(wow) Words Of Wonders Level 808 Answers – What comes to mind when you think of Detroit music? Probably Motown, Berry Gordy, techno, The Belleville Three. From the mid-90s to the early 2000s, another popular sound appeared – ghettotech. As one artist and longtime resident put it, it was “Detroit’s native music.” Parties, radio mixes, strip clubs, dances, record stores and TV shows created a complex musical ecosystem that ran much deeper than the scene’s evergreen calling card, DJ Assault’s Ass N Titties.
Before producer Disco D and journalist Hobie Echlin gave it a name to export in the mid-1990s, getotech wore names that reflected how prevalent the fusion of Detroit classics with the latest dance sounds had become. (Songs by Kraftwerk, Cybotron, 2 Live Crew, Egyptian Lover, and DJ Godfather were staples of DJ sets in Detroit.) It was music on demand, mixed show music, techno. For many, it was just techno in Detroit.
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It started with Jeff Mills. In the late 1980s, Detroit DJs, mesmerized by The Wizard’s 30-minute mixes on WDRQ and WJLB, began to imitate the young Mills’ offbeat style. Records were picked up or played at 45 rpm – whichever was faster. After meandering scratches and juggling bars, each song played for up to 45 seconds before Mills prepared the next. The mixing was mercurial and aggressive – and difficult to control. (This was in contrast to The Electrifying Mojo, whose hour-long free-spirited shows on WGPR and later WJLB featured the songs.) Other radio DJs, including Gary Chandler, who had a post-Mills show on WJLB in the early 1990s. – followed the wizard’s example.
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Ghetto talk usually revolves around anthems: Ass N Titties, Player Haters In Dis House, Sex on the Beach by DJ Assault and Mr. De and other tracks from labels such as Electrofunk, Databass, and Metroplex combine up-tempo electrofunk beats with vocals and rap. These records were inspired by the mixing style of local radio and club DJs, where 2 Live Crew and other rap records were thrown into fast-paced techno and electro. When DJ Assault and DJ Godfather realized that these mixes could work as standalone records, they created them.
Soon it was everywhere. DJs played records on the radio, in warehouses, in cabarets, family gatherings, strip clubs. Voters were so thirsty for fresh music that even tracks made for techno and house DJs were sped up – Technics 1200 turntables were modified to exceed the standard 8% limit. Underground Resistance’s “Millennium to Millennium” and DJ Roland’s “Jaguar” became 45rpm classics in Detroit. Aux 88, Mike Banks, Ectomorphi and Drexciya Electro Records added musical savvy and conceptual weight to these DJs.
As serious and sincere as the DJs and producers were about their craft, the immaturity of the ghetto captured the imagination. it’s cruel it’s offensive. It is difficult to defend oneself in a polite society – especially if there are women in this society. Why do so many people love party music? In club spaces, where morally dubious music meets the desire of a drunken public to have a good time, suspicions of sexist lyrics tend to subside.
Other explanations are simpler. Ghettotech spun Detroit music on the mixer – shaped by years of adventurous work in radio and television. Long Detroit jams were brought to life by DJs who played songs quickly and skillfully. Most dance music is made for DJs – ghettotech was ultimately a product of DJs. Even in dance music, there are few genres where this connection is so integral. The same can be said about the ghetto and Detroit. The scene flourished in the city, and later internationally, like few others. We asked the artists present to explain in their own words how.
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When people try to talk about it, like, “What were you thinking when you made Ass N Titties?” I do not know! It was just some stupid shit we said to each other in the club. It was not deeply thought It was a record of fronts and tits.
It was universal; every town loved this trail. Even if you weren’t a ghetto techno DJ, you had to have one handy or you’d be kicked off the decks. People wanted this track.
It was right from the start. The record was so popular in the city that Assault released a CD for it. It was probably the biggest Detroit record, by a Detroit artist, probably in the history of Detroit music.
I put it on YouTube two years ago. it’s pointless. He gives a million shows a year and growing. As of November or December 2014, it had been played 2.2 million times. I think that?” I don’t know, I’m glad people like it, but… People replied: “Can you add words to the description?” I had to write words for people in the description.
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They ask this all the time. They have a radio version. It is called “Gel N Weave”. If you’re going to play ghetto music, you usually have to play either Ass N Titties or Gel N Weave.
Why do people like it? I do not know. The first version was really confusing. it didn’t turn out well. People like a remix, a remix is one that really sticks. it’s much clearer. More directly… It starts with “Ass, goats”, you know, that’s how it starts. The second began with the clatter of a drum. I also changed the text. I assume it’s a lyric. I changed them a second time, to the remix, to make it a little more crazy. This is what my people know and remember, with all the “gel and viscose”, “soap and water”, “asses and goats”, these are the same hooks. Because these parts are so ignorant, people memorize them because it’s so bad.
Do you know why music is so popular and will always be popular? Women like it. Don’t let them tell you otherwise. Women love to feel sexy and dance to this stuff. Whatever women do, men follow them.
When I did the [Club Zippers] residency every week, it was mostly women dancing in the club. The women really liked this [breakthrough] style of music. It was 92, 93 years.
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People looked at [the ghetto] as a solid thing, just a bunch of dirty records with swear words, but that’s not the point. Never was. There are a lot of records that talk about that, but there are also a lot of records that talk about footwork and jitting and dancing. Perform different dance styles. And many records don’t even have text.
It’s absolutely positively designed to be offensive, and in my opinion, designed to be listened to when you’re drunk. What happens in your brain when you are drunk and in a public environment?
Jeff Mills, The Wizard. He started it all. He encouraged all of Detroit. I’ve been listening to Jeff Mills since ’83.
Jeff Mills was absolutely stunning. I went to the Nectarine Ballroom every Sunday to check it out in Ann Arbor.
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I hear this guy on the radio and I’m like, “Man, he sounds like eight turntables or something!”
Every time we got a record from [local store] Buy-Rite, we took it home and it wasn’t up to Jeff’s tempo. I asked, “Jeff, what’s going on?” He said, “Man, turn on the Technics turntables.” There is a blue button with the inscription “pitch”, there is plus and minus – go to plus.”
Suppose the record is naturally 128-130 beats per minute. Detroit DJs do it at 150, 155. They’d have to change their turntables to go that fast.
His radio show lasted only half an hour. So he had to play a little fast, something he wanted to pass. But you have to look at it this way: he wanted to be different from everyone else. Everyone had 1200. Everyone had these things. It’s how you play.
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I came to listen to a wizard, and the wizard is kicking your ass in the other room. Back in my day, if you wanted respect, you had to be as good if not better than a wizard for people to respect you at all.
I remember seeing a magician playing a club and someone ran out onto the dance floor to dance to the song and changed the song before hitting the floor.
No one has ever seen such energy. The way he cut the plates was like splitting an atom or something. This caused problems everywhere. He lived in Ann Arbor, where I went to school, and there was such a racist law…
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