Once or twice when swamped with work—she is also a marraine godmother and writes regularly to her filleuls—Madame Balli has sent the weekly gifts [Pg 23] by friends; but the protest was so decided, the men declaring that her personal sympathy meant more to them than cigarettes and soap, that she was forced to adjust her affairs in such a manner that no visit to a hospital at least should be missed.
It is doubtful if any of these men who survive and live to tell tales of the Great War in their old age will ever omit to recall the gracious presence and lovely face of Madame Balli, who came so often to make them forget the sad monotony of their lives, even the pain in their mutilated limbs, the agony behind their disfigured faces, during those long months they spent in the hospitals of Paris.
And although her beauty has always been a pleasure to the eye, perhaps it is now for the first time paying its great debt to Nature. Madame Paquin, the famous French dressmaker, told me casually an incident that epitomizes the mental inheritance of the women of a military nation once more plunged abruptly into war. Her home is in Neuilly, one of the beautiful suburbs of Paris, and for years when awake early in the morning it had been her habit to listen for the heavy creaking of the great wagons that passed her house on their way from the gardens and orchards of the open country to the markets of Paris.
Sometimes she would arise and look at them, those immense heavy trucks loaded high above their walls with the luscious produce of the fertile soil of France.
On the seats were always three or four sturdy men: the farmer, and the sons who would help him unload at the "Halles. All these men, of course, were reservists. Mobilization took place on Sunday. On Monday morning Madame Paquin, like many others in that anxious city, was tossing restlessly on her bed when she heard the familiar creaking of the market wagons which [Pg 25] for so many years had done their share in feeding the hungry and fastidious people of Paris. Knowing that every able-bodied man had disappeared from his usual haunts within a few hours after the Mobilization Order was posted, she sprang out of bed and looked through her blinds.
There in the dull gray mist of the early morning she saw the familiar procession. There were the big trucks drawn by the heavily built cart horses and piled high with the abundant but precisely picked and packed produce of the market gardens. Paris was to be fed as usual. People must eat, war or no war. In spite of the summons which had excited the brains and depressed the hearts of a continent those trucks were playing their part in human destiny, not even claiming the right to be five minutes late.
The only difference was that the seats on this gloomy August morning of were occupied by large stolid peasant women, the wives and sisters and sweethearts of the men called to the colors. They had mobilized themselves as automatically as the Government had ordered out its army when the German war god deflowered our lady of peace. These women may have carried heavy hearts under their bright coifs and cotton blouses, but their weather-beaten faces betrayed nothing but the stoical determination to get their supplies to the Halles at the usual hour.
And they have gone by every morning since. Coifs and blouses have turned black, but the [Pg 26] hard brown faces betray nothing, and they are never late. Up in the Champagne district, although many of the vineyards were in valleys between the two contending armies, the women undertook to care for the vines when the time came, risking their lives rather than sacrifice the next year's vintage.
Captain Sweeney of the Foreign Legion told me that when the French soldiers were not firing they amused themselves watching these women pruning and trimming as fatalistically as if guns were not thundering east and west of them, shells singing overhead. For the most part they were safe enough, and nerves had apparently been left out of them; but once in a while the Germans would amuse themselves raking the valley with the guns.
Then the women would simply throw themselves flat and remain motionless—sometimes for hours—until "Les Boches" concluded to waste no more ammunition.
In Rheims the women have never closed their shops. They have covered their windows with sandbags, and by the light of lamp or candle do a thriving business while the big guns thunder. The soldiers, both British and French, like their trinkets and post-cards, to say nothing of more practical objects, and, admiring their inveterate pluck, not only patronize them liberally but sit in their coverts and gossip or flirt with the pretty girls for whom shells bursting in the street are too old a story for terror.
Many of the women of the industrial classes who have been accustomed all their hard dry lives to live on the daily wage of father or husband have refused to work since the war began, preferring to scrape along on the Government allocation allowance of one-franc-twenty-five a day for the wives of soldiers, plus fifty centimes for each child seventy-five in Paris. These notable exceptions will be dealt with later. France, like all nations, contains every variety of human nature, and, with its absence of illusions and its habit of looking facts almost cynically in the face, would be the last to claim perfection or even to conceal its infirmities.
But the right side of its shield is very bright indeed, and the hands of many millions of women, delicate and toil-hardened, have labored to make it shine once more in history. The Mayoress of a small town near Paris told me of three instances that came within her personal observation, and expressed no surprise at one or the other.
She probably would not have thought them worth mentioning if she had not been asked expressly to meet me and give me certain information. One was of a woman whose husband had been a wage-earner, and, with six or eight children, had been able to save nothing.
The allocation was not declared at once and this woman lost no time bewailing her fate or looking about for charitable groups of ladies to feed her with soup. She simply continued to run her husband's [Pg 28] estaminet wine-shop , and, as the patronage was necessarily diminished, was one of the first to apply when munition factories invited women to fill the vacant places of men. A sister, who lived in Paris, immediately applied for one of the thousand vacant posts in bakeries, cut bread and buttered it and made toast for a tea-room in the afternoon, and found another job to sweep out stores.
This woman had a son still under age but in training at the Front. He had been in the habit of paying her periodical visits, until this woman, already toiling beyond her strength to support her other children, sat down one day and wrote to the boy's commanding officer asking him to permit no more leaves of absence, as the ordeal was too much for both of them. The third story was of a woman whom the Mayoress had often entertained in her homes, both official and private.
When this woman, who had lived a life of such ease as the mother of eleven children may, was forced to take over the conduct of her husband's business he was killed immediately she discovered that he had been living on his capital, and when his estate was settled her only inheritance was a small wine-shop in Paris. She packed her trunks, spent what little money she had left on twelve railway tickets for the [Pg 29] capital, and settled her brood in the small quarters behind the estaminet—fortunately the lessee, who was unmarried, had also been swept off to the Front.
The next morning she reopened the doors and stood smiling behind the counter. The place was well stocked. It was a long while before she was obliged to spend any of her intake on aught but food and lights. So charming a hostess did she prove that her little shop was never empty and quickly became famous.
She had been assured of a decent living long since. When I arrived in Paris in May a little girl had just been decorated by the President of the Republic. Her father, the village baker, had made one of those lightning changes from citizen to soldier and her mother had died a few weeks before. She was an only child. The bakery had supplied not only the village but the neighboring inn, which had been a favorite lunching place for automobilists. Traveling for pleasure stopped abruptly, but as the road that passed the inn was one of the direct routes to the Front, it still had many hasty calls upon its hospitality.
Now, bread-making in France is a science, the work of the expert, not of the casual housewife. The accomplished cook of the inn knew no more about mixing and baking bread than he did of washing clothes; and there was but this one bakery, hitherto sufficient, [Pg 30] for the baker and his wife had been strong and industrious. The inn was in despair.
The village was in despair. A Frenchman will go without meat, but life without bread is unthinkable. It is possible that in her double grief she did not think of herself—for twenty-four hours. But the second day after mobilization her shop window was piled high with loaves as usual. The inn was supplied.
The village was supplied. This little girl worked steadily and unaided at her task, until her father, a year later, returned minus a leg to give her assistance of a sort. The business of the bakery was nearly doubled during that time.
Automobiles containing officers, huge camions with soldiers packed like coffee-beans, foot-weary marching regiments, with no time to stop for a meal, halted a moment and bought the stock on hand. But with only a few hours' sleep the girl toiled on valiantly and no applicant for bread was turned empty-handed from the now famous bakery.
How she kept up her childish strength and courage without a moment's change in her routine and on insufficient sleep can only be explained by the twin facts that she came of hardy peasant stock, and, like all French children, no matter how individual, was too thoroughly imbued with the discipline of "The Family" to shirk for a moment the particular task that war had brought her. This iron discipline of The Family, one of the most salient characteristics of the French, is largely responsible for the matter-of-fact way in [Pg 31] which every soldier of France, reservist or regular, and whatever his political convictions, has risen to this ordeal.
And in him as been inculcated from birth patience and perseverance as well as loyalty to his beloved flag. The wives of hotel and shop keepers as well as the women of the farms have by far the best of it in time of war. The former are always their husband's partners, controlling the money, consulted at ever step. When the tocsin rings and the men disappear they simply go on. Their task may be doubled and they may be forced to employ girls instead of men, but there is no mental readjusting.
The women of the farms have always worked as hard as the men. Their doubled tasks involve a greater drain on their physical energies than the petite bourgeoise suffers, especially in those districts devastated by the first German invasion—the valley of the Marne. But they are very hardy, and they too hang on, for stoicism is the fundamental characteristic of the French.
This stoicism as well as the unrivaled mental suppleness was illustrated early in the war by the highly typical case of a laundress whose business was in one of the best districts of Paris. In France no washing is done in the house. This, no doubt, is one of the reasons why one's laundry bills, even on a brief visit, are among the major items, for les blanchisseuses are a power in the land. The favor, it appeared, was all on the other side. So, although I had tipped the many girls of my unique boarding-place with pleasure I parted with the sum designated for my patronizing laundress with no grace whatever.
But to return to the heroine of the story told me by Mrs. Armstrong Whitney, one of the many American women living in Paris who are working for France. This laundress had a very large business, in partnership with her husband. Nobody was expected to bring the family washing to her door, nor even to send a servant.
The linen was called for and delivered, for this prosperous firm owned several large trucks and eight or ten strong horses. War was declared. This woman's husband and all male employees were mobilized. Her horses were commandeered. So were her trucks. Many of her wealthier patrons were already in the country and remained there, both for economy's sake and to encourage and help the poor of their villages and farms. The less fortunate made shift to do their washing at [Pg 33] home.
Nevertheless there were patrons who still needed her services at least once a fortnight. This good woman may have had her moments of despair. If so, the world never knew it. She began at once to adjust herself to the new conditions and examine her resources. She importuned the Government until, to be rid of her, they returned two of her horses.
She rented a cart and employed girls suddenly thrown out of work, to take the place of the vanished men. The business limped on but it never ceased for a moment; and as the months passed it assumed a firmer gait. People returned from the country, finding that they could be more useful in Paris as members of one or other of a thousand oeuvres; and they were of the class that must have clean linen if the skies fall. Also, many Americans who had fled ignominiously to England returned and plunged into work.
And Americans, with their characteristic extravagance in lingerie, are held in high esteem by les blanchisseuses. Further assaults upon the amiable Government resulted in the return of more horses and one or two trucks. To-day, while the business by no means swaggers, this woman, thanks to her indomitable courage and energy, combined with the economical habit and the financial genius of the French, has ridden safely over the rocks into as snug a little harbor as may be found in any country at war.
Aside from the industrial class the women who suffered most at the outbreak of the war were those that worked in the shops. Paris is a city of little shops.
But during the greater part of street after street exhibited the dreary picture of shuttered windows, where once every sort of delicate, solid, ingenious, costly, or catch-penny ware was displayed.
Some of these were closed because the owner had no wife, many because the factories that supplied them were closed, or the workmen no longer could be paid. To-day one sees few of these wide iron shutters except at night, but the immediate consequence of the sudden change of the nation's life was that thousands of girls and women were thrown out of work: clerks, cashiers, dressmakers' assistants, artificial flower makers, florists, confectioners, workers in the fancy shops, makers of fine lingerie, extra servants and waitresses in the unfashionable [Pg 35] but numerous restaurants.
And then there were the women of the opera chorus, and those connected with the theater; and not only the actresses' and the actors' families, but the wives of scene shifters sent off to the trenches, and of all the other humble folk employed about theaters, great and small.
The poor of France do not invest their money in savings' banks. They buy bonds. On the Monday after mobilization the banks of France announced that they would buy no bonds. These poor bewildered women would have starved if the women of the more fortunate classes had not immediately begun to organize relief stations and ouvroirs.
Madame Lepauze, better known to the reading public of France as Daniel Lesauer, who is also the wife of the curator of the Petit Palais, was the first to open a restaurant for soup, and this was besieged from morning until night even before the refugees from Belgium and the invaded districts of France began to pour in.
Her home is in the Petit Palais, and in the public gardens behind was Le Pavillion, one of the prettiest and most popular restaurants of Paris. She made no bones about asking the proprietor to place the restaurant and all that remained of his staff at her disposal, and hastily organizing a committee, began at once to ladle out soup. Madame Lepauze estimates that her station alone fed a million women and children. Moreover, she and all the other women engaged in this patriotic duty had soon depleted their wardrobes after the refugees began streaming down from the north; it was generally said that not a lady in Paris had more than one useful dress left and that was on her back.
Many of these charitable women fled to the South during that breathless period when German occupation seemed inevitable, but others, like Madame Pierre Goujon, of whom I shall have much to say later, and the Countess Greffuhle a member of the valiant Chimay family of Belgium , stuck to their posts and went about publicly in order to give courage to the millions whose poverty forced them to remain. The next step in aiding this army of helpless women was to open ouvroirs, or workrooms.
Madame Paquin never closed this great branch of her dressmaking establishment, and, in common with hundreds of other ouvroirs that sprang up all over France, paid the women a wage on which they could exist besides giving them one meal in return for at least half a day's work on necessary articles for the men in the trenches: underclothing, sleeping bags, felt slippers, night garments; sheets and pillow-cases for the [Pg 37] hospitals.
As the vast majority of the peasant farmers and petite bourgeoisie had been used to sleeping in airtight rooms they suffered bitterly during that first long winter and spring in the open.
If it had not been for these bee-hive ouvroirs and their enormous output there would have been far more deaths from pneumonia and bronchitis, and far more cases of tuberculosis than there were. A good many of these ouvroirs are still in existence, but many have been closed; for as the shops reopened the women not only went back to their former situations but by degrees either applied for or were invited to fill those left vacant by men of fighting age.
And then there were the munition factories! The manager of one of these Usines de Guerre in Paris told me that he made the experiment of employing women with the deepest misgiving. Those seeking positions were just the sort of women he would have rejected if the sturdy women of the farms had applied and given him any choice.
They were girls or young married women who had spent all the working years of their lives stooping over sewing-machines; sunken chested workers in artificial flowers; confectioners; florists; waitresses; clerks. One and all looked on the verge of a decline with not an ounce of reserve vitality for work that taxed the endurance of men.
But as they protested that they not only wished to [Pg 38] support themselves instead of living on charity, but were passionately desirous of doing their bit while their men were enduring the dangers and privations of active warfare, and as his men were being withdrawn daily for service at the Front, he made up his mind to employ them and refill their places as rapidly as they collapsed.
He took me over his great establishment and showed me the result. It was one of the astonishing examples not only of the grim courage of women under pressure but of that nine-lived endowment of the female in which the male never can bring himself to believe save only when confronted by practical demonstration. In the correspondence and card-indexing room there was a little army of young and middle-aged women whose superior education enabled them to do a long day's work with the minimum output of physical energy, and these for the most part came from solid middle-class families whose income had been merely cut by the war, not extinguished.
It was as I walked along the galleries and down the narrow passages between the noisy machinery of the rest of that large factory that I asked the superintendent again and again if these women were of the same class as the original applicants.
The answer in every case was the same. The women had high chests and brawny arms. They tossed thirty-and forty-pound shells from one to the other as they once may have tossed a cluster of [Pg 39] artificial flowers.
Their skins were clean and often ruddy. Their eyes were bright. They showed no signs whatever of overwork. They were almost without exception the original applicants.
I asked the superintendent if there were no danger of heart strain. He said there had been no sign of it so far. Three times a week they were inspected by women doctors appointed by the Government, and any little disorder was attended to at once.
But not one had been ill a day. Those that had suffered from chronic dyspepsia, colds, and tubercular tendency were now as strong as if they had lived their lives on farms. It was all a question of plenty of fresh air, and work that strengthened the muscles of their bodies, developed their chests and gave them stout nerves and long nights of sleep. As I looked at those bare heavily muscled arms I wondered if any man belonging to them would ever dare say his soul was his own again.
But as their heads are always charmingly dressed an odd effect surmounting greasy overalls and as they invariably powder before filing out at the end of the day's work, it is probable that a comfortable reliance may still be placed upon the ineradicable coquetry of the French woman. And the scarcer the men in the future the more numerous, no doubt, will be the layers of powder. She added that when the war was over she should take off her blue linen apron streaked with machine grease once for all, not remain from choice as many would.
But meanwhile it was not so bad! She made ten francs a day. Some of the women received as high as fifteen. Moreover, they bossed the few men whose brawn was absolutely indispensable and must be retained in the usine at all costs. These men took their orders meekly. Perhaps they were amused. The French are an ironic race. Perhaps they bided their time. But they never dreamed of disobeying those Amazons whose foot the Kaiser of all the Boches had placed on their necks.
One of the greatest of these Usines de Guerre is at Lyons, in the buildings of the Exposition held shortly before the outbreak of the war. I went to this important Southern city a beautiful city, which I shall always associate with the scent of locust [B] -blossoms at the suggestion of James Hazen Hyde. He gave me a letter to the famous Mayor, M. Herriot, who was a member of the last Briand Cabinet.
Herriot was also a Senator, and as he was leaving for Paris a few hours after I presented my letter he turned me over to a friend of his wife, Madame Castell, a native of Lyons, the daughter of one silk [Pg 41] merchant and the widow of another.
This charming young woman, who had spent her married life in New York, by the way, took me everywhere, and although we traversed many vast distances in the Mayor's automobile, it seemed to me that I walked as many miles in hospitals, factories, ateliers workrooms for teaching the mutilated new trades , and above all in the Usine de Guerre. He had an Ensoniq DP4, maybe he had two of those. One very cool technical thing about the mixdown was. The crazy thing is that these days you can automate everything and you can hold your ramps and curves.
And as great a machine as the JP is, if you go too quick with it, to zero, it starts clicking, you have to be very careful about how you pull the faders. The main lead sound in the record, of course, sounds like a mangled acid-line, burning through every speaker and brain in the vicinity. But when you put it through a distortion unit, this is what comes out of it. Track ID? The death of a close friend led him to a super intimate process of composition that turned into a studio album.
With the summer season in full motion, we talked to the always interesting Hot Since The summer season is in full motion and the white island is known for its lively nightlife.
I have already released a few tracks which have gone down really well so I am excited to see the reaction of my fans to the entire LP. Writing music has been therapeutic for him, and this is reflected in the music and the track titles. Padley explains. You should give it a spin! Drawing a massive crowd on Saturday night, he kept the vibe going until the very end.
You can also watch him travelling around Japan in one the episodes of Even Deeper, a series of short documentary films were he experiments cultures in an intensive way. What I found was that even if only people came to a small club on a Thursday night in a small city, the people there were so committed to the sound that it was amazing and so refreshing. It was very special. Playing only in festivals is very different from touring throughout different cities and feeling the real local scene in front of you.
That is something Daley has learned over the years and the trips. I play records that feel right and make people dance. Playing neither gigantic venues nor intimate parties, he moves along with the music. As he understands the privilege, he not only accepts the consequences but also squeezes all the juice to keep it fresh.
For the past three years SCR has been awarded the best online radio station, collaborated with major brands, and hosted some of the most epic events in Korea. How do you feel about these achievements over the past three years? Facebook Live was a huge thing for us when we first started, but Facebook generally was not really as culturally relevant as it is. So one of the big challenges is to really keep up with the best way to let people experience the sounds coming out of SCR.
Do you feel the impact of your platform in the music scene here and abroad? We get a lot of requests from both inside and outside Korea of DJs we recommend. But the difficult thing about that is when the economy is bad, brands tend to spend less.
I see brands spending loads of money on construction but the content is like an afterfall. But then no one is really thinking about the music and what goes into that thing.
In the West, people use art to renovate areas so that they can then raise the price of the property. Then they also support the artist. Understanding of the culture and support it with either some space or maybe some grants. How did it happen? I think Vans has been doing great stuff —supporting people doing authentic things.
We originally had a little pop-up radio booth at House of Vans. It was the first brand collaboration that we did. They were happy to support us financially to make something which was great and we made something cool which they liked and I think it came from there. It was like a master chef cooking up a track challenge. I think programs like that is the future thing for SCR because its not just about the mixes, its about what goes into behind the mixes.
And the response was great. There were loads of people asking questions afterwards. So what is next for SCR? That would be cool. It will be about celebrating the three years and the people who played a huge part —the SCR, residence, and lots of collaborators.
We still need to work it out, but it will hopefully be full of some nice surprises. So how did you and your team launch SCR? There was no platform for DJs and also the younger generation to experiment to show what they can do. There was a lot of enthusiasm for people to do stuff during the week as well. We almost have to run our business like a media company. DJ Mag Asia sat down with Glam Gould to talk about his recent album as well as building a career as an independent artist. What were the ideas behind the album?
I wanted my music to capture love in its essence, without bothering to make it look pretty and neat. If you think of everything around of you as a noise, the imagery of a perfect love illuminates beyond the level of existence. But the way I see it, I want to embrace it as it is; even the imperfect, noise-filled parts of it. So rather than making percent of what I want, I decided to focus on the format. My priority was on the delivery of the message and I had to keep myself from overdoing anything for the sake of maintaining the overall tone of the album.
What would be some of the differences from the previous ones? I used to bring in a lot of sounds for a track, but now I always go through a process of cutting down or trimming other sounds to focus on the main sound. I also used to experiment a lot with new and strange sounds—which could be cool but I often went too overboard with it.
My goal for this album was to make it easier to understand—even for listeners who might not be familiar with Glam Gould. Tell us about the pros and cons. The downside of that would be the hardships associated with projects that may require the help of many individuals. The financial part of it is the biggest challenge. I think being independent can both be a pro and a con. If you think of independent artists as a local hole-inthe-wall joint, how do you think you can develop loyal customers?
I grew up listening to classical music so the melodic elements have always been the center of my work. While building a career as a DJ, I tried to fortify the rhythmic elements as well. But I still find myself gravitating towards melody-heavy music. So my plan is to write songs with good melodies but also tap into the rhythmic side.
I try to deliver the apex of everything I can do in that time and moment. My music is the link of everything I like. I really dig his laid back vibes and I feel like we can cook up a really chill joint.
Mac is a true hippy. Also, living a normal life while pursuing a career as an artist. This was some years before he would first be exposed to synthesizers and electronic music, and go on to form countless essential partnerships as a producer, DJ, label owner and mentor. It was in at the age of 15 that Juan would come to own his first synth, a Korg MS Having spent some time messing around with the machine in a shop, he eventually persuaded his grandmother to make the purchase, and quickly set about getting to grips with its functions, experimenting and building an arsenal of personal demo recordings far beyond his years.
Detroit festival Movement, he explains, seemed to ask every year, but it never felt quite right — until now. Since then, he and a team of trusty lighting engineers have set out on developing an experience that is as much about the visual element as it is his music. Juan, meanwhile, has been hard at work building the sound of the show, remotely sending the stems to Cybotron tracks old and new for the technical whizzes to chew over.
There are more people out there making music that might not be doing it for the right reasons. The creative possibilities are limitless, but what we are sacrificing is non-creativity. There are some people out there doing this thinking they are just going to make money from the market. What makes you stand out? I would rather take the bitter with the sweet in all of this than not have it at all, though.
At one time, it was very expensive to be an electronic musician — to buy all the machines and the synths. Do it for the love of the art. I came across Kraftwerk through Electrifying Mojo. I was making music before I heard Kraftwerk. I was making demos, but it was all quite primitive. I was making my own drum kits but it was all quite mangled. It sounded like my music, but it was more precise, regimented, together.
Writing new music as Cybotron was essential to returning to the project, Juan says. With electro enjoying something of a renaissance in recent years witness the busy touring schedules of leading figures like Helena Hauff and DJ Stingray , the music of Cybotron feels as relevant as ever.
Work on a new album is coming along nicely, with Juan describing the new material, in simple terms, as an updated take on the sound he helped to pioneer. Juan has continually channeled his lifelong obsession You can trace this love of sci-fi and futuristic sounds in part back to his discovery of Kraftwerk in the early s. Afrofuturism is a common strain through much of the music Juan grew up with, though. That developed into funk and then into disco, so you had all of these sounds developing and converging.
It was music born out of technology to me back then. This was largely thanks to his desire to traverse sounds and eras, irrespective of the genre restrictions placed on a number of US radio stations at the time. Trips to the UK would offer he and his Belleville Three cohorts — Kevin Saunderson and Derrick May — an opportunity to experience new sounds first-hand, which they would then introduce to music lovers back home in Detroit. He would also meet Rik Davies while attending a community college in the city, forming Cybotron not long after.
The Motor City is still his home to this day, even if his various work commitments continue to see him spend less time there than he did in the early stages of his career. Fast-forward over 30 years, and that techno city is in the midst of ongoing economic turmoil, owing to the loss of the industrial heartlands that employed so many in Detroit in the past.
While travel, Juan says, has given him a more rounded and universal take on the social matters of the day, he jokes that the election of Donald Trump in has allowed him to enjoy the time he gets to spend outside of the US more in recent years.
Juan is open about enjoying the creative process involved in studio time and performing his own music live, more than playing records in clubs. Above all, the ability to showcase his own work to audiences via his Model shows, as well as recent live gigs with Moritz von Oswald, carries an undeniable allure to him. That will always take precedence over a DJ show to me. This applies, too, to his live sets, though.
Does he feel that the techno scene has become a little too whitewashed in ? With synth manufacturers loading their machines with presets, Juan says that many people starting out with production are at risk of not truly testing themselves and their own ideas.
When asked whether he ever sees himself winding things down for good and stepping away from the spotlight, though, Juan does acknowledge that, if anything, his health could play a role in the decision. As somebody so concerned with progression, it may seem like an odd decision for Juan to return to a project from the very first phase of his career, especially since Cybotron continued for a number of years without him after he left in We need to keep our creative minds working.
Identity is not important, the music is! Does it really matter who I am? Pretty weird, right? I mean, I could be a gender or gender-identifying person, what does it matter, as long as you like the music. All I can reveal about me is that I love making music and especially the kind which one can relate to —especially, if you are Indian or of Indian origin- and that helps to release a good dose of serotonin.
Todh Teri wants to keep the golden era of Indian cinema alive! Far from the camera flashes, this hidden identity puts the current. Not all originals, but mainly influenced by the West. So it is basically a revival in a modern form, which creates a bond between two generations: the young clubbers, who are into electronic music, and their parents.
We tried to see why…. Being able to compile the first ever India-dedicated compilation of Get Physical must be something to be really proud of. What can you say about it? Kudos to Get Physical and everyone involved who helped in the smooth execution of this project. It is something to be proud of but I think, more than me, the artists should be proud of the music that they have composed for this compilation, because each and every track is special.
Getting 12 amazingly unique tracks in a short time was totally unexpected, as everyone wanted to do their best, which they eventually did in a very limited time. Same goes for the graphic designer who did the amazing cover art and the journalist who wrote a very detailed and explanatory press text.
I am honored to have compiled and mixed it! The producers there are not any less than the top league folks. Their music has matured with them, hence I was pretty sure that they would deliver exactly what the label and I were looking for.
The focus of the music was mainly electronic with a pinch of India, inspired by a classical raga -India melodic framework-, mood, day to day life, environment, traffic, anything actually; so each and every artist did their bit to fulfil the requirement in their own way. Why do you think Get Physical is paying attention to those countries? In my opinion, they are exploring the world as a label, establishing a relationship and making a statement that electronic music brings people together.
Night life is booming in India at the moment. They shut early. Electronic music is not really something that the government supports, which is a big issue! Good thing is that one gets paid the same amount for less working hours and no ultra-late nights, unlike in some other countries. People are open and hungry for new music, so one can push boundaries, which is very motivating. They are appreciative and make you feel good about you and your art.
Music can be made comfortably at home because the neighbours are used to every kind of sound that exists on this planet, so no one complains! How did you get involved in this? What is your relationship with the label? Since then, we have been working hand in hand.
DJs are playing it and everyone simply loves the artwork, kudos to Mirjam Schmid! Tim Bergling, the name behind the famous project, was the swedish DJ, music producer and artist who marked the ears and hearts of people on a global scale, accumulating more than presentations, several hits and awards during his career, leaving an unparalleled legacy for the dance international music. Tim was just a shy boy from Stockholm who liked to produce music. At the age of 16, he began to produce and at 18 he made his first shows.
His complete delivery to music and his work But this is the pure truth. Avicii managed to captivate all types of audiences with his joyful, melodic and pulsing music, making it impossible not to admire him. With unique and engaging productions, Tim has teamed up with a legion of fans and dictated market trends in a natural way.
As well as the Swedish House Magic trio, he starred in the massive pop entry to electronic music, which made him one of the best paid DJs in the world, as well as being considered one of the best DJs in the scene as well.
Although very young, Avicii began to travel the world and to presence in the main festivals of electronic music, living the dream of any DJ and producer. But what he could not imagine is that all this would result in acute pancreatitis - inflammation in the pancreas, one of the causes of which is often excessive alcohol consumption.
Unable to make a few presentations, Tim said that he felt as if he were stabbing his pancreas, and that he often preferred not to eat or drink water to avoid pain. The remedies, which were supposed to help him, were doing him harm too. Tim, however, sought to fulfill his commitments.
In , he stepped away from the stage and canceled a series of concerts, a decision needed to recover from surgeries. In that time, however, caring for oneself was not so fruitful.
Tim reported that even off-tour his anxiety would not allow him to relax. The thought that it would be over soon and he would have to go back on stage again really bothered him. Unlike many artists, Tim never liked being the center of attention.
He just wanted to produce his music, just like many DJs around the world. All these spotlights made his condition worse. Finally, in , he decided to leave the stage and dedicate himself exclusively to musical production. The numbers of streamings were spectacular and, as always, Tim caught the ears of the people in a captivating way.
His intention was to keep doing this until the last days of his life. On April 20, , we were surprised by the news of his death. Tim was found dead at a resort in Muscat, Oman. There were no signs of criminal activity at the scene, nor was the cause of mortis immediately revealed.
His death moved not only the stage professionals, fans, friends and family, but several artists who admired him. Tim was honored in numerous places by co-workers, major festivals, churches and, of course, in a public square in Sweden.
Avicii was a victim of the demands of the market, the demands on himself and the slow destruction of his mental health. Of course, your favorite artist wants to play in your city and bring music to you. Hotel rooms are like prisons, they say. There is a name for it: Burnout Syndrome, something very present in the life of the DJs. One thing we have to put in mind is that everything in excess brings consequences - especially when one lives to work.
For those who are on the road consolidating an international career, there is often no button to pause resulting in psychosomatic symptoms. In the current years, we still see many people avoid looking for professional help from psychologists or psychiatrists. According to the Bergling family, the foundation on their behalf will be a way to honor their memory and continue to act in their spirit, helping others who are in difficult times to get help and support.
The Tim Bergling Foundation also has plans to expand in the future to include initiatives on climate change, threatened species protection and nature conservation, always aiming to make a difference - just as Avicii did during life.
The album was released on June 6, with its profits reverted to the foundation and you can already hear it in all digital platforms. Tim left an important legacy and his existence contributed positively not only with his songs and genius, but being a unique person. Their songs will always keep you alive and legends like Avicii never die, they stay forever. So more than ever: thanks Tim! You will never be forgotten.
One of the first countries I went to as a DJ! Japanese people seems to really know their stuff. We ask. The truth is nobody knows exactly. It was amazing. It was one of my favourite gigs from last year. I was with my family. I have a daughter of seven and a son of five. So then is when I get into the studio! And then at 6 we were having dinner. I can work whenever I want to and I can stop the same way too.
We try to have quality time together. One of the most energetic crowds ever. They just kept bouncing during the whole set. It made us very comfortable. It was our second live show in Korea. But when you have a crowd like that, you just feel eased straight away.
Harry was already playing drums and I played the clarinet. And yeah, we kind of went from there. We thought we really enjoyed doing it and thought that maybe we could pursue this as a career. It was a nice progression. We knew we wanted to make music and then we started clubbing in London when we were in college.
How was your gig at club Chroma? But there were people with all the Third Party merchandise like the t-shirts and stuff on. It was surprising because we thought that it was kind of like a VIP Vegas club type thing.
So, we thought it was going to be just like tables and chill. But when we got there, everyone was wearing our t-shirts. They had traveled all the way out to the club from the festival. So that was great. Even the very first time, which was maybe like five years ago in Octagon, was amazing.
How are the crowds in Asia compared to their counterparts in UK? Because that really is a work out. The crowd knew the lyrics as well, which is great. We get that in places like England and a few other places in Europe, but not everywhere.
Like here in Korea and Japan, people really know the songs. They are the best. How did you guys come up with that? When we do live shows, we play live and also have a live VJ who travels with us. We always want to incorporate something special when we do those shows. Not hard to do right? We try to do that everywhere we go if we are doing a live show.
But when we do our live shows, we try to tailor it for the fans. We also had pictures of the fans who sent their pictures in and used them to curate a collage that came together to make up as the intro was built.
What was the first DAW that you used to produce music? We then transitioned into Logic. We went to college in London and we learned Logic and Protools.
Now, we also use a bit of Ableton for time stretching since they are very good for that. Can you tell us about the pros and cons?
The con is that we argue a lot and we spend way too much time with each other. But, it is also a pro because we can be honest about our opinion; like, if the track is good or not good.
And you know genuinely when someone is feeling it as well. It tends to make the final product better than if it was just on your own. Especially with the whole attention on mental health and stuff from touring. I do actually meditate sometimes. But in terms of music, you do need some stress. DJing in general has gotten more comfortable for us. But you just have to have faith in it. For Mickey Mouse's hometown, see Mickey Mouse universe.
For Mighty Mouse's hometown, see Mighty Mouse. House techno progressive house  tech house. Turntables keyboard guitar. Main article: Eric Prydz discography. Retrieved 13 December Retrieved 20 June British Chart Singles. Archived from the original on 12 August Archived from the original on 8 August Retrieved 14 April Rolling Stone. Your EDM. Retrieved 9 December Splice blog. Give the album a try who knows you might like it.
Review Hed Kandi Twisted Disco I feel it would be an acquired taste though compared to normal house and dance tracks. It's good to listen too when driving around or just working on your desktop. This compilation has 2 discs Disc 1 Tracks to watch Tweak ft.
Foster Child - Hypnotised Antoine Clamaran ft. Review Poetica It features fantastic vocals by Nadia Ali. Although I am liking it more each time I play it, it seems that it's been too long since this album came out, I mean Rapture came out when I was still in college, around 3 years back? I know that a remixes album would be better look at the success of the remixes of their first single Rapture.
Anyway this is ok for reading or driving but definitely not clubbing not yet atleast. Listening to this album while reading the novel would totally immerse you in the story. Good Listening! Tracks to watch removed to avoid spoilers! Stover has made a great interpretation. No more details I'm not into spoilers but I will say this watch out for Anakin, Obi-wan, and Sidious. Review Hed Kandi Winter Mix Andrea T. Mendoza Vs.
Review Eric Prydz. You'll probably be familliar with some of the 80's songs that he's remixed to become fantastic dance anthems and if If you grew up with these songs you'll probably know them! Review Just Be Off to China Tomorrow. I'll be off to China on Business from Tomorrow till Sunday. I've got my plane tickets so there's no turning back. I'm really not looking forward to it.
You see when I go off on business especially to China, it's so so so tiring. I better get some rest tonight or else I'll be really out of it tomorrow. Hopefully this trip will be short and successful. I really need to get my shit together to prep for the holiday season. Happy Birthday!!! Happy Birthday Pebbles! Working on a new theme Hopefully this will be done by tomorrow. I'm on my bed. Watching TV. Pretty so-so day.
Again nothing really good on TV Maybe I'll take in a DVD. I'm in the car right now waiting for my mom to finish up her work Hopefully the traffic won't be so bad heading home. I'm really digging this Pocket Blog application. I'll probably be adding more entries to my blog compared to my multiply site as that requires more resources Pocket IE and constant connection to the net. Whereas with this app I can write an entry offline anytime and publish it when I have an internet connection.
I'll probably be doing my reviews at multiply still as of course it is more feature rich. Sony Ericsson Ki Themes. I've started to experiment and study theme making for Sony Ericsson specifically the Ki.
I must say that the Theme Studio is both easier and performs faster than that of Nokia's Theme Studio. I'd say a theme would set you back around 2 to 2. Anyway my first two themes are experimental in nature they are both in their beta stages and waiting on comments from people who I know own a Ki.
Here's a sneak peak of my themes Also noticed that errors seem to occur after sync and you try another action i. I've been able to configure it easily and actually posted my greeting for Rad previous post using my Activesync pass thru The tags for formatting work well :- Now I can blog on the go! Happy Birthday Rad :o.
Sony Ericsson Themes. Just tried making my 1st SE theme in a long time. It is out and being tested by friends hopefully i get some feedback soon to do some more tweaking and to finalize it for release.
Preview Hed Kandi Beach House v2. Just uploaded my Hed Kandi Beach House v2. Hopefully it will be out soon. I'll keep ya posted! Beach House v2. My theme is now available for download over at my opera site here the direct download link. Here comes the big guns!!!
This monster device packs monstrous features which include WiFi, Bluetooth, 3G, 1. Preview: BeachHouse v2. Here are some screenshots. I'll post again when it is officially released on my opera site. I haven't been theme making for Nokia s60SE for awhile.
I do admit I am a bit rusty I've always made stuff for free. The sad thing is some have elected to make money off my hard work as I said each theme takes me 5hrs or more! A friend recently told me that one of my themes is now for sale in some celphone-fixem-up place at G4 in Makati.
I find it unfair that they should sell my themes as I am providing them for free. I believe that the problem is not getting the themes yo…. At home Just finished my dinner, and am watching tv Nothing really good on right now. Not the best of experiences but bearable. That's all for now. Dial and In Call Banners. System Screens. Color Scheme. Extract it.
Copy the cab file to your device and run it. You may overwrite files. Using a Registry Editor i. Working on a New Smartphone Homescreen. I'm working on a new Smartphone Homescreen Just taking a break to take in my work and make last minute tweaks before I prepare it for online submission.
My Smartphone. What's on my Smartphone MotoBean? Happy Brithday!!! Happy Brithday Diana Ruth Lee! My Pocket PC. Fashionistas Unite Embassy Super Club. Saturday, August 20, Attire: Dressy with a hint of Sport.
It contains great Trance, Dance, Garage tracks. Review In My Memory It has 2 CDs the 1st is original material and the 2nd are remixes. Review Easy to Assemble Album Info. WiFi Troubles. Hmmm having some trouble with our WiFi network here at the office Oh well. Review No Silence I know in my heart that this deserves higher than 3 stars but I guess lately I've been in the mood for faster or harder trance. So I guess you could consider this as 3.
It was as I walked along the galleries and down the narrow passages between the noisy machinery of the rest of that large factory that I asked the superintendent again and again if these women were of the same class as the original applicants. Focusing on minimal lines and essential details, this pink cotton shirt is a must-have, giving you a healthy glow all year long. This version, made in soft Social Gymnastic (Original Mix) - Various - Indeks Compilation (File) lambskin, features an irregular chain detail, adding toughness to its simple shape. After going to the beach and relaxing, once again we went to the Faena Forum to satisfy our curiosity. Music Another great location was the Sasquasch Festival, three Social Gymnastic (Original Mix) - Various - Indeks Compilation (File) away from Seattle. For the most part they were safe enough, and nerves had apparently been left out of them; but once in a while the Germans would amuse themselves raking the valley with the guns. I visited one just outside of a town which by a miracle had escaped the attention of the enemy during the retreat after the Battle of the Marne. But the difficult thing about that is when the economy is bad, brands tend to spend less.
Fourth Street - The Shadows - MP3 Collection (CDr), Luan & Vanessa - Luan & Vanessa (Vinyl, LP, Album), King Kong - Babylon (Vinyl), Draußen Mit Mama - Simon Mason (3) - Die Quigleys Obenauf (CD, Album)