[Dynagroove] no hate.. just trouble

[BadIYE at aol.com]

Hey Doron,

I was assuming Cade was talking about neophyte DJs (and not hard working 
producers etc...) who constantly harass you about being booked, but could care 
less about your scene or the club that you put on.    The idea that a promoter, 
by expecting some sort of personal contact with an unknown, untested DJ, (at 
leastunkown and untested to the promoter) and who e-mails you twice a week 
asking to spin at your club, but who somehow you've never even seen at that same 
club, is somehow "extorting" that DJ to show up, is a little far fetched.  

best,

Imad.  
 

In a message dated 11/5/2003 8:14:11 PM Pacific Standard Time, 
doron at whoomps.com writes:

> See, that's the problem with dance music.  It's a good-ole' boy system, 
> just
> like the ones all of us liberal artsy electronica types complain about with
> our government and corporations and everything else that's wrong with the
> world.  Why do you think that almost all of the superstar DJs are like 40
> yrs old before they become superstars?  It's because they have to go through
> all of this silly non-musical stuff before they're allowed in.  Pop and hip
> hop, which are thriving, thrive off of young and new energy, while dance is
> suffering the same fate as modern-day jazz, all caught up in that "keepin'
> it real" kinda conservatism.
> 
> Do I think it's important that promoters and performers have an audience?
> Of course I do.  But we're talking about providing an invaluable service to
> people, something that really moves people to not only shake their asses,
> but whip out their pocketbooks during these lean times.
> 
> If you're a promoter, and you'd rather book someone who shows up to your
> party every week over someone who might not not show up all that often, but
> when they do, they TRULY rock the house, then I think you're doing your
> audience a disservice. As a producer/DJ/performer myself, I've gotta go work
> a dayjob all week, drive over an hour each way to work, and a few times a
> month rush to do a soundcheck right after work, and, oh yeah, produce new
> tracks and remixes that will make the splash necessary to separate me from
> the 10,000,000 other people pumpin' out house tracks right now.  To balance
> the production, dayjob, and "human" parts of my life is extremely
> challenging, and to think that maybe some promoters out there would
> discriminate against me because I can't always work triple-duty as both
> performer, producer, and audience member is really disheartening.  As if I
> have nothing to contribute other than my attendance, cover charge, and bar
> tab.
> 
> Of course I more than wholeheartedly support each and every person involved
> in any underground scene- I think that's *amazingly cool.*  But to use your
> power as a promoter to extort people into coming to your parties in exchange
> for a booking is definitely ducking the issue, which is the relevance of
> house music right now to the average person on the street, not your DJ
> friends who are already into it.
> 
> My 2c,
> 
> --doron