Rendering 15

The article published on the website nytimes.com is headlined Across the Miles and Years, a Gathering of Hip-Hop Beats. It carries a lot of comments on part of the Red Bull Music Academy series of performances, which has been flooding the city with dance music for the last few weeks, it offered both a tactile dance-floor experience and a history lesson.
In addition the author of the article mentions that the D.J. lineup was savvy, mostly a collection of dons of long-gone, diminished or hyperlocal hip-hop tributaries and black dance-music subcultures, the sort that connoisseurs obsess over but that rarely crack mainstream awareness;these were — and in some cases remain — worlds in which place mattered, when a specific set of musicians and locales created a style that largely stayed put, at least until the Internet got hold of it: there was DJ Magic Mike and his Miami bass, Egyptian Lover and his Los Angeles electro; DJ Assault, from Detroit, played ghettotech; Scottie B, from Baltimore, played Baltimore club; Chicago was represented by two generations: DJ Funk and his classic ghetto house, and DJ Rashad and DJ Spinn playing modern juke.
In this connection it’s worthwhile mentioning that ideally, this bill could have served as an opportunity to parse the fine differences among the sounds, though often the bass led with such intensity that to do so in the moment felt meaningless, it was also hampered by each performer’s struggle with whether to be faithful to the sound of his city and genre or to reach out more widely on this bigger stage.
Speaking of this situation it is also interesting to note that the first two main-stage performers were, by comparison, veterans: DJ Magic Mike is a pioneer of Miami bass music, the low-end-intense hip-hop subgenre that has the advantage of having some national hits, like those by 2 Live Crew,he didn’t rely on them, though, and needlessly brought in other styles to his mix, which felt like a violation; Egyptian Lover, whose important records date to the mid-1980s, stayed truer to the viscous electrofunk that helped give early Los Angeles hip-hop a signature sound.
The author concludes the article by saying that Afrika Bambaataa had perhaps missed the memo about the night’s mission, or, at a minimum, is far gone from his pioneering days, for the first half of his set, he was received enthusiastically but looked catastrophically bored, playing a largely characterless set of electro with bits of Nirvana and MC Hammer mixed in;he opened up more widely later on, taking in Latin funk, 1990s club music and, garishly, a touch of dubstep.
As for me I think that such performances are surely worth visiting as it is an excellent rest from daily routine.