OVERCOME
I used to listen to the radio on my cheap dual-tape-deck boom box. I'd sit in my bedroom, waiting for a song I liked to come on so I could hit record. That's how I made my earliest mix tapes. The ends of my music faded into disc jockey inanity—call letters, tenth callers, "that's George Michael with," assorted science fiction sound effects, canned slogans in impossible bass vocal ranges.
Making the tapes—trying to perfect the fine art of finding the opening cues and depressing the proper buttons ("play" and "record" simultaneously) at the emergent moment—became more enjoyable than actually listening to them. And then taking things to the next level, I actually mixed the music from that source tape to the next tape, ordering the songs into proper dramatic arcs, accounting for the myriad sonic impurities inherent in recording straight from the radio.
And still the results were a disappointing, low-fi muddle.
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Today, my electronic music library is spinning out of control. I am over-organized, my playlist list overflowing with particular mixes for every occasion and discographic breakdowns based on all possible methods. I have defeated the purpose of the function. Further, my efforts to be inclusive have caused my gigabits to overflow with the maddening likes of Candie Payne, Gnarles Barkley and Lady Sovereign, as well as bizarre niche productions from obscure acts like Ruins, Prurient, and Storm & Stress for which only isolated, unlikely occasions even exist (robot funerals, skydiving disasters, spoiled milk heaves).
My thumb numb from scrolling 'round, searching for the perfect soundtrack with which to walk from Welles to State, Hubbard to Lake, Ravenswood to Damen, in the rain, sun, wind, fog, etc.