Talk:Detroit techno

message: Sorry to be the sourpuss here but I've removed the "Notable DJs" section for now because it was basically filled with spam. DJ/producer/promoter crews specializing in Detroit techno (and individual members of those crews) are not inherently notable unless they're getting significant mainstream press. If they have their act together, they probably do deserve a mention in the External links section, but should not have Wikipedia articles devoted to them, especially if they formed in the mid-1990s or later and especially if they are still active and looking to Wikipedia for exposure. If you are dependent upon Wikipedia for promotion, then you're non-notable, sorry. Wikipedia is an encyclopedia, not a message board or free advertising space.—mjb 07:32, 2 June 2006 (UTC)
thread_title: Avoid vanity

message: The main content of this article is currently little more than snippets from the techno music and Detroit Electronic Music Festival articles, plus an intro that really does very little to establish how Detroit techno is different from other techno. I realize Detroit techno is hard to describe, without a musicology degree, in a way that clearly delineates it from other techno, but there is a distinct Detroit "sound" that fans can identify fairly easily. This should be mentioned. I will add it myself eventually if no one else does, but for now I just want to put this out there for the other potential editors of this article.
Ideally the rest of the content should not be just a rehash of other articles; it should instead go into greater depth about the evolution and stagnation of the Detroit sound, the fact that Detroit's scene is historically relatively insular, the fact that Detroit DJs toured and lived in Europe in the mid-'90s instead of promoting their music at home, non-Detroit area artists with a knack for Detroit techno, info about specific notable events in the Detroit scene, the effect of the DEMF on the subgenre, people's changing perceptions of what Detroit techno does and does not include (e.g., the relationship to ghettotech and electro), citations of Techno Rebels, and so on.—mjb 07:32, 2 June 2006 (UTC)
thread_title: Need more Detroit techno specific content

message: Suggest merging with main techno article. If you wish to provide more detail, add a category to that article. Detroit techno is techno.
: I object to the suggested merger. Although Detroit techno is certainly techno music, it nevertheless has certain characteristics of its own which are not characteristic of all techno music, e.g. German techno music. And, moreover, it has its own coherent history. I think this is a suitable subject matter for a separate article. --Cessator (talk) 17:54, 27 January 2010 (UTC)
replies: text: I, too object. Having a separate article for Detroit techno gives us a place to talk more about this subgenre in depth and list examples of artists and songs, and it also makes it possible to minimize the discussion of Detroit techno in the main techno article. The main article needs to be about techno in general, and subgenres need to be in separate articles which are only summarized and pointed to from the main article. The problem is just that in its current form, the Detroit techno article is a stub which essentially just summarizes part of the main article. So I can see why it's tempting to merge it out of existence. But I would rather just see the Detroit techno article improved. I will put out a call on the 313 list to get some volunteers. —mjb (talk) 22:35, 27 January 2010 (UTC)
thread_title:  Merge 

message: "A distinguishing trait of Detroit techno is the use of analog synthesizers and early drum machines, particularly the Roland TR-909"
I would say the first half of this summary is misleadingly precise and a common myth among non-producers. One characteristic of at least some early Detroit techno is digital synthesizers, cheap FM synths to be precise, for the bass in particular (things like the Yamaha DX100 especially, eg. see Nude Photo). On the other hand, someone like Juan Atkins or Carl Craig did centre his early/mid work around an analog synth or two. So, it's swings and roundabouts really and the reason I cannot commit to making an encyclopaedic entry. Should I even hit Save for this? Yeah, may as well. Also, is the 909 really an 'early' drum machine? That makes me think of the pop-and-whistle bakelite drum machines from the early 70s. Ho hum. I'll hit Save now.  —Preceding unsigned comment added by 82.10.62.183 (talk) 18:41, 17 July 2010 (UTC)
thread_title:  Technical Points 

message: Isn't particularly recent, 2007 was a while ago and that is the most recent reference. Can anyone provide some updates? 121.217.7.135 (talk) 12:34, 24 August 2011 (UTC)
thread_title:  Recent Work 

message: This page seems to be mostly an advertisement for Saunderson, May, and Atkins. While I don't deny that they were important in the detroit sound, the article implies that they are like god and they created something out of thin air. I think the article should focus more on the genre, not continuously referencing these 3 characters. Wikipedia isn't meant to be an advertisement, and any specific information regarding the artists can be listed on their own wiki pages. No need to attach them like gods of a genre. They were all copying Larry Heard anyways. LOL!Danceking5 (talk) 18:33, 27 February 2012 (UTC)
thread_title:  Advertisement 

message: To claim an unbroken lineage from a nebulous, undefined, 'rasta culture' to the formation of a specific techno aesthetic in Detroit is not sustainable. Jamaican dub producers like King Tubby and Lee Perry certainly play a part in pioneering technologized studio-based music production, but these do not amount to 'rasta culture'. 
Neither is there a immediate, direct, continuum between musical practices in Kingston, Jamaica, and in Detroit, US, despite some comparable issues in Afrofuturist cultural politics that are, indeed, connected, rhizomically, further down the line. 
The claim is then followed by an opinion that says little in the context of genre definition: electronic music is made by many people. This may be the case, but does not engage the reader with the very specific Afrofuturist politics of Detroit Techno (many people play guitar but that does not say anything about the formation of, for example, heavy metal or flamenco music). 
To establish the latter, further work must be done in relation to publications by researchers such as Kodwo Eshun, Nabeel Zuberi and Sean Albiez, as well as Ben William's essay 'Black Secret Technology' (in: Technicolour: Race, Technology, and Everyday Life, New York UP, 2001). 
In terms of afrofuturist influences, not only the New York electro scene, but also the electronic funk of Detroit's Parliament/Funkadelic/George Clinton seems a more relevant connection. Is this what was meant with the cryptic comment "he, like Clinton, is making it possible"? In its current form, it is unclear what 'Clinton' refers to, exactly and why.
 Nozem (talk) 08:06, 26 April 2013 (UTC)
thread_title:  Afrofuturism / Rasta Culture? 

message: Having grown up in Metro Detroit during part of the time period discussed here, I think that the author misunderstands the cultural significance of 8 Mile.  Perhaps he or she saw the movie, and drew conclusions.  West of Redford Twp. (and maybe even within Redford, but the point is, west of Detroit proper), 8 Mile doesn't matter much.  It still divides Wayne Country from Oakland County, but there is not really a stigma attached to places such as Canton, Livonia, Plymouth, or, for that matter, Bellville, which are all south of 8 Mile.  On the other hand, the western or southern boundaries of the city carry just as much baggage for locals as 8 Mile.  In other words, really, it's not 8 Mile itself, but rather the city limits of Detroit, that define what people think of as being a "bad" area.  8 Mile just happens to be the northern limit of the City of Detroit. 72.8.255.85 (talk) 17:15, 21 May 2012 (UTC)
thread_title:  8 Mile 

message: 1. Make a distinction between the usage of an instrument v.s the form that usage takes. 
Example: (music genre, instrument arrangement, band theme)
Kraftwerk = (new wave/punk/pop genre, all electric instrument arrangement, Future theme)
Parliament = (Funk genre, partial electric instrument arrangement, space theme)
david bowe(space oddity) = (Progressive rock genre,partial electric instrument arrangement, space theme)
Africa bambaataa = (Hip hop genre, all electric instrument arrangement, electro-funk theme)
chicago House = (Hip hop/Disco genre, all electric instrument arrangement, Dance theme)
Detroit techno = (House/funk/techno genre, all electric instrument arrangement no lyrics, future theme
2. The genre of music played, instrumentation, and theme might overlap at different times but that doesn't make two groups the same. It seems people are trying to lump different genres of music together just because they share common instrumentation arrangement which makes no sense. Just because both David bowie and parliment used a "partial electric instrument arrangement" and space theme doesn't make them the same style of music. Like wise just because Kraftwerk a (new wave/punk/pop) band used an "all electric instrument arrangement" doesn't mean it automatically becomes synonymous with "Detroit Techno" (House/funk/techno) or Africa bambaataa(hip hop).
3. Hip Hop(electro-funk/house/techno) is partially caricaturized by the act of sampling break beats(with the exception of maybe techno) ...not whos' break beat you sample. To say that Kraftwerk has more significance then simply being used as one of many samples or at the most being one of the first to use an "all electric instrument arrangement" is misleading.
4. Don't mix "Techno" with "Electronic music" or specifically "partial or whole electric instrument arrangement" credit for that should go to the engineers of the synthesizers not the players of them. Because when they hit the market loads of different producers got their hands on and used them before anything called techno had arrived on the scene. Basically people made whatever style of music(disco/rock/etc) they were making before except they used synth instead of traditional instruments ...similar to early use of the electric guitar. 
If we want to make an article about "early adopters" or "adoption over time" of "electric instrument arrangements" independent of the musical styles(new wave, rock, funk, hip hop, punk, etc.) that incorporated those "electric instrument arrangements" then that's a different story.
5. If techno is going to be a genre of music I think it should be Detroit techno, (possibly house) and then their many derivations. If Techno means something like "electronic music"(electric instrument arrangements) in Europe then we might need a disambiguation page.  — Preceding unsigned comment added by 2602:304:AE38:2799:283F:CD16:66E:FAD9 (talk) 22:34, 1 May 2014 (UTC)
thread_title:  There is an obvious culture clash (U.S. / Europe) in defining terms & practices 

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