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From Midnight to Broad Daylight: The constructive capabilities of techno and
Unformatted Document Text:  From Midnight to Broad Daylight 2 1991 – Brooklyn, NY "Peace, Love, Unity, and Respect" One of the first techno DJs in New York City, known as Frankie Bones, proliferated the idea of people "coming together, " of the power of music, of the true, spiritual meaning of rave" (Sillcot, 1999, p. 43). Bones' commentary eventually became encapsulated in the acronym "PLUR", which stands for peace, love, unity, respect. Raves became an opportunity and a place where youth could take control of an environment, if only for a night. 2000 – Detroit, MI Detroit Electronic Music Festival "When darkness fell, they were – all of them – simply Detroit. This was the moment when the Detroit Electronic Music Festival went transcendent. This was the moment when Detroit techno arrived" (McCollum, 2000). The late 1990s was the peak of the rave scene in the U.S. During and since this time we have witnessed the proliferation of a body of literature dealing with electronic dance music (EDM) and rave culture. A large portion of this existing research focuses on the historical conditions that led to the development of an electronic dance music subculture (Reynolds, 1999; Milcott, 1999; Sicko, 1999). Presently, impressions of this scene seem to be heading in a new direction. Early supporters are taking the position that the rave subculture has bid its time farewell (Reynolds, 1998, 1999). In many instances, subcultures and the music associated with them are considered dead once they have received exposure in popular press. Disco specifically is an example of a subculture that gained mass popular exposure and faded from view shortly

Authors: Farrugia, Rebekah.
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From Midnight to Broad Daylight
2

1991 – Brooklyn, NY
"Peace, Love, Unity, and Respect"
One of the first techno DJs in New York City, known as Frankie Bones, proliferated the
idea of people "coming together, " of the power of music, of the true, spiritual meaning of rave"
(Sillcot, 1999, p. 43). Bones' commentary eventually became encapsulated in the acronym
"PLUR", which stands for peace, love, unity, respect. Raves became an opportunity and a place
where youth could take control of an environment, if only for a night.
2000 – Detroit, MI
Detroit Electronic Music Festival
"When darkness fell, they were – all of them – simply Detroit. This was the moment
when the Detroit Electronic Music Festival went transcendent. This was the moment when
Detroit techno arrived" (McCollum, 2000).
The late 1990s was the peak of the rave scene in the U.S. During and since this time we
have witnessed the proliferation of a body of literature dealing with electronic dance music
(EDM) and rave culture. A large portion of this existing research focuses on the historical
conditions that led to the development of an electronic dance music subculture (Reynolds, 1999;
Milcott, 1999; Sicko, 1999). Presently, impressions of this scene seem to be heading in a new
direction. Early supporters are taking the position that the rave subculture has bid its time
farewell (Reynolds, 1998, 1999). In many instances, subcultures and the music associated with
them are considered dead once they have received exposure in popular press. Disco specifically
is an example of a subculture that gained mass popular exposure and faded from view shortly


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