• This is worth a read.
    There's some bits I think "I'm not sure that comparison works there" but the main point is the whitewash of dance music.
    https://mixmag.net/feature/how-the-dance­-music-industry-failed-black-artists

    Which if you'd have been unfortunate enough to be at the afters with me some point from 1998 - 2002 I might have banged on about. With all the other white people I was off my face with.

    But this speaks to the point that cultural appropriation happens, and that you think you're an ok person but you've contributed because you're part of it and once commercialisation steps in then. Well. all bets are off.
    It's horrible, you start off interested in a bit of music and it's very easy to fetishize the cultural bits around it.
    I think the bit I find difficult is that in Manchester the jockey slut/bugged out group of people put on some really good things which recognised the importance of Detroit and black musicians.

    What I remember is that while I may have seen lots of black djs playing black music, the events I went to were pretty white (almost exclusively really).

    Bit rambly. Sorry.

  • Sorry, I am a bit angry now. That article is such garbage.

    • the ‘Techno! The New Dance Sound of Detroit’ compilation with Derrick May on Virgin’s sub-label 10 Records in 1988. This release introduced the term techno to European listeners*

    • This is a frequent way in which white people disenfranchise and harm Black communities. Cybotron, Juan Atkins’ electronic funk band with Rick Davis, a reclusive Vietnam veteran crafted the sound and concept of techno in the early 80s*

    https://www.youtube.com/watch?v=YT4qqZHN­8no

    but the British, Afrika Bambaataa-inspired electronic act Leftfield would be featured in 1993. Leftfield’s album ‘Leftism’ pulled directly from Black music

    https://www.youtube.com/watch?v=_rlUQsC8­ECk

    LOL, yeah those words, together with David Hasselhoff.

    • In West Berlin in 1987, United States president Ronald Reagon declared in an infamous speech addressing the Soviet Union: “tear down this wall!" Those words led to the liberation of the Eastern bloc*

    just like Berlin then

    • a process of integration into a global free market economy and governing body allowing for a club culture to develop and thrive; meanwhile, urban areas in the United States with large Black populations like Detroit were left in financial ruin.*

    and as a bonus
    https://www.youtube.com/watch?v=r_DebdQ2­DLM

    This is a better version of the same article without the personal vendetta:
    https://www.theguardian.com/music/2020/m­ay/25/from-germany-to-detroit-and-back-h­ow-kraftwerk-forged-an-industrial-exchan­ge
    Hütter described the link between Detroit and Germany as a spiritual connection. He was impressed “that this music from two industrial centres of the world, with different cultures and different history, suddenly there’s an inspiration and a flow going back and forth”. Kindred spirits from different backgrounds bringing people together and trying to envision a brighter future. From Kraftwerk’s Kling Klang studio to WGPR-FM, Belleville and The Music Institute, back to Berlin and UFO, Planet, Tresor, to UR headquarters, Drexciya and Motor Club, to Bar 25, Hoppetosse and Berghain, the exchange continues.

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