hollertronix c or d?

can someone tell me is the "Never Scared" thing distributed officially? or was it just a bootleg? if so who distributes it and is it possible to order it for Europe?

Any singaporeans reading this: bombard zouk with requests...

"f*ckin expensive" is another phrase that can be applied for us non-slsk'ers ..

so tell us .. what different about this stuff ?

Classic.

anyways, i saw them play records in SF one night and it was awful. they played nearly the same mix as on the cd and one of the two dudes spinning (or maybe it was their friend - hopefully) kept doing major trainwrecks. pure noise. and terrible records.

but the cd is still pretty fab

I've never seen them live, but I'm catching Diplo open for RJD2 and I really dug Diplo's Favela Funk mix CD as well.

Oh dear. I'm not buying it then.

2/19 at the UACA!

DO YOU DARE????

Any singaporeans reading this: bombard zouk with requests... "

dude save yourself the money and just hire your best local hip-hop DJ, they'll honestly play the same set minus: radiohead's idioteque/daft punk's around the world / (diplo played these songs each of three times i've seen him)

live in Montreal ('05)
live on Beats In Space ('03)
Favela On Blast ('04?)
Breezeblock ('04)

What am I missing?

would you mind gmailing/YSI the montreal mix? thanks

"if yall can find it .. cool . post it the fu** up. I already got paid for it. i dont give a shit about any of my mp3s on the internet. yall are the only people that listen to my shit anyway. if I relied on record sales to eat. Id be like real broke and sad and dead like a zombie"

http://s7.yousendit.com/d.aspx?id=06N8VI7BT314T02TYHMZHPAHC

http://adam.idle.se/thrasher/Music/Mixes/

PaperStreet and R5 Present :
The Official Mad Decent Tour Afterparty
HOLLERTRONIX REUNION with DJs Lowbudget + Diplo
(spinning together) w/ special invited guest Dave P

This Friday July 21st – Midnight till 3:30am (drink all night!)
At Transit Nightclub (600 Spring Garden Street)
21+ / Free with Diplo Show Wristband / only $5 without
Reinforced Sound Being Provided, So Expect Big Things !

gotta love the "reccomended if you like: EVERYTHING YOU'VE EVER HEARD OF THAT WE CAN MAKE A TENUOUS COMPARISON TO" school of press release writing.

-- Alex in Baltimore, Friday, 13 April 2007 14:04 (Yesterday)

http://img67.imageshack.us/img67/8746/hoooozo2.gif

what is that, For Better Or For Worse?

http://www.undergroundhiphop.com/store/covers/MCR02CD.jpg
Of all the new generation of B-more club producers, labels and DJs, Aaron LaCrate and production partner Debonair Samir are by far the most sought after. Having done official major label Gutter remixes for Lily Allen, E-40, Busta Rhymes, Radar, Hadouken, Mark Ronson, and many others, they have toured the world pushing Baltimore like an illegal substance. Milkcrate Records boss Aaron LaCrate's vision and trend starting mix called B-more Gutter Music is an entire generation’s introduction to his hometown and Baltimore Club Music.
Their newest release, “Gutter Music Vol. 1”, gives the public their first chance to get the next level of Baltimore Gutter exclusives that have been burning up dance floors worldwide from Moscow to Paris. These are the tracks that tear the club up! Perfect for the Serato DJ's, this is the best way to get that Baltimore sound in high quality digital. The track listing is a mixture of future classics, club classics and brand new Gutter bangers. A must have for all your DJ sets, the CD includes the highly sought after E-40 "U & DAT" Remix featuring Juelz Santana that so many kids have been digging for.
Aaron LaCrate & Samir have received press on MTV, Much Music, Village Voice, Dazed and Confused, i-D, NME, Spin, Fader and many, many others as the leaders in a new musical revolution. The track listing features some of the most in-demand and authentic tracks of the Baltimore Club Genre.

does anybody have a link to dude from murder dog's blog where he put these dudes on blast

-- and what, Thursday, April 12, 2007 2:09 PM (1 hour ago)

I WAS ASKING FOR A LINK

it was the blog of dude who freelances for murder dog who got pissed at hollertronix overrepresenting black folks on cd covers/flyers/website photos and compared it to cracker ass universities photoshopping black dudes into group photos - i cant remember anything else

http://www.angelofhistory.org/index.php?p=8

thnx man

yeah thats some good shit I wish he posted more often

nice to see such a good articulation about what's creepy about these dudes, but depressing that it's almost 3 years later and their influence is more pervasive than ever.

okay that fuckin' cover

Of all the new generation of B-more club producers, labels and DJs, Aaron LaCrate and production partner Debonair Samir are by far the most sought after. The track listing features some of the most in-demand and authentic tracks of the Baltimore Club Genre.

"burning up dance floors worldwide from Moscow to Paris"

Heh.

http://www.angelofhistory.org/index.php?p=8

i don't know, that's pretty reductive and trite. not so much in re: hollertronix specifically as just his whole thesis. i mean, yes, right the white fascination with blackness and the "authentic" and whatever, but c'mon. american musical history is SO much more complex than that, and anyone who trots out that whole elvis shtick needs to get a new line.

i mean ok yeah lol at white kids and whatever.

yeah that race thing is so played out

it seems to me that he's not being reductive at all ... i guess if you read it as purely 'putting dudes on blast' then maybe you can see it that way but he seems pretty broad in his approach, its a look-out-for-white-supremacy, and specifically says he's not trying to advocate banning hollertronix, its not what this is about, etc.

its a very BIG PICTURE piece that just uses the bizarre flyers as a jumping off point. i don't know that he's saying anything original or cutting edge re: race relations but he's just observing a shift in the way white supremacy is ingratiated into the music biz

i misused 'ingratiated' but u can use context to understand what i'm saying

i just think "white supremacy" is a kinda silly way to talk about hollertronix.

I don't

you'd have a better argument if you switched those around, at least in the grand scheme ('i just think hollertronix is a kinda silly way to talk about white supremacy') but in ilx discourse circles i'd prob disagree

i read some bullshit art/fashion mag blurb a couple years ago about hollertronix (typical only rap shit in a art/fashion mag - white ppl represent!!) and they made a huge point of saying over + over + over how drama's 'left right left' was on it and how hollertronix got that real rugged dirty south gutter shit like left right left and blah blah blah right at the same time drama was going to prison for like 30 years on an armed robbery charge for sticking up a bank cuz he didnt have any $$ left after getting fucked by his label on left right left - maybe that dude couldve benefited from the white folks in hollertronix throwing some shine his way instead of making their name on his music?

I mean it's not that these DJs are "white supremacists" ---- white supremacy in america is a pretty all-encompassing fact of life not some just kind of deviant political agenda of a few straggling skinheads & KKK sympathizers ---

it's just a lack of respect that's the problem really -- but that's how white supremacy works.

that cover. this guy is a piece of shit

for one thing "white supremacy" is a bad phrase to throw around cavalierly as if everyone agrees/knows what it means. it's just so loaded, like calling people nazis or whatever. for another, that whole model of whites as appropriators and blacks as appropriatees is way too simplistic a way to think about american music in particular, and art in general. h

i have a hard time taking seriously people who think elvis can be reduced to "stole from black folks."

maybe that dude couldve benefited from the white folks in hollertronix throwing some shine his way instead of making their name on his music?

and they were the only djs in america playing "left right left"?

aren't these guys just playing music they like? which makes them different from other djs because why? (because they play black music for white kids. i know. and if they were playing white music for white kids, they'd be racist by exclusion i suppose.)

ahh yes, the white hipsteur's burden

sure, but exactly how much milage is there left in "lol white hipsters"? or i guess there's milage in it, it's just kinda dull.

Except in the minds of reactionaries and just plain bitter dudes, when did it ever have mileage?

the 'lol' is extremely incidental, as is the 'hipsters'

But what is the relation between white people and emergent Black musical genres such that white people are so eager to begin playing/making/producing a given Black genre almost as soon as they hear it?

I don't really see how this is different from "emergent White musical genres." People imitate stuff they like.

for one thing "white supremacy" is a bad phrase to throw around cavalierly as if everyone agrees/knows what it means.

it means white people run shit -- hard to stomach perhaps if you like the idea of things being fair but not really mysterious or debatable re: the usa

for another, that whole model of whites as appropriators and blacks as appropriatees is way too simplistic a way to think about american music

not the whole story sure but this is one of the fundamental patterns of american music and it hasn't lost any of its currency ----

i have a hard time taking seriously people who think elvis can be reduced to "stole from black folks."

there's more to say about elvis than aaron lacrate, I agree ---

^

it means white people run shit -- hard to stomach perhaps if you like the idea of things being fair but not really mysterious or debatable re: the usa

oh gee i have never heard of the racial history of the u.s.a. tell me more!

that's what i mean, these discussions turn so stupid so quickly. degenerates into a lot of mostly white people sitting around calling each other racist. very useful.

not the whole story sure but this is one of the fundamental patterns of american music and it hasn't lost any of its currency

if there's a fundamental pattern of american music, it has mostly to do with hybridization and cultural interbreeding (or inter-stealing, if you prefer). if you want to talk about black artists being ripped off, you need to look at the money men, not the white artists (who were also getting ripped off financially most of the time). yes, all those guys stole each other's songs, riffs, lyrics, vocal timbres, band members, all the time. black, white, everybody. if you think there's ever been a one-way street of artistic influence, racial or otherwise, then you're spouting ideology and not history.

not that i don't think discussions of blackness and whiteness aren't valuable, or at least don't have the potential for insight. but when they equate hollertronix (fer chrissakes) with white supremacy, they're not revealing much of anything except the desire to huff and puff.

that's what i mean, these discussions turn so stupid so quickly. degenerates into a lot of mostly white people sitting around calling each other racist. very useful.

bullshit dude, 1st off i don't know but is the dude who even wrote that blog post white? Not that its in any way relevant to his argument, but you seem to think it is.

second, i know plenty of white people who could do to call things/people racist when they are a fuckload more than they do. In this case, a lot of ppl jumped on a bandwagon (not excluding self here) and no one was really questioning the way in which this shit was perpetuated by white supremacy.

or try reading this post about dance music:
http://www.angelofhistory.org/index.php?p=12
explain yr argument to drama, or dj deeon sitting in his old chicago neighborhood while a bunch of cats who were essentially born from his style trot the globe

rather, 'no one was really questioning the way in which this shit was perpetuatING white supremacy'

no one is claiming a 'one way street of artistic influence,' we're looking at simple economics.

oh gee i have never heard of the racial history of the u.s.a. tell me more!

that's what i mean, these discussions turn so stupid so quickly.

Did you REALLY just do that? Did you say a few posts up that not everyone "agrees/knows what white supremacy means," then get all righteously indignant when it was made pretty clear that most college-educated people have read the fucking Peggy McIntosh piece? REALLY?

when they equate hollertronix (fer chrissakes) with white supremacy, they're not revealing much of anything except the desire to huff and puff.

I agree with a big chunk of your Love and Theft-ripped thesis, but f you're not seeing the racist undertones of the way Hollertronix runs their shit then you're playing yourself, homie.

i don't know but is the dude who even wrote that blog post white? Not that its in any way relevant to his argument, but you seem to think it is.

actually i was kind of assuming he was black, but i have no idea. by "mostly white people calling each other racist" i was referring to the patterns of ilx discussions.

and my problem with the blog post, whatever his race, is that it's just a really simplistic way of thinking about american music history. really it was the elvis bit that set off the alarm bells because that's just so a.) tired and b.) wrong. and not like elvis needs defending or anything, or hollertronix for that matter because who really cares, i just think american music history is so much more interesting than those kinds of rote reductions. not that the cultural interchange that's gone on in american music has ever been divorced from the racial dynamics of the society -- it couldn't be -- but its role has been way more complicated than whitey stealing from the black man. among other things it ignores the fact that you had black superstars going back at least to scott joplin (speaking of hybridization), and that bessie smith was making $100,000 a year in the 1920s, and louis armstrong, and duke ellington and count basie and and and...

casting american musical history as just some story of oppression and greeheaded aesthetic appropriation is not just historically wrong, it sort of fundamentally misconstrues the role music has played in our cultural history. it denies its spirit.

Did you REALLY just do that? Did you say a few posts up that not everyone "agrees/knows what white supremacy means," then get all righteously indignant when it was made pretty clear that most college-educated people have read the fucking Peggy McIntosh piece? REALLY?

yes really. i think it's a sort of basically unserious thing to do to throw around a phrase like "white supremacy" in a discussion of hollertronix.

mc karl rove is white supremacist racial appropriation. hollertronix is music geeks playing music for hipsters, who can then be mocked by other music geeks for needing hollertronix to introduce them to crunk. which is fair game, but dragging "white supremacy" into it is silly. a bunch of posturing.

f you're not seeing the racist undertones of the way Hollertronix runs their shit then you're playing yourself, homie.

um ok "homie."

of course there are "racist undertones." you can't take a shit in this society without it having racist undertones. i thought you'd read peggy mcintosh. white people playing black music for white people = racist undertones. white people playing white music for white people = racist undertones. yes, it's about white privilege. i know. did we just discover this or something? we all live with it every day. i think it's silly to call out hollertronix specifically, and i think it's got more to do with anti-hipster posturing than any kind of commentary on race, america, etc. and like i said before, i think anti-hipster posturing is dull. (and i think people who write blog posts saying elvis stole it all from the black man are reciting received-wisdom cliche bullshit, whether they're white or black.)

i think people who write blog posts saying elvis stole it all from the black man are reciting received-wisdom cliche bullshit, whether they're white or black.

agreed.

i think it's silly to call out hollertronix specifically, and i think it's got more to do with anti-hipster posturing than any kind of commentary on race, america, etc.

disagree.

glad we cleared that up.

i refuse to believe that all u got from that article was 'anti hipster posturing.' talk about received wisdom

"homie."

haha thanks hoos

i just think there's this very strange implication that because these ideas and concepts are common in certain circles, or that folks have finally acknowledge the extensive role af-am culture has played in popular music, that these ideas are 'played out' or that somehow we've overcompensated.

The B-More Gutter music World Tour is proof of the musical explosion going on. Aaron LaCrate's beats and selection cater to a cross section in club culture, combining the most infectious elements of dance, house, hip hop, miami bass, and crunk - into an addictive mix of head nodding, bass thumping, booty clapping, doo doo browning, repetitive insanity. LaCrate's brand of crunked out dance music has ripped up dancefloors from Moscow, London, Paris, Stockholm, Dubai, Tel Aviv, Copenhagen, Hong Kong, Tokyo, and all across America.

aren't these guys just playing music they like? which makes them different from other djs because why? (because they play black music for white kids. i know. and if they were playing white music for white kids, they'd be racist by exclusion i suppose.)

-- tipsy mothra, Thursday, July 26, 2007 6:49 PM (Yesterday)

i don't know about the other honkietronix dudes but here why there's beef around the guy:

(pasted from another board linked upthread)

A basic idea of what people dislike about Aaron:

1. Selective history in his self-narrative and the story of Baltimore club. I.e. he was 'around' but was playing Gang Starr and Wu-Tang records in the 90s.

2. Exploiting his friends' names and networks in order to advance himself. His Bmore Gutter Music mix was a Hollertronix CD when it was convenient, a Spank Rock release when that was what was called for... he ate off of their names but they received no compensation or reciprocity.

3. Taking credit for productions that aren't his. This manifests as tracks produced by Debonair Samir being labeled "LaCrate mix," as tracks on Itunes by Rod Lee, Blaqstarr, XXXchange, etc being credited to LaCrate, and most recently submitting a Scottie B remix of Justice's "We Are Your Friends" as his own to a SXSW promoter.

4. Being so egomaniacal that his collaborators are not allowed clean, un-watermarked copies of instrumentals and tracks to play out at live performances.

5. Re-branding a genre of music with which he is peripherally involved in order to assume the spotlight. He talks in interviews about "the roots of gutter music" and "the Bmore gutter movement," which exist as nothing but PR fabrications. He even convinced MTV that "gutter" was a genuine variant of Baltimore club.

"and most recently submitting a Scottie B remix of Justice's "We Are Your Friends" as his own to a SXSW promoter."

for real? fuck this dude. i mean, i don't follow the guy, but fuck him. i hate the cover of that gutter thing.

xpost- about the angel of history guy...

He raises some good points but he's also reductive. He says "once you become conscious of how an age-old, highly intelligent and fast moving system of downpression operates on a global scale, you will never be able to look at anything in the same way", and I think this kind of highlights the way he's doing his music criticism, comparing all the cases he finds to this model of what's going on/the truth he has in his head. It's pretty insightful for some things (like hollertronix sort of) but he seems to miss out on a lot of subtleties and talk about things in this way when the model doesn't fit so well.

He said early on that he was wary of romanticising black music but he does it all the time. He says "So many white musicians think that Black musicians possess that ‘objet petit a’, something that is in those musicians more than themselves" but talks himself about "irreducible blackness", "too complex for white kids" without going any further in explaining these things so I didn't get much out of it. He highlights some good examples of really dubious shit going on but I don't think he nails these key things so he comes across as a bit dogmatic.

When he says he's white and then about how white kids should "learn about their white privilege at an early age, so that it is not perpetuated" it makes me wonder if it's mainly a guilty conscience fuelling his arguments.

he's doing his music criticism

what music criticism? Are you dudes even reading the article? its primarily about using black faces on the party flyers.

edit - Not that I don't agree that white kids should learn about their situation, but the way he puts it comes across heavy handed.

music criticism - i'm talking about other things he's written about music on his blog as well as the article.

i don't see the phrase 'irreduceable blackness' in that pieces at all. i think its pretty clear what he means about 'complex' - music coming from certain communities isn't going to be perfectly copied because white kids are working in a different context.

When he says he's white and then about how white kids should "learn about their white privilege at an early age, so that it is not perpetuated" it makes me wonder if it's mainly a guilty conscience fuelling his arguments.

i don't see where he says he is white, still, but whats w/ the implication that a 'guilty conscience' somehow makes his argument less worthwhile? You attack his (presumed) motivation instead of his argument

xp - ah i see where 'irreduceably black' is from. ok, you don't think he elaborated enough for you to fully understand his point?

I think this kind of highlights the way he's doing his music criticism, comparing all the cases he finds to this model of what's going on/the truth he has in his head.

oh wow, incorporating context! how reductive

i agree with his implication that this "objet petit a" stuff is balls but then the irreducible blackness thing seems to be the same thing, so i'm confused (or he is).

obviously everyone's in their own context which is closer to some other people than others. the way he said "complex" made me think he was talking about something musical (like his ideas about some sort of innate ability of black musicians to work with alien materials) but if he means social complexity then that's less weird and metaphysical.

'incorporating context'. he's only talking about these things in one context, of course that's reductive. that doesn't mean he doesn't make good points, just that he's not offering a broad approach and some of the things he mentions (charlie patton say) don't fit so well.

He writes "So many white musicians think that Black musicians possess that ‘objet petit a’" but never implies he disagrees with them. You're confused.

Thanks for the link ILM! This is probably the only blog I have read in its' entirety.

"Black people throughout the diaspora continue to make music that, at the time of its creation, is relegated to the domain of faddishness, kitsch, and the not-worthy-of-remembering by white artists, though it is, almost without exception, later celebrated by white musicians who go on to worship it, imitate it, and make wan versions of it that are lauded by critics as highly original."

I think I'm going to post this in the comments section to Ronan's "Germany goes deep" (house) blurb over at Resident Advisor. And I'll repost it here whenever the otherwise sense-making Vahid goes "LOL BONGOS" when I mention Joe Claussell.

Well Ronan's answer to me posting this quote was "are you black?". Jeezus.

i like them but the gimmickyness and smugness of some of the artists ruins it for me.

and they were the only djs in america playing "left right left"?

-- tipsy mothra, Thursday, 26 July 2007 22:49 (Yesterday) Link

can you name some? what kind of coverage did they get?

i don't know about the other honkietronix dudes but here why there's beef around the guy:

those are all perfectly good reasons to call the guy a douchebag, and i note that the list doesn't include "white supremacy." it's the casting of the Battle Against Hollertronix as part of a broad, vague Fight Against the Man that i think is absurd.

and again, what set me off was the guy's elvis line. just so tired of that. the problem with it as received wisdom, deej, is not that it's received but that it's wrong. but nobody here is seriously defending it, so i don't need to keep on about it.

can you name some?

no, but i'm guessing you could. that's why i asked.

do you think maybe it means something that you and thousands of other people and critics and magazines and etc etc can name hollertronix but not any other djs who play the same records?

i mean explain that pitchfork diplo review where they go nuts over his 'underground railroad' smuggling dirty south records up from the brutal inhospitable wilds of florida to white new york hipsters in 2004... do you think theres any non-racial way of addressing this?

well first of all i can barely name hollertronix. 90 percent of what i've read about them is on this thread. if they're getting world-conquering coverage it's in things i don't read.

and second, i don't know. does it? the implication is that hollertronix is getting filthy rich and jet-setting famous (both of which i kind of doubt) on the backs of people who are suffering. but when i saw diplo once (yes, at an m.i.a. show, lol hipsters), he played, you know, ciara and eurythmics. is diplo more famous than ciara and eurythmics? i just think this whole discussion is silly.

xpost: see, pitchfork is one of the things i don't read. but of course there's a racial component to white people playing black music for white people. that was true when beatnik kids were all sitting around obsessing over mississippi john hurt too. just like there was an unavoidable class component when they were obsessing over dock boggs. yes. and? is there something interesting to say there beyond "there's a racial and class context here"? maybe there is, but i don't think going on about the white supremacist agenda of hollertronix is it.

i dunno man youre the one who got so angry about the idea that theres a racial + class element to it

no i was annoyed by the reductive overreaching of that blog post. there's a small difference between "there's a racial and class element to this" and "the history of american music is relentless racial exploitation in the service of a white supremacist agenda from elvis to hollertronix." the first statement is a.) true and b.) opens the way for possibly interesting discussion. the second is a.) false and b.) makes interesting discussion almost impossible.

i'm pretty sure the "eurythmics" bit is a carioca track that lifted the synth line from "sweet dreams". it had a big beat, right, and it's a little slower? (lol, i saw mia live 2) so even that little detail isn't an uncomplicated "he steals from black AND white" kind of thing

xp

i thought it was a pretty interesting discussion before you told everyone their opinions were played out and to shut the fuck up

xp

the eurhythmics track i know as hollertronix shit (lol ex-girlfriend) is some david banner/lil flip joint that diplo pretended to have produced himself, aaron lacrate style

so even that little detail isn't an uncomplicated "he steals from black AND white" kind of thing

yes it was that track but this equation of "dj playing music" with "whitey STEALING" is problematic on a lot of levels, isn't it? and doesn't that track itself argue for a model that recognizes cultural hybridization as something other than crass simplistic thievery?

i thought it was a pretty interesting discussion before you told everyone their opinions were played out and to shut the fuck up

i didn't tell anyone to shut up, i just said that blog post is silly. but i guess anyone who makes the lazy white hipster=white supremacist equation (which is only, what, 60 years old? 70?) is going to get a certain amount of "right on dude."

so wait... i'm still unsure of where you stand on this issue. do you or do you not think lazy white hipsters are white supremacists?????

http://media.washingtonpost.com/wp-dyn/content/photo/2005/08/25/PH2005082502054.jpg

yes it was that track but this equation of "dj playing music" with "whitey STEALING" is problematic on a lot of levels, isn't it? and doesn't that track itself argue for a model that recognizes cultural hybridization as something other than crass simplistic thievery?

i think i've run across the "original" (tho who knows, cos there are billions of versions of carioca tunes -- and all i've ever heard are crummy mp3s with id tags fucked cos the portuguese gets parsed wrong etc) of this eurythmics track. and i've heard it on "piracy funds terrorism"

the difference is that, whichever brazilian dude made it, it's a clear lift -- play famous riff with a little more swing, add 808, voila. that's "hybridization." it's even stealing, strictly speaking. pretty sure dave stewart didn't get a check. i have no idea where it came from, but diplo presumably should since he made a big deal about going to rio to go crate digging.

but taking the resulting track and just putting it on your own mixtape-style album with a new title, uncredited -- where the only name other than MIA on the CD is Diplo, a producer. i dunno, that's something else. a sin of omission, if you want to be very very very generous

i'm sympathetic to ppl talking about hybridization, bcz, to get all misty eyed ken burnsy, yay hybridization! fabric of america, uncanny genius music of field and slum becomes our national pride, blah blah, you've heard it all before. but that idea isn't some kind of talisman that excuses every kind of appropriation, espeically when it comes to money changing hands -- or not.

maybe if hollertronix dudes had ever actually made any music worth listening to itd be easier to pretend theyre part of some american pop music hybridization narrative instead of just straight up jacking

http://farm1.static.flickr.com/176/451510331_626335c418_o.jpg

i mean like eminem got overrated/overanalyzed as fuck for doing exactly the same shit as lotsa other black rappers but he still made alot of good shit that actually fits into, you know, normal rap listening, as just another dude... but with hollertronix, and correct me if im wrong cuz i dont listen to this shit, but theres actually no incentive to listen to them outside of the construct of brave white explorers bringing you the dirty south jams, their only value is that

Yeah, a lot of this wouldn't be such an issue if the DJs in question weren't way more famous than the music they're famous for playing/popularizing. I think all this really ties into that recent thread about DJs keeping "secrets" about what records they spin or put on mix CDs. I mean I always get the feeling that Hollertronix kind of like being a lot of peoples' main entry point to certain kinds of music, that if they only buy one token baille funk or Baltimore club mix, it'll be one of theirs. Diplo seems to have a very possessive vibe about the music he plays, always bitching about other DJs biting him, putting a message board fatwa out on Lacrate, and the rumors about him and Disco D fighting over who has more of a right to be Brazil's musical ambassador to hipster America before that guy died. And they were spinning stuff like that for years before they bothered to get a cosign from anyone from within the scene, so now they're flying that flag all over the place and trying to seem as legit as possible.

keffiyeh lol

yeah again i can just remember like turntable lab and shit talking about that banner/flip white label, produced by david banner, as some kinda hollertronix 'signature' record that they somehow owned, and then it shows up on mp3s with the artist as 'hollertronix' or as a mash-up or whatever, that shit pisses me off

but that idea isn't some kind of talisman that excuses every kind of appropriation, espeically when it comes to money changing hands -- or not.

right well that was the crux of the objections to diplo's baile funk mixes (and to all those sublime frequencies compilations, for that matter). but then it's also more or less the heart of the whole mixtape debate -- which i think is more a legal and techonological issue than a racial one.

if it makes you feel any better i downloaded one of the baile funk mixes for free, thereby foiling diplo's efforts to rip off brazilians.

xposts: see all of those reasons for trashing hollertronix are nice and specific and don't rely on some jumbled-up dumbed-down historical race-war narrative.

BTW, I think it really confuses the issue to keep bringing up Lacrate since, as I said above, all the hollerboard stans are basically on a pot-calling-kettle-black jihad against him. And I'm kind reticent to even talk about him, since I shitcanned the article I was doing on him and resolved to wash my hands of all his bullshit. But I will say that I heard/learned a lot of funny or sketchy stuff in the process of interviewing him and talking to people about him, and I don't think he's necessarily unethical or guilty of most of the things he's been accused of, just that he's incredibly unlikeable and easy to scapegoat.

mothra, your problem is construing it as an 'agenda'. i dont think anyone's accusing hollertronix of specifically setting out to steal from blacks and assert white supremacy; the racist undertones are expressed very indirectly, which is the problem

xpost and now that i think about it, wrt the flyers, maybe not so indirectly, but im thinking about just the music here ...

i dont care how many hollerstans bash lacrate i will never stop clowning dude

http://www.undergroundhiphop.com/store/covers/MCR02CD.jpg

^ how's this for "confusing the issue"

yeah I'm not saying he's any better than them, just that constantly posting funny Lacrate pics in this thread kinda screws with the debate over a 2004 blog post that was only about hollertronix. if anything, he's part of the swarming mass of post-Hollertronix copycats following their lead (see also: 'Flosstradamus').

that "Bmore Body Land" headline is hilarious RONG though

they couldn't even bother to get the regrettable puns right

i only posted those pics in an effort to derail tipsy mothra's broken-record argument about "hipsters aren't Nazis!!!" that he/she was reposting every 5 min.

plus i like how there are 3 different threads going here lol

guttermore, bodyville

cuttyhorse, gutterland

someone photoshop a keffiyeh onto cuttyhorse

balticorpse merryland

god if I didn't think he'd find out somehow and slap me with a lawsuit I'd be cut+pasting some amazing Lacrate interview transcripts right now.

want me to do it?

i heard lacrate isnt even his real name

just change every instance of "aaron lacrate" to "popular entertainer reese witherspoon"

or "john witherspoon" for that matter

http://noixe01.blogspot.com/2004_12_01_archive.html

-Hollertronix racism jumpoff!
An interesting (and inevitable) article from some ex-Murder Dog writer's blog, and the ensuing discussion on the Hollertronix message board. Critiques of white people co-opting black music are played out, and should probably start here, but 'tronix and their peoples do the defense thing pretty well. Diplo weighs in on page 3.

-speaking of Hollertronix and all things slightly related, does anyone else notice how Cam'ron says "vagina" like a 12-year-old? like he's stifling giggles while he says it? check the first bar of the second verse on "Down and Out."

i dont think anyone's accusing hollertronix of specifically setting out to steal from blacks and assert white supremacy; the racist undertones are expressed very indirectly, which is the problem

yes. but i think using "white supremacy" in this context is ideological rather than anthropological. (i.e. it doesn't really acknowledge the cultural complexity of it all.) it asserts a simplified model of how all this works, and by using such loaded language it sort of obviates considered discussion. if you want to talk about the complicated racial dynamics of white kids digging black music, or white bands or djs playing black music, ok. but that is of course a hoary subject with thousands of pages already in its bibliography. and it would help to drop the "elvis was a hero to most" shtick. is all i'm saying.

but theres actually no incentive to listen to them outside of the construct of brave white explorers bringing you the dirty south jams, their only value is that

I think (at least for Never Scared) it was more about mixing dirty south or b-more club in with things that hipsters liked already (new wave, bjork, stone roses) so that people who wouldn't have otherwise checked out that type of rap saw it in a different context. if you wanna say they watered it down so hipsters could get into, sure. but it's not like a Hollertronix mix sounds exactly like Southern Smoke 29 except made by white guys.

Critiques of white people co-opting black music are played out
Critiques of white people co-opting black music are played out
Critiques of white people co-opting black music are played out
Critiques of white people co-opting black music are played out
Critiques of white people co-opting black music are played out
Critiques of white people co-opting black music are played out
Critiques of white people co-opting black music are played out
Critiques of white people co-opting black music are played out
Critiques of white people co-opting black music are played out
Critiques of white people co-opting black music are played out
Critiques of white people co-opting black music are played out
Critiques of white people co-opting black music are played out
Critiques of white people co-opting black music are played out
Critiques of white people co-opting black music are played out
Critiques of white people co-opting black music are played out
Critiques of white people co-opting black music are played out
Critiques of white people co-opting black music are played out
Critiques of white people co-opting black music are played out
Critiques of white people co-opting black music are played out

btw dj smallz is asian

hes a lil dude too!

tipsy mothra's broken-record argument about "hipsters aren't Nazis!!!"

my actual broken-record argument is "that blog post is silly." as such, i maybe shouldn't have bothered, silliness being a relatively minor offense.

haha jess I didn't send you any transcripts from that, did i? i mean feel free to google published interviews but none of my shit since the guy basically threatened me with legal repercussions for not telling him that I was taping a phone interview (for the first 20 minutes, before proceeding with 2 more hrs of interview).

haha dude i'm not gonna post private interview transcripts, even if you had sent me anything

also I think the guy with the "reese witherspoon" email address that posted on ILM is from Maryland so we shouldn't slander him. (xpost)

though i will say that lacrate needs to get himself a new libel/slander attorney if he thinks he can sue someone he's agreed to do an interview with for publication in a newspaper

don't try to play me out, don't try to play me out

lol yeah I know, I'm just saying, I don't want to give him any excuse to bug me ever again.

he'll start leaving flaming bags of dog shit on yr stoop

http://image.guardian.co.uk/sys-images/Film/News/Pictures/1999/12/10/CapeFear.jpg

http://www.guttercap.com/images/gutter.jpg

http://www.gutter-solutions.net/Pho309.jpg

no, he won't actually step foot in Baltimore, i'm just saying his assistant might e-mail me again.

he won't actually step foot in Baltimore

okay now that's funny

http://gutterwizards.com/images/main.png

He actually bought and lives inside the Toronto soundstage set they made for the new version of Hairspray.

Meet Iran's new American friend -- Aaron Lacrate, the former Baltimore Club music DJ. He's applauding Iranian President Mahmoud Ahmadinejad for assembling a conference of Holocaust deniers. Lacrate says it's all about free speech.

SHIPLEY: Mr. Lacrate, why are you attending this conference?

LACRATE: The Zionists have used the Holocaust as a weapon to cover-up the crimes of Israel. The time is coming when the American majority will find its way to its rights and its heritage.

SHIPLEY: Do you believe, Mr. Lacrate, that there was a Holocaust?

LACRATE: I'm sorry? I believe that the only way we can know whether there was a Holocaust or the nature of it is freedom of speech. I don't think we should be locking people in prison in Europe, even elderly people in their 80s, because they dare to have a different opinion about an historical event.

SHIPLEY: You call President Bush a "fag enabler."

LACRATE: Of course he's an enabler. Two weeks before September 11 —and that which triggered, in our theological opinion, September 11— Bush appointed Mike Guest, this out-of-the-closet fag, to be United States ambassador to Romania. One week after September 11th, he ordered Colin Powell, who's against fags but not strong enough to do anything about it, to personally swear him in in the auditorium of the State Department with his parents there and with his butt buddy are sitting in the United States embassy in Bucharest today so that all of Europe looks upon this country as a fag country and Christianity as a fag religion. Bush did that. The only thing worse than a fag is a fag enabler, because they are not driven by that internal lust themselves, and therefore they are without excuse for promoting it.

SHIPLEY: Mr. Lacrate, that's all the time we have, thank you for joining us.

looooooool

lol @ the sisyphean misery of home ownership.

xp oh my

oh god, i knew i should've stayed out of this.

Hollertronix cover a lot of areas of music—Baltimore club, crunk—is there a form to which you are particularly attached?

Diplo: When I’m DJing the Baltimore Club stuff is just the best. People love the breakbeats, it’s like house music and the breakbeats come in and it’s hot. When we come up with remixes of the hip-hop shit, like an 8ball and MJG Baltimore Club version, if they’re familiar with the lyrics, or like a “Tipsy” Baltimore remix, or just mad Missy remixes, people will kind of get into it. The “Tear Up the Club” kind of Baltimore Club songs just drive people crazy. The raunchy shit too, that’s the best part as far as DJ-wise—that gets the best response. Whenever we go somewhere I can really show that off because nobody else has those records or those CDs, so I feel good I can push that. I’m the only DJ doing that for like white kids and downtown kids and scene kids…

y'all jealous

So would Hollertronix be moot if clubs were more integrated?

Wrinklemore Murderpaws

http://www.deeperblue.net/upload/1768300646_DavidsPrunePalm.jpg

theres actually no incentive to listen to them outside of the construct of brave white explorers bringing you the dirty south jams, their only value is that

^ + lolz @ lacrate sieg heilin

one thing from this thread we can all agree on: lacrate is such a toy

Wrinklepaws tackles the issues

http://a127.ac-images.myspacecdn.com/images01/115/l_3215db11df22fa551efc9e2ba4ea7c5e.jpg

lol i h8 white people

jaymc it troubles me that you wrote a review of this song

-- strongo hulkington (dubplatestyle), Wednesday, March 15, 2006 9:06 PM (1 year ago) Bookmark Link

which i havent heard

-- strongo hulkington (dubplatestyle), Wednesday, March 15, 2006 9:06 PM (1 year ago) Bookmark Link

hold up jess they aint got radios up there???

-- ,,,,,,,,,,,, Wednesday, March 15, 2006 9:08 PM (1 year ago) Bookmark Link

my radio only gets npr and "shock jocks"

-- strongo hulkington (dubplatestyle), Wednesday, March 15, 2006 9:08 PM (1 year ago) Bookmark Link

but how do you stay up on "that bodymore crack music"

-- ,,,,,,,,,,, Wednesday, March 15, 2006 9:10 PM (1 year ago) Bookmark Link

http://governmentnames.blogspot.com

-- strongo hulkington (dubplatestyle), Wednesday, March 15, 2006 9:11 PM (1 year ago) Bookmark Link

lol highlights from my recent email flamewar w/ diplo:

he informed me that I am both ugly and white (yeah, ok, dirt 'stache)

said he was going to mail anthrax to me

said that Gully is his mother's maiden name (no idea if this was a joke or serious but hilarious either way)

lol email flamewar??

ocdj = the new diplo?

just look at this stupid ass cover art

http://a433.ac-images.myspacecdn.com/images01/7/l_322f3ec135cc8108ca0fedbb05435b90.jpg

i know someone who's last name is gully

lol wham city

I think that "hood internet" website took the whole garish mashup photoshop thing to such extremes that I'm unphased by it all now. (xpost)

please post diplo email war highlights

hood internet photoshops are 1,000X better than that mess upthread.

Wesley Pentz, a D.J. better known by his stage name, Diplo, agreed. Just back from a tour in Australia, he was sitting at a table in the dining car with a group of friends that included members of the hip-hop groups Spank Rock and Plastic Little. “This,” he said,” is the jawn.”

aaron lacrate got young mc & masta ace on a track :-[

lollertronix

Can y'all say "zeitgeist"?

-- Jacob (Jacob), Friday, September 3, 2004 6:55 AM (3 years ago) Bookmark Link

ok i dled this... young mc KILLS it

i have never heard aaron lacrate before but this is actually real dope

wait this is just aces verse from jeep ass nigguh

maybe the young mc verse is old too i dunno shit about young mc

what a bunch of bullshit

last time i trust email press release shit

'AARON LA CRATE FEATURING YOUNG MC AND MASTA ACE'

i have never heard aaron lacrate before

you still haven't, Debonair Samir produces everything with his name on it.

i guess my fucked up remix i did of get at me dog back in h.s. was actually simon trife feat. dmx

haha if I believed every rap e-mail blast I saw than a LOT of people personally got Jay-Z to spit the hook on their song that coincidentally is a line from one of his own songs.

what a clown

of course theres 1000000 herbs who dont know slaughtahouse and are gonna think aaron lacrate hooked up this dope collabo

when I did an interview w/ a club music o.g. that Lacrate put me in touch with, it showed up on Lacrate's site with no link, my name nowhere on it, just "*borrowed from the city paper story on the legend of Baltimore Club". dude samples every which way he can!

http://farm3.static.flickr.com/2302/2096883270_4e493754f7_o.jpg

"JUST WORDS????"

Wrinklemore Murderpaws

lol @ this thread, i wish i knew who this lacrate dude was or had heard a second of a hollertronix song

i remember liking a curtis vodka rmx, i think it was of silversun pickups or something (lol)

Lacrate is a guy who 'sampled' the Hollertronix brand name to get a hipster rep but they all deny any affiliation with him. Narcissism of small differences etc.

sarges from the a.d. era

anno diplo

listened to this for the first time in a while tonight @ work. the "kryptonite" v. "daft punk is playing at my house" bit is so well done.

-- J0rdan S., Wednesday, October 31, 2007 10:45 PM (4 months ago) Bookmark Link

girl talk era

http://www.milkcratenyc.com/blog/images/masta%20ace.jpg

AARON LACRATE PHOTOGRAPH FEATURING MASTA ACE

doesnt look like a 'shop but one never can tell

is that clint howard?

this hipster dude i used to work with (same dude who i started the stolen tips thread about i think) uploaded a bunch of shit to the work computer and it was like every ratatat song, the knife and an ass ton of diplo

revivals of this thread just keep coming back like a herpes outbreak

apropos of nothing some dude's cell in this computer lab just rang and it was 'such great heights'

http://www.fangoriaradio.com/images/042007/ClintHoward.jpg
man now lacrate's even biting master p

lol

http://www.youtube.com/watch?v=psmGtqo-0sU

i think he used to be the campbells soup kid http://images.evalu8.org/images/campbells-kid-109.jpg

he looks like a make-a-wish kid whose wish was to meet dj clark kent

he kinda looks like the lex

?????

at least his myspace pic does i think

on the real though dude is just a goldbricking self-promoter like a million other cats on MySpace, there just aren't many hustlers of that variety in the ghettotraxxx mashup scene to compare him to.

http://www.lowculture.com/archives/images/clintstartrek.jpg
limited edition bapes skully

are we still talking about lacrate

in any event

Taking more that production style, mash-ups that are a little more thoughtful and exclusives: I’m gonna get [UGK rapper] Bun-B to hopefully drop some rhymes over 80s beats.

did this ever happen? bun would totally do this

lol ethan

mash-ups that are a little more thoughtful

IDM-U?

so much grist for the mill on his blog, but this just bums me out

http://www.milkcratenyc.com/blog/images/RAE%20%26%20AARON%203.jpg

rae needs to stay away from talentless crackers like that so he can spend more time doing mixtapes with ill bill

lololol

otm

they should both do a song w/ the beatnuts like ill bill did 'yae yo'

He is also scheduled to release collabo albums with Raekwon, Jeru The Damaja, Sean Price, Crooked I and Vinnie Paz.

ugh

damn, lacrates gonna do a cd with vinnie paz?

and crooked i!

maybe lacrate will get hung out a window by suge

read suge as "sarge", did a double take

sarge knight

this is my favorite thread on ilx

herb's paradise garage

-- deej, Thursday, April 12, 2007 1:49 PM (10 months ago) Bookmark Link

doo doo browning

that really is a poor choice of a song title to turn into a verb.

-- Alex in Baltimore, Friday, April 13, 2007 8:50 AM (10 months ago) Bookmark Link

although maybe it's actually a referene to Victorian poet and playwright Robert "Doo Doo" Browning

-- Alex in Baltimore, Friday, April 13, 2007 8:51 AM (10 months ago) Bookmark Link

born and bred on the mean streets of East Baltimore, grew up as a party dj cutting his teeth at Baltimore clubs, lofts, and warehouse parties since the age of 10 years old has been making beats in the basement

http://i164.photobucket.com/albums/u32/SammyBMELB/DJ/DJ_Baby.jpg

the thing is there are pictures, people that can vouch for him from back then, I don't doubt him on that front. doesn't make him not a hack, though.

10 years old?? come on

lol i get heated when talking about white privilege with other white people

damn me

10 years old?? come on

-- am0n, Tuesday, March 11, 2008 4:55 PM (8 minutes ago) Bookmark Link

there's pics of li'l lacrate behind turntables where he's i guess 13 or something, but the last 2 times i tried to go to the 'milkcrate blog' it froze up my browser.

I don't know much about LaCrate but would like to add that I think Debonair Samir is like one of THE best bmore producers out there... his productions are so clean and dynamic and just pound-you-in-the-face sounding... I wish I could hear "Throw It Up" the one that uses the Lil Jon break every time I walk into a club

dude is talented, yeah!

he basically introduced the synth horn sound that every other club producer in the city was using at one point a few years back.

fuck yeah he is....and I don't jsut mean like oh i know who he is....I mean out of all the "elite" bmore producers hes the only one who every single time ive heard his production they just blow everything else away. a lot of times guys come with stuff that sounds tinny or underproduced (and I know that's part of Club's aesthetic in part) but he just seems like he really knows how to craft great sounding beats, like DJ Toomp or someone like that...

hmm i was in the marc jacobs store today and they were playing kid foreigner / south rakkas crew "hotter than them" (the one that samples josh wink). it was some sort of DJ mix with a bunch of mash-ups.

any guesses? was this "i like turtles"?

revivals of this thread just keep coming back like a herpes outbreak

-- Alex in Baltimore, Tuesday, 11 March 2008 19:37

thread of missing shipley

what happened to blaqstar? i thought he was dropping some more stuff.

Top 10 ILM threads of all time

http://www.imposemagazine.com/photos/2008/04/bustamove.jpg

I love the gutter ass sound and the female vox sample that comes in on Young MC verse and the kicking snares and shit

I wouldn't say its fair to accuse them of dilettantism as much as their fans...Diplo did actually fly down to the favelas namean?

-- djdee2005, Sunday, September 5, 2004 10:03 PM (3 years ago) Bookmark Link

deej otm?? 'dilettantism' would be if he was spinning 'favela funk vol. 2' comp like every 'caroica funk/bmore breaks' dj in chicago

namean

sayintho

what does curtis vodka think about sarah palin

shipley, lollerboard updatez?

young jeezy- put on (curtis vodka's first dude remix)

maybe he can rmx the john brown joint

(troopergate re-edit)

m.i.a.- paper planes (curtis vodka's the great country of africa refix)

revivals of this thread just keep coming back like a herpes outbreak

-- Alex in Baltimore, Tuesday, 11 March 2008 19:37

― am0n, Saturday, May 31, 2008 11:51 PM (7 months ago) Bookmark Suggest Ban Permalink

panda bear had a curtis vodka hat on when i saw him in 07

not even a shit joke

you guys hear that new Herplo remix 12"? shit is bangin'!

is that herpes diplo or some other thing?

i lol'd

Did I get Herpes?! Could I have gotten it?!?

I have had sex with Diplo and every time we have used condoms... he has also kissed me once in between the legs, fingered me, and I have kissed his Penis.... what are my chances of getting Herpes?!

How long do I have to wait to get tested for Herpes?!

I wouldn't say its fair to accuse them of herpes as much as their fans...Diplo did actually fly down to the std clinin namean?

*clinic

dont u hate when u do that?? nothing messes up the impact of a zing faster than a typo correction

nothing messes up the impact of a zing faster than a typo correction, namean?

like reading a teenage panic tome

the angelofhistory blogger comitted suicide last year, for real --- man I gotta find/post the mans actual damn name

http://wayneandwax.com/?p=298

Join Flack & I & Brian Coleman & friends as we pay tribute to the too too soon departed local music man, Tim Haslett, “one of the unsung heroes of the Boston scene,” former buyer for Other Music’s Hahvid Sq branch, Twisted Villager, true champion of underground music, rap-techno-electro lover (oh and house too), and black cultural nationalist. An intellectual and a gentle man. Who’s gonna be missed.

Thanks man --- rip tim haslett

da real diplo

http://twitter.com/diplo

and when the lil jon records im doin drop.. ur probably gonna have to play them... just dont be mad at me!

these two are doing dubstep.

Can y'all say "choons!!!"?

http://nahright.com/news/2011/04/11/video-jim-jones-ft-aaron-lacrate-everybody-jones/

# PG-DC Says:
April 11th, 2011 at 5:48 pm

THIS SOUND IS AND MUSIC VIDEO IS DEFINITELY MARKETED PROPERLY. LIKE GOD DAMN, ALL THEM POP CULTURE REFERENCES ARE INTOXICATING.

PLUS HE’S PANDERING TO WHITE AMERICA IN THE MOST OBVIOUS WAY.

THE PRESENTATION IS GOOD BUT I DOUBT IT’LL CONNECT DUE TO THE OBVIOUSNESS.

MEMO TO JIMMY: WHITE AMERICA LOVES “SUBTLE” PANDERING.

pandering to me subtly
with his song