TEE SCOTT

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2011-03-28T12:48:00.001-07:00

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2011-03-25T12:47:00.001-07:00

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"BLACK HISTORY MONTH"

2011-01-27T17:56:00.001-08:00

A remembrance of important people and events in the history of the AFRICAN diaspora. Since 1976, it is celebrated annually in the United States of America and Canada in February and the United Kingdom im the month of October. In the U.S., Black History Month is also referred to as African-American History Month.

The Remembrance has its roots in 1926 by United States historian Carter G. woodson as "Negro History Week". Woodson chose the second week of February because it marked the birthdays of two (2) Americans who greatly influenced the lives and social condition of African Americans: former President Abraham Lincoln and abolitionist and former slave Frederick Douglass. Woodson also founded the Association for the Study of Negro Life and History, now the [Association for the Study of African American Life and History.]

Black History Month sparks an annual debate about the continued usefulness of a month dedicaed to the history of one (1) race. Some critics contend that Black History Month undermines the contention that African American History is simply American History. Critical op-ed pieces have appeared in the "Cincinnati Enquirer" and "USA Today".

in reference to: Black History Month - Wikipedia, the free encyclopedia (view on Google Sidewiki)

NICHE ENTERTAINMENT MAGAZINE: BREAST CANCER AWARENESS

2010-10-27T12:03:00.000-07:00

***NICHE ENTERTAINMENT MAGAZINE***: ***BREAST CANCER AWARENESS***: "BREAST CANCER AWARENESS FUNDRAISING CAMPAIGN OCT' 2010 YOUR PURCHASE HELPS ANOTHER VICTIM EFFECTED BY BREAST CANCER! YOU BECOME..."

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Master DJ 'TEE SCOTT' - Club 'BETTER DAY'S' - [Clubography] - 1948 - 1995

2010-06-05T00:11:00.000-07:00

Unfortunately, it is all too possible that Tee Scott, an innovative DJ and producer/remixer who began impacting New York's underground dance scene in the early '70s, will never get the due that he deserves. A shy, humble, soft-spoken individual who passed away in 1995, Scott is just as much a key figure behind the evolution of dance music as François Kevorkian, Frankie Knuckles, and Larry Levan -- if not more so. His legendary sets at infamous clubs like Better Days and Zanzibar continue to be talked about by those who were present for them, and his often reconstructive remixes -- including Northend's "Tee's Happy," a club hit that Madonna more or less appropriated as the basis of "Holiday" -- trail blazed the art with methodologies that inspired peers as well as followers.

A cousin of Scott's introduced him to clubbing in the late '60s, first at a club called Stage 45. For a few years, Scott occasionally sneaked into the regularly packed place, which featured jukebox music and not a DJ. After that club closed, Scott and his cousin moved on to Willy's, and then they eventually hit a place called the Candy Store, where Scott got his first taste of club music that was played in a mixed fashion. One night in 1972, an otherwise shy Scott inadvertently talked his way into auditioning for a DJ spot at the club. At the time, Scott had no experience with mixing records, although he had studied radio broadcasting and electronic engineering. After several failed auditions, he was finally given a last-minute nod for a 15-minute spot while the club was open. With a handful of his own records and a feverishly self-taught crash course in figuring out the ways of the club's DJ booth, Scott winged it a little and did so well that he earned himself his first DJ'ing gig; for approximately three months, he spun at the club once or twice each week.

One of Scott's fans at the Candy Store told him about a club called Better Days that was in need of a DJ. After some propagandizing from his cousin, Scott went down to the club and discovered that the club wasn't looking for a new DJ. However, the resident there had just upset the owner by refusing to play a request made by his wife. Scott was granted an audition and eventually won the job. What hamstrung Scott was the club's low-budget setup, in terms of both sound and vision. Scott used his knowledge of electrical engineering to improve the technical capacities of the club's primitive sound system; not only did he have to make his own mixer to start off, but he also furnished and financed better lighting. Eventually the club's management kicked in with the financial support. All the while, Scott was holding down a 9-to-5 job.

The DJ single-handedly improved Better Days immensely from the ground up and won over its hard-to-please clientele to the point of earning their deep admiration and respect. The club was 100-percent black and mostly gay, which Scott made efforts to shake up a little by being openly receptive and supportive to enthusiastic dancers of all types; not just one or two. Through his legendary work at Better Days, his stature increased significantly and he eventually spun at several other hot spots around the country, including New Jersey's Zanzibar, DC's Clubhouse, and Detroit's L'uomo, just to name a select few.

Scott became known as a master of blends -- he would often play two records (featuring live drummers, not an easy thing to do) simultaneously, such that the beats would match up. He could ride out a blend much longer than the average or even excellent jock. One night, Scott started a trend with the addition of a third turntable to his deck. He began using the third turntable for sound effects (booms of thunder, cackles from the witch from The Wizard of Oz) that would go in and out throughout his sets, aiding in an experience that no jukebox -- let alone any other DJ -- could provide.

Scott was also one of the first DJs to hop into the remix game. By his own count, he ended up working on nearly 150 tracks before he quit (and quite possibly more); he was a very prolific figure. First Choice's "Love Thang" was his first job, and before all was said and done, he had extensive work for labels like Salsoul, West End, and Emergency under his belt. Many times, Scott was so unhappy with the material he had been given to work with that he would completely rewrite and reproduce the song, turning tin into gold and affecting crowds in another way.

As much as gossip attempted to pit Scott against so-called rivals like Larry Levan (a pointless rivalry was conjured in an attempt to place Better Days and Levan's Paradise Garage against each other), there was no actual animosity; quite the opposite. Levan and Scott would often dance at each other's clubs, and the two would go record hunting together with the Gallery's Nicky Siano. He was extremely tight with peers and up-and-comers as well; he gave Frankie Knuckles his first big break by offering the future Warehouse overlord two nights a week at Better Days, and he helped Tony Humphries get a spot at Zanzibar.

For a number of reasons, Scott more or less stopped DJ'ingTCI in Manhattan, the school Scott was attending, posthumously awarded him with an associate's degree in electronics. Needless to say, an extensive overview of Scott's remix work is long overdue, as is a revisiting of his DJ sets (à la Larry Levan's Live at the Paradise Garage).

Master DJ 'TEE SCOTT' - Club 'BETTER DAYS'

2010-06-01T21:08:00.000-07:00

Master DJ 'TEE SCOTT' - Club 'BETTER DAYS

The Paradise Garage was the legendary New York night club where for more than 10 years Larry Levan held court. Quite a number of today's most successful producers and DJs credit their first exposure to Larry's music at the Paradise Garage as a moment that changed their lives forever and inspired their whole careers. [Aug 2006]

New York gave birth to disco 1.0 and disco 2.0. Two clubs that played a huge role in these musical genres are the Loft in the first phase of disco and the Paradise Garage in the second disco era. New York is also where no wave originated and a city which housed some really good labels like Strata East (jazz), Wackies (reggae) and Salsoul (disco). We love Nuyorican Soul, don't we? [Aug 2006]

Music of New York City

The music of New York City is a diverse and important field in the world of music; no American city has as central a place in music history as New York City. It has long been a thriving home for jazz, rock and the blues, and is the birthplace of salsa and hip hop. The city's culture, a melting pot of nations from around the world, has produced vital folk music scenes like Irish-American music and Jewish klezmer. Beginning with the rise of popular sheet music in the early 20th century, New York's Broadway musical theater and Tin Pan Alley's songcraft, New York has been a major part of the American music industry [1].
Music author Richie Unterberger has described the New York music scene, and the city itself, as "(i)mmense, richly diverse, flashy, polyethnic, and engaged in a never-ending race for artistic and cosmopolitan supremacy". Despite the city's historic importance in the development of American music, there are those who feel that its status has declined in recent year, due to a combination of increased corporate control over music media, an increase in the cost-of-living and the rise of local music scenes whose success is facilitated by the cheap communication provided by the Internet. --http://en.wikipedia.org/wiki/Music_of_New_York_City [Mar 2006]

New York scenes

MAX’S KANSAS CITY
Peak year: 1969
You might see Andy, but probably not. For sure you saw Mickey Ruskin.

THE CONTINENTAL BATHS
Peak year: 1971
Steve Ostrow’s place to get all pruney listening to Bette and Barry.

HIPPOPOTAMUS
Peak year: 1972
Where the uptown disco crowd listened to “Rock the Boat.”

THE LOFT
Peak year: 1973
David Mancuso’s masterpiece, the greatest of the early underground discos.

PLATO’S RETREAT
Peak years: 1976–78
Larry Levinson’s swinging dungeon. The sex was overrated; the dancing wasn’t.

CBGB
Peak years: 1976–79 In all its grungy glory, the single best center of any scene.

STUDIO 54
Peak years: 1977–79
Steve Rubell and Ian Schrager’s star-studded, coke-fueled disco palace, a cultural landmark with laughing gas.

MUDD CLUB
Peak year: 1979
If Steve Mass let you sit upstairs, you were royal, in a vaguely cruddy way.

DANCETERIA
Peak year: 1982
A three-tiered emporium of fabulously loud insignificance.

PARADISE GARAGE
Peak year: 1982
Was Larry Levan the greatest spinner in history? Anyone who was there thinks so.

AREA
Peak year: 1985
Changing monthly themes (Sex, Faith, Body Oddities) made it feel like every night was Halloween.

LIMELIGHT
Peak year: 1987
The church setting always made you feel like you’d be spanked when you got home.

PYRAMID CLUB
Peak year: 1989
When Avenue A was the far east. Nirvana played “About a Girl” here, and “Polly.”

PALLADIUM
Peak year: 1987
The dirigible of the downtown scene. Now an NYU dorm.

--Newyorkmetro.com [May 2004]

WFMU

WFMU is an independent freeform radio station broadcasting at 91.1 fm in the New York City area, at 90.1 fm in the Hudson Valley, and live on the web in Realaudio, or in Windows Media, as well as two flavors of MP3, and all programs archived in Realaudio. One of the hosts is Kenneth Goldsmith --http://www.wfmu.org/

Avant-Garde New York Dance Music

Intro
To quote noted avant-garde composer and historian "Blue" Gene Tyranny, one branch of avant-garde music is identified by "unique approaches to melody, harmony, and rhythm...including what could be called 'the downtown sound,' where pop, world, techno, folk, and concert sounds have all become part of the general vocabulary, not 'collaged' in some artificial way but a result of the musicians having grown up hearing and playing this music. This is an apt description of early 1980's New York City avant-garde dance music as it developed and revolved around producer Bill Laswell, hip-hop godfather Afrika Bambaata, and others. -- Bill Lamb

Bill Laswell
Bill Laswell grew up in Detroit. There he played with a number of disco-funk bands. He arrived in New York in 1978 and met synthesizer player, and later producer, Michael Beinhorn, and drummer Fred Maher. Soon they had hired a guitarist, Cliff Cultreri, and the avant-garde dance music group Material was born. [...]

Material
Material soon became a loosely formed group centered on Laswell and Beinhorn with a wide range of other performers. Eccentric English guitarist Fred Frith often worked with the group as did trumpeter Olu Dara, saxophonist Henry Threadgill, and vocalist Nona Hendryx. Material's music ranged widely by usually was accompanied by a strong dance/funk beat. Material's Busting Out, featuring Nona Hendryx on vocals, was a breakthrough hit in dance clubs.

Talking Heads
Meanwhile, elsewhere in the early 1980's in New York City, the Talking Heads were also experimenting with combining dance, funk and other sounds to come up with an edgy, danceable groove. Their 1980 album Remain in Light ventured into dense dance and funk grooves. Once in a Lifetime and Cross-Eyed and Painless were minor club hits. For their 1983 release Speaking in Tongues, they enlisted a strong roster of guests including Bernie Worrell, from the Parliament/Funkadelic tribe, on synthesizer and Nona Hendryx on backing vocals. The result was a dense, often danceable, stew of commentary on modern life. Burning Down the House was the memorable smash hit. [...]

Afrika Bambaata
In yet another part of New York City, hip-hop pioneer Afrika Bambaata was harnessing electronic, Kraftwerk-influenced, music to the beat of rap. He came up with the stunning Planet Rock which helped create what became known as the hip-hop nation. The funk of Parliament and Rick James, cool synthesized melodies of Kraftwerk, and rap vocals were welded together for a new sound that was unmistakably city. [...]

Rockit and World Destruction
Two dance recordings from 1984 brought New York avant-garde dance music to a climax. Herbie Hancock's ground-breaking blend of jazz, scratch mixing, and electronic dance music, Rockit was produced by Material and featured Bill Laswell and Michael Beinhorn. Rockit was a massive club hit and received multiple honors for the music and its innovative video. World Destruction by Time Zone brought together Afrika Bambaata and ex-Sex Pistols lead singer John Lydon with Bernie Worrell's synthesizer for a funky, noisy, apocalyptic New York dance mix. The avant-garde New York music continues to flourish, but dance music is no longer a central unifying force among avant-garde musicians. -- Bill Lamb