Music of Detroit

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Music of Detroit, is world renowned for its musical heritage, a long and rich history that includes such hometown stars as Stevie Wonder, Diana Ross & The Supremes, Marvin Gaye, Smokey Robinson, The Temptations, Aretha Franklin, The Four Tops, Anita Baker, The White Stripes, Iggy & The Stooges, MC5, Bob Seger, Ted Nugent, Alice Cooper, Madonna, Glen Frey,KEM, Ray Parker Jr., Kid Rock, Obie Trice, Eminem & D12, Aaliyah, and J Dilla.

Contents 1 Historical background 2 Blues 3 Gospel 4 Jazz 5 Pop 6 R&B/Soul (Motown) 7 Rock & roll 7.1 1950s 7.2 1960s 7.3 1970s 7.4 1980s 7.5 1990s 7.6 2000s 8 Hardcore 9 Techno 10 Hip hop 11 Music venues 12 Rock & Roll Hall of Fame 13 See also 14 External links 15 Notes

[edit] Historical background

At the turn of the century, Henry Ford began the transformation of Detroit from modest port into the "Motor City" capital of the world. Ford was the first businessman to specifically target African American workers, sending recruiters to comb the South for industrious, cheap labor. Lured by promises of wealth, opportunity, and non-segregation, large groups of African Americans made the trek north, bringing with them their music and culture.^[1]

After years of growth and prosperity, the Great Depression hit Detroit hard which lead to the White controlled trade unions locking Detroit's Afro-American citizens and other minorities out of a large portion of lucrative auto industry jobs.^[2] This in turn transformed the area of Detroit know as "Black Bottom", the "colored" district on Detroit's East Side, into a polyglot melting pot. Black Bottom became home to Mexicans, Poles, Italians, and Blacks, with each culture adding its rich musical traditions into the mix. During this period Detroit's Black Bottom became nationally famous for its music scene: major blues singers, big bands, and jazz artists—such as Duke Ellington, Billy Eckstine, Pearl Bailey, Ella Fitzgerald, and Count Basie—regularly performed in the bars and clubs of Paradise Valley entertainment district. However, this ending in the 1960s when construction of Interstate 75 dismantled the Black Bottom neighborhood. Despite its dismantling, Black Bottoms influence would be felt for decades to come.

Another noteworthy change was when Brown v. Board of Education ended segregation in Detroit's public school system, home of one of the top music programs in the nation; young children of all colors now had access to musical training.

[edit] Blues

Detroit blues originated when Delta blues performers migrated north from the Mississippi Delta and Memphis, Tennessee to work in Detroit's industrial plants in the 1920s and 30s. Typical Detroit blues was very similar to Chicago blues in style. The sound was distinguished from Delta blues by its use of electric amplified instruments and a more eclectic assortment of instruments, including the bass guitar and piano. The Detroit scene was centered on Black Bottom, a Detroit neighborhood.

In 1948 John Lee Hooker, a dominant force in the "House Party" Blues scene, stunned the R&B world with the release of "Boogie Chillen." The song's raw, poetic, hypnotic power vaulted Hooker to the top of the charts. With the example of Hooker, an entire generation of young, impoverished Detroiters saw the hope of a new way out through music.

Other Detroit blues standouts include: Andre Williams, Big Maceo Merriweather, Johnnie Bassett, Eddie Burns and singers Alberta Adams and Thornetta Davis.

[edit] Gospel

Detroit has produced some of the most famous gospel singers in past decades. In the 1940s, Oliver Green formed The Detroiters, who became one of the most popular Gospel groups of the their era. In the 1950s, a young Della Reese began her long and distinguished career, joining the ranks of the gospel elite in Detroit, while Mattie Moss Clark is believed to be the first to introduce three part harmony into gospel choral music.

In the 1960s, the Reverend CL Franklin found success with his recorded sermons on Chess Record's gospel label, and an album of spirituals recorded at his Bethel Baptist Church included the debut of his young daughter, Aretha Franklin.

Notably in the 1980s the Winans dynasty produced Grammy winners CeCe Winans, BeBe Winans. Other notable gospel acts include the The Clark Sisters and Rance Allen Group.

[edit] Jazz

As the Jazz Age began, Detroit quickly emerged as an important musical center, standing alongside New Orleans, Chicago, and St. Louis. Among the musicians who relocated to Detroit were drummer William McKinney, who formed the seminal big band McKinney's Cotton Pickers, with jazz great Don Redman.

Through the 1950s Detroit was one of America's most important jazz centers.^[3] Notable musicians from Detroit who achieved international recognition include: Sippie Wallace, Elvin Jones, Hank Jones, Thad Jones, Tommy Flanagan, Lucky Thompson, Louis Hayes, Barry Harris, Paul Chambers, Marcus Belgrave, Milt Jackson, Kenny Burrell and Pepper Adams.

[edit] Pop

Detroit has been the home to several noted pop icons including Margaret Whiting, Sonny Bono and Suzi Quatro, who is most famous for her role as Leather Tuscadero on the hit 1970s TV show Happy Days.

In the 1980s one of the most famous pop icons of all time emerged onto the scene-Madonna. Madonna was born and raised outside of Detroit and went to the University of Michigan on a dance scholarship. Several of Madonna's early hits were written by ex-boyfriend and fellow Detroit Native Stephen Bray.

Also during the 1980s, Detroit pop rockers Was (Not Was) breakthrough album "What Up, Dog?" spawned two Top 20 hits with the songs "Spy in the House of Love" "Walk the Dinosaur."

During the 1990s, pop star Aaliyah was raised in Detroit and graduated from the Detroit School of Arts. Aaliyah was also the niece of former Detroit politician Barry Hankerson and his Motown legendary wife Gladys Knight. Though Aliyah's career was tragically cut short do to a plane crash in the Bahamas, she had several hit songs including the No. 1 hit "Try Again" in 2000.

Aaliyh was not the only Detroit School of Arts to go one to musical success. Since her graduation Teairra Marí has built an impressive career including her hit single "Make Her Feel Good" in 2005.

[edit] R&B/Soul (Motown)

Further information: Motown

One of the highlights of Detroit's musical history was the success of Motown Records during the 1960s and early 1970s. In the late 1950s the label originally know as Tamla Records, was founded by auto plant worker Berry Gordy, Jr. and became home to some of the most popular recording acts in the world. These included; Marvin Gaye, The Temptations, Stevie Wonder, Diana Ross & the Supremes, Smokey Robinson & The Miracles, The Four Tops, Martha Reeves & the Vandellas, Edwin Starr, Little Willie John, The Contours and The Spinners.^[4]

However, before Motown became a major force, Detroit was already well on its way to being a R&B and soul hotbed. In 1955, seminal soul influence Little Willie John made his debut; while in 1956, the Detroit based R&B label Fortune Records enjoyed success with The Diablos fronted by Nolan Strong. Also In 1956, notable blues and R&B singer Zeffrey "Andre" Williams recorded a string of singles, including the song "Bacon Fat." Knowing that he couldn't compete with the voice of label mate Nolan Strong, Andre chose to talk-sing the song. To everyone's surprise, the song took off, and current day rap artests such as Dr. Dre and Snoop dog hail Williams as the genera's godfather.

In 1959, The Falcons (featuring Wilson Pickett and Eddie Floyd) released "You're So Fine", considered the first true Soul record. Also that year, Jackie Wilson had his first hit with "Reet Petite", which was co-written by a young Berry Gordy Jr.. In 1961, Nathaniel Mayer & Fabulous Twilights hit the charts with "Village of Love". The Volumes had hit single in 1962 for Chex Records with the single "I Love You". That Same year singer/songwriter Barbara Lewis had a hit with the single "Hello Stranger.", while Gino Washington had cross-racial appeal and achieved Midwest hits in 1963 and 1964 with "Out of This World" and "Gino Is a Coward".

Several other Detroit artiest became nationally known without the help of Motown. One such artists was Aretha Franklin. Other notable non-Motown acts included The Capitols with their 1966 hits "Cool Jerk" and Darrel Banks with "Baby Walk Right in." Then the following year J.J Barnes had his biggest hit in with "Baby Please Come Back Home."

In 1967, long time back room barbershop doo wop group The Parliaments (featuring George Clinton) scored a hit with "I Wanna Testify" for Revilot Records, and marked the beginning of funk in mainstream R&B. Due to legal issues with Revilot Records, George Clinton changed the name of The Parliaments in 1968 to Funkadelic and scored a hit with the song ""A New Day Begins." Then in 1970; after Clinton reclaimed the rights to their original name, he change the groups name once again to simply Parliament and had a minor hit with "The Breakdown.". However, with the constant name and lineup changes the group became known as simply P-Funk which is short for Parliament-Funkadelic.

During this time, in 1969 The Flaming Ember had several hits for the Hot Wax Records, a Detroit, Michigan-based record label created by the Holland/Dozier/Holland song writing team in 1968 after they left Motown Records. The following year Chairmen of the Board had the first hit for Hot Wax with "Give Me Just a Little More Time."

After Barry Gordy Jr. and Motown left Metro Detroit for the West coast 1972, the city lived on as a R&B epicenter with several acts that had hit songs such as Freda Payne, The Floaters, Enchantment, Ray Parker Jr; both solo and with his group Raydio, One Way, Oliver Cheatham, Cherrelle, The Jones Girls, Anita Baker, BeBe & CeCe Winans and a band noted for launching the Minneapolis sound made popular by Prince, Ready For The World. It should be noted that Ready For The World was from neighboring auto city Flint, Michigan.

During the disco crazy of the late 1970s, Detroit artistes had their far share of dance hits. In 1975, Stevie Wonder's drummer Hamilton Bohannon had a hit with Foot Stompin' Music, while Donald Byrd & The Blackbyrds infused jazz with dance friendly elements that produced the song "Change (Makes You Wanna Hustle)". Then in 1977 Brainstorm & CJ & Co. each hit soul driven dance hits. Then in 1978, George Clinton's bass player Bootsy Collins had a top charting hit with Bootzilla.

[edit] Rock & roll

[edit] 1950s

Detroit has a long and rich history associated with rock & roll. In 1954 Hank Ballard & the Midnighters crossed over from the R&B charts to the pop charts with "Work With Me, Annie." The song nearly broke into the elite top 20 despite being barred from airplay on many stations, due to its suggestive lyrics. Then in 1955, Detroit's native son Bill Haley ushered in the rock & roll era with the release of "Rock Around The Clock."^[5]

Then in the late 1950s rockabilly guitarist Jack Scott had a string of top 40 hits. First, in 1957 with "Leroy", then in 1958 with the hits "My True Love" and "With Your Love" and then twice again in 1959 with the hits "Goodbye Baby" and "The Way I Walk." Scott was one of the first musicians to marry country music's melodic song craft to the dangerous, raw power of rock & roll.^[6]

[edit] 1960s

In 1959 Hank Ballard & the Midnighters had a minor hit with their b-side song The Twist. However, that following year in 1960 the song was covered by Philadelphia native Chubby Checker. His single became a smash hit, reaching No. 1 on the Billboard Hot 100 and started a national dance craze. Also in 1960, Jack Scott had his final top 10 hit with the song "What In The World's Come Over You."

The following year, legendary Michigan rocker Del Shannon had his own No. 1 hit in March of 1961 with song "Runaway" This was followed by the top 10 hits "Hats Off to Larry" in June of 1961 and "Little Town Flirt" in 1962. Then In 1964, Detroit's one hit wonders The Reflections had their own Top 10 hit single with "(Just Like) Romeo and Juliet".^[7]

By 1964, teen clubs around Metro Detroit such as the 5th Dimension in Ann Arbor and the Hideout off of 8 Mile Road and Harper Road, were a hotbed for young and promising garage rock bands such as The Underdogs, The Fugitives, Unrelated Segments, Terry Knight and the Pack (which featured Don Brewer), ASTIGAFA (which featured a young Marshall Crenshaw), The Lords (featuring a young Ted Nugent) The Pleasure Seekers (which featured a young Suzi Quatro), Four of Us and the Mushrooms (which both featured Glenn Frey), Sky (which featured a young Doug Fieger) and blue eyed soul rockers the Rationals.^[8]

During the heyday of the Hideout in 1965, Doug Brown and the Omens, which were financed by Del Shannon, cut Bob Seger's first known official recording "TGIF"/"First Girl." Later Bob Seger would form his band known as The Last Heard while Brown produced Seger's regional blockbuster albums "East Side Story," and "Heavy Music."^[9]

Also 1965 Mitch Ryder & the Detroit Wheels had a national top 10 hit with "Jenny Take A Ride!" and then again the following year in 1966 with "Devil With A Blue Dress On"/"Good Golly, Miss Molly." Also in 1966, Flint's Question Mark & the Mysterians (which featured Mel Schacher had a No. 1 hit with "96 Tears." Finally, in 1967, Detroit blues-rock outfit the Woolies had a regional smash hit with the Bo Diddley song "Who Do You Love".^[10]

Then in 1968, the Metro Detroit rock scene witnessed an extraordinary transformation into something that was purely raw, rough, and messy. This sound was rock & roll but was also equal parts anger, determination and attitude spawning a unique high-energy rock scene in antithesis to Motown and the more mellow bands popular on the east and west coasts^[11] This new found high-energy rock was no more truer then with the MC5 (Motor City Five) and the protopunk Iggy & the Stooges. These two bands laid the groundwork for the future punk and hard rock movements in the late 1970s. Other notable bands from this time frame included The Amboy Dukes (featuring Ted Nugent), The Bob Seger Sound System, Alice Cooper, Frijid Pink, SRC, The Up, The Frost (featuring Dick Wagner), Popcorn Blizzard (featuring Meat Loaf), Cactus and the soulful sounds of Rare Earth and The Flaming Ember. Much of the music scene during this time was centered around the legendary Grande Ballroom and its owner Russ Gibb.^[12]

As the pure sonic force of the Detroit rock scene drove on into the close of the decade, in 1969 a magazine based in and around Detroit known as CREEM: "America's Only Rock 'n' Roll Magazine," was started by Barry Kramer and founding editor Tony Reay. CREEM is known as the first publication to coin the words "punk rock" and "heavy metal" and featured such famous editors such as Rob Tyner, Patti Smith, Cameron Crowe and Lester Bangs, who is often cited as "America's Greatest Rock Critic,".

[edit] 1970s

During the 1970s many of the Metro Detroit acts grew into international rock icons such as Bob Seger, Ted Nugent, Alice Cooper, Grand Funk Railroad Glenn Frey of The Eagles. Along with one hit wonders Brownsville Station and Commander Cody and His Lost Planet Airmen, Detroit became well known for its rock & roll prowess. The city was also immortalized during this time by such songs as Detroit Rock City by Kiss, Detroit Breakdown by J. Geils Band and Panic in Detroit by David Bowie.

In the 1970s, Detroit was home to one of the most prolific funk scenes headed up by George Clinton and his band Parliament-Funkadelic, as well as Clinton's bass player Bootsy Collins. Parliament-Funkadelic is often sited as been a direct influence on the future Detroit Techno scene that emerged in the early 1980s

After the breakup of the MC5 and The Stooges; which was due to the lack of mainstream success, the late 1970s the Detroit area's musical brain trust transformed into several acts that created much notoriety. These acts included punk bands Coldcock, The Ramrods and The Sillies, rock acts such as Sonic's Rendervous Band (featuring Fred Sonic Smith of the MC5), Destroy All Monsters (featuring artists Niagara and Stooges guitarists Ron Asheton), as well as the band simply called Detroit, which featured Mitch Ryder on vocals and Johnny "Bee" Badanjek on drums. Later, Mitch Ryder bowed out of the band Detroit and was replaced by Rusty Day changing their name to The Rockets. Also during this time, Detroit area native Deniz Tek was creating the punk band Radio Birdman in Australia in the mold of classic Detroit rock bands of the MC5 and The Stooges. Detroit was also home to several punk bands including The Ramrods, and The Sillies^[13]

[edit] 1980s

In the summer of 1982, Berkley High School graduate Marshall Crenshaw had a Top 40 hit with the song "Someday, Someway", and later in the decade went on to portray legendary Buddy Holly in the 1987 film La Bamba. Crenshaw continues to tour nationally and has played The Magic Bag in Ferndale several times. Then in 1988, Detroit pop rockers Was (Not Was) breakthrough album "What Up, Dog?" spawned two Top 20 hits with the songs "Spy in the House of Love" and "Walk the Dinosaur."

Also in the early 1980s, The Romantics scored with "What I Like About You", which has gone on to become a timeless and classic rock track. In 1983/84, The Romantics had a huge hit with the single "Talking In Your Sleep", which reached the Number #3 position on the Billboard Hot 100. Although it never received a Gold certification from the RIAA, the 45 sold a million copies in the US. Other notables include synth rock group Figures On A Beach with their Don Was-produced single "Breathless" in 1984, Rhythm Corps with the 1988 Olympic them song "Common Ground" and Point Break soundtrack band Loudhouse, which eventually became 1990's grunge band Sponge. Also, in the 1980s, Patti Smith became a metro Detroit resident and produced a top selling album with her husband Fred Sonic Smith.

During the 80s Detroit was home to several new wave, glam, punk and garage rock bands including The Colors, The Look, Bitter Sweet Alley, Toby Redd (which featured future Red Hot Chili Peppers drummer Chad Smith), the Trash Brats, Flirt, Bootsey X & The Lovemasters, The Torpedoes the Mutants, Nick & The Corvettes, ReRuns, Elvis Hitler, The Gories, Goober & The Peas and the Vertical Pillows, who's Paula Messner went on to form a stay-at-home mom band called The Candy Band.

The Detroit rock scene was home to several notable metal bands during the 1980s. These bands included Corrupt, Halloween, Seduce, Mariner and Madam X, which was formed by future Vixen drummer Roxy Petrucci and for a brief period featured future Skid Row vocalist Sebastian Bach.

[edit] 1990s

During the 1990s, metro Detroit bands that had mainstream and critical acclaim include Sponge, Charm Farm, Junk Monkeys, Rocket 455, Speedball, Robert Bradley's Blackwater Surprise, Howling Diablos, Kid Rock, Uncle Kracker, His Name Is Alive, Brendan Benson, and ska band The Suicide Machines.

Because of the alternative rock music craze, two of Metro Detroit's college towns Ann Arbor and East Lansing had vibrant music scenes. Bands centered around Ann Arbor's scene include the Laughing Hyenas, Big Chief,Nadsat Nation,The Shellys,the Hentchmen, Andrew W.k. and Taproot. While the East Lansing scene included bands such as Groove Spoon, The Verve Pipe, 19 Wheels, and Fat Amy (which featured Bob Guiney of the ABC show The Bachelor).

[edit] 2000s

In the millennium, Detroit became known for revitalizing the garage rock sound with the popularity of The White Stripes, The Von Bondies, and the Detroit Cobras. The vibrancy of these acts, along with the renovation or creation of many new live music venues such as The Magic Stick, helped to form a gritty, high-energy scene that was spawned in the late 1980s and 1990s by several bassless guitar bands such as The Hentchmen and The Gories. Former members of The Gories now make up the some of the cities best live acts including The Dirtbombs and the Demolition Doll Rods

Today bands such as Electric Six, The Hard Lessons, Thunderbirds Are Now!, Saturday Looks Good To Me, The Muggs, The Gore Gore Girls, The Sights, The Paychecks, Blanche, Deadstring Brothers and Childbite are all quintessential Detroit acts heavily influenced by the city's rich rock history. Detroit is also home to The Black Dahlia Murder, a popular death metal band.

[edit] Hardcore

The Detroit suburbs were the location of one of the first important hardcore punk scenes that swept underground America in the early 1980s. By the end of 1981 the new style sometimes known as "Midwest Hardcore" had exploded across North America and Detroit was one of several important regional centers fostering its spread.^[14]

Hardcore punk was a perfect fit in Metro Detroit. Rock music there had always been louder, harder and more aggressive than in the rest of the country. In the 1960s while other rock music scenes were consumed by countless acts riding the "flower children" zeitgeist, Detroit musicians such as the MC5 and the Stooges were playing to huge crowds at the Grande Ballroom and arguably inventing punk rock in the process. While once epitomizing the prosperity of the working class "American dream," Detroit had seen its massive base of high paid manufacturing jobs decimated. Thousands of applicants would line up for a dozen job openings. By the time the 1980s rolled around there wasn't a kid in Southeastern Michigan who didn't know quite well that the days affording a comfortable life through a factory job were long gone. The rage and anger which permeated the hardcore punk of the era was something the Detroit area had in seemingly unlimited supplies.^[14]

One key event in the birth of the Detroit scene was the screening of the documentary film Decline of Western Civilization at the Punch & Judy theater in Grosse Pointe Farms, Michigan. Hundreds of Detroit kids saw in its portrayal of the west coast punk scene something that suited their own situation perfectly and quickly dedicated themselves to bringing this new subculture to bloom in Detroit.^[15] One of the earliest Suburban Detroit hardcore punk bands was the Grosse Pointe Park band Degenerates^[16].

The Detroit scene was not an isolated phenomena but also the focus for a number of sister scenes throughout Michigan and northern Ohio. The major hardcore bands of this early regional scene included Lansing, Michigan's The Meatmen, Kalamazoo, Michigan's Violent Apathy^[17], Spite^[18], and The Crucifucks, Toledo, Ohio's Necros, and Detroit's Negative Approach^[19].

1980s - 1990s

During this period, the Detroit hardcore scene become most important over the years for Touch and Go Records, which was started in Lansing, Michigan by Tesco Vee and Dave Stinson as a popular local fanzine also started this small hardcore label then moved to Washington, D.C. and finally on to Chicago.^[20]

Many small clubs popped up hosting hardcore bands. The Golden Gate, The Falcon Lounge, the Freezer Theater, Kurt Kohls' Asylum, and The Hungry Brain (named after the club in the movie the "The Nutty Professor"). A crucial venue for hardcore fans in Detroit was known as Clutch Cargo's, named after a limited-animation TV series. It featured such bands as Black Flag, Fear, X, and the Dead Kennedys, who played the venue while on tour, while the Necros, Negative Approach, L7 (one of several bands who have used this name) and other local and nearby regional bands also appeared. A present club sharing the same name exists today, but in a different city and with a different booking policy. The venue was located in a large, former athletic club in Detroit. As Clutch Cargo's often had shows for 18+ fans, many younger hardcore fans either never attended the site due to age, or even knew of it due to their tardy introduction to the subgenre.^[14]

The Hungry Brain, situated in an abandoned second-hand store in Delray, Detroit, had been forced to relocate several times and by 1985 found a permanent home at a run down old hall on Michigan Avenue deep in the city of Detroit called The Graystone. Bands that started at the Hungry Brain, like political hardcore stalwarts, Forced Anger^[21], often opened for many west coast touring punk bands at the Graystone, the likes of 7 Seconds, T.S.O.L, Minor Threat, and others. The band published the fanzine, "Placebo Effect", which produced several compilation tapes featuring upstart punk bands from all over Michigan. For several years the vast majority of all hardcore bands that toured anywhere within a 250 mile radius of Detroit played at least one gig at The Graystone. Many of these gigs were captured by Back Porch Video, a video project of Dearborn public schools run by Russ Gibb (DJ of "Paul is Dead" rumor fame and previously known as the impresario of the Grande Ballroom) and aired on local public access.^[14]

Throughout this time Detroit was a mecca for hardcore punk bands. The band Cold As Life developed a loyal following right up to there demise in the late 1990s, even surviving the murder of their frontman Rawn Beauty. Other important bands of that time period were the Almighty Lumberjacks of Death (A.L.D.), fronted by the charismatic and deep voiced Jimmy Doom. A.L.D. always filled the house opening up for all the heavy hitting punk stars of the time (Social Distortion, Circle Jerks, etc.)at venues such as St. Andrew's Hall and Blondies.^[22]

Other notable acts of that often violent and exciting time were Heresy, Ugly But Proud, VH8, Disgust, SBLC, The Rogues and The Skraps. The Skraps were fronted by members of the uber punk gang, The Sids. Known for their uniform of engineer boots, Wilson's leather jackets, and evil tattoos -- the Sids were a gang in the scene, they were often employed as bouncers at St. Andrew's Hall, the major venue for shows during the late 1980s through today. The Sids called themselves a club, but they were soon known as a gang and they had the SIDs emblem painted on the back of their jackets to prove it. Burly, tough and evil -- the SIDs paid homage to the likes of the Misfits with their devil locks and slicked back hair.^[14]

At one time, a major feud broke out between the SIDs, and Disgust who formed their own club called the American Beer Allies (ABA). ABA were all about drinking beer, getting high and having a good time. The SIDs did not like the good time antics of ABA members and swore to squash any hardcore kid associated with this group and the band, Disgust. Some say, that during this period, shows in the city became a tense outlet for the SIDs vengeance and some members of ABA felt the fury of the SIDs. This however, wasn't exactly the case. While the SIDs were not fond of Disgust or the members of ABA, there were never any documented "battles" of any kind, other than a couple of random cheap shots at shows from the SIDs on a few lone ABA members. Once the SIDs realized that the ABA wasn't going anywhere the so called feud fizzled out and Disgust went on to actually play a show at the SIDs clubhouse in Pontiac.

By 1991 most of the punk in Detroit centered around hardcore, with the band Pittbull leading the way into the future. Shows became much more intense, and the dancing moved from the traditional circle pit of the past to an all out war "hootenanny".

Throughout the mid 1990s many shows were held at the coffee shop located on the University of Detroit campus. The scene at this time had a much more progressive tone, with a heavy emphasis placed on straightedge and veganism. The style quickly moved from tight black jeans, Misfits T-shirts and flannels to baggy jeans, BK Ratch Tech shoes, and Fila vests. Fights at these shows were minimal, and the spirit of DIY culture was strong. One could now go to a show and instead of getting a boot in the head they could purchase a fanzine about some kids road trip to the Circle K while engaging in a lively discussion with Ray Cappo about the merits of Krishna. But the good times and unpredictability of the old scene were now replaced by a new, more politically charged environment.^[14]

[edit] Techno

Further information: Detroit techno

This article or section appears to contradict itself. Please help fix this problem.

The template for a new style of dance music (that by the mid to late 1980s was being referred to as techno) was primarily developed by four individuals, Juan Atkins, Kevin Saunderson, Derrick May ("The Belleville Three"), and Eddie Fowlkes, all of whom attended college together at Belleville High School, near Detroit, Michigan. By the close of the 1980s the four had operated under various guises: Atkins as Model 500, Flinstones, and Magic Juan; Fowlkes simply as Eddie "Flashin" Fowlkes; Saunderson as Reese, Keynotes, and Kaos; with May using the aliases Mayday, R-Tyme, and Rhythim Is Rhythim. There were also a number of joint ventures, the most commercially successful of which was the Atkins and Saunderson (with James Pennington) collaboration on the first Inner City single Big Fun. Prior to achieving notoriety the budding musicians, mix tape traders, and aspiring DJ's ^[23]found inspiration in Midnight Funk Association, an eclectic, 5-hour, late-night radio program hosted on various Detroit radio stations including WCHB, WGPR, and WJLB-FM from 1977 through the mid-1980s by DJ Charles "The Electrifying Mojo" Johnson.^[24] Mojo's show featured heavy doses of electronic sounds from the likes of Giorgio Moroder, Kraftwerk and Tangerine Dream alongside the funk of Parliament and the new wave sounds of the B-52s.^[25]

Of the four individuals responsible for establishing techno as a genre in its own right, it is Juan Atkins who is recognized as the originator; indeed in 1995 American music technology publication Keyboard Magazine honored Atkins as one of "12 Who Count" in the history of keyboard music (this is remarkable considering Detroit techno was still relatively unknown in the United States at that time despite its notoriety in Europe). In the early 1980s Atkins began recording with musical partner Richard "3070" Davis (and later with a third member Jon-5) as Cybotron. This trio released a number of electro inspired tunes, the best known of which is "Clear". Eventually, Atkins started producing his own music under the pseudonym Model 500, and in 1985 he established the record label Metroplex. In the same year he released a seminal work entitled "No UFO's" which, in terms of its aesthetic values, is credited by many as the first Detroit techno production.

Certain commentators who believe things are not so clear cut have attempted to redefine the origins of techno by incorporating musical precursors to the Detroit sound; as part of a historical survey of the genre. This essentially removes any chronologically distinct point of origination. To support this view they point to examples such as "Shari Vari" (1981) by A Number Of Names, the earliest compositions by Cybotron (1981), Donna Summer and Giorgio Moroder's "I Feel Love" (1977), "From Here to Eternity" (1977) and the more dancefloor-orientated selections from Kraftwerk's repertoire (between 1977 and 1983).^{[citation needed]} Arguably, these electro-disco tracks share with techno a dependence on machine-generated beats and dancefloor popularity. However, the comparisons remain contentious; as do the efforts to regress further into the past to find antecedents. The logical extension of this rational entails a further regression: to the sequenced electronic music of Raymond Scott (The Rhythm Modulator, The Bass-Line Generator, and IBM Probe, being remarkable examples of techno-like music).^[26]

Second Wave

The first wave of Detroit techno had peaked in 1988-89, with the popularity of artists like Derrick May, Kevin Saunderson, and Chez Damier and clubs like the Shelter and the Music Institute. At the same time, the European rave scene embraced the Detroit sound, thanks to Kool Kat Records's release of a number of Detroit records. May's "Strings of Life" achieved "anthemic" status in 1989^[27], several years after its recording.

Once Detroit Techno became a full-fledged musical genre, a second generation of regional artists developed into techno icons themselves; Jeff Mills, Richie Hawtin (aka Plastikman) and Carl Craig to name just a few. Mills began his career as "The Wizard" on Mojo's nightly broadcast, showcasing his turntablist skills with quick cuts of the latest underground tracks and unreleased music from local labels.

In the mid-to-late 1990s, Detroit Techno producers experimented with extended aural soundscapes featuring sparse, ambient underscores punctuated with sporadic, cyclical periods of percussion. Extended length vinyl projects like those under Hawtin's Plastikman facade are particularly clear examples of this period. Atkins "Sonic Sunset" CD in 1994 also delivered this new tradition of Detroit techno.

On Memorial Day weekend of 2000, electronic music fans from around the globe made a pilgrimage to Hart Plaza on the banks of the Detroit River and experienced the first Detroit Electronic Music Festival. In 2003 the festival management changed the name to Movement, then Fuse-In (2005), and most recently, Movement: Detroit's Electronic Music Festival (2007). The festival is a showcase for DJs and performers across all genres of electronic music.

[edit] Hip hop

Further information: Detroit hip hop

Detroit is well known for its place in Motown Records and its influence shows in Detroit hip hop. The harsh environment of the Detroit streets, and the struggles most of its citizens experience on a day-to-day basis as they look for a way to economic prosperity is a recurrent theme in the music, and Detroit Hip-Hop is likely a product of this. Much of Detroit hip hop is focused on gun violence, and excessive weapon use, . Detroit also has an abundant number of independent local record labels located in the community of the rap genre, many of which go out of business and re-open.

Although Detroit hip hop did not achieve mainstream success until the late 90's, it's origins can be traced back to the 1980s where it was most prominent in the circles of the underground hip hop scene. Detroit hip hop's earliest group to later gain national recognition is Prince Vince and the Hip hop force, formed in 1985 and signed with Mercury Records. In the late 80's and 1990s Detroit Hip Hop was relegated to college and independent radio stations, as mainstream radio had an unwritten rule against local artists. In spite of this, Detroit hip hop culture was and is still influentual to other parts of the country. Tupac Shakur's All Eyes on Me, which was released in 1996, is often credited with being the first double hip hop album, but Esham's Judgement Day is the first true hip hop double album as it was released in 1992. In addition, Esham is also the first "acid rap" artist, paving the way for artists like Gravediggaz. Well Dressed artists like AWOL and Detroit's Most Wanted showed that one could wear "gators" and 3 piece suits and still rock a crowd and do it well. female artists like Smiley and BO$$ could indeed hold their own against their male counterparts.

Many rap groups in Detroit often "beef" or fall out, really starting back in 2000. When the Street Lord'z vs. Rock Bottom, then in 2002 with Eminem & D12 vs. Royce Da 5'9", and in 2004 with the Eastside Chedda Boyz vs. Street Lord'z^[28], and then again in 2007 with Killa Kaunn of Iron Fist Records vs. Famous & Flame (which currently hasn't ended).

Since the 1990s the Detroit rap scene has had a big problem with murders and deaths in the city. Starting in 1996 with AWOL member DJ Homicide who was killed by Detroit Police during an alleged burglary. D12 member Bugz in 1999 who was killed at Belle Isle Park. Later with CEO of the Eastside Chedda Boyz "Wipeout" in 2004, Blade Icewood who was murdered at Scotty B's car wash in spring of 2005^[29]. J. Dilla who died in 2006 from an illness and Proof who was killed in the CCC Club on E. 8 Mile less than 2 months later.

Notable artists

5Ela Athletic Mic League Awesome Dre & The Hardcore Committee AWOL (rap group) Bizarre BO$$ Buff1 Bugz (deceased)

D12 Detroit's Most Wanted (Lee & Ski) Drunken Master Eminem Esham Frank-n-Dank Frogg (MC Frogger D) Jack Frost & B.A.N.M.E.

Jay Dee (deceased) Kaos & Mystro Miz Korona Natas Phat Kat Poncho & B-Def Prince Vince Proof (deceased) Rap Mafia

Rock Bottom Royce da 5'9" Slum Village Smiley Street Lord'z Trick Trick & The Goon Squad XChange

2000s to present

1st Born Alley Life Big Herk Black Milk Blade Icewood (deceased) Bronze Nazareth Dogmatic Eastside Chedda Boyz

Famous & Flame Fat Killahz Guilty Simpson Killa Kaunn King Gordy Marv'won Obie Trice Paradime Quest Mcody

Raw Collection Supa Emcee Stretch Money Swann Raines Teairra Mari Tone Tone Wisemen

[edit] Music venues

Main article: Detroit Theatre District

Today the Detroit Theatre District is the nation's second largest, after New York City, with eighteen professional theaters. Detroit is home to the Detroit Symphony Orchestra and the Detroit Opera House. Major theaters include the Fox Theatre, Masonic Temple Theatre, Fisher Theatre, The Fillmore Detroit, Music Hall, Saint Andrews Hall, Detroit Repertory Theatre and the Detroit Film Theatre at the Detroit Institute of Arts.

Each year neighboring enclave Hamtramck is home to the annual local music showcase known as The Hamtramck Blowout.

The metropolitan Detroit area boasts two of the top live music venues in the U.S. DTE Energy Music Theater (formerly Pine Knob) was the most attended summer venue in the U.S. in 2005 for the fifteenth consecutive year, while The Palace of Auburn Hills ranked twelfth, according to music industry source Pollstar.^[30]

[edit] Rock & Roll Hall of Fame

As of 2007, fourteen groups or solo artists, four non performers, and two sidemen who are connected with the Detroit area have been enshrined in the Rock & Roll Hall of Fame including native son Bill Haley, Aretha Franklin, Marvin Gaye, Smokey Robinson, Jackie Wilson, the Supremes, the Temptations, Stevie Wonder, Hank Ballard, the Four Tops, Gladys Knight & The Pips, John Lee Hooker, Wilson Pickett, Martha & The Vandellas, Little Willie John, Parliament-Funkadelic, James Jamerson, Holland-Dozier-Holland, Bob Seger, Glenn Frey, Berry Gordy and Metro Detroit transplant Patti Smith.

[edit] See also

• List of songs about Detroit
• Music of Michigan
• The 20 Grand

[edit] External links

• The 100 greatest Detroit songs ever!
• MotorCityRocks.com: Preserving Detroit's local music scene
• Motor City Rock 1980-1990
• The Detroit School of Rock and Pop Music
• Detroit music history
• Detroit Music Awards
• Metrotimes/music
• Real Detroit Weekly
• Detroit hip hop
• Detroit hip hop blog

[edit] Notes

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