in the main room and Paul T. and Harvey in the side room. Haven't heard Paul and Harvey in a minute and let me tell you those vatos got records that will make you go 'dannnnng that is good stuff.' And of course the random party or bar b que that pops up is always welcomed and appreciated. ooops I forgot about the pool side parties that are lining up too!

So I guess when I don't have anything to write about I can always write about what my friends are doing and invite you. See you on the dancefloor...

undaground...

Thursday night I hit "The Heist" at Florentine Gardens. I hadn't been there in about 13 years, since the days of "The Dome." It was trip to be there and see Kenny McKenzie, the owner and some of the bouncers from back then still at the door. I got there with Swedish Egil and Outer around 11:25 pm. We were meeting up with Paul Oakenfold, whom Egil has been working with on remixing classics from Oakey's collection. This night we were all there to hear David Delano drop his remix of "Don't Want To Hold You" by Bad Apples during his set. Joseph Wham (aka JC Dakota/Joseph Christopher) was there also checking out this huge night put together by Hyphe Crunk (Mark Rodriguez), DJ Score, Eric Neutron and The Spys. Later in the evening Richard Vission rolled in with LMFAO and DJ Syphe.

This is the hot spot to be. There are usually 1,100 peeps in the place on a Thursday night. Its been a while that the 18 & over scene has been into house music or techno, with these numbers and consistency, outside of the rave scene. Talking to peeps, Steve Aoki had a lot to do with this new generation feeling the vibe, and you can see it in the fashions, mix styles and attitudes in the heads that fill The Heist. Pure energy is what is there. Its quite refreshing after all these years of 21&over clubbing where peeps are busy buying drinks or smoking instead of dancing their tight jean asses off.

Friday night I did the Midnight Ridazz DISCORDIAN RIDE, as usual spokes and beats on the streets of LA fun.

Saturday night I went to Robotech in a warehouse in So. Central and caught a back to back set by DJ Dan and Ron D. Core on vinyl spinning classic techno. WOW. The numbers were a little low.
I'm guessing peeps are saving their money for all the huge upcoming Halloween parties like Monster Massive, or they all lost money on the stock market LOL.

Either way things are looking very healthy in the underground. But that always happens in times of economic downturns, loss of jobs and insecurity of the future. Escapism rules. It makes many more be creative, other peeps make babies, and some do a lot more drugs. Be cool foo'

The Deep East: Nueva York

What could I say new about NYC that hasn't already been said?
We had my 11yr old Q and R's 15 yr cousin F, so we did a lot of the tourist stuff that you've probably seen or heard of time and again.
We went to see "Grease" at Q's request, and saw "Shutter" in the AMC 25 in Times Square at F's request. Both cool, but let me say seeing a scary film in NYC surrounded by locals was a helluva lot of fun and loud. Here are some brief thoughts and pics about our trip.

One of the big highlights for me was the Florencia 13 restaurant, that Adrian of G727 recommended to me. This was a much needed slice of East L.A. in the middle of SoHo. The owner Ralph Camarillo came over to our table, since I made it clear to the waitress that we were from Boyle Hts. He dropped some heavy knowledge on us about his life and what inspired him to do this. He mentioned that due to the success, he is considering opening up another restaurant in L.A. but obviously would need another name that wouldn't lead to drive bys on this coast. So if you see a restaurant called Bronx 13 or Brooklyn 13, just know I gave him those names.

Another supa dope spot was Little Branch a recommendation from my poet homegirl Diana Delgado, who is just about finished with her MFA at Columbia. This place is so cool it belongs in L.A. It is total speakeasy, with a low profile door that opens onto a steep flight of stairs going underground. The drinks aren't cheap but worth it for the home made ingredients, like their 12 kinds of ice!!! They really take care in the art and mixology of drinks.

Cielo, the 'hottest' club in NYC was a let down in terms of space, due to all the hype I've heard about this place. I just expected it to be bigger. The sound was impeccable. It was very supa dope that Joe Berinato of King St. hooked me up, that it was Louie Vega's "Roots" party and that Barbara Tucker was celebrating her birthday. It was house heaven.












We went to the Whitney for the Binneal and Alex Gray's CoSM (Chapel of Sacred Mirrors), both very inspiring and impressive.





This is a sneaky pic at El Museo Del Barrio where Harry Gamboa Jr. was showing. They don't allow pics in here, so R snuck one for me.











One memory I will always have is about my Q showing me her haggling skills. We had come off the Statue of Liberty ferry in Battery Park and were making our way to the subway. There were the usual African immigrants selling bootleg goods along the pathway. One minute we noticed Q was digging into a box full of purses. She then pulled out the pink Chanel bag. She asked the 6' 3'' African man how much he wanted for it. He said $45. She responded with $25!!! He dropped and dropped again. Looked at us when he hit $35 and he saw the shock on our faces. I never knew this side of Q since I don't take her shopping to the alleys with me, now I know better. He looked back at her, knowing he HAD to deal with her and only her. She said again $25!. He said, "No, No, $35." She gave him look and said "It's my birthday, $25!" (She is a July baby). He said $30. She said in a lower voice "It's my birthday, $25." He looked around and said, "OK, take it and get out of here." She paid him and practically floated away. Her mom told me later on the phone that she does that all the time. New to me. Thanks to NYC for letting me see this side of my Q.

Acid House

This week Doc Martin is bringing the creator of Acid House DJ Pierre to a warehouse somewhere in the city. They will be celebrating 20 years of Acid house.

In 1987 I heard my first Acid House at a party called "Sexpress" at a bar on 7th, just east of the LA River in Boyle Heights, the real Eastside. The DJ/promoter was DJ Adrian who had been a part of the Awesome Foursome DJ crew which included: Mark 'Danger,' Willie 'Guilty, & Danny 'Debonair.' From El Sereno house parties, to Hollywood established and floating parties like/at: Details, Red Zone, Florentine Gardens, Ukranian Hall and Rosie's these guys played out a lot in mid to late 80's. By 1987, Adrian was doing his own thing and focusing on the new House music coming from Chicago and New York.

At "Sexpress" you would walk into a dark room lit by black lights and televisions that were set upside down playing porn. The walls were covered in black plastic with day glo doodles and splattering all over. The beats were relentless, instrumental and mind blowing.

In the other room, the bar to be exact, Eddie Ayala, Johhny Vatos and John Avila of Oingo Boingo played East L.A. rock classics to give you a break from the new sonic experience that was Acid house.

Here is the link to a mix I made using some of the earliest Acid House I could find. It aired on my radio show. Here it is in it's entirety. Enjoy. PT Acid House mix

I don't usually think of promoting parties on here, but being that classic rocks stations and the print media are spending so much time on the 1967 Summer of Love, I think this is important to recognize our own cultural creations such as Rave culture which was bigger and still very much alive. In the UK their Summer of Love was in 1988, here in L.A. 1992 saw the crest of the large illegal raves. Today we have larger events at the Sports Arena, Orange show and other venues all based on those early models of raving.

I hope you come out and experience this music as it was meant to be experienced, in a warehouse, with great DJs, open minded music lovers and dancing like no one is watching.