interesting aside - there was a piece on dubstep in the nme this week, martin done it.
The funny thing about it was they interviewed the guy from hadouken about his experience of dubstep and he related a time about going to forward (lots of nonesense about stacks of speakers etc) and how it made his pissed mate throw up (which is the similar story goldie told about himself going to see shaka years back). They also namechecked clubs where to go and see dubstep, no mention of fwd or dmz, where a newbie nme reader might get the full experience of dubstep or grime, but some indie clubs where they play a bit of dubstep apparently.
The issue seems to be more that the filters that grime and dubstep are to be accepted by the mainstream are geared towards indie and the nme etc protecting their own values and interests, the hegemony of guitar rock and indie nightclubs, explicitly, where the money is spent and made. So it's 'isn't it great that grime producers have finally seen the light and incorporated us,' the imbalance of that is significant, you wouldn't get that level of support for jme, who is independant as hell and alot more skilled than any of these guys.
to don rosco :
this is bullshit about the detroit producers being horrified by hardcore, both juan atkins and kevin saunderson had hardcore pseudonoms and released hardcore records, and ur were practically hardcore at times, or were part of hardcore's roots. Derrick may might have complained a bit but then he never did any records by then, which is Derrick May's problem.
I think the problem with hardcore actually came from the keep techno pure uk side of things, i remember a message in an old warp records with some kinda anti breakbeat message in it, which now seems incredibly foolish.
I liked a few of doctor venoms records tho, they always seemed to have slightly adventurous novelty element to them back then, even though i enjoyed them, so i'm not suprised its him behind them, rather than say terrah danjah.