Editing Detroit techno

{{Short description|Music genre}}
{{More citations needed|date=June 2022}}
{{Use dmy dates|date=January 2020}}
{{Infobox music genre
| name              = Detroit techno
| stylistic_origins = {{hlist||[[Electro (music)|Electro]]<ref name=RaveUSA>Mireille Silcott. Rave America: New School Dancescapes ECW Press, 1999; p. 27.</ref>|[[industrial music|industrial]]<ref name=RaveUSA/>|[[Chicago house]]<ref name=RaveUSA/>|[[synth-pop]]<ref>{{cite magazine|magazine=Music Technology|title=The Techno Wave: Kevin Saunderson|url=https://www.muzines.co.uk/articles/the-techno-wave/2291|last=Trask|first=Simon|date=September 1988|access-date=27 April 2023}}</ref>}}
| cultural_origins  = Mid-1980s, [[Detroit]], [[Michigan]], United States
| derivatives       =
| subgenres         = 
| fusiongenres      = {{hlist|[[Minimal techno]]|[[ghettotech]]| [[dub techno]]}}
}}

'''Detroit techno''' is a type of [[techno]] music that generally includes the first techno productions by [[Detroit]]-based artists during the 1980s and early 1990s. Prominent Detroit techno artists include [[Juan Atkins]], [[Eddie Fowlkes]], [[Derrick May (musician)|Derrick May]], [[Jeff Mills]], [[Kevin Saunderson]], [[Blake Baxter]], [[Drexciya]], [[Mike Banks (musician)|Mike Banks]], [[James Pennington]] and [[Robert Hood]]. Artists like [[Terrence Parker]] and his lead vocalist, Nicole Gregory, set the tone for Detroit's piano techno house sound.

==The Belleville Three==
[[File:The Belleville Three at The Detroit Masonic Temple 2017 2.png|thumb|left|[[The Belleville Three]] performing at the [[Detroit Masonic Temple]] in 2017. From left to right: [[Juan Atkins]], [[Kevin Saunderson]], and [[Derrick May (musician)|Derrick May]]]]
The three individuals most closely associated with the birth of Detroit techno as a genre are [[Juan Atkins]], [[Kevin Saunderson]] and [[Derrick May (musician)|Derrick May]], also known as the "[[Belleville Three]]".<ref name=hanf>Hanf, Mathias Kilian. ''Detroit Techno: Transfer of the Soul through the Machine'' VDM Verlag Dr. Müller, 2010.</ref> The three, who were high school friends from [[Belleville, Michigan]], created electronic music tracks in their basement(s). Derrick May once described Detroit techno music as being a "complete mistake ... like [[George Clinton (funk musician)|George Clinton]] and [[Kraftwerk]] caught in an elevator, with only a [[Music sequencer|sequencer]] to keep them company."<ref>{{cite web
  | title = Music Feature: Who Likes Techno? [2nd October 2007]
  | publisher = BBC Radio4
  | url = http://www.bbc.co.uk/radio/aod/radio4_aod.shtml?radio4/wholikestecno
  | access-date = 5 October 2007 }}</ref>

While attending [[Washtenaw Community College]], Atkins met [[Richard Davis (techno artist)|Rick Davis]] and formed [[Cybotron (American band)|Cybotron]] with him. Their first single "Alleys of Your Mind", recorded on their Deep Space label in 1981, sold 15,000 copies, and the success of two follow-up singles, "Cosmic Cars" and "Clear", led the California-based label Fantasy to sign the duo and release their album, ''Enter''. After Cybotron split due to creative differences, Atkins began recording as Model 500 on his own label, Metroplex, in 1985. His landmark single, "[[No UFO's]]", soon arrived. [[Eddie Fowlkes]], Derrick May, Kevin Saunderson, and [[Robert Hood]] also recorded on Metroplex. May said that the suburban setting afforded a different setting in which to experience the music. "We perceived the music differently than you would if you encountered it in dance clubs. We'd sit back with the lights off and listen to records by [[Bootsy]] and [[Yellow Magic Orchestra]]. We never took it as just entertainment, we took it as a serious philosophy," recalls May.<ref name=reynolds>Reynolds, Simon. ''Generation Ecstasy: Into the World of Techno and Rave Culture'' Routledge, 1999.</ref>

The three teenage friends bonded while listening to an eclectic mix of music: [[Yellow Magic Orchestra]], [[Kraftwerk]], [[Bootsy Collins|Bootsy]], [[Parliament (band)|Parliament]], [[Prince (musician)|Prince]], [[Depeche Mode]], and [[The B-52's]]. Juan Atkins was inspired to buy a [[synthesizer]] after hearing Parliament.<ref name=reynolds/> Atkins was also the first in the group to take up turntablism, teaching May and Saunderson how to [[DJ]].<ref name="Indeterminate">{{Cite web|url=http://www.thetechnocracy.net/techfiles/The%20beginning%20of%20Techno.doc|archiveurl=https://archive.today/20121209180905/http://www.thetechnocracy.net/techfiles/The%20beginning%20of%20Techno.doc|url-status=dead|title=The beginning of American Techno in the form of the Belleville Three|archive-date=9 December 2012|access-date=6 June 2022}}</ref>

Under the name Deep Space Soundworks, Atkins and May began to DJ on Detroit's party circuit. By 1981, Mojo was playing the record mixes recorded by the Belleville Three, who were also branching out to work with other musicians.<ref>{{Cite web|url=http://www.mobeus.org/archives/juanatkins/default.htm|title=Juan Atkins|date=8 May 2008|archive-url=https://web.archive.org/web/20080508233438/http://www.mobeus.org/archives/juanatkins/default.htm |access-date=6 June 2022|archive-date=8 May 2008 }}</ref> The trio traveled to [[Chicago]] to investigate the [[house music]] scene there, particularly the Chicago DJs [[Ron Hardy]] and [[Frankie Knuckles]].<ref name="Indeterminate"/> House was a natural progression from disco music, so that the trio began to formulate the synthesis of this dance music with the mechanical sounds of groups like Kraftwerk, in a way that reflected post-industrialist Detroit. An obsession with the future and its machines is reflected in much of their music, because, according to Atkins, Detroit is the most advanced in the transition away from industrialism.<ref>Archived at [https://ghostarchive.org/varchive/youtube/20211211/RSX_r0u3uzE Ghostarchive]{{cbignore}} and the [https://web.archive.org/web/20080117172825/http://www.youtube.com:80/watch?v=RSX_r0u3uzE Wayback Machine]{{cbignore}}: {{cite web|url=https://www.youtube.com/watch?v=RSX_r0u3uzE%7CUniversal|title=Universal Techno Pt.1 – Juan Atkins & Derrick May|last=Jeeon|date=5 December 2007|via=[[YouTube]]}}{{cbignore}}</ref>

Juan Atkins has been lauded as the "Godfather of Techno" (or "Originator"), while Derrick May is thought of as the "Innovator" and Kevin Saunderson is often referred to as the "Elevator"<ref>{{Cite web |url=http://dancemusic.about.com/od/remixersproducers/a/JuanAtkinsInt.htm |title=Juan Atkins Interview - Godfather of Techno Interview |access-date=7 August 2008 |archive-date=15 June 2011 |archive-url=https://web.archive.org/web/20110615003234/http://dancemusic.about.com/od/remixersproducers/a/JuanAtkinsInt.htm |url-status=dead }}</ref><ref>{{Cite web|url=http://daily.redbullmusicacademy.com/2017/05/interview-derrick-may|title=Red Bull Music Academy|date=28 May 2017|archive-url=https://web.archive.org/web/20170528133538/http://daily.redbullmusicacademy.com/2017/05/interview-derrick-may |access-date=6 June 2022|archive-date=28 May 2017 }}</ref>

==Futurism==
{{quote box|align=left|width=33%|quote = What distinguishes Detroit Techno from its European variants is the way it more directly works the interface of funk and futurism ... but the desire to play up the genre's futuristic side often means the second half of the equation gets dropped.|source= —Mike Shallcross<ref>{{Cite news|periodical=[[The Wire (magazine)|The Wire]]|issue=161|date=July 1997|title=From Detroit To Deep Space|page=21}}</ref>}}One of Techno’s innovators, [[Juan Atkins]], references how [[Parliament-Funkadelic|P-funk]], also known as Parliament-Funkadelic, was one of the first musical groups to influence his techno/futuristic sound and aesthetic<ref name=":0" /> (for example the group's ''[[Mothership Connection]]'' stage-prop and album along with their unique cover art on other [[Parliament-Funkadelic discography|albums)]]. The founding of Techno, being partially rooted in the intergalactic visions of funk, speaks to arguments from Schaub’s work that “‘Techno also represented an idealistic vision of music and a future culture that could exist free from the limitations, prejudice, and preconceptions that the Detroit urban environment manifested.”<ref name=":1" /> In this context, Techno strives not to fixate on gatekeeping the genre for Black people. Instead, its objective was to illuminate the role of music, vibrations, industrial sounds, and club culture to unify ''all'' people under the possession of techno music.<ref name=":1" />

These early Detroit techno artists employed science fiction imagery to articulate their visions of a transformed society.<ref name=":1">{{cite web|last=Schaub|first=Christoph|title=Beyond the Hood? Detroit Techno, Underground Resistance, and African American Metropolitan Identity Politics|url=http://www.interamerica.de/volume-2-2/schaub/|website=Interamerica.de|date=October 2009 }}</ref> A notable exception to this trend was a single by [[Derrick May (musician)|Derrick May]] under his pseudonym {{sic|hide=y|Rhyth|im}} Is {{sic|hide=y|Rhyth|im}}, called "Strings of Life" (1987). This vibrant dancefloor anthem was filled with rich synthetic string arrangements and took the underground music scene by storm in May 1987. It "hit Britain in an especially big way during the country's 1987–1988 [[house music|house]] explosion."<ref>{{cite web|last=Bush|first=John|title=Derrick May|url=http://www.allmusic.com/artist/derrick-may-mn0000205313|publisher=[[AllMusic]]|access-date=25 July 2012}}</ref> It became May's best known track, which, according to Frankie Knuckles, "just exploded. It was like something you can't imagine, the kind of power and energy people got off that record when it was first heard. "<ref name="techno.de">{{cite web|title=Interview: Derrick May – The Secret of Techno|url=http://www.techno.de/mixmag/interviews/DerrickMay1.html|work=[[Mixmag]]|access-date=25 July 2012|year=1997|url-status=dead|archive-url=https://web.archive.org/web/20040214105200/http://www.techno.de/mixmag/interviews/DerrickMay1.html|archive-date=14 February 2004}}</ref>

The club scene created by techno in Detroit was a way for suburban blacks in Detroit to distance themselves from "jits", slang for lower class African Americans living in the inner city. "Prep parties" were obsessed with flaunting wealth and incorporated many aspects of European culture including club names like Plush, Charivari, and GQ Productions, reflecting European fashion and luxury, because Europe signified high class. In addition prep parties were run as private clubs and restricted who could enter based on dress and appearance. Party flyers were also an attempt to restrict and distance lower class individuals from the middle class club scene.<ref>Brewster, Bill and Frank Broughton (1999). ''Last Night the DJ Saved My Life: Story of the Disc Jockey''. Headline Book Publishing. p 254-255</ref>

===Afrofuturism===
The three artists all contribute to the discourse of [[Afrofuturism]] through their re-purposing of technology to create a new form of music that appealed to a marginalized underground population.{{citation needed|date=February 2020}} Especially within the context of Detroit, where the rise of robotics led to a massive loss of jobs around the time these three were growing up, technology is very relevant.{{citation needed|date=February 2020}} The process "took technology, and made it a black secret."

The sound is both futuristic and extraterrestrial, touching on the "otherness" central to Afrofuturist content. According to one critic, it was a "deprived sound trying to get out." [[Tukufu Zuberi]] explains that electronic music can be multiracial and that critics should pay attention to "not just sound aesthetics but the production process and institutions created by black musicians."

==The Music Institute==
Inspired by Chicago's house clubs, Chez Damier, Alton Miller and George Baker started a club of their own in downtown Detroit, named The Music Institute at 1315 Broadway.<ref>{{cite book |title=The Record Players: DJ Revolutionaries |last1=Brewster |first1=Bill | last2=Broughton | first2=Frank |year=2011 |publisher=Black Cat |isbn=978-0-8021-7089-7 |page=[https://archive.org/details/recordplayersdjr00brew/page/315 315] |url=https://archive.org/details/recordplayersdjr00brew |url-access=registration }}</ref> The club helped unite a previously scattered scene into an underground "family", where May, Atkins, and Saunderson DJed with fellow pioneers like Eddie "Flashin" Fowlkes and Blake Baxter.<ref>{{Cite web | url=http://www.allmusic.com/artist/juan-atkins-mn0000831104 | title=Juan Atkins Songs, Albums, Reviews, Bio & More | website=[[AllMusic]] }}</ref> It allowed for collaboration, and helped inspire what would become the second wave of Detroit-area techno, which included artists whom the Belleville Three had influenced and mentored.<ref>{{cite web|url=http://www.derrickmay.com|title=derrickmay.com|url-status=dead|archive-url=https://web.archive.org/web/20080806080545/http://www.derrickmay.com/|archive-date=6 August 2008}}</ref>

==Success abroad==
In 1988, due to the popularity of [[house (music)|house]] and [[acid house]] music in Great Britain, [[Virgin Records]] talent scout Neil Rushton contacted Derrick May with a view to finding out more about the Detroit scene. To define the Detroit sound as being distinct from [[Chicago house]], Rushton and the Belleville Three chose the word "techno" for their tracks, a term that Atkins had been using since his Cybotron days ("Techno City" was an early single).<ref>{{Cite web|url=http://www.pitchforkmedia.com/article/feature/10251-from-the-autobahn-to-i-94|title=Pitchfork Feature: From the Autobahn to I-94|date=8 January 2008|archive-url=https://web.archive.org/web/20080108051933/http://www.pitchforkmedia.com/article/feature/10251-from-the-autobahn-to-i-94 |access-date=6 June 2022|archive-date=8 January 2008 }}</ref>

==Recent work==
Juan Atkins, Kevin Saunderson, and Derrick May remain active in the music scene today. In 2000, the first annual [[Detroit Electronic Music Festival]] was held. In 2004, May assumed control of the festival, renamed Movement. He invested his own funds into the festival, and "got severely wounded financially."<ref name=":0">{{cite web|url=http://www.inthemix.com.au/features/28765/Derrick_May_High_Tech_Soul|title=Derrick May: High Tech Soul|website=Inthemix.com|date=4 October 2006}}</ref> Kevin Saunderson helmed the festival, renamed FUSE IN, the following year. Saunderson, May, and [[Carl Craig]] all performed but did not produce the festival in 2006,<ref>{{cite web|url=http://www.demf.com/index_2006.html|title=Movement|url-status=dead|archive-url=https://web.archive.org/web/20080908095946/http://demf.com/index_2006.html|archive-date=8 September 2008}}</ref> when it was again called Movement. Saunderson returned to perform at the 2007 Movement as well.<ref>{{cite web |url=http://www.demf.com/ |title=Archived copy |access-date=7 August 2008 |url-status=dead |archive-url=https://web.archive.org/web/20020327232634/http://demf.com/ |archive-date=27 March 2002  }}</ref>

==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>

==''The New Dance Sound of Detroit''==
{{Main|Techno}}
The explosion of interest in [[electronic dance music]] during the late 1980s provided a context for the development of techno as an identifiable [[genre]]. The mid-1988 UK release of ''[[Techno! The New Dance Sound of Detroit]]'',<ref name="Sicko 1999:98">Sicko 1999:98</ref><ref>{{cite web|url=http://www.discogs.com/release/57919|title=Various – Techno! The New Dance Sound of Detroit|website=[[Discogs]]}}</ref> an album compiled by ex-[[Northern soul|Northern Soul]] DJ and Kool Kat Records boss Neil Rushton (at the time an [[A&R]] scout for Virgin's "10 Records" imprint) and Derrick May, was an important milestone and marked the introduction of the word ''techno'' in reference to a specific genre of music.<ref name=BREW354>Brewster 2006:354</ref><ref name=REYNOLDS71>Reynolds 1999:71. ''Detroit's music had hitherto reached British ears as a subset of Chicago house; [Neil] Rushton and the [[Belleville Three]] decided to fasten on the word techno – a term that had been bandied about but never stressed – in order to define Detroit as a distinct genre.''</ref> Although the compilation put ''techno'' into the lexicon of British music journalism, the music was, for a time, sometimes characterized as Detroit's high-tech interpretation of Chicago house rather than a relatively pure genre unto itself.<ref name=REYNOLDS71/><ref>{{Cite book|title=House Music All Night Long – Best of House Music Vol. 3 (liner notes)|last=Chin|first=Brian|date=March 1990|publisher=Profile Records, Inc.}} ''Detroit's "techno"... and many more stylistic outgrowths have occurred since the word "house" gained national currency in 1985.''</ref> In fact, the compilation's working title had been ''The House Sound of Detroit'' until the addition of Atkins' song "Techno Music" prompted reconsideration.<ref name="Sicko 1999:98"/><ref name=AtkinsAfroPop>{{cite web|url=http://www.afropop.org/multi/interview/ID/203/|title=Juan Atkins [interview for Afropop Worldwide]|date=14 June 2011|publisher=World Music Productions|last1=Bishop|first1=Marlon|last2=Glasspiegel|first2=Wills|access-date=17 June 2011|url-status=dead|archive-url=https://web.archive.org/web/20110623194409/http://www.afropop.org/multi/interview/ID/203/|archive-date=23 June 2011}}</ref> Rushton was later quoted as saying he, Atkins, May, and Saunderson came up with the compilation's final name together, and that the Belleville Three voted down calling the music some kind of regional brand of house; they instead favored a term they were already using, ''techno''.<ref name=REYNOLDS71/><ref name=AtkinsAfroPop/><ref>{{Cite news|url=http://www.rocksbackpages.com/article.html?ArticleID=10053|title=Machine Soul: A History of Techno|newspaper=The Village Voice|last=Savage|first=Jon|year=1993 |quote= ... Derrick, Kevin, and Juan kept on using the word ''techno''. They had it in their heads without articulating it; it was already part of their language.}}</ref>

==Second wave==
The first wave of Detroit techno had peaked in 1988–89, with the popularity of artists like Derrick May, Kevin Saunderson, Blake Baxter, and Chez Damier, and clubs like [[Saint Andrew's Hall (Detroit)|St. Andrews Hall]], [[Majestic Theatre (Detroit, Michigan)|Majestic Theater]], [[The Shelter (Detroit, Michigan)|The Shelter]], and the Music Institute. At the same time, Detroit techno benefited from the growth of the European [[rave]] scene and various licensing deals with labels in the UK, including Kool Kat Records. By 1989 May's ''Strings of Life'' had achieved "anthemic" status.<ref>Reynolds, p. 219</ref> several years after its recording.

By the early 1990s, a second wave of Detroit artists started to break through, including, among others, [[Carl Craig]], [[Underground Resistance]] (featuring [[Mike Banks (musician)|Mike Banks]], [[Jeff Mills]], and [[Robert Hood]]), [[Blake Baxter]], Jay Denham, and [[Octave One]].<ref>{{cite web |title=365mag.com |url=http://www.365mag.com/index.php?pg=spec&recnum=679&Title=365Mag+Interview%3A+Octave+One+on+365Mag+International+Music+Magazine |website=365mag.com |access-date=29 December 2024 |archive-url=https://web.archive.org/web/20090209154424/http://www.365mag.com/index.php?pg=spec&recnum=679&Title=365Mag+Interview%3A+Octave+One+on+365Mag+International+Music+Magazine |archive-date=9 February 2009 |language=en |url-status=usurped}}</ref> According to music journalist [[Simon Reynolds]], in the same period what began as a Europhile fantasy of elegance and refinement was, ironically, transformed by British and European producers into a "vulgar uproar for E'd-up mobs: anthemic, cheesily sentimental, unabashedly drug-crazed."<ref>Reynolds, Simon Reynolds, "Generation Ecstasy." pg.114.</ref> Detroit embraced this maximalism and created its own variant of acid house and techno. The result was a harsh Detroit hardcore full of riffs and industrial bleakness. Two major labels of this sound were Underground Resistance and [[+8]], both of which mixed 1980s electro, UK synth-pop and industrial paralleling the brutalism of rave music of Europe.{{citation needed|date=June 2020}}

Underground Resistance's music embodied a kind of abstract militancy by presenting themselves as a paramilitary group fighting against commercial mainstream entertainment industry who they called "the programmers" in their tracks such as ''Predator'', ''Elimination'', ''Riot'' or ''Death Star''. Similarly, the label [[+8]] was formed by [[Richie Hawtin]] and [[John Acquaviva]] which evolved from industrial hardcore to a minimalist progressive techno sound. As friendly rivals to Underground Resistance, +8 pushed up the speed of their songs faster and fiercer in tracks like ''Vortex''.

On Memorial Day weekend of 2000, electronic music fans from around the globe made a pilgrimage to [[Hart Plaza]] on the banks of the [[Detroit River]] and experienced the first [[Detroit Electronic Music Festival]]. In 2003, the festival management changed the name to Movement, then Fuse-In (2005), and most recently, Movement: Detroit's Electronic Music Festival (2007). The festival is a showcase for DJs and performers across all genres of electronic music, takes course over a period of three days, and is considered to be the best underground electronic music festival in the United States.{{citation needed|date=June 2022}} There are also many events outside of the festival, including the largest afterparties at the [[Detroit Masonic Temple]] and another popular party at The Old Miami with a surprise line-up. Inter dimensional Transmissions also throws No Way Back yearly with a heavy rotation of resident/international artist.

==Notable Detroit area record labels==
<!-- Only notable labels please; or page will be protected so that only auto-confirmed editors may edit it -->
{{col-begin}}
{{col-2}}
*[[430 West Records]]
*[[Detroit Techno Militia]]
*[[Jeff Mills|Axis Records]]
*[[Fragile Records|Fragile]]
*[[Metroplex (record label)|Metroplex]]
*[[Minus Records]]
*[[Planet E Communications]]
*[[Plus 8]]
*[[Transmat]]
*Submerge
*[[Underground Resistance (band)|Underground Resistance]]
{{col-end}}

==See also==

* [[Detroit Electronic Music Festival|Detroit Electronic Music Festival (DEMF)]]
* [[Music of Detroit, Michigan]]

==Bibliography==
* Brewster B. & Broughton F., ''Last Night a DJ Saved My Life: The History of the Disc Jockey'', Avalon Travel Publishing, 2006, ({{ISBN|978-0802136886}}).
* Reynolds, S., ''Energy Flash: a Journey Through Rave Music and Dance Culture'', Pan Macmillan, 1998 ({{ISBN|978-0330350563}}).
* Reynolds, S., ''Generation Ecstasy: Into the World of Techno and Rave Culture'', Routledge, New York 1999 ({{ISBN|978-0415923736}}).<ref>''Generation Ecstasy'' is based on ''Energy Flash'', but is a unique edition significantly rewritten for the North American market. Its copyright date is 1998 but it was first published July 1999.</ref>

==References==
{{reflist}}

{{Techno music-footer}}
{{BlackMusicHistory}}

[[Category:Detroit techno| ]]
[[Category:1980s in Detroit]]
[[Category:Techno genres]]
[[Category:Music of Detroit]]
[[Category:Music scenes]]
[[Category:African-American music]]