The Underground Is Massive: How Electronic Dance Music Conquered America

Book The Underground Is Massive: How Electronic Dance Music Conquered America
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But for all the bluntness of Matos' widescreen tactics, what he's compiled in Massive is a monument to dance music—and to its hapless critics. Willamette Week.

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  • Is '​​​The Underground Is Massive' the Dance Music History Lesson America's Been Waiting For?.

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Book The Underground Is Massive: How Electronic Dance Music Conquered America

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An actual rave, at least in my experience, involves kids laying out on the floor. I remember, Tommie Sunshine spun. I walked over there and [when] I got there, Tommie was spinning hard style. That was the feel. It was like a high school gym. The thing about raves is that they took place in not-real venues. I went to parties in VFW halls all the time, in high school gyms, and barns.

These insane places.

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The Underground Is Massive: How Electronic Dance Music Conquered America [ Michaelangelo Matos] on ekozamipypav.tk *FREE* shipping on qualifying offers. The Underground Is Massive: How Electronic Dance Music Conquered America by Michaelangelo Matos – review. Why, after three decades.

The Reebok factory was a big place for raves. TV studios in LA. The appropriation of everything!

The appropriation of logos, the appropriation of music. So many of the early tracks were thrown-together samples of pretty well-known stuff.

The underground is massive : how electronic dance music conquered America

It was a pirate thing. It was very much about reclaiming culture and putting this druggy, sneaky energy to it, this twist to it that was subversive. Right now, I might not love what EDM is, but having paid attention to it now over the past few years, the music really is improving.

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That's not to say the book is impractical. Despite what it lacks in overall coherence and critical engagement, The Underground Is Massive delivers an account of EDM's proliferation that feels much more immersive, immediate, and affectively charged than other history books in the past. He is also a free jazz musician and experimental music producer based in Harlem. Instead, the globalization of electronic music to the point of cultural ubiquity and lucrative economic potential is cast by Matos as as a "successful" one. The scene changes, then fragments, then dies, only to continue or start over in another form somewhere else. Music journalist Michaelangelo Matos has been covering this beat since its genesis, and in The Underground Is Massive, charts for the first time the birth and rise of this last great outlaw musical subculture.

Were you taking a break from dance music? I was in a different realm.

I wrote for Resident Advisor for several years, and I was writing record reviews for them a lot. I went to The Bunker all the time. That was my world. I was interested in that stuff.

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It was Bassnectar that blew up. Who listens to this stuff? Of course that was what blew up. I had very much the same reaction at first as a lot of people did. It would probably do me some good to go back and listen to that set.

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A radio format is not the same thing as a genre. You went to a rave in and you were going to hear X amount of techno, X of house, X of jungle, X of trance. It changes. Like a radio format, it shifts all the time based on the wind.