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Failure Is Freedom

Failure Is Freedom

Von: https://www.martinessig.com
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I'm exploring why Generation X failed to get free, and how the concept of "authenticity" was turned into a sort of un-freedom.

https://www.martinessig.com/

© 2026 Failure Is Freedom Musik Philosophie Sozialwissenschaften Spiritualität
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  • Cosmic Stew: Spacey Disco Music

    Cosmic Stew: Spacey Disco Music
    Jul 29 2026
    When Ron Hardy said that House Music was Disco’s revenge, this is what he meant: Cosmic Stew The voice of Q, Q: At the sound of the interplanetary voice of Q, you will be shot straight into hyperspace, which is strange because Michael Forte and Bruce Weeden wrote this for their “South Philly” record label as a novelty track response to the popularity of 1982’s E.T. Magic Midnight, Beam Me Up: Next, you will be beamed up from 1982 Philly and beamed back down in the 2010 Brooklyn of Midnight Magic, but not much has changed sonically as this disco shuffle groove will teleport you right back to 80’s era Paradise Garage with its space-age vibes and Larry Levan-style, disco-diva vocal. Everyman, Double Exposure (Dam Swindle): There are approximately one million remixes of Double Exposure’s Everyman, and I love almost every one of them. It received the re-edit, 12inch treatment, as did much of the Salsoul catalog, immediately after its release in 1976 by such luminary, disco deejays as Tee Scott, Tom Moulton, and Walter Gibbons, and has had endless other house remixes and samples throughout the last four decades by such house producers as Todd Terry, Shep Pettibone, Joey Negro, and Late Nite Tuff Guy to name only a few. First Choice, Let No Man Put Asunder (Alan Dixon): There are approximately two million remixes of First Choice’s Let No Man Put Asunder, and I love almost every one of them. And the reason for all this remix and sampling love is probably because, as with most of the disco that got heavy attention from the house community, it was played by Frankie Knuckles at the Warehouse and remixed by Ron Hardy at the Music Box. First Choice, Love Having You Around (Late Nite Tuff Guy): Philadelphia soul, particularly Salsoul, gets remixed and sampled to death because it absolutely kills on New York and Chicago dance floors. Furthermore, any Stevie Wonder sample or rework, such as this First Choice cover of Love Having You Around, will send any Chicagoan within earshot into an uncontrollable Ecstasy. A little tip when deejaying in Chicago, play one of the great remixes that samples Stevie’s “As.” Human beings will lose their minds and love you forever. Parliament / Funkadelic, Mothership Reconnection (Scott Grooves): This remix f-ing rocks. It brings all the power and joy of P-funk's euphoric, crowd chants and deep funk grooves. Funk and Disco had a kind war of distinction between the street-cred of funk and the heavy orchestration of disco, but House producers often saw no problem employing either or both to get asses moving. Are you going to “ride when the Mother Ship comes?” Yes! First Choice, Dr. Love (Late Nite Tuff Guy): Tom Moulton did House Music a huge favor by remixing that “di di di di de” string hook that drives so many House tracks, especially Terrence Parker’s total banger Your Love, as well as a bunch of the Henry Street catalog. New Yorks’s Henry Street Records is another huge reason that many of the 70s disco classics get so much love. Famously, it was a huge struggle for Moulton to loop that di de string section because the percussionists hadn’t kept consistent time. I guess they hadn’t used a click track, which was the norm for disco of the time. Instant Funk, I Got My Mind Made Up (Alan Dixon): A classic Larry Levan 12inch that gets anyone anytime. K-Alexi Shelby: Ron Hardy Memo (Riva Starr): There are so many amazing tributes to Ron Hardy, and this is one of my favorites from Chicago, hometown, hero K-Alexi. And speaking of Ron Hardy remixing Let No Man Put Asunder, this track has “got something for your mind, body, and soul!” Natasha Kitty Kat, Windy City: Such a wonderful sample from Carl Davis’s Chi-Sound Orchestra! Just sink into this 70’s soul-jazz classic. It’ll put a pep in your step as you stroll along the Chicago lake front on a breezy summer day. DJ Scratch, Electric Stew (We Can Get Down): DJ Scratch is a super prolific, New York, Hip Hop producer since the 1980s, but he’s produced a couple of house tracks lately based on some of the folks that he’s worked with in the past, such as EPMD and Q-Tip. Let’s get down to this soulful groove. The Detroit Emeralds, You’re Getting a Little Bit Smart: Westbound records from Detroit, not to be confused with “West End Records” from NYC, came from Detroit, but just like many West End releases, these funk-soul gems wound up in the hands of New York’s Tom Moulton and Larry Levan for the 12inch disco dance floor treatment. “You’re Getting a Little Bit Smart,” was first sampled the hell out of by the Hip Hop community in the 80s for its beginning drum break. I don’t remember how I found this house-y rework, or who did it, but such is the way with some of these white label productions. Double Exposure: My Love is Free (David Morales): Here’s a classic, rapturous romp! Philly’s Sal Soul, New York’s Paradise Garage, and Chicago House fit like hand(s) in glove...
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    1 Std. und 20 Min.
  • Does AI Need Help Falling Asleep?

    Does AI Need Help Falling Asleep?
    Jul 27 2026

    Does AI dream? If dreams are just the unnecessary detritus of the day, then probably not since dreams then would serve no real purpose in information processing. However, if dreams are a kind of information processing, as some sleep researchers now claim, then they might be a useful mode of scenario rehearsal that AI could employ to reduce uncertainty as any prediction machine looking to maximize its efficacy would. Maybe, AI's thinking is most like dreaming because of this type of "thinking's" lack of waking consciousness and impossibly rapid testing of multitudes of possibilities. But would AI ever need help falling into this sleep by counting sheep? What is so different about human intention that we need the assistance of a computational mode of thinking (counting sheep), which seems without intention, to "fall" asleep. No one can intentionally fall asleep. Famously, it must be accomplished by a letting go of intention, which is why it is characterized as a "fall." Even if it turns out that dreams have an intention because they are the "necessary" play of the possibility spaces of our waking intentions, then there is still a question about why this determinate program must be run on the non-intention of indetermination.

    The other human phenomenon that is characterized as a "fall" is love, and so the same questions about intention and lack of intention arise when considering if AI can love. Love cannot be fully intended because the complete determination of the beloved would render the beloved an extension of our own intentions rather than a fall into the otherness of the beloved's difference, which is why the indetermination of freedom is the "necessary" condition of love. Famously, coerced or compelled love, like that given by so many cautionary tales of the misuse of magical potions and spells on the beloved, isn't love. Love is an intention whose ground is unintentional because what is desired in love isn't oneness but twoness. Join us as we discuss the relation between organic, embodied intention and "artificial" intention in Philip K. Dick's Do Androids Dream Electric Sheep.

    https://youtu.be/eTqMZUMGMWI

    https://www.martinessig.com I mix the mixtapes that I post here but...,

    Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.
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    1 Std. und 8 Min.
  • House Music So Deep that It's at an All Time Low

    House Music So Deep that It's at an All Time Low
    Jul 9 2026
    So Deep that It’s at an All Time Low In Chicago in the 90’s, I learned about House Music from Derrick Carter. I had first heard House Music on WBMX, Oak Park like most Chicago area youth. My mind was blown in 1987 when I heard Armando Gallop play his song “Land of Confusion” on the radio. I felt strongly that the aliens had landed and that nothing would ever be the same. I already loved Chicago’s Wax Trax “Industrial” music, which was soon to be renamed “Electric Body Music” in the 90’s for its use of dancing drum machines, synth lines, and samples, but Armando’s, and his then partner Mike Dunn’s, “Acid House” took whatever psychedelic escape into alternate sonic textures and dance rhythms I was looking for as a fourteen-year-old to a whole new level. I grew up on the Northside, a few blocks from the Campus of Northwestern University in the “village” of Wilmette, which was still on the Chicago “grid” of numbered north-south and east-west blocks, and which was the northern-most stop of the “El,” Linden St, but which seemed like a million miles away from the home of House Music in the 80’s on the Southside. House Music had a special home in Southside Catholic school fundraiser dances for reasons that I can’t get into right now, but besides my exposure to it on WBMX, when I went to Catholic youth summer camp in Wisconsin, the Southside campers came equipped with House mixtapes and new ways of dancing. In Chicago in the 90’s, I saw Derrick Carter spinning at a club called “Belin” on the Northside. I had already been to some amazing warehouse parties where I heard House and Techno played at proper volume and on proper sound systems. I was completely obsessed with the sort of ecstatic trance that a 4 on the floor bass kick could evoke completely drug free. Electric body music, indeed. Derrick’s wise shamanism took the whole crossing the threshold of liminal realms-thing to a new level for me that evening. He mixed stuff, as a lot of Chicago Deejay's did, with a lot of disco and funk samples, which got me back in touch with the dreamy disco of my hazy younger years, which made it extra magical, extra liminal, extra ecstatic. I realized then that he was my favorite Deejay, so whenever I went to Gramophone to buy mixtapes, I only bought his from that point on. His taste is what is reflected in this mix. I learned what was good from him. I probably heard him play each of these tracks over time on various of his mixtapes and outings and events. It has taken many years to track down these tracks, but it has gotten much easier now that I have learned how to cheat by using AI search engines rather than digging through the bins at gramophone. Sound Stream: Motion: frolicking, 70’s, light jazz organ stutter-stepped and screwed up for the sampled-based collage crowd, perfect bliss Chris Simmonds: Rush N Soul: ohh, the rush of bursting phantasms of alien light grounded in a chugging rhythm of many subtly textured hues Chris Simmonds: New Old Shit: Wash me in the warm oscillations of the unwinding siren. I think she’s saying, “I'm going get you,” and she’s right, of course. Mood II Swing: Ohh: funky bouncing bass, dreamy synth lines, and the capacious, rhythmic musing of elsewhere. One of my all-time favorites. This is paradise, I want to stay here. Kerri Chandler: Bar a Thym: cowbell and one of the most abundant synth lines of all time from a true master of electric sound manipulations. I want some more. DJ Spen: War Cry: Don’t go into spiritual warfare without this track, guaranteed to defeat demons. Wow! What a banger! You cannot lose when you step to this gospel. Mood II Swing: Do It Your Way: how moving your own way and crisp, crunchy cymbals whipping their tight cycles all around a doppler effect room can show you novel, bodily intensities Eddie Amor: House Music (Robosonic): from “Together Forever” by Exodus, one of the best disco samples ever! Wow, when this thing kicks in, I shiver with delight. Todd Edwards: Wishing I Was Home: wistful and whimsical for your esoteric journey home. This is a Carpenter’s record all cut up and rearranged in a very particular order that makes your body buzz with pleasure. Omar S: Gonna Luv You: This is that uncanny place that they call into being in Detroit somewhere between melancholy and deep joy when they mix up a batch of their hi-tech soul. Julius Knight: Find a Friend: Sylvester from his song “Over and Over” along with the folks at a mythic, underground disco party chanting “Find a Friend” just before the whole scene disappears into a Brigadoon-like mist. Mark Broom: Jackson Edits: This sample has got to be illegal, but Holy Shit does it jam, and the Fast Eddie acid line that it goes out on is to die for. Le Visiteur: Let the Sunshine in: Herman Kelly’s “Dance to the Drummer’s Beat” has been sampled a lot, most notably by Run DMC, NWA, and Public Enemy, and it is put to...
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    1 Std. und 20 Min.
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