What did you do with the music? I started DJing maybe 12 years ago or so, 12 or 13 years ago. At the time I was actually really inspired by Jungle. So that was what led me to start to take up turntables and DJing and mixing. But I've been listening to, even at that point, I've been listening to a particular Arabic music for a while already. And to speak briefly, as I started off playing Jungle sets, and then as that music sort of to me sort of stabilized and turned into drum and bass and got a bit more codified and boring i started incorporating other elements of my record collection so i started bringing in uh you know hip-hop acapellas and dance hall beats and trying to mix those with jungle and as i got more fluid with you know beat matching and the technical side
of things i said hey well you know i have all this like i love all this african and arabic and even experimental music so i started trying to bring those in and so for me it's always been a matter of or rather some sort of eclectic movement around. I'm like, there are lots of music which are quite close to me, and I'd like to try and reflect that in my DJ sets. And so I started using three turntables, and I started just trying to get this more of a narrative moving through genres that are all kind of equidistant from me, rather than saying, hey, I'm going to go to... I think the internet sets up a kind of condition of intimate distance. kind of a paradoxical situation where what is distant feels very close at hand. So you
have these paradoxical conditions of feeling very involved and feeling very much participant in scenes and in musics that you can be geographically very far from. looking at the local like you, only sort of using the web, as Kojo said, to create this sort of intimacy where the artists that I'm interested in and the ones that I'm trying to find out more about are the ones that really are the local, local artists. Every time you go to one of these large metropolises anywhere in the world, I guess, but from my experience in West Africa, there's always the local famous guys, the guys who are always on the TV, top
five songs on the radio, make tons of money, get to play the big gigs in Holland and Germany and wherever to the local audience, the expatriate audience that lives there. The End
. So, one can do that. Therefore, let's make a scrambler, so two boots go together to make something more artificial on a certain scale. There's no time now to use boots, obviously.
So, you have this one. The first part is about how utopical ideas of music are about an idea of economic value. Also romantic ideas of utopical music. This economic value is about a different, Our idea is not identical to an economic value of music, which is often also anthropological argument,
also with the solipsistic music experience, which one makes, when one an example trellering, when one through the woods alone, for example. But also their development in the aesthetic and social experiences with music objects, which should be in connection with this primal experience of music. That's the first part. The second part is about how this logic of the initiative, partizipation, active rezipation, which is also verbunden with this solipsistic music experience, what I do with music alone,
how the, just by the low and in the outside-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the-of-the where the participation and activation models of pop music have become a cultural standard of pop music. How we lived not in a society of spectacles, but in a society of participation.
And what what will the actual music situation be like in the economic and technological side and the aesthetic and political side. British rock groups like the Rolling Stones or etc. We translated blues traditions and re-emported it back to America. In terms of underground music in the late 90s and early 2000s, places like Japan, New Zealand, people that were geographically isolated and geographically far out as well, they began to take apart the English rock canon in a way that only geographical and cultural distance really allows.
I'm here to do not see you. Oh, the sun is on me. Oh, the sun is on me. Oh, the sun is on me. Oh, the sun is on me. Oh, the sun is on me. Oh, the sun is on me. Ease my heart, floating through the wheels.