Hey all:
Am compelled to add my 2 cents worth as a senior member on the list....
Detroit, unlike any other city on the planet in the past 100 years, is
solely responsible for beginning two major cultural, youth-oriented
revolutions one being with the R&B/Motown thaing. It wasn't really rock n'
roll but presented as the new pop thing and it broke down racial barriers
all over the world where whites and blacks were trying to live together but
not doing a very good job of it.
In America, the civil rights amendment would NEVER have been passed were it
not for Berry Gordy, The Supremes, the Temps, etc. bringing young people
together superceding social mores.
Moreover, the London music scene would NOT, REPEAT NOT, be what it is today
were it not for BOTH the Motown movement and the tech-invasion from Detroit.
Why can no one simply understand that these facts, combined with the fact
that recognition is VERY slow in coming from the American music machine and
overtly negative national and international press about Detroit as a whole,
add up to some very serious SELF-PRESERVATION techniques and PRIDE in
abundance.
I'm surprised to have read in this thread comments unthinkingly uttered
about whatever music they were critiquing. It shows, not only a lack of
respect but lack of diplomacy in my opinion. Knowing how inflammatory and
bu**sh*t the British press are in amending and editing things to appear one
way...my vote is still with both the DnB artists in question as they are
quite cool. If these comments were truly uttered verbatim as they appeared
in print, well then both Bukem and Jack should really chill in harshly
criticizing the music from this town as they wouldn't have careers if it
weren't for both Detroit's musical history as well as 70's Black music which
most of their samples and bass lines are borrowed from.
The recording "secret technology" started here was/is a torch that has been
passed on to many. Hopefully most that have picked it up and run with it
are mindful of the legacy which is inherently attached from one humble city
to the rest of the world.
In addition, my foreign friends, you might consider tempering your comments
a bit as you clearly do not know your facts. The flow across the Atlantic
between London has not been without sacrifice but it is still based in
mutual respect for the family of innovators. We still cannot exist without
each other. Musical innovation will always find a welcome home in more
forward thinking Europe/U.K. markets and we DO need that income and
fan/friend base. Equally important to our Euro/British friends is the
STUPID, BIG MONEY GRIP that America affords.
While Mixmag/UK's cover story of March (I think) was touting the death of
Trance, the equally inane Mixer mag in America was covering the "Trance
Takeover" or some such nonsense in the same month. Mindless of any of that,
it is a huge money machine now and it isn't going anywhere. It will simply
permutate into something MORE hip once the "fashion" wears off and given an
equally trite new moniker as a claim to originality when it was classically
and soulfully birthed elsewhere. This you will see, I guarantee it.
Detroit is going through that growth right now and it has gone full circle
with many of the artists going straight for the Black American music that
birthed the whole thing. America is formulaic now, we know this better than
anyone else on the planet. Once there was more immediacy to getting music
like ours to the general public. However, the same is occuring in London.
Radio is becoming corporate programmed over there now and it is squeezing
out an important communication vehicle in favor of BIG MONEY.
Don't any of you realize that you're being PROPAGANDIZED?? Each and every
one of us in this rapidly growing "corporate underground" must be both
educators and keepers of the faith and maintain our unity. The "Family"
must mind the Family and squash any silly bickering that will impede our
movement. Else we'll go the way of both the dinosaurs and rock n' roll.
It is the Imitators, not the Innovators that historically get all the
credit. Since London has Dance music press up the ying-yang...that is a
foregone conclusion none could argue with. Just don't jam it down our
throats when you have no historical reference or education. It is just
because Detroit does not have the proximity perks of the music press in our
own backyards that makes our successes that much more 1. ASTOUNDING!!! and
2. Hard won.
Detroit changed the world twice with no assistance from anyone on the
planet. No other city can claim such power or influence over modern music,
fashion or youth culture. The truth speaks for itself....and I am
dumbfounded by the ignore-ance of this thread.
L
Although I am not a expert on America's history of rock, I do know that
one reason why rock had a hard time catching on outside of younger crowds
was the fact that many of the musicians were black. Parents were outraged
at the fact that thier daughters were not only listening to, but idolizing
older black musicians. It wasn't untill Elvis came along that society in
general came to accept it.
I am sure that similiar problems occurred with techno in Detroit and the
rest of the US, (keep in mind that I am not very old school, and I
would appreciate feedback on this) except rather than get upset that thier
daughter was idolizing black musicians, they might have rejected the idea
of leaving the sanitized suburbs and going to the inner city to hear these
musicians perform.
> But I find it appauling that you can type these ridiculous comments
> without knowing anything about america.
You are right, maybe I should take a communications course at a major
university taught by a world-reknown professor, whose area's of expertise
include the history of music or something. *Then* I will know what I am
talking about.
-christos
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