commendation for outstanding service to human race: resident advisor

That R.O.S.H. letter is incredible. I'm sorry i missed it until now - how long has it been online?

so much i agree with but also so much eye opening food for thought, and hopefully food for change.

the single RA writer singled out is the one I, admittedly, have spotted the most at events I’ve been at. I think it’s odd he’d have even been assigned to cover some of those events/scenes due to locale (NA vs UK/Europe/etc)

not sure how long it's been online, just saw it today, but since I'm in California assumed it had made the rounds already.

this article is just so good

the single RA writer singled out is the one I, admittedly, have spotted the most at events I’ve been at. I think it’s odd he’d have even been assigned to cover some of those events/scenes due to locale (NA vs UK/Europe/etc)

Where were these, America or Europe? What events, curious!

RA has always seemed to have a particular blind spot for black British dance music, I always assumed that was the readership talking. They were more likely to offer a mix to someone with a successful techno night in Ljubljana than they were to someone like Supa D or or Ill Blu or Marcus Nasty. They would however quite happily run one by someone like Oneman or BokBok or Jam City or any other white producer using those scenes as a jump-off point. Terror Danjah did get a mix (and a great one), probably due to being on Hyberdub, but it was an outlier and I remember the comments box being a disaster zone.

The quote from Kode9 in particularly really encapsulates the problem with viewing black British dance music through the prism of labels like Hyperdub, in its own way that privileges artists with a particular aesthetic. Black artists who made music that was dark and bassy or moody and aggro were much more likely to get access to those publicity networks because they were much more likely to get onto those labels in the first place than artists whose music was joyful, celebratory, gleefully silly let alone anything that was soulful or smooth.

xp saer, mutek festival in montreal and an inga copeland show in brooklyn are the two I remember

it's easier to hit the targets of coverage of music of Black origin when you run barely any articles

RA has always seemed to have a particular blind spot for black British dance music, I always assumed that was the readership talking. They were more likely to offer a mix to someone with a successful techno night in Ljubljana than they were to someone like Supa D or or Ill Blu or Marcus Nasty. They would however quite happily run one by someone like Oneman or BokBok or Jam City or any other white producer using those scenes as a jump-off point. Terror Danjah did get a mix (and a great one), probably due to being on Hyberdub, but it was an outlier and I remember the comments box being a disaster zone.

The quote from Kode9 in particularly really encapsulates the problem with viewing black British dance music through the prism of labels like Hyperdub, in its own way that privileges artists with a particular aesthetic. Black artists who made music that was dark and bassy or moody and aggro were much more likely to get access to those publicity networks because they were much more likely to get onto those labels in the first place than artists whose music was joyful, celebratory, gleefully silly let alone anything that was soulful or smooth.

― Matt DC, Tuesday, 14 July 2020 11:43 (twelve hours ago) bookmarkflaglink

Yep absolutely. But this is not an issue limited to RA.

One only has to visit the uk funky, jackin' house or deep tech threads on ILX to see a variety of positions taken consistent with what is called out in the article:

1. What is this music which sounds like a desecration of of the more refined dance music I prefer? Vomit emoji.

2. I refuse to engage fully with this music unless and until it begins to be distributed and disseminated through the media channels I prefer and feel comfortable with.

3. I object to this music being discussed as if it comprises a concrete "scene".

4. I like this music! Especially (insert name of mostly-unrelated artist with a release on Hyperdub or similar).

5. This music is not sustainable on its own but I don't mind it when it's mixed in with broader strains of house, techno or post-dubstep.

yeah but it’s still ok not to like things

there's not liking things and then there's dismissing the possibility that a scene could have any aesthetic validity or worth based on zero or thirty seconds' worth of evidence and a determined-belief that there can never be anything new under the sun that the listener does not alreayd know about.

good list, Tim. I’m guilty of at least a couple of those sentiments on occasion

yeah I tried funky house verrrry briefly and then noped out ... I should give it another go.

in retrospect kind of telling that the uk funky thread is even titled in reaction to "skeptics"

wait never mind...has it always been titled "sceptics"? this is like a berenstain bears thing

DJ Perception on the podcast is both great to listen to and a great indication of where the new approach could take them. But then they're wheeling out a Boy In Da Corner revisit, an album that there really can't be much more left to say anything about.

Holy shit, DJ Holographic!

I played the first 10mins or so this afternoon and was like no way, this cannot be listened to without a drink in yr hand. Incredible sweep from early evening 80s Detroit R&B and into full on Floorplan gospel techno madness before the hour mark.

Great mix

agree

This mix is banging.

Seems lots of people are upset about RA getting £750K

Ministry Of Sound: £975,468
Columbo: £900,000
Motion: £884,796
Resident Advisor: £750,000
Electric Brixton: £623,00
Corsica Studios: £407,764
Village Underground: £398,000
Chibuku/Circus: £365,000
Warehouse Project: £343,000
Gorilla: £255,500 https://t.co/swLPDQn0ed

— Will Pritchard (@wf_pritchard) October 12, 2020

it would seem people are rightfully getting upset imo. it does not sit right at all.

What are RA gonna do with £750k of taxpayers' cash??

Write glowing 5 star reviews of Rishi's first few tech house releases

I've done a search.

Does anyone know anyone from Sundissential?

I'd like to ask if it's true that they haven't done any events since 2006 that I can find, and if they are still trading, and where this money is going to go?

£220,000 is a lot of money for a brand that old. pic.twitter.com/BOAhaY5QMO

— Secret DJ Book II. (@SecretDJBook) October 19, 2020

And from their FB page

Something has got to give.
Boiler Room gets £791,652 relief but rarely pays any DJ to perform.
Sundissential doesn't seem to have traded since 2006, has a sole director who is not Madders, but got £223,000.
'Pay to play', Zero hours, cronyism, interns ... billionaires who "can't afford" to pay you....
It's got to stop.
It's pernicious, it is rife, and it is not exclusive to Dance Music.

Idk if RA is canceled but I enjoyed the recent Jamz Supernova mix

cancelled or not, i am loving the Tim Reaper jungle mix (RA.757)
sounds old school, but most of its unreleased new stuff that's to appear on his label.

Yeah Tim Reaper's great.

It took me far too long to get the gag in his name.

never even thought there was a gag tbh.
Tim rhymes with Grim ?
nice to see-n-hear Pete Cannon in the mix.
as per the other thread, i am loving Petes productions that are made via octamed/amiga1200.
this is totally hitting the spot.

wait did tim reaper get canceled? or jungle? or ra?

i don't really know tim reaper but i've heard the name because he records with another of my favorite current jungle artists (kid lib) and i see some other names i am really into on that mix (coco bryce, FFF, ricky force, dead man's chest)

i guess i don't follow the labels he's on, except for green bay wax and foxy jangle

canceled? Yeah I like Tim reaper’s music, shit owns, what’s up?

ohhhh I think Mark means RA in general

but yeah great producer, coco Bryce rules too..

Idk if RA is canceled but I enjoyed the recent Jamz Supernova mix

i was referring to the last post in the thread prior to my extras.
and yeah, its a great 90m min mix.
bring on the jungle revival for 2021.

ugh, redesign:

https://ra.co/

i guess it's optimised for phones but it looks lame on this screen

lame and pointless and the write-up they've published on how/why they did it is awful

A lot about RA has come to make more sense since I realized that they probably make most of their money off ticket sales, so my guess is it has more to do with reorganizing the back-end to serve ticket sales and orienting users toward engaging more with that aspect of the site. It kind of just looks more like FACT and Pitchfork ca mid 2015s, kind of boring and pretty inoffensive, but hard to see it inspiring strong feelings in any direction. I dunno if it's pointless as much as web technology evolves extremely quickly and websites change.

Apparently DJs are mad that they got rid of their DJ charts, which I never looked at. How did those work?

they were at the bottom of the page, they were literally just lists with no links, they often had (Unreleased) by the names of songs, completely pointless

Did DJs just make their own lists, or were they generated from tracklists somehow?

they were dj-submitted, but I got the impression they were very sporadically updated

I sometimes checked DJ charts back in, like 2008, before countless better ways of sharing tracks were common. Lately it was mostly generic tech-house or business techno DJs who probably gained more from having having their name visible on the homepage. I'm sure a few people check them but they are pretty pointless, and my feeling is that DJs that are actually mad probably need to bring their ego down.

by last year, there was an entire ongoing debate about tracking of played tracks, digital paythrough, attribution, etc. and it’s probably easier at this point to sidestep the entire business by just putting the track lists on the podcast dj sets and ignore the rest entirely

RA can do no right these day.
Problem is, with the demise of the blogs, there's almost nowhere to go for electronic music news / reviews / articles etc.

it's good to see they put all that government money they got to such good use.

there's almost nowhere to go for electronic music news / reviews / articles etc

really?!?