Editing Electronica (section)

=== Late 1990s: American inclusion ===
In 1997, the North American mainstream music industry adopted and to some extent manufactured ''electronica'' as an umbrella term encompassing styles such as [[techno]], big beat, [[drum and bass]], trip hop, [[downtempo]], and [[ambient music|ambient]], regardless of whether it was curated by indie labels catering to the "underground" nightclub and [[rave]] scenes,<ref name="billboard">{{Cite news | last=Flick | first=Larry | date=May 24, 1997 | title=Dancing to the beat of an indie drum | magazine=[[Billboard (magazine)|Billboard]] | volume=109 | issue=21 | pages=70–71 | issn=0006-2510 }}</ref><ref name="MIT">{{cite journal |quote=The glitch genre arrived on the back of the electronica movement, an umbrella term for alternative, largely dance-based electronic music (including house, techno, electro, drum'n'bass, ambient) that has come into vogue in the past five years. Most of the work in this area is released on labels peripherally associated with the dance music market, and is therefore removed from the contexts of academic consideration and acceptability that it might otherwise earn. Still, in spite of this odd pairing of fashion and art music, the composers of glitch often draw their inspiration from the masters of 20th-century music who they feel best describe its lineage. |title=The Aesthetics of Failure: 'Post-Digital' Tendencies in Contemporary Computer Music |author=Kim Cascone |author-link=Kim Cascone |url=http://subsol.c3.hu/subsol_2/contributors3/casconetext.html |journal=Computer Music Journal |volume=24 |issue=4 |date=Winter 2002 |publisher=MIT Press}}</ref> or licensed by major labels and marketed to mainstream audiences as a commercially viable alternative to [[alternative rock]] music.<ref name="NYmag">{{cite journal |journal=[[New York (magazine)|New York]] |date=April 21, 1997 |last=Norris |first=Chris |title=Recycling the Future |pages=64–65 |url=https://books.google.com/books?id=M-gCAAAAMBAJ&pg=PA64 |quote=With record sales slumping and alternative rock presumed over, the music industry is famously desperate for a new movement to replace its languishing grunge product. And so its gaze has fixed on a vital and international scene of knob-twiddling musicians and colorfully garbed clubgoers—a scene that, when it began in Detroit discos ten years ago, was called techno. If all goes according to marketing plan, 1997 will be the year "electronica" replaces "grunge" as linguistic plague, MTV buzz, ad soundtrack, and runway garb. The music has been freshly installed in Microsoft commercials, in the soundtrack to Hollywood's recycled action-hero pic ''The Saint'', and in MTV's newest, hourlong all-electronica program, ''Amp''.}}</ref>

[[New York City]] became one center of experimentation and growth for the electronica sound, with DJs and music producers from areas as diverse as [[Southeast Asia]] and Brazil bringing their creative work to the nightclubs of that city.<ref name="latin1">"In 2000, [Brazilian vocalist Bebel] Gilberto capitalized on New York's growing fixation with cocktail lounge ambient music, an offshoot of the dance club scene that focused on drum and bass remixes with Brazilian sources.  ...Collaborating with club music maestros like Suba and Thievery Corporation, Gilberto thrust herself into the leading edge of the emerging Brazilian electronica movement.  On her immensely popular ''Tanto Tempo'' (2000)..." Page 234, ''The Latin Beat: The Rhythms and Roots of Latin Music from Bossa Nova to Salsa and Beyond'', Ed Morales, Da Capo Press, 2003, {{ISBN|0-306-81018-2}}</ref><ref name="youth1">"founded in 1997,...under the slogan 'Musical Insurgency Across All Borders', for six years [Manhattan nightclub] Mutiny was an international hub of the south Asian electronica music scene. Bringing together artists from different parts of the south Asia diaspora, the club was host to a roster of British Asian musicians and DJs..." Page 165, ''Youth Media '', Bill Osgerby, Routledge, 2004, {{ISBN|0-415-23807-2}}</ref>