214:-era inner-city economic recession, producing uncompromising music geared toward promoting awareness and facilitating political change. In contrast to techno that preceded UR, UR tried to appeal to lower class African Americans in Detroit. UR's tracks created a sense of self-exploration, experimentation and the ability to change yourself and circumstances. Additionally, UR wanted to establish a means of identification beyond traditional lines of race and ethnicity. By targeting lower class African Americans, UR intended to inspire black men to get out of the poverty cycle in the city. Their mission was to return techno music to the underground: underground not meaning experimental and unpopular music, but rather a deliberate effort to create sonic communities on the periphery of mainstream culture as resistance against the socio-economic racial hierarchies. It was about providing new ways for lower class African Americans to form their identities. The Underground Resistance's politics extended to providing alternative identities to inner city African American youth, other than the hyper-masculine, hard and violent identities existing within the city. This was a gendered group, however, and the UR focused their attention on young black men. Another form of UR's rebellion concerns the rejection of the commercialization of techno. This is evident in the messages scratched in UR vinyl, lyrics and sounds expressing economic independence from major record labels.
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House on their first track The Theory, but really came into their sound by the fourth release, Waveform (1991). Their sound was informed by their lived realities as well as the music scene at the time, namely the "Reagan era of inner-city economic recession" that particularly affected
Detroit, along with the longstanding racial relations of the country that led to the rise and collapse of the Black Panther Party. Their ethos consists of Afro-futurist and anti-corporate sentiments that center the self-fashioning of their own image and control of their production and distribution.
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335:"commitment to metropolitan politics and the criticism of its racist dimension seem to be at least equally important." In fact, URs discussion of race is an integral and distinguishing aspect of its politics and aesthetics that functions to directly oppose not only real-life systems of white supremacy, but also the media that maintains its prevalence in the mainstream.
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early sessions at
Paragon. Banks was also working on funk and house-inspired projects with the group "Members of the House." At this time, Robert Hood was going by Robert Noise, and created artwork for the group’s 1987 LP. Banks had also previously been a part of a group called "the Mechanics," which sometimes covered
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1992's "Message to the Majors" saw UR in full opposition to the music industry and the commercialization of Techno. In the album notes, the collective writes, "Message to all murderers on the
Detroit Police Force -- We'll see you in hell." What's made clear by this oppositional rhetorics is that UR's
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Due to the negative attention directed against the label, Sony voluntarily withdrew the release, citing a desire to avoid further damaging their relationship with the musical underground. The dispute ultimately contributed to the international popularity of the original UR release, which became seen
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Their move against forces destroying their communities included a rejection of hedonism and the image of techno as drug music. They also have a persona that emphasizes anonymity to push back against the profiling of Black DJs, performing wearing balaclavas and touting the nondescript "UR" logo. This
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Many of UR's earliest output would be the product of various experiments by Banks, Mills, and Hood – both solo and in collaboration. "The Theory" and "Eye Of The Storm" (Sonic EP) were among the two earliest UR tracks to be released in 1990, followed by a stream of EPs and singles including "Riot",
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label but he did not end up getting to the record quickly enough. The duo ended up releasing the record themselves, establishing their ethos for independent music releases, describing their sound as a "rumor in the music." The group attempted to merge the sounds of both Final Cut and
Members of the
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in the 1970s. Mills in a 2006 interview responds to that claim: "All the black men you see in
America today are the direct result of those actions: all the freedoms we have, as well as the restrictions, refer back to the government and the Black Panthers in the '70s". Mills continues: "So we make
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campaign against the label. "Mad" Mike described the strategy as a conceptual rejection of the justice system and its legitimacy. Fans were encouraged to boycott the release and contact record stores and the labels themselves with messages of protest. Some fans reported vandalizing or destroying
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Founding member "Mad" Mike denounced the release, arguing that it did not constitute a legitimate cover as it was intended to profit from rather than offer tribute to the group. When confronted, Sony justified its actions by stating they intended to credit
Rolando as the composer of the work and
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in 1989 with Tony Srock for
Paragon Records. After a falling out with producer Jerry Capaldi involving unequal power dynamics between the white suburban executives and the Black musicians, Final Cut left the label. Mills also left Final Cut in 1990, after which he joined Banks, whom he knew from
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page defines it as “a
Detroit-based community music hub, which aims to build the future leaders of electronic music through its distinctive educational curriculum and mentorship model, rooted in Detroit’s Black electronic music legacy.” The academy offers lessons on DJing and music production,
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In response to the economic reality of Black
Detroitians at the time, Underground Resistance became involved with Submerge, a "supportive economic community" of labels and musicians but also lawyers and financial experts that allowed musicians to experiment with a financial safety net.
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1998's "Interstellar
Fugitives", the first full album credited to Underground Resistance, saw Mike Banks redefining the collective's sound as "High-Tech Funk", reflecting a shift in emphasis from hard, minimal club Techno to breakbeats, Electro and even occasionally
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songs live, again demonstrating the shift in the popularity of electric music from the house scene in Chicago to white artists and the European market. The goal of Underground Resistance would be to bring these sounds back to the communities that created them.
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When Mills and Hood moved on from the collective in 1992 to achieve international success as solo artists and DJs, Banks continued to lead UR releasing EPs during the mid-1990s such as "Return of Acid Rain", "Message to the Majors", and excursions into
295:. Because that's indicative of the era we were born in, and the things we remember. As time goes on, naturally I think the messages will get further away from that. It's not a coincidence. There is a reason behind UR and Public Enemy and these people."
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move was meant to work against the idea of the "superstar DJ," emphasizing the mission of the music as a communal project. This anonymity is emphasized by the legion of artists that cycle through the collective, notably including
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Sony claimed in subsequent statements that they first tried to contact UR to license the EP for release in Germany, recognizing the potential for a crossover hit. Receiving no response, they instead commissioned and released a
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In 1999, DJ Rolando released UR's most commercially successful EP, "The Knights of The Jaguar". Legal and conceptual ownership of the track became the subject of a battle between UR and
111:, Buzz Goree, Frankie Fultz, Gerald Mitchell, Ghetto Tech, ISH, James Pennington, Marc Floyd, Mark Flash, Mark Taylor, Mike Clark, Milton Baldwin, Raphael Merriweathers Jr.,
221:", which was punchy, rigid, and influenced by European rock n roll with hubs in Belgium and Chicago. Mills was heavily influenced by the sound of groups like Belgium-based
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We urge all brothers and sisters of the underground to create and transmit their tones and frequencies no matter how so called primitive their equipment may be.
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of the original, "tone-for-tone", which was released as a promo. For their part, UR denies that they ever received a request from Sony to license the track.
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music. We make music about who we are and where we’re from. Of course there are going to be links – that's why we had songs with titles like
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299:"Acid Rain", and "Jupiter Jazz". From Submerge came the Underground Resistance side projects X-101 and X-102. Under the aliases
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Their website proclaims the following call to action, encapsulating their attitudes towards the formal music economy:
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765:"Beyond the Hood? Detroit Techno, Underground Resistance, and African American Metropolitan Identity Politics"
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musical aesthetic, they are also renowned for their militant political and anti-corporate ethos.
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Although the group initially suggested they might pursue legal action, they instead conducted a
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Recently, the Underground Music Academy (UMA) was launched in May 2023 by the DJ and producer
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So called primitive animals and tribal humans have known this for thousands of years!
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1413:"Underground Music Academy is ushering in a new generation of revolutionary artists"
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Jeff Mills was already an established technical DJ who came from a background of "
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to the social, political, and economic circumstances which followed on from
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offering scholarships to increase accessibility for marginalized youth.
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1088:"Underground Resistance review: a lecture and dance with techno titans"
891:"Underground Resistance review: a lecture and dance with techno titans"
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1369:"DJ Rolando on Leaving Underground Resistance and Life After Detroit"
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965:"DJ Rolando on Leaving Underground Resistance and Life After Detroit"
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Isn't it obvious that music and dance are the keys to the universe?
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as symbolic of the group's independence and anti-corporate stance.
437:, a student and collaborator of Underground Resistance. The UMA
1019:
Andrez Bergen (September 2006). "Jeff Mills Does Solo Flight".
1207:"How Underground Resistance Became the Public Enemy of Techno"
1002:"How Underground Resistance Became the Public Enemy of Techno"
909:"How Underground Resistance Became the Public Enemy of Techno"
769:
Journal of International Association of Inter-American Studies
19:
This article is about the musical artist. For other uses, see
1393:
107:, Andre Holland, Billebob, Chuck Gibson, Cornelius Harris,
614:
Interstellar Fugitives 2 – The Destruction Of Order (2006)
488:
The Theory (1990 – appeared on the Equinox Chapter One EP)
569:
Electronic Warfare – Designs For Sonic Revolutions (1996)
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Transmit these tones and wreak havoc on the programmers!
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As Underground Resistance, Banks and Mills tried to get
459:
X-102 – Discovers The Rings Of Saturn (1992 – as X-102)
478:
A Hi-tech Jazz Compilation (2005 – as Galaxy 2 Galaxy)
465:
Interstellar Fugitives 2 – Destruction Of Order (2005)
928:"UNDERGROUND RESISTANCE — Detroit's Sonic Revolution"
350:
In 2014, UR took part in a lecture and discussion at
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The Return Of Acid Rain – The Storm Continues (1993)
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1993 Seven Grand Housing Authority – "The Question"
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524:Groundzero / The Rings Of Saturn (1991 – as X-102)
92:Underground Resistance, Somewhere in Detroit (SID)
829:"Underground Resistance: Breaking Down The Walls"
1040:Techno Rebels: The Renegades of Electronic Funk
866:Techno Rebels: The Renegades of Electronic Funk
784:"The Director's Cut 2: Underground Resistance"
705:2008 Anthony Rother – "When The Sun Goes Down"
8:
678:1997 Rashid Salaam – "'D' Old Skool Dances"
662:1992 Ingator II – "Skyscratch (Mano Mano)"
642:1991 Digital Boy – "This Is Mutha F**ker!"
518:Fuel For The Fire – Attend The Riot (1991)
170:) are an American musical collective from
25:
1264:
509:Living For The Nite (1991 – With Yolanda)
425:Rolando departed the collective in 2004.
319:. Increasingly acclaimed artists such as
758:
756:
806:"tti… Speaks to Underground Resistance"
752:
717:2015 Esteban Adame – "Rise & Shine"
708:2010 Soul Designer – "The Soul Is Back"
21:Underground resistance (disambiguation)
1241:"Techno, "Frankenstein" and Copyright"
827:Patrick Henderson (13 November 2015).
395:, the details of which are contested.
1504:Electronic music groups from Michigan
1338:. University of Toronto Press. 2013.
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1151:"Sony Informs UR of Their Intentions"
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720:2017 Funkadelic – "Music 4 My Mother"
714:2013 Robert Hood – "Black Technician"
494:Your Time Is Up (1990 – With Yolanda)
250:to release their first record on his
7:
889:Longley, Martin (15 December 2014).
652:1992 Bass Probe – "Mind Experiments"
557:Acid Rain III – Meteor Shower (1993)
1086:Martin Longley (15 December 2014).
763:Christopher Schaub (October 2009).
726:2022 Waajeed – "Motor City Madness"
1108:"Underground Resistance manifesto"
16:American techno musical collective
14:
1519:Record labels established in 1989
812:. 20 October 2007. Archived from
521:Sonic Destroyer (1991 – as X-101)
410:grant him royalties on its sale.
1044:. Wayne State University Press.
868:. Wayne State University Press.
632:UR Presenta Mano De Fuego (2022)
36:
1471:Underground Resistance (artist)
1411:Lauryn, Ash (28 October 2020).
1335:Transnationalism, Activism, Art
1125:Eamon Sweeney (12 March 2001).
1000:Piotr Orlov (19 October 2018).
593:Millennium To Millennium (2001)
587:Knights Of The Jaguar EP (1998)
1480:Underground Resistance (label)
782:Kris Needs (22 January 2018).
702:2007 Commix – "Satellite Song"
143:, Gerald Donald, James Stinson
1:
1065:Mark Fisher (November 2007).
983:"Originators — James Stinson"
623:Electronic Warfare 2.1 (2007)
620:Electronic Warfare 2.0 (2007)
602:Inspiration/Transition (2002)
462:Interstellar Fugitives (1998)
156:www.undergroundresistance.com
1499:American techno music groups
1239:McCutcheon, Mark A. (2007).
951:Detroit Electronic Quarterly
629:Somewhere In Japan EP (2010)
536:Message To The Majors (1992)
512:Elimination/Gamma-Ray (1991)
475:Revolution For Change (1991)
331:also joined the collective.
115:, De'Sean Jones, Jon Dixon,
1524:Musical groups from Detroit
1445:"Underground Music Academy"
1431:"Underground Music Academy"
1367:Rees, Thomas (2011-05-23).
1205:Orlov, Piotr (2018-10-19).
1149:Dreyer, Dirk (1999-12-10).
626:This Is What Happens (2009)
608:Transition/Windchime (2003)
377:Long live the underground!
1550:
1307:Banks, Mike (1999-12-08).
723:2018 Radio Slave – "Trans"
599:The Analog Assassin (2002)
584:Radioactive Rhythms (1997)
18:
1257:10.1017/S0261143007001225
1182:"Resistance Isn't Futile"
1127:"Resistance Isn't Futile"
563:Electronic Warfare (1995)
539:Belgian Resistance (1992)
506:The Final Frontier (1991)
429:Underground Music Academy
418:copies in record stores.
182:since 1990 with a grungy
166:(commonly abbreviated to
35:
1309:"UR Has Been Ripped Off"
575:The Turning Point (1997)
382:- Underground Resistance
194:First formed in 1989 by
1392:LeJarde, Arielle Lana.
578:The Infiltraitor (1997)
566:Soundpictures EP (1995)
456:X-101 (1991 – as X-101)
225:, and formed the group
1509:American record labels
1463:Underground Resistance
1067:"Mike Banks interview"
672:– "The Colour of Love"
665:1992 Maurizio – "Ploy"
515:Nation 2 Nation (1991)
387:Conflict with Sony BMG
178:. Producing primarily
164:Underground Resistance
45:Background information
30:Underground Resistance
742:List of record labels
711:2010 Randolph – "GPS"
699:– "People Are People"
315:on "Hi-Tech Jazz" as
1514:Techno record labels
794:on 20 February 2019.
533:World 2 World (1992)
503:Waveform E.P. (1991)
356:Museum of Modern Art
244:The Belleville Three
1534:Rhythm King artists
1529:Musical collectives
1354:10.3138/j.ctt5hjxtn
1036:Sicko, Dan (2010).
864:Sicko, Dan (1999).
788:Nomorebigwheels.com
659:– "Can You Feel It"
542:Acid Rain EP (1992)
915:. 19 October 2018.
596:Illuminator (2002)
581:Codebreaker (1997)
560:Dark Energy (1994)
527:The Seawolf (1992)
1345:978-1-4426-4319-2
1051:978-0-82-308428-9
987:Nowadays Magazine
947:"Gerald Mitchell"
816:on 18 March 2008.
670:The Reese Project
647:The Reese Project
202:, UR related the
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54:Detroit, Michigan
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1311:. Archived from
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196:"Mad" Mike Banks
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551:Kamikaze (1992)
545:Panic EP (1992)
497:Punisher (1991)
491:Sonic EP (1990)
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343:and down-tempo
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317:Galaxy 2 Galaxy
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483:Singles/EPs
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240:Juan Atkins
232:Kraftwerk's
137:Robert Hood
73:acid techno
1493:Categories
1378:2020-06-10
1319:2020-06-09
1216:2020-06-10
1191:2020-06-10
1161:2020-06-09
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748:References
692:– "Update"
321:DJ Rolando
265:DJ Rolando
204:aesthetics
200:Jeff Mills
184:four-track
141:DJ Rolando
133:Jeff Mills
105:Mike Banks
1291:144178642
1275:0261-1430
1266:2149/3154
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61:Genres
56:, U.S.
50:Origin
1373:XLR8R
1350:JSTOR
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