DJ Green
Last summer when Water Club was
shuttered with thunder of Chicago
house everyone asked who is this
bearded guy in a small black hat? It
was DJ Green, a fan of Green Velvet
and Greenpeace. He came from a
small town, used to play 100% com-
mercial music in commercial clubs. But
he decided to be a serious DJ. In a
year he became a resident of PTUCH
Club. Now DJ Green plays in different
clubs and teaches in the DJ School.
P: Why Green? Is it from Green
Velvet, Greenpeace or you just like
hard currency?
G: Yeah, I like Greenpeace. I like
animals and support what
Greenpeace do to protect them. And
as for Green Velvet, yes, it's one of
my favourite musicians. Green Velvet,
eff Mills, Steve Stoll, Damon Wild.
My set actually consists of music made
in America mostly by black musicians.
your favourite music is.
G: Techno, less - acid house, well,
and Chicago. I don't separate
Chicago house from techno, just
CHICAGO. Special music.
P: Can you think of yourself ten years
G: I don't know. I think I will sit at a
studio fgr a couple of years. And I'm
going to move there soon. After the
mutating process I experienced I got
many ideas I want to put into the
world of techno.
P: What do your parents say about
your job as a DJ?
G: My Mom knows her son is
sd to-
ning records and she knows it's OK. I
assured her it's not a temporary job.
She heard my mixes and took them
surprisingly well. I thought she would
say, Son, you better turn on the radio.
In the history of home taping
there is only one exact date -
1964, the year when Phillips
invented compact cassette. By
1968 this little box with mag-
netic tape inside had been
recognised. But, still, no one
dared publish music on CC. So
the invention was picked up by
avant garde musicians.
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German electronic composer
Konrad Schnitzler of the band
"Cluster" was one of the first
home-tapers. He recorded his
electro/acoustic music on
dozens of cassettes and called
the result "cassette concerts".
He performed with a number of
tape recorders switched on at
once. Schnitzer's followers,
unlike the modern DJs, played
only their own tracks, making
experimental mixes without
Soon there were born first
labels publishing music strictly
on cassettes: American
"Watergate Tapes", Dutch
"Midas Tapes", Italian "ADN",
Swiss "Calypso Now".
Cassette culture became a
smaller reflection of the Big
Show Biz. Here are some
names: "Throbbing Gristle",
"SPK", "Cabaret Voltaire",
musicians, now appearing on
the famous alternative labels
like Staalplatt and Soleilmoon,
all of them used to be home
tapers. There could not be
leaders in home taping. Every
musician is interesting by him-
self: Amy Denio and Giancarlo
Toniutti, "Kapotte Muzik" and
"Crawling With Tarts", Dick
Metcaff and Robin James (edi-
tor of the unique book of
essays "Cassettes Myths"),
"New Carrollton" and "1348".
PTUCH met Arkady Nasonov,
young director of the new "Cloud
Commission", at his place.
P: What is "Cloud Commission"?
What does it do now?
N: Official prototype of the
Commission existed back in the
30's. This organisation studied
cloud shapes seen above the terri-
tory of the USSR. During the fall of
1991 Kolia Gretsov found a book
"Cloud Shape Reference" in trash.
W e thought of a cloud exhibition
and then together with Tania
Detkina and Volodia Mogilevsky
decided to revive the "Cloud
Commission". At that time we held
a series of food/taste rituals.
P: What kind of rituals?
"mighty mystic zones" of the for-
mer USSR where we held our
food rituals. At the Agricultural
Exhibition we studied the
parent/child problem: at the
Poultry Pavilion we had a break-
fast of hard-boiled eggs. W e had
to imitate a photo-shooting for a
fertiliser advertisement to get in.
Back then the word "advertise-
ment" was a magic password.
We also worked at the Botanical
Garden, Museum Of Food,
Stanislavsky Museum.
P: It seems, the "Cloud
Commission" did not want popu-
larity and tended to work under
cover. Why?
N: Under circumstances of total
conspiracy we created the
archives of images popularising
and advertising Nothingness.
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