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02.11.2017 | Words by: Call Super
 
“Have you ever been to Cuba?” people tend to ask after I’ve enthused about the studies I did on the musical history of the island. No, I answer happily, I’d love to go but I’m also very content not going. I have built a world from stories told by people now dead. This was their lives and they’ve passed on their memories however they have been able to. They have given my mind a vision from their experiences. Places that I have lost nothing but my imagination in are often my favourite places. They are gentle fantasies, but rooted in histories that are lived and passed on. Learned. Many of the influences I feel most keenly come from these personal, imagined realms. The music and spaces of a time past that preoccupies you can be shaped into something that can drive your own visions for the present to a more ambitious zone. I don’t want to disturb those visions. Don’t take me there. Just let me learn and dream.
 
Earlier this year Luc kindly asked if there was a different kind of set I’d be interested in bringing to De School. I said yeah, I want to do something that acknowledges my creative debt to Anita Sarko, who really doesn’t seem to get her dues. Sarko died a year or two ago, and her last few decades were, by most accounts, sadly tarnished with the frustration at the differences between her achievements in her younger years and difficulties later on. Since breaking through in a scene ruled by men, she has slowly but surely been written out of things in favour of the predictable names – Mark Kamins, Frankie Knuckles, Justin Strauss, Larry Levan, David Mancuso, Tee Scott, Shep… you get the idea.
 
Sarko made few concessions in anything she did. Her sets at New York’s Mudd Club in the first few years of the eighties were known for their unorthodoxy during a time when orthodoxy was in short supply. Every style of music was fair play, and transitions often took on a collage quality. People sometimes danced, and people sometimes got pissed off. Her world is one of my imagined spaces. Whatever her sets were in reality, they have taken on a fabulous, imagined quality in my mind, and its those idle dreams that I’d like to try and get in touch with this December. I will be performing under a name born of those dreams – Ondo Mudd. 
 
This conversation grew, and Luc opened up the idea of me helping to programme an edition of Het Weekend. The natural extension of my salutation to Sarko was to try and help create a weekend that offers surprises. So without saying too much about anything here’s a little of the framework for the 30 or so hours we have to play in: Beatrice Dillon and Ben UFO will be given 8 hours or so to play an “ambient” (whatever that means) set. Ben will also do a set in the club at some point. Objekt and upsammy will also play two sets – Objekt a “sunrise” set and a “DnB” set, upsammy will play right before and after sunrise. Karen Gwyer will play live in the club at a peak time point. In amongst this Shanti Celeste, Izabel, Gatto Fritto, Tammo Hesselink, Job Jobse, Luc Mast and Cinnaman will all get the chance to make you dance. I’ve invited Aura Lydon and Marlyn Kist De Ruijter to spin some changes to some of the spaces that we’ve come to love in the last few years. I’ll also be doing some paintings in De School the day before and we’ll get those up on the walls for the party. 
 
There are some clues in here to indicate when some of these sets will take place but please – don’t worry too much about set times – go with how you’re doing on the day. Excited? Come early. Tired but vaguely intrigued? Come later. Lost? We’ve got directions.
 
Music by:
Beatrice Dillon
Ben UFO
Call Super
Cinnaman 
Gatto Fritto
Izabel
Job Jobse 
Karen Gwyer (live)
Luc Mast
Objekt 
Ondo Mudd
Shanti Celeste
Tammo Hesselink
upsammy
 
Design:
Aura Lydon 
Marlyn Kist De Ruijter
Ondo Fudd

The next edition of Het Weekend is on from Saturday December 9th until Monday morning December 11th. Tickets available from noon, Friday November 3rd. More info on Facebook.
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