Bill Slaughter – Attorney and Captain of Administration of Justice
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Music Business in Detroit
October 18, 2013 Music Business in Detroit: Estimating the Size of the Music Industry in the Motor City Prepared by: Anderson Economic Group, LLC Colby Spencer Cesaro, Senior Analyst Alex Rosaen, Senior Consultant Lauren Branneman, Senior Analyst Forward by: Patrick L. Anderson, Principal & CEO Anderson Economic Group, LLC 1555 Watertower Place, Suite 100 East Lansing, Michigan 48823 Tel: (517) 333-6984 Fax: (517) 333-7058 www.AndersonEconomicGroup.com © Anderson Economic Group, LLC, 2013 Permission to reproduce in entirety granted with proper citation. All other rights reserved. Foreword I'm pleased to share with readers of Crain's Detroit Business, as well as with others in the Detroit region, this first-of-its-kind study of the business of music in southeast Michigan. Everyone that grew up in this area knows of the "Motown sound," as well as the heritage of jazz, blues, and rock that has steeped into our culture. Many of us are also aware of the more recent innovations of techno and hip-hop, much of which has roots in Detroit. However, until now there has been no systematic analysis of the business of music in our area. Our Anderson Economic Group consultants have combed census and other business records; examined the geographic pattern of nightclubs and perfor- mance venues; scanned demographic patterns for concentrations of heavy enter- tainment consumers; and even conducted primary research into the days/nights of live music available to metro Detroiters at over two hundred specific bars, taverns, and clubs. What we have assembled is a thorough analysis of an indus- try that has always been important to our culture, but can now also be known for its contributions to our employment and earnings. -
Conscious Codes, Anyone? an Art Magazine • 2020 • Print Edition No
CONTEMPORARYAND.COM #WEARECONTEMPORARYAND C& CONSCIOUS CODES, ANYONE? AN ART MAGAZINE • 2020 • PRINT EDITION NO. 11 CONTEMPORARYAND.COM EDITORIAL “With evidence of coded beaded patterns, communicative frequencies with non-human agencies, and connections to ancient practices, new media can embody new forms of consciousness and expressions of ‘otherness’ that have come to define digital art.” Enos Nyamor Contemporary And (C&) was deliberately founded as an online magazine with the desire for it to be accessible beyond physical distribution boundaries. Free content for readers from Accra to Rio de Janeiro to New York. Accessibility is the bottom line. Connecting people and visualizing their artistic production is what C& has been and is constantly doing. Digital space is the main tool of the global network that creates the content of C&. Digital connections have become even more urgent during recent weeks, in which a pandemic has had and is still having a worldwide impact. This first C& print edition of 2020 focuses on digital arts and their potential for connecting to the past and inventing the future. Enos Nyamor asks how much digital art production in Africa is stereotyped. Artists Natalie Paneng and David Alabo speak more specifically in interviews about their practices. Creative producers Ingrid LaFleur and Daniel Kimotho give insights on cryptocurrency and its ability to increase economic activity and output from African perspectives. Nelly Y. Pinkrah discusses how histories of race, Blackness, and (media) technology have always been intimately intertwined. Finally, Awour Onyango focuses on the Kenyan art scene which is countering the erasure of Kenyans from Nairobi’s tech boom through digital and VR work. -
The Hit Man's Tale
Save paper and follow @newyorker on Twitter Letter from Detroit OCTOBER 15, 2012 ISSUE The Hit Man’s Tale How an honors student became a hired killer. BY NADYA LABI Vincent Smothers at Michigan Reformatory, where he is serving a sentence of fifty to a hundred years. “There’s no atonement,” he says. “I’ve taken people away from people who love them.” PHOTOGRAPH BY ALEC SOTH / MAGNUM incent Smothers thought that it would be a job like any other. In the summer of 2007, he told me, his friend Marzell Black asked him for a Vgun for his mother’s boyfriend. Smothers didn’t sell guns, and he told him so. A few months later, Marzell amended his request, saying, “That dude who was looking for a gun? He asked me how much he would have to pay to kill somebody.” A murder Smothers could handle. “Marzell wasn’t the killing type,” he said. “I told him, ‘That’s not something for you to do. I’ll talk to him and see what this is all about.’ ” Smothers drove Marzell in his black Jeep Commander to a gas station on Detroit’s East Side, the rougher part of a rough city. As they waited in the parking lot, a bald black man opened the rear passenger-side door and got in. It was the boyfriend, whom Smothers knew only as Dave. Staring intently at the back of the seat, he explained that the target was his wife; he was leaving her and didn’t want her to be alone. -
Church of Christ 803-905-7850 Sunday School 10:00 Am Sat
IN SPORTS: P-15’s looking to avenge loss to Hartsville ahead of Legion playoffs B1 THE CLARENDON SUN Miracle Man Mackenzie China on the mend after horriffic A5 THURSDAY, JUNE 30, 2016 | Serving South Carolina since October 15, 1894 75 cents motorcycle wreck Disaster relief Runoff turnout under 7 percent town hall Runoff elections were held for Sum- Robbie Baker, a veteran law enforce- Shaw Air Force Base ter County Coroner, Sumter County ment officer with the county, by 224 Council District 1 and State House of votes. rescheduled precinct had no voters Representatives District 50, and re- Although Bullock ultimately lost sulted in the three Democratic new- the race, he held the lead in several BY ADRIENNE SARVIS comers grabbing spots on the Nov. 8 precincts including Wilder, Salem, Date changed to reach [email protected] ballot. Green Swamp and St. John, where he There are no Republican candidates garnered 82 percent of votes. vulnerable population Once again, Sumter County had a for either of the three positions, Baker and Bullock had a close race low voter turnout for a local elec- meaning the three winners of the in Wilson Hall precinct where Baker BY JIM HILLEY tion, with 6.68 percent of 71,575 reg- runoff elections will likely have un- secured a win by 5 percent with a [email protected] istered voters casting their ballots on contested races in November. total of 52 percent of votes. Tuesday during primary runoff vot- Incumbent county coroner Harvin The South Carolina Disas- ing. Bullock lost his runoff election to SEE RUNOFF, PAGE A9 ter Recovery Office has re- scheduled a town hall meet- ing originally set for Tues- day at Patriot Hall, 135 Haynsworth Street to 6 p.m. -
Detroit Rock & Roll by Ben Edmonds for Our Purposes, The
"KICK OUT THE JAMS!" Detroit Rock & Roll by Ben Edmonds For our purposes, the story of Detroit rock & roll begins on September 3, 1948, when a little-known local performer named John Lee Hooker entered United Sound Studios for his first recording session. Rock & roll was still an obscure rhythm & blues catchphrase, certainly not yet a musical genre, and Hooker's career trajectory had been that of the standard-issue bluesman. A native of the Mississippi Delta, he had drifted north for the same reason that eastern Europeans and Kentucky hillbillies, Greeks and Poles and Arabs and Asians and Mexicans had all been migrating toward Michigan in waves for the first half of the 20th Century. "The Motor City it was then, with the factories and everything, and the money was flowing," Hooker told biographer Charles Shaar Murray." All the cars were being built there. Detroit was the city then. Work, work, work, work. Plenty work, good wages, good money at that time."1 He worked many of those factories, Ford and General Motors among them, and at night he plied the craft of the bluesman in bars, social clubs and at house parties. But John Lee Hooker was no ordinary bluesman, and the song he cut at the tail of his first session, "Boogie Chillen," was no ordinary blues. Accompanied only by the stomp of his right foot, his acoustic guitar hammered an insistent pattern, partially based on boogie-woogie piano, that Hooker said he learned from his stepfather back in Mississippi as "country boogie." Informed by the urgency and relentless drive of his Detroit assembly line experiences, John Lee's urban guitar boogie would become a signature color on the rock & roll palette, as readily identifiable as Bo Diddley's beat or Chuck Berry's ringing chords. -
MICHIGAN MONTHLY ______October, 2017 Diane Klakulak, Editor & Publisher ______
MICHIGAN MONTHLY ________________________________________________________________________________________________________________ October, 2017 Diane Klakulak, Editor & Publisher __________________________________________________________________________________________________________________ DETROIT LIONS – on Fox unless otherwise noted CAR & MOTORCYCLE SHOWS Oct. 1 at Minnesota Vikings; 1 pm Oct. 7 Charity Car Show to benefit the Christmas Oct. 8 vs. Carolina Panthers; 1 pm Adopt A Family program; noon-3 pm; Oct. 15 at New Orleans Saints; 1 pm Fraternal Order of Eagles 2784, 7542 Oct. 22 Bye Palms, Fair Haven; rain date Oct. 8; 586- Oct. 29 vs. Pittsburgh Steelers; 8:30 pm; NBC 419-0399 Nov. 6 at Green Bay Packers; 8:30 pm; ESPN Nov. 12 vs. Cleveland Browns; 1 pm; CBS DETROIT RED WINGS – LITTLE CAESARS Nov. 19 at Chicago Bears; 1 pm ARENA – on FSD unless otherwise stated Nov. 23 vs. Minnesota Vikings; 12:30 pm Oct. 5 vs. Minnesota Wild; 7:30 pm; NBCSN UNIVERSITY OF MICHIGAN WOLVERINES – 866- Oct. 7 at Ottawa Senators; 7 pm; FSD, CBC 296-MTIX, MGOBLUE.com/Tickets Oct. 10 at Dallas Stars; 8:30 pm Oct. 12 at Arizona Coyotes; 10 pm Oct. 7 vs. Michigan State University; TBD Oct. 13 at Vegas Golden Knights; 10:30 pm Oct. 14 at Indiana; noon Oct. 16 vs. Tampa Bay Lightning; 7:30 pm Oct. 21 at Penn State Oct. 18 at Toronto Maple Leafs; 7:30 pm; FSD+ Oct. 28 vs. Rutgers; noon Oct. 20 vs. Washington Capitals; 7:30 pm Nov. 4 vs. Minnesota Oct. 22 vs. Vancouver Canucks; 7 pm Nov. 11 at Maryland Oct. 24 at Buffalo Sabres; 7 pm; NBCSN Nov. 18 at Wisconsin Oct. 26 at Tampa Bay Lightning; 7:30 pm Nov. -
“Where the Mix Is Perfect”: Voices
“WHERE THE MIX IS PERFECT”: VOICES FROM THE POST-MOTOWN SOUNDSCAPE by Carleton S. Gholz B.A., Macalester College, 1999 M.A., University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2011 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Carleton S. Gholz It was defended on April 11, 2011 and approved by Professor Brent Malin, Department of Communication Professor Andrew Weintraub, Department of Music Professor William Fusfield, Department of Communication Professor Shanara Reid-Brinkley, Department of Communication Dissertation Advisor: Professor Ronald J. Zboray, Department of Communication ii Copyright © by Carleton S. Gholz 2011 iii “WHERE THE MIX IS PERFECT”: VOICES FROM THE POST-MOTOWN SOUNDSCAPE Carleton S. Gholz, PhD University of Pittsburgh, 2011 In recent years, the city of Detroit’s economic struggles, including its cultural expressions, have become focal points for discussing the health of the American dream. However, this discussion has rarely strayed from the use of hackneyed factory metaphors, worn-out success-and-failure stories, and an ever-narrowing cast of characters. The result is that the common sense understanding of Detroit’s musical and cultural legacy tends to end in 1972 with the departure of Motown Records from the city to Los Angeles, if not even earlier in the aftermath of the riot / uprising of 1967. In “‘Where The Mix Is Perfect’: Voices From The Post-Motown Soundscape,” I provide an oral history of Detroit’s post-Motown aural history and in the process make available a new urban imaginary for judging the city’s wellbeing. -
Music Cover.Qxp 8/29/2012 5:20 PM Page 1
Music Cover.qxp 8/29/2012 5:20 PM Page 1 FALL 2012 ® Duo’s tale an example of Detroit finding its groove in today’s music biz | More inside Hear. And now. Use the QR codes at right to check out two video reports Studios and the state of the art Meet Dale Earnhardt Jr. Jr. from Crain’s about the business of music in metro Detroit. Learn about The energetic Here’s how: the latest Detroit duo 1. Open your favorite “QR code scanner” application on your movement in has indie-pop smartphone, or download one for free from the iTunes Store or the recording fans’ hearts Google Play Store. industry from racing. How’d 2.Point your phone’s camera at the code and scan. The code Detroit studio they get their will bring you to a mobile site where you can watch and listen. producers. start? 3. Enjoy! Related story, Interview on Page M2 Page M8 DBGateFlap.qxp 8/28/2012 12:34 PM Page 1 DBGatespread.qxp 8/28/2012 12:23 PM Page 1 The home and future of great music and industry. 7%!s!$!s7!2.%2"2/32%#/2$3s!4,!.4)#2%#/2$3s7!2.%2-53)#.!3(6),,% 2()./2%#/2$3s./.%35#(2%#/2$3s#52"2%#/2$3s%,%+42!2%#/2$3s3)2%2%#/2$3 3)$%/.%$5--92%#/2$3s2)3%2%#/2$3s"%''!23'2/50s8,2%#/2$3s&2)$!9-53)# DBGatespread.qxp 8/28/2012 12:23 PM Page 1 The home and future of great music and industry. -
Detroit Blues Society Who’S Who of Detroit Blues
Detroit Blues Society Who’s Who of Detroit Blues A Adams, Alberta (a.k.a.: Roberta Louise Osborne): vocalist. She was born circa July 1920 Indiana and moved to Detroit at age three. Toured with T-Bone Walker, Louie Jordan, Eddie “Cleanhead” Vinson, Duke Ellington, Tiny Bradshaw, RJ’s Rhythm Rockers and others. Recorded on Detroit label United Sound Systems and on Cannonball Records. She is known as “Detroit’s Queen of the Blues” and was awarded Detroit Blues Society Lifetime Achievement Award in 1977. Tracks released by Chess Records include the song Remember. Recordings include contributions to (CD) Alberta Adams-Say Baby Say, Blues Across America-The Detroit Scene, Alberta Adams and RJ’s Blues Crew-Uncut Detroit II, Alberta Adams-Born With The Blues, VA-Chess Blues. Reference: Detroit Blues, Vol. 2, No. 3, pp.11-17; R. J. Spangler, Big City Blues, Oct.-Nov. 2000; Living Blues, #160, December 2001, pp. 22-29. Adams, Dwight: trumpet/flugelhorn. Played with the Blues Insurgents, Dwight Adams Combo. Recordings include contributions to (CD) Bill Heid & The Detroit Blues Masters-We Play The Blues, Alberta Adams-Say Baby Say, Blues Across America-The Detroit Scene, Johnnie Bassett and The Blues Insurgents-Cadillac Blues, Johnnie Bassett & The Blues Insurgents-I Gave My Life to the Blues Ahada: vocalist. She performed in Detroit with the Sudden Impact Band. AJ: percussion. He played with the Howling Diablos. Recordings include contributions to (CD) Howling Diablos-It’s My Party Allan, Barnard: bass. Recordings include contributions to (CD) Joce’lyn B-Bitch a da Blues Allen, “Little Sonny”: Hammond B-3. -
One of These Is Not Like the Other... Ace Hood ($10 Adv., $18 D.O.S.) Oct
--------------- Calendar • On The Road --------------- Adrian Belew Power Trio w/The Stick Men ($25 SRO) Oct. 7 Magic Bag Ferndale, MI Adelitas Way w/Sore Eyes (free) Sept. 30 Dekalb Country Free Fall Fair Auburn One of these is not like the other... Ace Hood ($10 adv., $18 d.o.s.) Oct. 14 Piere’s Fort Wayne The Afters w/This Fire’s Embrace, Everyday Sunday & Spoken Sept. 10 Rochester City Park Rochester Alison Krauss & Union Station feat. Jerry Douglas ($29.50-$49.50) Sept. 8 Fox Theatre Detroit Alison Krauss & Union Station feat. Jerry Douglas ($30-$65) Sept. 9 The Chicago Theatre Chicago André Rieu Sept. 19 Fox Theatre Detroit Ani DiFranco ($40) Sept. 21 The Vic Theatre Chicago Anthony Gomes Oct. 22 Key Palace Theatre Redkey Arch Enemy, Devil Driver, Skeleton Witch and Chthonic Oct. 4 House of Blues Chicago Arctic Monkeys w/Smith Westerns Oct. 3 Old National Centre Indianapolis Ari Hest w/Pierce Pettis Oct. 1 Wheeler Arts Community Indianapolis Art of Dying w/Black Tide and Hell or Highwater ($8.98 adv.-$13 d.o.s.) Sept. 8 Piere’s Fort Wayne Asleep at the Wheel ($30) Sept. 28 The Ark Ann Arbor Avenged Sevenfold w/Three Days Grace, Seether, Bullet for My Valentine & Escape the Fate, Sevendust, Black Tide, Art of Dying and Black Cloud Collective Sept. 18 First Midwest Bank Amphitheatre Tinley Park, IL Avenged Sevenfold w/Three Days Grace, Seether, Bullet for My Valentine & Escape the Fate, Sevendust, Black Tide, Art of Dying and Black Cloud Collective ($29.75-$49.75) Sept. 20 Van Andel Arena Grand Rapids Avenged Sevenfold w/Three Days Grace, Seether, Bullet for My Valentine & Escape the Fate, Sevendust, Black Tide, Art of Dying and Black Cloud Collective Sept. -
DEQ No.15 Interactive
LETTER FROM THE DEQ STAFF Between the time of our previous edition and the one currently in your hands, Detroit Electronic Quarterly and the Detroit music community at-large lost one of its most generous, encouraging advocates. And quite simply one of the best people ever to set foot within city limits. LaVell Williams made his transition on Saturday Oc- tober 27th, 2018, and did so in a manner reflective of how he chose to live every single day: listening to the music of his heroes, holding hands of those who loved him deeply, and selflessly comforting everyone with grace, love and care. He was a tireless, vocal advocate for numerous move- ments and a generous participant. It was a common sight to see LaVell volunteering at a registration table for AIDS Walk Detroit, helping program the Michigan Lesbian & Gay Film Festival, setting up equipment at the inaugural Detroit Electronic Music Festival, or working with families to present quilts at the AIDS Quilt Project in Hart Plaza. One of the great loves of his life was helping to pre- serve the music and history of the city he loved so much. In 2011, he became a founding member of the Detroit Sound Conservancy. It was not uncommon to see LaVell and Conservancy founder Dr. Carleton Gholz running from a jazz concert at Baker’s to a rock show at the Majestic to an afterhours in Eastern Mar- ket, often all on the same night’s calendar, enjoying each with equal enthusiasm. or, friend, companion, sounding board, punching bag, LaVell was probably best known to readers of this pub- Mother Superior, hall monitor, drama negotiator, refer- lication as a manager of the legendary record store ee, family member and deeply beloved. -
Brief History of Detroit's Music Scene
Brief History of Detroit’s Music Scene I. What Started It All?!? A. Jerome Remick, bought a small struggling publishing company in 1898 and turned it into Jerome Remick & Co, a publishing house for sheet music. By 1905, Remick and his business partners found success in selling several million copies of “In the Shade of the Old Apple Tree”, “Pretty Baby” and more. George Gershwin, a composer, joined Remick in 1914 and went on to create many big hits of the 1910’s. Remick eventually sold the extremely successful company to the Warner Brothers conglomerate in 1928. Remick’s legacy helped create Detroit’s Orchestra Hall in 1919 and helped increase the DSO from 50 to 90 players. B. Convention Town - In the 1870s men began founding and joining new clubs by the thousands from all levels of society. Immigrants organized clubs, as did African-Americans. Women would not be left out either and created auxiliaries of men’s clubs or founded major new sisterhoods. From 1870 to the end of the 1920s Americans’ social life centered on these clubs. i. The great event that every loyal member eagerly prepared for was the national convention. A branch of the Freemasonry, the Knights Templar, held Detroit’s first national convention in 1870 and made a deep impression on Detroiters that the city could be promoted for this type of event. Knights and their companions arrived by several thousands. Convention’s meant a party, with music and beverage, and with that Detroit became a hotspot! Courtesy of the Burton Historical Collection II.