Originally Posted By NUCLEAR

Originally Posted By PENCAPCHEW
they certainly wont learn it in prison
adult sentences for minors wont work, it makes the problem worse.

Originally Posted By V.2-1
having some friends over

Originally Posted By GAMOS
I wouldn't feel scared sitting next to the guy. I doubt he's going to kill someone else. And hes shown remorse. If he wasn't in control of his actions, is unlikely to commit another crime, and is sorry about what he did...well, whats the point of locking him up?

Originally Posted By TREY
I see these scooters, or electric bike(?) on the bike paths. Are they allowed? My friend tells me they're electric bikes but to me they looked like super silent scooters.

Originally Posted By TREY
Yesterday I took a cab which also took my bike. He charged me an extra 5$ for the bike.

Originally Posted By TREY
Also, as a biker, I find pedestrians more dangerous than cars. They don't realized the bike paths are roads for bikes, and we're coming fast.

Originally Posted By screwhead
Your hearing is really a whole other sense that you NEED if you're doing anything like riding a bike, skating, etc.., not just for the horns, but for spacial awareness..

Originally Posted By MOLOCH
^^^ That's the most ridiculous post ever.

You're saying that since cars don't honk when they should (!?) it's useless to be aware of your surroundings? For a guy that rides a bike everywhere, I think that's quite the stoopid point of view.

"I may not hear it in time, so let's not care and make shure I don't hear it at all."

Originally Posted By v.2-1
... so whatever I use my horn for around cyclists, I'm automatically the bad guy and the asshole that's just bothering an otherwise peaceful cyclist's ride home even if the honk wasn't even directed at them.

Originally Posted By SCREWHEAD
That's because you're a fucking idiot if you wear headphones while biking. It's been a law since the fucking 60s; you're not allowed to wear headphones when riding anything that's got wheels - bike, skateboard, roller blades, etc.

Originally Posted By SCREWHEAD
seriously one of the most fucked up optical illusions ever! Full screen it for best effect!

Video Length Limits

When you become a partner, you no longer have a limit to the length of video you can upload. YouTube Partners have a limit of 20 GB per video uploaded through a web upload

Originally Posted By ZOMBIENATHAN
And no, there were no booking issues, I just wanted to do it alone, for the last night.

Originally Posted By DJ_DIALECT
maxi pad

O C D J - The End [ Static Link : iCal ]
City: Canada, Quebec, Montreal
Time: Tue Jul 5, 2011 @ 10:00pm till Wed Jul 6, 2011 @ 3:00am
Promoter:
Deadna Productions
deadna@gmail.com

Location:
Passeport, Club, 2037 Saint-Denis
(514) 286-6166
info@barpasseport.com
[ www.barpasseport.com ]
Description: ''This is the end, my only friend, the end
Of our elaborate plans, the end
Of everything that stands, the end
No safety or surprise, the end
I'll never look into your eyes...again'' -Jim Morrison

On Tuesday, July 5th, OCDj will present its final night. Thank you all for supporting Hardcore and getting drunk with us. For the Grand Finale, only I will play, a massive cross-section of everything heard at OCDj since its birth :::

--> Dj Nā (Deadna prod.) [Hardcore, Gabber, Dubstep, Hard-Techno, Industrial, Breakcore, D'n'B, Speedcore, 90s Alternative, Psy, etc.]
22:00 - 03:00

Only 2$ at the door, coat-check included.
@ Bar Le Passeport, 2037 St. Denis (metro Berri-UQAM)

Specials:
Bottle of beer: 3$
2 Shots of hard: 6$

OCDj The End Manifesto:
For both personal and professional reasons, that have nothing to do with the success of the night itself, I have decided to end OCDj. After 11 months of pure wickedness - spread out over the course of a year and a half - tons of good times, great music, and loyal fans, I need to take time off from the bar scene to focus on both my music, and a major Hardcore event that I'm organizing for the end of August. So, all good things must come to and end, and in this case I'm going with the ''quit while you're ahead'' scenario. I apologize to the Hardcore scene, that will no longer have it's home at OCDj, that will no longer have a weekly night to attend, enjoy, get drunk at, and mix at, but we need to grow and therefore need to concentrate on bigger better things. I'm amazed at how many people love Hard Electronics, and are thirsty for more. I hold dear every person that walked into the bar and showed faith in our music. I want to thank every single one of OCDj's supporters, as well as all of the awesome DJs who have passed by to drop heavy beats, my graphic designer for the great flyer and poster work, Datagram Radio, and of course, Bar Le Passeport for supporting me and giving us a chance to dance to crazy tunes. My heart is broken, but life goes on, and Hardcore will never die. OCDj will forever remain one of the highlights of my music career, and is a testament that once in a while, I can do the right thing. With much sadness, I leave you all the to wolves of Montreal, to an electronic scene now over-saturated with promoters and bar nights - to revolt, to let this city know that you will not accept anything less than the hardest. Never fear, OCDj will be back one day, when the city needs it most. Much love.

-Nathan (Deadna prod.)
''Proud to be maladjusted''-mlk
Music:
Room 1:
Na - Deadna
Tickets: 2.00 - door

Originally Posted By ZOMBIENATHAN
So many good times, so much great music, I hate to see this end, but we're moving on and up! I hope everyone who loves Hardcore makes it out, 'cause this'll be your last chance to hear real hard'n'heavy electronic tunes in a bar for a while ...
[...]

Sisters Of Mercy: Walk Away

[...]

And when the rain comes down
Would you choose to walk or stay?
Would you choose to walk?
Would you choose to stay?
Would you walk, walk, walk, walk, walk away?
Away, away, away

[...]

Originally Posted By BLISSS
Making an intro

Step 1 Get a mic
Step 2 Say some shit in the mic
Step 3 Do some beatbox underneath, *boom badda boom*, you can also add a drum beat from a tin can if you want, a pen will suffice as a drum stick
Step 4 Record your production
Step 5 Play your production to the masses

You’re the Fucking Problem (part one of four)

Posted on November 5, 2010 by matt| Comments Off

Here’s a note to every person who bitches about “not getting any good shows” in their area: What the hell have YOU done to make them happen?

We live in a time where everyone can be lazy as fuck. You don’t need to pay for music or television or movies or ANYTHING if you don’t want to. On top of it you can anonymously whine online about all the shit YOU DIDN’T EVEN PAY FOR and be an asshole just because you hate your life or think it’s funny being a dick when you’re drunk.

Guess what? You’re the fucking problem.

I’ve done pretty much every position in this little genre, from promoting to making music to running a label and marketing CDs. I’m not “big business,” but I probably know more than you. Mostly I’ve done it because it’s fun. If I make a couple bucks here and there and know I’ve entertained a few people that’s cool enough. I don’t expect the world.

At the same time I stopped doing a lot of it because of the pure apathy I encountered. Some of it was because, at least locally, a lot of people here got married, had kids, or moved away. There wasn’t much point in promoting shows when nobody really came out anymore and I lost a good chunk of money every time. The only shows I generally book now are either good friends (and then not always either, depending on what they’re looking for moneywise), or…Assemblage 23. Oh, and Stromkern. I can always do well with A23 or Stromkern locally.

And that’s really fucking sad.

Do I go out to every show that comes through? No, I don’t, but I at LEAST help get the word out on it. What really, really, REALLY pisses me off in this scene is that we have a million ways to spread word of mouth FOR FREE and You Fuckers barely make a peep to let others know when shit is coming to town. I’ve heard countless times after shows “DUDE! YOU WERE IN TOWN?! I DIDN’T HEAR!!!” when I KNOW the promoter got the word out.

Is it REALLY so fucking hard to “share” upcoming events on Facebook or retweet something? Even if you’re not going, is it REALLY so fucking hard? Is your reputation so important that if someone actually goes and spends the $5 cover most promoters charge and don’t like the band it’ll damage your friendships forever?

I see people talk about every fucking MOVIE they’re going to see or the hot youtube video or a million OTHER fucking distractions out there, but these same people won’t talk up when “UP AND COMING EBM BAND X” is coming to town unless they’ve got that band’s logo tattoed on their vagina. Guess what? WE NEED SUPPORT. Guess what? MOST OF YOU DON’T EVEN PAY FOR THE MUSIC.

Seriously, what the fuck do we have to do? Our mouths aren’t big enough to blow every one of you (or girl-blow you. I don’t want to be sexist.) and we can only sweet talk to the point where we simply give up. I’m not saying go see a band whose music you don’t like, but you have no problem blowing money on even stupider shit in your daily lives and if you check the band out on Myspace (What? Google’s too hard to use for 5 seconds?) and it sounds interesting then STOP PLAYING WoW FOR A FEW HOURS AND GO TO THE SHOW.

Most fans (and I still consider you fans– I can’t judge that) are spoiled rotten these days. I’m obviously not trying to ingratiate myself to anyone here, but frankly what can anyone do to me? STEAL MY MUSIC?!?! Steal it LESS?!?

It takes 5 seconds to get the word out on a show and a few bucks to check the show out. Even if you hate the promoter don’t blame the bands for that. If it’s any consolation the promoter will probably STILL lose their ass, and that’ll be the subject of my next rant.

Yeah. I’m gunning for ALL you assholes right now…

You’re the Fucking Problem (part two of four)

Posted on November 5, 2010 by matt| Comments Off

Most people who promote in any genre of music where the main venue for the acts sells $2 bottles of High Life has very little clue on how to promote shows or clubnights. Here’s a note to all promoters: Putting an event on your Facebook page and inviting your 50 friends, half of which aren’t even WHERE YOU LIVE, and expecting a sell-out show is NOT promoting. Putting fliers out ONLY at the club the event will be at IS NOT PROMOTING. Complaining on your blog that nobody showed up IS NOT PROMOTING.

PROMOTING is promoting.

Okay, I’ve promoted probably 75-100 shows since 2001. I’ve been running a festival since 2002. I know How To Promote, and I know how to do it with zero budget.

It takes WORK. Just because you DJ or know a few people does not ensure that anyone will come to your gig. If people don’t come it doesn’t mean they don’t love you or aren’t your friends. You need to GIVE THEM A REASON. Whether that be a cheaper door price for coming earlier, a giveaway or some special twist, or making the show earlier if it’s on a weeknight and people have to get up at the asscrack of dawn to go to their shitty jobs.

Give them a reason.

And give it to them 1000 times.

I hate to say it, but being a promoter is all about reminding people over and over again but knowing that breaking point when you’re simply COMPLETELY ANNOYING. It sucks. It’s frustrating. It’s no fun.

But yup, it’s promoting.

And if nobody shows, when it comes down to it, it’s YOUR FUCKING FAULT.

If the bands you book suck, it’s YOUR FAULT for booking shit. If the DJs play terrible music and people leave it’s YOUR FAULT for letting them spin at all. If your sound person sucks or is always late it’s YOUR FAULT for hiring them. If nobody comes out it’s YOUR FAULT for not giving them a fucking reason to show.

It sucks and it’s ALWAYS an uphill battle, but you decided to promote. If you decide to become a doctor and every person dies on the operating table that’s YOUR FAULT too.

Do your fucking job. And if you can’t do it alone get other people to help you. There’s safety in numbers and getting the word out is a lot easier if there’s a few of you on the job.

And STOP FUCKING WHINING about stuff and trying to guilt trip people into coming to gigs. Promoting is basically a crapshoot and I have nothing but respect for people who do it as, like I’ve said, I’ve done it plenty. I’ve lost literally THOUSANDS of dollars over the years promoting shows. Know the costs. Know what you can lose. Know who you can count on. Or stop promoting shows.

A bad promoter can kill all chances of ANYONE going to shows in your city. Hell, for YEARS bands in our scene wouldn’t play CHICAGO (remember that town? Home of WAX TRAX!?) because there was only one good promoter there and if she passed you were FUCKED because nobody else could pull off a gig. CHICAGO!!!!

Nobody goes into promoting for the glory. Small promoters aren’t generally the ones getting laid after a show for a job well done, but they are the ones that bands will remember, ESPECIALLY when they’re working their way up the food chain, and will appreciate later. I know personally I will only work with certain people if I play some cities because they took a chance on me when I first started out. Maybe I didn’t make a lot of money but there’s an unspoken loyalty that I know I have with some people.

Do it right or don’t do it at all. And learn how to do it better.

It’s your fucking job.

You’re the Fucking Problem (part three of four)

Posted on November 5, 2010 by matt| Comments Off

Hey club DJs, I have a question– Do you work for some major corporate club circuit or radio station and have a station/club manager giving you a set playlist every night?

No?

Then WHY THE FUCK DO YOU SPIN MUSIC LIKE YOU DO?!?

I’m not saying play all obscure stuff– I actually used to do that because I thought it made me a “real” DJ and that I could dictate what people would or would not like. And you know what? Nobody danced.

But you know what? I still play shit nobody knows in between the stuff they DO know.

It’s unfathomable to me when I see playlists that I know literally EVERY FUCKING SONG ON THEM. I barely even LISTEN to most new EBM/industrial these days. Why? I make it, so most of it isn’t that interesting to me. I know it IS interesting to the hot club girls who come out and dance (and let’s face it– if the cute girls come out in their New Rocks and dance then that’s all you need. Penises will follow.) so I don’t begrudge anyone playing some 4/4 oontz so the crowd can get their dance on.

But if you’re not being TOLD what to play and aren’t given a playlist…why the fuck do you HAVE to play the same shit EVERY…SINGLE…TIME?

99% of club DJs (and I’m saying club, not radio shows or podcasts) have carte blanche over what they play. You have 1 actual responsibility: Keep people there and keep them drinking. Technically playing a good song by a band most people DON’T know is a good thing on two levels: A) It exposes people to some kickass new music, and B) It gives people a break to grab a drink and make sure the bar makes the money so people can keep the clubnight.

Just because you keep a floor going doesn’t mean you’re a good DJ. Take some fucking PRIDE in what you do, you lazy pricks. Personally I don’t give a shit if every song is beatmatched, but what I care about is solid SELECTION. I love going “Oooh, what’s THIS track?” and asking the DJ what they’re playing. As a DJ you’re both an entertainer AND an ambassador. Show them what’s good, known AND unknown. I mean Christ– who doesn’t love saying “Oh, THAT band? Yeah, I’ve been playing them since their first demos…”

(I still say that about Modulate:))

Don’t be lazy and just play shit people know. People WILL burn out on it. I’m also not saying be an elitist prick and ONLY play obscure stuff– make it a 5:1 ratio or something (adjust the ratio to your audience). Like I said, losing a bit of the floor isn’t always a bad thing in terms of business.

And to those of you who whine that they can’t afford new music– YOU AREN’T FOOLING ANYONE. We KNOW you’re stealing it. Fuck, MOST DJs get the shit free from the artists or labels themselves in mp3 format. I know it’s the DJs attitude that “I shouldn’t pay for SHIT, man! THE MUSICIANS ARE NOTHING WITHOUT ME!!!”

You know what? Fuck that attitude. If you have to lower yourself and actually BUY a CD once in a while it won’t kill you, especially since you most likely get PAID (hopefully) to DJ and we artists are the reason you have any CONTENT at all.

So if you have that attitude kindly go fuck yourself. You’re no god. And most likely your DJ spot Tuesdays at DEKKADENTZ is about as attended as a fucking Caustic show in Ibiza.

We need each other. Just because you steal our music or get it free doesn’t mean you’re anything more than the music you press PLAY on. And I say this as someone who has DJ’d for over a decade. I know the attitude. I also know what it’s like to be a poor DJ. But have some fucking respect.

And play some good music, regardless of whether every single person knows the chorus by heart.

You’re the Fucking Problem (part four of four)

Posted on November 5, 2010 by matt| Comments Off

I saved the artists for last for a reason: It’s mostly YOUR fault.

YOU make the music. YOU inspire people to dance. Or feel. Or hate (edit- because hate isn’t an…emotion?).

And, frankly, most of us are TOTALLY FUCKING IT UP.

Just like the fans, we have gotten complacent. For a very small investment most of us can get a decent studio going…hell, the investment could just be a computer with a decent processor since all the software can be STOLEN.

And the software is easy enough to use. “Hey, I can make that bassline I heard in that Aesthetic Perfection song!” “Whoa, THAT’s how Cyanotic did that!” “Man, this sounds JUST like X, Y, Z, ZZZZZZZZZZZZZZ”.

You have so much potential in your hands, and all you give a shit about is sounding like your favorite bands.

And then you bitch that nobody listens to you.

Here’s a helpful fucking hint to those of you out there making music: IF EVERYONE SAYS YOU SOUND LIKE A CERTAIN BAND THEN *CHANGE YOUR FUCKING SOUND* We already HAVE a Combichrist. We already HAVE a VNV Nation. Nobody WANTS me, but we HAVE a fucking CAUSTIC.

How are you DIFFERENT?!!? For a scene that pretends like they’re all “outsiders” and “rebels” (or at least that’s what the clothing lines you buy like to TELL you) we’re about as uniform as anyone ELSE in their uniforms.

But there’s one thing I’ve always loved about a vast, VAST majority of this scene: We’re actually creative as FUCK.

So why the hell AREN’T THE ARTISTS?

If you make music, STEP IT THE FUCK UP. Ask people their HONEST opinions on what you’re doing. PUSH YOURSELF. Don’t rest on your laurels because it sounds “Good Enough”. Make it YOURS, you braindead cunts. Why the hell are you creating music to BEGIN WITH? I love artists that I hear the song or the person’s voice and IMMEDIATELY identify that it’s them. I don’t WANT to hear another distorted voice sounding kinda sorta like Marshall from Psyclon Nine or kinda sorta sounding like Ronan or kinda sorta sounding like ANYONE.

If not in the music than in the CONTENT. Make your words MEAN SOMETHING. It’s really hard to write good lyrics in a genre that prides itself on production over substance, but WORK ON IT. CONNECT with people on WHATEVER level.

Sorry chief, but NOBODY LIKES YOUR MUSIC BECAUSE YOU PROBABLY AREN’T WORTH REALLY LISTENING TO YET.

PROMOTE YOURSELF. If you just do music for you and don’t mind it when people stumble on your stuff more power to you. Most of us aren’t that way, but if you want it DO THE WORK and SHUT THE FUCK UP. If you’re on a label and want them to do all the footwork YOU WILL FAIL. If you hire a “manager” (aka your soon-to-be “former girlfriend”) and think they’ll open all the doors for you YOU WILL FAIL. If you have accounts on every social networking site but don’t constantly pimp them YOU WILL FAIL.

The odds are AGAINST you, even if you’re making AMAZING music. Why? PEOPLE DON’T KNOW WHO THE FUCK YOU ARE.

It’s YOUR FAULT.

Nobody is handed anything, especially when there’s a glut of music out there. Having a unique (yet accessible) perspective is the ONLY way anyone will care about you. OR, maybe sadly, having a LOT of money and time to invest in pimping yourself.

Think of it this way: A major label spends at LEAST $500,000 on new artists they’re just trying to BREAK into the mainstream. You have no budget except free time and determination. USE it. Or SHUT UP.

And you’ll ONLY get big if you pimp hard AND long enough AND you STILL have to get lucky! I can count on fingers and toes people I owe my firstborn to because I was lucky enough that they liked what I was doing early on and took chances on me. I couldn’t force that luck to happen, but the more that you’re OUT THERE the better your odds are.

So until then KEEP PRACTICING. Create a good LIVE SHOW. Do things NOBODY ELSE IS DOING. KICK ASS.

And stop the fucking whining.