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midwest-electric-the-story-of
It's been over thirty years since house and techno music exploded out of South Side Chicago and inner-city Detroit, and most Americans still don't know their dance music history. In 1977 a DJ named Frankie Knuckles moved to Chicago to spin and remix disco records at an underground club called The Warehouse. Out of a fringe subculture that formed there - gay and African-American - house music would emerge to become one the biggest club music genres in the world. Meanwhile, young black futurists of Detroit channeled their city's post-industrial decay into a utopian machine music known as techno. In this Hip Deep episode, Afropop travels to Chicago and Detroit to explore the past and future of electronic music. Through dozens of interviews with seminal house and techno producers - including Paul Johnson, Vince Lawrence, Juan Atkins, and Carl Craig - as well as scholars, radio DJs and party promoters, we'll find out how two chilly mid-western cities taught the world to dance
- mr.b
mr.b at 12.24 on January 28, 2013 04:29
@csgholz: Gender politics played a large role in power realtions within the Black Panthers. The homosexual component in house culture would have been at odds with prevailing ideas of masculinity inside the Black Panthers.
- mr.b
mr.b at 54.37 on January 28, 2013 04:09
This is an amazing piece of cultural history, I will be sharing and referencing this for a long time.
- Baxter P Puffinstuff
- Masshina
- Landology
Landology at 29.21 on January 10, 2012 10:12
Thats raw. Music shouldn't be too refined. Do what you do and put it out there for people to listen too.
- MACKBOOGALOO
MACKBOOGALOO on December 13, 2011 19:14
Fantastic coverage! Thanks for spreading the history! For further investigation into this subject, the US-AFRICAN HOUSENATION channel has over 430 video posting that documents the Chicago/Detroit/South African House Music & Culture relationship & history! http://www.soulclapp.com/channels.php?ch=UAH
- dj moppy
- dj moppy
- Sergey Sputnick
- Bumpmaster C
- Dalphond
- Dalphond
Dalphond at 45.09 on June 25, 2011 03:52
Archer! So awesome to get to go through this plant. Thanks Mike!
- Dalphond
Dalphond at 42.02 on June 25, 2011 03:50
I'm so glad to hear this music by Theo Parrish, Claude von Stroke, and Omar S included in this documentary. Marlon Bishop and Wills Glasspiegel also spoke with Jeff Mills and Anthony "Shake" Shakir. I would have loved to hear from these brilliant musicians. Theo Parrish quote is really important and I agree completely: http://www.moodmat.com/?p=977
- Dalphond
- Dalphond
Dalphond on June 25, 2011 03:45
Just caught this: "from inner-city Detroit" in the show's description. Not totally. Electronic music in Detroit has more of a middle class history. "Inner-city" is a loaded term that implies ghetto, projects, poverty, crime, etc., and it certainly has racial connections as well. Much of techno's early history came from middle class Black communities in northwest Detroit. These kids were likely to graduate from high school and go on to college. This history is pretty different from Chicago's music history during the 1970s and 1980s, and New York's history with hip hop at the same time. It wasn't all affluent kids, but class and money makes Detroit's story different. Again, an hour long program cannot address all these issues. These guys did an excellent job putting these stories together.
- Dalphond
Dalphond at 35.04 on June 25, 2011 03:41
Brendan Gillen can talk for days on music history. Certainly an encyclopedic mind and memory.
- Dalphond
- Dalphond
- Dalphond
- Dalphond
- Dalphond
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- Dalphond
Dalphond at 15.22 on June 25, 2011 03:18
Love this. This show is missing the following: Felton Howard (of Detroit) imitating Ken Collier's voice. One of my favorite sounds I've ever heard.
- Dalphond
Dalphond at 3.11 on June 25, 2011 03:14
@seekoh: Oh, and my response to that question was, "Yes, of course!"
- Dalphond
Dalphond on June 25, 2011 03:12
@csgholz: Agreed. Chicago portion is stronger. I think Detroit is hard to understand. The history is lengthy and varied. It's a hard city. There are strands of musical culture in Detroit that are challenging to unite and encapsulate into a single story. The insulated and protective atmosphere here can be confusing to get beyond and explain. You and I can handle it though. That's for sure.
- Dalphond
Dalphond on June 25, 2011 03:08
@Anika Tene: Yes, absolutely. I mentioned this connection when they interviewed me, and I'm sure others they spoke with illuminated this connection as well. They talked to a LOT of Chicago and Detroit folks for this program. There's a lot of information they got that they couldn't include for the sake of time. I get excited imagining all the great stories they have on those recordings.
- Dalphond
Dalphond at 4.30 on June 25, 2011 03:05
Jacob Arnold of Gridface meticulously supplied excellent music for the Chicago portion of this show. I shared music as well, but sure as hell not as precisely selected and organized as Jacob!
- Dalphond
- Dalphond
Dalphond at 3.11 on June 25, 2011 02:28
@seekoh: Dan, your book is extremely important. This statement in the show is certainly a blanket statement that misses a lot of important writing. The researchers for Afropop Worldwide talk mainly to scholars, primarily ethnomusicologists and musicologists, and to practitioners of whatever form of music the show is about. Dude, Detroit loves you. One of the first things Mike Banks said to me when we sat down for an interview is, "Have you read Dan Sicko's book?" This slight is unfortunate, but regardless, Techno Rebels is awesome and significant.
- weirdmagic
weirdmagic at 42.17 on June 23, 2011 09:18
@Emily Jelsomeno: Claude Vonstroke - Who's Afraid Of Detroit
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