Detroit, City of Cars, City of Music
Abstract:This article explores the relationship between the political, social and economic environment of the city of Detroit and the music of the Motown record label. During the 1960s and early 1970s Motown was probably the most important Black record label in the United States. Although almost everybody involved with the Motown label was Black, the music was successfully aimed at both a Black and White audience – this despite the volatile and hostile racial relations in Detroit. Special attention is paid to the influence of Detroit as the city of Fordism with its extremely successful form of assembly-line production on the organization and production techniques at the Motown record label.
Document Type: Research Article
Publication date: September 1, 2005
Built Environment is published quarterly in March, June, September and December. With an emphasis on crossing disciplinary boundaries and providing global perspective, each issue focuses on a single subject of contemporary interest to practitioners, academics and students working in a wide range of disciplines. Issues are guest-edited by established international experts who not only commission contributions, but also oversee the peer-reviewing process in collaboration with the Editors.
Subject areas include: architecture; conservation; economic development; environmental planning; health; housing; regeneration; social issues; spatial planning; sustainability; urban design; and transport. All issues include reviews of recent publications.
The journal is abstracted in Geo Abstracts, Sage Urban Studies Abstracts, and Journal of Planning Literature, and is indexed in the Avery Index to Architectural Publications.
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