TUIM Notes

 367.     “I think Justice, Cross, should have won a Grammy”: “Skrillex wins three Grammy Awards!!” (February 12, 2012; via YouTube—accessed August 24, 2014) 370.     “new dubstep”: Andrew Ryce, "Real Trap Shit?" (Resident Advisor, November 1, 2012) 370.     175 million views: Marlow Stern, “Meet Baauer, the Man Behind the Harlem Shake” (The Daily Beast, February 18, 2013) 373.     a study will show more psychedelic drug use: n-a, “Psychedelic Drug Use At Highest Rate Ever in U.S.” (The Joint Blog, April 26, 2013) 377.     over a million subscribers: Elissa Stolman, “Inside Boiler Room, Dance Music’s Internet Streaming Party” ( Billboard , April 11, 2013) 377.     nearly three-dozen corporate partners: Boiler Room Media Kit 2013 (accessed August 31, 2014) 377.     “They wanted ‘that classic Frankie Knuckles/Def Mix’ sound”: Titmus, “Playing Favourites: Frankie Knuckles” 378.     Chicago’s Progressive Baptist Church: Patrick Sisson, “A great DJ, a better human being: Last nigh

338.     “#WMC – R.I.P.”: https://twitter.com/kaskade/status/4687590548570113 340.     By 2010, EDC was in Denver, San Juan, and Dallas as well as L.A.: http://www.electricdaisycarnival.com/archive/edc_2010/ 342.     global listenership was estimated at six million: Matt Earp, "Low End Theory" ( XLR8R #100, September 2006) 342.     “The scent of revolution is high in the air tonight”: Mary Anne Hobbs, Mala, Skream, Kode9 & the SpaceApe, Vex’d, Hatcha, Loefah and Sgt. Pokes, and Distance, Breezeblock (BBC Radio 1), January 10, 2006 343.     prominent play from Ricardo Villalobos: Richard Carnes, "Label of the Month: Hessle Audio" (Resident Advisor, January 12, 2009) 343.    “It sounds ambiguous”: Colin Shields, "Breaking Through: Untold" (Resident Advisor, October 19, 2009) 343.     eight thousand at Barcelona’s Sónar Festival: Bill Bearden, “LWE Interviews Mary Anne Hobbs” (Little White Earbuds, October 2, 2009) 344     killed a couple inside a tent:

312     “The United States lost something with 9/11”: Tobias C. Van Veen, review of Speaking in Code ( Dancecult Vol. 2, No. 1, 2011) 313     “We have literally never seen anything like this”: Ryan Grim, “Who’s Got the Acid?" (Slate, April 1, 2004) 313     The R.A.V.E. Act lost two sponsors: Christina Diettinger, “Disco Donnie and the Days of Rave” ( Gambit [New Orleans], February 3, 2004) 315.     “You don’t want to dis Eminem”: Gavin Edwards, “Q&A: Chris Rock” ( Rolling Stone , September 4, 2003) 316.     “At the end of the day”: sketch from Late Night with Conan O’Brien (NBC, August 30, 2002) 316.     “called me a pussy (this was off camera)”: Moby, “the vma’s" (Moby.com Journal, August 29, 2002) 317.     Friedrichshain/Kreuzberg area along the river Spree: Sean Nye, review of Lost and Sound: Berlin, Techno, und der Easyjetset by Tobias Rapp ( Dancecult vol. 1 no. 1, 2009) 317.     “retained [house music’s] essential features”: Philip Sherburne, “The Rules of Reduc

 288.     “Electroclash is escapism from today’s uncomfortable world”: Michael Paoletta, “Nü-Electro Sound Emerges" ( Billboard , July 27, 2002) 290.     “about twelve milliseconds”: Jennifer Sullivan, “Mixing and Scratching MP3s” ( Wired , March 31, 1999) 293.     Marvin charging Craig with not expediting artist contracts quickly enough: Eric Schumacher-Rasmussen, “Carl Craig Fires Back At Festival Organizers Who Fired Him” (MTV News, May 14, 2001) 293.     “Don't worry, because nothing will hold me back!”: paul.matheson, “[313] letter from carl” (313 post, May 25, 2001) 294.     Born in Detroit and raised in the Chicago suburbs: Bidder, House: The Rough Guide , p. 116 298.     “part performance shtick”: Bennett Simpson, “Fischerspooner: Gavin Brown’s Enterprise, New York, USA” ( Frieze #54, September-October 2000) 300.     “People gathered around and took photos”: Tricia Romano, “Rave Robbers” ( Village Voice , July 11-17, 2001) 301.     “ELECTROCLASH COULD BE THE NEXT ‘GRU

268. The woman--whose chances: http://hyperreal.org/raves/spirit/caring/Overdose_grrrl.html 268.     compact discs alone earned $16.4 billion: http://www.nytimes.com/imagepages/2009/08/01/opinion/01blow.ready.html 269.     Psychedelic Pimp Daddy Land: Brittany Gaston, “Celebrating Disco Donnie Presents: Psychedelic Pimp Daddy Land” (Disco Donnie Presents blog, April 1, 2014) 269.     By 2000, he was selling tickets in twenty states: Christina Diettenger, “Disco Donnie and the Days of Rave” ( Gambit [New Orleans], February 3, 2004) 272.     would station two ambulances outside the theater: Jenny Eliscu, “The War on Raves” ( Rolling Stone , May 24, 2001) 273.     Moby, who played Crobar on March 23: Brett Sokol, “Electronica’s Kingdom Comes” ( Miami New Times , March 23, 2000) 273.     “every music supervisor in Hollywood”: Ethan Smith, “Organization Moby” ( Wired , May 2002) 273-274.     “The Sky Is Broken” went to Galaxy: Dave Simpson, “Plug and play” ( The Guardian , May 5, 2000) 274

248     “When you prefer tomorrow’s technology”: clone records, “Re: (313) Blaaaaast from The Paaaaaaast” (313 post, January 2, 1998) 250.     “It’s damn near Woodstock for raves”: robert486, “(nyc) http://www.coachella.com” (NYC-Raves post, August 15, 1999) 253.     “We hope that you will be”: Planet E: Riot at Red Square party at Winter Music Conference, Miami, March 27, 2000, part 7 of 8 (via Dublab, January 15, 2012) 254.     “It’s plain to see how I’m regarded”: John Osselaer, “Alan Oldham” ( Overload Media , June 30, 2000) 255-256.     “Give Me the Sunshine” by Leo’s Sunshipp: PLANET E HQ, "Just another weekend in Detroit?" (313 post, June 7, 2000) 256.     Rhythm & Sound played three-and-a-half hours: Minto Chempotical George, "JT and minto's DEMF report..." (313 post, May 31, 2000) 256.     from hollowed-out techno to a live dub set: Nathan DeYonker, "Gimme a D!" (313 post, May 30, 2000) 256.     DEMF personnel were too overworked to public

 226.     “I am completely prepared”: massive magazine [Matt Bonde], “Re: MASSIVE MAGAZINE” (MW-Raves post, December 1, 1996) 227.     Sun Electric and Aphex Twin: Greg Earle, “Stupid moronic postings about MTV's AMP show” (PB-CLE-Raves post, September 21, 1996) 227.     Astralwerks’ Detroit: Beyond the Third Wave : Aaron M. Bennett, “(313) amp on Mtv” (313 post, September 5, 1996) 227.     “Oh no. Does this mean I’ve gone commercial?”: Will Web, “Re: (313) amp on Mtv” (313 post, September 6, 1996) 227.     “The best thing we can do is guide the expansion”: Ray Vonie, “Re: Media alert: Burning Man on TV” (SF-Raves post, December 8, 1996) 228.     “I've heard about people getting arrested”: **sugar bear!***, “Re: |NER| Re: the rave scene” (PB-CLE-Raves post, July 26, 1996) 228.     “Oh no! Our scene”: Xian Zombie (Christian Zombie Vampyres!), “What's this shit?” (PB-CLE-Raves post, September 21, 1996) 228.     “Underground? Co-opted by the mainstream?”: Chris Sattinger, “Re:

204.     “The stars in this music don’t look like rock stars”: Charles Aaron, “Drums and Wires” ( Spin , October 1996) 207.     “Slow and crunching hip-hop beats”: Andy Pemberton, “Trip Hop” ( Mixmag , June 1994) 208.     a tea boy at the studio where Blue Lines was recorded: Craig McLean, “Portishead: Back on the Beat” ( The Telegraph [U.K.], April 12, 2008) 208.     number-five Modern Rock: Billboard , February 11, 1995 208.     “the solemnity of a horse’s ass”: Will Brantley, ed., Conversations with Pauline Kael (University of Mississippi Press, 1996), p. 94 212.     Ed Simons had borrowed 300 GBP: Push (Christopher Dawes), “Chemicrazy Pilots” ( Muzik , June 1995) 212.     playing hip-hop to warm up for a night of house music: Andy Pemberton, “1995: Year of the Beats” ( Mixmag , December 1995) 212.     within five minutes of closing time: Jason Ferguson and Bao Le-Huu, “Dance dance revolution” ( Orlando Weekly , July 3, 2013) 212-213.     hip-hop producers Mike Simpson and John Ki

183.     “It weeded out the onlookers”: Matos, “Tomb Raiders” 188.     “daft punky thrash”: via Jonah Weiner, “Daft Punk: All Hail Our Robot Overlords” ( Rolling Stone , May 21, 2013) 188.     “There are producers who are spending”: Doris Woo, “Daft Punk” ( Massive #17, summer 1997) 189.     “the bastard son of Queen’s”: via Woo 195.     MW-Raves’ favorite Midwest DJ of 1995: dps927, “1995 midwest raves survey results” 197.     “I drove home covered in filth”: Mike Davis, “that damned survey again....” (MW-Raves post, June 26, 1998) 198.     “Fucked up shit that happened”: bEAN 199.     “House music is disco’s revenge”: via Thomas, “House of Revolution” 200.     “The main tent was packed”: Clinton Mead (as Curtis Mead), “quick furthur memories” (MW-Raves post, May 28, 1996) 200.     “Even now, people go on YouTube”: Matt Diehl, “Daft Punk: Electroma Therapy” ( Stop Smiling #36, 2007) 201.     Bones started slow but built to a gabber frenzy: bEAN 201.     Later he played in the Freeba

168-169.     “This ain't Schoolhouse Rock!”: Kelly at Undercurrent Records, letter to the editor ( Under One Sky #7, October 30, 1992), via revar, “part one of UOS #7” (NE-Raves post, October 30, 1992) 170.     bonding over Derrick May mixtapes: author unknown, “Kenny Larkin Interview in Tokyo” (Higher Frequency [blog], May 1, 2004) 171.     “number one on Evil Eddie Richards’ chart”: Alan D. Oldham, “Plus 8 Records: Elements of Technarchy” ( The Fast Forward Newsletter #3, October 1990, p. 1) 171.     “Come on, Dan”: Dan Sicko, “Cybersonik (And the Plus 8 Sound System)” (Anti Matter, March 1992), via michael taylor, "Re: (313) Richie Hawtin<The extended mix :) >" (313, July 27, 1996) 172.     after a meeting with CBS Records: Aaron Bennett, “DBX” ( Massive #9, 1995, p. 19-20) 172.     On April 18, 1993: Sherburne,  Arkives  liner notes 172.     jamming for some twenty-three minutes: Todd L. Burns, “Richie Hawtin” (Red Bull Music Academy, New York City, May 2013)

140.     In early January 1993: drawn from Laura La Gassa, “NASA + FLUID = FUN (part 1)” (NE-Raves post, January 8, 1993); Ed Horch, “Re: NASA + FLUID = FUN (part 1)” (NE-Raves post, January 11, 1993); and Fraktur, “Re: NASA + FLUID = FUN (part 1)” (NE-Raves post, January 11, 1993) 140.     “I love hardcore, but it is stagnating as a musical form”: Laura La Gassa, “Some DJ Spew” (NE-Raves, January 11, 1993) 142.     “I heard Moby DJs” and “As I remember”: Pete Ashdown, “Re: Moby” (NE-Raves post, June 22, 1992) 143.     the one who pulled a knife on her: Charles Aaron, “Revenge of the Little Idiot” ( Spin , June 2000) 145.     “techno’s crazed youth minister”: Charles Aaron, “Moby/The Prodigy, the Academy, New York City, February 13, 1993” ( Spin , June 1993, p. 91) 145.     “blown away and frightened”: Moby, “A Star Is Born Again” ( Details , July 1993) 145.     “Raves are basically people getting together” and “I intentionally do things”: Erik Davis, “Monsters of Techno” ( Spin , Marc

120.     “A friend called me”: Prince and Roberts, “Mad Hatters” 124. “The air is highly charged": Cynthia Robins, "The Ecstatic Cybernetic Amino Acid Test" ( San Francisco Examiner , February 16, 1992) 124. “It’s a scene that could send a kid": Ned Zeman with Rebecca Crandall and Ednalyn Bala, "Through the Looking Glass" ( Newsweek , April 26, 1992) 125.     By 1992, Bentley was hosting: Zel McCarthy, “Jason Bentley Talks About His 5 Years as KCRW Music Director” (Billboard Code [website], December 4, 2013) 128.     selling twenty times more: Greg Kot, “Brave New Whirl” ( Chicago Tribune , August 2, 1992) 128.     325,000 copies: Charles Aaron, “Drums and Wires” ( Spin , October 1996) 130.     “This is for Rodney King”: Jeff Chang, Can’t Stop Won’t Stop (St. Martin’s Press, 2005), p. 368 130.     renamed South Los Angeles: Matea Gold and Greg Braxton, “Considering South-Central by Another Name” ( Los Angeles Times , April 10, 2003) 131.     Eastside part

100.     “Personally, I’d like to see all of this talk”: Moby, letter to the editor ( Under One Sky #7, October 30, 1992), via revar, “part one of UOS #7” (NE-Raves post, October 30, 1992) 103.     “All these people I knew”: Francis L. Sibilla, “Re: the first time....” (NE_Raves post, November 1, 1993) 103.     “Hook-up-o-matic”: SHALAKO, “the HOM for 12/11 & 12/12” (NE-Raves post, December 11, 1992) 104.     East Coast’s first dedicated rave promoters: Mike Brown 104.     allowed patrons to bring their own alcohol: Robert Campanell, “Ultraworld Excursion” (NE_Raves post, October 5, 1992) 106.     45 rpm instead of 33: Silcoff, p. 39 106.     one-tenth of the Fairlight: Norm Leete, “Fairlight Computer” ( Sound on Sound , April 1999) 110.    In 1995, Morales netted $80,000: Brewster and Broughton, The Record Players , p. 278 110.    “In 1991 techno and rave and early jungle”: Todd L. Burns, “Playing Favourites: Moby” (Resident Advisor, November 18, 2008) 111.     “Everywhere I go,

All otherwise unattributed past-tense quotes taken from Michaelangelo Matos, “Tomb Raiders” ( City Pages , October 30, 2002). 78.     “I may just be a screwed-up white kid”: “Soundbites: From Our Voice Mail” ( Reactor #2, October 1992, p. 5) 79.     “I know this isn't exactly ‘underground’”: Brian Behlendorf, “To start things off…” 80.     Ron Hardy, meanwhile, contracted HIV: Andy Thomas, “House of Revolution” ( Wax Poetics #45, January/February 2011) 80.     a mere eighteen people: Gerd Janson, “Ron Trent” (Red Bull Music Academy Toronto, 2007) 80.     Levan, too, died in 1992 of endocarditis: Frank Owen, “Paradise Lost” ( Vibe , November 1993) 80.     raided by police in late 1985: Jacob Arnold, “Medusa’s: Chicago’s missing link” (Resident Advisor, September 4, 2013) 83.     James Johnson: David J. Prince, “James Johnson Sets the Record Straight: Raves in Chicago” ( Massive #2, October 1992) 86.     a former session musician: Sicko, Techno Rebels , p. 97 86.     Juan Atkins di

62.     “Wow! 35 subscribers”: Brian Behlendorf, “To start things off…” (SF-Raves post, March 4, 1992) 63.     mimicked (not sampled): Terry Church, “Moby speaks about ‘Go’ and dance music 1991-1992” (Beatport News, May 18, 2009) 63.     reportedly no-showed: Don Labutay, ”toondown” (SF-Raves post, April 13, 1992) 64.     “Good Vibrations” rapper Marky Mark: Geoff White, “Re: God blessed those who Gathered...” (SF-Raves post, April 13, 1992) 64.     SF Weekly and SF Bay Guardian: Derek Chung, “UFOs are real” (SF-Raves post, April 2, 1992) 64.     by midnight, around 150 were in line for the Gathering: Mykl G, “Gathering my thoughts” (SF-Raves post, April 13, 1992) 64.     $17 to UFOs’ $23: Jon Drukman, “the last and final gathering” (SF-Raves post, April 13, 1992) 64.     “NO IN-OUT”: White 64.     “A no-frills party”: Don Labutay, “Rave update” (SF-Raves post, August 7, 1992) 64.     “You're name's not down, you're not coming in”: Brian Behlendorf, “Ah, finally!” (SF-Raves

45.     Violent crime in New York: George James, “New York Killings Set a Record, While Other Crimes Fell in 1990” ( New York Times , April 23, 1991) 45.     a dollar’s worth of gasoline: Patrice O’Shaughnessy, “Jealous ex-boyfriend's fury killed 87 in Happy Land fire 20 years ago” ( New York Daily News , March 24, 2010) 46.     “The rest of the shit going on”: Steve Sutherland, "New York Story" ( Melody Maker , August 4, 1990)—most subsequent quotes from the NMS panel are from here 46.     “The raison d'etre of Thatcherism”: Betty Page, “Happy Mondays in the Altered States of America” ( Vox , October 1990) 48.     Morales began playing house, too: Brewster & Broughton, The Record Players , p. 282 49.     “It was like Obi-Wan Kenobi”: Steve Lewis, “I’ll Give You the World” ( Black Book , May 19, 2010) 51.     (tag: VEN): DB Burkeman, “DB's No School Like the Old Skool: Adam X” (Thump, June 2013) 53.     short-lived by design: Kristine McKenna, “The Movable Clu

22.     “We Called It Acid”: report from BBC-TV’s World in Action , 1988 (YouTube; retrieved April 12, 2013) 23.     “We stole ‘Let No Man Put Asunder’ a million times”: Kirn, p. 49 23.      The Chart Show : Bob Stanley, Yeah Yeah Yeah: The Story of Modern Pop (Faber and Faber, 2013) 23.     Pete Tong: Bidder, p. 52 24.     KRS-One: David Lubich, ed., Catch the Beat: The Best of Soul Underground 1987-91 (DJ History, 2010), p. 158 24-25.     Ibiza: drawn heavily from Bidder, p. 86-100 25.    “Sensation seekers” and “a runaway train”: Alexis Petridis, “The Most Influential Nightclub in Pop Culture History Is?” ( Esquire [U.K.], January 2013) 26.     Aciiied! Aciiied!: Mireille Silcott [Silcoff], Rave America: New School Dancescapes (ECW, 1999), p. 33-34 26-27.     “If I give an artist three thousand” et al.: Lubich, p. 142 29.     “like George Clinton”: Stuart Cosgrove, “Seventh City Techno” ( The Face , May 1988) 30.     thirty-six-channel mixing board: Sicko, p. 55 31.     Apocalyp

xvii.     “America is very shy”: Peter Kirn, ed., Keyboard Presents the Evolution of Electronic Dance Music (Backbeat Books/Hal Leonard, 2011), p. 3 2.     Bo Kool: Jacob Arnold, “Disco Curator: Daniel Goss on Dugan’s Bistro and Chicago’s First Radio Hot Mixer" (Gridface, February 2, 2011) 3.     “We got it first”: Dan Sicko, Techno Rebels: The Renegades of Electronic Funk (Second Edition) (Painted Turtle, 2010; first edition 1999), p. 44-45 3.     “You know what this motherfucker did”: Heiko Hoffmann, “From the Autobahn to I-94: The Origins of Detroit Techno and Chicago House” (Pitchfork, November 28, 2005) 4.     “I’m not going to wake up”: Jeff “Chairman” Mao, “Frankie Knuckles” (Red Bull Music Academy lecture, Madrid, 2011) 5.     He defected in November 1982: Jacob Arnold, “Frankie Knuckles: Waiting on My Angel” (Resident Advisor, April 7, 2014) 6.     The Warehouse’s DJ booth: Jacob Arnold, “The Warehouse: The place house music got its name" (Resident Advisor, May 16,

When my book The Underground Is Massive was published in 2015, I made a Tumblr blog to put the notes and citations on, since I didn't think there'd be space in the book itself--I'd cut the whole thing to exactly the right size, after all. Six years on, i.e. today, I was looking at those notes, and realized that no one can read then who doesn't already have a Tumblr account. So I'm re-doing them here. That one had links; most of them no longer work, so I'll be abandoning them here. Enjoy!