I've never lived in Detroit, unfortunately. I didn't want to gentrify.
*Denise Dalphond, Ph.D.* *ethnomusicologist* *schoolcraftwax.work <http://schoolcraftwax.work>* On Fri, Oct 19, 2018 at 12:42 PM Denise Dalphond <denisedalph...@gmail.com> wrote: > Mike Banks owns a museum. It's called Exhibit 3000. > > It's for education. So people don't get confused. > > > *Denise Dalphond, Ph.D.* > *ethnomusicologist* > *schoolcraftwax.work <http://schoolcraftwax.work>* > > > On Fri, Oct 19, 2018 at 12:39 PM David A. Powers <cybo...@gmail.com> > wrote: > >> Denise, >> >> I lived in the city, I talk to my friends in the city every week, and I >> played a gig there recently. I know exactly what's going on. >> >> First of all, Red Bull, really? They literally pimp out art and artists >> in order to sell shitty corporate drugs that are terrible for the human >> body. >> I'm glad that artists get paid even if it's by Red Bull, but seriously, >> screw them. >> >> Second, it's quite obvious that we are talking about literally TWO >> DIFFERENT THINGS. >> >> You are talking about museums. I'm talking about selling records and >> making money! I'm talking about this: >> http://submerge.com/ >> >> Do you honestly think that black artists in the US can live off of >> cultural recognition by the city of Detroit? >> How many Detroit techno records are selling in the Detroit area? >> UR has trouble paying the bills. Musicians need to make money. >> You can't make a living as a Detroit techno artist IN DETROIT. >> All the artists you mentioned got notoriety overseas before they got >> hometown recognition. >> >> Musicians need to work together to carry on the work that UR started, and >> part of this work is trying to find a way to sell records in the United >> States. >> This is hard work, and it involves all musicians and artists including >> the Detroit techno community. >> What people write about the music second hand is not so important as what >> musicians do to move the music forward in the present. >> >> Motown, UR, and Chicago's AACM are all examples of the kind of ethos I >> advocate. >> What matters is what we musicians do to help each other and build a >> better future together. >> Building a better future is what techno is all about. >> >> >> ~David >> >> On Fri, Oct 19, 2018 at 10:21 AM Denise Dalphond < >> denisedalph...@gmail.com> wrote: >> >>> Detroiters of color definitely give a shit about techno. Your statement >>> is completely wrong and off base. All you have to do is visit the instagram >>> account of Underground Resistance. >>> >>> https://www.instagram.com/undergroundresistance313/?hl=en >>> >>> It is filled with Black and Brown faces. In Detroit. Often, DJs hosting >>> parties all over Detroit are Black and Brown people, and the crowds are >>> full of people of color. >>> >>> People are being duped with old ideas about clan mentality and who the >>> true fans are. Think what you want, but be careful what you say using Mike >>> Bank's words to support your opinions. >>> >>> Moodymann's Prince museum is directly across the street from Submerge. >>> Carl Craig's studio is nearby. A mile west is Motown's original >>> headquarters. You have no idea what kind of support these geniuses can >>> garner in their own town now. Red Bull has a space in Detroit. It doesn't >>> only open its doors to white people. Black and Brown people visit too. >>> Submerge had an exhibit in the RBMA space about Detroit house music. You >>> don't know what current Detroit techno even looks like. It's a vibrant >>> scene in the city of Detroit right now. >>> >>> You're blind. >>> >>> >>> >>> >>> *Denise Dalphond, Ph.D.* >>> *ethnomusicologist* >>> *schoolcraftwax.work <http://schoolcraftwax.work>* >>> >>> >>> On Fri, Oct 19, 2018 at 8:47 AM David A. Powers <cybo...@gmail.com> >>> wrote: >>> >>>> The irony of this situation is that in the big picture, even if the RA >>>> piece was produced in an unethical manner, it's still a decent introduction >>>> to Drexciya for many people, and in the US nobody has ever heard of >>>> Drexciya. Hell, I doubt many people in Detroit actually know who they are, >>>> trust me, I lived there. People know the song Good Life for sure, and old >>>> Cybotron records, but really people only know the first wave well. >>>> >>>> Mad Mike has been clear in his interviews, in that what hurts him most >>>> is that the black community in the US has not embraced techno and that the >>>> music has not been able to play the positive role in the local Detroit >>>> community that he hoped over the long term. I understand the fundamental >>>> vision of UR as one of building local infrastructure so the community could >>>> prosper. There is a strong self-help and DIY ethos. Reference: >>>> https://www.youtube.com/watch?v=j5T0E6iLWhI >>>> >>>> The approach to race that I see in UR is to be proud of it, to confront >>>> racial issues directly, but combined with a belief in the universal power >>>> of sound to heal and to build bridges between people. >>>> >>>> The real reason you don't have videos coming out of the US and Detroit >>>> about Drexciya with a narrator who is actually from the community, is that >>>> nobody in Detroit actual gives a shit about techno in the US, and this is >>>> nothing new, and so there's literally zero reason to freak out about it in >>>> the year 2018. I live in Austin Tx now after leaving the midwest a year >>>> ago. Almost nobody I have spoken with, black or white, has ever heard of >>>> Detroit techno here. I have to try to explain to people what it is. There >>>> is slightly more familiarity with Chicago House. >>>> >>>> In most of the US, nobody has ever heard of "Detroit Techno" and they >>>> no longer have any idea what the term might signify as a genre. >>>> Furthermore, the US is a huge country. Detroit techno is simply one >>>> regional style in a gigantic country full of little regional musical >>>> styles. Although it was vastly important to the development of European >>>> dance music, the fact is that the US does not support musicians, and all >>>> musicians in the US struggle, even before you consider race. The average >>>> income for a full time musician in the US is $20,000. >>>> >>>> By the way, this is why it is vital for all musicians to work together >>>> to build our own infrastructure and work together to create sustainable >>>> solutions. As inspiring as UR is, it has not turned out to be a long term >>>> sustainable business model. Part of the problem really does seem to be the >>>> lack of local support of the music, because to run a sustainable local >>>> business you don't want all your customers to live on the other side of the >>>> planet. >>>> >>>> The real hard work of the future is in getting our hands dirty and >>>> building sustainable infrastructure from the ground up for the long term, >>>> that is resilient enough to withstand the next 100 years of slow energy >>>> descent as fossil fuels run out and we experience further instability due >>>> to the shifting climate. >>>> >>>> I want to offer a strong plea to all musicians and producers on this >>>> list to work together for the long term to create this kind of sustainable >>>> infrastructure, and actively work to build the community of musicians, >>>> especially if you are in the US. And anyone has any great ideas, I'd love >>>> to hear them. Nobody is going to create our future for us, if we don't >>>> build it, there won't be a future... A lot of people are losing their minds >>>> right now engaging in useless debates, but there is real work to be done >>>> and there is a need for good people who have the will and vision to >>>> continue the legacy of Detroit techno by not only making great music but >>>> also building stronger more sustainable communities. The survival of the >>>> human race in the future might depend on the existence of sustainable >>>> communities that are resilient enough to survive catastrophes. >>>> >>>> 313 email list, is a good example of a NON-sustainable >>>> community--dependent on a particular form of communication (email list), >>>> there was long ago some sense of community vibe but social media really >>>> destroyed that. I wonder, is an authentic community around the idea of >>>> "Detroit techno" something that is even possible in 2018, outside of living >>>> in Detroit and participating directly, especially given that the list no >>>> longer connects to the actually community of Detroit DJ's and producers. >>>> What IS the best way to connect with people around the music in 2018? >>>> >>>> Also, anybody have advice on promoting Detroit techno event in a city >>>> like Austin TX? How can I spread the word about techno in a place where the >>>> focus is mostly on country and singer-songwriters, and along with a lot of >>>> sort of indie pop and punk? >>>> >>>> ~David >>>> >>>> On Fri, Oct 19, 2018 at 6:25 AM <denisedalph...@gmail.com> wrote: >>>> >>>>> I do not. Maybe you should read my article about Drexciya and UR and >>>>> Moodymann in Black Lives Matter and Music: Protest, Intervention, >>>>> Reflection. It just came out. >>>>> >>>>> Denise Dalphond >>>>> >>>>> >>>>> >>>>> >>>>> >>>>> >>>>> >>>>> >>>>> >>>>> >>>>> >>>>> >>>>> >>>>> >>>>> > On Oct 19, 2018, at 07:00, Martin Dust <mar...@dustscience.com> >>>>> wrote: >>>>> > >>>>> > Yes it’s real, do you not see the logical fallacy in your argument? >>>>> > >>>>> >> On 19 Oct 2018, at 11:56, denisedalph...@gmail.com wrote: >>>>> >> >>>>> >> Is this a real question? Dan Sicko was a actual Detroiter. >>>>> >> >>>>> >>> On Oct 19, 2018, at 05:43, Martin Dust <mar...@dustscience.com> >>>>> wrote: >>>>> >>> >>>>> >>> Hi Denise, >>>>> >>> >>>>> >>> Do you feel the same about Dan Sicko’s book? >>>>> >>> >>>>> >>> m >>>>> > >>>>> >>>>
