271:
549:
from the urban poor, especially in the first wave, it helped them make metropolitan spaces the subject of their own vision of different, alternative societies. These alternate societies aimed at moving beyond the concepts of race and ethnicity and blend all of them together. The early producers of
Detroit techno state in multiple different occasions that the goal was to make techno just about music and not about race. As Juan Atkins said, "I hate that things have to be separated and dissected ... to me it shouldn't be white or black music, it should be just music"
2231:
1850:
2219:
545:
parts of
Detroit, Chicago, and New York. This resulted in tensions in club spaces frequented by ghetto gangstas or ruffians where signs stating "No Jits" were common. Suburban middle class black youths were also attracted to Europhile culture, something that was criticized for not being authentically black. Schaub's analysis of Underground Resistance valued "speaking out of the perspective of the hood than about providing new visions of identity formation for people in the hood"
723:. In 2003, the festival management changed the name to Movement, then Fuse-In (2005), and most recently, Movement: Detroit's Electronic Music Festival (2007). The festival is a showcase for DJs and performers across all genres of electronic music, takes course over a period of three days, and is considered to be the best underground electronic music festival in the United States. There are also many events outside of the festival, including the largest afterparties at the
668:, in the same period what began as a Europhile fantasy of elegance and refinement was, ironically, transformed by British and European producers into a "vulgar uproar for E'd-up mobs: anthemic, cheesily sentimental, unabashedly drug-crazed." Detroit embraced this maximalism and created its own variant of acid house and techno. The result was a harsh Detroit hardcore full of riffs and industrial bleakness. Two major labels of this sound were Underground Resistance and
25:
428:. House was a natural progression from disco music, so that the trio began to formulate the synthesis of this dance music with the mechanical sounds of groups like Kraftwerk, in a way that reflected post-industrialist Detroit. An obsession with the future and its machines is reflected in much of their music, because, according to Atkins, Detroit is the most advanced in the transition away from industrialism.
466:
club names like Plush, Charivari, and GQ Productions, reflecting
European fashion and luxury, because Europe signified high class. In addition prep parties were run as private clubs and restricted who could enter based on dress and appearance. Party flyers were also an attempt to restrict and distance lower class individuals from the middle class club scene.
548:
Identity politics in
Detroit techno is focused mostly on race relations. Throughout the creation of techno there was this constant and strong "progressive desire to move beyond essentialized blackness". Even though the classist nature of techno avoided the artists and producers to separate themselves
544:
The first wave of
Detroit techno differed from the Chicago house movement, with the former originating in Detroit's suburban black middle class community. Teenagers of families that had prospered as a result of Detroit's automotive industry were removed from the kind of black poverty found in urban
478:
through their re-purposing of technology to create a new form of music that appealed to a marginalized underground population. Especially within the context of
Detroit, where the rise of robotics led to a massive loss of jobs around the time these three were growing up, technology is very relevant.
465:
The club scene created by techno in
Detroit was a way for suburban blacks in Detroit to distance themselves from "jits", slang for lower class African Americans living in the inner city. "Prep parties" were obsessed with flaunting wealth and incorporated many aspects of European culture including
600:
until the addition of Atkins' song "Techno Music" prompted reconsideration. Rushton was later quoted as saying he, Atkins, May, and
Saunderson came up with the compilation's final name together, and that the Belleville Three voted down calling the music some kind of regional brand of house; they
494:
Inspired by
Chicago's house clubs, Chez Damier, Alton Miller and George Baker started a club of their own in downtown Detroit, named The Music Institute at 1315 Broadway. The club helped unite a previously scattered scene into an underground "family", where May, Atkins, and Saunderson DJed with
456:
under his pseudonym
Rhythim Is Rhythim, called "Strings of Life" (1987). This vibrant dancefloor anthem was filled with rich synthetic string arrangements and took the underground music scene by storm in May 1987. It "hit Britain in an especially big way during the country's 1987–1988
360:
also recorded on Metroplex. May said that the suburban setting afforded a different setting in which to experience the music. "We perceived the music differently than you would if you encountered it in dance clubs. We'd sit back with the lights off and listen to records by
343:
with him. Their first single "Alleys of Your Mind", recorded on their Deep Space label in 1981, sold 15,000 copies, and the success of two follow-up singles, "Cosmic Cars" and "Clear", led the California-based label Fantasy to sign the duo and release their album,
531:
was held, and in 2004 May assumed control of the festival, renamed Movement. He invested his own funds into the festival, and "got severely wounded financially." Kevin Saunderson helmed the festival, renamed FUSE IN, the following year. Saunderson, May, and
595:
into the lexicon of British music journalism, the music was, for a time, sometimes characterized as Detroit's high-tech interpretation of Chicago house rather than a relatively pure genre unto itself. In fact, the compilation's working title had been
411:
Under the name Deep Space Soundworks, Atkins and May began to DJ on Detroit's party circuit. By 1981, Mojo was playing the record mixes recorded by the Belleville Three, who were also branching out to work with other musicians. The trio traveled to
495:
fellow pioneers like Eddie "Flashin" Fowlkes and Blake Baxter. It allowed for collaboration, and helped inspire what would become the second wave of Detroit-area techno, which included artists whom the Belleville Three had influenced and mentored.
441:
What distinguishes Detroit Techno from its European variants is the way it more directly works the interface of funk and futurism ... but the desire to play up the genre's futuristic side often means the second half of the equation gets dropped.
675:
Underground Resistance's music embodied a kind of abstract militancy by presenting themselves as a paramilitary group fighting against commercial mainstream entertainment industry who they called "the programmers" in their tracks such as
461:
explosion." It became May's best known track, which, according to Frankie Knuckles, "just exploded. It was like something you can't imagine, the kind of power and energy people got off that record when it was first heard. "
1439:
Schaub, Christoph. "Beyond the Hood? Detroit Techno, Underground Resistance, and African American Metropolitan Identity Politics." Forum for inter-American research, interamerica.de/volume-2-2/schaub/.
704:
which evolved from industrial hardcore to a minimalist progressive techno sound. As friendly rivals to Underground Resistance, +8 pushed up the speed of their songs faster and fiercer in tracks like
486:
explains that electronic music can be multiracial and that critics should pay attention to "not just sound aesthetics but the production process and institutions created by black musicians."
727:
and another popular party at The Old Miami with a surprise line-up. Inter dimensional Transmissions also throws No Way Back yearly with a heavy rotation of resident/international artist.
431:
Juan Atkins has been lauded as the "Godfather of Techno" (or "Originator"), while Derrick May is thought of as the "Innovator" and Kevin Saunderson is often referred to as the "Elevator"
482:
The sound is both futuristic and extraterrestrial, touching on the "otherness" central to Afrofuturist content. According to one critic, it was a "deprived sound trying to get out."
519:, Rushton and the Belleville Three chose the word "techno" for their tracks, a term that Atkins had been using since his Cybotron days ("Techno City" was an early single).
452:
These early Detroit techno artists employed science fiction imagery to articulate their visions of a transformed society. A notable exception to this trend was a single by
613:
The first wave of Detroit techno had peaked in 1988–89, with the popularity of artists like Derrick May, Kevin Saunderson, Blake Baxter, and Chez Damier, and clubs like
1816:
515:
talent scout Neil Rushton contacted Derrick May with a view to finding out more about the Detroit scene. To define the Detroit sound as being distinct from
1317:
536:
all performed but did not produce the festival in 2006, when it was again called Movement. Saunderson returned to perform at the 2007 Movement as well.
348:. After Cybotron split due to creative differences, Atkins began recording as Model 500 on his own label, Metroplex, in 1985. His landmark single, "
1087:
1619:, but is a unique edition significantly rewritten for the North American market. Its copyright date is 1998 but it was first published July 1999.
1007:
1113:
1500:
decided to fasten on the word techno – a term that had been bandied about but never stressed – in order to define Detroit as a distinct genre.
316:, created electronic music tracks in their basement(s). Derrick May once described Detroit techno music as being a "complete mistake ... like
1838:
1405:
1201:
1846:
1033:
1763:
1518:
Detroit's "techno"... and many more stylistic outgrowths have occurred since the word "house" gained national currency in 1985.
575:
1263:
587:
scout for Virgin's "10 Records" imprint) and Derrick May, was an important milestone and marked the introduction of the word
89:
1533:
404:
after hearing Parliament. Atkins was also the first in the group to take up turntablism, teaching May and Saunderson how to
1063:
618:
61:
1430:
Schaub,"Beyond the Hood? Detroit Techno, Underground Resistance, and African American Metropolitan Identity Politics."p.11
892:
877:
862:
68:
836:
720:
528:
108:
672:, both of which mixed 1980s electro, UK synth-pop and industrial paralleling the brutalism of rave music of Europe.
1647:
614:
2281:
2209:
1831:
622:
527:
Juan Atkins, Kevin Saunderson, and Derrick May remain active in the music scene today. In 2000, the first annual
42:
1321:
75:
317:
46:
1158:"Beyond the Hood? Detroit Techno, Underground Resistance, and African American Metropolitan Identity Politics"
1361:
789:
336:
1011:
270:
57:
332:
1299:
966:
1824:
1343:
1091:
841:
636:
By the early 1990s a second wave of Detroit artists started to break through, including, among others,
625:, and the Music Institute. At the same time, Detroit techno benefited from the growth of the European
2271:
2261:
1117:
761:
629:
scene and various licensing deals with labels in the UK, including Kool Kat Records. By 1989 May's
340:
711:
On Memorial Day weekend of 2000, electronic music fans from around the globe made a pilgrimage to
2256:
2235:
1780:
1496:
Detroit's music had hitherto reached British ears as a subset of Chicago house; Rushton and the
1059:
771:
35:
2266:
1854:
746:
724:
641:
566:
453:
373:
366:
309:
290:
278:
227:
1379:
1255:
2276:
1560:
645:
296:
The four individuals most closely associated with the birth of Detroit techno as a genre are
247:
1573:. They had it in their heads without articulating it; it was already part of their language.
369:. We never took it as just entertainment, we took it as a serious philosophy," recalls May.
262:
and his lead vocalist, Nicole Gregory, set the tone for Detroit's piano techno house sound.
82:
2223:
1992:
1640:
313:
274:
1279:
1211:
1176:
1069:
928:
569:
during the late 1980s provided a context for the development of techno as an identifiable
218:-based artists during the 1980s and early 1990s. Prominent Detroit techno artists include
8:
2145:
2077:
1865:
1141:
1418:
Reynolds, "A Tale of Three Cities: Detroit Techno, Chicago House & New York Garage;"
1037:
2150:
1705:
814:
1881:
1712:
1399:
1259:
1248:
888:
873:
858:
389:
385:
2002:
1952:
1680:
1497:
741:
425:
301:
286:
251:
235:
142:
2047:
1633:
1537:
756:
325:
259:
137:
1157:
2072:
1737:
1717:
1675:
701:
665:
512:
381:
186:
1593:
917:
Mireille Silcott. Rave America: New School Dancescapes ECW Press, 1999; p. 27.
372:
The three teenage friends bonded while listening to an eclectic mix of music:
2250:
2027:
1967:
1906:
1849:
1768:
766:
716:
697:
580:
516:
504:
483:
397:
353:
305:
223:
147:
2032:
1886:
1685:
657:
475:
393:
239:
2127:
2052:
1926:
1805:
1795:
1758:
1732:
1670:
819:
809:
803:
653:
458:
417:
401:
357:
349:
297:
282:
255:
219:
591:
in reference to a specific genre of music. Although the compilation put
2122:
2102:
1977:
1972:
1891:
1785:
1753:
1727:
1700:
1695:
1461:
824:
751:
712:
661:
649:
637:
533:
508:
231:
196:
191:
1365:
1008:"The beginning of American Techno in the form of the Belleville Three"
2192:
2187:
2177:
2172:
2167:
1513:
House Music All Night Long – Best of House Music Vol. 3 (liner notes)
421:
377:
321:
152:
24:
2082:
1800:
1722:
1284:
1180:
781:
633:
had achieved "anthemic" status. several years after its recording.
243:
170:
1947:
1916:
1911:
1466:
1073:
413:
215:
166:
2057:
1896:
1790:
1773:
1656:
1206:
776:
584:
560:
362:
211:
214:
music that generally includes the first techno productions by
2182:
2107:
2097:
2022:
2017:
1942:
1901:
992:
Generation Ecstasy: Into the World of Techno and Rave Culture
967:"Music Feature: Who Likes Techno? [2nd October 2007]"
885:
Generation Ecstasy: Into the World of Techno and Rave Culture
855:
Last Night a DJ Saved My Life: The History of the Disc Jockey
570:
1303:
870:
Energy Flash: a Journey Through Rave Music and Dance Culture
1997:
1921:
626:
479:
The process "took technology, and made it a black secret."
583:
DJ and Kool Kat Records boss Neil Rushton (at the time an
1625:
1234:
Last Night the DJ Saved My Life: Story of the Disc Jockey
693:
669:
954:
Detroit Techno: Transfer of the Soul through the Machine
1603:
Reynolds, Simon Reynolds, "Generation Ecstasy." pg.114.
1534:"Juan Atkins [interview for Afropop Worldwide]"
1383:
1088:"Juan Atkins Interview - Godfather of Techno Interview"
1070:"Universal Techno Pt.1 – Juan Atkins & Derrick May"
405:
804:
Other notable Detroit techno styled producers and acts
730:
474:
The three artists all contribute to the discourse of
1569:... Derrick, Kevin, and Juan kept on using the word
1280:"Juan Atkins Songs, Albums, Reviews, Bio & More"
1532:Bishop, Marlon; Glasspiegel, Wills (14 June 2011).
49:. Unsourced material may be challenged and removed.
1462:"Various – Techno! The New Dance Sound of Detroit"
1247:
1531:
1245:
552:
312:,". The three, who were high school friends from
2248:
1527:
1525:
1447:
1445:
601:instead favored a term they were already using,
1202:"Interview: Derrick May – The Secret of Techno"
1002:
1000:
1426:
1424:
1318:"Pitchfork Feature: From the Autobahn to I-94"
1832:
1641:
1522:
1490:
1488:
1486:
1442:
997:
1421:
1232:Brewster, Bill and Frank Broughton (1999).
1839:
1825:
1648:
1634:
1483:
986:
984:
420:scene there, particularly the Chicago DJs
1536:. World Music Productions. Archived from
1246:Brewster, Bill; Broughton, Frank (2011).
1194:
913:
911:
909:
109:Learn how and when to remove this message
837:Detroit Electronic Music Festival (DEMF)
269:
1474:
981:
265:
2249:
1558:
1404:: CS1 maint: archived copy as title (
1250:The Record Players: DJ Revolutionaries
1155:
1145:. No. 161. July 1997. p. 21.
906:
576:Techno! The New Dance Sound of Detroit
489:
1820:
1629:
1236:. Headline Book Publishing. p 254-255
1067:
926:
356:, Derrick May, Kevin Saunderson, and
1510:
735:
400:. Juan Atkins was inspired to buy a
47:adding citations to reliable sources
18:
1561:"Machine Soul: A History of Techno"
946:
929:"The Techno Wave: Kevin Saunderson"
857:, Avalon Travel Publishing, 2006, (
324:caught in an elevator, with only a
13:
1156:Schaub, Christoph (October 2009).
731:Notable Detroit area record labels
503:In 1988, due to the popularity of
14:
2293:
721:Detroit Electronic Music Festival
529:Detroit Electronic Music Festival
498:
2229:
2217:
1848:
1320:. 8 January 2008. Archived from
1174:
853:Brewster B. & Broughton F.,
664:. According to music journalist
23:
1606:
1597:
1587:
1578:
1552:
1504:
1454:
1433:
1412:
1372:
1354:
1336:
1310:
1292:
1272:
1239:
1226:
1168:
1149:
1132:
1106:
927:Trask, Simon (September 1988).
847:
469:
34:needs additional citations for
1139:"From Detroit To Deep Space".
1080:
1052:
1026:
959:
920:
608:
554:The New Dance Sound of Detroit
522:
1:
1344:"Derrick May: High Tech Soul"
1116:. 28 May 2017. Archived from
899:
573:. The mid-1988 UK release of
565:The explosion of interest in
281:in 2017. From left to right:
1036:. 8 May 2008. Archived from
956:VDM Verlag Dr. Müller, 2010.
887:, Routledge, New York 1999 (
7:
2236:Rhythm and blues portal
830:
539:
434:
333:Washtenaw Community College
10:
2298:
1655:
1511:Chin, Brian (March 1990).
842:Music of Detroit, Michigan
719:and experienced the first
598:The House Sound of Detroit
579:, an album compiled by ex-
558:
2205:
2158:
2142:
2135:
2115:
2090:
2065:
2040:
2010:
1985:
1960:
1935:
1874:
1862:
1746:
1663:
1068:Jeeon (5 December 2007).
182:
177:
161:
130:
125:
2224:United States portal
1114:"Red Bull Music Academy"
511:music in Great Britain,
1515:. Profile Records, Inc.
872:, Pan Macmillan, 1998 (
772:Planet E Communications
692:. Similarly, the label
328:to keep them company."
2282:African-American music
1210:. 1997. Archived from
952:Hanf, Mathias Kilian.
790:Underground Resistance
747:Detroit Techno Militia
725:Detroit Masonic Temple
642:Underground Resistance
567:electronic dance music
444:
374:Yellow Magic Orchestra
367:Yellow Magic Orchestra
293:
279:Detroit Masonic Temple
2151:Urban (industry term)
1254:. Black Cat. p.
439:
273:
2146:Contemporary R&B
1855:Black American music
1559:Savage, Jon (1993).
1368:on 8 September 2008.
715:on the banks of the
314:Belleville, Michigan
275:The Belleville Three
266:The Belleville Three
43:improve this article
16:Type of techno music
2078:Chopped and screwed
1866:American folk music
1214:on 14 February 2004
490:The Music Institute
416:to investigate the
1877:Early 20th century
1613:Generation Ecstasy
1494:Reynolds 1999:71.
1014:on 9 December 2012
815:Surgeon (musician)
660:, Jay Denham, and
294:
277:performing at the
2244:
2243:
2201:
2200:
1882:Call and response
1814:
1813:
1713:Industrial techno
1565:The Village Voice
1480:Brewster 2006:354
1350:. 4 October 2006.
1324:on 8 January 2008
1306:on 6 August 2008.
1265:978-0-8021-7089-7
990:Reynolds, Simon.
800:
799:
352:", soon arrived.
205:
204:
131:Stylistic origins
119:
118:
111:
93:
2289:
2272:Music of Detroit
2262:1980s in Detroit
2234:
2233:
2232:
2222:
2221:
2220:
2161:
2140:
2139:
2003:Psychedelic soul
1953:Rhythm and blues
1853:
1852:
1841:
1834:
1827:
1818:
1817:
1681:Birmingham sound
1650:
1643:
1636:
1627:
1626:
1620:
1610:
1604:
1601:
1595:
1591:
1585:
1584:Reynolds, p. 219
1582:
1576:
1575:
1556:
1550:
1549:
1547:
1545:
1529:
1520:
1516:
1508:
1502:
1498:Belleville Three
1492:
1481:
1478:
1472:
1471:
1458:
1452:
1449:
1440:
1437:
1431:
1428:
1419:
1416:
1410:
1409:
1403:
1395:
1393:
1391:
1386:on 27 March 2002
1382:. Archived from
1376:
1370:
1369:
1364:. Archived from
1358:
1352:
1351:
1340:
1334:
1333:
1331:
1329:
1314:
1308:
1307:
1302:. Archived from
1300:"derrickmay.com"
1296:
1290:
1289:
1276:
1270:
1269:
1253:
1243:
1237:
1230:
1224:
1223:
1221:
1219:
1198:
1192:
1191:
1189:
1187:
1172:
1166:
1165:
1153:
1147:
1146:
1136:
1130:
1129:
1127:
1125:
1110:
1104:
1103:
1101:
1099:
1090:. Archived from
1084:
1078:
1077:
1056:
1050:
1049:
1047:
1045:
1030:
1024:
1023:
1021:
1019:
1010:. Archived from
1004:
995:
994:Routledge, 1999.
988:
979:
978:
976:
974:
963:
957:
950:
944:
943:
941:
939:
933:Music Technology
924:
918:
915:
742:430 West Records
736:
619:Majestic Theater
615:St. Andrews Hall
448:
447:—Mike Shallcross
426:Frankie Knuckles
331:While attending
302:Kevin Saunderson
287:Kevin Saunderson
252:James Pennington
236:Kevin Saunderson
162:Cultural origins
123:
122:
114:
107:
103:
100:
94:
92:
58:"Detroit techno"
51:
27:
19:
2297:
2296:
2292:
2291:
2290:
2288:
2287:
2286:
2247:
2246:
2245:
2240:
2230:
2228:
2218:
2216:
2197:
2159:
2154:
2131:
2120:
2111:
2095:
2086:
2070:
2061:
2045:
2036:
2015:
2006:
1990:
1981:
1965:
1956:
1940:
1931:
1870:
1858:
1847:
1845:
1815:
1810:
1742:
1659:
1654:
1624:
1623:
1611:
1607:
1602:
1598:
1592:
1588:
1583:
1579:
1557:
1553:
1543:
1541:
1540:on 23 June 2011
1530:
1523:
1509:
1505:
1493:
1484:
1479:
1475:
1460:
1459:
1455:
1450:
1443:
1438:
1434:
1429:
1422:
1417:
1413:
1397:
1396:
1389:
1387:
1380:"Archived copy"
1378:
1377:
1373:
1360:
1359:
1355:
1342:
1341:
1337:
1327:
1325:
1316:
1315:
1311:
1298:
1297:
1293:
1278:
1277:
1273:
1266:
1244:
1240:
1231:
1227:
1217:
1215:
1200:
1199:
1195:
1185:
1183:
1173:
1169:
1162:Interamerica.de
1154:
1150:
1138:
1137:
1133:
1123:
1121:
1112:
1111:
1107:
1097:
1095:
1094:on 15 June 2011
1086:
1085:
1081:
1064:Wayback Machine
1057:
1053:
1043:
1041:
1032:
1031:
1027:
1017:
1015:
1006:
1005:
998:
989:
982:
972:
970:
965:
964:
960:
951:
947:
937:
935:
925:
921:
916:
907:
902:
850:
833:
806:
801:
733:
631:Strings of Life
611:
563:
557:
542:
525:
501:
492:
472:
450:
446:
437:
268:
260:Terrence Parker
258:. Artists like
201:
173:, United States
157:
115:
104:
98:
95:
52:
50:
40:
28:
17:
12:
11:
5:
2295:
2285:
2284:
2279:
2274:
2269:
2264:
2259:
2257:Detroit techno
2242:
2241:
2239:
2238:
2226:
2214:
2206:
2203:
2202:
2199:
2198:
2196:
2195:
2190:
2185:
2180:
2175:
2170:
2164:
2162:
2156:
2155:
2153:
2148:
2143:
2137:
2133:
2132:
2130:
2125:
2116:
2113:
2112:
2110:
2105:
2100:
2091:
2088:
2087:
2085:
2080:
2075:
2073:New jack swing
2066:
2063:
2062:
2060:
2055:
2050:
2041:
2038:
2037:
2035:
2030:
2025:
2020:
2011:
2008:
2007:
2005:
2000:
1995:
1986:
1983:
1982:
1980:
1975:
1970:
1961:
1958:
1957:
1955:
1950:
1945:
1936:
1933:
1932:
1930:
1929:
1924:
1919:
1914:
1909:
1904:
1899:
1894:
1889:
1884:
1875:
1872:
1871:
1863:
1860:
1859:
1844:
1843:
1836:
1829:
1821:
1812:
1811:
1809:
1808:
1803:
1798:
1793:
1788:
1783:
1778:
1777:
1776:
1771:
1761:
1756:
1750:
1748:
1744:
1743:
1741:
1740:
1738:Toytown techno
1735:
1730:
1725:
1720:
1718:Minimal techno
1715:
1710:
1709:
1708:
1698:
1693:
1691:Detroit techno
1688:
1683:
1678:
1676:Ambient techno
1673:
1667:
1665:
1661:
1660:
1653:
1652:
1645:
1638:
1630:
1622:
1621:
1605:
1596:
1586:
1577:
1551:
1521:
1503:
1482:
1473:
1453:
1441:
1432:
1420:
1411:
1371:
1353:
1335:
1309:
1291:
1271:
1264:
1238:
1225:
1193:
1167:
1148:
1131:
1120:on 28 May 2017
1105:
1079:
1051:
1025:
996:
980:
958:
945:
919:
904:
903:
901:
898:
897:
896:
893:978-0415923736
883:Reynolds, S.,
881:
878:978-0330350563
868:Reynolds, S.,
866:
863:978-0802136886
849:
846:
845:
844:
839:
832:
829:
828:
827:
822:
817:
812:
805:
802:
798:
797:
793:
792:
787:
784:
779:
774:
769:
764:
759:
754:
749:
744:
734:
732:
729:
702:John Acquaviva
696:was formed by
666:Simon Reynolds
610:
607:
559:Main article:
556:
551:
541:
538:
524:
521:
513:Virgin Records
500:
499:Success abroad
497:
491:
488:
471:
468:
438:
436:
433:
318:George Clinton
267:
264:
208:Detroit techno
203:
202:
200:
199:
194:
189:
187:Minimal techno
183:
180:
179:
175:
174:
163:
159:
158:
156:
155:
150:
145:
140:
134:
132:
128:
127:
126:Detroit techno
117:
116:
31:
29:
22:
15:
9:
6:
4:
3:
2:
2294:
2283:
2280:
2278:
2275:
2273:
2270:
2268:
2267:Techno genres
2265:
2263:
2260:
2258:
2255:
2254:
2252:
2237:
2227:
2225:
2215:
2213:
2212:
2208:
2207:
2204:
2194:
2191:
2189:
2186:
2184:
2181:
2179:
2176:
2174:
2171:
2169:
2166:
2165:
2163:
2157:
2152:
2149:
2147:
2144:
2141:
2138:
2134:
2129:
2126:
2124:
2121:
2119:
2114:
2109:
2106:
2104:
2101:
2099:
2096:
2094:
2089:
2084:
2081:
2079:
2076:
2074:
2071:
2069:
2064:
2059:
2056:
2054:
2051:
2049:
2046:
2044:
2039:
2034:
2031:
2029:
2026:
2024:
2021:
2019:
2016:
2014:
2009:
2004:
2001:
1999:
1996:
1994:
1991:
1989:
1984:
1979:
1976:
1974:
1971:
1969:
1968:Rock and roll
1966:
1964:
1959:
1954:
1951:
1949:
1946:
1944:
1941:
1939:
1934:
1928:
1925:
1923:
1920:
1918:
1915:
1913:
1910:
1908:
1907:Boogie-woogie
1905:
1903:
1900:
1898:
1895:
1893:
1890:
1888:
1885:
1883:
1880:
1879:
1878:
1873:
1868:
1867:
1861:
1856:
1851:
1842:
1837:
1835:
1830:
1828:
1823:
1822:
1819:
1807:
1804:
1802:
1799:
1797:
1794:
1792:
1789:
1787:
1784:
1782:
1779:
1775:
1772:
1770:
1769:Bouncy techno
1767:
1766:
1765:
1762:
1760:
1757:
1755:
1752:
1751:
1749:
1745:
1739:
1736:
1734:
1731:
1729:
1726:
1724:
1721:
1719:
1716:
1714:
1711:
1707:
1704:
1703:
1702:
1699:
1697:
1694:
1692:
1689:
1687:
1684:
1682:
1679:
1677:
1674:
1672:
1669:
1668:
1666:
1662:
1658:
1651:
1646:
1644:
1639:
1637:
1632:
1631:
1628:
1618:
1614:
1609:
1600:
1594:
1590:
1581:
1574:
1572:
1566:
1562:
1555:
1539:
1535:
1528:
1526:
1519:
1514:
1507:
1501:
1499:
1491:
1489:
1487:
1477:
1469:
1468:
1463:
1457:
1451:Sicko 1999:98
1448:
1446:
1436:
1427:
1425:
1415:
1407:
1401:
1385:
1381:
1375:
1367:
1363:
1357:
1349:
1345:
1339:
1323:
1319:
1313:
1305:
1301:
1295:
1287:
1286:
1281:
1275:
1267:
1261:
1257:
1252:
1251:
1242:
1235:
1229:
1213:
1209:
1208:
1203:
1197:
1182:
1178:
1177:"Derrick May"
1171:
1163:
1159:
1152:
1144:
1143:
1135:
1119:
1115:
1109:
1093:
1089:
1083:
1075:
1071:
1065:
1061:
1055:
1040:on 8 May 2008
1039:
1035:
1034:"Juan Atkins"
1029:
1013:
1009:
1003:
1001:
993:
987:
985:
968:
962:
955:
949:
934:
930:
923:
914:
912:
910:
905:
894:
890:
886:
882:
879:
875:
871:
867:
864:
860:
856:
852:
851:
843:
840:
838:
835:
834:
826:
823:
821:
818:
816:
813:
811:
808:
807:
796:
791:
788:
785:
783:
780:
778:
775:
773:
770:
768:
767:Minus Records
765:
763:
760:
758:
755:
753:
750:
748:
745:
743:
740:
739:
738:
737:
728:
726:
722:
718:
717:Detroit River
714:
709:
707:
703:
699:
698:Richie Hawtin
695:
691:
687:
683:
679:
673:
671:
667:
663:
659:
655:
651:
647:
643:
639:
634:
632:
628:
624:
620:
616:
606:
604:
599:
594:
590:
586:
582:
581:Northern Soul
578:
577:
572:
568:
562:
555:
550:
546:
537:
535:
530:
520:
518:
517:Chicago house
514:
510:
506:
496:
487:
485:
484:Tukufu Zuberi
480:
477:
467:
463:
460:
455:
449:
443:
432:
429:
427:
423:
419:
415:
409:
407:
403:
399:
395:
391:
387:
383:
379:
375:
370:
368:
364:
359:
355:
354:Eddie Fowlkes
351:
347:
342:
338:
335:, Atkins met
334:
329:
327:
323:
319:
315:
311:
307:
306:Eddie Fowlkes
303:
299:
292:
288:
284:
280:
276:
272:
263:
261:
257:
253:
249:
245:
241:
237:
233:
229:
225:
224:Eddie Fowlkes
221:
217:
213:
210:is a type of
209:
198:
195:
193:
190:
188:
185:
184:
181:
178:Fusion genres
176:
172:
168:
164:
160:
154:
151:
149:
148:Chicago house
146:
144:
141:
139:
136:
135:
133:
129:
124:
121:
113:
110:
102:
91:
88:
84:
81:
77:
74:
70:
67:
63:
60: –
59:
55:
54:Find sources:
48:
44:
38:
37:
32:This article
30:
26:
21:
20:
2277:Music scenes
2210:
2117:
2092:
2067:
2042:
2033:Garage house
2012:
1987:
1962:
1937:
1887:Field holler
1876:
1864:
1690:
1686:Bleep techno
1617:Energy Flash
1616:
1615:is based on
1612:
1608:
1599:
1589:
1580:
1570:
1568:
1564:
1554:
1542:. Retrieved
1538:the original
1517:
1512:
1506:
1495:
1476:
1465:
1456:
1435:
1414:
1388:. Retrieved
1384:the original
1374:
1366:the original
1356:
1348:Inthemix.com
1347:
1338:
1326:. Retrieved
1322:the original
1312:
1304:the original
1294:
1283:
1274:
1249:
1241:
1233:
1228:
1216:. Retrieved
1212:the original
1205:
1196:
1184:. Retrieved
1175:Bush, John.
1170:
1161:
1151:
1140:
1134:
1122:. Retrieved
1118:the original
1108:
1096:. Retrieved
1092:the original
1082:
1072:– via
1060:Ghostarchive
1058:Archived at
1054:
1042:. Retrieved
1038:the original
1028:
1016:. Retrieved
1012:the original
991:
971:. Retrieved
969:. BBC Radio4
961:
953:
948:
936:. Retrieved
932:
922:
884:
869:
854:
848:Bibliography
794:
752:Axis Records
710:
705:
689:
685:
681:
677:
674:
658:Blake Baxter
635:
630:
612:
602:
597:
592:
588:
574:
564:
553:
547:
543:
526:
502:
493:
481:
476:Afrofuturism
473:
470:Afrofuturism
464:
451:
445:
440:
430:
410:
394:Depeche Mode
371:
345:
330:
295:
240:Blake Baxter
207:
206:
120:
105:
96:
86:
79:
72:
65:
53:
41:Please help
36:verification
33:
2128:Drill music
1806:Tecno brega
1796:Power noise
1759:Hard trance
1733:Tech trance
1671:Acid techno
820:Fabrice Lig
810:Aril Brikha
682:Elimination
654:Robert Hood
644:(featuring
623:The Shelter
609:Second wave
523:Recent work
454:Derrick May
418:house music
402:synthesizer
358:Robert Hood
339:and formed
310:Derrick May
298:Juan Atkins
291:Derrick May
283:Juan Atkins
256:Robert Hood
228:Derrick May
220:Juan Atkins
165:Mid-1980s,
2251:Categories
2123:Trap music
2103:Snap music
1892:Spirituals
1857:(timeline)
1786:Microhouse
1754:Ghettotech
1728:Tech house
1706:Free tekno
1701:Hardtechno
1696:Dub techno
1362:"Movement"
900:References
825:Kelli Hand
713:Hart Plaza
690:Death Star
662:Octave One
650:Jeff Mills
646:Mike Banks
638:Carl Craig
534:Carl Craig
509:acid house
398:The B-52's
386:Parliament
337:Rick Davis
248:Mike Banks
232:Jeff Mills
197:dub techno
192:ghettotech
143:industrial
69:newspapers
2193:UK garage
2188:Vaporwave
2178:Synth-pop
2173:Dance-pop
2168:Chillwave
2160:Elsewhere
1664:Subgenres
973:5 October
762:Metroplex
422:Ron Hardy
378:Kraftwerk
326:sequencer
322:Kraftwerk
153:synth-pop
99:June 2022
2211:Category
2083:Neo soul
1801:Techstep
1764:Hardcore
1723:Schaffel
1400:cite web
1390:7 August
1285:AllMusic
1181:AllMusic
1142:The Wire
1098:7 August
1062:and the
938:27 April
831:See also
786:Submerge
782:Transmat
678:Predator
540:Politics
435:Futurism
350:No UFO's
341:Cybotron
244:Drexciya
171:Michigan
2048:Electro
2028:Hip-hop
1948:Doo-wop
1917:Rapping
1912:Ragtime
1747:Related
1544:17 June
1467:Discogs
1218:25 July
1186:25 July
1074:YouTube
757:Fragile
585:A&R
414:Chicago
216:Detroit
167:Detroit
138:Electro
83:scholar
2136:Legacy
2058:Techno
1993:Motown
1897:Gospel
1869:series
1791:Nortec
1774:Gabber
1657:Techno
1571:techno
1328:6 June
1262:
1207:Mixmag
1124:6 June
1044:6 June
1018:6 June
891:
876:
861:
795:
777:Plus 8
706:Vortex
652:, and
603:techno
593:techno
589:techno
561:Techno
396:, and
390:Prince
382:Bootsy
363:Bootsy
289:, and
212:techno
85:
78:
71:
64:
56:
2183:K-pop
2118:2010s
2108:Hyphy
2098:Crunk
2093:2000s
2068:1990s
2053:House
2043:1980s
2023:Go-go
2018:Disco
2013:1970s
1988:1960s
1963:1950s
1943:Bebop
1938:1940s
1927:Swing
1902:Blues
571:genre
505:house
459:house
346:Enter
90:JSTOR
76:books
1998:Funk
1978:Soul
1973:Rock
1922:Jazz
1546:2011
1406:link
1392:2008
1330:2022
1260:ISBN
1220:2012
1188:2012
1126:2022
1100:2008
1046:2022
1020:2022
975:2007
940:2023
889:ISBN
874:ISBN
859:ISBN
700:and
686:Riot
627:rave
507:and
424:and
365:and
320:and
308:and
254:and
62:news
1781:IDM
1256:315
688:or
656:),
45:by
2253::
1567:.
1563:.
1524:^
1485:^
1464:.
1444:^
1423:^
1402:}}
1398:{{
1346:.
1282:.
1258:.
1204:.
1179:.
1160:.
1066::
999:^
983:^
931:.
908:^
895:).
880:).
865:).
708:.
694:+8
684:,
680:,
670:+8
648:,
640:,
621:,
617:,
605:.
408:.
406:DJ
392:,
388:,
384:,
380:,
376:,
304:,
300:,
285:,
250:,
246:,
242:,
238:,
234:,
230:,
226:,
222:,
169:,
1840:e
1833:t
1826:v
1649:e
1642:t
1635:v
1548:.
1470:.
1408:)
1394:.
1332:.
1288:.
1268:.
1222:.
1190:.
1164:.
1128:.
1102:.
1076:.
1048:.
1022:.
977:.
942:.
112:)
106:(
101:)
97:(
87:·
80:·
73:·
66:·
39:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
