The Overnightscape #53 (3/21/04) Tonight's subjects include: Madison Avenue blues, the. Avant-garde poetry, Useless Statistics ('The 28th Palindromic Episode Number'), a telephone conversation with Julie, high school reunions, 120 Minutes, Joe. EFFECTIVELY 1715. RESERVES 1713. CONNECTED 1712. ALABAMA 1712. TRANSMISSION 762. RANKINGS 762. LAFAYETTE 762. JOHNSTON 762. DEFENDERS 762. CANCELED 762.

• Dj Sprinkles Midtown 120 Blues Raritan Schedule
• Dj Sprinkles Midtown 120 Blues Raritan Street

Terre Thaemlitz is a musician, public speaker, and owner of the record label Comatonse Recordings. Thaemlitz's work critically combines themes of identity politics – including gender, sexuality, class, linguistics, ethnicity and race – with an ongoing critique of the socio-economics of commercial media production.^[1][2][3] This diversity of themes is matched by Thaemlitz's wide range of production styles, which include electroacoustic computer music, club-oriented deep house, digital jazz, ambient, and computer-composed neo-expressionist piano solos. Graphic design, photography, illustration, text and video also play a part in Thaemlitz's projects.

• 2Discography

Activism[edit]

As a speaker and educator^[4] on issues of non-essentialist transgenderism and pansexualQueersexuality, Thaemlitz has participated in panel discussions throughout Europe and Japan, as well as held numerous cross-cultural sensitivity workshops at Tokyo's Uplink Factory^[5] near Thaemlitz's current residence in Kawasaki, Japan.

Terre Thaemlitz's Soil^[6] and Tranquilizer releases in the early and mid-1990s served to introduce a 'political' form of ambient music, continued in later releases such as Couture Cosmetique and Means from an End, which aim to recast the usually passive artist-listener-environment equation. Thaemlitz's colleagues in the political ambient music front include the sound activist group Ultra-red. Following their remixes of Thaemlitz's Still Life with Numerical Analysis in 1998, Ultra-red joined Thaemlitz on the German label Mille Plateaux for their first two albums: Second Nature: An Electroacoustic Pastoral (1999) and Structural Adjustments (2000).

In 2015, Terre Thaemlitz published Nuisance, a collection of essays on identity and music. In the introduction, Thaemlitz writes, 'My intention is to write in defense of pessimism, and to critically reject the incessant optimism lurking at the core of virtually all media, conferences, concerts, events and symposia – 'critical media' or not.'^[7]

Discography[edit]

Albums[edit]

• Tranquilizer, Instinct Ambient, 1994, EX-283-2
• Soil, Instinct Ambient, 1995, AMB:007-2
• Die Roboter Rubato, Mille Plateaux, 1997, MP34
• Couture Cosmetique, Caipirinha Productions, 1997 (US); Daisyworld Records, 1997 (Japan)
• G.R.R.L., Comatonse Recordings, 1997, C.003
• Means From An End, Mille Plateaux, 1999, MPCD53
• Love For Sale, Mille Plateaux, 1999, MPCD53
• Replicas Rubato, Mille Plateaux, 1999, MPCD71 and MPLP71
• Fagjazz, Comatonse Recordings, 2000, C.007
• Interstices, Mille Plateaux, 2000, MP94
• Oh, No! It's Rubato, Mille Plateaux, 2001, MPCD103/MPLP103
• Lovebomb / Ai No Bakudan, Mille Plateaux, 2003, MP117
• Lovebomb / Ai No Bakudan, double disc DVD & audio CD re-issue, Comatonse Recordings, 2005, D.001
• Trans-Sister Radio, Grain of Sound/Base Recordings, 2005, GOS018/BRCD00505
• K-S.H.E (Kami-Sakunobe House Explosion): Routes Not Roots / Ruutsu De Ha Naku Ruuto, Comatonse Recordings, 2006, C.013.CD
• Terre Thaemlitz presents.. You? Again?, Mule Electronic, 2006, MED05
• DJ Sprinkles: Midtown 120 Blues, Mule Musiq, 2008, MMD7
• Terre Thaemlitz: Soulnessless, 2012
• Where Dancefloors Stand Still, Mule Musiq, 2013, MMCD41

12' EPs[edit]

• Comatonse.000, Comatonse Recordings, 1993, C.000 (contains 'Raw Through A Straw' and 'Tranquilizer')
• Comatonse.000.R1, Comatonse Recordings, 1997, C.000.R1 (translucent vinyl re-issue of C.000 with previously unreleased outro 'Pretty Mouth (He's Got One)')
• Terre's Neu Wuss Fusion: She's Hard, Comatonse Recordings, 1998, C.004
• DJ Sprinkles: Sloppy 42nds, Comatonse Recordings, 1998, C.006
• DJ Sprinkles: Bassline.89, Comatonse Recordings, 2001, C.008
• Social Material: Class/Consciousness, Comatonse Recordings, 2001, C.009
• Terre's Neu Wuss Fusion: A Crippled Left Wing Soars With The Right, Comatonse Recordings, 2002, C.010
• Teriko: Hystoric Trace ('Fake'), Hysteric Trace, 2003, INEX-002
• The Opposite Of Genius Or Chance, EN/OF, 2003, EN/OF 013
• Comatonse.000.R2, Comatonse Recordings, 2004, C.000.R2
• K-S.H.E (Kami-Sakunobe House Explosion): Route 1 EP, Comatonse Recordings, 2006, C.013.EP1
• K-S.H.E (Kami-Sakunobe House Explosion): Route 2 EP, Comatonse Recordings, 2006, C.013.EP2
• K-S.H.E (Kami-Sakunobe House Explosion): Route 3 EP, Comatonse Recordings, 2006, C.013.EP3
• You? Again? 1, Mule Electronic, 2006, M019
• You? Again? 2, Mule Electronic, 2006, M020
• You? Again? 3, Mule Electronic, 2006, M025
• Terre's Neu Wuss Fusion: She's Hard Remixes, Mule Musiq, 2007, MM019
• DJ Sprinkles: Grand Central, Pt. I, Mule Musiq, 2008, MM033
• DJ Sprinkles: Brenda's $20 Dilemma (Kuniyuki Remix), Mule Musiq, 2009, MM034
• DJ Sprinkles: Grand Central (Motor City Drum Ensemble Remixes), Mule Musiq, 2009

7' singles[edit]

• A-MUSAK, Germany: A-Musik, 1999, A-14
• Selling, Netherlands: Bottrop-Boy, 2000, B-BOY 003
• Chugga: A Big 7-Inch, Austria: Klanggallerie, 2003, GG73

DJ mixes[edit]

• DJ Sprinkles: DEEPERAMA (Module Party 5), Japan: Comatonse Recordings, 2003, DCM5
• DJ Sprinkles' DEEPERAMA (Module Party 8), Japan: Comatonse Recordings, 2004, DCM8
• PASTIME PARADISE, Japan: Comatonse Recordings, 2004, DPP1
• DJ Sprinkles' DEEPERAMA (Module Party 9), Japan: Comatonse Recordings, 2004, DCM9
• DJ Sprinkles' DEEPERAMA (Module Party 10), Japan: Comatonse Recordings, 2004, DCM10
• DJ Sprinkles' DEEPERAMA (Module Party 14), Japan: Comatonse Recordings, 2005, DCM14

Collaborations[edit]

• Web, Subharmonic, 1995 (with Bill Laswell)
• Yesterday's Heroes: 1979 (with Haco), France: La Louche qui Fait déborder le Vase, 2004, LOUCH 001
• Complete Spiral 12', Comatonse Recordings, 2012 (with Mark Fell)
• Fresh Insights 12', Comatonse Recordings, 2015^[8] (with Mark Fell)

Internet-only releases[edit]

• Below Code,^[9] Comatonse Recordings, 2006, C.012

To celebrate the 10th anniversary of Comatonse Records, Thaemlitz released a free best-of compilation CD. Physical copies are no longer in print, but MP3s are available for free (along with a bonus track that did not fit on the original release) through Comatonse.

Radio dramas[edit]

• Trans-Sister Radio – Germany: Hessischer Rundfunk Radio, Channel HR2, Frankfurt M, 2004. Premier airdate November 17, 2004. Hörspiel, Redaktion: Manfred Hess. Also released on CD (Portugal: Grain of Sound/Base Recordings, 2005, GOS018/BRCD00505).

• The Laurence Rassel Show (with Laurence Rassel) – Germany: Hessischer Rundfunk Radio, Channel HR2, Frankfurt M, 2006. Premier airdate April, 2006. Hörspiel, Redaktion: Manfred Hess.

Filmography[edit]

• ffwd_mag (DVD + magazine)

Italy: .::invernomuto::., 2005, Issue 3. Audio and photography.

• Lovebomb / Ai No Bakudan (full-length film/music videos)

Written, directed, filmed and edited by Terre Thaemlitz. Originally released on VHS (Japan: Comatonse Recordings, 2003, V.002). In English and Japanese.Japan: Comatonse Recordings, 2005/2003, D.001.NTSC D.001.PAL.

• Interstices (short film/music videos)

Written, directed, filmed and edited by Terre Thaemlitz. Commissioned by Lovebytes and funded by the Arts Council of England. Released with 'Silent Passability' on DVD (Japan: Comatonse Recordings, 2005, D.000.NTSC). Originally released on VHS (Japan: Comatonse Recordings, 2001, V.001) and DVD ('Volatile Media,' UK: Lovebytes, 2002, DSP2).Japan: Comatonse Recordings, 2005/2001, D.000.NTSC.

Dj Sprinkles Midtown 120 Blues Raritan Schedule

• Silent Passability (Ride to the Countryside) (music video)

Written, directed, filmed and edited by Terre Thaemlitz. Released with Interstices on DVD (Japan: Comatonse Recordings, 2005, D.000.NTSC). Originally released on VHS (US: Comatonse Recordings, 1997, V.000). Japan: Comatonse Recordings, 2005/1997, D.000.NTSC.

• Modulations (documentary)

Directed by Iara Lee, produced by George Gund III, (US: Caipirinha Productions, 1998). Interview.

• Neue Kraft, Neues Werk (Transcodeur Express) (documentary)

Directed by Ninon Liotet and Olivier Schulbaum, (Germany: ZDF 2002). Interview and music.

Dj Sprinkles Midtown 120 Blues Raritan Street

• Synthetic Pleasures (documentary)

Directed by Iara Lee, produced by George Gund, (US: Caipirinha Productions, 1995). Three tracks featured on soundtrack. Sound engineering for trailer.

Awards[edit]

• Album of the Year^[10] 2009, for DJ Sprinkles – Midtown 120 Blues, Resident Advisor
• Honorable Mention In Digital Musics, 1999 ORF Prix Ars Electronica
• Best Ambient/Experimental Artist 1997, 1997 Readers' Poll results in URB Magazine (US: March/April 1998)
• Best DJ 1991, Underground Grammy Award from the House of Magic, Midtown Manhattan drag circuit

References[edit]

1. ^http://www.factmag.com/2014/01/30/the-essential-terre-thaemlitz/
2. ^http://hyponik.com/features/grey-zone-dj-sprinkles/
3. ^http://thequietus.com/articles/09107-terre-thaemlitz-interview-soulnessless-dj-sprinkles
4. ^http://www.redbullmusicacademy.com/lectures/terre-thaemlitz-deep-thoughts
5. ^Uplink FactoryArchived 2006-08-20 at the Wayback Machine
6. ^https://www.theguardian.com/music/2014/oct/25/dj-sprinkles-terre-thaemlitz
7. ^http://www.comatonse.com/writings/nuisance.html
8. ^http://www.juno.co.uk/products/dj-sprinkles-mark-fresh-insights-ep-1/561031-01/
9. ^Below Code
10. ^Album of the Year

External links[edit]

Best new reissue

Terre Thaemlitz is best known as an experimental, electro-acoustic composer, and she has released difficult, conceptual works for labels like Mille Plateaux since the mid-90s. Her 2009 album is getting a no-frills reissue because of its scarcity, and it's a treatise on house music that attempts to debunk the myth that house music was an all-accepting, pan-cultural utopia.

There's a contradiction at the core of Terre Thaemlitz's album as DJ Sprinkles, Midtown 120 Blues, that is difficult to resolve. The album, a treatise on house music, goes lengths to debunk the myth that house music is/was an all-accepting, pan-cultural utopia—that house music is for everyone. She does this, however, while offering up a deep house sound so sumptuous and inviting that it's easy to lose Thaemlitz's socio-political motives: a Trojan horse whose trap-door gets stuck. Midtown 120 BluesDownload jamaican gps voice recorder. is being reissued, in deluxe packaging but with no additional or altered music, after just five years, though the record's scarcity and limited reach justify that decision.

Thaemlitz is best known as an experimental, electro-acoustic composer, and she has released difficult, conceptual works for labels like Mille Plateaux since the mid-90s. (With 2012's Soulnessless, she claimed to have released the longest-ever album, anchored by a 29-hour piano meditation.) In the early '90s, before she was releasing experimental works, Thaemlitz worked as a DJ in the type of midtown clubs that defined Times Square before it was corporatized later in the decade. These formative spaces gave a home to the different strains of house music emanating from New Jersey and New York, a sound more contemplative than that which was coming out of Chicago: slower, jazzier, more reflective. It was music made and then defined by disadvantaged communities: by latinos and blacks and the LGBT community.

Thaemlitz has produced house music under a number of different aliases, but the deconstructivist instincts that dominate her experimental works aren't as dominant here. Midtown 120 Blues travels familiar territory, working through lived-in hi-hat patterns and familiar, calming electric piano chords. It helps the medicine go down easier, sure, but there's not that much medicine. You get the sense that this style is so dear to Thaemlitz that she's less willing to fuck with it, at least on a sonic level. Midtown 120 Blues, at nearly 80 minutes, is almost womb-like in its immersion, though Thaemlitz rejects the idea of the club as a healing, safe space. You don't 'lose yourself' in Midtown 120 Blues; it's a reflection on feeling lost.

Thaemlitz began documenting this scene in 1998, shortly after those clubs were elbowed out of downtown, with the Sloppy 42nds 12', her first work under the DJ Sprinkles alias. Midtown 120 Blues again took this baton a decade later, chronicling the turbulence and violation that existed in Thaemlitz's communities; it's an album that seethes, however prettily, as Thaemlitz laces her patient, supple grooves with short speeches.

One poignant segment of 'Ball'r (Madonna-Free Zone)' finds her railing against Madonna, whose 'decontextualized, reified, corporatized, liberalized, neutralized, asexualized, re-genderized pop reflection' of the vogue scene not only misrepresented the scene's origins but left the queen 'who actually taught [Madonna] how to vogue' broke. Thaemlitz is a compelling speaker, and the hurt and anger in her voice is obvious; she's also deft enough to let the preachers, whom she often samples, do the preaching. Midtown 120 Blues feels far more personal than political.

Midtown 120 Blues is a remembrance, but it's also a travelogue, loosely documenting Thaemlitz's move from her childhood home in Missouri and her immersion in midtown's scene. 'Grand Central, Pt. II (72 hrs. by Rail from Missouri)' functions largely like the KLF's Chill Out, organizing samples into an ambient collage that holds your attention even as it drifts for eight minutes. Moments like these feel like a salve for Jesse Jackson, who burns through his (sampled) vocal chords on 'Sisters, I Don't Know What This World is Coming To' and the nervous, pendulous piano of 'House Music Is Controllable Desire You Can Own'.

Like punk music, house music was an underground phenomenon that offered an outlet to people who really needed an outlet. And like punk music, its history is romanticized to the point that the ills and misdeeds that still permeated the community are largely ignored. In the mid-'90s Thaemlitz was fired from a prominent DJ gig because she refused to play Gloria Estefan, a frequent request from the johns who would frequent the club; the johns, after all, kept the club open.

Thaemlitz quit, exhibiting the kind of principled stubbornness that has guided her career. This persists: Midtown 120 Blues will not be issued on vinyl, a medium unable to provide an accurate stereo bass response. Still, there's a fondness to Midtown 120 Blues, not least in its closing shuffle, 'The Occaional Feel-Good'. There is love here, however guarded. At its best, Midtown 120 Blues simultaneously acts as a corrective to house's ahistorical narrative and reminds us just how potent and beautiful New York deep house can be.