What's the difference between hard trance & hard house?
-
- KVRAF
- 1615 posts since 28 Mar, 2005
the brand of hair-gel that fans wear
-
- KVRist
- 240 posts since 19 Mar, 2004 from London UK
i thought all houses were hard
-
- KVRAF
- 7489 posts since 6 Jul, 2004
I have no idea what the difference is...
...but the Ishkur's Guide site looks awesome and I think I need to spend a little bit of time there working a few things out. So I thought I'd drop by to say "thank you" to verstaerker for the link
...but the Ishkur's Guide site looks awesome and I think I need to spend a little bit of time there working a few things out. So I thought I'd drop by to say "thank you" to verstaerker for the link
-
- KVRist
- 44 posts since 23 Apr, 2003 from Columbus Ohio USA
I believe one is harder.
J
J
-
- KVRAF
- 7489 posts since 6 Jul, 2004
True. I recently visited the states and on the radio it was Dolly Parton and the Dixie Chicks all the way...seamoss wrote:i think a brit would have to answer that question because we don't listen to that crap in the states.
-
- KVRAF
- 2323 posts since 4 Mar, 2004 from Portugal (Lagos)
Lucky you, no Kenny Rogers or Lynn Andersonheadquest wrote:True. I recently visited the states and on the radio it was Dolly Parton and the Dixie Chicks all the way...seamoss wrote:i think a brit would have to answer that question because we don't listen to that crap in the states.
. I love Dolly Parton 
, by the way...... Honest, not kidding...!!!!
Eventually something intelligent will appear written here. Watch this space.
-
- KVRist
- 252 posts since 18 Jun, 2001 from UK and NY
In the US you dont hear much Dixie Chicks these days, its more Chicks with dicks.
-
- KVRian
- Topic Starter
- 1143 posts since 6 Oct, 2004 from berlin
hehe, i was just curious so i figured i'd ask, just for fun. at least this reinforced what i assumed was true (i.e. it doesn't matter because they both sound similar, if not the same). I guess it's kinda like the difference between Rap and Hip hop. They sound kinda similar but when you ask fans of that music, they either laugh at you or give you definitions that seem almost random.
As for Ishkur’s guide, I was doing an assignment on some subculture thing for school (for some really flaky non-music fine arts course) and it required that I talk to some DJs about stuff. Anyways, I used Ishkur’s guide and that “Generation Ecstasy” book to learn about dance music (because I know very little about it) and apparently I was way off on some things. A few of the djs were British and Dutch and had lived through the whole electronic dance music thing. I lent GenEcs out to a few of them and they (along with other people I’ve since met) thought it complete BS. I’m also familiar with other articles by Reynolds that are just complete crap. We have a few similar jackass “popular music experts” in Canada (Ben Rayner and Alan Cross) who are also completely full of shit most of the time. Basically, if it isn’t an academic source, I don’t trust it. And even then, I’m still reluctant to trust it. With most of the ethnomusicology stuff, if it’s written by an insider, it could be shaped by the personal views of the author, or if it’s written by an outsider, the fieldwork sources could be just a bunch of wannabes who don’t really know anything. I know that there are plenty of procedural steps that ethnomusicologists take to avoid these problems but still, it’s sometimes hard to tell how good a source is.
As for Ishkur’s guide, I was doing an assignment on some subculture thing for school (for some really flaky non-music fine arts course) and it required that I talk to some DJs about stuff. Anyways, I used Ishkur’s guide and that “Generation Ecstasy” book to learn about dance music (because I know very little about it) and apparently I was way off on some things. A few of the djs were British and Dutch and had lived through the whole electronic dance music thing. I lent GenEcs out to a few of them and they (along with other people I’ve since met) thought it complete BS. I’m also familiar with other articles by Reynolds that are just complete crap. We have a few similar jackass “popular music experts” in Canada (Ben Rayner and Alan Cross) who are also completely full of shit most of the time. Basically, if it isn’t an academic source, I don’t trust it. And even then, I’m still reluctant to trust it. With most of the ethnomusicology stuff, if it’s written by an insider, it could be shaped by the personal views of the author, or if it’s written by an outsider, the fieldwork sources could be just a bunch of wannabes who don’t really know anything. I know that there are plenty of procedural steps that ethnomusicologists take to avoid these problems but still, it’s sometimes hard to tell how good a source is.