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From Midnight to Broad Daylight: The constructive capabilities of techno and
Unformatted Document Text:  From Midnight to Broad Daylight 10 beautiful, like outer space. Living around Detroit, there was so little beauty…everything is an ugly mess in Detroit, and so we were attracted to this music. It, like, ignited our imagination!" (Silcott, 1999, p. 27). The first techno music compilation used a Speak & Spell-synthesized voice that repeated the phrases "I program my home computer" and "techno music." It was titled Techno! The New Dance Sound of Detroit (Sicko, 1999, p. 99). As a brief explanation of the reason techno developed in Detroit, May makes the correlation that "the music [techno] is just like Detroit – a complete mistake" (Sicko, 1999, p.26), the product of which was sharp and industrial the likes of which May once described as "machine soul music" (Silcott, 1999, p. 27). Thus, the kind of music that began to emerge from Detroit under the name techno was a mix of industrial sounds – which artists felt represented feelings generated by the city – backed up by dance beats from Chicago's house music. Also unique to Detroit Techno was its references to outer space and the future, influenced by early artists' readings of Alvin Toffler's The Third Wave. As scenes expanded not only in Chicago and Detroit but also in New York, Dallas, Los Angeles, and San Francisco (Sicko, 1999, p. 117), EDM and rave culture continued to grow and subdivide throughout the remainder of the 1990s. Thornton's claim that ideologies of music genres play a crucial role in the authentication of recorded music and discotheques (1996, p. 70), can be broken down even further to the level of subgenres. The differentiation of EDM subgenres is not only based on musical distinctions and place of origin. As Reynolds points out subgenres also carry with them distinct tastes in styles and drugs. In other words, a specific ideology is often created as a result of subscriptions to particular subgenres. For instance, distancing itself from rave's early premises, "jungle" borrows much of "hip-hop's" musical style and "ragga's" ethos, and favors drugs such as cocaine and marijuana over rave's original drug of

Authors: Farrugia, Rebekah.
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background image
From Midnight to Broad Daylight
10
beautiful, like outer space. Living around Detroit, there was so little beauty…everything is an
ugly mess in Detroit, and so we were attracted to this music. It, like, ignited our imagination!"
(Silcott, 1999, p. 27). The first techno music compilation used a Speak & Spell-synthesized
voice that repeated the phrases "I program my home computer" and "techno music." It was titled
Techno! The New Dance Sound of Detroit (Sicko, 1999, p. 99). As a brief explanation of the
reason techno developed in Detroit, May makes the correlation that "the music [techno] is just
like Detroit – a complete mistake" (Sicko, 1999, p.26), the product of which was sharp and
industrial the likes of which May once described as "machine soul music" (Silcott, 1999, p. 27).
Thus, the kind of music that began to emerge from Detroit under the name techno was a mix of
industrial sounds – which artists felt represented feelings generated by the city – backed up by
dance beats from Chicago's house music. Also unique to Detroit Techno was its references to
outer space and the future, influenced by early artists' readings of Alvin Toffler's The Third
Wave.
As scenes expanded not only in Chicago and Detroit but also in New York, Dallas, Los
Angeles, and San Francisco (Sicko, 1999, p. 117), EDM and rave culture continued to grow and
subdivide throughout the remainder of the 1990s. Thornton's claim that ideologies of music
genres play a crucial role in the authentication of recorded music and discotheques (1996, p. 70),
can be broken down even further to the level of subgenres. The differentiation of EDM
subgenres is not only based on musical distinctions and place of origin. As Reynolds points out
subgenres also carry with them distinct tastes in styles and drugs. In other words, a specific
ideology is often created as a result of subscriptions to particular subgenres. For instance,
distancing itself from rave's early premises, "jungle" borrows much of "hip-hop's" musical style
and "ragga's" ethos, and favors drugs such as cocaine and marijuana over rave's original drug of


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