Hello from Detroit Ritchie. I turned 50 this year and it seems like yesterday we were partying @ the packard plant. I can’t wait until we are all sweating and dancing again.
30 Августа 2024 Год . 😁🌷💛 . Привет Richie Hawtin 😁👨🎧 и Спасибо за видео от 2 Человек . Город Москва . Актриса Анастасия Уколова 😁👩💅 2209 + Село Чалтырь и Город Ростов-на-Дону . Dj 🎧 Калуст 😁👨🚭 . 🍓🍒🫐🍊🚭⚽😁☀️🍵☕🫖❤️💜💙💚 . 😁👩👨 !)
I'm GenX, age-53, started going to raves in 1989 & proto-raves for the 3-4 years prior to the Second Summer of Love, started producing vinyl in 1994, released dozens of records from 1994 to the present on a bunch of different labels and can very much related to Richie's concerns about the imbalances in the industry As a musician, composer, arranger with a background in all the officialdom of classical & jazz education, I had no interest in ever becoming a DJ, but over time the record deals disappeared & the DJ gigs kept calling me, despite no background or interest in DJing, but I finally caved in 2007 and just took the only gigs that were available & it is GREAT to slam a big room but ultimately, it was not satisfying for me and because my earlier works were better known because of the different dynamics then, I only got these calls to DJ because I was a KNOWN Producer, but my passion has always been CREATING MUSIC, not about getting people to stroke my ego, which was never a motivation for me, so I quit DJing in 2014 or so, other than for true friends at tiny house parties with real friends When he cites how major corporations get into it for pure profits, the ethos of the community is undermined and that is also very true This is why Festival EDM scene got so vapid & shallow nearly completely disconnected from the music's origins Between 1989-1994 I saw Richie Hawtin, Juan Atkins & Cybotron doing live PA concerts in a rave setting, something you never see anymore, but I did a LOT of that too! It seems only The Prodigy ever made a real living at that thing but that used to keep the awareness of WHO made the actual MUSIC everyone is banging on the decks. Being black at a rave back then was normal, but somehow they've been put off by the current incarnation of today's Capitalist focused circuit that bears little resemblance to the revolutionary global subculture that created this scene in the first place. the community even among competitive acts, with true real personal friendships truly kept us connected to community back then, but much of that has evaporated I would love to belong to the "guild" concept he mentions around transparency, community & education which could revive what was originally so transformational about this movement. If this automated payment infrastructure they imagine would be a nice to have COVID has been good for me to work in isolation in the studio again, with that reflection time, trying to make music that matters again Learn your history. This music was birthed into the world by African Americans, queers & outcasts like me.
I think ist interesting that this podcast abourt art is held in factory berlin, a company that actively tried to push out artist out of building that was a kind of collective studio building where artist could get space cheap. Factory has actevily worked against the art scene in berlin but tries to have a funky image of supporting indepence, when they do the opposite.
One can take away from this interview a sense of taking covid-19 seriously and glad Richie has acted like a role model and not putting money before lives , still would have been nice to sample a lock down set from his back garden ? i am bored with the offerings on RUclips ?
Buying a track for a buck on Beatport or Bandcamp thinking it gives you the right to make thousands playing it is absurd, and directly illegal in other scenes without licensing deals. This is an interesting discussion and I can really support the idea of a percentage on DJ-fees above a threshold, gig endorsement/advertising earnings, and ticket sales, going to the producers who’s music is being played on any particular event. And it should be reported automatically by a “black box” running a Shazam-like ID system to at least try to avoid manipulating reporting. Though not perfect, even something with 80% accuracy would be better than the system today. The little money producers currently make very rarely cover the cost of production, gear, software, studio time, mastering, pressing, etc etc. But they carry the synth and DAW industry as example, in addition to creating the actual music that the whole scene and industry is built on.
This is heartening, I've loved Ritchie since Technarchy and Approach and Identify, F. U. blew my mind even more. I'd love to see this concern extended to those who make the software we producers use in environments like VCV Rack. To me this seems important to look at because of the sheer number of developers that contribute to making it so powerful. There must be so many developers who don't get much money. I'd love to see a general pool to contribute to because I can't afford to give many devs a meaningful contribution. There are also companies that will be doing relatively well financially who may benefit more from directing cash into the darker corners of the ecosystem than having a few extra quid in their pockets. I've focused on VCV because of the number of contributors and the resultant freeze response it generates in me when I go to give. I don't know what the best thing to do is with ten pounds, how do I direct that small amount? I should really check the VCV forums to see if this is being addressed, still, it's important we recognise those who develop the free software the artists themselves use that undergirds a significant amount of the music we cherish. If you are using free software and can really afford to, consider giving something. This is the age of example so we must live it, Ritchie lad, you are setting a fine example here and the interaction with Holly Herndon and Mat Dryhurst is solid. I'm off to listen to you now, Man 2.0, Rebekah Teasdale. I'd love to hear anyone's thoughts. I can contribute some time to trying to fix this for artists and developers, just not money, not now, anyway. Massive love to you all.xx
There is more than knowing how to mix. A DJ is a selector, he/she spends countless hours listening to music he/she wants to present. This is what makes a dj, the pay they receive is partly because of this prep. A DJ wants to move people based on those records/mp3s, you pay the dj for the ear and presenting it. There are many artists that don't get the cred they deserve, it's not on the dj to get them paid. The dj is playing thier music to a crowd that would have rarely had a chance to hear that track. how much is that worth?
Yaaa from Windsor! Soo sorry for fanning out in front of your house lol! Nurse techno geek - and we have the same birthday!! Amazing to see your growth over all these years. Great interview, and similarly I believe that is true for us all...all the best!
Let me get this straight. A DJ from the past 30 years has had a duty to put on a white board or a screen what artist and track they are playing? Are you kidding me? I've hunted tracks by asking DJs and friends if they knew the track. When has Richie ever put out a tracklist after a gig to let the audience know? GTFOH
Hello from Detroit Ritchie. I turned 50 this year and it seems like yesterday we were partying @ the packard plant. I can’t wait until we are all sweating and dancing again.
Such a great and inspiring talk. Much needed, thank you.
MMXX ruclips.net/channel/UCyEtI40fOL4upss_jD8LQkw
As an inner city kid this makes me grateful to see you in this conversation 🙏🖤
es posible ver el video con subtítulos en español ?
The one and Only.Roller coaster live we know
👌
30 Августа 2024 Год . 😁🌷💛 . Привет Richie Hawtin 😁👨🎧 и Спасибо за видео от 2 Человек . Город Москва . Актриса Анастасия Уколова 😁👩💅 2209 + Село Чалтырь и Город Ростов-на-Дону . Dj 🎧 Калуст 😁👨🚭 . 🍓🍒🫐🍊🚭⚽😁☀️🍵☕🫖❤️💜💙💚 . 😁👩👨 !)
I'm GenX, age-53, started going to raves in 1989 & proto-raves for the 3-4 years prior to the Second Summer of Love, started producing vinyl in 1994, released dozens of records from 1994 to the present on a bunch of different labels and can very much related to Richie's concerns about the imbalances in the industry
As a musician, composer, arranger with a background in all the officialdom of classical & jazz education, I had no interest in ever becoming a DJ, but over time the record deals disappeared & the DJ gigs kept calling me, despite no background or interest in DJing, but I finally caved in 2007 and just took the only gigs that were available & it is GREAT to slam a big room but ultimately, it was not satisfying for me and because my earlier works were better known because of the different dynamics then, I only got these calls to DJ because I was a KNOWN Producer, but my passion has always been CREATING MUSIC, not about getting people to stroke my ego, which was never a motivation for me, so I quit DJing in 2014 or so, other than for true friends at tiny house parties with real friends
When he cites how major corporations get into it for pure profits, the ethos of the community is undermined and that is also very true
This is why Festival EDM scene got so vapid & shallow nearly completely disconnected from the music's origins
Between 1989-1994 I saw Richie Hawtin, Juan Atkins & Cybotron doing live PA concerts in a rave setting, something you never see anymore, but I did a LOT of that too! It seems only The Prodigy ever made a real living at that thing but that used to keep the awareness of WHO made the actual MUSIC everyone is banging on the decks. Being black at a rave back then was normal, but somehow they've been put off by the current incarnation of today's Capitalist focused circuit that bears little resemblance to the revolutionary global subculture that created this scene in the first place.
the community even among competitive acts, with true real personal friendships truly kept us connected to community back then, but much of that has evaporated
I would love to belong to the "guild" concept he mentions around transparency, community & education which could revive what was originally so transformational about this movement. If this automated payment infrastructure they imagine would be a nice to have
COVID has been good for me to work in isolation in the studio again, with that reflection time, trying to make music that matters again
Learn your history. This music was birthed into the world by African Americans, queers & outcasts like me.
Ngl, baldy proper waffling!!
I think ist interesting that this podcast abourt art is held in factory berlin, a company that actively tried to push out artist out of building that was a kind of collective studio building where artist could get space cheap. Factory has actevily worked against the art scene in berlin but tries to have a funky image of supporting indepence, when they do the opposite.
One can take away from this interview a sense of taking covid-19 seriously and glad Richie has acted like a role model and not putting money before lives , still would have been nice to sample a lock down set from his back garden ? i am bored with the offerings on RUclips ?
THANK YOU FOR YOUR UNIMITABLE WAY TO CREATE RICHIE. YOU ARE HUGE. REGARDS.
Richie is a incredible person... so happy that Factory could take the Interview...
Been a while since I've seen a longer interview with Richie, this should be good 👍
It´s not RH , who talks too much..
Buying a track for a buck on Beatport or Bandcamp thinking it gives you the right to make thousands playing it is absurd, and directly illegal in other scenes without licensing deals. This is an interesting discussion and I can really support the idea of a percentage on DJ-fees above a threshold, gig endorsement/advertising earnings, and ticket sales, going to the producers who’s music is being played on any particular event.
And it should be reported automatically by a “black box” running a Shazam-like ID system to at least try to avoid manipulating reporting. Though not perfect, even something with 80% accuracy would be better than the system today.
The little money producers currently make very rarely cover the cost of production, gear, software, studio time, mastering, pressing, etc etc. But they carry the synth and DAW industry as example, in addition to creating the actual music that the whole scene and industry is built on.
the million dollar punch line
si certo, sono poliziotto !!!
A new underground is emerging ...
Playing techno Live from drum machines, samplers & synth has to play a bigger part. 👍😎😁
remember me?
This is heartening, I've loved Ritchie since Technarchy and Approach and Identify, F. U. blew my mind even more.
I'd love to see this concern extended to those who make the software we producers use in environments like VCV Rack. To me this seems important to look at because of the sheer number of developers that contribute to making it so powerful. There must be so many developers who don't get much money.
I'd love to see a general pool to contribute to because I can't afford to give many devs a meaningful contribution. There are also companies that will be doing relatively well financially who may benefit more from directing cash into the darker corners of the ecosystem than having a few extra quid in their pockets. I've focused on VCV because of the number of contributors and the resultant freeze response it generates in me when I go to give. I don't know what the best thing to do is with ten pounds, how do I direct that small amount?
I should really check the VCV forums to see if this is being addressed, still, it's important we recognise those who develop the free software the artists themselves use that undergirds a significant amount of the music we cherish.
If you are using free software and can really afford to, consider giving something.
This is the age of example so we must live it, Ritchie lad, you are setting a fine example here and the interaction with Holly Herndon and Mat Dryhurst is solid.
I'm off to listen to you now, Man 2.0, Rebekah Teasdale. I'd love to hear anyone's thoughts. I can contribute some time to trying to fix this for artists and developers, just not money, not now, anyway.
Massive love to you all.xx
oh for Christ's sake check your spelling first, lad
Techcast
There is more than knowing how to mix. A DJ is a selector, he/she spends countless hours listening to music he/she wants to present. This is what makes a dj, the pay they receive is partly because of this prep. A DJ wants to move people based on those records/mp3s, you pay the dj for the ear and presenting it. There are many artists that don't get the cred they deserve, it's not on the dj to get them paid. The dj is playing thier music to a crowd that would have rarely had a chance to hear that track. how much is that worth?
You're a label owner and you are saying you wish it was up to someone else to care for artists. Where is Magda, Heartthrob, Barem, Paco Osuna, Gaiser?
Yaaa from Windsor! Soo sorry for fanning out in front of your house lol! Nurse techno geek - and we have the same birthday!! Amazing to see your growth over all these years. Great interview, and similarly I believe that is true for us all...all the best!
What a pc bore fest
Excellent discourse
30:23, tell that to Ricardo V.
#1 awesome super great! Keep it doing, Rich!. From Argentina!
Richie you’re awesome dude
This is great !
God blessings x
Awesome video! Richie rulz
MMXX ruclips.net/channel/UCyEtI40fOL4upss_jD8LQkw
FIRST
Please add spanish subtitles
Let me get this straight. A DJ from the past 30 years has had a duty to put on a white board or a screen what artist and track they are playing? Are you kidding me? I've hunted tracks by asking DJs and friends if they knew the track. When has Richie ever put out a tracklist after a gig to let the audience know? GTFOH
👍🙏👍