EDUARDO DE LA CALLE

"llego el año 1993 ,tengo grabados en mi mente aquellos viajes de vuelta en tren o coche despues de 24 horas (otras veces 48 o incluso 72 de ruta) bailando non stop sin parar y mis pies ya dormidos ,las rodillas me dolian ,aquel dj de cabeza rapada y flequillo resbaladizo el cual caia hasta la nariz habia vuelto a mandarme ha casa totalmente destrozado y habia ganado la partida,hijo de su madre !! ,me habia dado lo que buscaba y sin saberlo aquel dj (Dani) estaba dibujando mi futuro como artista ,el paisaje detras de la melena de indio de Poli pasaba a toda velocidad por aquella ventana de tren a la vuelta de aquel combate de 1500 hipies bailando al son de esta y otra canciones durante casi 12 horas ,aquellos discos seguian sonando en mi mente,pero yo despertaba,,y de de un salto hacia arriba como aquel que sale de una pesadilla mientras duerme , me decia a mi mismo,,, "" !! joder voy en un tren!! ,de donde sale esta musica??!! ,si aqui no hay altavozes"""!!!, podeis imaginaos,,, ,no solo estaba Poli tambien solian ser frequentes en aquellos fines semana las salidas de gente mitica y colegas propios como Borja,Pera,Gordo,Fernando,Jose y como no el amo del ritmo (tu sabes quien eres), ademas de ellos habia otros cuantos mas y a todos y su compañia les debo lo que soy hoy ,me guste o no han sido parte de mi vida y debo de estar agradecido,,os echo de menos y os dedico este tema ,gracias a todos" Eduardo

ISLAND NOYZE

"I was talking with Nate Tinsley (Nathaniel X) on Skype about this period in his musical history.. he switched from producing hip-hop to producing house music, because he had been at a party in NY, and he witnessed a shooting and got caught up in the middle of it, and he wanted out of the rap game after that. He wanted to 'rebel' against his circle of friends because they were close-minded and didn't understand this 'house' music he started producing. He didn't give a fuck about money, labels or anything like that, he had this sound inside of him that needed out, and this is what led to Vil-N-X and his current resurrection as the 'Nathaniel X Project'. He's a very spiritual dude.. and I think you can hear that through his music.. he still has the plate master of this track that was played by a certain DJ at the Sound Factory back in 1991. Respect Nate.. and you too Hans."

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1983

"It was the early 1980's, and like many aging rock icons, the Rolling Stones were spending their time in the vast domain of excess that was NYC nightlife, ignoring the declared "death of disco" with the rest of the metropolitan world. Leaving their past splendor in the dust and embracing their new aesthetic surroundings with the cocky wit they always wielded, Mick Jagger and Keith Richards took a leap in 1983 with Undercover, which received lukeworm reviews as the rock world couldn't quite discern what exactly the old men were going for. "A little too much cocaine I see." Club children, of course, instantly connected and identified with the brilliant "Too Much Blood," a post-disco bloodbath of Sly & Robbie echo chambers, hi-life guitar riffs and ingenious lyrical meanderings summarizing splendidly the growing hostility of crime-ridden inner city existence. The true genius of this session wasn't fully unveiled until recently, when a doubly-long extended studio version was leaked by some committed enthusiasts. This definitive version opens a window into the still burning genius of old men traversing the endless bounds of spaced-out, intelligent and inspired underground club music, applying their time-tested musicality to a totally new canvas. Decades past its heyday, "Too Much Blood" still stands the test of time as their finest song never (properly) released, a perversion of rock's parameters born of culture's reformation and redistribution along the new paths blazed by electronic and dance. A favorite at the Paradise Garage, this special 12" pressing from slow to speak is a well-deserved look back testifying to the determination always to look forward."

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1983

DESTINY'S CHILD

GLASS PYRAMID

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MICK JAGGER II

MICK JAGGER I

LOS CHUNGUITOS

NICKI MINAJ

Vladislav Delay and AGF have recorded a 55 minute mix of Nicki Minaj tracks under new production pseudonym, RyJ. The Pickle Juice mix removes all the choruses from Nicki Minaj tracks to leave just lyrics and rapping, which Greie describes as "mainstream-free".

JOHANNA MARTZY

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HANNAH KOZAK

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PARIS TRANSATLANTIC MAGAZINE

Desaparece Paris Transatlantic. Una de las primeras paginas que me enseño a amar la música experimental, gracias por todo Dan!

"I suppose the simple, honest answer is that my heart's no longer in it. To quote what David Toop said in his Invisible Jukebox in The Wire a few years back (as Simon Reynolds did just a couple of months ago): "A lot of people feel there's too much stuff out there, too much music... I feel it myself, I love silence, but music as a whole I don't like anymore... I don't like listening to it on the radio, seeing music on television. I don't like having it on in the house... That love of music as a generalised experience, I've come to the end of that." I can't say I feel exactly the same way – for a start, I don't have a television and the only thing I ever listen to on the radio is the news, and I do like having music on and still listen to a lot of it – but I certainly think there's too much of it around and it just doesn't seem to move me the way it used to. Maybe I'm just going through a dry spell – which is Simon Reynolds' take on Toop, who's obviously still writing about music, and as well as he ever was – but I find my interests lie elsewhere these days: specifically, in cinema and literature." Dan Warburton

POOLSIDE

RETROMANIA

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SOPHIE TAEUBER

LINDA EVANGELISTA

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JASON LESCALLEET

GOBLIN

:_______)

ALLY MCGRAW

SEEBERGER BROTHERS

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1967

FRANKIE GOES TO HOLLYWOOD

The world is my oyster........

Ha ha ha ha ha........

The animals are winding me up

The jungle call 

The jungle call

Who-ha who-ha who-ha who-ha

In Xanadu did Kubla Khan

A pleasuredome erect

Moving on keep moving on-yeah

Moving at one million miles an hour

Using my powerI sell it by the hour

I have it so I market it

You really can afford it-yeah

Really can afford it

Shooting stars never stop

Even when they reach the top

Shooting stars never stop

Even when they reach the top

[Repeat]

There goes a supernova

What a pushover-yeah

There goes a supernova

What a pushover

[Repeat]

[1]-We're a long way from home

Welcome to the Pleasuredome

On our way home

Going home where lovers roam

Long way from home

Welcome to the Pleasuredome

Moving on

Keep moving on

I will give you diamonds by the shower

Love your body even when it's old

Do it just as only I can do it

And never ever doing what I'm told

Keep moving on

Got to reach the top

Don't stop

Pay love and life-oh my

Keep moving on

On again-yeah

Shooting stars never stop

Shooting stars never stop

Shooting stars never stop

Even when they reach the top

There goes a supernova

What a pushover

[Repeat]

[Repeat 1]

Who-ha who-ha

Welcome to the Pleasuredome

WELCOME........ha ha ha ha ha........

Long way from home

WELCOME TO THE PLEASUREDOME

PACHANGA BOYS

CAPE TOWN

DANCE

"Photographs taken during a square dance in McIntosh County in Oklahoma by photographers working for the U.S. government’s Farm Security Administration (FSA). The FSA and later the Office of War Information (OWI) between 1939 and 1944 made approximately 1,600 color photographs depicting life in the United States, including Puerto Rico and the Virgin Islands. The pictures focused on rural areas and farm labor, as well as aspects of World War II mobilization, including factories, railroads, aviation training, and women working."

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1986

"El Más Mix Que Nunca ha sido considerado y sigue considerándose uno de los mejores megamixes ,dentro del mercado español,mezclado por los Dj’s :Mike Platinas y Javier Ussia,dos de los auténticos alma maters de la mezcla en nuestro país.En el año 1986 y por motivos legales e oscuros no se llego a publicar el álbum en nuestro país por ninguna compañía discográfica, solo la Memory Records Italiana llego a editar este megamix, llegando a vender ni mas ni menos ,justamente antes de ser secuestrado un total de 35.000 copias en diez días y sin promoción.La recomendación que aparecía en la contraportada del disco, de las tiendas de discos ya desaparecidas como:DON DISCO en Molins de Rei, Discos Recording (Terrassa) o Discos Trak (Mataro),que en la actualidad es la única tienda que sigue vigente por la cual sigue vendiendo muy buena música para los profesionales como Dj's o productores y para la gente en particular. Realmente fueron muchísimos más que se volcaron en ese gran proyecto, del primer megamix Italo-Español.Por una copia en vinilo del Más Mix Que Nunca se puede llegar a pagar en la actualidad hasta 300€, siendo considerado como el mejor Megamix que se ha realizado, teniendo en cuenta los medios técnicos utilizados para su creación,por aquel entonces y la gran genialidad de los maestros de las mezclas en realizarlo.Un megamix al cual se lo llamaba el primer megamix Italo-Español.Con la gran suerte de que tuvimos sede aquí España del sello Memory Records , concretamente en Barcelona.Lo cual resultaba muy fácil llegar a tenerlo en nuestras manos."

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THEREALD4KOT4

J DILLA

Madlib & J Dilla in Brazil, 2005. Photo by B+

“The photos B+ captured of Dilla have become the some of the most definitive images of the producer. In another, he got Madlib & Dilla together on a short trip to Brazil in 2005. We planned to get pictures for Donuts, but Dilla’s unstable health during that time caused him to cut the trip short.” - Jeff Jank / Stones Throw

LA EDAD DE ORO

18 de mayo de 1985, Paseo de Camoens, Madrid.

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WEEKEND

GEORGE CLINTON

PARTY GIRL

GENIUS OF TIME

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BUCKETHEADS

"The Bucketheads", spearheaded by Kenny "Dope" Gonzalez, was a project that started as a reaction against commercial Eurodance. One night, Kenny was driving from Manhattan to Brooklyn with Johnny "D" De Mairo. As they were listening to some 'terrible records' on the radio, "Dope" had this idea to melt together old disco classics. Back home, he selected a couple of LP's and produced the famous 'Dungeon Tapes EP' in three days. The first 12" taken out of Kenny Dope's mixing sessions was 'I Wanna Know', with 'The Bomb' as the B-Side. The A-Side, a rework of "Motivation" originally performed by Atmosfear, received a relative success in New York while 'The Bomb' started to be played in Europe. Against all expectations, 'The Bomb' exploded in the kingdom of Eurodance, shooting up the charts in several countries.
Based on samples of 'Streetplayer' performed by Chicago, 'The Bomb' is a metaphoric title. The original 15 minutes long 'Henry Street' mix set the stakes. Presented by the voice of Reverend C.L. Franklin (re-sampled from "Preacherman" by Green Velvet), the sermon leads into a long, repetitive and hypnotic tribal progression (the wick), leading to the core of 'The Bomb'. The subtitle of the track, 'These Sounds Fall Into My Mind', is modeled upon the actual lyrics of 'Streetplayer': "Street sounds swirling through my mind".
After a settlement for samples clearance which costs $30,000 to Kenny "Dope", Armand Van Helden re-edited the track to 8:00. A feedback effect in North America later gave "The Bomb" the noble title of 'classic'. A full album, "All In The Mind" and follow-up single "Got Myself Together" ended the project. Nonetheless, the success of 'The Bomb' was such that it seriously damaged the popularity of Eurodance. Eventually, many artists took the idea back where Kenny "Dope" left it: Etienne De Crécy, Daft Punk and the whole French scene was undoubtedly influenced by it.

KIM ANN FOXMAN

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STOYA

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SUTRA

VOGUING

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PAUL C

"Beat constructor par excellence (mentor of Large Professor among others), shot by an unknown person when he was just 24. Who knows how many more classic hip-hop tunes he would have created..."
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+ Dave Thompkins
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MICHELLE JENNEKE

EL LORO Y EL PLATILLO

SABADO

#029. NA NA NANA, 

NANANA, NA NA NANA, 

NANA NA NA-NA

– Víctor Iriarte –

Cinemateca francesa, sala Henri Langlois, dimanche 15 janvier. La película Tiburón de Steven Spilberg se estrenó en Francia con el curioso título de Les dents de la mer. Los dientes del mar. Garbo y el hombre pantera se ríen mucho con la traducción. Hacen cola en la cinemateca, sesión de domingo, 15:00 horas. Están nerviosos y contentos, hay muchos niños y niñas correteando por las escaleras y salas del edificio diseñado por Frank Gehry, el ciclo es de Steven Spilberg y hoy programan sesión triple. Hay gente vestida con sombreros de ala ancha y chaquetas de cuero. Los niños no saben que antes de las sagas de Harry Potter hubo otros héroes que no eran magos pero que también vivían aventuras. Lo dice al micrófono la chica que está haciendo la presentación de la película de hoy. Garbo y el hombre pantera no han encontrado dos asientos juntos, por lo que se han sentado separados. Pero una señora, que ha visto el gesto, se ha ofrecido a cambiarse de butaca. "Merci beaucoup". y se apagan las luces. y hay murmullos. y comienza el espectáculo. y en la primera secuencia ya hay sustos y gritos y selva y aventuras y acantilados y peligro y un personaje que está de espaldas durante muchos minutos y que por fin se descubre mirando a cámara y diciendo que la aventura está a punto de empezar: es Indy. Les aventuriers de l'arche perdue. y nos reímos donde hay que reirse. y gritamos donde hay que gritar. y nos asustamos cuando las trampas saltan y descubren los cadáveres momificados de otros aventureros. y todo decimos "¡Aaaaaa!", cuando una antorcha muestra que el suelo de la cámara egipcia donde se esconde el arca perdida está invadido por serpientes muy peligrosas. y cuando las alumnas del profesor Indy atienden a sus explicaciones de historia y una de ellas cierra los ojos y en sus párpados puede leerse "Love you", todas las madres y padres de la sala se ríen y recuerdan las sesiones de cine de los años ochenta y los domingos de entonces y los paseos por los barrios y los juegos en las plazas y lanzar piedras al río y jugar al escondite y correr por las escaleras y la vuelta a casa, exhaustos de domingo y tristes por la cercanía del lunes y del colegio. Porque los domingos de entonces eran así, agotadores y felices y con aventuras y con futuro. "Como el domingo de hoy. Como este domingo en París".

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CARLOS MONLEON

"Gente que se cultiva en el desvan y lo cosecha en el bar" Carlos Monleon

DOMINO

BURKA BAND

ASES DEL BAILE