Recently Jeff Mills spoke about how dance music used to be inherently political but that it’s since changed and become too middle class, do you have any thoughts on that?
Well like I said, we come from middle class families. We’re not poor kids. The Detroit music scene was never a poor, abject scene. Juan’s family was wealthy, Kevin’s family was fairly wealthy. I come from a single home, I have no brothers or sisters, my mother raised me alone but she worked for a motor company, she was a secretary. I went to some of the best schools, lived in some of the best neighborhoods, played with some of the nicest kids in the city, learned from some of the roughest kids in the city. Without living in a poor neighborhood, I didn’t grow up poor. None of us did. And there’s that impression that because we’re black and we come from Detroit that we’re poor dumbass black kids or whatever. We’re not, we never were. We always had a perspective about this music, where we wanted it to go. We had a vision. We believed in author Alvin Toffler and other people like that, we listened to all this other electronic music that gave us this insight, we were well into intellectual sci-fi movies and books. We have never been these dumbass black kids from nowhere that made this music, like this idea fell out of the fucking sky. And every time journalists would come and see us back in the day they would always say the one question to us that was condescending and insulting: ‘So how did you make this music? How did you do this?’ What do you mean how did we do this? And it was always the same, and then it turned out to be a positive thing in the end because journalists were always impressed and amazed and we always spoke so well, and they realized very quickly that we’re not stupid and we didn’t come from abject poverty. We lived around poverty, we lived in Detroit. We lived around strife, sadness, struggle. We lived around anger and madness and resentment. But we absorbed it in a very prophetic way, in a very sympathetic, empathizing manner where it became our backdrop to the story of the likes of us and the city of Detroit. We became the poets and the speakers and the writers of our city and our city’s struggle.
So when Jeff said whatever he said about the middle class, I think he meant it more that the perspective of the music, the understanding of where it comes from has been lost within the people that support it now, the people that are supposedly the new audience. The working class mentality has been left out of the music. The struggle that is gone from the music because the people making it never struggled for anything. See, remember this: we had to struggle from the very beginning because we were making this music and nobody paid attention to us. You have to understand when we made our first records nobody believed in us. Nobody. There was no international DJ, it didn’t exist. There were no music magazines writing about Detroit music. There was no love and respect for what we were doing because nobody believed we could do it. When we did this, we did it against the whole fucking world! And it’s very difficult for people to understand that, or just see that. But you have to understand, it was two of us, then it was three of us, then it was six of us. And that was against the whole fucking world!
How do you think the techno scene will evolve in the future?
There’s no barometer anymore. Anything and anybody can be considered talented because 90 per cent of everybody in this business is not talented. It’s not their fault, it’s not an insult if people say that. I’m not being a negative or pessimistic person here, I’m just telling it like it is. The creative process has been lifted — there are still some very creative people in it doing some wonderful things, but the people that are jumping to the front of the line right now, they’re part of a bigger machine. They’re part of a process to create scenery, and when I say scenery I mean these festivals for instance that I always warned against years ago. I warned people that the festivals would one day destroy the club scenes in cities. There’s a television interview that I did years ago, I was in Amsterdam at a festival in the back of a car, and I’m talking about this exact thing. And I’m telling people that if these festivals continue at this rate they are going to destroy the club scene and the impact of doing that is that we will lose our local, young, developmental stage of real creativity, of artistry. The young kid that is the young DJ that warms up for the audience. All the young creatives coming together to dance and laugh and make love and get to know each other and go get something to eat together after the party. And it was hooking up at the local café a couple days later, and then getting to know each other on that level and taking it into the studio. Or sitting back together, collaborating on ideas for plays or books or maybe they want to do their own parties. We’re going to lose that because there won’t be a mentality or a belief that they can accomplish anything knowing that they have to deal with the Tomorrowlands and shit like that. They can’t compete with that, how can they? The people who are doing these events are not from music. They’re college graduates with MBAs and they have logistical ideas and financial ambitions and they don’t care about dance music. They’re gauging their line-ups based on how many numbers a person has on their account, how many likes, dislikes or whatever. So it’s very different. And PR companies are developing these less than qualified people from all parts of the world, man and woman alike, to represent this music and then they’re attempting to make them look like they’re the greatest in the world by getting collaborations from whatever media that its left, and putting them in spots on festivals. It’s a business on top of another business with an agenda to make a lot of fucking money.
Who are some DJs and producers that you think are leading the way for techno music and DJing?
There’s a couple of Detroit artists that are definitely focused on trying to hold up the flag and keep it running. One of them is in between electro and dance music. He calls himself Drummer B. I talk about him because he’s so talented and he’s patient and he’s got a skill level that can only come from being in a city like Detroit. Being surrounded by legacy, being surrounded by so much talent, believing in his own thing. He’s got elements of Detroit sound but he’s also got his own sound. He’s not laying down or relying just on the Detroit thing. He could flip on you and do something interesting with dance music and he could turn on and do straight up electro. I said this about Carl [Craig] 25 years ago: his boundaries are limitless, this guy could go to the moon with what he’s doing. He’s got so much talent. He’s only just begun but it’s almost impossible for him to get off the ground now because the industry has changed. There’s not that opportunity that there once was where people were just talented that they immediately are appreciated and discovered.
Now that you’ve done this project, do you have any new ideas and concepts that could take your live shows even further?
I still want to get into the film industry, I still want to have the chance to expose this music to as many people as possible. I still want to be a representative for the music and I still want to be motivated and inspired. So yes, I have many aspirations to create more projects, definitely. And to see the people I work with have the opportunity to have their music heard. And if that’s through more orchestras, or being involved with film and television, or the cinema. I’d love very much as well to work with off-Broadway productions or even off-off-broadway. I’d definitely want to do it. I’m looking forward to meeting Brian Eno, that’s a meeting that’s coming up soon for me.
Derrick May and The Orchestra performs at the Southbank Centre on August 29. Get tickets here