There is a basic misunderstanding here. Getting paid enough to cover the bills and have a reasonable life is important.
Making as much money as possible is not the purpose. Detroit techno is all about retaining that difference. Twenty years ago, Sony Japan issued its crappy unauthorized and uncompensated remake of Jaguar. We all understood what that represented, and UR made the right choice. Detroit techno is far more than just UR (and it's also true that "the D in Detroit stands for Drama"). But also remember, leadership is shown by action, not just words. fh ----------------- >Fred, > >I don't scorn UR they are my heroes. >I just WANT THEM TO MAKE MORE MONEY!!! >I'm being realistic about how well the business model is doing. >You can't solve a problem by pretending it doesn't exist. >Making money is a problem for musicians right now--not just UR, but changes >in music as a whole might be hitting their business model hard. >The move from streaming to owning hurts some underground business models. >This is just reality. > >Likewise, yes, you are right, it's amazing that an email list from 1994 >exists at all. >But be honest, the list today is nothing like what it was in its prime. > >Anyway, you are missing the point. As a musician, I care about the music >and the community around music. >My job is to act to help the community grow in positive ways, and make kick >ass music. >I'm trying to do that within the reality of 2018, and streaming. >I have no interest in CRITIQUING shit out of the past. I only care about >finding ways to do shit that work, now. >And that includes Submerge being able to sell records. >I want them to succeed and I want to develop resources to help all local >community initiatives and cooperatives and grassroots cultural efforts to >succeed. But that requires strategy and actual new ideas. > >Traditions are built over generations, but something I learned as a jazz >musician, is that each generation is responsible for moving the music >forward, and each individual. Not only that, we inherent a responsibility >as caretakers when we become participants within a tradition. I'm >interested in how I can get better at doing my job as a participant in >three living musical traditions, jazz, classical, and techno. You >participate in the tradition, FYI, by working with people in the tradition >and gaining their blessing, not just be declaring yourself to be a member. >I played with Detroit drummer Djallo Djakate's group, and recorded >keyboards with Alton Miller (it's supposed to come out on a Sound Signature >album eventually), so I'm actively involved with Detroit musicians recently >and have more projects in the works. So I have a direct stake in all this. > >I'm starting a record label, so I need to know, for instance, if I put out >a record by a talented Detroit cat, how can I help him sell more records? >And if people won't buy records, how can I get my artists paid??? > >~David > > > >On Fri, Oct 19, 2018 at 11:34 AM Fred Heutte <ph...@sunlightdata.com> wrote: > >> For those who haven't seen it: >> >> >> http://daily.redbullmusicacademy.com/2017/06/drexciya-infinite-journey-to-inner-space >> >> fh >> >> >
