pretending that techno is non-black and non-American because white Europeans happened to figure out synthesizers first is like saying that any music composed on a piano in any culture is white European music. get a fucking life, dude. Kraftwerk loom large in the history of electronic music. pat on the back for reading one of the dozens if not hundreds of books that magically places them at the beginning (or at least in the epicenter of popularization and innovation) of electronic music as it is today. but the existence of synthesizers or turntables is not like the end all be all of what techno music is. its formative primordial ooze in house and the even more wayback disco (made by black Americans as well as non-black non-Americans at the same time that Kraftwerk was producing their output) is an important facet that you are skimming over in order to make some unintelligible argument about black-on-white racism (the central gist of your argument and surely the most infuriating and sociologically deaf position to take in this situation).
but we've had this argument once before and you've demonstrated fairly clearly in the past that you have no idea what you're talking about
i also like that you pretend the Brits' obsession with labeling things has any impact whatsoever on the musical content or political implications of appropriation that Parrish objects to. just because the British music press possesses (or more accurately possessed, sorry not sorry NME) the loudest voices around about spontaneous etymology and then obsessive categorization about how well it did at naming things doesn't make it germane. but that's just a side discussion to poke some fun cause literally i only ever hear about the English music press's long history of genre naming from British people on the Internet.
Mecca Lecca walks into the room, overhears conversation, and then stealthily sneaks out the back door unnoticed. _________________ http://jonnyleather.com
Jesus. Like I have already said but looks like I need to again, at no point have I said that techno IS non black non american. I had to correct skinny about that. You have also attributed to me that i said the uk press influenced the sound. Never said that either. Please do not attribute those comments to me. Also please do not insinuate that I somehow am pushing some sort of racist view. Which part of the statement by Parrish " whites are at a party they have not been invited to" do you find unintelligible?
I like a bit of debate but trading insults because you don't agree or like someone's point of view is something I try to avoid. Shame it's descended into this. Anyways nothing I said is of note because I dnt know what I'm talking about so best just ignore the whole thing eh. Dear me.
and denmark, we will have to give you more recs of albums which offend you This way you will start liking albums which offend you and then one day you will put up chart named 'My favorite albums which offend me' and people may find great reccos from it
Lightly touching on what people have said already, I like it when music isn't blatantly offensive, but it is offensive enough to deliver interesting points and possibly address a concern. Especially when it is a "game changer" or pushes explicit boundaries. _________________ ...and for dessert!
To claim that techno is a "non black non American" genre - as you did, explicitly - in order to prove Parrish wrong is a false dichotomy.
Graeme2 wrote:
Sorry but you have misquoted me.
Graeme2 wrote:
techno music, one of the very few music forms to come into existence solely from non black non American input.
There's a huge difference between misunderstanding somebody's intentions and misquoting them. I think you'll find that I didn't misquote you.
Graeme2 wrote:
When I'm making my point and being a bit economical with the truth it's in response to that Parrish guy who is completely wrong.
Like I said, it's a false dichotomy. You don't have to be economical with the truth to prove Parrish wrong.
Anyway, this argument got a bit nastier than it really needed to. The fact remains that black people had a huge part in the evolution of techno, and are (in my mind) as responsible for its invention as any of the white European synth-fiddlers who pre-dated them. Whether that proves Parrish wrong or right is arguable, but I think he makes a very strong point, if not necessarily in the best way possible. Black music (as in, literally, music made by black artists) traditionally doesn't sell as well as white music, and yet in many of these cases the white artists selling these records are doing so on the back of black musical innovations. If I were a black man in America who, like Parrish, had been involved in helping to build a genre (in his case house, not techno) which had become massive, I'd be pretty fucking suspicious of white people coming along and selling more records than I could ever dream of whilst essentially using my template in order to do so. And so I struggle to agree with the point that he's "racist", even if I do think some of what he's saying is exaggerated and unnecessarily flagrant. However, the best way to deal with exaggerations and biased assessments is not to counter with even more ridiculous exaggerations and biased assessments that take the argument to the other extreme. The issue is not black and white (no pun intended). You can think Parrish is a prick for being so suspicious of white people whilst also acknowledging that some of what he says is quite correct. But whatever, regardless of what he says in interviews I'm still going to love his music.
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This way you will start liking albums which offend you and then one day you will put up chart named 'My favorite albums which offend me' and people may find great reccos from it 
