Trailblazing pioneers are breaking down the boundaries between charity and private enterprise. The days of business loans, collateral, and equity stakes are over. In today's world, a for-profit business can just ask for donations that never have to be repaid, and pocket the returns that couldn't have been made without those donations.
The owner of The Painted Lady is one of these brave souls, crushing the old barriers, and ushering in a new paradigm . He's asking for donations to keep the bar open after they got themselves in some legal trouble.
Not everyone understands this new age we're living in. They foolishly still believe that privately owned businesses should bear the risks themselves if they want to keep the profits during the good times. What year do you think you're living in, 2007?
Come out to the Painted Lady on Saturday, and help this business/charity stay alive.
Friday, July 8, 2011
Thursday, July 7, 2011
The funding goal was reached at the last minute, so the "Urgh! A Detroit Music War" documentary should become a reality (do the donors get their money back if this never gets completed?). The attempt to document what's happening in Detroit music is a noble goal. Ideally, such an attempt would be made every year, allowing viewers to watch bands evolve over time. The argument about whether $5000 is an appropriate amount, or the validity of how kickstarter is used was made elsewhere (and without procrastination), so we can put that aside.
The creators of A Detroit Music War don't seem to be considering the conclusions that might be drawn from the context of their documentary. In the original "Urgh! A Music War", you saw bands that were being watched by hundreds and hundreds of people. The Detroit version has eighteen bands all on the same day, at The Lager House, a place with a maximum capacity of roughly a hundred people (I'm guessing). Eighteen bands, four band members per band on average, so let's estimate 72 people there that are in one band or another that's playing that night. Halfway through watching the new documentary, people will say "Hey, is the audience made up mostly of members of the other bands?". They'll likely draw the conclusion that the Detroit music scene was mostly concerned with relatively small social circles, and weren't making sincere efforts to reach larger audiences.
The summer of 1968 in Paris was called The Summer of Love. Will the summer of 2011 in Detroit be called the Summer of the Circle Jerk?