Published in Issue 7: Publication date Fall Yet there we were,
Kandidater till arets bil through arid country past pastel bunker-mansions, the architectural embodiment of militarized paranoia and extreme wealth, en route to an empty four-star hotel. We were going to rest for a day and then play music in the ruins of a crusader castle. It was the year I was the turntablist for an acid jazz group from New York City. There were four attendants in the hotel casino, bored behind the gaming tables, and only two other paying guests—British pensioners, holdovers from remembered pre days when Cyprus was undivided.
I sat beside the pool talking to our host, trying to figure out why we were there. Down the coast, thirty miles away in the haze, a tall cluster of glass-and-steel buildings hugged the shore. It looked like Miami. Completely evacuated in the conflict. A ghost town on the dividing line between North and South Cyprus. The only people there were UN patrol units and "Kandidater till arets bil" from either side who entered the prohibited zone to live out a J.
Kandidater till arets bil fantasy of decadent parties in abandoned seaside resorts. If North Cyprus represented the forgotten side of a fault line of global conflict, how were we getting paid? Who owned those scattered mansions that we saw on the way from the airport?
Was our trip bankrolled with narco-dollars, to please the criminals hiding out in an empty landscape, or with Turkish state funding, to win tourists back? I never found out. I bought a laptop with my earnings, quit the band, and moved from New York to Barcelona.
DJed music develops in the great centers: London, New York, Paris. But the artists make much of their living in forays to the periphery. To kids coming of age in a world of technology and unhinged capitalism, our music seems to sound the way global capital is—liquid, international, porous, and sped-up.
Yet our sounds are also a vocabulary for those who detest the walled-off concentrations of wealth, and steal back: On flights and at the free Continental breakfasts in hotels, often the same Kandidater till arets bil hotel chains in each city, we get stuck chatting with our fellow Americans and Western Europeans, the executives eager to find compatriots.
DJ music is now the common art form of squatters and the nouveau riche; it is the soundtrack both for capital and for its opposition. As a processDJing is inevitable and necessary for our times, an elegant way to deal with data overload. In I recorded a three-turntable, sixty-minute mix called Gold Teeth Thief. I put it on the internet so my friends could listen. One magazine reviewed it, then another, and soon a lot of magazines, leading to
Kandidater till arets bil of thousands of downloads.
Meanwhile, I was in Madrid without regular internet access. A few months after it went online, I got a phone call from a large European independent label. There were eighteen tracks on the run list. I use forty-four different songs on it. Some of those are major pop tunes, and a bunch are unlicensable bootlegs. Our lawyers laughed at us. If I were a band, and Gold Teeth Thief an album, not a mix, that would have been my big break.
A powerful label, big advance fees, well-connected publicists, a coordinated tour.
On his first visit to Moscow, a rapper friend named Sole found his own music bootlegged in a black-market mall. In fact, the place is called the Black Market Mall.
He was able to tour. Economics favor the DJ. A club can make an event out of one big-name DJ plus local support, and pay just the headliner. And DJing can make for a long night of drinks-buying: A popular indie band would have to be paid vastly more for each member to walk away with similar earnings. Even in Kandidater till arets bil America—a country notoriously apathetic toward DJ culture which it created!
But only a few dozen DJs worldwide can command those fees. The much more common scenario is that of the DJ who plays for free drinks and cab fare, never earning more than he spends on records. At the other end of the spectrum from the official luxury clubs lie the squatted venues, the microcommunities.
These anarchic spaces are best understood as alternative social centers, especially in Western Europe where property laws offer squatters a modicum of legal protection. A thousand people came to the last party that my friend Filastine and I threw in La Makabra.
The squat had a gymnasium, library, nursery, skate park, two concert halls, and space for at least thirty people to live. They had a lawyer. We met "Kandidater till arets bil" gallerists and homeless kids, all dancing. Six months later the cops evicted the residents illegally and bulldozed the place within hours.
Kandidater till arets bil But Makabras exist all over Europe: Not to mention middle-range loopholes where economic rules are suspended. Government money for cutting-edge parties? Impossible things become possible. Dead of winter, somewhere in Austria: We, the performers, are in one meat locker, and the speakers are in two adjacent meat lockers for the audience, where the thermostats are set as low as they can go. Arts funding in Europe is like magic dust.
Global brands fly him around the world to entertain their private parties. A couple of years ago a magazine even flew me across an ocean to play for forty-five minutes. Naked girls on pedestals got their bodies painted and everybody else shouted at each other over mouthfuls of free sushi.
Aura is contagious, aura rubs off. The music tends to be secondary. And so the more money a label offers me to remix, the less time I spend on it. If I spend any longer, the track will inevitably get more personal and the label people will be less likely to accept it.
On tour, life becomes simplified. Travel, wait, play, sleep, repeat. Languages splinter; all you need is English. Few musicians bother to learn about the countries they perform in.
All cities look the same when you arrive at night, get driven to the venue "Kandidater till arets bil" leave the next morning. But DJs understand rooms as few others do.
Both DJing and electronic music production are learned in an artisanal way. One is generally either self-taught or apprenticed.
The mechanics of DJing are simple to demonstrate. All you need to do it right are years of practice and the sensitivity of real listening. For the DJ, the actual performance is never just about the musical selection and mixing, something you can work out in advance. When I DJ, I almost never pick out individuals in the dancing crowd. At a good party, the temperature will noticeably heat up when you put on a song that makes people move. A few Kandidater till arets bil ago I performed in Dubai.
But a concerned Arab came up to the booth. Later in the evening the Scottish club manager came over with the same request. Do you mind ending
Kandidater till arets bil something in English?
He later told me that nobody had ever played Middle Eastern music on his night. Up in the mountains of Switzerland. For me it was crazy. I was DJing in front of a thousand people for the first time, and it was working, they were following me.
I was doing what I would do at home, no holds barred. The festival program said I was a woman of Egyptian-Italian descent, but we all make mistakes. I asked the security to let him get close so I could hear.
Bands perform songsDJs perform records. With the old techniques, scratching, cutting, beat-matching, and blending, DJs synchronize two records around a common tempo, using a mixer to blend the songs together. The how-to developed in the hip-hop scene of the South Kandidater till arets bil in the s and has changed little since. The workhorse turntable, standard in clubs the world over, is still the Technics I purchased my s, secondhand, over ten years ago. I use three turntables, which makes things more
Kandidater till arets bil. For 1 dag siden Norwegian O-Federation - Send inn kandidater til Årets o-kart!
Ein wunderbares Bild um das grossartige Jahr mit EM- und WM-Tit. Sju kandidater blev en: Mathilda Johansson. Värnamo Årets Lucia i Värnamo heter Mathilda Johansson. Hon lottades fram vid en ceremoni på. Årets kandidater till stora turismpriset ”Stiftelsen för kunskapsfrämjande inom turism” - en stiftelse som årligen utser en vinnare av Stora.