I really liked all that UR carhartt stuff. That was a pretty good idea. $$💸💰
> On Oct 19, 2018, at 13:44, David A. Powers <cybo...@gmail.com> wrote: > > Good for year, I moved to Detroit because I needed a job, and someone in > Detroit offered me a job. > Then I lost the job. Didn't have much money, it wasn't enough to renew my > lease, then I got evicted from my apartment, and the money ran out. > I was literally homeless and walking around the streets not having eaten for > a day at one point, when someone intervened and let me live in a basement in > the suburbs... Even being homeless, I'd manage to hold on to all my stuff, > keeping it in storage in Detroit. > > I managed to make a little bit of money through a couple temporary jobs and > found a place to live in Detroit again. > Immediately after that, my dad died of cancer and all my shit got stolen. > Literally everything I owned, clothes, music gear, all my vinyl records. > Only like a box of books and a few clothes and things I had at another > location survived. > And all my income dried up again. > > I would be dead if a friend had not extended their help to me at that point > so that I didn't end up on the street. > Also, if John Collins, hadn't reached out to me at one point, when I was very > suicidal, I might be dead. > > Don't fucking judge people when you don't know their stories. > People who are poor have tough lives no matter what their skin color. > I moved to Detroit so I wouldn't starve to death, because I needed a job > > Poor people don't get to choose what city to live in. > When times are tough and you are broke, you have to take whatever job you can > get. > > "Judge not, that ye be not judged. For with what judgment ye judge, ye shall > be judged: and with what measure ye mete, it shall be measured to you again. > And why beholdest thou the mote that is in thy brother's eye, but considerest > not the beam that is in thine own eye?" > > ~David > >> On Fri, Oct 19, 2018 at 11:43 AM Denise Dalphond <denisedalph...@gmail.com> >> wrote: >> I've never lived in Detroit, unfortunately. I didn't want to gentrify. >> >> >> Denise Dalphond, Ph.D. >> ethnomusicologist >> 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 >>> >>> >>>> 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 >>>>> >>>>> >>>>>> 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 >>>>>>> > >>>>>>>
