|Age:||I'm just over twenty|
|My hair:||Silky hair|
|Favourite music:||Hip hop|
|In my spare time I love:||Learning foreign languages|
DetroitMichiganis a major center in the United States for the creation and performance of music, and is best known for three developments: Motownearly punk rock or proto-punkand techno.
Detroit punk archive
The Metro Detroit area has a rich musical history spanning the past century, beginning with the revival of the world-renowned Detroit Symphony Orchestra in The Detroit area's diverse population includes residents of European, Middle Eastern, Latino, Asian and African descent, with each group adding its rich musical traditions. During the s and s, the near-east side neighborhoods known as Black Bottom and Paradise Valley became a major entertainment district, drawing nationally known blues singers, big bands, and jazz artists - such as Duke EllingtonBilly EckstinePearl BaileyElla Fitzgeraldand Count Basie.
During the s, many of the same jazz acts also performed nearby at Orchestra Hallwhich had been renamed the Paradise Theatre in honor of the Paradise Valley district.
As Detroit had no established recording scene at the time, all of these players eventually migrated to Chicago to record for various labels. Spand reminisced about his time in Detroit while playing on the Blind Blake single "Hastings Street". The Koppin was the premier venue for Detroit's black musical community throughout the s. It ceased operation ina casualty of the Great Depression.
The decade of the s saw a dearth of blues music in Detroit, which did not see a resurgence until the second wave of the Great Migration hit during the s, bringing artists such as John Lee Hooker to Detroit to work in the factories of the Arsenal of Democracy.
These artists brought with them a style of blues music rooted in the Mississippi Delta region. Though not strictly a Delta blues musician, Hooker was born in the epicenter of the tradition, in Clarksdale, Mississippiand migrated to Detroit in He scored an early hit with his first single Boogie Chillenand began a long career that made him the most prominent and successful of the Detroit blues players of the post-war period, as well as the most-recorded, with over tracks to his credit.
Another sideman of Hooker was Eddie Kirklandwho played second guitar for him in Detroit and on tour from toand later went on to a long solo career.
It was the emergence of local record labels in Detroit in the s and s which helped the blues scene to flourish, compared to the s, when blues artists generally emigrated to Chicago to record their music. Some small labels, including Staff, Holiday, Modern, and Prize Records, only existed for a brief time, while other labels experienced greater success. Fortune released hundreds of recordings in many genres, including tracks by Hooker, Kirkland, Jenkins, Dr. Ross and Maceo Merriweather. InBesman recorded Hooker's seminal " Little flirt Detroit Michigan Chillen " and ran the artistic side of the label until its demise in The entertainment districts of Hastings Street and Paradise Valley were razed in the late s and early s, the victims of urban renewal programs.
This loss of music venues, along with the rise of Motown in Detroit and the popularity of rock and rollled to the eventual demise of the Detroit blues scene in the late s. Many Detroit-based musicians pursued their careers on tour elsewhere in the world, leaving only a few noteworthy artists to carry on the tradition. Among them were The Butler TwinsClarence guitar and vocals and Curtis harmonicawho emigrated to Detroit from Alabama ining a long list of blues forebears who came to work in the automotive industry.
Another transplant was the former classic female blues singer Sippie Wallacewho had moved to Detroit inbut did not her blues singing career until In the wake of the Detroit riot the local blues scene nearly died out, being salvaged only through the help of Mississippi Delta native Uncle Jessie White, pianist and harmonica player, who hosted weekend-long blues jams at his house for the next four years. Ross, Baby Boy Warren, Mr. Shortly thereafter, the Chicago bluesman Willie D.
Warren moved to Detroit, and spent the rest of his life performing on the blues scene in and around the city. Another transplant from Chicago in the s was Johnny "Yard Dog" Joneswho played in Detroit for the next four decades. In the late s, one of the most prominent Detroit blues players was Jim McCarty. After successful stints with the Buddy Miles Express and the rock bands Cactus and The RocketsMcCarty ed the Detroit Blues Band, with whom he cut two records in the s, after which he formed his own blues band, Mystery Train.
Another artist to appear in the late s was the blues singer and Detroit native Thornetta Daviswho cut her first solo album in Davis has won numerous local awards as a blues artist and vocalist, and continues to perform locally and nationally. Although ostensibly a garage rock band, a ificant amount of their material consisted of blues cover songs, and the band is considered a proponent of the punk blues little flirt Detroit Michigan   blues rock genres. Detroit has produced some of the most famous gospel singers in past decades. In the s, Oliver Green formed The Detroiterswho became one of the most popular Gospel groups of their era.
In the s, Laura Lee and a young Della Reese began their long and distinguished careers coming out of the Meditations Singers, indisputably the little flirt Detroit Michigan Detroit-based, female gospel group of that era. Theirs was the first Motor City act to introduce instrumental backing to traditional a cappella vocals. Della ed 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 s, the Reverend CL Franklin found success with his recorded sermons on Chess Record's gospel label and with an album of spirituals recorded at his New Bethel Baptist Church included the debut of his young daughter, Grammy Award winner Aretha Franklin.
Music of detroit
As the Jazz Age began, Detroit quickly emerged as an important musical center. Among the musicians who relocated to Detroit were drummer William McKinneywho formed the seminal big band McKinney's Cotton Pickers with the great arranger, bandleader and composer, Don Redman. Detroit's musical prominence continued through the s.
As this list reflects, Detroit musicians were major contributors to the hard-bop and post-bop styles, especially in the rhythm sections that drove the classic groups of Miles Davis and John Coltraneand contributions to the bands of Charles MingusHorace Silver and The Jazz Messengers. Although Madonna was born and spent her early summers in Bay City, she was raised outside of Detroit, in Rochester about 35 miles from Detroit itself and went to the University of Michigan on a dance scholarship.
Several of Madonna's early hits were co-written by ex-boyfriend and fellow Detroit Native Stephen Bray. Aaliyah was also the niece of former Detroit politician Barry Hankerson and soul singer Gladys Knight. One of the highlights of Detroit's musical history was the success of Motown Records during the s and early s.
Smokey Robinson noted in his biography that Strong's high tenor was his biggest vocal influence. Mayer recorded a string of popular 45s for Fortune, even once performing on Dick Clark's American Bandstand. Several other Detroit artists became nationally known without the help of Motown. Perhaps the best known of such artists was Aretha Franklin. The following year, J. InClinton changed the name of The Parliaments in to Funkadelic following a legal dispute with Revilot, but in reclaimed the rights and renamed the group as simply "Parliament".
Eventually the group became known as simply P-Funk which is short for Parliament-Funkadelic. During the disco craze of the late s, Detroit artists had several dance hits. George Clinton and his band Parliament-Funkadelic is often cited as being a direct influence on the future Detroit Techno scene that emerged in the early s. Detroit has a long and rich history associated with rock and roll.
The song nearly broke into the elite top 20 despite being barred from airplay on many stations due to its suggestive lyrics. In the late s rockabilly guitarist Jack Scott had a string of top 40 hits. A cover by Philadelphia native Chubby Checker followed in His single became a smash hit, reaching No.
The following year, rocker Del Shannon had his own No. In the late s, two well-known high-energy rock bands emerged from Detroit - the Little flirt Detroit Michigan and Iggy and the Stooges. Much of the music scene during this time was centered around the legendary Grande Ballroom and its owner Russ Gibb. Detroit in the s also contributed to the national folk scene with southeastern Michigan native Phil Ochswho gained fame as a Greenwich Village folk artist; Detroit was also home for a few years to the then unknown Joni Mitchell.
Fortune Records also released numerous "Hillbilly" Americana folk records in this period. In the early s, several new Detroit bands were formed out of earlier bands that had broken up. Formed inDeath is now recognized as the first all African American punk band. Rodriguez began his career in the early s, and while an unknown in Detroit, gained a following in South Africa and Australia.
The s also saw Marshall Crenshaw from the Detroit suburb of Berkley, attain fame with his releases on Warner Bros. The Detroit suburbs were the location of one of the first important hardcore punk scenes that swept underground America in the early s. By the end of 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. The Detroit scene was not an isolated phenomenon but also the focus for a of sister scenes throughout Michigan and northern Ohio.
During this period, the Detroit hardcore scene become most important over the years for Touch and Go Recordswhich was started in Lansing, Michigan in by Tesco Vee and Dave Stinson as a popular local fanzine and eventually became a hardcore record label in Touch and Go subsequently moved to Chicago.
Many small clubs popped up hosting hardcore bands. 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 FlagFearXand the Dead Kennedyswho played the venue while on tour, while the NecrosNegative ApproachL-Seven not to be confused with L7 and other local and nearby regional bands also appeared. The venue was formerly located in a large, former athletic club in Detroit. The Hungry Brainsituated in a former second-hand store in Delray, Detroithad been forced to relocate several times and by found a permanent home at a run down old hall on Michigan Avenue deep in the city of Detroit called  Graystone Hall.
Bands that started at the Hungry Brain, like political hardcore stalwarts Forced Anger,  often opened for many West Coast touring punk bands, including 7 Seconds, T. L and Minor Threat, at the Graystone. The band published the fanzine"Placebo Effect", which produced several compilation tapes featuring upstart punk bands from all over Michigan. The band Cold As Life developed a loyal following right up to their demise ineven surviving the murder of their frontman Rawn Beauty.
Other important bands of that time period were the Almighty Lumberjacks of Death A. Detroit has been cited as the birthplace of techno music. The template for a new style of dance music that by the mid to late s was being referred to as techno was primarily developed by four individuals, Juan AtkinsKevin SaundersonDerrick May "The Belleville Three "and Eddie Fowlkesall of whom attended high school together at Belleville High School, near Detroit, Michigan.
Detroit rock & roll history
There were also a of t ventures, the most commercially successful of which was the Atkins and Saunderson with James Pennington collaboration on the first Inner City single Big Fun. 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 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 s Atkins began recording with musical partner Richard "" Davis and later with a third member Jon-5 as Cybotron. This trio released a of electro inspired tunes, the best known of which is little flirt Detroit Michigan. Eventually, Atkins started producing his own music under the pseudonym Modeland in 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.
Another earlier track that is often cited is A of Names' Sharevari. 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. According to Insane Clown Posse member Violent JDetroit's hip hop scene is not ified by rap battles and waiting to be discovered by a major label, but by independently building up successful business empires, as local rapper Esham did with Reel Life Productionsand Insane Clown Posse did with Psychopathic Records.
Esham, Insane Clown Posse and Kid Rock were the first Detroit rappers to gain major notice, though like Eminem, their early careers were primarily suburban-based. Dre also promoted D12 and Obie Trice.