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we're gonna teach the white children how to do the bird...
tesla 2
akmed
as a result of the strange sort of prediction thing i often have rattling around in my head, i was going to post some footage of the ikettes here last week and now that ike himself has died i must. it's easy to hate him considering what he did to tina and he seemed to have blamed the music world ignoring his contributions on her but the truth is he was being ignored long before the tina turner tell all film ' what's love got to do with it' came out. he was in fact a very important figure in the melding of black soul and blues music to the rock sensibilities of the larger white record buying audience. he also discover tina whose amazing voice and stage presence remained with her through the length of her 'ikette' career and her resurrection by members of heaven 17. as a grandmother she was still tearing up a stage like she did in her 20s. after essentially escaping form ike, an overbearing mean control freak, the englishmen discovered her performing in vegas just to get by and her incredibly successful solo career was launched.

as someone who loves dance music i was always impressed by ike's ability to take honkie fodder like Creedence Clearwater Revival's 'rolling on the river/ proud mary' and make it all funky and black but still on the verge of a jimi hendrix-like guitar freak out. ike and tina's version of the song- a cover- is clearly the best because of ike's arrangement and tina's voice. one of the reasons i find most techno and drum n bass or whatever passes for 'ebm' nowadays completely annoying, boring, and tedious is it's divorce from the soulfulness of the african american centered american tradition( which is the driving primary force behind all music that flows from rock and roll) of vocal music with an intense emotional, experiential content that compels one to HAVE to move and feel the song. the voice can be a human one or a guitar or a horn. even the original progenitors of techno as dance music( really house music's love chillen with kraftwerk), who were black americans, were able to transfer this legacy of africa and slavery into their voiceless, machine driven music. i can think of nothing better to emotionally place one in a car driving around lost in a destroyed, decaying, hopeless city( re: detroit) like clear by cybotron or even ' washing machine' by mr. fingers ( larry heard). if i am not emotionally connected to a song i cannot dance to it and i certainly don't want to listen to it.

the problem with most music that relies heavily on technology and studio/computer science is the emotional void that is of the creators themselves. in truth, few really have anything important or compelling to say musically yet the price of the technologies has allowed a vast number of people to spray the landscape with their twiddling. it's autism on a grand scale. people who felt DRIVEN to create music used to string wire over cigar boxes to make instruments because they were so poor but desperate to speak even if no one paid to hear or was even there to hear. now middle class people, raised with all the mod cons their whole lives, pilfer music off the internet for free , slam it on an ipod and think they're dropping science the old skool way. when you have no obstacles- real obstacles-but live what is basically the life of leisure our modern society has constructed like bread and circuses to pacify people and make them weak and compliant and lazy you create art that is weak and lazy and compliant. as they say, you can't really sing the blues if you ain't lived them. it's why eric clapton is a pasty white no chinned technician of the guitar and some impoverished black share cropper from 1920 on a crackly 78 with a shitty guitar screaming down a horn is a real musician.

so let's do the bird. i'd like to see you do this in heels, bitch...



tina in the 80's doing one of my favorite under rated bowie songs ' cat people'. look at those legs.



let's drop some real science