Crystal Mioner is a writer based in Detroit, USA. She’s also Creative Director at The Mioner Agency, which deals in Event Design, Management and Bookings.

How are you and how has 2020 been for you, in as many or as few words as you’d like?

Thanks for inviting me to do this Aidan! I've been good, 2020 has provided me with a lot of time to reflect and prioritize my needs and desires.

You've done a lot of really great writing this year, have you felt you had more opportunities this year than before?

This was really the first time in my life I've put my writing out there and opportunities have really been pouring in. I'm of the school of putting out what you want to receive and the universe has been answering.

Do you feel that there have been any advances in terms of coverage of black artists in music journalism?

I think there is still a lack of intentional critical thought in black music journalism as it pertains to electronic music. There's been a wonderful foundation of journalism that highlights and archives black music but I hope 2020 brings more than exposure.

You assembled a great crew for the Black Music For Black Liberation compilation. What was that experience like?

It was a lot of fun! I'm a big project person and learn a lot by doing and failing and trying again. With the BM4BL project I got to explore a side of musicking I didn't have much experience in and meet some new artists I admire. We raised over $800 dollars that went to good causes. I think this will be a project I do again in 2021 or 2022 with a little more wisdom.

There's been a lot of lip service paid to issues like this in 2020, with some efforts made by larger platforms to be more "inclusive" - do you see that continuing or will it be a case of back to normal next year?

Back to normal in the macrocosm but on a smaller scale, I know for myself and other individuals, there was change in the way we interact with platforms whose core value is profit. Why would you want to be included in that system? Inclusivity is a small part in structural change and often a cover up of toxic environments. If these platforms were really about it, they would deplatform and give away there income.

You made a list of your favourite releases from Detroit last year, are there any artists who've broken out this year that you'd like to mention?

This artist Milfie, who has taken and completely owned the title the Princess of Ghettotech. Her shit is insane.

What do you hope to see in 2021?

More questioning, more exploration, more improvisation. Less of the status quo.

Crystal Mioner on Linktree