"Whereas radio DJs operated as the representatives of modernity, discotheque DJs were rapidly establishing themselves as the prophets of postmodernity. After all, the vast majority of radio jocks played top-forty music in order to boost growth within a corporate-driven economy, whereas discotheque DJs usually played less familiar artists whose defining criteria was their functionality, not their profitability. Radio jocks performed in time-constricted shows and usually played records that lasted for three minutes, whereas discotheque DJs developed seemingly endless sets, combining records of varying lengths into an endlessly shifting mix of blended compositions. Radio jocks were determined generalists who played familiar records that would increase ratings, whereas discotheque DJs were flexible specialists who would sift through a spiraling quantity of musical information in order to satisfy a niche group of dancers. Radio jocks were permanent employees, whereas discotheque DJs were peripheral freelancers".
-Tim Lawrence, 2003. Love Saves The Day - A History of American Dance Music Culture, 1970-1979, Duke University Press, s. 155.
Eg fari í næstum at hava fimm Mono sendingar í KVF um disco mentan! Serliga teir meira undirgrunds og alternativu formarnar. Endurlesi í tí sambandi hesa bókina. Gleði meg.
#lovesavestheday #theloft #davidmancuso #timlawrence #disco #danceculture #postdisco
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