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Exploring the Role of Networks in the Creative Economy of North East England: Economic and Cultural Dynamics

  • Roberta ComunianEmail author
Chapter
Part of the GeoJournal Library book series (GEJL, volume 104)

Abstract

This chapter examine Detroit techno music production by utilizing the lenses of Martin Luther King’s Beloved Community and community-based proposals for rebuilding Detroit, which recognize that large-scale industrial production will not be coming back to the city. In light of the limited opportunities in the formal economy for city youth, the threat of illegal drugs and alcohol, and the defunding of arts programs in the public schools, Detroit’s techno community has been active in fostering the next generation of musicians while producing a critical alternative to mainstream urban music that glorifies violence and programs failure. To ensure the future for such young musicians by protecting the Detroit techno brand, Detroit’s techno community has also worked to emphasize Detroit both as the place where techno was born but also as a current creative force in the music. Detroit’s globally recognized techno musical production highlights a creative and mutually supportive community that has long been part of the city that has inspired its artists, even as Detroit and Michigan have largely overlooked them in favor of initiatives aimed at attracting footloose creative workers.

Keywords

Creative Industry Cultural Industry Business Advice Creative Economy Potential Economic Impact 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Notes

Acknowledgements

Thanks to the artists and creative practitioners that took part in the research and gave their time for interviews and meetings. I am particularly grateful to CURDS (Centre for Urban and Regional Development Studies) of the University of Newcastle upon Tyne for the hospitality and support provided during the field research. The author remains responsible for any shortcomings.

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Copyright information

© Springer Science+Business Media B.V. 2012

Authors and Affiliations

  1. 1.School of ArtsUniversity of KentKentUK

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