Juke
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This is what I wrote to the guardian, and why I think the article was ridiculous.
Hello, my name is Neema Nazem, and I'm e-mailing you because of the gross misinterpretation that came with your article, "Footwork takes competitive dancing to the Chicago streets". Before I go on, if you don't know who I am, I am from Chicago, I organize footworking events on a weekly basis, I own my own label, and I'm just generally well connected with the local, as well as international community. Basically, I'm upset with what you've done with this Guardian article. It shows you've only gotten some responses from a few very opinionated, as well as in some cases, very unknowledgeable sources. I think this is going to be a laundry list, so I'll start with paragraph to paragraph.
"At 165 bpm, footwork – the dance sensation that has replaced breakdancing in inner-city Chicago – is an exercise in speed and one-upmanship"
This is a ridiculous claim. Footworking is nothing new to Chicago, it's been around for nearly 30 years! It's the evolution of house dance in the ghetto's of Chicago. Breakdancing has its place in Chicago, but house/footwork dance has been around longer, and has much more roots in the Chicago community, simply because Chicago house is a localized art form that has shaped itself to fit with each community it's involved in. To set the record straight, Footworking and Juke as a genre exists outside of hip hop, and is more closely tied to house. While they have lately begun to sample hip hop lyrics, the patterns sound almost exactly like classic house patterns sped up to 160 bpm. And that's the other thing, it's 160 bpm, not 165.
Really, footworking crews have existed since the early 90s, search up House-O-Matics, Gutter Thugs, Wolf Pac. These groups are not new, and never replaced breakdancing. A lot of the crews and popular figures today stem from these older crews. King Charles, head of the footworkingz, came out of Wolf Pac. Wolf Pac, came out of House-O-Matics. Terra Squad, led by King AG, was taught by members of Wolf Pac and House-O-Matics. The popular Chicago hip hop duo, Do-Or-Die, were footworkers. Hell, even the most popular artists today, DJ Spinn and DJ Rashad, came from Wolf Pac.
And I bring up DJ Spinn, and DJ Rashad because they are the most popular footwork DJ's, not DJ Nate. If you look at every Walacam video for the past 4 months, about 75% of all the tracks that are played are Spinn N Rashad tracks. Spinn N Rashad even won an award at Wala Cam for best crew of the year simply because they've been nothing but dedicated to footwork. On the other hand, Nate quit making tracks nearly 2 years ago, and it didn't change anything in Chicago simply because he never really had any influence out here. The reason being is that Nate never got popular for his footwork tracks, but because of his R&B career. He is well known for his song, "Lil Mama Bad As Hell" and that's what caused his name to become popular on youtube. His footworking tracks, firstly, are not the type of track anyone wants to listen to anymore, and secondly, are not that amazing in the first place.
I find it funny that you bring up Headhunter's project, Addison Groove, because he often times quotes Spinn N Rashad as the best juke n footwork artists. Look at his soundcloud mix as proof!
http://dubstepheadhunter.blogspot.com/2009/12/headhunter-juke-mix-december-2009-by.html
Rashad N Spinn are the actual ones still around trying to evolve footwork. They're the ones who have worked hard their whole lives to work alongside individuals such as DJ Benzi, DJ Godfather, and DJ Funk, and are now blessed to having upcoming projects with (confidential, sorry people!), and they're the ones who've had footwork tracks on beatport, itunes, and juno for the past 2 years! If there's anyone you should be saying has influenced the evolution of footwork and juke, you should be looking at Spinn N Rashad.
And then you say this:
The style evolved in a pre-filesharing era, with pioneers such as RP Boo struggling to get their music heard on weekend radio stations and in clubs. As this decade progressed, younger DJs such as 20-year-old Nate started sharing their music through sites such as YouTube and Imeem
Finally, RP Boo is a legend, but he still have so much influence over the footworking sound! He originally created the style back in 2003, but he still makes tracks that break so much ground. He still DJ's, still has nothing but props from everyone, and has never lost his reputation as one of the best footwork dj's and producers in Chicago. Sorry to continue my tirade against Nate, but Nate didn't evolve Boo's sound, he replicated it. He did nothing new with it! I have to firmly establish this point, he did nothing new for footworking. RP Boo was a pioneer in creating the footwork sound, and is very much still a man who still has soooo much more clout than Nate in the footwork world. And for the record, RP Boo has plenty of tracks on youtube as well.
So basically, here's my key points:
1. Footworking is nothing new, it's not some new fad, and it isn't just now taking over Chicago because it's such an integral part of Chicago Black Culture for the past 30 years. The sound itself is simply the influence the footworking community has had on house music.
2. Look up DJ Spinn, and DJ Rashad for your own integrity. FYI, every song on youtube.com/ghettotekz is one of their tracks.
3. DJ Nate is not a Chicago staple. He is nothing groundbreaking, revolutionary, or evolutionary.
4. RP Boo is a legend, but he still has so much authority over what happens in Chicago. His creative genius has never stopped, and he will continue to be one of the biggest contributors to the footwork scene.
There were a few more things I wrote, but thats the jist of it.
And how in the fuck are they going to write a newspaper article on footworking and they only interviewed Nate's manager? They probably talked to a few more people, but it's just downright shitty journalism not to spend more than an hour to write on something which has yet to have actual media coverage. Our history can not be confused with a manager's PR statements!
This is what I wrote to the guardian, and why I think the article was ridiculous.
Hello, my name is Neema Nazem, and I'm e-mailing you because of the gross misinterpretation that came with your article, "Footwork takes competitive dancing to the Chicago streets". Before I go on, if you don't know who I am, I am from Chicago, I organize footworking events on a weekly basis, I own my own label, and I'm just generally well connected with the local, as well as international community. Basically, I'm upset with what you've done with this Guardian article. It shows you've only gotten some responses from a few very opinionated, as well as in some cases, very unknowledgeable sources. I think this is going to be a laundry list, so I'll start with paragraph to paragraph.
"At 165 bpm, footwork – the dance sensation that has replaced breakdancing in inner-city Chicago – is an exercise in speed and one-upmanship"
This is a ridiculous claim. Footworking is nothing new to Chicago, it's been around for nearly 30 years! It's the evolution of house dance in the ghetto's of Chicago. Breakdancing has its place in Chicago, but house/footwork dance has been around longer, and has much more roots in the Chicago community, simply because Chicago house is a localized art form that has shaped itself to fit with each community it's involved in. To set the record straight, Footworking and Juke as a genre exists outside of hip hop, and is more closely tied to house. While they have lately begun to sample hip hop lyrics, the patterns sound almost exactly like classic house patterns sped up to 160 bpm. And that's the other thing, it's 160 bpm, not 165.
Really, footworking crews have existed since the early 90s, search up House-O-Matics, Gutter Thugs, Wolf Pac. These groups are not new, and never replaced breakdancing. A lot of the crews and popular figures today stem from these older crews. King Charles, head of the footworkingz, came out of Wolf Pac. Wolf Pac, came out of House-O-Matics. Terra Squad, led by King AG, was taught by members of Wolf Pac and House-O-Matics. The popular Chicago hip hop duo, Do-Or-Die, were footworkers. Hell, even the most popular artists today, DJ Spinn and DJ Rashad, came from Wolf Pac.
And I bring up DJ Spinn, and DJ Rashad because they are the most popular footwork DJ's, not DJ Nate. If you look at every Walacam video for the past 4 months, about 75% of all the tracks that are played are Spinn N Rashad tracks. Spinn N Rashad even won an award at Wala Cam for best crew of the year simply because they've been nothing but dedicated to footwork. On the other hand, Nate quit making tracks nearly 2 years ago, and it didn't change anything in Chicago simply because he never really had any influence out here. The reason being is that Nate never got popular for his footwork tracks, but because of his R&B career. He is well known for his song, "Lil Mama Bad As Hell" and that's what caused his name to become popular on youtube. His footworking tracks, firstly, are not the type of track anyone wants to listen to anymore, and secondly, are not that amazing in the first place.
I find it funny that you bring up Headhunter's project, Addison Groove, because he often times quotes Spinn N Rashad as the best juke n footwork artists. Look at his soundcloud mix as proof!
http://dubstepheadhunter.blogspot.com/2009/12/headhunter-juke-mix-december-2009-by.html
Rashad N Spinn are the actual ones still around trying to evolve footwork. They're the ones who have worked hard their whole lives to work alongside individuals such as DJ Benzi, DJ Godfather, and DJ Funk, and are now blessed to having upcoming projects with (confidential, sorry people!), and they're the ones who've had footwork tracks on beatport, itunes, and juno for the past 2 years! If there's anyone you should be saying has influenced the evolution of footwork and juke, you should be looking at Spinn N Rashad.
And then you say this:
The style evolved in a pre-filesharing era, with pioneers such as RP Boo struggling to get their music heard on weekend radio stations and in clubs. As this decade progressed, younger DJs such as 20-year-old Nate started sharing their music through sites such as YouTube and Imeem
Finally, RP Boo is a legend, but he still have so much influence over the footworking sound! He originally created the style back in 2003, but he still makes tracks that break so much ground. He still DJ's, still has nothing but props from everyone, and has never lost his reputation as one of the best footwork dj's and producers in Chicago. Sorry to continue my tirade against Nate, but Nate didn't evolve Boo's sound, he replicated it. He did nothing new with it! I have to firmly establish this point, he did nothing new for footworking. RP Boo was a pioneer in creating the footwork sound, and is very much still a man who still has soooo much more clout than Nate in the footwork world. And for the record, RP Boo has plenty of tracks on youtube as well.
So basically, here's my key points:
1. Footworking is nothing new, it's not some new fad, and it isn't just now taking over Chicago because it's such an integral part of Chicago Black Culture for the past 30 years. The sound itself is simply the influence the footworking community has had on house music.
2. Look up DJ Spinn, and DJ Rashad for your own integrity. FYI, every song on youtube.com/ghettotekz is one of their tracks.
3. DJ Nate is not a Chicago staple. He is nothing groundbreaking, revolutionary, or evolutionary.
4. RP Boo is a legend, but he still has so much authority over what happens in Chicago. His creative genius has never stopped, and he will continue to be one of the biggest contributors to the footwork scene.
There were a few more things I wrote, but thats the jist of it.
And how in the fuck are they going to write a newspaper article on footworking and they only interviewed Nate's manager? They probably talked to a few more people, but it's just downright shitty journalism not to spend more than an hour to write on something which has yet to have actual media coverage. Our history can not be confused with a manager's PR statements!
If what your saying is that DJ Nate has no influence in the scene and is basically a rip off artist, the fact is that a lot of people outside of your scene first became excited about Juke because of this mutated lo-fi style, not the tracks by Rashad/Spinn etc. I find his tracks unique and unbalanced and it was his imeem tracks that were my first entry point to Juke/footwork
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I completely understand that Nate has gotten a lot of people into the juke/footwork sound, but the amount of attention that he gets not only gets takes credit away from the people who've been dedicated to footwork and juke, it also gives a misconception of what juke and footwork tracks really are. After reading a few comments by people up here, I see that tracks like Nate's are what bridge the gap between footwork and various UK genres, but our scenes are completely different. From a marketing perspective, I can understand Nate. But from someone whose actively involved in the scene, the attention is absolutely baffling, and it truly takes away from the scene itself.
And his lo-fi style is something that we're very critical of. It is insulting for us to hear shit like our tracks don't sound rough, lo-fi, or like they were ripped off imeem simply because we want to take the time to make actually good sounding, well mastered, intricate tracks. Just because juke and footwork is gutter doesn't mean that we're not smart enough, or we don't know how to take the time to master our tracks.
Yet again, I understand why he got a lot of you into the scene, but I just wish you all would use him as an entry way to understand and hear a much more amazing scene.
And his lo-fi style is something that we're very critical of. It is insulting for us to hear shit like our tracks don't sound rough, lo-fi, or like they were ripped off imeem simply because we want to take the time to make actually good sounding, well mastered, intricate tracks. Just because juke and footwork is gutter doesn't mean that we're not smart enough, or we don't know how to take the time to master our tracks.
Yet again, I understand why he got a lot of you into the scene, but I just wish you all would use him as an entry way to understand and hear a much more amazing scene.
I understand where you're coming from, and as a fan I'm interested in both sides of it, the intricate well produced stuff as well as the kids on fruity loops...the "true" scene that's been evolving for 30 years, and this micro internet imeem scene. Rp Boo seems to be a hybrid of these facets.. well produced but with fractured structures like the kids. I think as an insider you have an opportunity to shape the narrative which you can feel being tugged away from you and distorted to focus on Nate... this thread is the perfect outlet for your perspective because I'm pretty sure it's where the idea to put people like Nate on UK labels was sparked to begin with... But yeah, like everyone is saying, part of what made this such a miniature phenomenon on this forum were the weirder tracks that had more in common with UK sounds in the bass and vox sampling... so maybe what needs to happen for the evolution of it to continue is for people like rashad and spinn to take influence from what's being responded to, these nate-like, uk-like lo fi traits... i'd like to hear those traits expanded with more professional sonics
@nnazem thanks for the great stuff you're brought to this thread but i recommend you chill on the history lessons or it will drive you insane.... credit doesn't always go where it's due, that's a fact..... and i wouldn't be surprised if there was an avalanche of semi-informed crap spouted about this stuff as more people get into it, so you may aswell just keep your stuff tight and do your thing... i'll be listening
jizzukee
FYI RP Boo's tracks are so much more bent than any of the Youtube cats, and so banging. And he actually uses good samples not Taylor Swift. I do have a soft spot for the crappy youtube lo-fi stuff, more as an idea than the actual music. I listen to Rashad, Spinn, Roc, Clent, Traxman and RP way more more than Elmoe Oreo Nate Diamond ect. And gee I still love me some damn ghetto house, juke...if your looking for strange/awesome production there is plenty of it on Dance Mania. A little track called HELTER SKELTER by yer boy DJ Deeon. Yall that just listen to Nate on Youtube are some bedroom dorks. Just playin. I do dig me some Nate, but I've always tried to shed light to other DJs to try and chip the internet Nate statue a bit, as well as talk about a lot of straight up ghetto house.
I too think that article is a piece of shit, at least they mentioned RP Boo unlike our own Chicago Reader article from a few months back. That Guardian piece is so badly written too, so sloppy. Really though if your getting paid to fucking write about music shouldn't you actually do some research. All journalism on the subject has been piss poor from what I've read, really the worst. Then again too many music journalists are pussies. There are a few articles coming out on the subject by good writers that I am looking forward to however, both of no surprise on English mags.
FYI RP Boo's tracks are so much more bent than any of the Youtube cats, and so banging. And he actually uses good samples not Taylor Swift. I do have a soft spot for the crappy youtube lo-fi stuff, more as an idea than the actual music. I listen to Rashad, Spinn, Roc, Clent, Traxman and RP way more more than Elmoe Oreo Nate Diamond ect. And gee I still love me some damn ghetto house, juke...if your looking for strange/awesome production there is plenty of it on Dance Mania. A little track called HELTER SKELTER by yer boy DJ Deeon. Yall that just listen to Nate on Youtube are some bedroom dorks. Just playin. I do dig me some Nate, but I've always tried to shed light to other DJs to try and chip the internet Nate statue a bit, as well as talk about a lot of straight up ghetto house.
I too think that article is a piece of shit, at least they mentioned RP Boo unlike our own Chicago Reader article from a few months back. That Guardian piece is so badly written too, so sloppy. Really though if your getting paid to fucking write about music shouldn't you actually do some research. All journalism on the subject has been piss poor from what I've read, really the worst. Then again too many music journalists are pussies. There are a few articles coming out on the subject by good writers that I am looking forward to however, both of no surprise on English mags.
i don't think it's the best article (and they should probably have titled it solely about dj nate), but in slight defense, i did have to write a small primer on footwork about a year ago for a little internet magazine and it was quite hard to get information on; i tried a lot of phone numbers and got vague/no responses. that's changing of course and there are avenues sheffield could have taken to make it more well-rounded, but it's definitely an insular thing - and that's part of the appeal.
as it expands, i'm sure there'll be more in-depth coverage but i think it's satisfactory at this point just to say (especially because i'm sure they have a word limit for semiobscure regional dance music pieces) "there's this music in chicago and here are a couple of producers to check out."
i think it's great nate is getting sent out first; he has that aphex/burial/IDM crossover feel, whereas people like rp boo or rashad are a lot rawer, more tracky. i know you want to see the big guns get credit first but you know, commercially it makes a lot of sense to send him out, to get people to bite onto it.
as it expands, i'm sure there'll be more in-depth coverage but i think it's satisfactory at this point just to say (especially because i'm sure they have a word limit for semiobscure regional dance music pieces) "there's this music in chicago and here are a couple of producers to check out."
i think it's great nate is getting sent out first; he has that aphex/burial/IDM crossover feel, whereas people like rp boo or rashad are a lot rawer, more tracky. i know you want to see the big guns get credit first but you know, commercially it makes a lot of sense to send him out, to get people to bite onto it.
That is no excuse, why would you want to read an article someone wrote about something they know nothing about? And again as Neema says this isn't a new thing at all. It's sound has evolved and it has remained pretty insular on the south and west sides of the city, but the dancing is no new thing. That is the case here, he talked to like two dudes and shit it out, and got paid for it. If your going to write an article in a publication on an ENTIRE genre of music and the culture that surrounds it, you better not rely on one dude from Youtube. It's not that hard to contact people on facebook or through other sites. The first guy I ever contacted was DJ Slugo and he was more than happy to let me show up at his studio for an interview for my tiny little website. He even gave me a ride home. Truth is some of these guys, especially the older cats in their late 40s are more than thrilled to rant to you, and boy will they rant. Obviously none of these guys are going to be able to give you a ride home back to Europe, but these guys will hit you back especially if you just want to ask some questions, especially if you actually write for a publication and are a professional writer. The guys in Paris (Nightmare Juke Squad) have been in contact with some of these Chicago cats for a while now, and it's not like they showed up on anybodys doorstep in chitown.
It's obvious there is probably a word count, but if you have an editor you could cut out most of that bullshit and write an article about footwork that just explained what it is and wasn't a bunch of false information could fit in that page. I mean dude isn't writing a book, it is just an article. But it's just a crappy one, facts aside it's sloppy as fuck. "There is this music in Chicago and here are some producers to check out" if it was formulated a lot better, you could say just that in that amount of space and still have a good article for the Guardian audience that someone in Chicago in the scene could agree with (a paper I have nothing against as a whole and do read). His was some half-assed shit. I don't like the idea of writing behind peoples backs, like "hey these white dorks will dig this, but the actually artists won't read it so it's cool". I am sorry to be kind of sensitive and don't mean anything personally but there are few articles on this subject, a subject which has been brought to even the internet's attention for a few years now, and they all suck ass. We already have BBU, we don't need more terrible misrepresentations of the music.
Also please no DJ Nate Aphex Twin comparisons. Burial too those are lame.
It's obvious there is probably a word count, but if you have an editor you could cut out most of that bullshit and write an article about footwork that just explained what it is and wasn't a bunch of false information could fit in that page. I mean dude isn't writing a book, it is just an article. But it's just a crappy one, facts aside it's sloppy as fuck. "There is this music in Chicago and here are some producers to check out" if it was formulated a lot better, you could say just that in that amount of space and still have a good article for the Guardian audience that someone in Chicago in the scene could agree with (a paper I have nothing against as a whole and do read). His was some half-assed shit. I don't like the idea of writing behind peoples backs, like "hey these white dorks will dig this, but the actually artists won't read it so it's cool". I am sorry to be kind of sensitive and don't mean anything personally but there are few articles on this subject, a subject which has been brought to even the internet's attention for a few years now, and they all suck ass. We already have BBU, we don't need more terrible misrepresentations of the music.
Also please no DJ Nate Aphex Twin comparisons. Burial too those are lame.
if you're one of those white dorks who likes aphex and burial and buys music and reads the guardian for music information, you might want to read a little tip-off, no matter how knowledgeable the person behind it is. again, it's basically a decent press release for nate, with a few stray mentions of other people...and your (totally understandable) crankiness would probably be alleviated with a title change and some words about how he doesn't represent everyone, how his tracks are undanceable, how he's a fluke.
simply mentioning rashad's uk appearances would probably have made a world of difference. but there's a split: the well-produced stuff with direct antecedents in slugo/nehpets/etc. vs. the imeem kids, and i think if you're following the trail of the latter (as i did, and it seems she also did) you're going to run into dead ends...i don't want to excuse sheffield but regarding insularity...on one end she may have gotten someone who's very well established with a lot to say and on the other, chasing the trail of nate's myspace friends, she'll get yung tell'em's next-door neighbor.
simply mentioning rashad's uk appearances would probably have made a world of difference. but there's a split: the well-produced stuff with direct antecedents in slugo/nehpets/etc. vs. the imeem kids, and i think if you're following the trail of the latter (as i did, and it seems she also did) you're going to run into dead ends...i don't want to excuse sheffield but regarding insularity...on one end she may have gotten someone who's very well established with a lot to say and on the other, chasing the trail of nate's myspace friends, she'll get yung tell'em's next-door neighbor.
but whatever, i can see why you guys don't like it. nate's in a precarious position, marketing wise...it has some obvious scene-wide implications but i think for instance, night slugs, in their association with rashad, are helping alleviate them. so it's not totally fucked.
"if you're one of those white dorks who likes aphex and burial and buys music and reads the guardian for music information, you might want to read a little tip-off, no matter how knowledgeable the person behind it is"
Alright I was a little harsh as far as the situation goes for who might be the main readership of the guardian, the Chicago reader, and other local indie type papers ect ect ect. Obviously a lot of people reading these papers probably don't know anything about footwork and a lot of other localized cultures that aren't their own, and a tip off is cool. I'm all for that. I think its rad that this stuff is getting out there, and I think it's cool that a bunch of people in this thread have these hilarious collections of imeem/youtube recordings (I have thousands of those goddamn things myself, footwork bubbling logobi ect ect ect....). It shows that people are that curious about something they can't experience first hand, and that's way cool. I'm mostly trashing that article because it's poor journalism that a lot of people will read which can have an effect. Like how Salem champions DJ Nate as their goth hipster love child or whatever, and a journalist asks them "so what do they say when you walk into a "footwork club" (Neema I am not going to show you this interview you will go insane)..."we are poor just like them so they don't really care"...which is some ignorant bullshit and this gets printed? Obviously this writer didn't do it THAT bad, but it's degrading to the culture because all that's being written about it in the media is trash like this, and a lot of it doesn't reflect what's going on. It's these peoples professions to write about music, and they suck at their jobs.
In regards to the "well produced" vs "bedroom lo-fi omfg", it's more like "what kids footwork to" vs "what kids don't footwork to". Also, this "good production" vs "no budget production" has an interesting history within Chicago music history that I will touch on later.
Alright I was a little harsh as far as the situation goes for who might be the main readership of the guardian, the Chicago reader, and other local indie type papers ect ect ect. Obviously a lot of people reading these papers probably don't know anything about footwork and a lot of other localized cultures that aren't their own, and a tip off is cool. I'm all for that. I think its rad that this stuff is getting out there, and I think it's cool that a bunch of people in this thread have these hilarious collections of imeem/youtube recordings (I have thousands of those goddamn things myself, footwork bubbling logobi ect ect ect....). It shows that people are that curious about something they can't experience first hand, and that's way cool. I'm mostly trashing that article because it's poor journalism that a lot of people will read which can have an effect. Like how Salem champions DJ Nate as their goth hipster love child or whatever, and a journalist asks them "so what do they say when you walk into a "footwork club" (Neema I am not going to show you this interview you will go insane)..."we are poor just like them so they don't really care"...which is some ignorant bullshit and this gets printed? Obviously this writer didn't do it THAT bad, but it's degrading to the culture because all that's being written about it in the media is trash like this, and a lot of it doesn't reflect what's going on. It's these peoples professions to write about music, and they suck at their jobs.
In regards to the "well produced" vs "bedroom lo-fi omfg", it's more like "what kids footwork to" vs "what kids don't footwork to". Also, this "good production" vs "no budget production" has an interesting history within Chicago music history that I will touch on later.
nates music is more exciting i think.
to a brit with an internet connection footwork is a puzzle and being a fan is pretty much a matter of choosing the music you like the most, following trails, possible releases, if you're honest, i'm sure a few of you roast beefs will claim you always had the fix on it though but you're lying.
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hint
party record with a siren
Yeah. There's a danger of following the route of BMore when that was getting more international hype. Lots of people got very hung up on the true history / who was authentic enough and it just becomes a big turn-off for the casual listeners. You can't stop people hyping DJ Nate over other artists, in the same way that the BMore guys couldn't stop people hyping the Aaron LaCrates etc (not that they're even remotely similar on an artistic level, but hopefully you get what I mean).
Doors are opening up - plenty of room for lots of people to walk through them at once!
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Benny Bunter
Well-known member
One thing that bugs me about all this. Why do people keep on equating Fruity Loops users with 'Lo-fi'? I think its very misleading to do this. UK producers like Skream, Roska, Pinch, Ramadanman all use FL and don't sound Lo-fi at all, quite the opposite in fact. FL studio is obviously perfectly capable of turning out high quality productions that bang in clubs and has been for years, so why do people keep bringing this up still?
Isn't the reason that a lot of the stuff from youtube and Imeem rips sounds lo-fi simply because...err...its on youtube or its ripped from Imeem? :slanted:
Isn't the reason that a lot of the stuff from youtube and Imeem rips sounds lo-fi simply because...err...its on youtube or its ripped from Imeem? :slanted:
yes and more coming i'm sure - so if you're a manager of an act in Chicago who's artist isn't getting the same attention as another act, then you probably need to chill a bit and stop slagging off other folk from the city and scene you're from and cop some of that attention when it comes your artists way.
No one outside chicago knows alot about footwork so they will get some of the facts wrong sometimes, so it's the job of the people there to let people know and also cop the attention, you know maybe even help each other along?
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