Editing Detroit techno (section)

==Politics==
The first wave of Detroit techno differed from the Chicago house movement, with the former originating in Detroit's suburban black middle class community.{{citation needed|date=June 2020}} Teenagers of families that had prospered as a result of Detroit's automotive industry were removed from the kind of black poverty found in urban parts of Detroit, Chicago, and New York. This resulted in tensions in club spaces frequented by ghetto gangstas or ruffians where signs stating "No Jits" were common.<ref>Reynolds, "A Tale of Three Cities: Detroit Techno, Chicago House & New York Garage;"</ref> Suburban middle class black youths were also attracted to Europhile culture, something that was criticized for not being authentically black.{{citation needed|date=December 2017}} Schaub's analysis of Underground Resistance valued "speaking out of the perspective of the hood than about providing new visions of identity formation for people in the hood"<ref name="Schaub p.11">Schaub,"Beyond the Hood? Detroit Techno, Underground Resistance, and African American Metropolitan Identity Politics."p.11</ref>

Identity politics in Detroit techno is focused mostly on race relations. Throughout the creation of techno there was this constant and strong "progressive desire to move beyond essentialized blackness".<ref name="Schaub p.11"/> Even though the classist nature of techno avoided the artists and producers to separate themselves from the urban poor, especially in the first wave, it helped them make metropolitan spaces the subject of their own vision of different, alternative societies.{{citation needed|date=June 2020}} These alternate societies aimed at moving beyond the concepts of race and ethnicity and blend all of them together. The early producers of Detroit techno state in multiple different occasions that the goal was to make techno just about music and not about race. As Juan Atkins said, "I hate that things have to be separated and dissected [by race] ... to me it shouldn't be white or black music, it should be just music" <ref>Schaub, Christoph. "Beyond the Hood? Detroit Techno, Underground Resistance, and African American Metropolitan Identity Politics." Forum for inter-American research, interamerica.de/volume-2-2/schaub/.</ref>