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 >>>> > >>>> >>>
