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Post by karl on May 13, 2010 13:36:25 GMT -7
Hi rockers! I knew most of the performers mentioned with the exception of Nena and Falco or Faust and Ashra. When teenager I used to be a 'hippie' - long hair, flower-shirts and jeans. The hippie in Poland were not the same as in the free world. In the west the hippies contested the western society, and we wanted to bring the values they contested into Poland, to make it a liberal democracy. They wanted communes we wanted private property back. Isn't this world straneh? Also the Polish hippie were in local opposition to group call 'git ludzie' or 'gitmeni'. Thiose were the aggresive guys. They later transformed into punks or skin heads. Well Tufta, it appears we have come along a long road from our beginnings when the world as we knew it, was understandable.
It is good to know how you guys were in those times. For it would so seem, young people are so resilient as to make best of what they have to work with. You guys had the Soviet occupation, we were better with the Americans and Brits. The French for the most part, left us alone.
I had learnt swing dancing whilst living with my Auntie and two female cosines from the big band swing music broadcast by Armed Forces Radio. We had a battery radio we set upon the window ledge to listion and dance by. It was fun, for other wise, we fought and argued over what ever.
I usually lost, for the eldest, was older the my self and stronger. It was just in moments of stress, we three were of one, and we looked after one another.
Karl
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Post by pieter on May 13, 2010 16:28:32 GMT -7
Hi rockers! I knew most of the performers mentioned with the exception of Nena and Falco or Faust and Ashra. When teenager I used to be a 'hippie' - long hair, flower-shirts and jeans. The hippie in Poland were not the same as in the free world. In the west the hippies contested the western society, and we wanted to bring the values they contested into Poland, to make it a liberal democracy. They wanted communes we wanted private property back. Isn't this world straneh? Also the Polish hippie were in local opposition to group call 'git ludzie' or 'gitmeni'. Thiose were the aggresive guys. They later transformed into punks or skin heads. Tuftabis,
Interesting, very interesting, and it is hard to explain or to describe, but I did not fit into a stereotype of a group. But your description "Rocker" maybe is a good one, an unusual rocker, because I did not belong to a subgroup. I like to pogo on Punk-rock, head bang on heavy metal and hard rock, dance on disco and soul (the Dutch disco's of the eightees played the great music of the seventees and eightees), and later in the late eightees and ninetees on House, techno (I like German and American -Detroit, Chicago and New York- techno, drum 'n bass, jungle and electro). I moved between subgroups on highschools because I did not belong to the hardrock group of metalheads, nor to the Punks of New Wavers, or the Disco's or Rasta's (Reggea fans). I was a hardrock fan which loved other music too when it was musical.
Cheers, Pieter
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Post by pieter on May 13, 2010 16:33:10 GMT -7
Pieter, thank you for sharing, for you have spent a considerable amount of effort in describing with examples of illustration. For as with yourself, I also enjoyed most of that you have exampled. Although it was different with the Electronic music, I was not overly enjoyed with it, but thought it was quite interesting. Karl,
You are welcome, I liked your openess and Tuftabis story too. It was nice to share our youth memories and taste.
I think you two are very valuable Forummembers to me and very open minded and social chaps.
I like our exchange. It is also important and nice to know the personal, subjective and human views and tastes of others. Your youth as a West-German and Tuftabis youth as a Polish youngster in Communist Poland interest me.
Pieter
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Post by karl on May 14, 2010 13:50:24 GMT -7
Pieter
Oh boy, I think I am over my head with some of the heavy metal...Many of these bands I had not to see on their concerts.
The Beatles, it is between a must see and perhaps not. They were innovators with many variations of their style.
Jimmie Hendricks, now there is an innovator of different style. I think perhaps for my taste, his, and Bob Marrilee with the Jamaican Reggie, is a must see and hear.
The Stones "Rolling", for some reason, there music simply mirrors my feelings, very strange but true. And, I am still not sure if I ever like Mick Jagger, for he was so skinny, but boy would he belt out the music...
Karl
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Post by pieter on Aug 20, 2010 15:41:13 GMT -7
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Post by karl on Aug 20, 2010 15:41:20 GMT -7
Pieter
Jeepers, boy, this music will bring awake a persons senses big time quick in an eye blick
Karl
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Post by pieter on Aug 20, 2010 15:55:28 GMT -7
German techno
Germany's engagement with American underground dance music during the 1980s paralleled that in the UK. By 1987 a German party scene based around the Chicago sound was well established. The following year (1988) saw acid house making as significant an impact on popular consciousness in Germany as it had in England. In 1989 German DJs Westbam and Dr. Motte established the Ufo club, an illegal party venue, and co-founded the Love Parade. After the Berlin Wall fell on 9 November 1989, free underground techno parties mushroomed in East Berlin, and a rave scene comparable to that in the UK was established.
East German DJ Paul van Dyk has remarked that techno was a major force in reestablishing social connections between East and West Germany during the unification period.
In 1991 a number of party venues closed, including Ufo, and the Berlin Techno scene centered itself around three locations close to the foundations of the Berlin Wall: Planet (later renamed E-Werk by Paul van Dyk), Der Bunker, and the relatively long-lived Tresor. It was in Tresor at this time that a trend in paramilitary clothing was established (amongst the techno fraternity) by a DJ called Tanith; possibly as an expression of a commitment to the underground aesthetic of the music, or perhaps influenced by UR's paramilitary posturing. In the same period, German DJs began intensifying the speed and abrasiveness of the sound, as an acid infused techno began transmuting into hardcore. DJ Tanith commented at the time that "Berlin was always hardcore, hardcore hippie, hardcore punk, and now we have a very hardcore house sound." This emerging sound is thought to have been influenced by Dutch gabber and Belgian hardcore; styles that were in their own perverse way paying homage to Underground Resistance and Richie Hawtin's Plus 8 Records. Other influences on the development of this style were European Electronic Body Music (EBM) groups of the mid-1980s such as DAF, Front 242, and Nitzer Ebb.
Changes were also taking place in Frankfurt during the same period but it did not share the egalitarian approach found in the Berlin party scene. It was instead very much centred around discothèques and existing arrangements with various club owners. In 1988, after the Omen opened, the Frankfurt dance music scene was allegedly dominated by the club's management and they made it difficult for other promoters to get a start. By the early 1990s Sven Väth had become perhaps the first DJ in Germany to be worshipped like a rock star. He performed centre stage with his fans facing him, and as co-owner of Omen, he is believed to have been the first techno DJ to run his own club. One of the few real alternatives then was The Bruckenkopf in Mainz, underneath a Rhine bridge, a venue that offered a non-commercial alternative to Frankfurt's discothèque-based clubs. Other notable underground parties were those run by Force Inc. Music Works and Ata & Heiko from Playhouse records (Ongaku Musik). By 1992 DJ Dag & Torsten Fenslau were running a Sunday morning session at Dorian Gray, a plush discothèque near the Frankfurt airport. They initially played a mix of different styles including Belgian new beat, Deep House, Chicago House, and synthpop such as Kraftwerk and Yello and it was out of this blend of styles that the Frankfurt trance scene is believed to have emerged.
In 1993-94 rave became a mainstream music phenomenon in Germany, seeing with it a return to "melody, New Age elements, insistently kitsch harmonies and timbres". This undermining of the German underground sound lead to the consolidation of a German "rave establishment," spearheaded by the party organisation Mayday, with its record label Low Spirit, DJ Westbam, Marusha, and a music channel called VIVA. At this time the German popular music charts were riddled with Low Spirit "pop-Tekno" German folk music reinterpretations of tunes such as "Somewhere Over The Rainbow" and "Tears Don't Lie", many of which became hits. At the same time, in Frankfurt, a supposed alternative was a music characterised by Simon Reynolds as "moribund, middlebrow Electro-Trance music, as represented by Frankfurt's own Sven Väth and his Harthouse label."
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Post by Jaga on Aug 20, 2010 21:50:48 GMT -7
Hi Pieter,
For me electronic music is interesting but it does not have a heart
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Post by pieter on Aug 21, 2010 5:49:38 GMT -7
And this is in my eyes a wonderful mix of accustic jazz and electronic house:
It has soul, warmth and thus a heart!
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Post by sciwriter on Aug 21, 2010 10:53:33 GMT -7
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Post by pieter on Aug 22, 2010 1:40:49 GMT -7
Thanks Carl.
I liked some of the links and it's pieces.
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Post by pieter on Sept 25, 2010 19:27:21 GMT -7
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Post by pieter on Sept 25, 2010 20:08:11 GMT -7
Laurent Garnier - The Man With The Red Face (Live @ Elysee Montmartre, Paris, France)Laurent GarnierLaurent Garnier (born 1 February 1966), also known as Choice, is a French electronic music producer and DJ. Garnier began DJing in Manchester during the late 1980s. He became a producer in the early 1990s and recorded several albums.Early influences In 1984, Garnier started working as a waiter for the French Embassy in London. He started to play with DJ Nelson a.k.a. DJ Stan in French club. Then, he stayed there for a year and a half before moving to Manchester in 1986. Living in England he discovered the booming UK house scene and started DJing.Career In 1987, he discovered The Haçienda in Manchester, and met Mike Pickering the resident DJ. Chicago house and Detroit techno became popular, and Garnier started mixing there under the name of DJ Pedro.
In 1988, he went back to France to fulfill his military obligations. He also spent some time in New York City where he met Frankie Knuckles. Garnier shifted his attention back to France in the early 1990s, running the Wake Up parties at the Rex Club in Paris for three years, and in Dijon from 1990 to 1994 at L'An-Fer while in 1992 he played a three-night long Weekender set at the Cork venue, Sir Henry's. He also mixed in clubs such as le Palace or le Boy, DJing in rave parties and gradually moving into recording as well. For the FNAC label, Garnier released "French Connection" and the A Bout de Souffle EP. After that label went out of business, he formed the F Communications label with Eric Morand (a friend who had also worked for Fnac).
His first album, Shot in the Dark, was released in 1995. His second, 30, appeared in 1997 and included one of Garnier's best selling singles, "Crispy Bacon". 30 was followed by the retrospective Early Works. After appearing worldwide with DJ appearances during the late 1990s, Garnier returned to production with Unreasonable Behaviour, released in early 2000, which featured one of his best known songs, "The Man with the Red Face".
He is famously known for bringing electronic music to broader audiences. For example, he was the first electronic act to play Salle Pleyel in 2010, an iconic classical music concert hall in Paris, and he composed the soundtrack of a ballet by Angelin Prejlocaj, "Suivront mille ans de calme".
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Post by pieter on Sept 25, 2010 20:36:10 GMT -7
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Post by pieter on Oct 23, 2010 16:59:59 GMT -7
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