originators or imitaters?
originators or imitaters?
originators or imitaters? whats your views?........if you got the balls to share an opinion!
come all, wats the name of this forum. oh yeah DUBSTEP forum. obviously the subject in hand is about dubstep music. who makes it. PRODUCERS........so hey thats the topic. im close pals with a lot of dubstep producers in this scene now ive had a conversation with 1 2day. not naming names. (just yet) but this particular 1 is 1 of the biggest names in the scene with plenty djs supporting his music. now he has had a discussion with some1 2day basicly telling him he is shit (without using that word) and doesnt do enuff in his tracks. now this PRICK guy who had the nerve went on to name other producers (not naming who, just yet) who have said the same thing about his tunes. these procucers are up and coming people who to me have built there name and style of music around others in other words (imitaters) now the person in hand in my eyes is a fucking legend and couldnt be original (originator) if he tried. so how the fuck do these wanna be skreams have the nerve to comment on a guy how has brought his own sound to this scene. there for the reason for this topic "ok"
- jolly wailer
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fuck anyone who has anything negative to say about Coki ... lots of people like to sit on the sidelines and point to this and that which doesn't please them... a far smaller number of people actually take the time to originate and define... imitation ain't that bad as long as its flattering --- but bitchmade criticism will always be on some pussyole tip
myxylpyx wrote:dam bro dats sick... off to the garden to eat some worms now.
I say let people analyze and criticise ... its hard to do but no point in taking shit like that personally. People are always gonna have shit to say about this and that producer if they're big. Allow getting yer knickers in a twist about it - just let the music talk, keep doing what you personally believe in, thats all that matters at the end of the day.
Beezy wrote:come all, wats the name of this forum. oh yeah DUBSTEP forum. obviously the subject in hand is about dubstep music. who makes it. PRODUCERS........so hey thats the topic. im close pals with a lot of dubstep producers in this scene now ive had a conversation with 1 2day. not naming names. (just yet) but this particular 1 is 1 of the biggest names in the scene with plenty djs supporting his music. now he has had a discussion with some1 2day basicly telling him he is shit (without using that word) and doesnt do enuff in his tracks. now this PRICK guy who had the nerve went on to name other producers (not naming who, just yet) who have said the same thing about his tunes. these procucers are up and coming people who to me have built there name and style of music around others in other words (imitaters) now the person in hand in my eyes is a fucking legend and couldnt be original (originator) if he tried. so how the fuck do these wanna be skreams have the nerve to comment on a guy how has brought his own sound to this scene. there for the reason for this topic "ok"
Last edited by elemental on Wed Oct 03, 2007 3:40 pm, edited 1 time in total.
- dj phonetic
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Depends... think its a bit to late already... but a music genre where you dont have imitators is impossible... W'll just have to hope people dont imitate to much, or just imitate and imitate it even worser...Tomity wrote:I like them both. Originators for those unreal new sounds and Imitators for those similar but equally unreal new sounds.
I think its too early in the scenes history to start this debate though really. Give it a few years and we'll all have to team up and go on a culling mission.
- dj phonetic
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2nd thatelemental wrote:I say let people analyze and criticise ... its hard to do but no point in taking shit like that personally. People are always gonna have shit to say about this and that producer if they're big. Allow getting yer knickers in a twist about it - just let the music talk, keep doing what you personally believe in, thats all that matters at the end of the day.
i guess you need both!
think of when you hit a rave and its ten tunes that would make you stop propping the bar and jump to the dancefloor
but the other 50 tunes just keep you bopping
next morning those ten are still ringing in your head and the others are quickly forgotten
most the time the 10 were the originals.
plus remember those starting out who seem like imitators now might be originators once they've developed a bit
think of when you hit a rave and its ten tunes that would make you stop propping the bar and jump to the dancefloor
but the other 50 tunes just keep you bopping
next morning those ten are still ringing in your head and the others are quickly forgotten
most the time the 10 were the originals.
plus remember those starting out who seem like imitators now might be originators once they've developed a bit
- random trio
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An old blog post of mine seems relevant here. Morton Feldman:
"In music, when you do something new, something original, you're an amateur. Your imitators - these are the professionals.
It is these imitators who are interested not in what the artist did, but the means which he used to do it. This is where craft emerges as an absolute, an authoritarian position that divorces itself from the creative pulse of the originator. The imitator is the greatest enemy of originality. The "freedom" of the artist is boring to him, because in freedom he cannot reenact the role of the artist.
There is, however, another role he can and does play. It is this imitator, this "professional" that makes art into culture."
Morton Feldman 'The Anxiety of Art' Art in America (Vol. 61 No. 5 September/October 1973) pp88-93 [dated 1965] As reprinted in Friedman, B.H. Give My Regards To Eighth Street; Collected Writings of Morton Feldman. Exact Change, Cambridge MA, 2000
"In music, when you do something new, something original, you're an amateur. Your imitators - these are the professionals.
It is these imitators who are interested not in what the artist did, but the means which he used to do it. This is where craft emerges as an absolute, an authoritarian position that divorces itself from the creative pulse of the originator. The imitator is the greatest enemy of originality. The "freedom" of the artist is boring to him, because in freedom he cannot reenact the role of the artist.
There is, however, another role he can and does play. It is this imitator, this "professional" that makes art into culture."
Morton Feldman 'The Anxiety of Art' Art in America (Vol. 61 No. 5 September/October 1973) pp88-93 [dated 1965] As reprinted in Friedman, B.H. Give My Regards To Eighth Street; Collected Writings of Morton Feldman. Exact Change, Cambridge MA, 2000
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- jolly wailer
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thanks Rob for taking the time to use this thread for a personal assault on my character... yes, a thread which is, and always will be - not about me personally.. but regardless... it is apparent now from your comments, that you are, in fact, now, and forever, a complete utter and twatty douche bag - big up!
myxylpyx wrote:dam bro dats sick... off to the garden to eat some worms now.
thats really interestin. i suppose the important thing then is that you have a healthy culture, one where their's enough dynamism not to allow things to become stale and stagnated.
out to the imitators.
out to the imitators.
boomnoise wrote:An old blog post of mine seems relevant here. Morton Feldman:
"In music, when you do something new, something original, you're an amateur. Your imitators - these are the professionals.
It is these imitators who are interested not in what the artist did, but the means which he used to do it. This is where craft emerges as an absolute, an authoritarian position that divorces itself from the creative pulse of the originator. The imitator is the greatest enemy of originality. The "freedom" of the artist is boring to him, because in freedom he cannot reenact the role of the artist.
There is, however, another role he can and does play. It is this imitator, this "professional" that makes art into culture."
Morton Feldman 'The Anxiety of Art' Art in America (Vol. 61 No. 5 September/October 1973) pp88-93 [dated 1965] As reprinted in Friedman, B.H. Give My Regards To Eighth Street; Collected Writings of Morton Feldman. Exact Change, Cambridge MA, 2000
Not sure anyone will be really interested in a bitch slap fight between us though....Jolly Wailer wrote:thanks Rob for taking the time to use this thread for a personal assault on my character... yes, a thread which is, and always will be - not about me personally.. but regardless... it is apparent now from your comments, that you are, in fact, now, and forever, a complete utter and twatty douche bag - big up!
Assault on your character... - get real and grow a thicker skin, this is a faceless internet forum.
My point was well made in my opinion - putting people up on pedestals only makes more people with uninformed opinions want to chop them down just for the same of saying something - Coki never in my opinion ever reps himself, or bigs himself up, and never asks anyone alse to do it either, so as for fucking anyone who hates Coki, look at your words and think how you will get thanks for them.
People are jealous of fame, respect, reputation, or just plain jealous, and you can be the biggest souljah out there in your opinion but if you have no and give no respect, then it means nothing.
As for the Innovators vs imitators - essentially music being an open medium, neither really exist. Now if you are talking rip-off merchants, then thats something else.........
- tha_illsta
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Damn, this is a wise observation.boomnoise wrote:Morton Feldman:
"In music, when you do something new, something original, you're an amateur. Your imitators - these are the professionals.
(i.e) : Originality does not pay tha bills
Something I have known for a while now...
BUT.
Striving for originality and individuality is always a thoroughly worthwhile task.
And money ain't everything, still.
True originators are blessed with the riches of the soul. Now there's something money can never buy..
The needs of the many...outweigh...the needs of the few
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