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The Impact of De-Industrialization to the Development of Techno Music (Essay Sample)

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I evaluated the documentary that covers everything about the city and the artists of the time. The study examines the impact of de-industrialization, the two-party system, radio, DJs, clubs, white flight, Black flight, musical influences (local, regional, and worldwide), and technology on the development of techno music, which is intrinsically related to Detroit.

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Techno
Detroit is a large industrial city that has a distinct dance music style. This movement began in the 80s and 90s. Hard techno music for late-night clubbing, after-hours, and other occasions. It was a breath of fresh air for the dance scene at the time, and it had a huge influence on today's music. I evaluated the documentary that covers everything about the city and the artists of the time. The study examines the impact of de-industrialization, the two-party system, radio, DJs, clubs, white flight, Black flight, musical influences (local, regional, and worldwide), and technology on the development of techno music, which is intrinsically related to Detroit.
In the late 1980s, the continuous, hypnotic chug of techno became a dance music sensation in Europe, sound-tracking the illegal rave scene in the UK and defining the sound of Berlin's growing club section. Stadium-sized rock and pop ensembles, as well as its main performers, from Richie Hawtin to Nina Kraviz, had stolen the sound at major festivals throughout the world (High Tech Soul Detroit: The Creation of TECHNO Music). That was not bad for a genre that was mostly ignored in the city where it originated. In the late 1970s, Detroit, North America's futuristic metropolis for so long, began to lose its luster. An industrial powerhouse that has fallen on hard times and was previously known for its large automobile manufacturing. The city's youth were looking for a way out, and club culture offered it. Detroit was awash in massive disco parties and after-hours clubs with unbiased music strategies in the 1970s and 1980s, allowing DJs like Ken Collier – dubbed "the Frankie Knuckles of Detroit" – and Stacey Hale to play everything from disco edits and European synth-pop to new wave and the early sounds of Chicago house (Sicko 37).

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