This reminds me of that particular pleasure of being in solitude but knowing you?re wanted. Being upstairs at a party and hearing people ask where you are. Or being alone in the office in complete silence when your mates are waiting for you in the bar. Same feeling playing hide and seek as a child. The comfort of solitude, away from the complications and demands and performance of social interaction but also having the security of connectedness, there if you want it. Bliss.Maybe it's more that the ways we can be alone are so addictive, but we're always straining for the collective
Housekeeping’s underlying ideology appears to be summed up in this passage from a 2018 profile on the group: “After all, house music was created right here in North America... it was always supposed to be about fun and wild escape, about losing yourself without caring, and about loving your neighbour – or fellow dancer, as it were – no matter their race, gender or class.”
With that last line, house’s roots in marginalised identities are quietly eroded, along with others’ responsibility to tread carefully around those historical associations. A notional equality, imposed by the bearers of extraordinary privilege on cultural and musical forms created by queer working-class people of colour, is no form of equality at all. When Taylor and his crew talk elsewhere about the hedonism of their parties, they’re invoking a spiritual heritage drawn not from Ron Hardy or Stonewall, but from the polo fields of Harrow, the members’ clubs of Mayfair, and the post-2008 bank bailout.
this is true, and what i said was an exagerrated example, but both house and jungle eventually did fill Palumbo and Colston haytar's premise, most mainstream house ending up as ibiza plink plonk rubbish, and most commercial dnb ending up as cringey midrangey jump up.Take the Raymond Williams interpretation on counterculture with House over an exaggerated example like James Palumbo. That's like writing off Hardcore & Jungle because of Colston-Hayter. Doesn't hold, but i see & appreciate the funny.
The commercialisation angle could be dangled with various figures & realms, earlier, later. There were more than enough small scale nights, indoor, outdoor, that pushed on well past 91. The distilled anarchy of Back II Basics, Full Circle with Frankie Knuckles slaughtering a Sunday pub in Berkshire, Bounce nationwide, Zap in Brighton, anywhere Weatherall played, plus many, many, many more. Stacks of US folks worth listening to had been coming over for a while before the elephant in the castle.
At the risk of making my first post on here wildly self-important, there's actually more of a connection here than you might realise: I wrote this, and worked on the Jeremy Deller film discussed upthread. They're very much part of the same thought process, at least for me.As a complete antithesis to this thread - or is it? - has anybody read this?
The Quietus | Opinion | Black Sky Thinking | The Many Faces Of Housekeeping: How Wealth & Privilege Are Distorting Underground MusicWhat links a bland mainstream club EP to the structures of finance capital and gentrification? Ed Gillett discusses the ongoing creeping class issue of underground dance music in 2020thequietus.com
I liked that aspect. If it was the first ever rave doc or positioned itself very authoritatively the omission would be annoying but the classroom setup opened things up in a wayAlso in case anyone's interested, the main reason drugs didn't really feature in the Deller thing was the school setting. It was something we wanted to cover, but we couldn't find an approach to it which met their safeguarding requirements and still felt narratively satisfying, so we dropped it. I think the space that created to talk about other stuff was a decent tradeoff, but then I'm bound to be a bit biased.