Techno Dj Quotes

Techno emerged in the early to mideighties in and around Detroit, at the hands of black middle-class DJs who for some reason idealized the glamour and suavity of European electronic pop and Italo disco, as it reached them via GQ and the radio DJ who called himself the Electrifying Mojo. They brought some rigor and a hint of Motown to it and created an industrial-sounding music that was funky, futuristic, and kind of arch—evoking the auto plants that were putting these kids’ parents out of work.

Mungo stood on the threshold to Mrs McConnachie’s living room. He hadn’t been invited inside yet. The settee had six of the boys from the builder’s yard crammed on to it. They were packed thigh to thigh and spilled over the arms of the small sofa. In their nylon tracksuits they looked like so many plastic bags all stuffed together; a flammable, noisy jumble of colour-blocking and sponsorship logos. There was the manic throb of techno coming from the stereo; someone had a bootlegged copy of a Carl Cox set from Rezerection. It sounded like the DJ was pressing an early warning siren over a stuttering breakbeat. It was so aggressive sounding – it moved so fast – that it made Mungo feel tense.

Two years earlier there hadn’t been a rave scene in the States. And now, seemingly overnight, the world had changed. Every decentsize city in North America now had DJ record stores and rave-clothing stores. Musicians were trading in their guitars for synths and making techno records that were becoming globe-spanning anthems. It was 1992 and the rave scene was blossoming like a shiny, DIY flower.

In general, dance music had long been overlooked in the US. While house music and techno had become mainstream genres in England, Germany and the Netherlands, they were still subcultures here. Of course, there had been sudden outbursts, moments when the scene had sparked – most recently in the late 90s when Brits like The Prodigy, The Chemical Brothers and Fatboy Slim had enjoyed successes on the charts.

first generation. They were America's first post-soul kids.” 62 This era after the Civil Rights Movement, just before the Information Age that birthed the possibility of techno, sowed the seeds of a redefinition of the expression of postindustrial, postmodern youth, in the face of a future foreclosed by the failing economy and collapsing urban infrastructure. “DJ Kool Herc essentially created hip-hop in the 70s crack-burdened New York with a broken record player which kept skipping and playing the same portion of a record over and over again,” writes English journalist Johny Pitts of the genre:

sessions of pre-techno soul music that lasted from the late afternoon until the break of dawn. “You have to understand, in the Black community, you had to mix disco and funk,” Howard states. “You couldn't just put on Gloria Gaynor's ‘I Will Survive’ and not do ‘Brick House’ by Commodores.” 34 Delano Smith, a DJ who turned to producing in the mid-’90s, was at the heart of Detroit's progressive scene as part of the Soundwave crew, with Carl Martin and Avon McDaniel of the social club Next Phase. “I think we were all inspired by disco music. A lot of the radio stations completely changed their format and played disco music day and night,” Smith said, observing the music industry's transition from professional