DETROIT fail; “You don’t pay attention man /that’s why your money’s tha‘size of your attention span.”
HOLD TIGHT –j dilla|Roots remix

HOLD TIGHT; SLUM VILLAGE
“Whitey lately mowin’ down Slum Village Mowtown, And blanco’hollics rickety-racket rape n’pillagin”/ coffe-break ‘n kevlar clap-back, cross-nappy shabby motel Algiers diggy-crates patrol’lives shatter’n donut-dates/ down that Summer of panic n’Detroit”
Americans must be said to like their racial/ethnic violence against POC with caviar if it ‘must be viewed’ at all. Stonewall riots? Well, that’s the Village, it’s trendy, chic and in Manhattan so its happening on top of the world–even if it is killing marginalized and poor people, and even if, the first brick was thrown at the glass houses by a Black icon of Identity, Marsha P. Johnson. Its got some glamour! Now Watts…I don’t see any sizzling blockbusters staring Don Cheadle. You feel me? Matter of fact, Dilla’s group playfully named their cypher SlumVillage. Quod Erat Demonstrandum: theVillage is in West Manhattan, not in Detroit. Industrial, bleak, gritty, steely grey; Across a multi-racial and ethnic spectrum, for audiences of gen X,Y+millenials the perceived (though for HipHop aficionados, arguably real) ‘best thing ever to come out of Detroit’ remains Dilla )EminEm and HipHop; And the whole musical legacy encompassing Motown with its preceding musical/arts influences giving rise to Detroit’s once heavily influential Colored culture and couture.
But Hollywood’s appeal in dollars and intentions aren’t authentically interested in educating or acculurating majority white audiences to Detroit’s black cultural history and multiethnic roots. Rather in capitalizing on Black currency for media and consumption markets.
The Political and Social unrest of the 1960’s civil rights movements is empathically embedded in generations of white (and Black and Brown folk) who never experienced it, or a day of being discriminated against in their lives. Because the music took us there. It memorialized the history, spit and blood of that time, just as Black-American music continues to frame and reframe its experiences and culture. And there are always big Hollywood dollars, even behemoth Black dollars in garnering interest and investors through the multi-billion dollar industry of Black-Ñ-Brown music. Mowtown, JDilla or 7mile hipHop shop and post-Slum-Village muses like Black Milk, Majestic Legend, Illect, Mello Music, the Black Opera. Waajeed, Royce Da 5'9' & Etzhi. So many more to name; The originating and new African influences of HipHop in Detroit.
But music rights are expensive as hell, so, if the Summer of HATE movie can’t stand on its own as documentary and/or edutainment, as containing something that needs immersive storytelling and complete ingesting during these overwhelmingly white-privileged times in American history, the movie’s soundtrack, cinematography and other artistry will hopefully have enough behind it to overflow its banks; Entendre intended. The Black Narrative has successfully accomplished that task mainly by its Roots outreach and roads crossing contents in the Indie Underground; But also by uniquely exuberant design, music, arts and style specific to time and genre that are timeless. The music of the Summer of Hate can both cohere the fabric of its otherwise unapealing narrative-weave while seasoning its fruit for white palettes but still forcefully retelling those events in Detroit–showing a remnant tapestry and its vibrantly alive inheritors today.
