Fall In Love With: It Came From Detroit

Throughout the history of rock, there have been cities in the U.S. that have had their turn as the epicenter of the next wave of music. Athens, GA brought us R.E.M. and created a jangle-rock genre that took The Yardbirds sound to another level. Minneapolis brought us Husker Du, The Replacements and a raw sound that had a profound impact on music. The impact of Seattle with the development of grunge has been well documented. At the turn of this century, Detroit brought us The White Stripes, The Von Bondies, The Dirtbombs and a series of bands that redefined music once again. While their impact on U.S. music was significant, England became obsessed with the Detroit music scene and recognized its genius. Filmmaker James R. Petix recognized the importance of what was happening in Detroit and documented it for the brilliant film, “It Came From Detroit”. The film does an amazing job of portraying the sights, sounds and…smells of what the music scene in Detroit was like during this period. Having grown up smack dab in the middle of the Detroit music scene, this writer can tell you that the music from this period exuded a characteristic that’s rarely scene in music now: Sincerity. The grit, sweat and passion portrayed in, “It Came From Detroit” is a powerful message to the record industry of how “real” music will survive in the harshest of conditions. James took some time to talk about the film, the Detroit music scene and his efforts to bring his message to the masses.

TDOA: I’m not sure people realize how many great bands came out of Detroit during that period and how much press they were getting from Spin and the British press. Can you enlighten people who haven’t seen the film?

JRP: For a period of time (probably 2001-2004) Detroit was certainly in the spotlight with the foreign music press. Bands like the White Stripes, The Electric Six, The Von Bondies, The Dirtbombs, The Go and The Detroit Cobras all toured around the world and were able to put out some really great records on various labels big and small. But the scene had been going on for (at least) a decade before the press got here and continued after the spotlight died down. People should know that too.

TDOA: Can you talk about your background and how you came to develop this project?

JRP: I went to film school at the Savannah College of Art and Design where I made a 20 minute documentary short about rock music in Japan called “Tokyo Below”. It was very well received and played in a few film festivals. When I moved back to Detroit in 2001 the garage rock scene was blowing up and it just felt natural to try to document it. I taped tons of shows and interviews with the bands for the first couple years but it wasn’t until my girlfriend at the time, Sarah Babila offered to help produce the film that I started making real progress. Together we spent the next few years working 20-30 hours a week on the film in addition to full time jobs.

TDOA: For someone that hasn’t seen the film, can you explain a city with such a rough reputation nurtured so many great bands?

JRP: Detroit is a hard working town with hard working people– and those people love to rock. Seriously, what else is there to do except go to bars and see bands?

TDOA: The film absolutely captures the grit of living in Detroit, while still coming off as a love letter to the city. Were you conscious of the impression people would get of the city as you filmed it and did it guide how you shot the film?

JRP: I simply filmed what was important to me. I didn’t think consciously about what other people would think about it. In the beginning of the film there is this quick shot of a neon sign of a hammer and nail. It’s on a union building next to the Magic Stick and I’d see it every night I went there. We used to joke that the nail looked like a carrot so we called the sign “hammer, hammer, hammer, carrot”. It’s such a quick shot, but it means a bunch to me. All the shots in the film have a story like that. I guess it is kind of a love letter.

TDOA: Given his assertion that he supports the Detroit music scene, it seems odd that Jack White declined to be interviewed for the movie. Can you tell us the story of his refusal to appear in the film?

JRP: It probably has to do with timing. As I started the film in 2001-2002 I was fresh out of film school and the White Stripes were skyrocketing into fame. I think Jack’s done more to help this scene than anyone so I can see why he wouldn’t feel obligated to be in this film.

TDOA: Other than Jack White, did you have any other challenges with getting people on camera?

JRP: There were a few people we wanted to talk to that we just didn’t have access to. We didn’t have a budget to travel. Now that I live in Los Angeles, though I’m making up for it. I’m hoping to get an interview with Long Gone John from Sympathy for the Record Industry soon and I recently did an interview with Seymour Stein of Sire Records. Besides Jack White, my other dream interview would be Iggy Pop.

TDOA: In the process of making the film, what bands/people did you enjoy interviewing the most and why?

JRP: I made a lot of good friends making the film and also got to direct some of their music videos! I really loved the Soledad Brothers and the Come Ons as well as Fortune and Maltese and the Gore Gore Girls. In fact, Sarah and I would often have brunch with Freddy Fortune and Amy Gore the night after a rock show. The Dirtbombs are still my favorite band of all time. I’m lucky enough to have gotten to hang out with most of them off camera.

TDOA: If people want to get a copy of the film, how can they see it?

JRP: Call your congressperson! Right now we are actively searching for distribution. We have recently licensed all the songs in the film so its finally ready for release. Hopefully it will happen this year.

For more information about the film; to see when it’ll be playing in a town near you or to buy a super-cool t-shirt, click here.

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Tags: Electric Six, Gore Gore Girls, It Came From Detroit, Soledad Brothers, The Dirtbombs, The White Stripes, Von Bondies