A couple of days ago some people were asking me why I love to mix. When I listed to the music I am doing, when I am listening to techno and deep tech I feel freedom, I feel love, and I feel passion. I can be byself and just be with the music. Electronic music makes me happy, it makes me reveal stress and bad feelings. I feel so deep in love and life, I forget about my bad past and I am able to experience the best thing in the world, that I can fly. So I created this review and post to make you understand what is the story behind Electronic music, what it does to people and where it came from and where it leade and brings us.
What We Started (2017)
Stars:
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Steve Angello | ... |
Himself
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Carl Cox | ... | |
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Chip Eberhart | ... |
Himself - Chip E.
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Martin Garrix | ... | |
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David Guetta | ... |
Himself
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Erick Morillo | ... |
Himself
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Paul Oakenfold | ... |
Himself
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Usher Raymond | ... |
Himself
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Ed Sheeran | ... |
Himself
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Tiësto | ... |
Himself
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Pete Tong | ... | |
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Louis Vega | ... |
Himself
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Who is the "we" in Bert Marcus and Cyrus Saidi's What We Started?
This look at electronic dance music speaks of the genre's origins — in
Manhattan disco, Detroit techno, etc. — in the third person, and
incompletely; the interviewees we do hear from are mostly those who rode
predecessors' coattails to fame and fortune. Nevertheless, the
throbbing documentary tells enough of the story to show today's legion
of David Guetta fans where he and his peers came from. Viewers who
suspect this scene's superstars will be in 20 (or 10) years will likely
remain unconvinced when the credits roll.
Opening scenes suggest the worrisome prospect that Started will
focus exclusively (or mostly) on two dissimilar DJs: Carl Cox, the
British house DJ who enjoyed a 15-year residency at Space Ibiza; and
Martin Garrix, the Dutch wunderkind who headlined the main stage at
Miami's Ultra Music Fest when he was still a teenager. Both prove to be
fine company, but neither seems doc-worthy. Fortunately, they're not the
only beat-droppers we'll meet here.
As the film approaches the 10-minute mark, it takes a break for a
short look back at the roots of DJ-centric dance events. John Lyons
(identified only as a "nightclub pioneer") recalls a time when bars
thought they needed live music to attract dancing patrons. Who would pay
to spend time in a club with just a guy spinning records? ("But what if
the guy stuck his hands in the air a lot while he was playing?!," one
imagines Skrillex suggesting.)
Obviously, people came out. We've barely heard the name Larry Levan,
though, before the film has moved on from disco, name-checking Chicago's
house music and Detroit's techno. You'll be forgiven if you get through
these quick scenes and still have no idea what the difference was
between these two spinoff genres; the film is mainly interested in
following their influence to England and Ibiza.
Bizarrely, it basically ignores hip-hop's contribution to the art of
the DJ — an art that would likely still be in the stick-figure phase
without rap culture's influence. And it is not interested in the 1980s
synthpop that had a similarly profound effect on the dance-remix auteurs
soon to become stars. Instead of musicology, Marcus and Saidi focus
their attention on the social environments in which DJs came to be the
focus of attention: They spend lots of time with the men who found ways
to turn the English rave culture of the late '80s into a very lucrative
nightclub community.
Somewhere in here, what had been a subculture became the stuff of
Spring Break and outdoor music festivals. Perhaps because it wants to
play to both sides, the film's viewpoint is awfully muddied when it
addresses conflict between traditional DJs — who know how to handle
turntables, read a crowd's mood and do their thing for many hours at a
time — and those who premix a whole set to a USB stick, hit play and
just bounce up and down onstage. Does the latter group (which represents
the genre's most successful entertainers) deserve our disdain, or have
they developed some new art the old-timers just don't get? The doc's
verdict seems to be that whatever draws the biggest crowd wins.
Aims to establish itself as the defining film of the electronic music
genre. Through an artfully crafted narrative and stunning visual
techniques, the film delves into the highly popular world of electronic
dance music, providing backdoor access to a widely misunderstood,
self-driven and well-insulated industry on its way to global domination.
The narrative leads with the legacy of Carl Cox and following with
newcomer, Martin Garrix, as the film explores the parallels between
Cox's undeniable influence and hand in the evolution of dance music and
Garrix's formation of mainstream genres and global fame.
Pete Tong:
WHAT WE STARTED will instantly capture an audience's attention. This is a
film that gives an authentic voice to different generations of this
movement in an unprecedented way and leads you on a globe-trotting
journey that explores a dynamic and multi-layered industry. As someone
who spent my whole career in electronic dance music, I'm very excited to
be involved in this ambitious film that goes a long way to set the
record straight on how we got here!
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