Techno House Quotes

Bach was the daddy: without him there’d be no jazz, funk or hip-hop; no techno, no house, no grime. He basically wrote the blueprint for everything that was to come. His stuff is wise and witty and capacious enough to contain more than just multitudes: it contains all of everything.

I’d grown up with disco in the 1970s, when I just knew it as exciting pop music on AM radio. In the 1980s it died off, but still inspired everyone from New Order to Duran Duran to Kraftwerk. And then in the late 1980s the ghost of disco came back with a fury, giving birth to house music, techno, rave culture, and even a lot of hip-hop. Disco was the crucible in which most modern music had been born, and within the disco pantheon no one had ever reigned higher or more supreme than Donna Summer.

Somehow, I get seated halfway down the table from her. I am trapped next to this young techno-optimist guy. He explains that current technology will no longer seem strange when the generation who didn’t grow up with it finally ages out of the conversation. Dies, I think he means. His point is that eventually all those who are unnerved by what is falling away will be gone, and after that, there won’t be any more talk of what has been lost, only of what has been gained. But wait, that sounds bad to me. Doesn’t that mean if we end up somewhere we don’t want to be, we can’t retrace our steps? He ignores this, blurs right past me to list all the ways he and his kind have changed the world and will change the world. He tells me that smart houses are coming, that soon everything in our lives will be hooked up to the internet of things, blah, blah, blah, and we will be connected through social media to every other person in the world. He asks me what my favored platforms are. I explain that I don’t use any of them because they make me feel too squirrley. Or not exactly squirrley, more like a rat who can’t stop pushing a lever. Pellet of affection! Pellet of rage! Please, please, my pretty! He looks at me and I can see him calculating all the large and small ways I am trying to prevent the future. “Well, good luck with that, I guess,“ he says.

I left him. Oh my God, Techno, I left. I left him alone in that house and I didn't look back.

Engineer’s fascination with CPVC began in the mid-1990s. During this period, in the construction and plumbing industry, pipes were still made of iron and copper. Engineer saw that corrosion was a major problem with galvanized pipes and India was materially behind the evolution curve in the use of plastics for pipes. In the United States, CPVC was the new anti-corrosion solution for plastic pipes, which was swiftly replacing metal (iron and copper) pipes in industrial applications. CPVC was also a superior product compared to PVC because of higher ductile strength, which gave it the ability to handle hot water up to 200 degrees Fahrenheit (93° Celsius) (PVC can handle hot water only up to 140 degrees Fahrenheit [60° Celsius]). B.F. Goodrich (now known as Lubrizol) held the patent for CPVC resin technology, and Engineer decided to tie up with them to bring CPVC to India. He travelled to the United States to forge a techno-financial joint venture (JV) deal with Thompson Plastics of USA, which provided Astral with the technical know-how for setting up the CPVC plant. Astral also acquired the licence for CPVC resin procurement from Lubrizol (the first Indian company to do so). With a JV partner on board and a licence in his hand, Engineer set up Astral Poly Technik in March 1996. Thompson put up 20 per cent of equity for the company and Engineer approached his uncle to fund another 20 per cent. For his personal equity contribution, Engineer sold his house in Ahmedabad. I met Engineer at Astral’s corporate office located off the bustling Sarkhej–Gandhinagar Highway and behind the prestigious Rajpath Club in Ahmedabad. Recalling those early days, Engineer told me, ‘There was a time when everything my father-in-law and I owned was mortgaged to build Astral.

In general, dance music had long been overlooked in the US. While house music and techno had become mainstream genres in England, Germany and the Netherlands, they were still subcultures here. Of course, there had been sudden outbursts, moments when the scene had sparked – most recently in the late 90s when Brits like The Prodigy, The Chemical Brothers and Fatboy Slim had enjoyed successes on the charts.

also sounds like we were being judgmental, correct again. In 1 Peter 4:17, we read that “judgment must begin at the house of God.” People who care about modern Christianity should consider that a time for such introspection and judgment is long overdue. We are in a battle—a spiritual war for the minds and souls of a generation—and frankly, the time has come for new Martin Luthers to nail their theses on some institution doors where echon daimonion may have become so deeply entrenched as to have literally forged the latter-day “habitation of devils, and the hold of every foul spirit,