THE DROP: Baltimore’s Jonny Blaze Now Preaches The "Baltimore Club Gospel"

DOWNLOAD INTERVIEW HERE

LISTEN TO JONNY’S NEWEST, HERE WE GO!

Whenever Baltimore’s Jonny Blaze plays in DC, it’s always a worthwhile stop on the club music calendar. Jonny’s easily one of the hardest DJ’s anywhere in the world bass wise that doesn’t play dubstep, as there are tales of plaques falling off of walls in venues that are not prepared for his heavy bass club music assault. He also has a fantastic sense of humor as well, having remixed popular children’s show themes to great success, “Spongebob Squarepants” amongst the classics in that style. However, not all has been jolly, shiny and happy as of late for the club veteran, and he has rebuked a style that led to music featuring salacious and explicit themes, and instead has embraced religion.

The decision to invoke the love of Christ may leave many Baltimore club fans who love Blaze for always bringing the most outlandish in party music scratching their heads. However, this decision’s unintended benefit may be a newfound focus and clarity to his music, as from listening to his two hour set on Friday night at the 9:30 Club Backbar at Jackie O and Trevor Martin’s $weat$hop, the Cajmere sampling “Here We Go,” as well as a few other Latin tinged floor fillers shows Blaze intensely motivated by his heavenly muse to continue to fill the floors, just with an entirely different purpose.

As always, when a legendary performer of Blaze’s stature in the club music community is in town, I definitely like to take the time to be able to have a few words. In the above linked interview, hear discussion of prayer to the point of sweating, remixing urban Christian sounds, how many of Jonny’s estimated 222 tracks he’s ever recorded we’ve heard, how does he plan on mixing his past and present in upcoming DJ sets, and his religious transformation. Do enjoy!

From the desk of William Bruce West : iGod On Shuffle – Further Musings On The Pop Sensibilities of Contemporary Christian Music

A continuation from part one…

One week – that’s all it took for me to learn all the words to the top songs on Christian radio. Since I wrote that post last week, my car radio dial hasn’t moved from the Christian station. I mean, I thought about changing it, but its pull was just too strong. It’s all SO catchy! There was one song, in particular, that kept me around.

If you remember, last week I prophesied the day that Ryan Tedder discovers Christian music. Well, the song has been written. While Tedder was actually nowhere near the song, it’s clear that somebody deciphered his songwriting code. If you heard it, you’d ask, “Hey, isn’t this OneRepublic song?” The latest single from tobyMac, I give you “City On Our Knees”:

http://www.youtube.com/v/iMKqpCIlkf4&hl=en_US&fs=1&

Again, it’s a good example of a song where you wouldn’t catch the meaning from a casual listen. I’ve gotta say, though, I LOVE this song! In fact, it sounds a lot like “Say (All I Need)” from OneRepublic‘s debut, Dreaming Out Loud.

http://www.youtube.com/v/GRSZpV6WIuU&hl=en_US&fs=1&

Anyway, it’s a song like this that makes me want to try my hand at recording again. I’ve mentioned the a cappella, but even before that, I had dreams of making it in pop. More precisely, I wanted to be the first black guy in a boyband (pop historians will note that we weren’t introduced to the black boyband member until 5ive, and later O-Town, and they were both halfies). To me, the most important part of the plan was figuring out how to gain access to the industry.

Growing up, my church always tried to get me to join their choir. That said, my church was a bit of a white, right-wing nuthouse, so I wasn’t really game. I wasn’t really looking for a gospel experience, but I just didn’t feel like this was the singing experience for me. I always had one singing church friend, though: Angie.

Angie was a sweet girl with a great voice. She’d sing solos, and since she knew I sang, she’d always say that we needed to sing together. 20 something years later, and that duet has yet to take place. In any case, we used to talk about “pulling an Amy Grant”, where we’d become Christian artists, win a couple of Dove Awards (Christian Grammys) to build a reputation, and then crossover to mainstream pop. After all, it seemed like anybody could win a Dove Award! Like I said, though – the duet never happened, so the dream never happened. I dunno, but I don’t think the Jerry Falwell crowd would have gravitated toward an interracial Christian duo. I guess we’ll never know.

Anyway, before I go, I wanted to leave you with one more song. I know people have been up in arms about the new version of “We Are The World”; if you can believe it, I still haven’t heard it yet. In any case, the Christian music community also put together a really good benefit song, entitled “Come Together Now”. It’s no original “We Are The World”, but it might just be good enough to take the bad taste out of your mouth left by the new version.

http://www.youtube.com/v/LbEcAjG0E40&hl=en_US&fs=1&

*Credit Roll*
Where Are They Now?

Will went on to college, where he sang in glee club and a cappella. While, he was Big Man On Campus for a bit, he’s now bitter and unemployed.

Angie went on to marry a con artist. No, really. In the tradition of the church, the reception contained no dancing. Yup, she got married in Footloose. Her con artist husband is currently on the lam.

Neither of them won that Dove award.

HARD JAMS: Akinyele feat. Kim Jeffries – Put It In Your Mouth (1996)

If you’ve been a fan of TGRIOnline.com as of late, you’ve noticed our preoccupation with having a particular dislike of the beta male, emotionally expressive movement in popular music. It’s not that we so much hate with passion the Kid Cudis and Pitchfork favored alternative indy bands of the world, we just would prefer to not see popular music taken over and inundated with their sound. As we’ve stated in “Alpha Male Music Week” and our “HARD 10!” countdown, we’re just attempting to represent a balance in music. WIth that being said, we’ll periodically feature some “harder edged” material to shake you out of your doldrums and give you a no crying wanted, swift kick in your musical ass. Do enjoy! 

“Put It In Your Mouth” is the New York’s answer to the popularity of the 2 Live Crew, and quite frankly, due to its beyond ridiculous levels of filth laden content, one of the hardest jams of all time. Akinyele didn’t start in the hip hop game to be a loquacious Luther Campbell clone. In fact, if you listen to his verse on his debut on wax, Main Source’s “Live at the BBQ,” he’s another in the long list of young, hungry and lyrically gifted emcees down with Large Professor, a solid addition to the New York scene, but in no way a standout. Fast forward two years to 1996, and he’s completely different. He’s upped the ante on the sex rhymes, created a fantastic gimmick, and well on the way to creating one of the most iconic party jam odes to oral sex in music history.

http://www.youtube.com/v/sfhWdsmd7IE&hl=en_US&fs=1&color1=0xe1600f&color2=0xfebd01

Producer Chris Forte is a one track wonder. But what a track it is. The drum pattern from Al Green’s “I’m So Glad You’re Mine,” blended with the hit hat and acoustic guitar from late 70s funkateers Brick’s reggae tinged track “Fun” creates a hard but flow ready melody that induces nothing more than droppin’ it low and slow grinding with your object of the song’s lustful intent. As well, given that the song has become a favorite of drunken and silly interactions everywhere, the fact that literally every bar of the track, from Kim Jeffries on the hooks to Ak’s ridiculous flow makes the entire 3:30 of the song a hip hop quotable. I’d reprint some of the favorites here, but literally, bar for bar, there’s really nothing quite like it. All I need to show anyone is the video below to cosign the effectiveness of the ribald lyrical poetry of the song:

http://www.youtube.com/v/_CSnxUEW7ls&hl=en_US&fs=1&color1=0xe1600f&color2=0xfebd01

Repulsing lyrics that force the listener into sexual bliss? Hard.

HARD FACTS: Al Green‘s “I’m So Glad Your Mine” also provides the drum loop for another HARD JAM we’ll be covering soon, Biggie and Eminem’s “Dead Wrong.” Furthermore, Brick’s “Fun?” India Arie’s video owes it’s summer, wine sipping and laconic nature to it.

True Genius Requires Insanity: DJ COLD CASE PRESENTS…."GO DJ THATS MY DJ" a rundown of only the most killing sounds of EDM

Last month I did a live mix for my friend Morgan Tepper’s show on WVAU radio, Pop Lock and Drop. The first half is mainly house, the second is heavy bass and some electro. I had a lot of fun doing this and I hope you enjoy listening.

01 DJ Cold Case Interview Show 1 28 10 FINAL EDIT by DJ Cold Case

Tracklist:

Jesse Rose – Morning Would
Riva Starr – FanfarOne
Fare Soldi – Tutto Tutti Sempre Subito (Justin Faust Remix)
Maimi Horror – Make You Mine
Cybotron vs Daft Punk – Clear + Harder Better Faster Stronger
Beni – Maximus (Harvard Bass Remix)
Mowgli – London to Paris
Skylark – Thats More Like It
Gramaphonedzie – Why Don’t Don’t You
Duck Sauce – Grand Steppin
Duck Sauce – You’re Nasty
Duck Sauce – aNYway
Donna Summer – Bad Girls (Sonic C Bootleg)
Fake Blood – Fix Your Accent
Tim Deluxe feat Sam Obernik – It Just Wont Do
Sonic C – Saiph
Kid Kaio & Rowel Sinester – Dirty Freaks
Silvio Ecomo & Chuckie – Moombah (Sidney Samson Remix)
/////////////Break + Interview \\\\\\\\\\\\\\\\\\\
Swimming Pool – Dance the Way I Feel (Armand Van Helden Remix)
Sub Focus – Could This Be Real
Passion Pit – Little Secrets (Jack Beats Remix)
Datarock – Give it Up (Kissy Sell Out Remix)
Dub Pistols – I’m In Love (Foamo Remix)
Hostage – I get High
Groove Armada – Get Down (Elite Force Remix)
The Temper Trap – Science of Fear (Herve Remix)
Rusko – (Jahova)

Baobinga & I.D. – The Machine (Aquasky Remix)
The Count and Sinden – Hardcore Girls (Project Bassline Remix)
Will Bailey & Wongo – The Connock Wobble (Hot Mouth Remix)
Herve – Cheap Thrills
Tiga – Shoes (Spencer & Hill Remix)
Sharooz – Saccharin (Sonic C Remix)
Jape – Floating (D.I.M. Remix)
Tiga – Mind Dimension (Mercurius FM Colossus Remix)
The Bloody Beetroots – I love the Bloody Beetroots

And because I want you rave and frighten people with your heavy bass lines, I’m going to put you onto some bangers…

Rihanna – Rude Boy (TC Drum & Bass Remix)

http://www.youtube.com/v/RWOFKy7sHX0&hl=en_US&fs=1&

Hostage – Soundboy

http://www.youtube.com/v/fXzxgZVimro&hl=en_US&fs=1&

Claud Von Stroke – Vocal Chords
(Minimal rather than bass. Perfection, just listen)

http://www.youtube.com/v/0dkaAjqoLJw&hl=en_US&fs=1&

BE_GULLY PRESENTS CLASSICS 101: Big L – "The Heist Revisited"

 

A few weeks ago, I declared “The Heist” by Big L (The Big Picture, Rawkus Records, 2000) the best story ever told in hip hop (on technical merit). However, the rhyme structure and delivery I talked about are only one half of the story; I completely ignored the content. So this week, we’re revisiting “The Heist” in remix form, released on the album as “The Heist Revisited” over a beat by Lord Finesse.

Whether you’re in the Tipper Gore camp (Hey kids, that’s a reference to the controversial application of warning labels on “explicit” CDs. Oh wait, you don’t own any CDs? Shiiiiit…) or you proudly carry your gat with you at all times in case of last-minute drive-bys while bumping Geto Boys, you know that crime is intrinsic to hip hop as a genre. That’s not to say that all hip hop is about crime or however-the-fuck the over-sensitive politically correct intellectual rappers want to interpret that statement… go buy yourself a latte and expound upon the deplorable state of urban youth these days. Meanwhile, the cool kids are going to talk about why violence and the criminal ethos have had such a profound effect on the genre of hip hop since its inception.

http://www.youtube.com/v/kVP4-v2izpA&color1=0xb1b1b1&color2=0xcfcfcf&hl=en_US&feature=player_embedded&fs=1

Crime, power, and violence have been perennial themes of rap music itself as well as the discussions surrounding it. The music has been defined by these themes time and time again by mainstream media, by the fans who idolize “gangsta rappers,” and by the outlandishly gangsta actions of the rappers themselves (Shall we count rappers arrested on gun charges?). And time and again, peacenik hip hop intellectuals step to the plate to deny these accusations, pointing to the powerful socio-political messages prevalent in some of the strongest raps in history. The most recent major battle in this argument probably revolved around the media attention the “Stop Snitchin'” campaign garnered. The cycle goes on and on, each side incapable of understanding the other because they are working from their own agendas: they are out to confirm or deny, represent or reject, hip hop’s relationship with the crime and violence.

These attitudes preclude any useful or even remotely interesting discussion of how and why these themes are so central in hip hop music and culture. Frankly, I don’t give a shit about your attitudes. What I give a shit about is hip hop. And like it or not, crime has been a big part of hip hop history. Given this fact, evaluating the relationship between the two as “good” or “bad” is a futile and pointless endeavor akin to repeatedly banging your head against the wall. That’s just the way it is.

Since its embryonic stages at block parties in the early-70’s Bronx, hip hop was the music of a disenfranchised strata of society. From this background of poverty and crime, hip hop culture cultivated a strict moral code based on certain perceived virtues, such as honor, power, and loyalty. The music never wholly left behind these roots, no matter how much it’s changed over the years. These values were especially important themes through the mid-eighties to late nineties, while hip hop was developing a mainstream presence and dealing with the repercussions establishing one had on the culture. You cannot understand hip hop, especially classic hip hop, without understanding this ethos, whether you grew up with it or are fundamentally unable to see the logic behind it.

“The Heist” is a perfect starting point for this discussion. One reason “The Heist” is a classic is the extent to which Big L describes these values by concrete example – the oft-heard writer’s commandment of “show, don’t tell.” It’s about the archetypal righteous crime, whichever side you come down on. There are two basic ways to interpret the story:

1) Big L, out in the middle of the night, is hiding his gun under his car seat when his friend tells him his wife is in a hotel room with a friend and two men. On his friend’s word alone, he doesn’t hesitate to grab his gun and get his friends together, who all appear to be candidates for anger management class. He threatens a hotel clerk at gunpoint to find out which room his wife is in, beats the crap out of one of the guys, and steals his van keys along with victim’s various illicit products and cash. Meanwhile, one of his friends murdered the four in the hotel room. Finally, the deranged criminals decide to have a three-day party like the unhinged lunatics they clearly are.

2) After an exhausting late night at the studio, Big L is tired and hungry. He gets a phone call from his friend informing him his wife is cheating on him in a hotel room with her friend and two men. By doing so, these guys are obviously fucking up his reputation, let alone the fact that he’s been betrayed by his own wife. He grabs his friends, who are loyally prepared to do dirt for their boy, and they go to the hotel and find out where the wife and company are. He runs in to find his wife “disgracing” him, and realizes that the two men she is with are hustlers from upstate. That makes this a matter not just of personal outrage, but also a matter of business. On these grounds, L kicks the guy, takes his van keys, and finds his product and cash. Meanwhile, his friend understandably decides to kill the whole group for their transgressions. After winning what is essentially a battle (since these guys were businessmen and therefore would presumably not have hesitated to kill L and crew) and with justice on their side (since it was L’s wife’s betrayal that provoked the incident), Big L and his boys proceed to celebrate.

Those two interpretations of the track demonstrate the basic dichotomy between the two prevalent views on violence in hip hop music. The first sees the entire culture as depraved and frightening: they are on the outside looking down into a world they refuse to understand, perhaps because they cannot. The second sees this world from street level, where you have to go all out or you get eaten alive. The only things you can rely on are the loyalty of your people and the power you earn for yourself.

Figuring out exactly how the criminal ethos fits into hip hop music and culture is an incredibly complex study, and if anyone tells you otherwise they’re not seeing the big picture (no pun intended). Throughout hip hop history rappers have discussed this theme from as many  unique perspectives as there are rappers. Over the next few weeks (or months, or however long it takes), this column will examine hip hop’s moral code and its relationship with crime, violence and power.

“This goes out to all the wolves in the streets and in jail.”

SHIT I’M DIGGING THIS WEEK

aka avant garde musical water cooler discussion

1. Sissy Nobby

New Orleans Bounce. Very few would have any idea what I’m talking about by name. However, let me mention Juvenile’s “Back Dat Ass Up?” Familiar with that, right? A bounce #1 record. The infectious energy and ridiculously hard breaks of the music make it danceable. The dances that local New Orleans youths do to the tracks, as well as the hilarious vocals, give the music depth and legs to have power as a genre. Add to this the concept of gay men rapping defiantly about love, sex and, well, daggering anything in a centimeter radius, and, well, that’s noteworthy. Get prepared, world, for names like Big Freedia, Katey Red, and my personal favorite, Sissy Nobby. I’ll let the music tell the rest of the story:

http://www.youtube.com/v/QgJbN6Ul09E&hl=en_US&fs=1&color1=0xe1600f&color2=0xfebd01

and check the flip on Mariah Carey’s cover of Foreigner’s “I Want to Know What Love Is”…HUGE!…

http://www.youtube.com/v/-ZYRhhGlAYY&hl=en_US&fs=1&color1=0xe1600f&color2=0xfebd01

2. Casablanca Records

If you haven’t figured it out, We at TGRIOnline.com love classic music. Nothing may be more classic than the era of disco and arena rock, and NOBODY did it bigger or better than Casablanca Records. KISS, Chic, Parliament-Funkadelic, The Village People, Donna Summer, and producers like Tom Moulton and Giorgio Moroder all under the same umbrella? Ridiculous. Absurd. Almost unfair. But as is the case with the 1970s, nothing exceeds like excess, and before long, drugs, massive budgets, the oil crisis, and yes, DISCO SUCKS hit, and the bottom fell out. Intrigued by the history of one of the most forward thinking and influential independent labels in music history, read “And Party Every Day: The Casablanca Records Story.” Written by Casablanca executive Larry Harris, the book takes a look at the incredible story of the label, and the wild ride that was the 1970s. And for visual history geeks like me, there’s yes, a Youtube channel supporting the book, with gems like these:

http://www.youtube.com/v/9ktSWq1AeaA&hl=en_US&fs=1&color1=0xe1600f&color2=0xfebd01

http://www.youtube.com/v/c1iA03A-s54&hl=en_US&fs=1&color1=0xe1600f&color2=0xfebd01

http://www.youtube.com/v/nHXFWiEdI24&hl=en_US&fs=1&color1=0xe1600f&color2=0xfebd01

SEAL OF APPROVAL: (DC) $WEATSHOP feat. JONNY BLAZE @ 9:30 CLUB BACKBAR – 2/26/10

 

Jonny Blaze is one of the more heroic figures of the folklore of Baltimore Club music. A 20+ year veteran, Jonny is one of the original party starters of the genre, a man who always cuts his own path and does things with his own unmistakable style. He’s a straight up, no chaser kind of performer who will leave his hear spinning on the turntables in order to get you to move. We’ve covered his decision now to start making club music more geared towards religious themes and overtones, as he’s decided to keep the energy that provided us with “Head, Tits and Ass” and other salacious club hits, but move them in a far more religious direction. First single “Here We Go” from his forthcoming album is a Charleston hopping religious celebration with Blaze FINALLY on the mic. Expect more of the same tonight, as the club legend has promised us here at TGRIOnline that he’s “gonna make us dance, and take us to church!” 

On the same billing as per usual with $weat$hop are the consistently grinding electro party queen DJ Jackie O, always seemingly fresh from a big travel gig on the East Coast, and DJ Trevor Martin, who simply put, rocks bamas and makes Becky go nuts and forces Chad to watch his girl. He’ll bring the bass and the top 40 and is easily one of the more talented and versatile DJs in the city. He even spun our inaugural All Killer No Filler party. Homie’s a beast. Local indie rapper Blake 9 completes an absolutely stacked bill for the party at the small club with one of the cleanest sounding sound systems in the city.

SEAL OF APPROVAL: (DC) CLOCKWORK feat. MAGGIE HORN @ The Red and the Black – 2/27/10

 

Yes, we here at TGRIOnline.com tend to hate when another party gets added to DC’s already teeming social calendar. However, when you involve one of out favorite, rising NYC club divas, backed by one of our favorite rising young DJs in DC’s Lil’ El (more on her VERY soon on the site), it’s kind of imperative that we stop, take notice, and give it the seal of approval. If a follower of the site, you know Maggie from her exemplary Telephoned mixtape with Fools Gold’s Sammy Bananas. You’ll also know that she’s the female vocal on James Nasty’s “We All Want,” in our estimation, one of the five best club tracks of 2009. What you may not know as well is that Maggie has successfully toured Japan and France as well in her young career, feats that you really can’t sneeze at. She’s also released a mixtape and DJ mix, and is easily a cornerstone of the NYC party scene. Expect a great vibe, a lot of fun, and a non-stop invitation to dance.

As well, young DJ Ratt Moze, the Bmore Club head spins alongside Sova Sessions mastermind Chris Nitti, and the vastly underrated electro fiend Philip Goyette, the normal lineup for the event. Yes, we know. The Red and the Black is not on the grid as a big DC party spot. It’s not on the grid as a big H Street party spot. All I know is that in stopping through when Gavin Holland of Nouveau Riche fame spun with Brooklyn’s Gavin Royce, the upstairs performance space is cozy, and has a fantastic vibe. And yeah. Maggie Horn and Lil’ El. You’re gonna want to start to get familiar with them. For real.

SmithBWare presents… "THE UNINFORMED OPINION" – Diplo

A 19 year old Towson University student studying abroad in England, Stephon Smith isn’t a hipster. He isn’t a music nerd either. He’s a college student who happens to listen to the radio and follow popular trends. He’s the average “uninformed” listener who likely up until Pitbull began rapping over electro only knew Bmore club as the stuff they played on Friday night on 92Q in Bmore, and certainly had no idea who David Guetta was or even how to spell his name. Truth is, Smith represents the average American musical consumer, someone just not covered by the blogosphere, until now. TGRIOnline.com has decided to loose Smith, and his “uninformed” opinions on popular artists and musical styles that are all the rage in the underground we know and love. Today’s victim, Mad Decent Records musical mastermind, Diplo.

The method to the madness of Mad Decent Records co-founder Diplo is that he hasn’t been afraid to delve into various different musical areas. That’s something that you cannot hate on at all. His lethal combination of music from Jamaica, Baltimore, Brazil and beyond makes for a mind blowing listening experience every time. Based on my experience with his work he has released tracks that can not only satisfy the hipsters but the dub heads, hip hop fiends, club maniacs, and the general music fan. Training hard and mastering your craft is a credo that I believe Diplo has followed. It’s not something you see often because most artists seem to only want to capture a niche audience or market and cater to them consistently to maintain their popularity rather than transcending their typcasted genre boundaries. Artists should want to constantly build upon and expand their sound (or abilities), and Diplo has done exactly that.

He has collaborated with top quality artists such as M.I.A, DJ Blaqstarr, Switch, Laidback Luke, Santigold, and most recently hip hop phenom Snoop Dogg. Just by looking at that list you can tell how much seasoning and how many sounds the man has come across, used, and continues to use to this day. He has released remixes solely as well that have been great listens. His expansion into dubstep is picking up as he has worked with UK dubstep artist Jayou to produce a superb remix of “Murderer” by The Partysquad, with dubstep album releases anticipated in Mad Decent’s future. In my opinion, the more Diplo expands his musical influences the more his tracks have an extended replay value. It’s hard to fathom why he isn’t David Guetta level right now. Personally, I’d much rather listen to a Diplo remix more times than I’ve ever wanted to listen to “One Love” or “Sexy Bitch” which are great songs, don’t get me wrong, but they just don’t have that same replay aspect as a Diplo track.

Given the play time, I don’t see why Diplo won’t have his name slapped on the majority of tracks people listen to the radio. Hell the man even tweeted that they were playing “Pon De Floor” for a supermarket commercial on his recent excursion to Jamaica. Diplo’s a hell of an artist and has the potential to be an important part of culture and merges sounds from various genres’ together to create a united audience rather than a divided one. Like I said before, his music can be appreciated by any and all. If given the chance listen to his remix of “California Soul” by Marlena Shaw, “Angels” by Dirty Money, “Keep It Goin’ Louder” by Major Lazer ft. Nina Sky, “Danger’s Not A Stranger” by Gucci Mane, and “Rude Boy” by Rhianna which is a funny one. These are only samples of some of the work the man has done and best feature his skills as an artist.

That’s all I have to say. You’ve just been informed.

The WAR Report: Wars of Attrition – Tales and Fails of DC’s Urban Underground Party Culture

Marcus Dowling is at war with culture.

There’s a new issue plaguing the urban underground. There’s just too much of it. Maybe it’s slightly different where you’re from, if it’s New York, Miami or LA, cities that have a large enough population to justify such volumes of supported culture. But for new boom cities that have yet to develop a significant population of support like Washington, DC, it’s starting to get out of control. A culture has come with this new generation, a party culture that is faux hipster and more urban chic than anything, as ironically, kids who 20 years ago would be at big room nightspots are now all about the DIY underground. With the inherent self-celebritiy that has come because of the influx of message boards, then websites and social networking, why support a star when you can be one yourself. This in turn has developed a terrible trend in my mind, the rise of the DJ. Somewhere in this rise lies the downfall of mid-sized urban cities having a thriving underground, as kids with disposable incomes and that aforementioned DIY attitude get to pretend to be Grandmaster Flash, Kenny “Dope” Gonzalez or Larry Levan, and instead of developing their craft, develop a culture of musical apathy that exists only as background noise filler to nightspots instead of advancing an underground musical culture.

DJs break records. DJs set standards. DJs excite lives. DJs create hysteria. DJs don’t excel at keyboard mashing. DJs don’t just play parties. DJs don’t social climb. DJ’s don’t Tweet every weekend about “going in.” In fact, let’s take that one further and imagine a world where DJs didn’t even Tweet, instead like Richie Hawtin, just used Twitter DJ to show the tracks they’re “murking/slaying/defenestrating/shooting full of lead” the crowd with. In removing the art from the form, it dilutes the craft, and is ruining what has been historically the most important part of urban subculture.

With the advent of Serato and Traktor, being a DJ is a fairly simple proposition. With minimal training and maximum downloads from Mediafire and Rapidshare, you can have a filled “crate” of hits that will “move the crowd.” However, at no point did we mention an intrinsic understanding of how to mix, why to mix, and how to create an atmosphere to move a room? No. And often, it doesn’t exist. Yes, there are those who have mastered this art, and, well, those are the ones you see with the big/regular gigs and their name always mentioned, even on this website. Outside of that, go out and listen. Not to disparage anyone learning as there is a learning curve, but when there is a constant and consistent nature of  multiple trainwrecks in mixes, a maximum of people buying drinks at the bar, or a general glazed over apathy of the crowd as the norm, maybe it’s time to stop digging and start dancing. But that NEVER happens. Instead, a city like DC books DJs everywhere. Nightclubs, restaurants, bars, wine shops, bookstores, art galleries, clothiers, everywhere. The over-saturation of parties and functions requiring mixed music alongside the rapidly dwindling returns for quality professionals is a terrible combination that will absolutely have long term effects.

There’s a cultural rape at work in the larger mainstream that has trickled to this point. We’ve gone from music aiming to be timeless to music being a trending topic on Twitter for three hours. Then, it becomes ultimately disposable after a mix, then a remix, then another remix, one of which is done by someone eminently credible, the other two done by someone enamored with dubstep for the next, five, four, three, two, onto the next one. These party nights don’t hold the same cache they historically used to. I look at the gleam in people’s eyes when they talk about nights at Studio 54, The Shelter, The Loft or the Paradise Garage. I don’t see that same glow when people discuss Nouveau Riche, the 411 NY Ave Warehouse or the TNT Association Ballroom. And it’s not for lack of trying, it just feels like the craft has been savaged in order to advance a fad.

Music, for some of us like myself, is not a fad. To the promoters putting music anywhere and everywhere and non-quality DJs out there (if you read that phrase and feel a twinge in your chest, that’d mean you), please stop. Just, stop. My favorite venue in the city is the Palace of Wonders on H Street. If I didn’t cover music, I’d be there all the time. They have burlesque. I mean, wow. You just don’t see that every day. If I didn’t sell my soul to basslines forever ago, I’d love to spend a night at Jammin’ Java in Vienna watching a guy play an acoustic guitar. Yes, in a band. Remember those? I dig Matt Hemmerlein’s sound. Hell. Let’s get him some gigs. No DJs, just a guy with a guitar, and maybe some background instruments playing originals and covers. All night. And hell. I love jukeboxes, too. Fuck. Someone wants to play Skynyrd all night and you love Udachi remixes and Passion Pit? It either sucks to be you and you talk to people all night and get wasted (remember that?), or, you find a place where a top tier and credible professional will, hell, play you some Passion Pit, and if you’re lucky, expertly mix in a couple of other new ones you’ve never heard in such a way that you’re a fan, and the underground has done its job.

On Friday night, I watched Will Eastman and Brian Billion spin 90s hits to 1200 people at the “No Scrubs” dance party at the 9:30 Club. 1200. For someone who tracks and charts music and culture as closely as I do, it made me pause and think? Maybe DC just wants to have fun. Maybe DC isn’t about caring about the cultivation of a thriving and meaningful underground anymore. It feels like nobody wants to be Ian Mackaye, but everybody wants to be Ian Ziering. If that’s a broad generalization, then I apologize. Maybe people just don’t care about quality, maybe they just want to dance. Maybe not even dance. Maybe. Maybe. Then in that case play on, everyone. And leave old men with old ideals in the corner. I think this new party train has passed me by, or I have no desire to get on board anymore.