FORO

Charivari era el nombre de una de las fiestas que organizaban la gente de la high school, parece ser la mejor de todas... principalmente mucha música italo y europea en general. Por allí sonaba mucho Kano y un grupo de los habituales decidieron hacer un tema en honor a esa maravillosa fiesta tomando prestado algo de una cara B de Kano, en concreto este tema ¿os suena?

Also related to "What was the first Detroit techno record?" and one for the [313] spelling primer.

First thing's first.

"Charivari"
a) is a French word meaning "hullabaloo" or "commotion,"
b) is a chain of clothing stores in New York City.
c) was a high-school based "party club" in Detroit in the early '80s.

"Sharevari"
a) is the name of a song.
b) is a tribute to the aforementioned club.
c) bears some resemblance to Kano's "Holly Dolly," especially when the chorus is played repeatedly, bouncing from one turntable to the next.

The group that recorded it was called "A Number Of Names," whose members were Paul Lesley, Sterling Jones and Roderick Simpson. Until recently, no photos of the band or interviews have ever been published. Paul Lesley has recently emerged and is working with Puzzlebox Records to release the single and a batch of remixes from techno and electro artists.

Some collectors and enthusiasts claim that 1981's "Sharevari" was the first Detroit techno song, while others contend that Cybotron's "Alleys Of Your Mind" came first in the same year. According to Lesley, "Sharevari" was probably recorded well before "Alleys," but the latter was released to the public first.

At the very least, it is an important step in the evolution of Detroit techno: an early externalization and reinterpretation by the city's African-American youth of electronic European sounds.

Charivari era el nombre de una de las fiestas que organizaban la gente de la high school, parece ser la mejor de todas... principalmente mucha música italo y europea en general. Por allí sonaba mucho Kano y un grupo de los habituales decidieron hacer un tema en honor a esa maravillosa fiesta tomando prestado algo de una cara B de Kano, en concreto este tema ¿os suena?

If you look on the “Categories” sidebar, you’ll see “DEMF 08″, “DEMF 09″, and “DEMF 10″. Before those years when I covered DEMF for this blog, I attended every year from 03 on. Barring a drastic change in how the festival operates, that will be it for me moving into the future. I will still be going to Detroit this weekend: I’ll be supporting parties with Detroit deejays playing at them, I’ll be eating food at Detroit restaurants, I’ll be supporting Detroit record stores, I’ll be picking up freshly pressed records from a Detroit record pressing plant, and I will in general be giving my money to businesses and people in Detroit. But not Paxahau.

My beef with these guys is pretty long-standing at this point. I’m not going to rehash every single qualm I’ve had with their running of the festival over the years, but the last straws were last year when stagehands were prepping shit DIRECTLY IN FRONT of the Moritz Von Oswald Trio during their set and when the Detroit artists were once again relegated to the underground stage where sound and air quality are just not up to par. I’ve had enough.

There has been an argument that I’ve heard some people make for many years, the gist of it being that the festival is NOT about Detroit music, that it is only an electronic music festival taking place there. Looking back at the lineups from the jump-off through to 2005 or so, I couldn’t agree with that assessment. If you take into account the lineups from 06-11, I now wholeheartedly AGREE with that point of view. I am not interested in going to some generic music festival just because it is in Detroit. Especially when the results are more like a crappy rave than anything else! I loved the festival because it used to be a celebration of Detroit music and culture. It has ceased being that, and I have spent more time sitting around being irritated at the low quality of the music and the hassle of leaving and re-entering if I want to avoid paying crazy money for crappy festival food.

My mind used to be blown regularly at the festival; that experience has been declining precipitously every year. It’s not just me, either. My man Matt Cohen has a few words about his experiences photographing (for RA, XLR8R, and here!) and attending the festival that you can read here. Less and less of my people from all over the world have been attending the festival, including the dwindling Pittsburgh crew. It’s sad to see it all go downhill like this, but that’s what happens when the people in charge of the festival are more interested in being cool promoter guys than in the legacy of Detroit’s music. Carl Craig’s continuing association with them is yet another blemish on his already pockmarked recent track record. I hope that that money is awesome for all involved.

I do truly hope that this weekend remains a time when techno and house people worldwide can get together in the Midwest and hang out, even if it is primarily at afterparties instead of the festival itself. I can’t even imagine how much shit has come into being as a direct result of the connections made on Memorial Day weekend every year. I know it has been wildly helpful for me and many of my friends who deejay, play live, own labels, put out music, etc. Having this die off would be even worse than the demise of the festival itself!

1. Kyle Hall “Create Your Own Existence” (Moods & Grooves, 2008);
2. Bostro Pesopeo “Basic” (Permanent Vacation, 2010);
3. Stereociti “Water Strider” (Mojuba, 2011);
4. Scott Grooves “Crash” (Not On Label, 2011);
5. The Smith Hall Project “He Said” (Undertones, 2009);
6. Oasis “Thirteen” (FXHE Records, 2007);
7. Steffi “Arms” (Ostgut Ton 2011);
8. Omar S “Sarah” (FXHE Records, 2011);
9. Orlando Voorn “The Truth” (Finest Blend, 2007);
10. Brian Kage “Salmon Fishin’” (Beretta Red, 2011);
11. Los Hermanos “The Very Existence” (Submerge, 2005).

publicada en este mismo foro en enlaces :

enlaces/david-verdeguer-tribute-to-drexciya-1992-2002-t75769.html

David Verdeguer @ Tribute to Drexciya 1992/2002