As we enter a new decade, the ways in which we define electronic music styles are rapidly changing. Chal Ravens explores the etymological evolution of “UK club music” and speaks to some of its key players: about how regional roots are growing into digital ecosystems, and powering new conversations about globalisation in club culture. --- It’s more about the mood, ultimately: vibrant, kinetic, unpredictable. In fact, club is probably best understood as a style of DJing rather than production, a sound invented in real time. The element of surprise is highly valued, along with quirky edits, bizarre blends, and a fearless approach to clashing musical keys. You might hear a spinback or three. It’s music to stay on top of rather than music to get lost in. […] Why aren’t these UK club DJs appearing on European festival lineups? “If I knew I’d be playing more festivals,” says Finn, who wonders if there’s a basic mismatch in attitudes and expectations. “There’s not much room for humour in dance music. It all feels like it has to be quite serious,” he says. […] In the process of absorbing and reframing various black genres, the term “club” obscures the roots of its own diversity. That shouldn’t write off its utility as a catch-all term; how else might we capture the contemporary intermingling of dozens of related global scenes? But intersecting factors of race and class are always at work in the creation and adoption of new styles. […] There’s an absurd feedback loop at play in which promoters excuse pedestrian bookings by citing commercial imperatives, which does audiences a disservice by suggesting that they’re too bigoted or unimaginative to branch out from house and techno. But insofar as club music is thriving in small clubs and basement parties in the UK, the next challenge will be to establish the current generation as an internationally recognised creative powerhouse.

Musical treats from the entire world for over a century. Pick a country anywhere on the map. Pick a decade from 1900 to now.

The early history of MTV, with parallels to modern technology movements.

‘Modern societies don’t advance if they don’t create new things. So human beings start asking new questions when they encounter a cultural object or idea: what about this can I identify (i.e. what about it is “old”), and what aspects of it are new (i.e. novel enough to create demand for it)?’ ‘The questions arise: What specific aspects of the past are appropriate fodder for new hybridizations, or what methods of hybridization are privileged over others? Most importantly, why is this?’

This Tumblr posts PDFs of poetry anthologies and books of cultural writing and other classic texts, bits of important historical music-related interviews, old, rare, or otherwise important or interesting records, etc. Would that I had the time to take in everything listed here.

On the difficulty of preserving and reissuing classical hip-hop records. "The job that falls to those seeking to preserve hip-hop's past remains complex. Those doing the work need to know as much about copyright and contract law as they do about old Pete Rock B-sides, while a grounding in clinical psychology might help in dealing with the artists. It's a combination of specialisms few individuals possess, and it raises the question: just whose responsibility is it to curate the history of a culture?"