They had roots in the rural South with new lives in the industrial North, like the dudes on the corner of 12th and Pingree – mouth-rolling toothpicks, stingy-brimmed hats cocked “ace-duce” with a new icy attitude called “cool“ designed to hide the stress and tension of a new kind of hard, urban life. The search for and promise of lifelong devotion – the “Dream Come True” – emanated from these men – the “New Negro” men of those times. Though many of their tunes have been Big Chilled into the innocuous background music of baby boomer middle-age, believe it or not, in those early years, their process headed, tight suit wearin’, lean, street dressin’ was as scary-sexy to older, middle class white (and even black) audiences then, as Hip-hop acts are today.īut unlike the current objects of mainstream fascination/repulsion, there was a subtle yet powerful tension created by the apparent paradox of their “fast-life” personae and their pleading, cajoling declarations of love lost and found. The Temptations are among the greatest of the mid-century masters of Sweetness. Twilight: Gods, an Opera by Michigan Opera Theatre.The Words of Daphne Brooks – About My Famous Photo – in “Liner Notes for the Revolution”.The Bottom, The Valley and Hastings St.A View Of Resistance From a Record Shop Life – a Narrative on James Brown and ’67 Detroit Sounds.Liner Notes – We Breathe, by Musique Noire.
Riot or Rebellion? The Nomenclature of ’67.Joe Von Battle – Requiem for a Record Shop Man.Just Say Hi! (The Gentrification Blues).HOME – A Grown Woman’s Tales of Detroit.
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