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From Midnight to Broad Daylight: The constructive capabilities of techno and
Unformatted Document Text:  From Midnight to Broad Daylight 22 also be argued that nor does it belong to popular culture as the events leading up to it are rooted in folk culture, which is maintained by local artists’ refusal to participate in the world of large scale commercialization and popular music. Hoy argues that forms of what Bakhtin would classify as "heteroglottal novelization" consistently obliterate the distinctions, on the written page, and she suggests, in youth society, "between high-artistic-noncommercial and mass-pop-consumerist…the marginal and the mainstream" (1992, p. 768). The success of last year's DEMF is a prime example of this blurring. At the present time, an argument could be made that EDM, and more specifically Detroit "techno" fits either of these two categories. Detroit is a remarkable example of what a youth based culture or movement can offer not only individuals but, on a much grander scale, a city itself. The impact of the festival's success at drawing together an audience larger than that documented at similar festivals in the U.S. was recorded in the review quoted at the beginning of this essay. On the one hand, the author is suggesting that techno has become part of the mainstream when he describes the culmination of DEMF as "the moment when Detroit techno arrived (McCollum, 2000)." Alternatively, the festival's success succeeded in breaking down the myths that Detroit techno is doomed to obscurity in its hometown and that the city is stuck with an insurmountable racial divide. As McCollum notes, "they came – hundreds of thousands…with bald heads, frizzy Afros, green hair, purple hair, and everything in between" (2000, C 1). Further testament to the crowd's diversity is his addition that "there were quite a few middle-aged folks nodding along to the beats, too. Not all of them, however – seemed completed familiar with youth dance culture." Recalling Bakhtin's concept of the horizon, it is through contact with others and the processing of events that new experiences are understood and knowledge developed that is unique to every individual. The act of people coming together

Authors: Farrugia, Rebekah.
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From Midnight to Broad Daylight
22
also be argued that nor does it belong to popular culture as the events leading up to it are rooted
in folk culture, which is maintained by local artists’ refusal to participate in the world of large
scale commercialization and popular music.
Hoy argues that forms of what Bakhtin would classify as "heteroglottal novelization"
consistently obliterate the distinctions, on the written page, and she suggests, in youth society,
"between high-artistic-noncommercial and mass-pop-consumerist…the marginal and the
mainstream" (1992, p. 768). The success of last year's DEMF is a prime example of this
blurring. At the present time, an argument could be made that EDM, and more specifically
Detroit "techno" fits either of these two categories. Detroit is a remarkable example of what a
youth based culture or movement can offer not only individuals but, on a much grander scale, a
city itself. The impact of the festival's success at drawing together an audience larger than that
documented at similar festivals in the U.S. was recorded in the review quoted at the beginning of
this essay. On the one hand, the author is suggesting that techno has become part of the
mainstream when he describes the culmination of DEMF as "the moment when Detroit techno
arrived (McCollum, 2000)." Alternatively, the festival's success succeeded in breaking down the
myths that Detroit techno is doomed to obscurity in its hometown and that the city is stuck with
an insurmountable racial divide. As McCollum notes, "they came – hundreds of
thousands…with bald heads, frizzy Afros, green hair, purple hair, and everything in between"
(2000, C 1). Further testament to the crowd's diversity is his addition that "there were quite a
few middle-aged folks nodding along to the beats, too. Not all of them, however – seemed
completed familiar with youth dance culture." Recalling Bakhtin's concept of the horizon, it is
through contact with others and the processing of events that new experiences are understood
and knowledge developed that is unique to every individual. The act of people coming together


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