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From Midnight to Broad Daylight: The constructive capabilities of techno and
Unformatted Document Text:  From Midnight to Broad Daylight 23 on a large scale to take part in and experience DEMF involves a degree of participation with the other. Hopefully, once these participants return to their familiar places, the experiences that they take back with them will cause them to be more open minded about the talent and potentially constructive communities that can exist in any location or environment. Furthermore, attracting an estimated one million people (www.demf.org) the festival demonstrated that techno does in fact successfully exist independent of drug use and other controversial aspects of rave culture to which most mainstream press has relegated it. Commercialization and community Linked to the former point that this event signaled Detroit techno’s entrance into mainstream music culture, is a heated discussion of commercialism. In many instances, musical genres that develop around subcultures, such as EDM and rave culture, begin to die off and fade away once they receive significant attention – both positive and negative – from the popular music and media industries. Loyal participants are often of the opinion that once musical styles and other subcultural symbols are co-opted into the mainstream they usually become monologized. Taken over by corporate conglomerates they music and styles move into the realm of suburban trends, cut off from any original intent and meaning. Yet, thus far Detroit techno has managed to maintain its independence and authenticity as its popularity accelerates. In cases where extensive control remains in the hands of the original creators, the multiple voices of Detroit techno and EDM more generally can continue to exist in a polyphonic state. In essence, commercialization and advertising related to the electronic dance music (EDM) scene can create an opportunity for a dialogic relationship in which discourse about this culture can emerge. Positive responses to last year's festival encouraged participation from Ford Motor Co. and the Detroit Free Press marketing department (McCollum, 2001). The two organizations will

Authors: Farrugia, Rebekah.
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From Midnight to Broad Daylight
23
on a large scale to take part in and experience DEMF involves a degree of participation with the
other. Hopefully, once these participants return to their familiar places, the experiences that they
take back with them will cause them to be more open minded about the talent and potentially
constructive communities that can exist in any location or environment. Furthermore, attracting
an estimated one million people (www.demf.org) the festival demonstrated that techno does in
fact successfully exist independent of drug use and other controversial aspects of rave culture to
which most mainstream press has relegated it.
Commercialization and community
Linked to the former point that this event signaled Detroit techno’s entrance into
mainstream music culture, is a heated discussion of commercialism. In many instances, musical
genres that develop around subcultures, such as EDM and rave culture, begin to die off and fade
away once they receive significant attention – both positive and negative – from the popular
music and media industries. Loyal participants are often of the opinion that once musical styles
and other subcultural symbols are co-opted into the mainstream they usually become
monologized. Taken over by corporate conglomerates they music and styles move into the realm
of suburban trends, cut off from any original intent and meaning. Yet, thus far Detroit techno
has managed to maintain its independence and authenticity as its popularity accelerates. In cases
where extensive control remains in the hands of the original creators, the multiple voices of
Detroit techno and EDM more generally can continue to exist in a polyphonic state. In essence,
commercialization and advertising related to the electronic dance music (EDM) scene can create
an opportunity for a dialogic relationship in which discourse about this culture can emerge.
Positive responses to last year's festival encouraged participation from Ford Motor Co.
and the Detroit Free Press marketing department (McCollum, 2001). The two organizations will


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