Assembling a Black counter culture

Publication Type:



Primary Information,, Brooklyn, N. Y., United States:, p.432 pages : (2022)



Call Number:



(OCoLC)fst00799648, (OCoLC)fst00907363, African Americans, ART / American / African American., bisacsh, Electronic music, Electronic music., fast, History and criticism., Music, Music., Popular music, United States


Includes bibliographical references and discography.White silence: Introductory notes on how the west was won -- Techno city, the final frontier -- Drifting into a time of no future -- The spirit of the people is greater than man's technology -- Global techno power: Japanese electronics, black machine music -- Hi-tech dreams, lo-tech reality -- Wake up America, you're dead! -- Detroit-Berlin axis -- Underground resistance: Electronic warfare for the sonic revolution -- The Drexciyan empire -- The collapse of modern culture.In 'Assembling a Black Counter Culture', writer and musician DeForrest Brown, Jr., provides a history and critical analysis of techno and adjacent electronic music such as house and electro, showing how the genre has been shaped over time by a Black American musical sensibility. Brown revisits Detroit's 1980s techno scene to highlight pioneering groups like the Belleville Three before jumping into the origins of today's international club floor to draw important connections between industrialized labor systems and cultural production. Among the other musicians discussed are Underground Resistance (Mad Mike Banks, Cornelius Harris), Drexciya, Juan Atkins (Cybotron, Model 500), Derrick May, Jeff Mills, Robert Hood, Detroit Escalator Co. (Neil Ollivierra), DJ Stingray/Urban Tribe, Eddie Fowlkies, Terrence Dixon (Population One) and Carl Craig. With references to Theodore Roszak's 'Making of a Counter Culture', writings by African American autoworker and political activist James Boggs, and the "techno rebels" of Alvin Toffler's Third Wave, Brown approaches techno's unique history from a Black theoretical perspective in an effort to evade and subvert the racist and classist status quo in the mainstream musical-historical record. The result is a compelling case to make techno Black again."Brown traces the genealogy and current developments in techno, locating its origins in the 1980s in the historically emblematic city of Detroit and the broader landscape of Black musical forms. Reaching back from the transatlantic slave trade to Emancipation, the Industrial Revolution, and the Great Migration from the rural South to the industrialized North, Brown details an extended history of techno rooted in the transformation of urban centers and the new forms of industrial capitalism that gave rise to the African American working class. Following the groundbreaking work of key early players like The Belleville Three, the multimedia output of Underground Resistance and the mythscience of Drexciya, Brown illuminates the networks of collaboration, production, and circulation of techno from Detroit to other cities around the world." --