11/21/08

The Sociology of Dancing

With both a DJ (Nick) and an electronic music producer (Marty) posting recently to IndieArtsRI.org, I’d like to provide perspective as the third member of the holy trinity: an electronic dance music fan; a club goer. Specifically, I want to talk about dancing.

Dancing to the average person, especially the average straight male, is an intimidating act, and watching how a dancefloor populates over the course of a night is an amusing pastime. LoveLife (biweekly Fridays at Local 121) is a wonderful example of the sociology of dancing, and I’ve seen this process at work over and over again.

I typically arrive at Local 121 just as they open the doors to the speakeasy, for reasons I explain below. Usually by 11:30 there are between 10-20 people milling about. There is always a small contingent of short, stocky, fitted ballcap-wearing dudes who arrive early in tandem, get a cheap drink, and stand near the DJ decks. They never dance. They stand bolt upright looking tough, like arrhythmic deers in the headlights.

The first dancers, besides myself, are invariably a group of two or three women, sometimes accompanied by an almost unmistakably gay male friend, who dance in a small circle in the dead center of the floor. The rest of the attendees will be scattered about, mostly sitting with friends, sipping their drinks. Then, a group of two or three guys will enter the room at speed, and one will immediately start dancing a spastic tribal dance, as if to appease the God of Insecurity. He will dance this way for perhaps 20 seconds, and then retire to the bar as if nothing happened. Eventually a girl will drag her tall, thin, reluctant boyfriend to the floor where he will bounce uncomfortably off the beat, and from there the party can begin at last.

By midnight, the club is reaching critical mass and critical drunkenness. Most people need two things to dance: alcohol and anonymity. I can personally relate to the desire for anonymity in a packed club, which also provides a kind of human energy that is definitely infections above and beyond the music. But disinhibition is the most critical component, which is why two drinks is a minimum to the average club goer. With sufficient alcohol in sufficient bloodstreams, the place will finally reach capacity crazy by 12:45, almost two hours from the start of the show.

I see it as such a sad commentary that in a room full of 20 and 30-somethings, many of whom are intelligent, healthy, good-looking students and professionals, only a very very small percentage feels comfortable dancing sober, and before the room is packed. It tells me that people are not comfortable with their bodies, or with who they are, and this is true of both men and women. Dancing is exposed, it is passionate, and it is one of the few acts that amplifies one’s insecurity, eliciting vulnerability and acute self-awareness. There are, I'm afraid, a LOT of insecure people in the dance club.

Just like Marty, I found myself drawn to electronic music for the first time during the Big Beat craze of the late ‘90’s. It wasn’t long after that I discovered the much deeper and more soulful genres of house and breakbeat. And most importantly, I discovered that I love to dance.

As a straight male in a part of the world that’s still too obsessed with machismo to appreciate electronic music, this makes me a little bit of a weirdo – a role, I admit, to which I am happily accustomed. My tastes in the music I dance to are very specific, borderline snobby, and I cannot dance well to anything below 120 beats per minute, which rules out most club hip-hop. Going dancing is also a ritualistic act for me. I have a specificly-designated outfit which provides maximum breathability and flexibility, and shoes which give ample support and power (skater shoes have always been by favorite, in spite of their weight). If I could get away with it, I would also wear my white visor and wrist bands (I play tennis, so these are already part of my wardrobe). I begin hydrating an hour before I leave, and I always wear ear plugs, which receive a fair mix of sarcasm and envy. I always bring along a backup pair, but as yet no one has ever taken my offer. I almost always leave the club when the party is at its peak…mainly because by that time there is little floor space to really move, and what space there is is covered in spilled beer and cocktail mix. It’s my ankles’ worst nightmare. Fortunately, I’m usually exhausted by that point anyway, as is my date, if I have one at all.

I hope that as the electronic music and dance scene grow and broaden in Providence, a few of you will be brave, accept that EVERYONE in the room is insecure and uncomfortable at first (even me), and let loose from the outset, because there is no “scene” without the fans, and there are no club nights without club goers. Dancing isn’t just a fun night out, it’s our civic duty. And you are NOT the goofiest guy in the room.

11/19/08

Downtown Providence




AfroSonic Jump! @ Xxodus Cafe - Friday, November 21st























AFROSONIC JUMP!

featuring all AfroSonic DJs and Drummers, a night in celebration of deep and soulful house, afrobeat and genre defying music set to keep you grooving all night.

www.afrosonic-ri.blogspot.com

Friday, November 21st - 9pm - 2am at The Black Rep.

Music for Crying Out Loud @ Firehouse13 - Friday, November 21st



Srinivas Reddy
Bangalore
Too Big To Fail

Click here for more information.

Loud Night Number One @ Firehouse13 - Saturday, November 22nd



Tor Johnson Records Presents: Loud Night #1:

Snowbird
The Empire Shall Fall
Bloodwitch
Blackhorn.

Pre-sale tickets available on torjohnsonrecords.com


Click here for more information.

Zebras, Orca Beat, Ted James, Channel Zero @ AS220, Tuesday, November 25, 2008


Join Cozy Music and friends in celebrating the digital release of Channel Zero's self-titled debut at AS220 on Tuesday, November 25, 2008. Show starts at 8:00 PM, $6 at the door. Performances by Zebras, Orca Beat, Ted James and Channel Zero.

ProvSketchy presents Dames! Drinks! Drawing! @ The Blackstone - Saturday, December 6th
























Check out The Dazzling Dames at ProvSketchy's Dames! Drinks! Drawings!

Saturday, December 6th * 3pm - 7pm @ The Blackstone
$5

Indie Dance Party @ Local 121 - Saturday, December 6th



Come check out DJs Gregor and Tim O'Keefe
the first Saturday of every!

We will make you dance!!

Located at Local 121
Free

11/17/08

Life of Poet: The Land of Opportunity

11/16/08

House Music is not Techno

Having played house music in Providence for the last 3 years and a few years before in France, I have noticed there is still to this day a high level of confusion as to what "house music" really means.The most common misconception is when one will put all forms of electronic music, including house, under the label “techno”

House music is not techno.

The origins of House music trace back to Chicago, and most notably the club “Warehouse” back in the mid 80 s when Frankie Knuckles introduced the first house beats using the Roland TR-707 drum machine. It’s a direct descendant of disco, and one can’t help notice the first elements of house by listening to Donna summer’s “I feel love” track from 1977.

Techno on the other hand originates from Detroit and the later part of the 80s, developed by the Belleville four, and most notably founder Juan Atkins. The essence of techno was heavily influenced by futiristic and fictional themes, and is profoundly inspired by the idea of a deep relation between man and machine. But while techno originally sounded close enough to house as they both merged euro-synth aesthetic to funk, house would gradually take a very unique and much more organic course of its own. While techno continued to explore pure electronic patterns, house gradually became a vehicle to incorporate all sorts of musical genres such as soul, gospel, jazz, afrobeat, latin music, brazilian, and transform them to become a new form of universal dance music. Djs and producers such as “Little” Loue Vega started to incorporate live recordings of percussion and brass ( with legends such as Tito puente) to mix in with their beats creating a series of tracks called “elements of life". House by then had given birth to Deep House, a more sophisticated genre of house that tells more of a story , focuses more on deep grooves than dance beats, priveleges musical nuances and even lyrics ( well ok it will never be poetry either) . Later
house exported all across the world, each country taking it s own twist, most notably in France and the creative French touch of the late 90s but also the UK, Italy, Germany and even South Africa.

House music is actually so diverese in its sub categories that anyone can find something they can relate to when dancing to house. Whether it's an african chant, a Bob Marley sample, a saxophone solo, most often people won't realize they are dancing to house, they will just be dancing to music.

I could go on and on talking about house and all its virtues, the best way to get a clear idea, at the end of the day, is to listen to it. And you don’t even have to travel to Boston or NY, right here in Providence you can get your own fix of house music. Here are some selected nights:

11/14/08

Art and Value

Just as sports fanatics love to speculate about numbers and strategy, and politics junkies love to speculate on polls and issues, artists love to debate the question of “what is art?” At least, they’ve loved it for the last century, since Duchamp started asking. But a more unique question that I have grappled with for years is, “what is an artist?”

Having never been to art school, and until recently only having created a single weekly comic strip, rather than anything in the so-called “fine” arts, I have always felt like an outsider. Although I have been producing The Invisible Life of Poet for six years, I was always hesitant to call myself an “artist”. My work never seemed to rise to the definition, as if it were a kind of “quasi-art” or “common art” or even (horror of horrors!) a “craft”.

There is, of course, no accepted definition of “art”, but whatever it is, I didn’t feel like what I did qualified. The pieces I produce take very little work compared to the work done by painters, or sculptors, or musicians, or dancers. (Of course, one can argue that what I do is serial art, and that it is the larger premise and its execution, not any individual piece, that makes it worthy of the label. But I’ll save that for another article.)

Today, I do label myself an artist, but first I had to be recognized as such by other people I could very definitely recognize as artists. In fact, it was a local theatre manager I met at the Encore awards earlier this year who suggested that my work is actually a form of performance art. Whether true or not, this was, to a stranger in a strange land, like a warm and boisterous welcoming party at the gates, complete with feasts and fair maidens. It made me feel as if I could be a part of a very exclusive club that I respected and envied.

One of many popular definitions of what makes something “art” is to say that “Art is valuable”. It is culturally respectable and worthy of our attention, or even worthy of a $140 million bid at Sotheby’s. Those who produce it, the “Artists” are therefore respectable and worthy of our attention. They are cultural signposts, freethinkers, and confident executors of their vision of the world. I think that the question of “am I an artist?” is then the same question as “am I culturally valuable?”

Perhaps this can also serve to answer the question “why are many artists such incorrigibly arrogant assholes?” Based on my argument, one might speculate it is because somehow, even before they became artists, they were filled with a sense of blind self-importance, of personal and cultural value. Or if nothing else, they’ve learned the benefits of posturing value outwardly, even if beneath the surface they actually hate themselves.

As it turns out, a definitive answer to the question “am I an artist?” didn’t come until I was able to answer the question, independent of the work I do, “am I valuable?” I was not filled with ridiculous self-importance as a child (quite the opposite). I had to find a deep wellspring of self-confidence on my own, and get my act together to be able to make that leap. The question was only made difficult by my own insecurity, and had little to do with the works I produced.

And now that I can confidently proclaim myself an artist, I get to be the incorrigibly arrogant asshole, bored by a world of frauds, poseurs, and also-rans. Isn’t that what art is really about? Unfettered hysterical elitism? I certainly hope so…

11/13/08

FIESTA ELEKTRONIKA THIS SATURDAY @ LOCAL 121!!


Come groove to FIESTA ELEKTRONIKA this Saturday November 15th
at Local 121, brought to you by Nick de Paris and Friends. This month
on the menu: Funkadelicious House, Electro and Afro-Latin Grooves to keep
you going all night long!!!
No cover!!

Hills & Valley: Live on BSR 88.1 FM Tonight


Ted James' Hills & Valley will be performing live on the air tonight at 8:00 PM on BSR 88.1 FM WELH's Live Block. Tune in or stream the show at http://bsrlive.com

Vote Dan White as host of The Rhode Show!
























Vote for Dan White to be the host of The Rhode Show on Fox Providence!

Dan has been the very entertaining host of the Providence Roller Derby, our very own first IndieArts Fest and a variety of other shows including The Danger Danger Birds!

Click Here and vote for Dan White!!