Herbie Hancock's <I>Future 2 Future</i>
Photo: Sony

Herbie Hancock, a jazz keyboardist consistently ahead of his time, continues his forward thinking on his new album, Future 2 Future.

With saxophonist Wayne Shorter, electric bassist Bill Laswell (who also produced the album) and acoustic bassist Charnett Moffatt rounding out Hancock's ensemble; guest DJs Rob Swift, A Guy Called Gerald, Carl Craig and DXT providing the cutting edge; and Chaka Khan and Imani Uzuri adding classically soulful vocals, Future 2 Future seamlessly bridges the gaps between electronica, cool jazz, hip-hop and funk. The set is scheduled for release September 25, according to Hancock's publicist.

Future 2 Future marks the first time Hancock and Laswell have collaborated since 1983's scratch-loaded "Rockit," which earned a Grammy award for Best R&B Instrumental Performance. The project stands as Hancock's first contemporary jazz project since his 1995 fusion album Dis Is Da Drum. Additional cameos are made by spoken-word poet Dana Bryant and drummers Jack DeJohnette, Karsh Kale, and the late Tony Williams, with whom Hancock played in the Miles Davis Quintet of the mid-'60s.

While Hancock is scheduled to tour in the fall with tenor-saxophonist Michael Brecker and trumpet player Roy Hargrove, a jaunt to support Future 2 Future is being planned for 2002, his publicist said.

Hancock, who began his musical career with 1962's Takin' Off, joined Miles Davis' group a year later, remaining with the innovative trumpeter for the next five years. Davis became Hancock's mentor, and the pair equally influenced each other's progression throughout their residency together. After leaving the Davis group, Hancock fully immersed himself in synthesized funk, recording albums with his own group and forming the Head Hunters in 1973. However, unlike Davis — who never looked back once he forged into fusion — Hancock periodically returned to his conventional jazz roots.

Hancock's last album of new material was 1998's Gershwin's World, an LP featuring the songs of composer George Gershwin interpreted by Hancock and a slew of collaborators, including Joni Mitchell, Stevie Wonder and pianist Chick Corea.

• Herbie Hancock
• Chaka Khan
• Carl Craig

Carl Craig
Photo: Backspin Promotions

A flag raised over a sea of dancers on the final day of last month's Detroit Electronic Music Festival read "DEMF = Carl Craig." DEMF producers Pop Culture Media and the City of Detroit will test the strength of that equation next year when they stage the increasingly popular festival's third edition without co-founder and artistic director Craig. A noted electronic-music producer and label owner in his own right, Craig was fired two weeks before this year's event for failing to secure several artist contracts on deadline (see "Clouds Settle Over Detroit Electronic Music Festival"). An advisory board of local dance-music experts — artists, label executives and club owners — will replace Craig, PCM president Carol Marvin said Wednesday.

An executive committee, which Marvin plans to introduce in September, will oversee the board.

"I don't care if people say we can't do this without Carl — but wait until after next year's festival to say it," Marvin said. "Give us a chance. I think this is positive. There will be some changes, but every festival changes every year. They all have a different feel." Change is exactly what many electronic-music enthusiasts fear. For two years the DEMF has peacefully celebrated underground dance music, particularly the historically unrecognized techno sounds of Detroit. Some argue that the festival is likely to lose its focus without Craig.

"With PCM selecting DJs for DEMF 2002, we're likely to see names like Paul Oakenfold and Moby on the lineup, and that is not what underground electronic music is about," said DJ Legal Alien, who performed at this year's DEMF. "Such big-name DJs don't have anything to do with Detroit and would be booked solely because of their mainstream popularity, which Carl Craig tried to avoid. Part of what has made the festival so special was that the public was exposed to DJs who have true respect in the electronic-music community." Rob Theakston, a Detroit DJ who has worked behind the scenes at the festival, expressed the "big fear that next year's lineup will manifest itself as one giant corporate booger, rather than expose the diversity of electronic music and its influence in all genres." Marvin said the board, not Pop Culture Media, would assemble next year's lineup. "I'm sure the board will have a lot to say about mainstream music," she added. "All I know is that we are always going to keep this festival fresh. Some people will like it. Some people won't. That's how it is." Without Craig, Legal Alien and Theakston said, the DEMF could lose its credibility and ability to attract the caliber of national and international artists it has in the past, such as the Roots or De La Soul. Craig's firing may also have alienated artists who sympathized with him in his dispute. Several DJs wore "I Support Carl Craig" stickers this year, and some acknowledged him during their sets. Marvin believes Craig's reputation didn't build the DEMF, the audience did. "I always say it's the people that make the party," she said. An estimated 900,000 fans gathered at Hart Plaza in 2000 and more than 2.3 million did the same in 2001, according to the Detroit Recreation Department (see "Rain, Controversy Couldn't Stop Beats At Detroit Electronic Fest"). Those numbers — "especially when they are well-behaved loyalists to the music," according to Marvin — will draw artists no matter who extends the invitation to perform.

Before his festival-stealing Sunday-night performance at this year's festival, Beastie Boys DJ Mix Master Mike said he wasn't the least bit influenced by Detroit techno. "I came because I want a million people to hear my music," he said. "I had artists send me flowers," Marvin said. "We take good care of them from the moment they get here. We make sure they have a good time." The packed and enthusiastic VIP area for most of this year's DEMF weekend supported Marvin's claim.

Still, has the conflict between Marvin and Craig tarnished the DEMF? "Leaving Carl out of this festival is like gathering all the animals on the ark and shutting the door on Noah right before it starts to rain," Theakston said. "It just doesn't seem right." Marvin said she regretted not having a group of people select the lineup from the beginning, and added that she will suggest the executive committee discuss inviting Craig onboard. "I am a fan of electronic music, but I didn't understand how emotionally attached to it the artists are," Marvin explained. "It must be because techno has been so underrepresented in the past. I understand their emotions now and feel bad that they are upset. But one thing people don't realize is how many artists work on this festival. Carl just had the most visible role." Craig vacillated as to whether he would join the board if invited. "I'm happy to do whatever is necessary to make the festival be what I wanted it to be," he said. "The festival is really important. It's an inspirational thing. It's where we all wanted to perform." He later noted, "It's easy to book the hottest people out there, but hopefully whoever takes my position will realize it's a free event and we need to make sure people understand where it comes from and how diverse it is." After firing Craig, Marvin accused him of using the festival to promote the 10th anniversary of his Planet E record label. Several labels took advantage of the weekend traffic to host parties, but Planet E had the most acts on the festival bill, including long sets by newcomers such as Recloose.

Marvin said a major goal next year would be to showcase other labels. "We will definitely focus more on labels," she said. "There are 40 labels here and I would like to highlight them somehow." Craig took a wait-and-see approach regarding the future of the DEMF. He wouldn't discuss his breach-of-contract and defamation-of-character lawsuit against Marvin and PCM. He admitted, however, that he was happy about the show of support he received from artists and fans alike.

"Unfortunately, Detroit is used to not getting the best and having to take what we get," Craig said. "It's great to see a revolution happen. I hope it gives people energy they can translate into the music." "I wish people had spoken out like this when George W. Bush was elected," he quipped.

• Carl Craig

Roni Size
Photo: Island

The world's top tier of electronic music artists — including the Crystal Method, Paul Oakenfold, Danny Tenaglia, Armand Van Helden, BT and Roni Size — will gather in August for a 10-city North American tour called Mekka. The outing, which kicks off August 4 in Montreal and wraps up September 2 in Los Angeles, will celebrate the launch of Mekka, a global entertainment company focused on the promotion and development of electronic music culture, according to the tour's publicist.

Acts from various genres of electronic music will be represented, from hip-hop to techno to drum'n'bass to trance. Deep Dish, LTJ Bukem, Mix Master Mike, Sandra Collins and Junior Sanchez are among Mekka's other top names. Several hip-hop acts will be announced later this month.

Mekka will include a rare live set by Detroit techno legend Carl Craig. BT, the Crystal Method, the New Deal and Überzone will also be performing live. Working the many turntables on the tour will be DJs Jimmy Van M, Derrick Carter, DJ Rap, Doc Martin, Dave Ralph, Stacey Pullen, Christopher Lawrence, Dieselboy, Mark Farina, DJ Craze, DJ Dan, Terry Mullan, Bad Boy Bill, Misstress Barbara, Andy C, DJ Hype, Grooverider and Mr. C.

Halo and Hipp-E of the Chicago DJ collective H-Foundation, who will also be spinning at Mekka, and Sanchez will mix separate CD compilations in conjunction with the tour. Release dates have not been announced. The tour will be the summer's third major tour featuring electronic music. Moby, Oakenfold, Carl Cox, the Orb, Timo Maas and others will be part of the Area: One tour on July 11 in Atlanta (see "Area: One Festival's Details Come Into Focus"), while Perry Farrell's Jubilee festival, headlined by Jane's Addiction, is also expected to feature top DJs and producers (see "Jane's Addiction Touring In August"). Details for that tour have not been released, though publicists for several electronic music stars, including Size, have said they have been invited to join the outing. Mekka will be held in outdoor venues, such as large fields and fairgrounds. Venues will be announced at a later date. The artists will perform on multiple stages and in tents. Mekka, the company, will specialize in artist management, wireless applications, magazine publishing and music distribution and publishing.

Mekka Tour dates, according to the tour's publicist:

• 8/4 - Montreal, QC
• 8/5 - Toronto, ON
• 8/8 - Dallas, TX
• 8/10 - Jacksonville, FL
• 8/11 - Miami, FL
• 8/18 - New York, NY
• 8/25 - Chicago, IL
• 8/30 - Seattle, WA
• 9/1 - San Francisco, CA
• 9/2 - Los Angeles, CA

• The Crystal Method
• Roni Size
• BT
• Paul Oakenfold
• Mix Master Mike

Carl Craig
Photo: Backspin Promotions

You have to hand it to techno junkies — not much can come between them and their beats.

Hostile weather, behind-the-scenes controversy and canceled sets from two of the biggest attractions (LTJ Bukem and Carl Cox) all threatened to put a damper on the Detroit Electronic Music Festival, but the attendees — estimated between 850,000 and 1.5 million over a three-day period — kept dancing.

Not until hail and lightning shut down the second annual event with an hour left to go Monday night did the pulsating rhythms from turntables, synthesizers, voices and a few guitars begin to dissolve from historic Hart Plaza in downtown Detroit. It didn't look good early Saturday morning, hours before America's most vital electronic music gathering was to get underway, when local police arrested 125 people at two nearby raves, confiscating guns, drugs and tanks of nitrous oxide. Although they weren't festival related, the busts were a sign that authorities weren't going to turn a blind eye to some of the scene's unlawful components.

And when the festival did kick off, immediately people were talking about the absence of Bukem, the popular U.K. drum'n'bass producer scheduled to perform Monday night. Although there were rumors he pulled out after festival cofounder and creative director Carl Craig was fired earlier this month (see "Clouds Settle Over Detroit Electronic Music Festival"), promoters said Bukem had problems with his passport.

Speaking of Craig, it seemed as though nobody was going to be able to forget about his story — the classic artist vs. corporation struggle that had been so well-documented by local press. The longest line at noon Saturday was the one at the booth for his label, Planet E, where they were handing out little pink "I support Carl Craig" stickers. Asked one clueless onlooker: "What is Carl Craig running for?" Not public office, the DJ said later. "I deal with too much politics already," he said. Changing to a more serious tone, he added, "It was good to see a mass of pink stickers from the stage. I'm glad to have the support." DEMF 2001 seemed doomed, but leave it to the music — entrancing styles of techno, jazz, rock and hip-hop umbrellaed (no pun intended) under the "electronic" label — to revive the inspirational spirit so heralded at the festival the year before.

By P'taah's ambient Saturday afternoon set on the Ford Focus Main Stage, everything but the music was an afterthought. Police on duty were calling the event "peaceful" and bobbing their heads to the tunes (the exact number of arrests at the DEMF was not available Tuesday morning, though early reports in The Detroit News indicated it was only a handful). Craig was racing to and from the four stages to see the acts he booked. Even Carol Marvin, the president of Pop Culture Media, who sponsored the event and was scorned for terminating Craig's contract — effective Tuesday (May 29) — wore a smile. Techno music may have been born in Detroit, but this was only the second time the city had a chance to relish it. A tornado could have wiped through site — sending pacifiers, glow sticks and Red Bull cans into oblivion — and this show would have gone on. Music fans from around the world descended on Detroit determined to hear more than 70 acts, ranging from DJs Doc Martin and Laurent Garnier to bands Tortoise and Jazzanova. Dressed in rain-soaked club wear, the festival saw people and families of all ages and races grooving to a variety of entertainment. The DEMF had a number of memorable moments, many of which infused popular music with the beat mixing of DJing or the record scratching of turntablism.

Canadian John Acquaviva closed his two-hour, festival-stealing DJ set Sunday afternoon by dropping Eddy Grant's 1983 hit "Electric Avenue" into his mix. He started by laying the song's factory sound effects over a slippery beat, eventually inserting lyrics and finally the entire track.

The night before, Static Revenger opened his pounding set with the oozing guitar and screaming fans from Peter Frampton's live version of "Do You Feel Like We Do." Kid Koala, a flashy turntablist who announced he was available "to DJ weddings and children's parties," spliced up Tears For Fears' "Shout" so much during his set Sunday that when he finally played the chorus, which the packed crowd sang along to, it was a shock to hear what song he had been working. The artist with the most pop music references — and the most people watching him — was Beastie Boys DJ Mix Master Mike. Dropping at least a record a minute during his 90-minute headlining set on Sunday, he made sure to play plenty of Beasties, along with sprinkling familiar lines from Rage Against the Machine and Rush over underground hip-hop albums that begged for boogying. Mike said before his set that he was never influenced by Detroit techno, but couldn't resist Craig's invitation. "I just heard 1. 5 million people were here last year," he said. "That's a lot of ears." Mix Master's mainstream appeal drew a large crowd, but as Craig said many times during the weekend, the DEMF is not about recognizable artists, but the history of electronic music and its future. Techno trailblazer Juan Atkins, before being cut off at the end of his festival closing set (Derrick May was to follow), traced electronic music's origins by playing some of his early tracks next to those by Afrika Bambaataa and Kraftwerk.

Kevin Saunderson reunited his 10-piece electronic ensemble Inner City to warm up for Atkins, though it was the reunion of A Number of Names that created the most buzz. The Detroit duo behind 1981's "Shari Vari," often cited as the first techno track, played their guitar and synth music together for the first time in 19 years. Long Island hip-hoppers De La Soul made history the heart of their Sunday afternoon show, chronicling their own career from 1989's 3 Feet High and Rising to last year's Art Official Intelligence: Mosaic Thump. On the other end of the spectrum was the self-proclaimed future of hip-hop, Saul Williams, whose debut album was released in Europe earlier this year, "but America isn't ready for it yet," he said. The lyricist, who starred in the movie Slam, garnered mixed reactions with his preachings put to electronic and rock grooves. The real taste of things to come could be heard Friday night from the underground Bacardi/Real Detroit Weekly stage, where Autechre were breaking down techno beats on their computers and building them back up with all sorts of twists and turns. With U.K. superstar DJ Carl Cox calling in sick Monday, the final day was bland until the Detroit legends Inner City and Juan Atkins took the stage. When Derrick May came on to announce the DEMF would end early, he introduced Craig to wild applause. Craig's final words: "It was my pleasure to have you in Hart Plaza. We rocked it once again."

• De La Soul
• Carl Cox
• LTJ Bukem
• Mix Master Mike
• Carl Craig

De La Soul
Photo: Mo Daoud

Weather forecasts are in, and a dark cloud will likely settle over Detroit this weekend during the second annual Detroit Electronic Music Festival — both literally and figuratively. Scattered showers and thunderstorms are expected Saturday through Monday. Equally threatening, however, is the turmoil surrounding the event's organizers.

Earlier this month, producers Pop Culture Media announced it was terminating festival co-founder and creative director Carl Craig's contract because he failed to deliver several signed performer contracts on deadline.

Craig, a renowned techno artist and label head many believe gave the DEMF its credibility when it debuted last year, claims the charges against him are unfounded. Last week he filed a lawsuit against PCM and festival co-founder Carol Marvin for breach of contract and defamation of character (see "Carl Craig Fires Back At Festival Organizers Who Fired Him").

The DEMF, which kicks off at noon Saturday and runs until midnight each night, will feature more than 70 performers, including drum'n'bass innovator LTJ Bukem, techno experimentalists Autechre, turntablist Kid Koala and house veterans Carl Cox and Laurent Garnier.

This year's event, again free and held on four stages in Hart Plaza, lacks the hip-hop emphasis that paired Mos Def and the Roots with Richie Hawtin and DJ Spooky. DEMF 2001, however, is loaded with turntable wizards including Doc Martin, Glenn Underground, Jazzanova, Derrick Carter, John Aquaviva, Mark Farina and P'taah (a complete lineup is available at www.electronicmusicfest.com).

"I selected people who would make a statement musically and inspire people to come out and listen," Craig said. "It wasn't like, 'I got to hire this guy because he's a big name.' It was like, 'I got to hire Tortoise because they're unbelievable music makers.' It's all about the music." The inaugural DEMF was several years in the making, according to Marvin, who produced the Detroit Jazz Festival for six years. It was designed to expose a Detroit-born musical style that was receiving more recognition elsewhere. When the likes of Craig, Kenny Larkin and Stacey Pullen first morphed early drum-machine rhythms and synthesizer patterns into nascent techno during the early and mid-'80s, it changed electronic music forever. It was time to pay Detroit and its artists the respect they deserved. Last year's festival drew a surprising 1.1 million people from around the world and was deemed a massive success.

The festival's behind-the-scenes conflicts have many techno fans outraged at the treatment of one of their heroes.

"I have no confidence whatsoever that the DEMF can flourish as it should under people who don't have an understanding of Detroit techno's global importance, its history and its unique strategies," said Tim Barr, author of "Techno — The Rough Guide." "Along with many people here in the United Kingdom, I've cancelled my trip to this year's festival in protest at what I perceive as a fatal blow to what was the most promising event on the global musical calendar." Craig, who is also celebrating the 10-year anniversary of his Planet E label this weekend (see "Carl Craig To Celebrate Planet E Label With Compilation, Party, Reissue"), admits his differences with Marvin have affected the festival and his spirits. "It's like the freakin' government taking away your baby," Craig said. "You go to court against the mother of the child and then the judge says, 'We think the mother should have the baby.' Of course you're going to feel really hard about it. It's your flesh and blood. It's my idea. It's a shame we've had to part ways in such a screwed-up situation." Craig's absence will almost certainly affect next year's festival, but what about this year? He is still on board until May 30 and has signed a stellar lineup that includes Mixmaster Mike, De la Soul and Tortoise as well as fellow Detroit artists Juan Atkins, Kevin Saunderson and Derrick May (known as the Belleville Three, for the suburban high school they attended during the late '70s). "I think the signs were there months ago that this year's event would be very different from last year's," Barr said. "I suspect many of those changes resulted from behind-the-scenes maneuvering as people outside the music have forced their way in, hoping to grab a slice of the action for themselves." Craig said Marvin went behind his back while planning this year's festival, which has been officially renamed fOCUS://DEMF/2001 after sponsor Ford Motor Company's Focus model (Atkins' "No UFOs" has been used in Focus commercials since last fall). Several calls to PCM and Marvin were not returned.

"There's some DJs being put in without my approval," Craig said, though he refused to give names. "If I wanted to hire them, I would have hired them." Still, the show must go on. "The festival is about an idea, a great idea," Craig said. "Just because I have issues with one person in particular doesn't mean it's going to ruin how I feel about the festival. I'm excited about everyone I asked to play. I'm interested in seeing a lot of the new jacks. There's some really amazing talent." Credibility may have to be found elsewhere next year. According to Dan Sicko, a Detroit native and author of "Techno Rebels: The Renegades of Electronic Funk," Pop Culture Media is considering filling Craig's role with a panel of artists and industry insiders. "That can't and won't be as strong as one person's vision by definition," Sicko said. "While things were damn near perfect last year, some seams are showing this year." DEMF 2001 will naturally be compared to last year's edition, a tough act to follow. The festival went off with few hitches (a handful of drug-possession arrests were made and one man was seriously injured when he fell off a statue) considering that more than 300,000 people attended each day. "It was an unprecedented success story," Barr said of last year's DEMF. "The numbers who traveled from Europe to attend confirmed the huge worldwide interest in the music coming out of Detroit." What also instilled the DEMF as a landmark event was the support of Detroit, which provided Craig and Marvin with a venue and initial funding. The city's involvement is in sharp contrast to other dance-music hotbeds such as San Francisco, New Orleans, New York, Chicago, Toronto and Miami, where officials target the club and rave scenes in an attempt to curb the use of ecstasy and other party drugs.

"Detroit realizes they can bring back the reputation and respect Motown had at one time," said Craig, who has released landmark techno records under the aliases Paperclip People, Innerzone Orchestra and Psyche. "It benefits Detroit more to support the music and events like this rather than shut them down." While the event itself is free, the city capitalizes on millions of dollars from tourists, who last year began flocking to Detroit as early as Wednesday for parties. Several clubs will be packing music fans in during the night this year as well. Atkins, May and Saunderson play one of the most anticipated parties Friday at the CPOP Gallery, while Ken Ishii headlines the Mekka party Saturday at the Majestic Theater Center and Metro Area top the 7th City party at the SereNgeti Ballroom. Craig makes his only turntable appearance Sunday at the Planet E party at the Labyrinth.

If the clouds don't pass — both the literal and figurative ones — the weekend's real excitement could well take place indoors.

• LTJ Bukem
• Carl Craig
• De La Soul
• Carl Cox

Carl Craig
Photo: Backspin Promotions

Techno legend Carl Craig may be bitter about losing his job as creative director of the Detroit Electronic Music Festival (DEMF), but he's still taking advantage of its expected draw to help celebrate the 10th anniversary of Planet E, his Detroit-based label.

Craig is debuting a DEMF-related Planet E compilation at the festival, which kicks off Saturday at Hart Plaza, and throwing an anniversary party the following day at a nearby club.

Dubbed All Access, the album features artists who either performed at last year's inaugural event or are scheduled to play this year. These include fellow Detroit veterans Stacey Pullen (as Black Odyssey), Kenny Larkin (as Dark Comedy), Richie Hawtin, Kevin Saunderson (as Inner City), Slum Village and Random Noise Generation, who contribute the exclusive track, "The Playground." Up-and-coming Detroit artists such as Recloose, Ibex, Lacksidaisycal and Bill Van Loo round out the record. "It's an interesting project," Craig said. "It's a compilation to make sure that not only the big guys who have been around are included, but also new cats who don't really have a lot of chances — and one of them is to get up on the DEMF stage and play." All Access, which Craig said will be the first in a series of compilations centered on the DEMF (now officially called fOCUS://DEMF/2000 after a car model sold by sponsor Ford Motor Company), will be available at the festival's Planet E booth, in Detroit record stores and on Planet E's Web site (www.planet-e.net) beginning Saturday. It will be released worldwide later this year.

Sunday's anniversary party, also dubbed All Access, will feature the weekend's only performance by Craig, who was not scheduled to spin at the DEMF even before Pop Culture Media, the festival's producer, announced it was terminating his contract as creative director on May 30 because he failed to deliver 18 of 72 performer contracts that needed to be signed on deadline.

Craig claims the charges against him are unfounded and last week filed a lawsuit against Pop Culture Media and DEMF co-founder Carol Marvin (see "Carl Craig Fires Back At Festival Organizers Who Fired Him"). He promised a memorable set at the All Access party, which will be held from 10 p.m. to 6 a.m. in three different rooms at The Labyrinth club. "I'm going to play space-age funk," he said. "I want to touch on what we've been doing the past 10 years, as well as music of the last couple of decades and music from the future." Other DJs scheduled to perform include France's Laurent Garnier, Gilbr' and Recloose. Also by way of commemorating Planet E, Craig is re-releasing his classic cut "The Climax" on Saturday. The track was originally released in 1990 under his Paperclip People alias. The new single will feature a re-mastered version of the song and a dub remix — both by Berlin group Basic Channel.

"We were waiting for the right time to re-release it, and our 10th anniversary seems like the right time to do it," Craig said. "We put a lot of care and thought into the project instead of it being just, 'Let's put it out again.'" "The Climax," released originally on Craig's short-lived Retroactive imprint and later on the UK's Ministry of Sound label, will be the first in a new series of 12-inch re-releases pressed on quality heavy vinyl with full-color sleeves.

• Carl Craig
• Richie Hawtin
• Kevin Saunderson
• Slum Village
• Laurent Garnier

Carl Craig
Photo: Backspin Promotions

Techno legend Carl Craig says that claims by Detroit Electronic Music Festival organizers that he missed deadlines are false, and he says he's suing them for breach of contract and defamation of character after being asked to step down as the event's creative director on Thursday.

Last week, Pop Culture Media, which produces the festival, told Craig that his contract was being terminated because he failed to deliver contracts to the city's Recreation Department in time to process deposits paid to artists to guarantee their appearances, according to the Detroit Free Press. In a statement issued Monday (May 14), Craig said that such claims were false and accused the president of Pop Culture Media of failing to provide him with artist agreements until early April, which didn't give him enough time to finalize contracts. Craig was instrumental in organizing the first festival in 2000 and will stay in his position through the completion of this year's event.

The city and Pop Culture Media jointly present the free festival, which last year drew about 1.1 million people from around the world. This year, Ford Motor Company — which uses Detroit techno star Juan Atkins' "No UFOs" in commercials for its Focus model — signed on as a co-sponsor.

Pop Culture Media president Carol Marvin told the Free Press that as of Thursday only 55 of the 73 contracts had been submitted. Without those contracts, the city can't pay the artists' deposits, meaning they're not legally obligated to perform.

Marvin said she had paid one artist with her own money and said festival organizers hope to get deposits to the remaining artists this week.

Craig said his contract does not include any deadlines for finalizing contracts, and he pointed out that his position as a respected member of the Detroit techno community allowed the festival to attract artists on the cutting edge of electronic music. Craig added that he and his assistant worked around the clock to get contracts and performance agreements signed.

Neither Craig nor Marvin could be reached for comment. "I have chosen to be low-key about the pressures that I have endured over the last three months," Craig said in his statement. "A positive image and strong artist lineup for the DEMF have always been my main concerns." Artists scheduled for the May 26-28 event at Hart Plaza include Derrick May, Atkins, LTJ Bukem, Tortoise and De la Soul.

• Carl Craig