Manifestos for making dance music

[cygn]

Todd Burns (Resident Advisor)
http://toddlburns.com

No more disco re-edits.

Kate Simko (Spectral)
http://www.katesimko.com/

Make a full EP or LP completely sober and with no one else in the studio with you-- no exceptions. Struggle and search on your own; it makes you grow.

Derek Walmsley (The Wire)
http://poplifeblog.blogspot.com/

Tracks should be mastered either professionally or properly (i.e., for full impact) or by yourself and with careful attention to detail. No more laptop-mastered tracks with boomy, cluttered, overdriven dynamics.

You can compress a maximum of two sound elements per track. Everything else must be more or less uncompressed.

Each DJ set must have at least one moment where it stops, goes to silence for a few seconds, and then starts afresh. Too many DJs play sets that are, conceptually, endless.

Each artist must release at least one 7" or 10" per year, to encourage conciseness. Disco samples should be rationed. If a producer does use them, I encourage a "mouth to tail" philosophy of use, whereby as many of the elements of the original track as possible are used on the same track at some point.

Michael Baumann (Jackmate/Soulphiction)
http://www.myspace.com/jackmateakasoulphiction

There shall be no further distribution of MP3 files, but proper WAVs at least, because you don't produce on proper equipment to listen to a shitty, compressed algorhythm.

The delay between the release of vinyl and its digital release should be at least one month.

Live acts just using a laptop should be called "semi-live." That's already common in Holland.

Please don't call slowed-down, boring minimal techno with strings or two chords on top "house music"!!

The tempo of a DJ set should at least vary by +/- 10 bpm.

Monty Luke/ML Tronik (Mothership/XLR8R)
http://www.mltronik.com/

If you can't do it in real life, don't put it on a mix CD. I'm listening to a mix right now by a dude on Dialect Records. It's so obviously an Ableton mix-- one major bit of a record looped for minutes on end while he mixes two other records on top of it. It sounds great, but if you can't pull that off at the club, don't even bother.

Simon Reynolds
http://blissout.blogspot.com/

Whenever, as a producer, you feel yourself flinching a bit from using an idea or a sound or an effect, hesitating on the grounds that it's maybe a wee bit cheesy, then I would say just to push right past that feeling and go for it. Do it twice over, even. There can never be enough monster riffs or cheap tricks in dance music; there can definitely be a surfeit of just-so subtleties.

Dave Aju (Circus Company)
http://www.myspace.com/daveaju

7-Step Dance Music Production Honor System:

1. Try to emphasize content over form.

2. Challenge yourself. If it seems too easy, it is questionable at best.

3. Personalize all sounds, effects, and arrangements wherever possible.

4. Refrain from releasing or submitting any track that:

a. sounds like it could be the work of another producer,

b. sounds redundantly like other works of your own, or

c. only evokes the emotion of being in a club.

5. Treat every track as you would a loved one; support and encourage its individuality, and never misguide or manipulate it for popularity purposes.

6. Study and consider the history of dance music and make every attempt possible to carry on its creative and positive traditions while respectfully avoiding mimicking, re-treading, or capitalizing on its origins for content.

7. Honestly question your motivation and objective, particularly if your interest in dancing and dance music is a result of certain chemical experiences.

Professor Genius (Thisisnotanexit)
http://www.myspace.com/professorgenius

Before that track you just made goes out into the world, ask yourself: have you just made something that would knock you out if someone else was the author? Would you need to own it and listen to it again? Or does it just blend in with everything else out there (ho hum)?

Are you being honest? If not, shouldn't you be doing something else?

It's ok to play more than one minute of a record in a mix. It's even ok to play an entire song (at times).

Pick a stranger in the room who's dancing and play for them all night (if possible). This will hopefully ensure a minimum of self-indulgence on your part.

Mike Shannon (Cynosure, Plus 8)
http://www.cynosure-recordings.com/

Thou shall not chart thyself... that means no remixes [by you or of your own tracks] and nothing on your label-- an unwritten rule that somehow was lost in time.

Techno should be as faceless as possible... no need to put your pretty face on the cover of your ugly techno record. (Whatever happened to faceless techno bollocks!?)

Strategy (Community Library, Kranky)
http://www.community-library.net/strategyhome.htm

DJs shall respect their roles as stewards of musical history (not simply musical trends) by keeping accurate set lists and an online record of their play activities, and will share information openly with fans, center-label trainspotters, etc. Furthermore, audio documentation and relationships to radio and net broadcasters are encouraged and expected.

DJs shall respect their roles as stewards of musical culture-- as fans of the highest order-- by communicating their gratitude to labels, artists, and producers whose work they are performing.

Producers, musicians, and artists shall respect their roles as cultural producers by dedicating numbers of vinyl pressings to devoted DJs in kind and offering communication about their work, their intentions, and their artistic desires to the DJs who are performing the work.

Producers and DJs shall respect the history of techno, house and disco by collecting actual vinyl and establishing an understanding of their roots, not just in dance music, but in all musical forms, doing their best not to copy the sounds of the past but to draw on the inspiration of originators and honor their legacies by innovating with previous risk-taking practices humbly remembered and cherished. Risk-taking shall be the guideline for all music deemed "good" by fans, artists, labels, DJs, etc.

Labels shall respect their roles as cultural producers by maintaining a dedication to actual manufactured formats; to shops who remain open in spite of rising rents and costs; and to paying artists who produce the work (when profit exists). Most of all, labels should help shift trends by offering products that differ from whatever trend is staling on the shelves. It is not the label's role to give people what they want-- it is the label's role to provide what people did not know that they will soon be wanting.

Fans shall respect their roles as cultural consumers by always asking for something more, something different, something visceral, something real and above all something that sounds good. They should be proud to pay for the work.

Jordan Czmanski/ Juju & Jordash (Real Soon)
http://www.jujujordash.com/

FACT: In-the-box, laptop-only productions sound LIKE SHIT.

FACT: Plug-ins effects DO NOT sound as good as hardware units.

FACT: It is a sin to think that a tape delay emulator is dubby.

FACT: A synth output sounds much better than any laptop sampler or soft-synth.

FACT: As useful as they can be, physical modeling synths sound HARSH and have NO SOUL.

FACT: God made the audio sequencer, the Devil made the "quantize" button.

FACT: Surprises in music are a GOOD thing. Knowing what's coming up each 16 bars is BORING.

Pheek (Archipel)
http://www.myspace.com/pheekmoozik

DJs are not allowed to pose for their official presskit picture with sunglasses.

Promoters will not use "the best" in their artist/event description.

Spamming DJs on MySpace with promos is irrelevant.

Anyone claiming to play live should at least have a minimum of 50 audio clips in Ableton and play at least 85% of them.

DJs must smile at least once per representation.

Clubbers must make an effort to listen to music on the dancefloor, and if they need to talk, to leave it.

Clubbers will have to stop complaining that DJs/laptop artists are boring to watch. It was never meant to be entertaining. DJs are there to put music on, so if you're more concerned about the show than the music itself, you're simply in the wrong place.

Joakim Bouaziz (Tigersushi)
http://www.myspace.com/jimibazzouka

As a DJ:

1. You shall play with a lot of attitude (Bob's advice).

2. You shall play at least 80% of recent club hits.

3. Blogs are better than record shops; don't worry about the poor MP3 quality because you can't hear when you play everything too loud.

4. Never play more than 30% of a track before the next one, and NEVER play a record till its end.

5. You can play disco, or older music, but only if it's your last track (this means you're cool).

6. You shall make an extensive use of the cue button on your CD player (this means you're a technical DJ).

As a producer:

1. No tracks below 125 nor above 135 BPM (what for?).

2. You shall always overcompress your tracks; it makes you sound huge and this helps hide the poor quality of your sounds (heavy distortion may also do the trick).

3. You shall use a lot of Supatrigga and Beat Repeat to make your tracks sound technically impressive.

4. There should always be a big break between the second and third minute for hands-in-the-air action, then bring everything back in.

Randy Jones/ Caro (Orac)
http://orac.vu/

The phrase "peak time" is banned. Writers will refrain from using it to describe dance records or anything else. Furthermore, producers will not make tracks with the aim that they will be played at "peak time."

Peter van Hoesen (Time To Express, Lan Muzic)
http://www.t2x.be

Every DJ playing out should dance for at least one hour with the same crowd he/she has been DJing for. We need more dancing DJs!

Lee Jones (My My)
http://www.myspace.com/justmymy

No tracks should contain accordions, African tribal chants or other token ethnic gimmicks.

Any new artist sending demos over MySpace should be refused a record deal from any label for the rest of their life.

Laptop PA's should never last more than 60 minutes, and performers should do more than simply play their tracks and add effects.

Cheesy house vocals deserve the same fate as dark, pitched-down vocals, in my opinion.

Remixes should contain at least one recognizable element from the original.

Seth Troxler (Esperana, Circus Company)
http://www.myspace.com/sethtroxler

Be comfortable.

Be cool.

Keep 'em guessing.

Mr. G (Proof, Rekids)
http://www.mr-g.org.uk/

Dance music should some have good weight-- and not be thin!

Dance music remixes must take more than two days.

Before you get into dance music you'll have to take a test to confirm you musical history, to be released to all at a later date, mmmmmmmmmmmmmmm so no faking then eh?

No one name should do more that 10 remixes a year. Make another album so we can see what ya doin'.... As you know, there are many other good producers!

No long faces or attitudes please! Come on, this should be fun-- you gettin' paid, ain't ya?

Ain't no real money, you know, you gotta do it for loooooove.... Heehee.

Producers must make half of their tracks without reverb or delay...now we're talkin'!

Radovan Scasascia/ Secondo, AM/PM (Dreck, Soul Jazz)
http://www.dreck-records.com/

Producers shall never pursue the goal to make their music sound like someone else's music.

In fact, all producers shall start from scratch if they produce something that sounds like someone else's music.

The public and producers alike will not take music for granted.

Producers and DJs shall make re-edits for their own consumption only (be it DJing or listening) and will not release them as commercial products.

Cristian Vogel (No Future, Tresor)
http://www.no-future.com/vogel_microsite/

Techno music is not important; it is nothing.

Techno music can strive to be as empty as possible.

Techno music can be poetry about the ecstasy in the universe.

Techno music should give awareness, not take it away.

Techno music is too good at describing our cyclic existence.

DJs should strive to enlighten.

Techno music needs to be kind and rest.

Marco Freivogel/ Exercise One (Lan Muzic, Mobilee)
http://www.myspace.com/exerciseone1

Live is live, play live with Live!

Never try to be new. If it happens, it happens...

A track has to catch a moment. Record all your sessions!

Make a track with a friend every week.

Ableton is an instrument.

Pro Tools is a sequencer.

Do not only produce for the DJ.

No more plicky-placky.

Nobody owns music. It comes to you and it leaves you. Music has its own way.

Finn Johannsen (Macro Recordings)
http://www.macro-rec.com/

Mediocrity is not a virtue.

There is a direct connection between the devaluation of music and artistic irresponsibility.

Status won't necessarily last longer by being fully exploited.

Every trend you follow is trend less you could set.

For every older record you may disrespect, there is a blueprint you may imitate.

Every preset you use is an idea less that you could develop on your own.

If a virus wipes out every preset in existence, you might have to stop producing.

If you change your musical style, you could consider using the one you just left behind on the one you get into.

For every edit you make that just streamlines the original material, there is a DJ is capable of using just the original material you just deleted in the process.

Don't release something that you won't care about in the near future. You may block somebody who does.

You would be better off investing all you can afford into the mastering, distribution and design of the release you totally believe in, than investing the least possible into mastering, distribution and design of all the other releases you don't really believe in.

Mixing is overrated; selection is not.

The performance aspects of digital DJing are alarmingly disproportionate to the convenience aspects of digital DJing.

Charts and playlists don't oblige, they just give examples.

If you don't earn enough money by DJing, you will not necessarily earn more if you start to produce.

If you don't earn enough money by producing, you will not necessarily earn more if you start to DJ.

If you don't earn enough money by producing and DJing, you will not necessarily earn more if you start a label.

There are more phrases to illustrate a positive feedback than "full support," "top tune," and "will play."

Your demo as a Sendspace link in the MySpace inbox of the label of your choice will not give the impression that there is some thought behind your choice.

if you are not in the mood to party, stay in.

Jacopo Carreras (Lan Muzic)
http://profile.myspace.com/index.cfm...rofile&friendI...

As a son of the Revolution, not the one of the 1960s, but the French one, I ask myself, why be funny, let's be serious. I state:

1. Minimal is dead.

2. I love spheres.

3. Marx is dead, and capitalism is following.

4. MP3 makes my digestion uneasy.

Gamall Awad (Demon Days, Backspin Promotion)
http://www.demon-days.com

NO TO MANIFESTOS.


Quelle:
http://www.pitchforkmedia.com/articl...onth-in-techno

[phader]

sind einige knaller dabei, aber auch massenhaft blabla. das schöne ist doch, dass es in der musik (fast) kein richtig oder falsch gibt. einige statements klingen einfach nur verkalkt und nach "ich kenne den weg und ihr habt techno nicht verstanden".

aber wie gesagt: sind auch viele schöne, interessante und lustige dinge dabei. besonders das letzte statement finde ich super

respekt, daß du dich durch dieses sinnentleerte geschwafel gelesen hast, um überhaupt was interessantes zu finden. das statement von michel baumann war das einzige, was sinn machte, kurz danach hab ich aufgehört.

[Hosoi]

Zitat von cygn

Gamall Awad (Demon Days, Backspin Promotion)
http://www.demon-days.com

NO TO MANIFESTOS.

spart euch den rest

[phader]

Zitat von pru: piper

respekt, daß du dich durch dieses sinnentleerte geschwafel gelesen hast, um überhaupt was interessantes zu finden.

ich hab zeit. bin in der arbeit

[htk]

auf der arbeit

Zitat von pru: piper

das statement von michel baumann war das einzige, was sinn machte

imo nicht das einzige, aber trotzdem richtig:
"The delay between the release of vinyl and its digital release should be at least one month."
word!


aber echt jetzt:

Zitat von phader

sind einige knaller dabei

ich hab erst nach ein paar statements gemerkt, dass die das scheinbar alle ernst meinen

[phader]

Zitat von triob0t

auf der arbeit

oder in den bürogebäuden meines arbeitgebers

genau der kommentar den du da jetzt rausgesucht hast, ist einer der unsinnigsten in der ganzen sammlung. bravo!

[htk]

Zitat von phader

oder in den bürogebäuden meines arbeitgebers

oder auf den bürogebäuden

Zitat von phader

genau der kommentar den du da jetzt rausgesucht hast, ist einer der unsinnigsten in der ganzen sammlung. bravo!

mich wunderts ja auch, dass ausgerechnet pru:"vinyl is dead"piper das statement gut findet

aber mal im ernst: WARUM ist denn diese forderung baumanns deiner meinung nach unsinnig?

Zitat von jackmate

There shall be no further distribution of MP3 files, but proper WAVs at least, because you don't produce on proper equipment to listen to a shitty, compressed algorhythm.

Live acts just using a laptop should be called "semi-live." That's already common in Holland.

Please don't call slowed-down, boring minimal techno with strings or two chords on top "house music"!!

daß du dir dann mal wieder das unsinnigste raussuchen musst war klar. ich habe auch nicht gesagt ich gehe mit michel 100% längs sondern nur, daß sein comment der erste war, wo überhaupt was sinnvolles drin war und das dann danach das gequarke wieder so durch sinnabwesenheit geglänzt hat, daß ich aufgehört hab zu lesen.

leg mir kein zeug in den mund, wenn dir genau wie anderen klar ist, daß genau der kram auf meinen standpunkt bezogen total absurd ist.

[Jay_mf]

Zitat von triob0t

aber mal im ernst: WARUM ist denn diese forderung baumanns deiner meinung nach unsinnig?

haha - vinyl vs. mp3 disko # 83487324876234...

[htk]

Zitat von Jay_mf

haha - vinyl vs. mp3 disko # 83487324876234...

nööö

Zitat von pru: piper

wenn dir genau wie anderen klar ist, daß genau der kram auf meinen standpunkt bezogen total absurd ist

genau darum versteh ich ja net, DASS du das gut fandst... na egal

Zitat von cygn

Strategy (Community Library, Kranky)
http://www.community-library.net/strategyhome.htm

DJs shall respect their roles as stewards of musical history (not simply musical trends) by keeping accurate set lists and an online record of their play activities, and will share information openly with fans, center-label trainspotters, etc. Furthermore, audio documentation and relationships to radio and net broadcasters are encouraged and expected.

DJs shall respect their roles as stewards of musical culture-- as fans of the highest order-- by communicating their gratitude to labels, artists, and producers whose work they are performing.

Producers, musicians, and artists shall respect their roles as cultural producers by dedicating numbers of vinyl pressings to devoted DJs in kind and offering communication about their work, their intentions, and their artistic desires to the DJs who are performing the work.

Producers and DJs shall respect the history of techno, house and disco by collecting actual vinyl and establishing an understanding of their roots, not just in dance music, but in all musical forms, doing their best not to copy the sounds of the past but to draw on the inspiration of originators and honor their legacies by innovating with previous risk-taking practices humbly remembered and cherished. Risk-taking shall be the guideline for all music deemed "good" by fans, artists, labels, DJs, etc.

Labels shall respect their roles as cultural producers by maintaining a dedication to actual manufactured formats; to shops who remain open in spite of rising rents and costs; and to paying artists who produce the work (when profit exists). Most of all, labels should help shift trends by offering products that differ from whatever trend is staling on the shelves. It is not the label's role to give people what they want-- it is the label's role to provide what people did not know that they will soon be wanting.

Fans shall respect their roles as cultural consumers by always asking for something more, something different, something visceral, something real and above all something that sounds good. They should be proud to pay for the work.

100% agreed.

DJs sollen Beamte sein, und alles akkurat in die Buchführung einbringen

DJs sollen sich wie die elitärsten Fans verhalten

Künstler und DJs sollen eine privilegierte Schicht bilden

Produzenten und DJs sollen wertkonservativ über die wa(h)ren Normen von Techno und House wachen und dazu ne Menge Geld in Musik stecken, die sich zwar nicht interessiert, die aber in den bürgerlichen Bildungskanon hineinzugehören hat.

Labels sollen ihre Existenz im realen kapitalistischen Markt verleugnen und statt unternehmerisch und wirtschaftlich zu agieren traumtanzen. Die Finanzierung wird dann wohl der Spinner absichern, der diese Forderung aufstellt.

Fans sollen sich als das sehen, was sie nunmal sind - dummes zahlendes Publikum. - das ist mal die einzige Wahrheit

was für ein schmonzes

DJs sollten sich der geschichte der elektronischen tanzmusik bewusst sein und in eben diesem bewusstsein in der lage sein, sich auf diese wurzeln in ihren sets zu beziehen, diese dort einfliessen zu lassen und dieses wissen in ihren sets zu vermitteln.

so zumindest meine lesart, in der "in der lage sein" nichts mit wertkonservativ zu tun hat.

aber: ich für meinen teil hätte gern wieder mehr sets, die mich auch mal auf 'ne reise durch 30 jahre mitnehmen von meinetwegen minimal über deephouse bis hin zurück in die tage von disco - ja, das ist schon sooo lang her - und dann wieder zurück, mit exkursionen richtung elektro/breakdance-kram und sonstwo hin, wo ichs gar nicht erwarte. sets, die was aussagen, an die ich mich in ein paar monaten oder jahren noch erinnere. und das können viele djs heutzutage einfach nicht (mehr), da fehlts an dem, was ich bewusst sperrig geschichtsbewusstsein nenne. und: "taking a risk" ist auch noch so'n faktor. wer hat denn heute noch die eier dazu, mal wirklich n krassen bruch in nem set zu machen, auch auf die gefahr hin, das das ggf. total in die hose geht?

[htk]

Zitat von pru: piper

die einzige Wahrheit

tschainztns

[Hendriks]

Zitat von baze.djunkiii

wer hat denn heute noch die eier dazu, mal wirklich n krassen bruch in nem set zu machen, auch auf die gefahr hin, das das ggf. total in die hose geht?

Du offensichtlich nicht, denn sonst wuerdest du ja nicht sagen

Zitat von baze.djunkiii

ich für meinen teil hätte gern wieder mehr sets, die mich auch mal auf 'ne reise durch 30 jahre mitnehmen von meinetwegen minimal über deephouse bis hin zurück in die tage von disco - ja, das ist schon sooo lang her - und dann wieder zurück, mit exkursionen richtung elektro/breakdance-kram und sonstwo hin, wo ichs gar nicht erwarte. sets, die was aussagen, an die ich mich in ein paar monaten oder jahren noch erinnere.

sondern es als DJ einfach machen.

[agent]

Zitat von baze.djunkiii

DJs sollten sich der geschichte der elektronischen tanzmusik bewusst sein und in eben diesem bewusstsein in der lage sein, sich auf diese wurzeln in ihren sets zu beziehen, diese dort einfliessen zu lassen und dieses wissen in ihren sets zu vermitteln.

so zumindest meine lesart, in der "in der lage sein" nichts mit wertkonservativ zu tun hat.

aber: ich für meinen teil hätte gern wieder mehr sets, die mich auch mal auf 'ne reise durch 30 jahre mitnehmen von meinetwegen minimal über deephouse bis hin zurück in die tage von disco - ja, das ist schon sooo lang her - und dann wieder zurück, mit exkursionen richtung elektro/breakdance-kram und sonstwo hin, wo ichs gar nicht erwarte. sets, die was aussagen, an die ich mich in ein paar monaten oder jahren noch erinnere. und das können viele djs heutzutage einfach nicht (mehr), da fehlts an dem, was ich bewusst sperrig geschichtsbewusstsein nenne. und: "taking a risk" ist auch noch so'n faktor. wer hat denn heute noch die eier dazu, mal wirklich n krassen bruch in nem set zu machen, auch auf die gefahr hin, das das ggf. total in die hose geht?

Dazu fällt mir so spontan nur James Holden ein.
Seine Sets bestehen selten aus einem bestimmten Stil sondern widerspiegeln meist seinen gesamten musikalischen Horizont. Ihr solltet euch unbedingt ein paar Live Sets von ihm reinziehen.
Einfach genial!

@ hendriks - ich mach sowohl das eine als auch das andere, hab mich selbst in die fragestellung also nicht mit einbezogen.

[niklas]

selten so viel arroganten mist auf einen haufen gelesen

da ham paar leute von denen ich den großteil nicht kenn die wahrheit anscheinend gepachtet


sinnlos da drüber zu diskutieren

[watakant]

Zitat von baze.djunkiii

DJs sollten sich der geschichte der elektronischen tanzmusik bewusst sein und in eben diesem bewusstsein in der lage sein, sich auf diese wurzeln in ihren sets zu beziehen, diese dort einfliessen zu lassen und dieses wissen in ihren sets zu vermitteln.
aber: ich für meinen teil hätte gern wieder mehr sets, die mich auch mal auf 'ne reise durch 30 jahre mitnehmen von meinetwegen minimal über deephouse bis hin zurück in die tage von disco - ja, das ist schon sooo lang her - und dann wieder zurück, mit exkursionen richtung elektro/breakdance-kram und sonstwo hin, wo ichs gar nicht erwarte. sets, die was aussagen, an die ich mich in ein paar monaten oder jahren noch erinnere. und das können viele djs heutzutage einfach nicht (mehr), da fehlts an dem, was ich bewusst sperrig geschichtsbewusstsein nenne. und: "taking a risk" ist auch noch so'n faktor. wer hat denn heute noch die eier dazu, mal wirklich n krassen bruch in nem set zu machen, auch auf die gefahr hin, das das ggf. total in die hose geht?

passt zu den statements oben.

[polarity]

wenn man ALL diese regeln nicht beachtet, ist man frei und man kann endlich musik machen
das sind solche sachen die ich mir früher von vorbildern aus interviews reingezogen hab und die dann beim selber kreativ sein im kopf rumschwirrten und einen davon abehalten haben das zu machen was man eigentlich wollte. kreativ sein ohne barrieren.

[htk]

der thread gewinnt an dynamik
wird er es auf zwei oder gar mehr seiten schaffen?

[stardust29]

trio du Held na mal sehen

stellen weise greift ihr euch hier gegenseitig an anstatt darüber zu Diskutieren
werde ich mir weiter mit angucken ..lustig


die jenige die so denken haben wohl ein Schaden --> Everything feels fucked up.
was weiter runter kommt ist wohl wahr.. alle haben Grund sich zu beschweren

Music fühlt sich immer gut an solange sie nicht halbherzig produziert oder halbherzig gemixt ist.
Kann jeder machen wie er denkt hauptsache ist doch, es kommt was an... kein Mensch braucht soviel Regeln.

[htk]

Zitat von stardust29

stellen weise greift ihr euch hier gegenseitig an anstatt darüber zu Diskutieren

willkommen im future-forum

[stardust29]

Zitat von triob0t

willkommen im future-forum

danke... hab dich auch lieb aber endlich ein willkommen Gruß *kiss you

ja ist mir schon aufgefallen, das es öfter vorkommt ..glaub so paar bestimmte Kandidaten gibt es

zuviel offtopic? oder geht noch was

habt euch lieb

[Jay_mf]

Zitat von stardust29

glaub so paar bestimmte Kandidaten gibt es

tatsache. einer davon ist ein gewisser tri0bot..

[stardust29]

ahaa bis jetzt ist mir noch aufgefallen das er angreift ..eher andersherum das schon

naja man sollte seine Meinung äußern dürfen auch ohne angepöbelt zu werden
aber Toleranz, Respekt und Offenheit sind hier nicht wirklich groß geschrieben

[afresh]

Zitat von pru: piper

.....respekt, daß du dich durch dieses sinnentleerte geschwafel gelesen hast, um überhaupt was interessantes zu finden....

komisch, das kenn ich nur all zu gut....sagen wir mal zb,
































von pali-schal diskussionen.......................

wieso? da hast du doch gar nichts geschrieben gehabt? aber vlt. hat ja dein eso nazi mit seiner peinlichen farbpalette eine antwort darauf, wie gefälligst gescheite dance musik zu produzieren ist und du kannst dann all die armen hoffnungslosen aus dem anfangspost erlösen.

[Hendriks]

Endlich, pru, warste im Urlaub? Hab dich schon in einigen Diskussionen vermisst