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vector-toc-level-3"> <a class="vector-toc-link" href="#Dub"> <div class="vector-toc-text"> 1.1.1 Dub </div> </a> <ul id="toc-Dub-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Hip_hop" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Hip_hop"> <div class="vector-toc-text"> 1.1.2 Hip hop </div> </a> <ul id="toc-Hip_hop-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Disco" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Disco"> <div class="vector-toc-text"> 1.1.3 Disco </div> </a> <ul id="toc-Disco-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Synth-pop" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Synth-pop"> <div class="vector-toc-text"> 1.1.4 Synth-pop </div> </a> <ul id="toc-Synth-pop-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Dance_music_in_the_1980s" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Dance_music_in_the_1980s"> <div class="vector-toc-text"> 1.2 Dance music in the 1980s </div> </a> <ul id="toc-Dance_music_in_the_1980s-sublist" class="vector-toc-list"> <li id="toc-Post-disco" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Post-disco"> <div class="vector-toc-text"> 1.2.1 Post-disco </div> </a> <ul id="toc-Post-disco-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Electro" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Electro"> <div class="vector-toc-text"> 1.2.2 Electro </div> </a> <ul id="toc-Electro-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-House_music" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#House_music"> <div class="vector-toc-text"> 1.2.3 House music </div> </a> <ul id="toc-House_music-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Techno,_acid_house,_rave" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Techno,_acid_house,_rave"> <div class="vector-toc-text"> 1.2.4 Techno, acid house, rave </div> </a> <ul id="toc-Techno,_acid_house,_rave-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Dance_music_in_the_1990s" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Dance_music_in_the_1990s"> <div class="vector-toc-text"> 1.3 Dance music in the 1990s </div> </a> <ul id="toc-Dance_music_in_the_1990s-sublist" class="vector-toc-list"> <li id="toc-Trance" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Trance"> <div class="vector-toc-text"> 1.3.1 Trance </div> </a> <ul id="toc-Trance-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Breakbeat_hardcore,_jungle,_drum_and_bass" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Breakbeat_hardcore,_jungle,_drum_and_bass"> <div class="vector-toc-text"> 1.3.2 Breakbeat hardcore, jungle, drum and bass </div> </a> <ul id="toc-Breakbeat_hardcore,_jungle,_drum_and_bass-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Dance_music_in_the_21st_century" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Dance_music_in_the_21st_century"> <div class="vector-toc-text"> 1.4 Dance music in the 21st century </div> </a> <ul id="toc-Dance_music_in_the_21st_century-sublist" class="vector-toc-list"> <li id="toc-Dubstep" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Dubstep"> <div class="vector-toc-text"> 1.4.1 Dubstep </div> </a> <ul id="toc-Dubstep-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Electro_house" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Electro_house"> <div class="vector-toc-text"> 1.4.2 Electro house </div> </a> <ul id="toc-Electro_house-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-EDM_Trap_music" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#EDM_Trap_music"> <div class="vector-toc-text"> 1.4.3 EDM Trap music </div> </a> <ul id="toc-EDM_Trap_music-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> </ul> </li> <li id="toc-Terminology" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Terminology"> <div class="vector-toc-text"> 2 Terminology </div> </a> <ul id="toc-Terminology-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Production" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Production"> <div class="vector-toc-text"> 3 Production </div> </a> <button aria-controls="toc-Production-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Production subsection </button> <ul id="toc-Production-sublist" class="vector-toc-list"> <li id="toc-Ghost_production" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Ghost_production"> <div class="vector-toc-text"> 3.1 Ghost production </div> </a> <ul id="toc-Ghost_production-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Bedroom_production" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Bedroom_production"> <div class="vector-toc-text"> 3.2 Bedroom production </div> </a> <ul id="toc-Bedroom_production-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Afro-EDM" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Afro-EDM"> <div class="vector-toc-text"> 4 Afro-EDM </div> </a> <button aria-controls="toc-Afro-EDM-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Afro-EDM subsection </button> <ul id="toc-Afro-EDM-sublist" class="vector-toc-list"> <li id="toc-Afrobeats" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Afrobeats"> <div class="vector-toc-text"> 4.1 Afrobeats </div> </a> <ul id="toc-Afrobeats-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Gqom" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Gqom"> <div class="vector-toc-text"> 4.2 Gqom </div> </a> <ul id="toc-Gqom-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Popularisation" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Popularisation"> <div class="vector-toc-text"> 5 Popularisation </div> </a> <button aria-controls="toc-Popularisation-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Popularisation subsection </button> <ul id="toc-Popularisation-sublist" class="vector-toc-list"> <li id="toc-United_States" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#United_States"> <div class="vector-toc-text"> 5.1 United States </div> </a> <ul id="toc-United_States-sublist" class="vector-toc-list"> <li id="toc-US_corporate_interest" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#US_corporate_interest"> <div class="vector-toc-text"> 5.1.1 US corporate interest </div> </a> <ul id="toc-US_corporate_interest-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Criticism_of_over-commercialization" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Criticism_of_over-commercialization"> <div class="vector-toc-text"> 5.1.2 Criticism of over-commercialization </div> </a> <ul id="toc-Criticism_of_over-commercialization-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-International" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#International"> <div class="vector-toc-text"> 5.2 International </div> </a> <ul id="toc-International-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Social_impact" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Social_impact"> <div class="vector-toc-text"> 6 Social impact </div> </a> <button aria-controls="toc-Social_impact-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Social impact subsection </button> <ul id="toc-Social_impact-sublist" class="vector-toc-list"> <li id="toc-Festivals" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Festivals"> <div class="vector-toc-text"> 6.1 Festivals </div> </a> <ul id="toc-Festivals-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-COVID-19_impact" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#COVID-19_impact"> <div class="vector-toc-text"> 6.2 COVID-19 impact </div> </a> <ul id="toc-COVID-19_impact-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Association_with_recreational_drug_use" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Association_with_recreational_drug_use"> <div class="vector-toc-text"> 6.3 Association with recreational drug use </div> </a> <ul id="toc-Association_with_recreational_drug_use-sublist" class="vector-toc-list"> <li id="toc-Drug-related_deaths_at_electronic_dance_music_events" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Drug-related_deaths_at_electronic_dance_music_events"> <div class="vector-toc-text"> 6.3.1 Drug-related deaths at electronic dance music events </div> </a> <ul id="toc-Drug-related_deaths_at_electronic_dance_music_events-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> </ul> </li> <li id="toc-Industry_awards" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Industry_awards"> <div class="vector-toc-text"> 7 Industry awards </div> </a> <ul id="toc-Industry_awards-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> 8 See also </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Notes" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Notes"> <div class="vector-toc-text"> 9 Notes </div> </a> <ul id="toc-Notes-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> 10 References </div> </a> <button aria-controls="toc-References-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle References subsection </button> <ul id="toc-References-sublist" class="vector-toc-list"> <li id="toc-Bibliography" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Bibliography"> <div class="vector-toc-text"> 10.1 Bibliography </div> </a> <ul id="toc-Bibliography-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Further_reading" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Further_reading"> <div class="vector-toc-text"> 11 Further reading </div> </a> <ul id="toc-Further_reading-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" > Toggle the table of contents </label> <div class="vector-dropdown-content"> <div id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading">Electronic dance music</h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 51 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-51" aria-hidden="true" > 51 languages </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D9%85%D9%88%D8%B3%D9%8A%D9%82%D9%89_%D8%A5%D9%84%D9%83%D8%AA%D8%B1%D9%88%D9%86%D9%8A%D8%A9_%D8%B1%D8%A7%D9%82%D8%B5%D8%A9" title="موسيقى إلكترونية راقصة – Arabic" lang="ar" hreflang="ar" data-title="موسيقى إلكترونية راقصة" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target">العربية</a></li><li class="interlanguage-link interwiki-bn mw-list-item"><a href="https://bn.wikipedia.org/wiki/%E0%A6%87%E0%A6%B2%E0%A7%87%E0%A6%95%E0%A6%9F%E0%A7%8D%E0%A6%B0%E0%A6%A8%E0%A6%BF%E0%A6%95_%E0%A6%A1%E0%A6%BE%E0%A6%A8%E0%A7%8D%E0%A6%B8_%E0%A6%AE%E0%A6%BF%E0%A6%89%E0%A6%9C%E0%A6%BF%E0%A6%95" title="ইলেকট্রনিক ডান্স মিউজিক – Bangla" lang="bn" hreflang="bn" data-title="ইলেকট্রনিক ডান্স মিউজিক" data-language-autonym="বাংলা" data-language-local-name="Bangla" class="interlanguage-link-target">বাংলা</a></li><li class="interlanguage-link interwiki-bh mw-list-item"><a href="https://bh.wikipedia.org/wiki/%E0%A4%87%E0%A4%B2%E0%A5%87%E0%A4%95%E0%A5%8D%E0%A4%9F%E0%A5%8D%E0%A4%B0%E0%A5%89%E0%A4%A8%E0%A4%BF%E0%A4%95_%E0%A4%A8%E0%A4%BE%E0%A4%9A_%E0%A4%B8%E0%A4%82%E0%A4%97%E0%A5%80%E0%A4%A4" title="इलेक्ट्रॉनिक नाच संगीत – Bhojpuri" lang="bh" hreflang="bh" data-title="इलेक्ट्रॉनिक नाच संगीत" data-language-autonym="भोजपुरी" data-language-local-name="Bhojpuri" class="interlanguage-link-target">भोजपुरी</a></li><li class="interlanguage-link interwiki-bg mw-list-item"><a href="https://bg.wikipedia.org/wiki/%D0%95%D0%BB%D0%B5%D0%BA%D1%82%D1%80%D0%BE%D0%BD%D0%BD%D0%B0_%D0%B4%D0%B5%D0%BD%D1%81_%D0%BC%D1%83%D0%B7%D0%B8%D0%BA%D0%B0" title="Електронна денс музика – Bulgarian" lang="bg" hreflang="bg" data-title="Електронна денс музика" data-language-autonym="Български" data-language-local-name="Bulgarian" class="interlanguage-link-target">Български</a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/M%C3%BAsica_de_ball_electr%C3%B2nica" title="Música de ball electrònica – Catalan" lang="ca" hreflang="ca" data-title="Música de ball electrònica" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target">Català</a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/Elektronick%C3%A1_tane%C4%8Dn%C3%AD_hudba" title="Elektronická taneční hudba – Czech" lang="cs" hreflang="cs" data-title="Elektronická taneční hudba" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target">Čeština</a></li><li class="interlanguage-link interwiki-cy mw-list-item"><a href="https://cy.wikipedia.org/wiki/Cerddoriaeth_dawns_electronig" title="Cerddoriaeth dawns electronig – Welsh" lang="cy" hreflang="cy" data-title="Cerddoriaeth dawns electronig" data-language-autonym="Cymraeg" data-language-local-name="Welsh" class="interlanguage-link-target">Cymraeg</a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Elektronische_Tanzmusik" title="Elektronische Tanzmusik – German" lang="de" hreflang="de" data-title="Elektronische Tanzmusik" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target">Deutsch</a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/Elektrooniline_tantsumuusika" title="Elektrooniline tantsumuusika – Estonian" lang="et" hreflang="et" data-title="Elektrooniline tantsumuusika" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target">Eesti</a></li><li class="interlanguage-link interwiki-el mw-list-item"><a href="https://el.wikipedia.org/wiki/%CE%97%CE%BB%CE%B5%CE%BA%CF%84%CF%81%CE%BF%CE%BD%CE%B9%CE%BA%CE%AE_%CF%87%CE%BF%CF%81%CE%B5%CF%85%CF%84%CE%B9%CE%BA%CE%AE_%CE%BC%CE%BF%CF%85%CF%83%CE%B9%CE%BA%CE%AE" title="Ηλεκτρονική χορευτική μουσική – Greek" lang="el" hreflang="el" data-title="Ηλεκτρονική χορευτική μουσική" data-language-autonym="Ελληνικά" data-language-local-name="Greek" class="interlanguage-link-target">Ελληνικά</a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Electronic_dance_music" title="Electronic dance music – Spanish" lang="es" hreflang="es" data-title="Electronic dance music" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target">Español</a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Elektronika_dancmuziko" title="Elektronika dancmuziko – Esperanto" lang="eo" hreflang="eo" data-title="Elektronika dancmuziko" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target">Esperanto</a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Dance_musika_elektroniko" title="Dance musika elektroniko – Basque" lang="eu" hreflang="eu" data-title="Dance musika elektroniko" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target">Euskara</a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D9%85%D9%88%D8%B3%DB%8C%D9%82%DB%8C_%D8%B1%D9%82%D8%B5_%D8%A7%D9%84%DA%A9%D8%AA%D8%B1%D9%88%D9%86%DB%8C%DA%A9" title="موسیقی رقص الکترونیک – Persian" lang="fa" hreflang="fa" data-title="موسیقی رقص الکترونیک" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target">فارسی</a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Electronic_dance_music" title="Electronic dance music – French" lang="fr" hreflang="fr" data-title="Electronic dance music" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target">Français</a></li><li class="interlanguage-link interwiki-ga mw-list-item"><a href="https://ga.wikipedia.org/wiki/Ceol_damhsa_leictreonach" title="Ceol damhsa leictreonach – Irish" lang="ga" hreflang="ga" data-title="Ceol damhsa leictreonach" data-language-autonym="Gaeilge" data-language-local-name="Irish" class="interlanguage-link-target">Gaeilge</a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EC%9D%BC%EB%A0%89%ED%8A%B8%EB%A1%9C%EB%8B%89_%EB%8C%84%EC%8A%A4_%EB%AE%A4%EC%A7%81" title="일렉트로닉 댄스 뮤직 – Korean" lang="ko" hreflang="ko" data-title="일렉트로닉 댄스 뮤직" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target">한국어</a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/EDM" title="EDM – Armenian" lang="hy" hreflang="hy" data-title="EDM" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target">Հայերեն</a></li><li class="interlanguage-link interwiki-id mw-list-item"><a href="https://id.wikipedia.org/wiki/Musik_dansa_elektronik" title="Musik dansa elektronik – Indonesian" lang="id" hreflang="id" data-title="Musik dansa elektronik" data-language-autonym="Bahasa Indonesia" data-language-local-name="Indonesian" class="interlanguage-link-target">Bahasa Indonesia</a></li><li class="interlanguage-link interwiki-zu mw-list-item"><a href="https://zu.wikipedia.org/wiki/Umculo_wohlobo_lwe-Eletronic_Dance" title="Umculo wohlobo lwe-Eletronic Dance – Zulu" lang="zu" hreflang="zu" data-title="Umculo wohlobo lwe-Eletronic Dance" data-language-autonym="IsiZulu" data-language-local-name="Zulu" class="interlanguage-link-target">IsiZulu</a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Electronic_dance_music" title="Electronic dance music – Italian" lang="it" hreflang="it" data-title="Electronic dance music" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target">Italiano</a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%9E%D7%95%D7%96%D7%99%D7%A7%D7%AA_%D7%93%D7%90%D7%A0%D7%A1_%D7%90%D7%9C%D7%A7%D7%98%D7%A8%D7%95%D7%A0%D7%99%D7%AA" title="מוזיקת דאנס אלקטרונית – Hebrew" lang="he" hreflang="he" data-title="מוזיקת דאנס אלקטרונית" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target">עברית</a></li><li class="interlanguage-link interwiki-ka mw-list-item"><a href="https://ka.wikipedia.org/wiki/EDM" title="EDM – Georgian" lang="ka" hreflang="ka" data-title="EDM" data-language-autonym="ქართული" data-language-local-name="Georgian" class="interlanguage-link-target">ქართული</a></li><li class="interlanguage-link interwiki-sw mw-list-item"><a href="https://sw.wikipedia.org/wiki/Muziki_wa_dansi_wa_kielektroniki" title="Muziki wa dansi wa kielektroniki – Swahili" lang="sw" hreflang="sw" data-title="Muziki wa dansi wa kielektroniki" data-language-autonym="Kiswahili" data-language-local-name="Swahili" class="interlanguage-link-target">Kiswahili</a></li><li class="interlanguage-link interwiki-lv mw-list-item"><a href="https://lv.wikipedia.org/wiki/Elektronisk%C4%81_deju_m%C5%ABzika" title="Elektroniskā deju mūzika – Latvian" lang="lv" hreflang="lv" data-title="Elektroniskā deju mūzika" data-language-autonym="Latviešu" data-language-local-name="Latvian" class="interlanguage-link-target">Latviešu</a></li><li class="interlanguage-link interwiki-arz mw-list-item"><a href="https://arz.wikipedia.org/wiki/%D9%85%D9%88%D8%B3%D9%8A%D9%82%D9%89_%D8%A7%D9%84%D9%83%D8%AA%D8%B1%D9%88%D9%86%D9%8A%D9%87_%D8%B1%D8%A7%D9%82%D8%B5%D9%87" title="موسيقى الكترونيه راقصه – Egyptian Arabic" lang="arz" hreflang="arz" data-title="موسيقى الكترونيه راقصه" data-language-autonym="مصرى" data-language-local-name="Egyptian Arabic" class="interlanguage-link-target">مصرى</a></li><li class="interlanguage-link interwiki-ms mw-list-item"><a href="https://ms.wikipedia.org/wiki/Muzik_tarian_elektronik" title="Muzik tarian elektronik – Malay" lang="ms" hreflang="ms" data-title="Muzik tarian elektronik" data-language-autonym="Bahasa Melayu" data-language-local-name="Malay" class="interlanguage-link-target">Bahasa Melayu</a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Dance" title="Dance – Dutch" lang="nl" hreflang="nl" data-title="Dance" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target">Nederlands</a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%82%A8%E3%83%AC%E3%82%AF%E3%83%88%E3%83%AD%E3%83%8B%E3%83%83%E3%82%AF%E3%83%BB%E3%83%80%E3%83%B3%E3%82%B9%E3%83%BB%E3%83%9F%E3%83%A5%E3%83%BC%E3%82%B8%E3%83%83%E3%82%AF" title="エレクトロニック・ダンス・ミュージック – Japanese" lang="ja" hreflang="ja" data-title="エレクトロニック・ダンス・ミュージック" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target">日本語</a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Elektronisk_dansemusikk" title="Elektronisk dansemusikk – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Elektronisk dansemusikk" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target">Norsk bokmål</a></li><li class="interlanguage-link interwiki-nn mw-list-item"><a href="https://nn.wikipedia.org/wiki/Elektronisk_dansemusikk" title="Elektronisk dansemusikk – Norwegian Nynorsk" lang="nn" hreflang="nn" data-title="Elektronisk dansemusikk" data-language-autonym="Norsk nynorsk" data-language-local-name="Norwegian Nynorsk" class="interlanguage-link-target">Norsk nynorsk</a></li><li class="interlanguage-link interwiki-uz mw-list-item"><a href="https://uz.wikipedia.org/wiki/Electronic_Dance_Music" title="Electronic Dance Music – Uzbek" lang="uz" hreflang="uz" data-title="Electronic Dance Music" data-language-autonym="Oʻzbekcha / ўзбекча" data-language-local-name="Uzbek" class="interlanguage-link-target">Oʻzbekcha / ўзбекча</a></li><li class="interlanguage-link interwiki-km mw-list-item"><a href="https://km.wikipedia.org/wiki/%E1%9E%8F%E1%9E%93%E1%9F%92%E1%9E%8F%E1%9F%92%E1%9E%9A%E1%9E%B8%E1%9E%9A%E1%9E%94%E1%9E%B6%E1%9F%86%E1%9E%A2%E1%9F%81%E1%9E%A1%E1%9E%B7%E1%9E%85%E1%9E%8F%E1%9F%92%E1%9E%9A%E1%9E%BC%E1%9E%93%E1%9E%B7%E1%9E%80" title="តន្ត្រីរបាំអេឡិចត្រូនិក – Khmer" lang="km" hreflang="km" data-title="តន្ត្រីរបាំអេឡិចត្រូនិក" data-language-autonym="ភាសាខ្មែរ" data-language-local-name="Khmer" class="interlanguage-link-target">ភាសាខ្មែរ</a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Elektroniczna_muzyka_taneczna" title="Elektroniczna muzyka taneczna – Polish" lang="pl" hreflang="pl" data-title="Elektroniczna muzyka taneczna" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target">Polski</a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Electronic_dance_music" title="Electronic dance music – Portuguese" lang="pt" hreflang="pt" data-title="Electronic dance music" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target">Português</a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/Muzic%C4%83_dance_electronic%C4%83" title="Muzică dance electronică – Romanian" lang="ro" hreflang="ro" data-title="Muzică dance electronică" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target">Română</a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/EDM" title="EDM – Russian" lang="ru" hreflang="ru" data-title="EDM" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target">Русский</a></li><li class="interlanguage-link interwiki-scn mw-list-item"><a href="https://scn.wikipedia.org/wiki/Electronic_dance_music" title="Electronic dance music – Sicilian" lang="scn" hreflang="scn" data-title="Electronic dance music" data-language-autonym="Sicilianu" data-language-local-name="Sicilian" class="interlanguage-link-target">Sicilianu</a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/Electronic_dance_music" title="Electronic dance music – Simple English" lang="en-simple" hreflang="en-simple" data-title="Electronic dance music" data-language-autonym="Simple English" data-language-local-name="Simple English" class="interlanguage-link-target">Simple English</a></li><li class="interlanguage-link interwiki-sk mw-list-item"><a href="https://sk.wikipedia.org/wiki/Elektronick%C3%A1_tane%C4%8Dn%C3%A1_hudba" title="Elektronická tanečná hudba – Slovak" lang="sk" hreflang="sk" data-title="Elektronická tanečná hudba" data-language-autonym="Slovenčina" data-language-local-name="Slovak" class="interlanguage-link-target">Slovenčina</a></li><li class="interlanguage-link interwiki-sl mw-list-item"><a href="https://sl.wikipedia.org/wiki/Elektronska_plesna_glasba" title="Elektronska plesna glasba – Slovenian" lang="sl" hreflang="sl" data-title="Elektronska plesna glasba" data-language-autonym="Slovenščina" data-language-local-name="Slovenian" class="interlanguage-link-target">Slovenščina</a></li><li class="interlanguage-link interwiki-ckb mw-list-item"><a href="https://ckb.wikipedia.org/wiki/%D9%85%DB%86%D8%B3%DB%8C%D9%82%D8%A7%DB%8C_%D8%B3%DB%95%D9%85%D8%A7%DB%8C_%D8%A6%DB%95%D9%84%DB%8C%DA%A9%D8%AA%D8%B1%DB%86%D9%86%DB%8C" title="مۆسیقای سەمای ئەلیکترۆنی – Central Kurdish" lang="ckb" hreflang="ckb" data-title="مۆسیقای سەمای ئەلیکترۆنی" data-language-autonym="کوردی" data-language-local-name="Central Kurdish" class="interlanguage-link-target">کوردی</a></li><li class="interlanguage-link interwiki-sr mw-list-item"><a href="https://sr.wikipedia.org/wiki/%D0%95%D0%BB%D0%B5%D0%BA%D1%82%D1%80%D0%BE%D0%BD%D1%81%D0%BA%D0%B0_%D0%B4%D0%B5%D0%BD%D1%81_%D0%BC%D1%83%D0%B7%D0%B8%D0%BA%D0%B0" title="Електронска денс музика – Serbian" lang="sr" hreflang="sr" data-title="Електронска денс музика" data-language-autonym="Српски / srpski" data-language-local-name="Serbian" class="interlanguage-link-target">Српски / srpski</a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Elektroninen_tanssimusiikki" title="Elektroninen tanssimusiikki – Finnish" lang="fi" hreflang="fi" data-title="Elektroninen tanssimusiikki" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target">Suomi</a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Elektronisk_dansmusik" title="Elektronisk dansmusik – Swedish" lang="sv" hreflang="sv" data-title="Elektronisk dansmusik" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target">Svenska</a></li><li class="interlanguage-link interwiki-th mw-list-item"><a href="https://th.wikipedia.org/wiki/%E0%B8%94%E0%B8%99%E0%B8%95%E0%B8%A3%E0%B8%B5%E0%B8%AD%E0%B8%B4%E0%B9%80%E0%B8%A5%E0%B9%87%E0%B8%81%E0%B8%97%E0%B8%A3%E0%B8%AD%E0%B8%99%E0%B8%B4%E0%B8%81%E0%B8%AA%E0%B9%8C%E0%B9%81%E0%B8%94%E0%B8%99%E0%B8%8B%E0%B9%8C" title="ดนตรีอิเล็กทรอนิกส์แดนซ์ – Thai" lang="th" hreflang="th" data-title="ดนตรีอิเล็กทรอนิกส์แดนซ์" data-language-autonym="ไทย" data-language-local-name="Thai" class="interlanguage-link-target">ไทย</a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Elektronik_dans_m%C3%BCzi%C4%9Fi" title="Elektronik dans müziği – Turkish" lang="tr" hreflang="tr" data-title="Elektronik dans müziği" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target">Türkçe</a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/EDM" title="EDM – Ukrainian" lang="uk" hreflang="uk" data-title="EDM" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target">Українська</a></li><li class="interlanguage-link interwiki-vi mw-list-item"><a href="https://vi.wikipedia.org/wiki/Nh%E1%BA%A1c_dance_%C4%91i%E1%BB%87n_t%E1%BB%AD" title="Nhạc dance điện tử – Vietnamese" lang="vi" hreflang="vi" data-title="Nhạc dance điện tử" data-language-autonym="Tiếng Việt" data-language-local-name="Vietnamese" class="interlanguage-link-target">Tiếng Việt</a></li><li class="interlanguage-link interwiki-zh-yue mw-list-item"><a href="https://zh-yue.wikipedia.org/wiki/%E9%9B%BB%E5%AD%90%E8%88%9E%E6%9B%B2" title="電子舞曲 – Cantonese" lang="yue" hreflang="yue" data-title="電子舞曲" data-language-autonym="粵語" data-language-local-name="Cantonese" class="interlanguage-link-target">粵語</a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E9%9B%BB%E5%AD%90%E8%88%9E%E6%9B%B2" title="電子舞曲 – Chinese" lang="zh" hreflang="zh" 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dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Brand category of electronic music</div> Electronic dance music (EDM),<a href="#cite_note-FOOTNOTEKoskoff200444-1">[1]</a> also referred to as club music, is a broad range of percussive <a href="/wiki/Electronic_music" title="Electronic music">electronic music</a> genres originally made for <a href="/wiki/Nightclub" title="Nightclub">nightclubs</a>, <a href="/wiki/Rave" title="Rave">raves</a>, and <a href="/wiki/List_of_electronic_dance_music_festivals" class="mw-redirect" title="List of electronic dance music festivals">festivals</a>. It is generally produced for <a href="/wiki/Gapless_playback" title="Gapless playback">playback</a> by DJs who create seamless selections of tracks, called a <a href="/wiki/DJ_mix" title="DJ mix">DJ mix</a>, by <a href="/wiki/Segue" title="Segue">segueing</a> from one recording to another.<a href="#cite_note-FOOTNOTEButler200612–13,_94-2">[2]</a> EDM producers also perform their music live in a concert or festival setting in what is sometimes called a <a href="/wiki/Live_PA" title="Live PA">live PA</a>. Since its inception EDM has expanded to include a wide range of subgenres. In the late 1980s and early 1990s, following the emergence of <a href="/wiki/Rave_music" class="mw-redirect" title="Rave music">raving</a>, <a href="/wiki/Pirate_radio" title="Pirate radio">pirate radio</a>, <a href="/wiki/Party_crews" title="Party crews">Party crews</a>, underground festivals and an upsurge of interest in <a href="/wiki/Club_culture" class="mw-redirect" title="Club culture">club culture</a>, EDM achieved mainstream popularity in Europe. However, rave culture was not as broadly popular in the United States; it was not typically seen outside of the regional scenes in New York City, Florida, the Midwest, and California. Although the pioneer genres of <a href="/wiki/Electro_(music)" title="Electro (music)">electro</a>, <a href="/wiki/Chicago_house" title="Chicago house">Chicago house</a> and <a href="/wiki/Detroit_techno" title="Detroit techno">Detroit techno</a> were influential both in Europe and the United States, mainstream media outlets and the <a href="/wiki/Record_industry" class="mw-redirect" title="Record industry">record industry</a> in the United States remained openly hostile to it until the 1990s and beyond. There was also a perceived association between EDM and <a href="/wiki/Drug_culture" title="Drug culture">drug culture</a>, which led governments at state and city levels to enact laws and policies intended to halt the spread of rave culture.<a href="#cite_note-guardian-conquered-3">[3]</a> Subsequently, in the new millennium, the popularity of EDM increased globally, particularly in the United States and Australia. By the early 2010s, the term "electronic dance music" and the <a href="/wiki/Initialism" class="mw-redirect" title="Initialism">initialism</a> "EDM" was being <a href="/wiki/Push%E2%80%93pull_strategy#Push–pull_music_marketing_future" title="Push–pull strategy">pushed</a> by the American <a href="/wiki/Music_industry" title="Music industry">music industry</a> and <a href="/wiki/Music_journalism" title="Music journalism">music press</a> in an effort to <a href="/wiki/Rebranding" title="Rebranding">rebrand</a> American <a href="/wiki/Rave" title="Rave">rave</a> culture.<a href="#cite_note-guardian-conquered-3">[3]</a> Despite the industry's attempt to create a specific EDM brand, the acronym remains in use as an umbrella term for multiple genres, including <a href="/wiki/Dance-pop" title="Dance-pop">dance-pop</a>, <a href="/wiki/House_music" title="House music">house</a>, <a href="/wiki/Techno" title="Techno">techno</a>, <a href="/wiki/Electro_(music)" title="Electro (music)">electro</a> and <a href="/wiki/Trance_music" title="Trance music">trance</a>, as well as their respective subgenres, which all predate the acronym.<a href="#cite_note-genres-4">[4]</a><a href="#cite_note-burgess115-5">[5]</a><a href="#cite_note-armada-6">[6]</a> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="History">History</h2>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=1" title="Edit section: History">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Electronic_music" title="Electronic music">Electronic music</a> and <a href="/wiki/History_of_DJing" title="History of DJing">History of DJing</a></div> Various EDM genres have evolved over the last 40 years, for example; <a href="/wiki/House_music" title="House music">house</a>, <a href="/wiki/Techno" title="Techno">techno</a>, <a href="/wiki/Drum_and_bass" title="Drum and bass">drum and bass</a>, <a href="/wiki/Dance-pop" title="Dance-pop">dance-pop</a> etc. Stylistic variation within an established EDM genre can lead to the emergence of what is called a <a href="/wiki/Subgenre" class="mw-redirect" title="Subgenre">subgenre</a>. Hybridization, where elements of two or more genres are combined, can lead to the emergence of an entirely new genre of EDM.<a href="#cite_note-genres-4">[4]</a> <div class="mw-heading mw-heading3"><h3 id="Precursors">Precursors</h3>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=2" title="Edit section: Precursors">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/P-Funk" class="mw-redirect" title="P-Funk">P-Funk</a></div> In the late 1960s bands such as <a href="/wiki/Silver_Apples" title="Silver Apples">Silver Apples</a> created electronic music intended for dancing.<a href="#cite_note-7">[7]</a> Other early examples of music that influenced later electronic dance music include Jamaican <a href="/wiki/Dub_music" title="Dub music">dub music</a> during the late 1960s to 1970s,<a href="#cite_note-armada-6">[6]</a> the synthesizer-based <a href="/wiki/Disco" title="Disco">disco</a> music of Italian producer <a href="/wiki/Giorgio_Moroder" title="Giorgio Moroder">Giorgio Moroder</a> in the late 1970s, and the <a href="/wiki/Electropop" title="Electropop">electropop</a> of <a href="/wiki/Kraftwerk" title="Kraftwerk">Kraftwerk</a> and <a href="/wiki/Yellow_Magic_Orchestra" title="Yellow Magic Orchestra">Yellow Magic Orchestra</a> in the mid-to-late 1970s.<a href="#cite_note-burgess115-5">[5]</a> <div class="mw-heading mw-heading4"><h4 id="Dub">Dub</h4>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=3" title="Edit section: Dub">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Dub_music" title="Dub music">Dub music</a></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Sound_system_(Jamaican)" title="Sound system (Jamaican)">Sound system (Jamaican)</a> and <a href="/wiki/Deejay_(Jamaican)" class="mw-redirect" title="Deejay (Jamaican)">Deejay (Jamaican)</a></div> Author Michael Veal considers <a href="/wiki/Dub_music" title="Dub music">dub music</a>, a <a href="/wiki/Jamaican_music" class="mw-redirect" title="Jamaican music">Jamaican music</a> stemming from <a href="/wiki/Roots_reggae" title="Roots reggae">roots reggae</a> and <a href="/wiki/Sound_system_(Jamaican)" title="Sound system (Jamaican)">sound system</a> culture that flourished between 1968 and 1985, to be one of the important precursors to contemporary electronic dance music.<a href="#cite_note-veal-8">[8]</a> Dub productions were <a href="#Remixing_in_Electronic_music">remixed</a> reggae tracks that emphasized rhythm, fragmented lyrical and melodic elements, and reverberant textures.<a href="#cite_note-9">[9]</a> The music was pioneered by studio engineers, such as Sylvan Morris, <a href="/wiki/King_Tubby" title="King Tubby">King Tubby</a>, <a href="/wiki/Errol_Thompson_(audio_engineer)" title="Errol Thompson (audio engineer)">Errol Thompson</a>, <a href="/wiki/Lee_%22Scratch%22_Perry" title="Lee "Scratch" Perry">Lee "Scratch" Perry</a>, and <a href="/wiki/Scientist_(musician)" title="Scientist (musician)">Scientist</a>.<a href="#cite_note-veal-8">[8]</a> Their productions included forms of <a href="/wiki/Tape_editing" class="mw-redirect" title="Tape editing">tape editing</a> and <a href="/wiki/Sound_processing" class="mw-redirect" title="Sound processing">sound processing</a> that Veal considers comparable to techniques used in <a href="/wiki/Musique_concr%C3%A8te" title="Musique concrète">musique concrète</a>. Dub producers made improvised deconstructions of existing <a href="/wiki/Multitrack_recording" title="Multitrack recording">multi-track</a> reggae mixes by using the studio <a href="/wiki/Mixing_board" class="mw-redirect" title="Mixing board">mixing board</a> as a performance instrument. They also foregrounded spatial effects such as <a href="/wiki/Reverberation_unit" class="mw-redirect" title="Reverberation unit">reverb</a> and <a href="/wiki/Delay_(audio_effect)" title="Delay (audio effect)">delay</a> by using <a href="/wiki/Mixing_console#Auxiliary_send_routing" title="Mixing console">auxiliary send routings</a> creatively.<a href="#cite_note-veal-8">[8]</a> The <a href="/wiki/Roland_Space_Echo" title="Roland Space Echo">Roland Space Echo</a>, manufactured by <a href="/wiki/Roland_Corporation" title="Roland Corporation">Roland Corporation</a>, was widely used by dub producers in the 1970s to produce echo and delay effects.<a href="#cite_note-10">[10]</a> Despite the limited electronic equipment available to dub pioneers such as King Tubby and Lee "Scratch" Perry, their experiments in remix culture were musically cutting-edge.<a href="#cite_note-cambridge20-11">[11]</a> <a href="/wiki/Ambient_dub" class="mw-redirect" title="Ambient dub">Ambient dub</a> was pioneered by King Tubby and other Jamaican sound artists, using DJ-inspired <a href="/wiki/Ambient_music" title="Ambient music">ambient</a> electronics, complete with drop-outs, echo, equalization and <a href="/wiki/Psychedelic_music" title="Psychedelic music">psychedelic</a> electronic effects. It featured layering techniques and incorporated elements of <a href="/wiki/World_music" title="World music">world music</a>, deep <a href="/wiki/Bass_line" class="mw-redirect" title="Bass line">bass lines</a> and harmonic sounds.<a href="#cite_note-eem-12">[12]</a> Techniques such as a long echo delay were also used.<a href="#cite_note-13">[13]</a> <div class="mw-heading mw-heading4"><h4 id="Hip_hop">Hip hop</h4>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=4" title="Edit section: Hip hop">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Hip_hop_music" title="Hip hop music">Hip hop music</a></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Rapping" title="Rapping">Rapping</a> and <a href="/wiki/Turntablism" title="Turntablism">Turntablism</a></div> <a href="/wiki/Hip_hop_music" title="Hip hop music">Hip hop music</a> has had some influence in the development of electronic dance music since the 1970s.<a href="#cite_note-14">[14]</a> Inspired by Jamaican sound system culture <a href="/wiki/Jamaican-American" class="mw-redirect" title="Jamaican-American">Jamaican-American</a> DJ <a href="/wiki/Kool_Herc" class="mw-redirect" title="Kool Herc">Kool Herc</a> introduced large bass heavy speaker rigs to the <a href="/wiki/Bronx" class="mw-redirect" title="Bronx">Bronx</a>.<a href="#cite_note-places-15">[15]</a> His parties are credited with having kick-started the New York City hip-hop movement in 1973.<a href="#cite_note-places-15">[15]</a> A technique developed by DJ Kool Herc that became popular in <a href="/wiki/Hip_hop" class="mw-redirect" title="Hip hop">hip hop culture</a> was playing two copies of the same record on two turntables, in alternation, and at the point where a track featured a <a href="/wiki/Break_(music)" title="Break (music)">break</a>. This technique was further used to manually <a href="/wiki/Loop_(music)" title="Loop (music)">loop</a> a purely <a href="/wiki/Percussive" class="mw-redirect" title="Percussive">percussive</a> break, leading to what was later called a <a href="/wiki/Break_(music)#Break_beat_(element_of_music)" title="Break (music)">break beat</a>.<a href="#cite_note-16">[16]</a> <a href="/wiki/Turntablism" title="Turntablism">Turntablism</a> has origins in the invention of the <a href="/wiki/Direct-drive_turntable" title="Direct-drive turntable">direct-drive turntable</a>,<a href="#cite_note-medium-17">[17]</a> by Shuichi Obata, an engineer at <a href="/wiki/Panasonic" title="Panasonic">Matsushita</a> (now <a href="/wiki/Panasonic" title="Panasonic">Panasonic</a>).<a href="#cite_note-18">[18]</a> In 1969, Matsushita released it as the <a href="/wiki/Technics_(brand)" title="Technics (brand)">SP-10</a>,<a href="#cite_note-oxford-19">[19]</a> the first direct-drive turntable on the market,<a href="#cite_note-reverb-20">[20]</a> and the first in their influential <a href="/wiki/Technics_(brand)" title="Technics (brand)">Technics</a> series of turntables.<a href="#cite_note-oxford-19">[19]</a> The most influential turntable was the <a href="/wiki/Technics_SL-1200" title="Technics SL-1200">Technics SL-1200</a>,<a href="#cite_note-wired-21">[21]</a> which was developed in 1971 by a team led by Shuichi Obata at Matsushita, which then released it onto the market in 1972.<a href="#cite_note-medium-17">[17]</a> In the 1980s and 1990s <a href="/wiki/Hip_hop" class="mw-redirect" title="Hip hop">hip-hop</a> DJs used turntables as musical instruments in their own right and <a href="/wiki/Virtuosic" class="mw-redirect" title="Virtuosic">virtuosic</a> use developed into a creative practice called turntablism.<a href="#cite_note-wired-21">[21]</a> <div class="mw-heading mw-heading4"><h4 id="Disco">Disco</h4>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=5" title="Edit section: Disco">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Disco" title="Disco">Disco</a></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Euro_disco" class="mw-redirect" title="Euro disco">Euro disco</a>, <a href="/wiki/Italo_disco" title="Italo disco">Italo disco</a>, and <a href="/wiki/Hi-NRG" title="Hi-NRG">Hi-NRG</a></div> In 1974, <a href="/wiki/George_McCrae" title="George McCrae">George McCrae</a>'s early <a href="/wiki/Disco" title="Disco">disco</a> hit "<a href="/wiki/Rock_Your_Baby" title="Rock Your Baby">Rock Your Baby</a>" was one of the first records to use a <a href="/wiki/Drum_machine" title="Drum machine">drum machine</a>,<a href="#cite_note-22">[22]</a> an early <a href="/wiki/Roland_Corporation" title="Roland Corporation">Roland</a> rhythm machine.<a href="#cite_note-books.google.co.uk-23">[23]</a> The use of drum machines in disco production was influenced by <a href="/wiki/Sly_and_the_Family_Stone" title="Sly and the Family Stone">Sly and the Family Stone</a>'s "<a href="/wiki/Family_Affair_(Sly_and_the_Family_Stone_song)" title="Family Affair (Sly and the Family Stone song)">Family Affair</a>" (1971), with its rhythm echoed in McCrae's "Rock Your Baby",<a href="#cite_note-echols21-24">[24]</a> and <a href="/wiki/Timmy_Thomas" title="Timmy Thomas">Timmy Thomas</a>' "<a href="/wiki/Why_Can%27t_We_Live_Together" title="Why Can't We Live Together">Why Can't We Live Together</a>" (1972).<a href="#cite_note-echols250-25">[25]</a><a href="#cite_note-books.google.co.uk-23">[23]</a><a href="#cite_note-echols21-24">[24]</a> Disco producer <a href="/wiki/Biddu" title="Biddu">Biddu</a> used synthesizers in several disco songs from 1976 to 1977, including "Bionic Boogie" from Rain Forest (1976),<a href="#cite_note-bionic_boogie-26">[26]</a> "Soul Coaxing" (1977),<a href="#cite_note-soal_coaxing-27">[27]</a> and Eastern Man and Futuristic Journey<a href="#cite_note-cduniverse-28">[28]</a><a href="#cite_note-discogs_futuristic-29">[29]</a> (recorded from 1976 to 1977).<a href="#cite_note-30">[30]</a> Acts like <a href="/wiki/Donna_Summer" title="Donna Summer">Donna Summer</a>, <a href="/wiki/Chic_(band)" title="Chic (band)">Chic</a>, <a href="/wiki/Earth,_Wind_%26_Fire" title="Earth, Wind & Fire">Earth, Wind & Fire</a>, <a href="/wiki/Heatwave_(band)" title="Heatwave (band)">Heatwave</a>, and the <a href="/wiki/Village_People" title="Village People">Village People</a> helped define the late 1970s disco sound. <a href="/wiki/Giorgio_Moroder" title="Giorgio Moroder">Giorgio Moroder</a> and <a href="/wiki/Pete_Bellotte" title="Pete Bellotte">Pete Bellotte</a> produced "<a href="/wiki/I_Feel_Love" title="I Feel Love">I Feel Love</a>" for Donna Summer in 1977. It became the first well-known disco hit to have a completely synthesized backing track. Other disco producers, most famously American producer <a href="/wiki/Tom_Moulton" title="Tom Moulton">Tom Moulton</a>, grabbed ideas and techniques from <a href="/wiki/Dub_music" title="Dub music">dub music</a> (which came with the increased Jamaican migration to New York City in the 1970s) to provide alternatives to the <a href="/wiki/Four_on_the_floor_(music)" title="Four on the floor (music)">four-on-the-floor</a> style that dominated.<a href="#cite_note-Billboard.com-31">[31]</a><a href="#cite_note-32">[32]</a> During the early 1980s, the popularity of disco music sharply declined in the United States, abandoned by major US record labels and producers. Euro disco continued evolving within the broad mainstream pop music scene.<a href="#cite_note-33">[33]</a> <div class="mw-heading mw-heading4"><h4 id="Synth-pop">Synth-pop</h4>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=6" title="Edit section: Synth-pop">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Synth-pop" title="Synth-pop">Synth-pop</a></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/New_wave_music" title="New wave music">New wave music</a>, <a href="/wiki/Electropop" title="Electropop">Electropop</a>, <a href="/wiki/Minimal_wave" title="Minimal wave">Minimal wave</a>, and <a href="/wiki/City_pop" title="City pop">City pop</a></div> Synth-pop (short for synthesizer pop;<a href="#cite_note-FOOTNOTETrynkaBacon199660-34">[34]</a> also called techno-pop<a href="#cite_note-SR-35">[35]</a><a href="#cite_note-electrosynth-36">[36]</a>) is a <a href="/wiki/Music_genre" title="Music genre">music genre</a> that first became prominent in the late 1970s and features the <a href="/wiki/Synthesizer" title="Synthesizer">synthesizer</a> as the dominant musical instrument.<a href="#cite_note-37">[37]</a> It was prefigured in the 1960s and early 1970s by the use of synthesizers in <a href="/wiki/Progressive_rock" title="Progressive rock">progressive rock</a>, <a href="/wiki/Electronic_music" title="Electronic music">electronic</a>, <a href="/wiki/Art_rock" title="Art rock">art rock</a>, <a href="/wiki/Disco" title="Disco">disco</a>. Early synth-pop pioneers included Japanese group <a href="/wiki/Yellow_Magic_Orchestra" title="Yellow Magic Orchestra">Yellow Magic Orchestra</a>, and British bands <a href="/wiki/Ultravox" title="Ultravox">Ultravox</a>, <a href="/wiki/The_Human_League" title="The Human League">the Human League</a> and <a href="/wiki/Berlin_Blondes" title="Berlin Blondes">Berlin Blondes</a>[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]. <a href="/wiki/The_Human_League" title="The Human League">The Human League</a> used <a href="/wiki/Monophonic_synthesizer" class="mw-redirect" title="Monophonic synthesizer">monophonic synthesizers</a> to produce music with a simple and austere sound. After the breakthrough of <a href="/wiki/Gary_Numan" title="Gary Numan">Gary Numan</a> in the <a href="/wiki/UK_Singles_Chart" class="mw-redirect" title="UK Singles Chart">UK Singles Chart</a> in 1979, large numbers of artists began to enjoy success with a synthesizer-based sound in the early 1980s, including late-1970s debutants like <a href="/wiki/Japan_(band)" title="Japan (band)">Japan</a> and <a href="/wiki/Orchestral_Manoeuvres_in_the_Dark" title="Orchestral Manoeuvres in the Dark">Orchestral Manoeuvres in the Dark</a>, and newcomers such as <a href="/wiki/Depeche_Mode" title="Depeche Mode">Depeche Mode</a> and <a href="/wiki/Eurythmics" title="Eurythmics">Eurythmics</a>. In Japan, Yellow Magic Orchestra's success opened the way for synth-pop bands such as <a href="/wiki/P-Model" title="P-Model">P-Model</a>, <a href="/wiki/Plastics_(band)" title="Plastics (band)">Plastics</a>, and <a href="/wiki/Hikashu" title="Hikashu">Hikashu</a>. The development of inexpensive <a href="/wiki/Polyphonic" class="mw-redirect" title="Polyphonic">polyphonic</a> synthesizers, the definition of <a href="/wiki/MIDI" title="MIDI">MIDI</a> and the use of dance beats, led to a more commercial and accessible sound for synth-pop. This, its adoption by the style-conscious acts from the <a href="/wiki/New_Romantic" title="New Romantic">New Romantic</a> movement, together with the rise of <a href="/wiki/MTV" title="MTV">MTV</a>, led to success for large numbers of British synth-pop acts (including <a href="/wiki/Duran_Duran" title="Duran Duran">Duran Duran</a> and <a href="/wiki/Spandau_Ballet" title="Spandau Ballet">Spandau Ballet</a>) in the United States. The use of digital sampling and <a href="/wiki/Loop_(music)" title="Loop (music)">looping</a> in popular music was pioneered by Japanese <a href="/wiki/Electronic_music" title="Electronic music">electronic music</a> band <a href="/wiki/Yellow_Magic_Orchestra" title="Yellow Magic Orchestra">Yellow Magic Orchestra</a> (YMO).<a href="#cite_note-38">[38]</a><a href="#cite_note-thevinyldistrict-39">[39]</a><a href="#cite_note-condry_59-40">[40]</a><a href="#cite_note-rockin-41">[41]</a> Their approach to sampling was a precursor to the contemporary approach of constructing music by cutting fragments of sounds and looping them using computer technology.<a href="#cite_note-condry_59-40">[40]</a> "<a href="/wiki/Yellow_Magic_Orchestra_(album)" title="Yellow Magic Orchestra (album)">Computer Game/Firecracker</a>" (1978) interpolated a <a href="/wiki/Martin_Denny" title="Martin Denny">Martin Denny</a> melody,<a href="#cite_note-guardian_ymo-42">[42]</a> and sampled <a href="/wiki/Space_Invaders" title="Space Invaders">Space Invaders</a><a href="#cite_note-wire_2002-43">[43]</a> <a href="/wiki/Video_game_music" title="Video game music">video game sounds</a>.<a href="#cite_note-guardian_ymo-42">[42]</a> <a href="/wiki/Technodelic" title="Technodelic">Technodelic</a> (1981) introduced the use of digital sampling in popular music, as the first album consisting of mostly samples and <a href="/wiki/Loop_(music)" title="Loop (music)">loops</a>.<a href="#cite_note-thevinyldistrict-39">[39]</a><a href="#cite_note-rockin-41">[41]</a> The album was produced using <a href="/wiki/Toshiba-EMI" class="mw-redirect" title="Toshiba-EMI">Toshiba-EMI</a>'s LMD-649 digital <a href="/wiki/Pulse-code_modulation" title="Pulse-code modulation">PCM</a> <a href="/wiki/Sampler_(musical_instrument)" title="Sampler (musical instrument)">sampler</a>, which engineer Kenji Murata custom-built for YMO.<a href="#cite_note-rockin-41">[41]</a>[<a href="/wiki/Wikipedia:NOTRS" class="mw-redirect" title="Wikipedia:NOTRS">better source needed</a>] The LMD-649 was also used for sampling by other Japanese <a href="/wiki/Synthpop" class="mw-redirect" title="Synthpop">synthpop</a> artists in the early 1980s, including YMO-associated acts such as <a href="https://ja.wikipedia.org/wiki/%E7%9C%9F%E9%8D%8B%E3%81%A1%E3%81%88%E3%81%BF" class="extiw" title="ja:真鍋ちえみ">Chiemi Manabe</a><a href="#cite_note-44">[44]</a> and <a href="/wiki/Hideki_Matsutake" title="Hideki Matsutake">Logic System</a>.<a href="#cite_note-45">[45]</a> <div class="mw-heading mw-heading3"><h3 id="Dance_music_in_the_1980s">Dance music in the 1980s</h3>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=7" title="Edit section: Dance music in the 1980s">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/New_school_hip_hop" class="mw-redirect" title="New school hip hop">New school hip hop</a>, <a href="/wiki/Miami_bass" title="Miami bass">Miami bass</a>, <a href="/wiki/Freestyle_music" title="Freestyle music">Freestyle music</a>, <a href="/wiki/Hip_house" title="Hip house">Hip house</a>, <a href="/wiki/Latin_house" title="Latin house">Latin house</a>, <a href="/wiki/Industrial_dance_music" class="mw-redirect" title="Industrial dance music">Industrial dance music</a>, and <a href="/wiki/Kwaito" title="Kwaito">Kwaito</a></div> The emergence of electronic dance music in the 1980s was shaped by the development of several new <a href="/wiki/Electronic_musical_instrument" title="Electronic musical instrument">electronic musical instruments</a>, particularly those from the Japanese <a href="/wiki/Roland_Corporation" title="Roland Corporation">Roland Corporation</a>. The <a href="/wiki/Roland_TR-808" title="Roland TR-808">Roland TR-808</a> (often abbreviated as the "808") notably played an important role in the evolution of dance music,<a href="#cite_note-46">[46]</a> after <a href="/wiki/Afrika_Bambaataa" title="Afrika Bambaataa">Afrika Bambaataa</a>'s "<a href="/wiki/Planet_Rock_(song)" title="Planet Rock (song)">Planet Rock</a>" (1982), made it very popular on dancefloors.<a href="#cite_note-47">[47]</a> The track, which also featured the melody line from Riot In Lagos (1980) of Ryuichi Sakamoto, informed the development of electronic dance music,<a href="#cite_note-48">[48]</a> and subgenres including <a href="/wiki/Miami_bass" title="Miami bass">Miami bass</a> and <a href="/wiki/Detroit_techno" title="Detroit techno">Detroit techno</a>, and popularized the 808 as a "fundamental element of futuristic sound".<a href="#cite_note-49">[49]</a> According to <a href="/wiki/Slate_(magazine)" title="Slate (magazine)">Slate</a>, "Planet Rock" "didn't so much put the 808 on the map so much as reorient an entire world of <a href="/wiki/Post-disco" title="Post-disco">post-disco</a> dance music around it".<a href="#cite_note-50">[50]</a> The <a href="/wiki/Roland_TR-909" title="Roland TR-909">Roland TR-909</a>, <a href="/wiki/Roland_TB-303" title="Roland TB-303">TB-303</a> and <a href="/wiki/Roland_Juno-60" title="Roland Juno-60">Juno-60</a> similarly influenced electronic dance music such as <a href="/wiki/Techno" title="Techno">techno</a>, <a href="/wiki/House_music" title="House music">house</a> and <a href="/wiki/Acid_house" title="Acid house">acid</a>.<a href="#cite_note-51">[51]</a><a href="#cite_note-52">[52]</a><a href="#cite_note-53">[53]</a> <div class="mw-heading mw-heading4"><h4 id="Post-disco">Post-disco</h4>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=8" title="Edit section: Post-disco">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Post-disco" title="Post-disco">Post-disco</a></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Boogie_(genre)" title="Boogie (genre)">Boogie (genre)</a></div> During the post-disco era that followed the backlash against "<a href="/wiki/Disco" title="Disco">disco</a>" which began in the mid to late 1979, which in the United States lead to civil unrest and a riot in Chicago known as the <a href="/wiki/Disco_Demolition_Night" title="Disco Demolition Night">Disco Demolition Night</a>,<a class="mw-selflink-fragment" href="#cite_note-shadow-13">[13]</a> an underground movement of "stripped-down" disco inspired music featuring "radically different sounds"<a class="mw-selflink-fragment" href="#cite_note-AMG1-14">[14]</a> started to emerge on the <a href="/wiki/East_Coast_of_the_United_States" title="East Coast of the United States">East Coast</a>.<a class="mw-selflink-fragment" href="#cite_note-Kellmann-15">[15]</a> <a class="mw-selflink-fragment" href="#cite_note-18">[Note 1]</a> This new scene was seen primarily in the <a href="/wiki/New_York_metropolitan_area" title="New York metropolitan area">New York metropolitan area</a> and was initially led by the <a href="/wiki/Urban_contemporary" class="mw-redirect" title="Urban contemporary">urban contemporary</a> artists that were responding to the over-commercialization and subsequent demise of disco culture. The sound that emerged originated from <a href="/wiki/P-Funk" class="mw-redirect" title="P-Funk">P-Funk</a><a class="mw-selflink-fragment" href="#cite_note-Parliament-19">[18]</a> the electronic side of <a href="/wiki/Disco" title="Disco">disco</a>, <a href="/wiki/Dub_music" title="Dub music">dub music</a>, and other genres. Much of the music produced during this time was, like disco, catering to a <a href="/wiki/Gramophone_record" class="mw-redirect" title="Gramophone record">singles-driven</a> market.<a class="mw-selflink-fragment" href="#cite_note-AMG1-14">[14]</a> At this time creative control started shifting to independent record companies, less established producers, and club DJs.<a class="mw-selflink-fragment" href="#cite_note-AMG1-14">[14]</a> Other dance styles that began to become popular during the post-disco era include <a href="/wiki/Dance-pop" title="Dance-pop">dance-pop</a>,<a class="mw-selflink-fragment" href="#cite_note-Slant-20">[19]</a> <a class="mw-selflink-fragment" href="#cite_note-21">[20]</a> <a href="/wiki/Boogie_(genre)" title="Boogie (genre)">boogie</a>,<a class="mw-selflink-fragment" href="#cite_note-AMG1-14">[14]</a> <a href="/wiki/Electro_(music)" title="Electro (music)">electro</a>, <a href="/wiki/Hi-NRG" title="Hi-NRG">Hi-NRG</a>, <a href="/wiki/Italo_disco" title="Italo disco">Italo disco</a>, <a href="/wiki/House_music" title="House music">house</a>,<a class="mw-selflink-fragment" href="#cite_note-Slant-20">[19]</a> <a class="mw-selflink-fragment" href="#cite_note-22">[21]</a> <a class="mw-selflink-fragment" href="#cite_note-DancingMachines-23">[22]</a> <a class="mw-selflink-fragment" href="#cite_note-24">[23]</a> and <a href="/wiki/Techno" title="Techno">techno</a>.<a class="mw-selflink-fragment" href="#cite_note-DancingMachines-23">[22]</a> <a class="mw-selflink-fragment" href="#cite_note-25">[24]</a> <a class="mw-selflink-fragment" href="#cite_note-26">[25]</a> <a class="mw-selflink-fragment" href="#cite_note-27">[26]</a> <a class="mw-selflink-fragment" href="#cite_note-28">[27]</a> <div class="mw-heading mw-heading4"><h4 id="Electro">Electro</h4>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=9" title="Edit section: Electro">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Electro_(music)" title="Electro (music)">Electro (music)</a></div> <figure class="mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Roland_TR-808_drum_machine.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/be/Roland_TR-808_drum_machine.jpg/200px-Roland_TR-808_drum_machine.jpg" decoding="async" width="200" height="121" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/be/Roland_TR-808_drum_machine.jpg/300px-Roland_TR-808_drum_machine.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/be/Roland_TR-808_drum_machine.jpg/400px-Roland_TR-808_drum_machine.jpg 2x" data-file-width="447" data-file-height="271" /></a><figcaption>The instrument that provided electro's synthesized programmed drum beats, the <a href="/wiki/Roland_TR-808" title="Roland TR-808">Roland TR-808</a> <a href="/wiki/Drum_machine" title="Drum machine">drum machine</a>.</figcaption></figure> In the early 1980s, electro (short for "electro-funk") emerged as a fusion of <a href="/wiki/Synth-pop" title="Synth-pop">synth-pop</a>, <a href="/wiki/Funk" title="Funk">funk</a>, and <a href="/wiki/Boogie_(genre)" title="Boogie (genre)">boogie</a>. Also called electro-funk or electro-boogie, but later shortened to electro, cited pioneers include <a href="/wiki/Ryuichi_Sakamoto" title="Ryuichi Sakamoto">Ryuichi Sakamoto</a>, <a href="/wiki/Afrika_Bambaataa" title="Afrika Bambaataa">Afrika Bambaataa</a>,<a href="#cite_note-wire_1996-54">[54]</a> <a href="/wiki/Zapp_(band)" class="mw-redirect" title="Zapp (band)">Zapp</a>,<a href="#cite_note-55">[55]</a> <a href="/wiki/D_Train_(music_group)" title="D Train (music group)">D.Train</a>,<a href="#cite_note-ElectroHistoryRoots-56">[56]</a> and <a href="/wiki/Sinnamon" title="Sinnamon">Sinnamon</a>.<a href="#cite_note-ElectroHistoryRoots-56">[56]</a> Early hip hop and rap combined white European <a href="/wiki/Electropop" title="Electropop">electropop</a> influences such as Giorgio Moroder, Dan Lacksman (Telex) and <a href="/wiki/Yellow_Magic_Orchestra" title="Yellow Magic Orchestra">Yellow Magic Orchestra</a> inspired the birth of electro.<a href="#cite_note-Electro-57">[57]</a> As the electronic sound developed, instruments such as the bass guitar and <a href="/wiki/Drumset" class="mw-redirect" title="Drumset">drums</a> were replaced by synthesizers and most notably by iconic <a href="/wiki/Drum_machines" class="mw-redirect" title="Drum machines">drum machines</a>, particularly the <a href="/wiki/Roland_TR-808" title="Roland TR-808">Roland TR-808</a> and the <a href="/wiki/Yamaha_DX7" title="Yamaha DX7">Yamaha DX7</a>.<a href="#cite_note-58">[58]</a> Early uses of the TR-808 include several <a href="/wiki/Yellow_Magic_Orchestra" title="Yellow Magic Orchestra">Yellow Magic Orchestra</a> tracks in 1980–1981, the 1982 track "<a href="/wiki/Planet_Rock_(song)" title="Planet Rock (song)">Planet Rock</a>" by <a href="/wiki/Afrika_Bambaataa" title="Afrika Bambaataa">Afrika Bambaataa</a>, and the 1982 song "<a href="/wiki/Sexual_Healing" title="Sexual Healing">Sexual Healing</a>" by <a href="/wiki/Marvin_Gaye" title="Marvin Gaye">Marvin Gaye</a>.<a href="#cite_note-59">[59]</a> In 1982, producer <a href="/wiki/Arthur_Baker_(musician)" class="mw-redirect" title="Arthur Baker (musician)">Arthur Baker</a>, with <a href="/wiki/Afrika_Bambaataa" title="Afrika Bambaataa">Afrika Bambaataa</a>, released the seminal "<a href="/wiki/Planet_Rock_(song)" title="Planet Rock (song)">Planet Rock</a>", which was influenced by Yellow Magic Orchestra (Ryuichi Sakamoto - Riot In Lagos 1980) and had drum beats supplied by the TR-808. Planet Rock was followed later that year by another breakthrough electro record, "<a href="/wiki/Nunk" class="mw-redirect" title="Nunk">Nunk</a>" by <a href="/wiki/Warp_9" title="Warp 9">Warp 9</a>. In 1983, <a href="/wiki/Hashim_Music" class="mw-redirect" title="Hashim Music">Hashim</a> created an electro-funk sound with "Al-Naafyish (The Soul)"<a href="#cite_note-wire_1996-54">[54]</a> that influenced <a href="/wiki/Herbie_Hancock" title="Herbie Hancock">Herbie Hancock</a>, resulting in his hit single "<a href="/wiki/Rockit_(song)" class="mw-redirect" title="Rockit (song)">Rockit</a>" the same year. The early 1980s were electro's mainstream peak. According to author Steve Taylor,<a href="#cite_note-The_A_to_X_of_alternative_music-60">[60]</a> Afrika Bambaataa's Planet Rock serves as a "template for all interesting dance music since".<a href="#cite_note-The_A_to_X_of_alternative_music-60">[60]</a> <div class="mw-heading mw-heading4"><h4 id="House_music">House music</h4>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=10" title="Edit section: House music">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/House_music" title="House music">House music</a></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Chicago_house" title="Chicago house">Chicago house</a>, <a href="/wiki/Garage_house" title="Garage house">Garage house</a>, and <a href="/wiki/Deep_house" title="Deep house">Deep house</a></div> In the early 1980s, Chicago radio jocks The Hot Mix 5 and club DJs Ron Hardy and Frankie Knuckles played various styles of dance music, including older <a href="/wiki/Disco" title="Disco">disco</a> records (mostly <a href="/wiki/Philly_soul" class="mw-redirect" title="Philly soul">Philly disco</a> and <a href="/wiki/Salsoul_Records" title="Salsoul Records">Salsoul</a><a href="#cite_note-Slslpop-61">[61]</a> tracks), Italo Disco, <a href="/wiki/Electro_(music)" title="Electro (music)">electro funk</a> tracks by artists such as <a href="/wiki/Afrika_Bambaataa" title="Afrika Bambaataa">Afrika Bambaataa</a>,<a href="#cite_note-Vincent-62">[62]</a> newer <a href="/wiki/Italo_disco" title="Italo disco">Italo disco</a>, <a href="/wiki/B-boying" class="mw-redirect" title="B-boying">B-Boy</a> <a href="/wiki/Hip_hop_music" title="Hip hop music">hip hop music</a> by <a href="/wiki/Man_Parrish" title="Man Parrish">Man Parrish</a>, <a href="/wiki/Jellybean_Benitez" class="mw-redirect" title="Jellybean Benitez">Jellybean Benitez</a>, <a href="/wiki/Arthur_Baker_(musician)" class="mw-redirect" title="Arthur Baker (musician)">Arthur Baker</a>, and <a href="/wiki/John_Robie" title="John Robie">John Robie</a>, and <a href="/wiki/Electropop" title="Electropop">electronic pop</a> music by Giorgio Moroder and <a href="/wiki/Yellow_Magic_Orchestra" title="Yellow Magic Orchestra">Yellow Magic Orchestra</a>. Some made and played their own edits of their favorite songs on reel-to-reel tape, and sometimes mixed in effects, drum machines, and other rhythmic electronic instrumentation. The hypnotic electronic dance song "On and On", produced in 1984 by Chicago DJ <a href="/wiki/Jesse_Saunders" title="Jesse Saunders">Jesse Saunders</a> and co-written by <a href="/wiki/Vince_Lawrence" title="Vince Lawrence">Vince Lawrence</a>, had elements that became staples of the early house sound, such as the <a href="/wiki/Roland_TB-303" title="Roland TB-303">Roland TB-303</a> <a href="/wiki/Bass_synthesizer" class="mw-redirect" title="Bass synthesizer">bass synthesizer</a> and minimal vocals as well as a <a href="/wiki/Roland_Corporation" title="Roland Corporation">Roland</a> (specifically <a href="/wiki/Roland_TR-808" title="Roland TR-808">TR-808</a>) <a href="/wiki/Drum_machine" title="Drum machine">drum machine</a> and <a href="/wiki/Korg" title="Korg">Korg</a> (specifically <a href="/wiki/Korg_Poly-61" title="Korg Poly-61">Poly-61</a>) <a href="/wiki/Synthesizer" title="Synthesizer">synthesizer</a>. "On and On" is sometimes cited as the 'first house record',<a href="#cite_note-63">[63]</a><a href="#cite_note-64">[64]</a> though other examples from around that time, such as <a href="/wiki/Steve_%22Silk%22_Hurley" title="Steve "Silk" Hurley">J.M. Silk</a>'s "<a href="/wiki/Music_Is_the_Key_(Steve_%22Silk%22_Hurley_song)" title="Music Is the Key (Steve "Silk" Hurley song)">Music is the Key</a>" (1985), have also been cited.<a href="#cite_note-65">[65]</a> House music quickly spread to American cities including New York City, and <a href="/wiki/Newark,_New_Jersey" title="Newark, New Jersey">Newark</a>, and Detroit—all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia.<a href="#cite_note-unesco_4-66">[66]</a> Chicago House experienced some commercial success in Europe with releases such as "House Nation" by House Master Boyz and the Rude Boy of House (1987). Following this, a number of house inspired releases such as "<a href="/wiki/Pump_Up_the_Volume_(song)" title="Pump Up the Volume (song)">Pump Up The Volume</a>" by <a href="/wiki/MARRS" title="MARRS">M|A|R|R|S</a> (1987), "<a href="/wiki/Theme_from_S%27Express" class="mw-redirect" title="Theme from S'Express">Theme from S'Express</a>" by <a href="/wiki/S%27Express" title="S'Express">S'Express</a> (1988), and "<a href="/wiki/Doctorin%27_the_House" title="Doctorin' the House">Doctorin' the House</a>" by <a href="/wiki/Coldcut" title="Coldcut">Coldcut</a> (1988) entered the pop charts. The electronic instrumentation and minimal arrangement of <a href="/wiki/Charanjit_Singh_(musician)" title="Charanjit Singh (musician)">Charanjit Singh</a>'s <a href="/wiki/Charanjit_Singh_(musician)#Synthesizing:_Ten_Ragas_to_a_Disco_Beat" title="Charanjit Singh (musician)">Synthesizing: Ten Ragas to a Disco Beat</a> (1982), an album of Indian <a href="/wiki/Raga" title="Raga">ragas</a> performed in a disco style, anticipated the sounds of <a href="/wiki/Acid_house" title="Acid house">acid house</a> music, but it is not known to have had any influence on the genre prior to the album's rediscovery in the 21st century.<a href="#cite_note-guardian_2010-67">[67]</a><a href="#cite_note-guardian_2011-68">[68]</a><a href="#cite_note-ra_raga-69">[69]</a> <div class="mw-heading mw-heading4"><h4 id="Techno,_acid_house,_rave">Techno, acid house, rave</h4>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=11" title="Edit section: Techno, acid house, rave">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main articles: <a href="/wiki/Techno" title="Techno">Techno</a> and <a href="/wiki/Acid_house" title="Acid house">Acid house</a></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Detroit_techno" title="Detroit techno">Detroit techno</a>, <a href="/wiki/Electronic_body_music" title="Electronic body music">Electronic body music</a>, <a href="/wiki/Balearic_house" class="mw-redirect" title="Balearic house">Balearic house</a>, and <a href="/wiki/Second_Summer_of_Love" title="Second Summer of Love">Second Summer of Love</a></div> <figure class="mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:TB-303.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/1d/TB-303.jpg/200px-TB-303.jpg" decoding="async" width="200" height="162" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/1d/TB-303.jpg/300px-TB-303.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/1d/TB-303.jpg/400px-TB-303.jpg 2x" data-file-width="402" data-file-height="326" /></a><figcaption><a href="/wiki/Roland_TB-303" title="Roland TB-303">Roland TB-303</a>: The <a href="/wiki/Bass_synthesizer" class="mw-redirect" title="Bass synthesizer">bass line synthesizer</a> that was used prominently in <a href="/wiki/Acid_house" title="Acid house">acid house</a>.</figcaption></figure> In the 1980s, Detroit DJs <a href="/wiki/Juan_Atkins" title="Juan Atkins">Juan Atkins</a>, <a href="/wiki/Derrick_May_(musician)" title="Derrick May (musician)">Derrick May</a>, and <a href="/wiki/Kevin_Saunderson" title="Kevin Saunderson">Kevin Saunderson</a> laid the foundation for a new style of music which would dubbed techno. They fused Chicago house influenced electronic and Detroit (including Motown) influenced funk sounds with the mechanical vibes of the post-industrial city, creating the techno sound of four-on-the-floor beat driven by a kick drum on the quarter notes and a snare or high hat on the second, fourth, or eighth notes. In the mid-1980s house music thrived on the small <a href="/wiki/Balearic_Islands" title="Balearic Islands">Balearic</a> Island of <a href="/wiki/Ibiza,_Spain" class="mw-redirect" title="Ibiza, Spain">Ibiza, Spain</a>. The Balearic sound was the spirit of the music emerging from the island at that time; the combination of old vinyl rock, pop, reggae, and disco records paired with an "anything goes" attitude made Ibiza a hub of drug-induced musical experimentation.<a href="#cite_note-boilerroom.tv-70">[70]</a> A club called Amnesia, whose resident DJ, <a href="/wiki/Alfredo_Fiorito" title="Alfredo Fiorito">Alfredo Fiorito</a>, pioneered <a href="/wiki/Balearic_house" class="mw-redirect" title="Balearic house">Balearic house</a>, was the center of the scene.<a href="#cite_note-71">[71]</a> Amnesia became known across Europe and by the mid to late 1980s it was drawing people from all over the continent.<a href="#cite_note-72">[72]</a> By 1988, house music had become the most popular form of club music in Europe, with <a href="/wiki/Acid_house" title="Acid house">acid house</a> developing as a notable trend in the United Kingdom and Germany in the same year.<a href="#cite_note-FOOTNOTERietveld199840–50-73">[73]</a> In the UK an established warehouse party <a href="/wiki/Subculture" title="Subculture">subculture</a>, centered on the <a href="/wiki/British_African-Caribbean_people" title="British African-Caribbean people">British African-Caribbean</a> <a href="/wiki/Sound_system_(Jamaican)" title="Sound system (Jamaican)">sound system</a> scene fueled underground after-parties that featured dance music exclusively. Also in 1988, the <a href="/wiki/Balearic_beat" title="Balearic beat">Balearic</a> party vibe associated with Ibiza's DJ Alfredo was transported to London, when <a href="/wiki/Danny_Rampling" title="Danny Rampling">Danny Rampling</a> and <a href="/wiki/Paul_Oakenfold" title="Paul Oakenfold">Paul Oakenfold</a> opened the clubs Shoom and Spectrum, respectively. Both places became synonymous with acid house, and it was during this period that <a href="/wiki/MDMA" title="MDMA">MDMA</a> gained prominence as a party drug. Other important UK clubs included Back to Basics in <a href="/wiki/Leeds" title="Leeds">Leeds</a>, Sheffield's Leadmill and Music Factory, and <a href="/wiki/The_Ha%C3%A7ienda" title="The Haçienda">The Haçienda</a> in Manchester, where Mike Pickering and Graeme Park's spot, Nude, was an important proving ground for American <a href="/wiki/Underground_music" title="Underground music">underground</a> dance music.<a href="#cite_note-74">[Note 1]</a><a href="#cite_note-FOOTNOTERietveld199854–59-75">[74]</a> The success of house and acid house paved the way for <a href="/wiki/Detroit_Techno" class="mw-redirect" title="Detroit Techno">Detroit Techno</a>, a style that was initially supported by a handful of house music clubs in Chicago, New York, and Northern England, with Detroit clubs catching up later.<a href="#cite_note-FOOTNOTEBrewster2006398–443-76">[75]</a> The term Techno first came into use after a release of a 10 Records/Virgin Records compilation titled Techno: The Dance Sound of Detroit in 1988.<a href="#cite_note-77">[76]</a> One of the first Detroit productions to receive wider attention was Derrick May's "<a href="/wiki/Derrick_May_(musician)#Career" title="Derrick May (musician)">Strings of Life</a>" (1987), which, together with May's previous release, "Nude Photo" (1987), helped raise techno's profile in Europe, especially the UK and Germany, during the 1987–1988 <a href="/wiki/House_music" title="House music">house music</a> boom (see <a href="/wiki/Second_Summer_of_Love" title="Second Summer of Love">Second Summer of Love</a>).<a href="#cite_note-78">[77]</a> 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. Mike Dunn says he has no idea how people can accept a record that doesn't have a bassline."<a href="#cite_note-79">[78]</a> According to British DJ <a href="/wiki/Mark_Moore" title="Mark Moore">Mark Moore</a>, "Strings of Life" led London club-goers to accept house: "because most people hated house music and it was all rare groove and hip hop...I'd play 'Strings of Life' at the <a href="/wiki/Mudd_Club" title="Mudd Club">Mudd Club</a> and clear the floor".<a href="#cite_note-FOOTNOTEBrewster2006419-80">[79]</a><a href="#cite_note-82">[Note 2]</a> By the late 1980s interest in house, acid house and techno escalated in the club scene and MDMA-fueled club-goers, who were faced with a 2 a.m. closing time in the UK, started to seek after-hours refuge at all-night warehouse parties. Within a year, in summer 1989, up to 25,000 people at a time were attending commercially organised underground parties called raves.<a href="#cite_note-FOOTNOTEKoskoff200444-1">[1]</a> <div class="mw-heading mw-heading3"><h3 id="Dance_music_in_the_1990s">Dance music in the 1990s</h3>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=12" title="Edit section: Dance music in the 1990s">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Progressive_house" title="Progressive house">Progressive house</a>, <a href="/wiki/Tech_house" title="Tech house">Tech house</a>, <a href="/wiki/Minimal_techno" title="Minimal techno">Minimal techno</a>, <a href="/wiki/Trance_music" title="Trance music">Trance music</a>, <a href="/wiki/Intelligent_dance_music" title="Intelligent dance music">Intelligent dance music</a>, <a href="/wiki/Eurodance" title="Eurodance">Eurodance</a>, <a href="/wiki/Ghetto_house" title="Ghetto house">Ghetto house</a>, <a href="/wiki/Hardcore_(electronic_dance_music_genre)" title="Hardcore (electronic dance music genre)">Hardcore (electronic dance music genre)</a>, <a href="/wiki/Big_beat" title="Big beat">Big beat</a>, <a href="/wiki/Digital_hardcore" title="Digital hardcore">Digital hardcore</a>, and <a href="/wiki/Afro_house" title="Afro house">Afro house</a></div> <div class="mw-heading mw-heading4"><h4 id="Trance">Trance</h4>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=13" title="Edit section: Trance">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Trance_music" title="Trance music">Trance music</a></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Goa_trance" title="Goa trance">Goa trance</a>, <a href="/wiki/Psychedelic_trance" title="Psychedelic trance">Psychedelic trance</a>, <a href="/wiki/Progressive_trance" class="mw-redirect" title="Progressive trance">Progressive trance</a>, and <a href="/wiki/Uplifting_trance" title="Uplifting trance">Uplifting trance</a></div> Trance emerged from the <a href="/wiki/Rave_scene" class="mw-redirect" title="Rave scene">rave scene</a> in the United Kingdom in the late 1980s and developed further during the early 1990s in Germany before spreading throughout the rest of Europe, as a more melodic offshoot from <a href="/wiki/Techno" title="Techno">techno</a> and house.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] At the same time trance music was developing in Europe, the genre was also gathering a following in the Indian state of <a href="/wiki/Goa" title="Goa">Goa</a>.<a href="#cite_note-83">[81]</a> Trance is mostly <a href="/wiki/Instrumental_music" class="mw-redirect" title="Instrumental music">instrumental</a>, although vocals can be mixed in: typically they are performed by mezzo-soprano to soprano female soloists, often without a traditional verse/chorus structure. Structured vocal form in trance music forms the basis of the <a href="/wiki/Vocal_trance" class="mw-redirect" title="Vocal trance">vocal trance</a> subgenre, which has been described as "grand, soaring, and operatic" and "ethereal female leads floating amongst the synths".<a href="#cite_note-remixing_guide-84">[82]</a><a href="#cite_note-Trance_Music—What_is_trance_music?-85">[83]</a> Trance music is broken into a number of subgenres including <a href="/wiki/Acid_trance" title="Acid trance">acid trance</a>, classic trance, <a href="/wiki/Hard_trance" title="Hard trance">hard trance</a>, <a href="/wiki/Progressive_music" title="Progressive music">progressive</a> trance,<a href="#cite_note-tranceexperience-86">[84]</a> and <a href="/wiki/Uplifting_trance" title="Uplifting trance">uplifting trance</a>.<a href="#cite_note-tranceexperience-86">[84]</a>[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] <a href="/wiki/Uplifting_trance" title="Uplifting trance">Uplifting trance</a> is also known as "anthem trance", "epic trance",<a href="#cite_note-tranceexperience-86">[84]</a> "commercial trance", "stadium trance", or "euphoric trance",<a href="#cite_note-snomanmanual-87">[85]</a> and has been strongly influenced by classical music in the 1990s<a href="#cite_note-tranceexperience-86">[84]</a> and 2000s by leading artists such as <a href="/wiki/Ferry_Corsten" title="Ferry Corsten">Ferry Corsten</a>, <a href="/wiki/Armin_Van_Buuren" class="mw-redirect" title="Armin Van Buuren">Armin Van Buuren</a>, <a href="/wiki/Ti%C3%ABsto" title="Tiësto">Tiësto</a>, <a href="/wiki/Mike_Dierickx" title="Mike Dierickx">Push</a>, <a href="/wiki/Rank_1" title="Rank 1">Rank 1</a> and at present with the development of the subgenre "orchestral uplifting trance" or "uplifting trance with symphonic orchestra" by such artists as <a href="/wiki/Andy_Blueman" title="Andy Blueman">Andy Blueman</a>, Ciro Visone, Soundlift, Arctic Moon, Sergey Nevone&Simon O'Shine etc. Closely related to Uplifting Trance is <a href="/wiki/Euro-trance" class="mw-redirect" title="Euro-trance">Euro-trance</a>, which has become a general term for a wide variety of highly commercialized European dance music. Several subgenres are crossovers with other major genres of electronic music. For instance, <a href="/wiki/Tech_trance" title="Tech trance">Tech trance</a> is a mixture of trance and techno, and <a href="/wiki/Vocal_trance" class="mw-redirect" title="Vocal trance">Vocal trance</a> "combines [trance's] progressive elements with pop music".<a href="#cite_note-tranceexperience-86">[84]</a> The <a href="/wiki/Dream_trance" title="Dream trance">dream trance</a> genre originated in the mid-1990s, with its popularity then led by <a href="/wiki/Robert_Miles" title="Robert Miles">Robert Miles</a>. <a href="/wiki/AllMusic" title="AllMusic">AllMusic</a> states on progressive trance: "the progressive wing of the trance crowd led directly to a more commercial, chart-oriented sound since trance had never enjoyed much chart action in the first place. Emphasizing the smoother sound of <a href="/wiki/Eurodance" title="Eurodance">Eurodance</a> or house (and occasionally more reminiscent of <a href="/wiki/Jean-Michel_Jarre" title="Jean-Michel Jarre">Jean-Michel Jarre</a> than <a href="/wiki/Basement_Jaxx" title="Basement Jaxx">Basement Jaxx</a>), Progressive Trance became the sound of the world's dance floors by the end of the millennium. Critics ridiculed its focus on predictable breakdowns and relative lack of skill to beat-mix, but progressive trance was caned by the hottest DJ."<a href="#cite_note-AMProgTrance-88">[86]</a> <div class="mw-heading mw-heading4"><h4 id="Breakbeat_hardcore,_jungle,_drum_and_bass">Breakbeat hardcore, jungle, drum and bass</h4>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=14" title="Edit section: Breakbeat hardcore, jungle, drum and bass">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main articles: <a href="/wiki/Jungle_music" title="Jungle music">Jungle music</a>, <a href="/wiki/Drum_and_bass" title="Drum and bass">Drum and bass</a>, and <a href="/wiki/Breakbeat_hardcore" title="Breakbeat hardcore">Breakbeat hardcore</a></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/History_of_drum_and_bass" title="History of drum and bass">History of drum and bass</a>, <a href="/wiki/UK_garage" title="UK garage">UK garage</a>, <a href="/wiki/Breakbeat" title="Breakbeat">Breakbeat</a>, and <a href="/wiki/Breakcore" title="Breakcore">Breakcore</a></div> By the early 1990s, a style of music developed within the rave scene that had an identity distinct from American house and techno. This music, much like <a href="/wiki/Hip-hop_music" class="mw-redirect" title="Hip-hop music">hip-hop</a> before it, combined sampled <a href="/wiki/Syncopated" class="mw-redirect" title="Syncopated">syncopated</a> beats or breakbeats, other samples from a wide range of different musical genres, and, occasionally, samples of music, dialogue, and effects from films and television programmes. Relative to earlier styles of dance music such as house and techno, so-called 'rave music' tended to emphasise bass sounds and use faster tempos, or <a href="/wiki/Tempo" title="Tempo">beats per minute</a> (BPM). This subgenre was known as "hardcore" rave, but from as early as 1991, some musical tracks made up of these high-tempo breakbeats, with heavy basslines and samples of older Jamaican music, were referred to as "jungle <a href="/wiki/Techno" title="Techno">techno</a>", a genre influenced by Jack Smooth and Basement Records, and later just "jungle", which became recognized as a separate musical genre popular at raves and on <a href="/wiki/Pirate_radio" title="Pirate radio">pirate radio</a> in Britain. It is important to note when discussing the history of drum & bass that prior to jungle, rave music was getting faster and more experimental. By 1994, jungle had begun to gain mainstream popularity, and fans of the music (often referred to as <a href="/wiki/Junglist" title="Junglist">junglists</a>) became a more recognisable part of youth subculture. The genre further developed, incorporating and fusing elements from a wide range of existing musical genres, including the <a href="/wiki/Raggamuffin_music" class="mw-redirect" title="Raggamuffin music">raggamuffin</a> sound, <a href="/wiki/Dancehall" title="Dancehall">dancehall</a>, <a href="/wiki/Rapping" title="Rapping">MC</a> chants, dub basslines, and increasingly complex, heavily edited breakbeat percussion. Despite the affiliation with the ecstasy-fuelled rave scene, Jungle also inherited some associations with violence and criminal activity, both from the gang culture that had affected the UK's hip-hop scene and as a consequence of jungle's often aggressive or menacing sound and themes of violence (usually reflected in the choice of samples). However, this developed in tandem with the often positive reputation of the music as part of the wider rave scene and dance hall-based Jamaican music culture prevalent in London. By 1995, whether as a reaction to, or independently of this cultural schism, some jungle producers began to move away from the ragga-influenced style and create what would become collectively labelled, for convenience, as drum and bass.<a href="#cite_note-89">[87]</a> <div class="mw-heading mw-heading3"><h3 id="Dance_music_in_the_21st_century">Dance music in the 21st century</h3>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=15" title="Edit section: Dance music in the 21st century">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Bass_music" title="Bass music">Bass music</a>, <a href="/wiki/Crunk" title="Crunk">Crunk</a>, <a href="/wiki/Trap_music" title="Trap music">Trap music</a>, <a href="/wiki/Trap_music_(EDM)" class="mw-redirect" title="Trap music (EDM)">Trap music (EDM)</a>, <a href="/wiki/Footwork_(genre)" title="Footwork (genre)">Footwork (genre)</a>, <a href="/wiki/Electroclash" title="Electroclash">Electroclash</a>, <a href="/wiki/Hardstyle" title="Hardstyle">Hardstyle</a>, <a href="/wiki/Moombahton" title="Moombahton">Moombahton</a>, and <a href="/wiki/Microgenres" class="mw-redirect" title="Microgenres">Microgenres</a></div> <div class="mw-heading mw-heading4"><h4 id="Dubstep">Dubstep</h4>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=16" title="Edit section: Dubstep">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Dubstep" title="Dubstep">Dubstep</a></div> Dubstep is a genre of electronic dance music that originated in <a href="/wiki/South_London" title="South London">South London</a> in the late 1990s. It is generally characterized by sparse, <a href="/wiki/Syncopation" title="Syncopation">syncopated</a> rhythmic <a href="/wiki/Drum_pattern" class="mw-redirect" title="Drum pattern">patterns</a> with <a href="/wiki/Bass_line" class="mw-redirect" title="Bass line">bass lines</a> that contain prominent <a href="/wiki/Sub-bass" title="Sub-bass">sub-bass</a> frequencies. The style emerged as an offshoot of <a href="/wiki/UK_garage" title="UK garage">UK garage</a>, drawing on a lineage of related styles such as <a href="/wiki/2-step_garage" title="2-step garage">2-step</a>, <a href="/wiki/Dub_reggae" class="mw-redirect" title="Dub reggae">dub reggae</a>, <a href="/wiki/Jungle_music" title="Jungle music">jungle</a>, <a href="/wiki/Broken_beat" title="Broken beat">broken beat</a>, and <a href="/wiki/Grime_(music_genre)" class="mw-redirect" title="Grime (music genre)">grime</a>.<a href="#cite_note-90">[88]</a><a href="#cite_note-Reynolds-91">[89]</a> In the United Kingdom, the origins of the genre can be traced back to the growth of the <a href="/wiki/Sound_system_(Jamaican)" title="Sound system (Jamaican)">Jamaican sound system</a> party scene in the early 1980s.<a href="#cite_note-Reynolds-91">[89]</a><a href="#cite_note-92">[90]</a> The earliest known dubstep releases date back to 1998, and were usually featured as <a href="/wiki/B-side" class="mw-redirect" title="B-side">B-sides</a> of <a href="/wiki/2-step_garage" title="2-step garage">2-step garage</a> single releases. These tracks were darker, more experimental remixes with less emphasis on vocals, and attempted to incorporate elements of <a href="/wiki/Breakbeat" title="Breakbeat">breakbeat</a> and <a href="/wiki/Drum_and_bass" title="Drum and bass">drum and bass</a> into 2-step. In 2001, this and other strains of dark garage music began to be showcased and promoted at London's nightclub Plastic People, at the "Forward" night (sometimes stylised as FWD>>), which went on to be considered influential to the development of dubstep. The term "dubstep" in reference to a genre of music began to be used around 2002 by labels such as Big Apple, Ammunition, and Tempa, by which time stylistic trends used in creating these remixes started to become more noticeable and distinct from 2-step and <a href="/wiki/Grime_(music_genre)" class="mw-redirect" title="Grime (music genre)">grime</a>.<a href="#cite_note-93">[91]</a> <div class="mw-heading mw-heading4"><h4 id="Electro_house">Electro house</h4>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=17" title="Edit section: Electro house">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Electro_house" title="Electro house">Electro house</a></div> Electro house is a form of <a href="/wiki/House_music" title="House music">house music</a> characterized by a prominent <a href="/wiki/Bassline" title="Bassline">bassline</a> or <a href="/wiki/Kick_drum" class="mw-redirect" title="Kick drum">kick drum</a> and a <a href="/wiki/Tempo" title="Tempo">tempo</a> between 125 and 135 beats per minute, usually 128.<a href="#cite_note-USA_Today_EDM_glossary-94">[92]</a><a href="#cite_note-Beat_Explorers_Dance_Music_Guide-95">[93]</a><a href="#cite_note-DI_Electro_House-96">[94]</a> Its origins were influenced by <a href="/wiki/Electro_(music)" title="Electro (music)">electro</a>.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] The term has been used to describe the music of many <a href="/wiki/DJ_Mag_Top_100_DJs" class="mw-redirect" title="DJ Mag Top 100 DJs">DJ Mag Top 100 DJs</a>, including <a href="/wiki/Dimitri_Vegas_%26_Like_Mike" title="Dimitri Vegas & Like Mike">Dimitri Vegas & Like Mike</a>, <a href="/wiki/Hardwell" title="Hardwell">Hardwell</a>, <a href="/wiki/Skrillex" title="Skrillex">Skrillex</a>,<a href="#cite_note-DJ_Mag_Top_100_Skrillex_2014-97">[95]</a><a href="#cite_note-Guardian_New_Band_Skrillex-98">[96]</a> and <a href="/wiki/Steve_Aoki" title="Steve Aoki">Steve Aoki</a>.<a href="#cite_note-DJ_Mag_Top_100_Steve_Aoki_2013-99">[97]</a> Italian DJ <a href="/wiki/Benny_Benassi" title="Benny Benassi">Benny Benassi</a>, with his track "<a href="/wiki/Satisfaction_(Benny_Benassi_song)" title="Satisfaction (Benny Benassi song)">Satisfaction</a>" released in 2002, is seen as the forerunner of electro-house who brought it to the mainstream.<a href="#cite_note-100">[98]</a> By the mid-2000s, electro-house saw an increase in popularity, with hits such as the Tom Neville remix of <a href="/wiki/Studio_B_(group)" title="Studio B (group)">Studio B</a>'s "I See Girls" in 2005 (UK #11). In November 2006, electroGq-house tracks "<a href="/wiki/Put_Your_Hands_Up_4_Detroit" title="Put Your Hands Up 4 Detroit">Put Your Hands Up for Detroit</a>" by <a href="/wiki/Fedde_Le_Grand" title="Fedde Le Grand">Fedde Le Grand</a> and the <a href="/wiki/D._Ramirez" title="D. Ramirez">D. Ramirez</a> remix of "<a href="/wiki/Yeah_Yeah_(Bodyrox_song)" title="Yeah Yeah (Bodyrox song)">Yeah Yeah</a>" by <a href="/wiki/Bodyrox" title="Bodyrox">Bodyrox</a> and <a href="/wiki/Luciana_(singer)" title="Luciana (singer)">Luciana</a> held the number one and number two spots, respectively, on the UK top 40 singles chart.<a href="#cite_note-everyHit-101">[99]</a> Since then, electro-house producers such as <a href="/wiki/Jon_Gooch" title="Jon Gooch">Feed Me</a>, <a href="/wiki/Knife_Party" title="Knife Party">Knife Party</a>, <a href="/wiki/The_M_Machine" title="The M Machine">The M Machine</a>, <a href="/wiki/Porter_Robinson" title="Porter Robinson">Porter Robinson</a>, <a href="/wiki/Yasutaka_Nakata" title="Yasutaka Nakata">Yasutaka Nakata</a><a href="#cite_note-102">[100]</a> and <a href="/wiki/Dada_Life" title="Dada Life">Dada Life</a> have emerged. <div class="mw-heading mw-heading4"><h4 id="EDM_Trap_music">EDM Trap music</h4>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=18" title="Edit section: EDM Trap music">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/EDM_trap_music" title="EDM trap music">EDM trap music</a></div> Trap music originated from <a href="/wiki/Techno" title="Techno">techno</a>, dub, and <a href="/wiki/Electro_house#Dutch_house" title="Electro house">Dutch house</a>, but also from the <a href="/wiki/Trap_music" title="Trap music">original off-shoot</a> of <a href="/wiki/Southern_hip_hop" title="Southern hip hop">Southern hip hop</a> in the late 2000s and early 2010s. This form of trap music can be simplified by these three features: "1/3 hip hop (tempo and song structure are similar, most tracks are usually between 70 and 110 bpm) – with vocals sometimes being pitched down, 1/3 dance music – high-pitched Dutch synth work, hardstyle sampling, as well as a plethora of trap remixes of popular EDM songs, and 1/3 dub (low-frequency focus and strong emphasis on repetitiveness throughout a song)".<a href="#cite_note-RunTheTrap-103">[101]</a> Some of the artists that popularized this genre, along with several others, are producers such as <a href="/wiki/RL_Grime" title="RL Grime">RL Grime</a> with the tracks "Core" and "Scylla" released in 2014, <a href="/wiki/Flosstradamus" title="Flosstradamus">Flosstradamus</a> with their Hdynation Radio album released in 2015 and <a href="/wiki/Carnage_(DJ)" class="mw-redirect" title="Carnage (DJ)">Carnage</a> with his track "Turn Up" released in 2012.<a href="#cite_note-RunTheTrap-103">[101]</a> Trap music in this connotation was characterized by "soulful synths, 808s, the pan flute, sharp snares and long, syrup-slurred vowels" which created dirty and aggressive beats resulting in "dark melodies". Trap is now mainly used to create remixes of already existing songs.<a href="#cite_note-104">[102]</a><a href="#cite_note-RunTheTrap-103">[101]</a> <div class="mw-heading mw-heading2"><h2 id="Terminology">Terminology</h2>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=19" title="Edit section: Terminology">edit</a>]</div> In 1980 English producer <a href="/wiki/Richard_James_Burgess" title="Richard James Burgess">Richard James Burgess</a>, and his band <a href="/wiki/Landscape_(band)" title="Landscape (band)">Landscape</a>, used the term on the sleeve of the single "European Man": "Electronic Dance Music... EDM; computer programmed to perfection for your listening pleasure." In response to a question about being credited with coining the term New Romantic Burgess has stated that: "Initially I was using three terms – Futurist, Electronic Dance Music (the Landscape singles have EDM printed on them) and New Romantic."<a href="#cite_note-105">[103]</a><a href="#cite_note-106">[104]</a> Writing in The Guardian, journalist <a href="/wiki/Simon_Reynolds" title="Simon Reynolds">Simon Reynolds</a> noted that the American music industry's adoption of the term EDM in the late 2000s was an attempt to re-brand US "rave culture" and differentiate it from the 1990s rave scene. It has been described as an era of electronic music, being described in a <a href="/wiki/MixMag" class="mw-redirect" title="MixMag">MixMag</a> article as being "the drop-heavy, stadium-filling, fist-pumping, chart-topping, massively commercial main stage sound that conquered America...possibly somewhere between electro and progressive house, directed by Michael Bay, and like many music genres, trying to pin it down exactly is like trying to grab a fistful of water".<a href="#cite_note-NPR-107">[105]</a> In the UK, "dance music" or "dance" are more common terms for EDM.<a class="mw-selflink-fragment" href="#cite_note-Definition-4">[4]</a> What is widely perceived to be "club music" has changed over time; it now includes different genres and may not always encompass EDM. Similarly, "electronic dance music" can mean different things to different people. Both "club music" and "EDM" seem vague, but the terms are sometimes used to refer to distinct and unrelated genres (club music is defined by what is popular, whereas EDM is distinguished by musical attributes).<a class="mw-selflink-fragment" href="#cite_note-genres-100">[96]</a> Though <a href="/wiki/Billboard_(magazine)" title="Billboard (magazine)">Billboard</a> debuted a "dance" chart in 1974, the larger US music industry did not create music charts until the late 1990s.<a class="mw-selflink-fragment" href="#cite_note-atlantic-96">[93]</a> In July 1995, <a href="/wiki/Nervous_Records" title="Nervous Records">Nervous Records</a> and Project X Magazine hosted the first awards ceremony, calling it the "Electronic Dance Music Awards".<a class="mw-selflink-fragment" href="#cite_note-98">[Note 4]</a> <div class="mw-heading mw-heading2"><h2 id="Production">Production</h2>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=20" title="Edit section: Production">edit</a>]</div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Friend%27s_home_studio_(by_David_J).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/41/Friend%27s_home_studio_%28by_David_J%29.jpg/220px-Friend%27s_home_studio_%28by_David_J%29.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/41/Friend%27s_home_studio_%28by_David_J%29.jpg/330px-Friend%27s_home_studio_%28by_David_J%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/41/Friend%27s_home_studio_%28by_David_J%29.jpg/440px-Friend%27s_home_studio_%28by_David_J%29.jpg 2x" data-file-width="2592" data-file-height="1944" /></a><figcaption>A typical <a href="/wiki/Home_studio" class="mw-redirect" title="Home studio">home studio</a> setup for EDM production with computer, audio interface and various MIDI instruments.</figcaption></figure> Electronic dance music is generally composed and produced in a recording studio with specialized equipment such as <a href="/wiki/Sampler_(musical_instrument)" title="Sampler (musical instrument)">samplers</a>, synthesizers, <a href="/wiki/Effects_unit" title="Effects unit">effects units</a> and <a href="/wiki/MIDI_controller" title="MIDI controller">MIDI controllers</a> all set up to interact with one another using the <a href="/wiki/MIDI" title="MIDI">MIDI</a> protocol. In the genre's early days, hardware electronic musical instruments were used and the focus in production was mainly on manipulating MIDI data as opposed to manipulating audio signals. Since the late 1990s, the use of software has increased. A modern electronic music production studio generally consists of a computer running a <a href="/wiki/Digital_audio_workstation" title="Digital audio workstation">digital audio workstation</a> (DAW), with various <a href="/wiki/Plug-in_(computing)" title="Plug-in (computing)">plug-ins</a> installed such as software synthesizers and effects units, which are controlled with a MIDI controller such as a <a href="/wiki/MIDI_keyboard" title="MIDI keyboard">MIDI keyboard</a>. This setup is generally sufficient to complete entire productions, which are then ready for <a href="/wiki/Audio_mastering" class="mw-redirect" title="Audio mastering">mastering</a>.<a href="#cite_note-108">[106]</a> <div class="mw-heading mw-heading3"><h3 id="Ghost_production">Ghost production</h3>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=21" title="Edit section: Ghost production">edit</a>]</div> A ghost producer is a hired music producer in a business arrangement who produces a song for another DJ/artist that releases it as their own,<a href="#cite_note-YDM-109">[107]</a> typically under a contract which prevents them from identifying themselves as a personnel of the song.<a href="#cite_note-mm-110">[108]</a> Ghost producers receive a simple fee or royalty payments for their work and are often able to work in their preference of not having the intense pressure of fame and the lifestyle of an internationally recognized DJ.<a href="#cite_note-YDM-109">[107]</a> A ghost producer may increase their notability in the music industry by acquainting with established "big name" DJs and producers.<a href="#cite_note-YDM-109">[107]</a> Producers like <a href="/wiki/Martin_Garrix" title="Martin Garrix">Martin Garrix</a> and <a href="/wiki/Porter_Robinson" title="Porter Robinson">Porter Robinson</a> are often noted for their ghost production work for other producers while <a href="/wiki/David_Guetta" title="David Guetta">David Guetta</a> and <a href="/wiki/Steve_Aoki" title="Steve Aoki">Steve Aoki</a> are noted for their usage of ghost producers in their songs whereas DJs like <a href="/wiki/Ti%C3%ABsto" title="Tiësto">Tiësto</a> have been openly crediting their producers in an attempt to avoid censure and for transparency.<a href="#cite_note-111">[109]</a> Many ghost producers sign agreements that prevent them from working for anyone else or establishing themselves as a solo artist.<a href="#cite_note-LAW-112">[110]</a> Such non-disclosure agreements are often noted as predatory because ghost producers, especially teenage producers, do not have an understanding of the music industry.<a href="#cite_note-LAW-112">[110]</a> London producer <a href="/wiki/Mat_Zo" title="Mat Zo">Mat Zo</a> has alleged that DJs who hire ghost producers "have pretended to make their own music and [left] us actual producers to struggle".<a href="#cite_note-113">[111]</a> <div class="mw-heading mw-heading3"><h3 id="Bedroom_production">Bedroom production</h3>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=22" title="Edit section: Bedroom production">edit</a>]</div> A <a href="/wiki/Bedroom_Production" class="mw-redirect" title="Bedroom Production">bedroom producer</a> is an independent musician who creates electronic music on their laptop or in a home studio. Unlike in traditional recording studios, bedroom producers typically use low-cost, accessible software and equipment which can lead to music being created completely "in the box", with no external hardware.<a href="#cite_note-114">[112]</a> <div class="mw-heading mw-heading2"><h2 id="Afro-EDM">Afro-EDM</h2>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=23" title="Edit section: Afro-EDM">edit</a>]</div> Afro-EDM depicts African electronic dance music genres and styles that blend elements of traditional African music with electronic dance music. It incorporates various African rhythms, instruments, and vocal styles, merging them with modern EDM production techniques. Afro EDM had existed for decades. However, it was only with the advent of 21st-century technology that African EDM truly began to thrive. Popular contemporary millennium Afro-EDM genres and styles can be found within the <a href="/wiki/Gqom" title="Gqom">gqom</a> (<a href="/wiki/South_Africa" title="South Africa">South Africa</a>) and <a href="/wiki/Afrobeats" title="Afrobeats">Afrobeats</a> (<a href="/wiki/Nigeria" title="Nigeria">Nigeria</a>) genres. Music scenes in other <a href="/wiki/African_countries" class="mw-redirect" title="African countries">African countries</a> exist such as in <a href="/wiki/Uganda" title="Uganda">Uganda</a> and the <a href="/wiki/Democratic_Republic_of_the_Congo" title="Democratic Republic of the Congo">Democratic Republic of the Congo</a> (tekno kintueni).<a href="#cite_note-:1-115">[113]</a> <div class="mw-heading mw-heading3"><h3 id="Afrobeats">Afrobeats</h3>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=24" title="Edit section: Afrobeats">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Afrobeats" title="Afrobeats">Afrobeats</a></div> <a href="/wiki/Afrobeats#Pon_Pon" title="Afrobeats">Pon Pon</a> (also ADM or African Dance Music) emerged in Nigeria circa 2018 denoting EDM influences intermingled with Afrobeats, Nigerian Afropop, <a href="/wiki/Dancehall" title="Dancehall">dancehall</a> and <a href="/wiki/Highlife" title="Highlife">highlife</a>. A variant is Nigerian Afro-EDM which emerged in the 2020s encompassing afrobeats, Nigerian afro-house and afroelectro. <a href="#cite_note-116">[114]</a><a href="#cite_note-117">[115]</a> <div class="mw-heading mw-heading3"><h3 id="Gqom">Gqom</h3>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=25" title="Edit section: Gqom">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Gqom" title="Gqom">Gqom</a></div> Gqom originated around 2009-2010 in <a href="/wiki/Durban" title="Durban">Durban</a>, through the pioneering efforts of local record producers. Gqom blends elements of techno, broken beats, and house music. Unlike traditional house music, gqom diverges by eschewing the typical <a href="/wiki/Four_on_the_floor_(music)" title="Four on the floor (music)">four-on-the-floor</a> rhythm. Gqom is categorized as both EDM and house music, characterized by diverse production techniques and variations.<a href="#cite_note-:1-115">[113]</a><a href="#cite_note-118">[116]</a><a href="#cite_note-119">[117]</a><a href="#cite_note-120">[118]</a><a href="#cite_note-121">[119]</a><a href="#cite_note-122">[120]</a> <div class="mw-heading mw-heading2"><h2 id="Popularisation">Popularisation</h2>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=26" title="Edit section: Popularisation">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="United_States">United States</h3>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=27" title="Edit section: United States">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Beacham_Theater#Late_Night_era:_(1988–1994)_Aahz" class="mw-redirect" title="Beacham Theater">Beacham Theater § Late Night era: (1988–1994) Aahz</a></div> Initially, the popularization of electronic dance music was associated with European rave and club culture and it achieved limited popular exposure in the United States. By the mid-to-late 1990s this began to change as the American music industry made efforts to market a range of dance genres as "<a href="/wiki/Electronica" title="Electronica">electronica</a>".<a href="#cite_note-sisario-123">[121]</a> At the time, a wave of electronic music bands from the United Kingdom, including <a href="/wiki/The_Prodigy" title="The Prodigy">The Prodigy</a>, <a href="/wiki/The_Chemical_Brothers" title="The Chemical Brothers">The Chemical Brothers</a>, <a href="/wiki/Fatboy_Slim" title="Fatboy Slim">Fatboy Slim</a> and <a href="/wiki/Underworld_(band)" title="Underworld (band)">Underworld</a>, had been prematurely associated with an "American electronica revolution".<a href="#cite_note-Spin-124">[122]</a><a href="#cite_note-125">[123]</a> But rather than finding mainstream success, many established EDM acts were relegated to the margins of the US <a href="/wiki/Music_industry" title="Music industry">industry</a>.<a href="#cite_note-Spin-124">[122]</a> In 1998, <a href="/wiki/Madonna" title="Madonna">Madonna</a>'s album <a href="/wiki/Ray_of_Light" title="Ray of Light">Ray of Light</a>—heavily influenced by club music trends and produced with British producer <a href="/wiki/William_Orbit" title="William Orbit">William Orbit</a>—brought dance music to the attention of popular music listeners.<a href="#cite_note-126">[124]</a><a href="#cite_note-127">[125]</a> In the late 1990s, despite US media interest in dance music re-branded as electronica, American house and techno producers continued to travel abroad to establish their careers as DJs and producers.<a href="#cite_note-Spin-124">[122]</a> According to <a href="/wiki/New_York_Times" class="mw-redirect" title="New York Times">New York Times</a> journalist Kelefa Sanneh, <a href="/wiki/Aaliyah" title="Aaliyah">Aaliyah</a>'s 2000 single "<a href="/wiki/Try_Again_(Aaliyah_song)" title="Try Again (Aaliyah song)">Try Again</a>" "helped smuggle the innovative techniques of electronic dance music onto the American pop charts"<a href="#cite_note-Sanneh-128">[126]</a> By the mid-2000s, Dutch producer <a href="/wiki/Ti%C3%ABsto" title="Tiësto">Tiësto</a> was bringing worldwide popular attention to EDM after providing a soundtrack to the entry of athletes during the opening ceremony of the <a href="/wiki/2004_Summer_Olympics" title="2004 Summer Olympics">2004 Summer Olympics</a> — an event which <a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a> deemed as one of the 50 most important events in dance music.<a href="#cite_note-guardian-tiestoolympics-129">[127]</a> In 2003, the influence of dance music on American radio resulted in Billboard creating the first-ever <a href="/wiki/Dance/Mix_Show_Airplay" title="Dance/Mix Show Airplay">Dance/Mix Show Airplay</a> chart.<a href="#cite_note-bits-130">[128]</a> By 2005, the prominence of dance music in North American popular culture had markedly increased. According to <a href="/wiki/Spin_(magazine)" title="Spin (magazine)">Spin</a>, <a href="/wiki/Daft_Punk" title="Daft Punk">Daft Punk</a>'s performance at <a href="/wiki/Coachella_Festival" class="mw-redirect" title="Coachella Festival">Coachella</a> in 2006 was the "tipping point" for EDM—it introduced the duo to a new generation of "rock kids".<a href="#cite_note-Spin-124">[122]</a> As noted by <a href="/wiki/Entertainment_Weekly" title="Entertainment Weekly">Entertainment Weekly</a>, <a href="/wiki/Justin_Timberlake" title="Justin Timberlake">Justin Timberlake</a>'s "<a href="/wiki/SexyBack" title="SexyBack">SexyBack</a>" helped introduce EDM sounds to <a href="/wiki/Contemporary_hit_radio" title="Contemporary hit radio">top 40 radio</a>, as it brought together variations of electronic dance music with the singer's R&B sounds.<a href="#cite_note-131">[129]</a><a href="#cite_note-132">[130]</a> In 2009, <a href="/wiki/French_house" title="French house">French house</a> musician <a href="/wiki/David_Guetta" title="David Guetta">David Guetta</a> began to gain prominence in mainstream pop music thanks to several <a href="/wiki/Crossover_hit" class="mw-redirect" title="Crossover hit">crossover hits</a> on <a href="/wiki/Top_40" title="Top 40">Top 40</a> charts such as "<a href="/wiki/When_Love_Takes_Over" title="When Love Takes Over">When Love Takes Over</a>" with <a href="/wiki/Kelly_Rowland" title="Kelly Rowland">Kelly Rowland</a>,<a href="#cite_note-133">[131]</a> as well as his collaborations with US pop and <a href="/wiki/Hip_hop_music" title="Hip hop music">hip hop</a> acts such as <a href="/wiki/Akon" title="Akon">Akon</a> ("<a href="/wiki/Sexy_Bitch" title="Sexy Bitch">Sexy Bitch</a>") and <a href="/wiki/The_Black_Eyed_Peas" class="mw-redirect" title="The Black Eyed Peas">The Black Eyed Peas</a> ("<a href="/wiki/I_Gotta_Feeling" title="I Gotta Feeling">I Gotta Feeling</a>").<a href="#cite_note-usatoday-guetta-134">[132]</a> The music sharing website <a href="/wiki/SoundCloud" title="SoundCloud">SoundCloud</a>, as well as the video sharing website YouTube, also helped fuel interest in electronic music. Dubstep producer <a href="/wiki/Skrillex" title="Skrillex">Skrillex</a> popularized a harsher sound dubbed "<a href="/wiki/Brostep" title="Brostep">Brostep</a>", which had drawn comparisons to the aggression and tone of <a href="/wiki/Heavy_metal_music" title="Heavy metal music">heavy metal</a>.<a href="#cite_note-guardian-conquered-3">[3]</a><a href="#cite_note-The_Wall_Street_Journal-dumbingdown-135">[133]</a><a href="#cite_note-136">[134]</a><a href="#cite_note-137">[135]</a> With the increasing popularity of electronic dance music, <a href="/wiki/Promoter_(entertainment)" title="Promoter (entertainment)">promoters</a> and venues realized that DJs could generate larger profits than traditional musicians; <a href="/wiki/Diplo" title="Diplo">Diplo</a> explained that "a band plays [for] 45 minutes; DJs can play for four hours. Rock bands—there's a few headliner dudes that can play 3,000–4,000-capacity venues, but DJs play the same venues, they turn the crowd over two times, people buy drinks all night long at higher prices—it's a win-win."<a href="#cite_note-Spin-124">[122]</a> Electronic music festivals, such as <a href="/wiki/Electric_Daisy_Carnival" title="Electric Daisy Carnival">Electric Daisy Carnival</a> (EDC) in <a href="/wiki/Las_Vegas" title="Las Vegas">Las Vegas</a> and <a href="/wiki/Ultra_Music_Festival" title="Ultra Music Festival">Ultra Music Festival</a> in Miami also grew in size, placing an increased emphasis on visual experiences, and DJs who had begun to attain a celebrity status.<a href="#cite_note-guardian-conquered-3">[3]</a><a href="#cite_note-The_Wall_Street_Journal-dumbingdown-135">[133]</a> Other major acts that gained prominence, including <a href="/wiki/Avicii" title="Avicii">Avicii</a> and <a href="/wiki/Swedish_House_Mafia" title="Swedish House Mafia">Swedish House Mafia</a>, toured major venues such as arenas and stadiums rather than playing clubs; in December 2011, Swedish House Mafia became the first electronic music act to sell out New York City's <a href="/wiki/Madison_Square_Garden" title="Madison Square Garden">Madison Square Garden</a>.<a href="#cite_note-The_Wall_Street_Journal-dumbingdown-135">[133]</a> In 2011, Spin declared a "new rave generation" led by acts like David Guetta, <a href="/wiki/Deadmau5" title="Deadmau5">Deadmau5</a>, and <a href="/wiki/Skrillex" title="Skrillex">Skrillex</a>.<a href="#cite_note-Spin-124">[122]</a> In January 2013, <a href="/wiki/Billboard_(magazine)" title="Billboard (magazine)">Billboard</a> introduced a new EDM-focused <a href="/wiki/Dance/Electronic_Songs" title="Dance/Electronic Songs">Dance/Electronic Songs</a> chart, tracking the top 50 electronic songs based on sales, radio airplay, club play, and online <a href="/wiki/Streaming_media" title="Streaming media">streaming</a>.<a href="#cite_note-billboard-deschart-138">[136]</a> According to Eventbrite, EDM fans are more likely to use social media to discover and share events or gigs. They also discovered that 78% of fans say they are more likely to attend an event if their peers do, compared to 43% of fans in general. EDM has many young and social fans.<a href="#cite_note-auto-139">[137]</a> By late 2011, <a href="/wiki/Music_Trades" class="mw-redirect" title="Music Trades">Music Trades</a> was describing electronic dance music as the fastest-growing genre in the world.<a href="#cite_note-mt-bigedm-140">[138]</a> Elements of electronic music also became increasingly prominent in pop music.<a href="#cite_note-Spin-124">[122]</a> Radio and television also contributed to dance music's mainstream acceptance.<a href="#cite_note-billboard-soldout-141">[139]</a> <div class="mw-heading mw-heading4"><h4 id="US_corporate_interest">US corporate interest</h4>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=28" title="Edit section: US corporate interest">edit</a>]</div> Corporate <a href="/wiki/Consolidation_(business)" title="Consolidation (business)">consolidation</a> in the EDM industry began in 2012—especially in terms of live events. In June 2012, media executive <a href="/wiki/Robert_F._X._Sillerman" title="Robert F. X. Sillerman">Robert F. X. Sillerman</a>—founder of what is now <a href="/wiki/Live_Nation_(events_promoter)" title="Live Nation (events promoter)">Live Nation</a>—re-launched <a href="/wiki/SFX_Entertainment" class="mw-redirect" title="SFX Entertainment">SFX Entertainment</a> as an EDM conglomerate, and announced his plan to invest $1 billion to acquire EDM businesses. His acquisitions included regional promoters and festivals (including <a href="/wiki/ID%26T" title="ID&T">ID&T</a>, which organises <a href="/wiki/Tomorrowland_(festival)" title="Tomorrowland (festival)">Tomorrowland</a>), two nightclub operators in Miami, and <a href="/wiki/Beatport" title="Beatport">Beatport</a>, an <a href="/wiki/Online_music_store" class="mw-redirect" title="Online music store">online music store</a> which focuses on electronic music.<a href="#cite_note-billboard-voodoo-142">[140]</a><a href="#cite_note-billboard-sfx-143">[141]</a> Live Nation also acquired <a href="/wiki/Creamfields" title="Creamfields">Cream Holdings</a> and <a href="/wiki/Hard_Events" class="mw-redirect" title="Hard Events">Hard Events</a>, and announced a "creative partnership" with EDC organizers <a href="/wiki/Insomniac_Events" class="mw-redirect" title="Insomniac Events">Insomniac Events</a> in 2013 that would allow it to access its resources whilst remaining an independent company;<a href="#cite_note-billboard-lnsomniac-144">[142]</a> Live Nation CEO Michael Rapino described EDM as the "[new] <a href="/wiki/Rock_%27n%27_roll" class="mw-redirect" title="Rock 'n' roll">rock 'n' roll</a>".<a href="#cite_note-sisario-123">[121]</a><a href="#cite_note-spin-hardacquired-145">[143]</a><a href="#cite_note-billboard-lncream-146">[144]</a> US radio conglomerate <a href="/wiki/IHeartMedia,_Inc." class="mw-redirect" title="IHeartMedia, Inc.">iHeartMedia, Inc.</a> (formerly Clear Channel Media and Entertainment) also made efforts to align itself with EDM. In January 2014 It hired noted British DJ and <a href="/wiki/BBC_Radio_1" title="BBC Radio 1">BBC Radio 1</a> personality <a href="/wiki/Pete_Tong" title="Pete Tong">Pete Tong</a> to produce programming for its "Evolution" <a href="/wiki/Dance_radio" title="Dance radio">dance radio</a> brand,<a href="#cite_note-nyt-whbaevolution-147">[145]</a> and announced a partnership with SFX to co-produce live concerts and EDM-oriented original programming for its <a href="/wiki/Contemporary_hit_radio" title="Contemporary hit radio">top 40</a> radio stations. iHeartMedia president John Sykes explained that he wanted his company's properties to be the "best destination [for EDM]".<a href="#cite_note-billboard-sfxcc-148">[146]</a><a href="#cite_note-billboard-bethebest-149">[147]</a> Major brands have also used the EDM phenomena as a means of targeting <a href="/wiki/Millennials" title="Millennials">millennials</a><a href="#cite_note-adage-7x7up-150">[148]</a><a href="#cite_note-billboard-tmobileedm-151">[149]</a><a href="#cite_note-152">[150]</a><a href="#cite_note-153">[151]</a> and EDM songs and artists have increasingly been featured in television commercials and programs.<a href="#cite_note-herald-booming-154">[152]</a> Avicii's manager Ash Pournouri compared these practices to the commercialization of <a href="/wiki/Hip-hop_music" class="mw-redirect" title="Hip-hop music">hip-hop</a> in the early 2000s.<a href="#cite_note-herald-booming-154">[152]</a> <a href="/wiki/Heineken" title="Heineken">Heineken</a> has a marketing relationship with the Ultra Music Festival, and has incorporated Dutch producers <a href="/wiki/Armin_van_Buuren" title="Armin van Buuren">Armin van Buuren</a> and Tiësto into its ad campaigns. <a href="/wiki/Anheuser-Busch" title="Anheuser-Busch">Anheuser-Busch</a> has a similar relationship as beer sponsor of <a href="/wiki/SFX_Entertainment" class="mw-redirect" title="SFX Entertainment">SFX Entertainment</a> events.<a href="#cite_note-herald-booming-154">[152]</a> In 2014, <a href="/wiki/7_Up" title="7 Up">7 Up</a> launched "7x7Up"—a multi-platform EDM-based campaign that included digital content, advertising featuring producers, and branded stages at both Ultra and Electric Daisy Carnival.<a href="#cite_note-adage-7x7up-150">[148]</a><a href="#cite_note-da-edclv-155">[153]</a><a href="#cite_note-thr-umf16impact-156">[154]</a> Wireless carrier <a href="/wiki/T-Mobile_US" title="T-Mobile US">T-Mobile US</a> entered into an agreement with SFX to become the official wireless sponsor of its events, and partnered with <a href="/wiki/Above_%26_Beyond_(band)" title="Above & Beyond (band)">Above & Beyond</a> to sponsor its 2015 tour.<a href="#cite_note-billboard-tmobileedm-151">[149]</a> In August 2015, SFX began to experience declines in its value,<a href="#cite_note-forbes-fallofsfx-157">[155]</a> and a failed bid by CEO Sillerman to take the company private. The company began looking into strategic alternatives that could have resulted in the sale of the company.<a href="#cite_note-158">[156]</a><a href="#cite_note-159">[157]</a> In October 2015, <a href="/wiki/Forbes" title="Forbes">Forbes</a> declared the possibility of an EDM "<a href="/wiki/Economic_bubble" title="Economic bubble">bubble</a>", in the wake of the declines at SFX Entertainment, slowing growth in revenue, the increasing costs of organizing festivals and booking talent, as well as an oversaturation of festivals in the eastern and western United States. Insomniac CEO Pasquale Rotella felt that the industry would weather the financial uncertainty of the overall market by focusing on "innovation" and entering into new markets.<a href="#cite_note-forbes-edmbubble-160">[158]</a> Despite forecasts that interest in popular EDM would wane, in 2015 it was estimated to be a £5.5bn industry in the US, up by 60% compared to 2012 estimates.<a href="#cite_note-161">[159]</a> SFX emerged from bankruptcy in December 2016 as <a href="/wiki/LiveStyle" title="LiveStyle">LiveStyle</a>, under the leadership of Randy Phillips, a former executive of <a href="/wiki/AEG_Live" class="mw-redirect" title="AEG Live">AEG Live</a>.<a href="#cite_note-nyt-livestyle-162">[160]</a><a href="#cite_note-billboard-livestyle-163">[161]</a> The company began to slowly divest its live music assets in 2018, including selling its stakes in <a href="/wiki/Rock_in_Rio" title="Rock in Rio">Rock in Rio</a> (which it had bought as part of an <a href="/wiki/Rock_in_Rio_USA" title="Rock in Rio USA">attempted Las Vegas edition of the festival</a>),<a href="#cite_note-164">[162]</a><a href="#cite_note-165">[163]</a> and later other SFX-owned promoters such as <a href="/wiki/ID%26T" title="ID&T">ID&T</a><a href="#cite_note-166">[164]</a><a href="#cite_note-167">[165]</a> and React Presents.<a href="#cite_note-168">[166]</a> Phillips stepped down as CEO in 2019 to pursue other projects.<a href="#cite_note-169">[167]</a> <div class="mw-heading mw-heading4"><h4 id="Criticism_of_over-commercialization">Criticism of over-commercialization</h4>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=29" title="Edit section: Criticism of over-commercialization">edit</a>]</div> Following the popularization of EDM in America a number of producers and DJs, including <a href="/wiki/Carl_Cox" title="Carl Cox">Carl Cox</a>, <a href="/wiki/Steve_Lawler_(DJ)" title="Steve Lawler (DJ)">Steve Lawler</a>, and <a href="/wiki/Markus_Schulz" title="Markus Schulz">Markus Schulz</a>, raised concerns that the perceived over-commercialisation of dance music had impacted the art of DJing. Cox saw the "press-play" approach taken by newer EDM DJs as unrepresentative of what he called a "DJ ethos".<a href="#cite_note-The_Wall_Street_Journal-dumbingdown-135">[133]</a> Writing in <a href="/wiki/Mixmag" title="Mixmag">Mixmag</a>, DJ Tim Sheridan argued that "push-button DJs" who use auto-sync and play pre-recorded sets of "obvious hits" resulted in a situation overtaken by "the spectacle, money and the showbiz".<a href="#cite_note-mixmag-killing-170">[168]</a> Some house producers openly admitted that "commercial" EDM needed further differentiation and creativity. Avicii, whose 2013 album <a href="/wiki/True_(Avicii_album)" title="True (Avicii album)">True</a> featured songs incorporating elements of <a href="/wiki/Bluegrass_music" title="Bluegrass music">bluegrass</a>, such as lead single "<a href="/wiki/Wake_Me_Up_(Avicii_song)" title="Wake Me Up (Avicii song)">Wake Me Up</a>", stated that most EDM lacked "longevity".<a href="#cite_note-mixmag-bored-171">[169]</a> Deadmau5 criticized the <a href="https://en.wiktionary.org/wiki/homogenization" class="extiw" title="wikt:homogenization">homogenization</a> of popular EDM, and suggested that it "all sounds the same". During the 2014 Ultra Music Festival, Deadmau5 made critical comments about up-and-coming EDM artist <a href="/wiki/Martin_Garrix" title="Martin Garrix">Martin Garrix</a> and later played an edited version of Garrix's "<a href="/wiki/Animals_(Martin_Garrix_song)" title="Animals (Martin Garrix song)">Animals</a>" remixed to the melody of "<a href="/wiki/Old_McDonald_Had_a_Farm" class="mw-redirect" title="Old McDonald Had a Farm">Old McDonald Had a Farm</a>". Afterwards, <a href="/wiki/Ti%C3%ABsto" title="Tiësto">Tiësto</a> criticized Deadmau5 on Twitter for "sarcastically" mixing Avicii's "<a href="/wiki/Levels_(Avicii_song)" title="Levels (Avicii song)">Levels</a>" with his own "<a href="/wiki/Ghosts_%27n%27_Stuff" title="Ghosts 'n' Stuff">Ghosts 'n' Stuff</a>" (in reference to being a last-minute substitution for Avicii on the festival schedule due to a medical issue), to which Deadmau5 asked whether playing a song "sarcastically" involved "<a href="/wiki/Sneer" title="Sneer">sneer[ing]</a> while hitting the sync button".<a href="#cite_note-172">[170]</a><a href="#cite_note-mixmag-soundsthesame-173">[171]</a><a href="#cite_note-mixmag-trolled-174">[172]</a><a href="#cite_note-mixmag-afrojackfight-175">[173]</a> In May 2014, the <a href="/wiki/NBC" title="NBC">NBC</a> comedy series <a href="/wiki/Saturday_Night_Live" title="Saturday Night Live">Saturday Night Live</a> parodied the stereotypes of EDM culture and push-button DJs in a <a href="/wiki/SNL_Digital_Short" title="SNL Digital Short">Digital Short</a> titled When Will the Bass Drop?. It featured a DJ who goes about performing everyday activities—playing a computer game, frying eggs, collecting money—who then presses a giant "BASS" button, which explodes the heads of concertgoers.<a href="#cite_note-verge-davvincii-176">[174]</a><a href="#cite_note-mixmag-snl-177">[175]</a><a href="#cite_note-da-snl-178">[176]</a> After years of rapid growth, the American popular EDM market started to wane in 2016 when a number of artists famous for producing so-called 'big room' electro-house started to diversify stylistically. This development was directly referenced by two such DJs – David Guetta and <a href="/wiki/Showtek" title="Showtek">Showtek</a> – in a <a href="/wiki/Techno" title="Techno">techno</a>-influenced single released in April 2016 titled 'The Death of EDM'.<a href="#cite_note-179">[177]</a> By the end of the 2010s, EDM's position as the dominant force in mainstream popular music began to plateau as it became displaced by other styles.<a href="#cite_note-NPR-107">[105]</a><a href="#cite_note-180">[178]</a> <div class="mw-heading mw-heading3"><h3 id="International">International</h3>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=30" title="Edit section: International">edit</a>]</div> In May 2015, the <a href="/wiki/International_Music_Summit" title="International Music Summit">International Music Summit</a>'s Business Report estimated that the global electronic music industry had reached nearly $6.9 billion in value; the count included music sales, events revenue (including nightclubs and festivals), the sale of DJ equipment and software, and other sources of revenue. The report also identified several emerging markets for electronic dance music, including East Asia, India, and South Africa, credited primarily to investment by domestic, as well as American and European interests. A number of major festivals also began expanding into Latin America.<a href="#cite_note-thump-edmworldwide-181">[179]</a> In <a href="/wiki/Ghana" title="Ghana">Ghana</a>, West Africa, an artist named <a href="/wiki/Djsky" title="Djsky">Djsky</a> introduced EDM in 2015–present and organised successful festivals and events such as Hey Ibiza, Sunset music Festival, Sky show and more.<a href="#cite_note-182">[180]</a><a href="#cite_note-183">[181]</a><a href="#cite_note-184">[182]</a><a href="#cite_note-185">[183]</a> In an interview with <a href="/wiki/WatsUp_TV" title="WatsUp TV">WatsUp TV</a>, Djsky revealed he was the first to introduce Electronic Music Dance into Ghana music.<a href="#cite_note-186">[184]</a><a href="#cite_note-187">[185]</a> In <a href="/wiki/Ethiopia" title="Ethiopia">Ethiopia</a> EDM has become part of mainstream music after the 2018 breakthrough of a young artist named <a href="/wiki/Rophnan" title="Rophnan">Rophnan</a> which incorporated EDM sound with traditional rhythms and melodies.<a href="#cite_note-188">[186]</a> In his shows, tens of thousands of youth were packing stadiums across the country and radios started to play the emerging genre.<a href="#cite_note-:raregenre-189">[187]</a><a href="#cite_note-190">[188]</a> China is a market where EDM had initially made relatively few inroads; although promoters believed that the mostly instrumental music would remove a metaphorical <a href="/wiki/Language_barrier" title="Language barrier">language barrier</a>, the growth of EDM in China was hampered by the lack of a prominent rave culture in the country as in other regions, as well as the popularity of domestic <a href="/wiki/C-pop" title="C-pop">Chinese pop</a> over foreign artists. Former Universal Music executive Eric Zho, inspired by the US growth, made the first significant investments in electronic music in China, including the organisation of Shanghai's inaugural <a href="/wiki/Storm_Electronic_Music_Festival" title="Storm Electronic Music Festival">Storm festival</a> in 2013, the reaching of a <a href="/wiki/Title_sponsor" class="mw-redirect" title="Title sponsor">title sponsorship</a> deal for the festival with Anheuser-Busch's Budweiser brand, a local talent search, and organising collaborations between EDM producers and Chinese singers, such as <a href="/wiki/Avicii" title="Avicii">Avicii</a> and <a href="/wiki/Wang_Leehom" title="Wang Leehom">Wang Leehom</a>'s "Lose Myself". In the years following, a larger number of EDM events began to appear in China, and Storm itself was also preceded by a larger number of pre-parties in 2014 than its inaugural year. A new report released during the inaugural International Music Summit China in October 2015 revealed that the Chinese EDM industry was experiencing modest gains, citing the larger number of events (including new major festival brands such as Modern Sky and YinYang), a 6% increase in the sales of electronic music in the country, and the significant size of the overall market. Zho also believed that the country's "hands-on" political climate, as well as investments by China into cultural events, helped in "encouraging" the growth of EDM in the country.<a href="#cite_note-wsj-china-191">[189]</a><a href="#cite_note-thump-chinapopoff-192">[190]</a> <div class="mw-heading mw-heading2"><h2 id="Social_impact">Social impact</h2>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=31" title="Edit section: Social impact">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="Festivals">Festivals</h3>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=32" title="Edit section: Festivals">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/List_of_electronic_music_festivals" title="List of electronic music festivals">List of electronic music festivals</a></div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Electric_Love_2013.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a0/Electric_Love_2013.jpg/220px-Electric_Love_2013.jpg" decoding="async" width="220" height="147" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a0/Electric_Love_2013.jpg/330px-Electric_Love_2013.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a0/Electric_Love_2013.jpg/440px-Electric_Love_2013.jpg 2x" data-file-width="5184" data-file-height="3456" /></a><figcaption>An EDM festival in 2013 in <a href="/wiki/Plainfeld" title="Plainfeld">Plainfeld</a>, <a href="/wiki/Austria" title="Austria">Austria</a> with over 100,000 attendees,<a href="#cite_note-193">[191]</a> exhibiting the large crowds and dramatic lighting common at such events since the early 2000s.<a href="#cite_note-guardian-conquered-3">[3]</a></figcaption></figure> In the 1980s, electronic dance music was often played at illegal underground rave parties held in secret locations, for example, warehouses, abandoned aircraft hangars, fields and any other large, open areas. In the 1990s and 2000s, aspects of the underground <a href="/wiki/Rave" title="Rave">rave</a> culture of the 1980s and early 1990s began to evolve into legitimate, organized EDM concerts and <a href="/wiki/Music_festivals" class="mw-redirect" title="Music festivals">festivals</a>. Major festivals often feature a large number of acts representing various EDM genres spread across multiple stages. Festivals have placed a larger emphasis on visual spectacles as part of their overall experiences, including elaborate stage designs with underlying thematics, complex lighting systems, <a href="/wiki/Laser_show" class="mw-redirect" title="Laser show">laser shows</a>, and <a href="/wiki/Pyrotechnics" title="Pyrotechnics">pyrotechnics</a>. <a href="/wiki/Rave#Attire" title="Rave">Rave fashion</a> also evolved among attendees, which <a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a> described as having progressed from the 1990s "kandi raver" to "[a] slick and sexified yet also kitschy-surreal image midway between <a href="/wiki/Venice,_Los_Angeles#Venice_Beach" title="Venice, Los Angeles">Venice Beach</a> and <a href="/wiki/Cirque_du_Soleil" title="Cirque du Soleil">Cirque du Soleil</a>, <a href="/wiki/Willy_Wonka_%26_the_Chocolate_Factory" title="Willy Wonka & the Chocolate Factory">Willy Wonka</a> and a <a href="/wiki/Pride_parade" title="Pride parade">gay pride parade</a>".<a href="#cite_note-guardian-conquered-3">[3]</a><a href="#cite_note-The_Wall_Street_Journal-dumbingdown-135">[133]</a><a href="#cite_note-da-edclv-155">[153]</a> These events differed from underground raves by their organized nature, often taking place at major venues, and with measures to ensure the health and safety of attendees.<a href="#cite_note-lat-fataltoll-194">[192]</a> <a href="/wiki/MTV" title="MTV">MTV</a>'s Rawley Bornstein described electronic music as "the new rock and roll",<a href="#cite_note-mainstream-195">[193]</a> as has Lollapalooza organizer <a href="/wiki/Perry_Farrell" title="Perry Farrell">Perry Farrell</a>.<a href="#cite_note-196">[194]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:BeatBurger_in_2016_Spectrum_Dance_Music_Festival.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/7b/BeatBurger_in_2016_Spectrum_Dance_Music_Festival.jpg/220px-BeatBurger_in_2016_Spectrum_Dance_Music_Festival.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/7b/BeatBurger_in_2016_Spectrum_Dance_Music_Festival.jpg/330px-BeatBurger_in_2016_Spectrum_Dance_Music_Festival.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/7b/BeatBurger_in_2016_Spectrum_Dance_Music_Festival.jpg/440px-BeatBurger_in_2016_Spectrum_Dance_Music_Festival.jpg 2x" data-file-width="4032" data-file-height="3024" /></a><figcaption>Spectrum Dance Music Festival, 2016</figcaption></figure> Ray Waddell of Billboard noted that festival promoters have done an excellent job at <a href="/wiki/Brand_management" title="Brand management">branding</a>.<a href="#cite_note-mainstream-195">[193]</a> Larger festivals have been shown to have positive economic impacts on their host cities<a href="#cite_note-lat-fataltoll-194">[192]</a> the 2014 Ultra Music Festival brought 165,000 attendees—and over $223 million—to the Miami/<a href="/wiki/South_Florida" title="South Florida">South Florida</a> region's economy.<a href="#cite_note-thr-umf16impact-156">[154]</a> The inaugural edition of <a href="/wiki/TomorrowWorld" title="TomorrowWorld">TomorrowWorld</a>—a U.S.-based version of Belgium's <a href="/wiki/Tomorrowland_(festival)" title="Tomorrowland (festival)">Tomorrowland festival</a>, brought $85.1 million to the <a href="/wiki/Atlanta" title="Atlanta">Atlanta</a> area—as much revenue as its hosting of the <a href="/wiki/2013_NCAA_Men%27s_Division_I_Basketball_Tournament" class="mw-redirect" title="2013 NCAA Men's Division I Basketball Tournament">NCAA Final Four</a> (the semi-final and national championship games of the <a href="/wiki/NCAA_Division_I_men%27s_basketball_tournament" title="NCAA Division I men's basketball tournament">NCAA Division I men's basketball tournament</a>) earlier in the year.<a href="#cite_note-ajc-twimpact-197">[195]</a> EDC Las Vegas boosted the Clark County economy by $350.3 million in 2015 alone, with over 405,000 attendees across three days (June 19–21).<a href="#cite_note-198">[196]</a> The popularity of EDM and festivals also led some multi-genre festivals not strongly associated with electronic music, such as <a href="/wiki/Coachella_Festival" class="mw-redirect" title="Coachella Festival">Coachella</a> and <a href="/wiki/Lollapalooza" title="Lollapalooza">Lollapalooza</a>, to add more electronic acts to their lineup. They often play EDM-specific stages, but major acts such as <a href="/wiki/Deadmau5" title="Deadmau5">Deadmau5</a>, <a href="/wiki/Calvin_Harris" title="Calvin Harris">Calvin Harris</a> and <a href="/wiki/Subtronics" title="Subtronics">Subtronics</a> have made overall headlining appearances on the main stages of Lollapalooza and Coachella respectively—placements that are typically associated with rock and <a href="/wiki/Alternative_rock" title="Alternative rock">alternative</a> acts.<a href="#cite_note-noisey-chicago-199">[197]</a><a href="#cite_note-lvweekly-edmfeverpitch-200">[198]</a> <a href="/wiki/Russell_Smith_(writer)" title="Russell Smith (writer)">Russell Smith</a> of <a href="/wiki/The_Globe_and_Mail" title="The Globe and Mail">The Globe and Mail</a> felt that the commercial festival industry was an antithesis to the original principles of the rave subculture, citing "the expensive tickets, the giant corporate sponsors, the crass <a href="/wiki/Bro_(subculture)" class="mw-redirect" title="Bro (subculture)">bro culture</a>—shirtless muscle boys who cruise the stadiums, tiny popular girls in bikinis who ride on their shoulders – not to mention the sappy music itself."<a href="#cite_note-gandm-exposes-201">[199]</a> Drug-related incidents, as well as other complaints surrounding the behaviour of their attendees, have contributed to negative perceptions and opposition to electronic music events by local authorities.<a href="#cite_note-gandm-exposes-201">[199]</a><a href="#cite_note-cbc-musicsafety-202">[200]</a> After Ultra Music Festival 2014, where a crowd of gatecrashers trampled a security guard on its first day, Miami's city commissioners considered banning the festival from being held in the city, citing the trampling incident, <a href="/wiki/Lewd" class="mw-redirect" title="Lewd">lewd</a> behavior, and complaints by downtown residents of being harassed by attendees. The commissioners voted to allow Ultra to continue being held in Miami due to its positive economic effects, under the condition that its organizers address security, drug usage and lewd behavior by attendees.<a href="#cite_note-rs-ultra2015-203">[201]</a><a href="#cite_note-mh-15approved-204">[202]</a><a href="#cite_note-billboard-15security-205">[203]</a> In 2018, after continued concerns, the commissioners voted to bar the festival from being held in <a href="/wiki/Bayfront_Park" title="Bayfront Park">Bayfront Park</a> and downtown Miami,<a href="#cite_note-206">[204]</a><a href="#cite_note-207">[205]</a><a href="#cite_note-208">[206]</a> but subsequently approved a proposal to move the event to one of Miami's <a href="/wiki/Barrier_island" title="Barrier island">barrier islands</a>, <a href="/wiki/Virginia_Key" title="Virginia Key">Virginia Key</a>.<a href="#cite_note-209">[207]</a> Following the festival, which was impacted by transportation issues (as there is only one <a href="/wiki/Rickenbacker_Causeway" title="Rickenbacker Causeway">vehicular link</a> between Virginia Key and mainland Miami) and other problems, Ultra pulled out of the agreement, and negotiated an agreement to return to Bayfront Park.<a href="#cite_note-210">[208]</a><a href="#cite_note-211">[209]</a> The UK Jungle and Drum and Bass focused record label, Hospital Records, runs a festival called Hospitality<a href="#cite_note-212">[210]</a> in clubs and other locations scattered around the UK and other countries with big EDM influence. These events are usually concerts from artists on the record's roster of musicians. <div class="mw-heading mw-heading3"><h3 id="COVID-19_impact">COVID-19 impact</h3>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=33" title="Edit section: COVID-19 impact">edit</a>]</div> Due to the <a href="/wiki/COVID-19_pandemic" title="COVID-19 pandemic">COVID-19 pandemic</a>, cancellation of festivals, accompanied by the restrictions on social distancing has negatively impacted economic activity of festivals and the music industry.<a href="#cite_note-:0-213">[211]</a> Festivals are required to have regulations on health and safety, as well as deal with crisis and risk management, since they are at high risk due to the mass of people that attend. As a result, it has become normal for festivals or performances to be streamed online.<a href="#cite_note-:0-213">[211]</a> During 2020, all large <a href="/wiki/List_of_electronic_music_festivals" title="List of electronic music festivals">EDM music festivals</a> were postponed or canceled due to the COVID-19 pandemic. On March 4, 2020, <a href="/wiki/Ultra_Music_Festival" title="Ultra Music Festival">Ultra Miami</a> was the first electronic dance music festival to cancel an event since the event could not conform to the state's capacity rules and county's safety protocols and regulations.<a href="#cite_note-214">[212]</a> On April 21, 2020, <a href="/wiki/Electric_Forest" title="Electric Forest">Electric Forest</a> music festival in Rothbury, Michigan rescheduled their event on June 25–27, 2020 to June 2021 due to health concerns.<a href="#cite_note-215">[213]</a> On July 9, 2020, New York City Mayor <a href="/wiki/Bill_de_Blasio" title="Bill de Blasio">Bill de Blasio</a> decided that all sizeable events will be suspended through September 30.<a href="#cite_note-Electric_Zoo_2020-216">[214]</a> As a result, <a href="/wiki/Electric_Zoo" title="Electric Zoo">Electric Zoo</a> 2020, which takes place on Randall's Island in New York City during Labor Day Weekend, fully canceled their 2020 event. <a href="/wiki/Electric_Daisy_Carnival" title="Electric Daisy Carnival">Electric Daisy Carnival</a> Las Vegas (EDC), the biggest dance music festival in North America, was scheduled to happen on May 15–17, 2020. In April, EDC postponed their May event to October 2–4, 2020, and later declared on August 2 that EDC Las Vegas 2020 would be officially canceled.<a href="#cite_note-217">[215]</a> Instead, EDC CEO <a href="/wiki/Insomniac_(promoter)" title="Insomniac (promoter)">Pasquale Rotella</a> announced the celebration of EDC's 25th anniversary on May 21–23, 2021.<a href="#cite_note-218">[216]</a> On April 9, 2021, EDC had not yet released their lineup and COVID-19 safety protocols for the event happening in May 2021.<a href="#cite_note-219">[217]</a> On April 20, 2021, Rotella postponed the festival to October 22–24, 2021.<a href="#cite_note-220">[218]</a> The cancellations of these events economically hurt the music industry and the companies that run these events. EDC 2020 originally sold out of the 200,000 tickets for their first event, but offered full returns for those who could not make it to new dates.<a href="#cite_note-221">[219]</a> Electric Zoo included an incentive for customers to keep their ticket by providing an extra $50 for General Admission tickets and $100 for VIP tickets to spend on merchandise and food on festival grounds.<a href="#cite_note-Electric_Zoo_2020-216">[214]</a>  Most music festival companies offered to rollover the ticket to their next event or give full refunds to those who could not attend, but ultimately lost a lot of customers due to the uncertainty of COVID-19.<a href="#cite_note-:0-213">[211]</a> <div class="mw-heading mw-heading3"><h3 id="Association_with_recreational_drug_use">Association with recreational drug use</h3>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=34" title="Edit section: Association with recreational drug use">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Club_drug" title="Club drug">Club drug</a>, <a href="/wiki/Party_pills" title="Party pills">Party pills</a>, <a href="/wiki/MDMA" title="MDMA">MDMA</a>, <a href="/wiki/2C-B" title="2C-B">2C-B</a>, <a href="/wiki/4-MA" class="mw-redirect" title="4-MA">4-MA</a>, <a href="/wiki/Cannabis_(drug)" title="Cannabis (drug)">Cannabis</a>, <a href="/wiki/Cocaine" title="Cocaine">Cocaine</a>, <a href="/wiki/Gamma-Hydroxybutyric_acid" class="mw-redirect" title="Gamma-Hydroxybutyric acid">GHB</a>, <a href="/wiki/N,N-Dimethyltryptamine" title="N,N-Dimethyltryptamine">DMT</a>, <a href="/wiki/LSD" title="LSD">LSD</a>, <a href="/wiki/Ketamine" title="Ketamine">Ketamine</a>, <a href="/wiki/Amphetamine" title="Amphetamine">Amphetamine</a>, <a href="/wiki/Benzylpiperazine" title="Benzylpiperazine">Benzylpiperazine</a>, and <a href="/wiki/Benzodiazepine" title="Benzodiazepine">Benzodiazepine</a></div> Dance music has a long association with <a href="/wiki/Recreational_drug_use" title="Recreational drug use">recreational drug use</a>,<a href="#cite_note-222">[220]</a> particularly with a wide range of drugs that have been categorized under the name "<a href="/wiki/Club_drug" title="Club drug">club drugs</a>". Russell Smith noted that the association of drugs and music subcultures was by no means exclusive to electronic music, citing previous examples of music genres that were associated with certain drugs, such as <a href="/wiki/Psychedelic_rock" title="Psychedelic rock">psychedelic rock</a> and <a href="/wiki/LSD" title="LSD">LSD</a>, <a href="/wiki/Disco_music" class="mw-redirect" title="Disco music">disco music</a> and <a href="/wiki/Cocaine" title="Cocaine">cocaine</a>, and <a href="/wiki/Punk_music" class="mw-redirect" title="Punk music">punk music</a> and heroin.<a href="#cite_note-gandm-exposes-201">[199]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Ecstasy_monogram.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/7e/Ecstasy_monogram.jpg/220px-Ecstasy_monogram.jpg" decoding="async" width="220" height="215" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/7e/Ecstasy_monogram.jpg/330px-Ecstasy_monogram.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/7/7e/Ecstasy_monogram.jpg 2x" data-file-width="434" data-file-height="424" /></a><figcaption>Pictured above is what the drug ecstasy commonly looks like, though there are many different shapes and forms.</figcaption></figure> <a href="/wiki/Methylenedioxymethamphetamine" class="mw-redirect" title="Methylenedioxymethamphetamine">Methylenedioxymethamphetamine</a> (MDMA), also known as ecstasy, "E", or "Molly", is often considered the drug of choice within the rave culture and is also used at clubs, festivals and <a href="/wiki/House_party" title="House party">house parties</a>.<a href="#cite_note-pmid22392347-223">[221]</a> In the rave environment, the sensory effects from the music and lighting are often highly synergistic with the drug. The psychedelic amphetamine quality of MDMA offers multiple reasons for its appeals to users in the "rave" setting. Some users enjoy the feeling of mass communion from the inhibition-reducing effects of the drug, while others use it as party fuel because of the drug's stimulatory effects.<a href="#cite_note-224">[222]</a> Another drug <a href="/wiki/Para-Methoxyamphetamine" title="Para-Methoxyamphetamine">para-Methoxyamphetamine</a> (4-MA) also known as pink ecstasy, PMA, "Death" or "Dr. Death", it is similar to MDMA but they can take up to an hour to produce effects, which can result in hyperthermia and subsequently, organ failure. People who take PMA are often mistaken for it being identified as MDMA.<a href="#cite_note-225">[223]</a><a href="#cite_note-226">[224]</a> MDMA is occasionally known for being taken in conjunction with psychedelic drugs. The more common combinations include MDMA combined with <a href="/wiki/LSD" title="LSD">LSD</a>, MDMA combined with <a href="/wiki/N,N-Dimethyltryptamine" title="N,N-Dimethyltryptamine">DMT</a>, MDMA with <a href="/wiki/Psilocybin_mushroom" title="Psilocybin mushroom">psilocybin mushrooms</a>, and MDMA with the dissociative drug <a href="/wiki/Ketamine" title="Ketamine">ketamine</a>. Many users use <a href="/wiki/Menthol" title="Menthol">mentholated</a> products while taking MDMA for its cooling sensation while experiencing the drug's effects. Examples include menthol cigarettes, <a href="/wiki/Vicks_VapoRub" title="Vicks VapoRub">Vicks VapoRub</a>, <a href="/wiki/NyQuil" title="NyQuil">NyQuil</a>,<a href="#cite_note-227">[225]</a> and <a href="/wiki/Throat_lozenge" title="Throat lozenge">lozenges</a>. The incidence of nonmedical ketamine has increased in the context of <a href="/wiki/Rave_party" class="mw-redirect" title="Rave party">raves</a> and other parties.<a href="#cite_note-KetamineRave-228">[226]</a> However, its emergence as a <a href="/wiki/Club_drug" title="Club drug">club drug</a> differs from other club drugs (e.g. <a href="/wiki/MDMA" title="MDMA">MDMA</a>) due to its <a href="/wiki/Anesthetic" title="Anesthetic">anesthetic</a> properties (e.g., slurred speech, immobilization) at higher doses;<a href="#cite_note-FOOTNOTEJoe-LaidlerHunt2008-229">[227]</a> in addition, there are reports of ketamine being sold as "ecstasy".<a href="#cite_note-KetamineAsEctstasy-230">[228]</a> The use of ketamine as part of a "postclubbing experience" has also been documented.<a href="#cite_note-231">[229]</a> Ketamine's rise in the dance culture was rapid in Hong Kong by the end of the 1990s.<a href="#cite_note-FOOTNOTEJoe-LaidlerHunt2008-229">[227]</a> Before becoming a federally controlled substance in the United States in 1999, ketamine was available as diverted pharmaceutical preparations and as a pure powder sold in bulk quantities from domestic chemical supply companies.<a href="#cite_note-Morris-232">[230]</a> Much of the current ketamine diverted for nonmedical use originates in China and India.<a href="#cite_note-Morris-232">[230]</a> <div class="mw-heading mw-heading4"><h4 id="Drug-related_deaths_at_electronic_dance_music_events">Drug-related deaths at electronic dance music events</h4>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=35" title="Edit section: Drug-related deaths at electronic dance music events">edit</a>]</div> A number of deaths attributed to apparent drug use have occurred at major electronic music concerts and festivals. The <a href="/wiki/Los_Angeles_Memorial_Coliseum" title="Los Angeles Memorial Coliseum">Los Angeles Memorial Coliseum</a> blacklisted <a href="/wiki/Insomniac_Events" class="mw-redirect" title="Insomniac Events">Insomniac Events</a> after an underaged attendee died from "complications of ischemic <a href="/wiki/Encephalopathy" title="Encephalopathy">encephalopathy</a> due to <a href="/wiki/MDMA" title="MDMA">methylenedioxymethamphetamine</a> intoxication" during <a href="/wiki/Electric_Daisy_Carnival" title="Electric Daisy Carnival">Electric Daisy Carnival</a> 2010; as a result, the event was re-located to Las Vegas the following year.<a href="#cite_note-laweekly-edcdeath-233">[231]</a><a href="#cite_note-lat-fataltoll-194">[192]</a><a href="#cite_note-trib-edcladeath-234">[232]</a><a href="#cite_note-nyt-caution-235">[233]</a><a href="#cite_note-wsj-clampdown-236">[234]</a> Drug-related deaths during <a href="/wiki/Electric_Zoo" title="Electric Zoo">Electric Zoo</a> 2013 in New York City, United States, and <a href="/wiki/Future_Music_Festival" title="Future Music Festival">Future Music Festival</a> Asia 2014 in <a href="/wiki/Kuala_Lumpur" title="Kuala Lumpur">Kuala Lumpur</a>, <a href="/wiki/Malaysia" title="Malaysia">Malaysia</a>, prompted the final day of both events to be cancelled,<a href="#cite_note-nyt-caution-235">[233]</a><a href="#cite_note-smh-fmadeath-237">[235]</a> while <a href="/wiki/Life_in_Color" title="Life in Color">Life in Color</a> cancelled a planned event in Malaysia out of concern for the incident, and other drug-related deaths that occurred at the <a href="/wiki/A_State_of_Trance" title="A State of Trance">A State of Trance 650</a> concerts in <a href="/wiki/Jakarta" title="Jakarta">Jakarta</a>, Indonesia.<a href="#cite_note-thestar-cancelledmy-238">[236]</a><a href="#cite_note-jakartaglobe-asotdeath-239">[237]</a><a href="#cite_note-spin-asotdeaths-240">[238]</a> In September 2016, the city of <a href="/wiki/Buenos_Aires" title="Buenos Aires">Buenos Aires</a>, <a href="/wiki/Argentina" title="Argentina">Argentina</a> banned all electronic music events, pending future legislation, after five drug-related deaths and four injuries at a <a href="/wiki/Time_Warp_Festival" title="Time Warp Festival">Time Warp Festival</a> event in the city in April 2016. The ban forced electronic band <a href="/wiki/Kraftwerk" title="Kraftwerk">Kraftwerk</a> to cancel a planned concert in the city, despite arguing that there were dissimilarities between a festival and their concerts.<a href="#cite_note-billboard-kraftwerkban-241">[239]</a><a href="#cite_note-guardian-buenosairesban-242">[240]</a> <div class="mw-heading mw-heading2"><h2 id="Industry_awards">Industry awards</h2>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=36" title="Edit section: Industry awards">edit</a>]</div> <table class="wikitable"> <tbody><tr> <th>Organization</th> <th>Award(s)</th> <th>Year(s)</th> <th>Notes </th></tr> <tr> <td><a href="/wiki/BRIT_Awards" class="mw-redirect" title="BRIT Awards">BRIT Awards</a></td> <td>British Dance Act</td> <td>1994–2004</td> <td>The BRIT awards in the UK introduced a "British Dance Act" category in 1994, first won by <a href="/wiki/M_People" title="M People">M People</a>. Although dance acts had featured in the awards in previous years, this was the first year dance music was given its own category. More recently the award was removed as was "Urban" and "Rock" and other genres as the awards removed Genre-based awards and moved to more generalised artist-focused awards. </td></tr> <tr> <td rowspan="2"><a href="/wiki/Grammy_Awards" title="Grammy Awards">Grammy Awards</a></td> <td><a href="/wiki/Grammy_Award_for_Best_Dance/Electronic_Recording" title="Grammy Award for Best Dance/Electronic Recording">Best Dance/Electronic Recording</a></td> <td>1998–present</td> <td>Most recently won (2023) by <a href="/wiki/Skrillex" title="Skrillex">Skrillex</a>, <a href="/wiki/Fred_Again" title="Fred Again">Fred Again</a>, and <a href="/wiki/Flowdan" title="Flowdan">Flowdan</a> for "<a href="/wiki/Rumble_(Skrillex,_Fred_Again_and_Flowdan_song)" title="Rumble (Skrillex, Fred Again and Flowdan song)">Rumble</a>".<a href="#cite_note-2023_Grammy_Awards-243">[241]</a> </td></tr> <tr> <td><a href="/wiki/Grammy_Award_for_Best_Dance/Electronic_Album" title="Grammy Award for Best Dance/Electronic Album">Best Dance/Electronic Music Album</a></td> <td>2005–present </td> <td>Most recently won (2023) by Fred Again for <a href="/wiki/Actual_Life_3_(January_1_%E2%80%93_September_9_2022)" title="Actual Life 3 (January 1 – September 9 2022)">Actual Life 3 (January 1 – September 9 2022)</a>.<a href="#cite_note-2023_Grammy_Awards-243">[241]</a> </td></tr> <tr> <td><a href="/wiki/DJ_Mag" title="DJ Mag">DJ Mag</a></td> <td>Top 100 DJs poll</td> <td>1991–present</td> <td>The British dance music magazine DJ Mag publishes a yearly listing of the top 100 DJs in the world; from 1991 to 1996 the Top 100 poll were ranked by the magazine's journalists; in 1997 the poll became a public vote. The current number one as of the 2023 list is <a href="/wiki/David_Guetta" title="David Guetta">David Guetta</a>.<a href="#cite_note-244">[242]</a> </td></tr> <tr> <td><a href="/wiki/DJ_Awards" title="DJ Awards">DJ Awards</a></td> <td>Best DJ Award</td> <td>1998–present</td> <td>The only global DJ awards event that nominates and awards international DJ's in 11 categories held annually in <a href="/wiki/Ibiza" title="Ibiza">Ibiza</a>, Spain, winners selected by a public vote<a href="#cite_note-245">[243]</a> and one of the most important.<a href="#cite_note-246">[244]</a> </td></tr> <tr> <td><a href="/wiki/Winter_Music_Conference" title="Winter Music Conference">Winter Music Conference (WMC)</a></td> <td>IDMA: International Dance Music Awards</td> <td>1998–present</td> <td><a href="#cite_note-DJMagceremony-247">[245]</a> </td></tr> <tr> <td>Project X Magazine</td> <td>Electronic Dance Music Awards</td> <td>1995</td> <td>Readers of Project X magazine voted for the winners of the first (and only) "Electronic Dance Music Awards".<a href="#cite_note-Billboard95-248">[246]</a> In a ceremony organized by the magazine and <a href="/wiki/Nervous_Records" title="Nervous Records">Nervous Records</a>, award statues were given to <a href="/wiki/Josh_Wink" title="Josh Wink">Winx</a>, <a href="/wiki/The_Future_Sound_of_London" title="The Future Sound of London">The Future Sound of London</a>, <a href="/wiki/Moby" title="Moby">Moby</a>, <a href="/wiki/Junior_Vasquez" title="Junior Vasquez">Junior Vasquez</a>, <a href="/wiki/Danny_Tenaglia" title="Danny Tenaglia">Danny Tenaglia</a>, <a href="/wiki/DJ_Keoki" title="DJ Keoki">DJ Keoki</a>, <a href="/wiki/I.R.S._Records#Tribal_America_Records" title="I.R.S. Records">TRIBAL America Records</a> and <a href="/wiki/Moonshine_Records" class="mw-redirect" title="Moonshine Records">Moonshine Records</a>.<a href="#cite_note-Billboard95-248">[246]</a> </td></tr> <tr> <td><a href="/wiki/American_Music_Awards" title="American Music Awards">American Music Awards</a></td> <td><a href="/wiki/American_Music_Award_for_Favorite_Electronic_Dance_Music_Artist" title="American Music Award for Favorite Electronic Dance Music Artist">Favorite Dance/Electronic Artist</a></td> <td>2012–present</td> <td>Most recently won (2022) by <a href="/wiki/Marshmello" title="Marshmello">Marshmello</a>.<a href="#cite_note-249">[247]</a> </td></tr> <tr> <td><a href="/wiki/World_Music_Awards" title="World Music Awards">World Music Awards</a></td> <td>Favorite Electronic Dance Music Artist</td> <td>2006–present (on hiatus)</td> <td>Most recently won (2014) by <a href="/wiki/Calvin_Harris" title="Calvin Harris">Calvin Harris</a>.<a href="#cite_note-250">[248]</a> </td></tr></tbody></table> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=37" title="Edit section: See also">edit</a>]</div> (Alphabetical) <ul><li><a href="/wiki/Alternative_dance" title="Alternative dance">Alternative dance</a></li> <li><a href="/wiki/Beatport" title="Beatport">Beatport</a></li> <li><a href="/wiki/Dance_music" title="Dance music">Dance music</a></li> <li><a href="/wiki/Drop_(music)" title="Drop (music)">Drop</a></li> <li><a href="/wiki/Electronic_body_music" title="Electronic body music">EBM</a></li> <li><a href="/wiki/Freetekno" title="Freetekno">Freetekno</a></li> <li><a href="/wiki/Latin_freestyle" class="mw-redirect" title="Latin freestyle">Latin freestyle</a></li> <li><a href="/wiki/List_of_electronic_dance_music_venues" class="mw-redirect" title="List of electronic dance music venues">List of electronic dance music venues</a></li> <li><a href="/wiki/List_of_electronic_music_genres" title="List of electronic music genres">List of electronic music genres</a></li> <li><a href="/wiki/Rave_music" class="mw-redirect" title="Rave music">Rave music</a></li> <li><a href="/wiki/Remix" title="Remix">Remix</a></li> <li><a href="/wiki/Sampling_(music)" title="Sampling (music)">Sampling</a></li> <li><a href="/wiki/Timeline_of_electronic_music_genres" title="Timeline of electronic music genres">Timeline of electronic music genres</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=38" title="Edit section: Notes">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap"><ol class="references"> <li id="cite_note-74"><a href="#cite_ref-74">^</a> <a href="#CITEREFFikentscher2000">Fikentscher (2000)</a>, p. 5, in discussing the definition of underground dance music as it relates to <a href="/wiki/Post-disco" title="Post-disco">post-disco</a> music in America, states that: "The prefix 'underground' does not merely serve to explain that the associated type of music—and its cultural context—are familiar only to a small number of informed persons. Underground also points to the <a href="/wiki/Sociological" class="mw-redirect" title="Sociological">sociological</a> function of the music, framing it as one type of music that to have meaning and continuity is kept away, to a large degree, from mainstream society, mass media, and those empowered to enforce prevalent moral and aesthetic codes and values." </li> <li id="cite_note-82"><a href="#cite_ref-82">^</a> "Although it can now be heard in Detroit's leading clubs, the local area has shown a marked reluctance to get behind the music. It has been in clubs like the Powerplant (Chicago), The World (New York), The Hacienda (Manchester), Rock City (Nottingham), and Downbeat (Leeds) where the techno sound has found most support. Ironically, the only Detroit club which really championed the sound was a peripatetic party night called Visage, which unromantically shared its name with one of Britain's oldest new romantic groups".<a href="#cite_note-FOOTNOTECosgrove1988-81">[80]</a> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=39" title="Edit section: References">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239543626"><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-FOOTNOTEKoskoff200444-1">^ <a href="#cite_ref-FOOTNOTEKoskoff200444_1-0">a</a> <a href="#cite_ref-FOOTNOTEKoskoff200444_1-1">b</a> <a href="#CITEREFKoskoff2004">Koskoff (2004)</a>, p. 44. </li> <li id="cite_note-FOOTNOTEButler200612–13,_94-2"><a href="#cite_ref-FOOTNOTEButler200612–13,_94_2-0">^</a> <a href="#CITEREFButler2006">Butler (2006)</a>, pp. 12–13, 94. </li> <li id="cite_note-guardian-conquered-3">^ <a href="#cite_ref-guardian-conquered_3-0">a</a> <a href="#cite_ref-guardian-conquered_3-1">b</a> <a href="#cite_ref-guardian-conquered_3-2">c</a> <a href="#cite_ref-guardian-conquered_3-3">d</a> <a href="#cite_ref-guardian-conquered_3-4">e</a> <a href="#cite_ref-guardian-conquered_3-5">f</a> <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.theguardian.com/music/2012/aug/02/how-rave-music-conquered-america">"How Rave Music Conquered America"</a>. The Guardian. August 2, 2012. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20131219180350/http://www.theguardian.com/music/2012/aug/02/how-rave-music-conquered-america">Archived</a> from the original on December 19, 2013. Retrieved December 14, 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=How+Rave+Music+Conquered+America&rft.date=2012-08-02&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fmusic%2F2012%2Faug%2F02%2Fhow-rave-music-conquered-america&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-genres-4">^ <a href="#cite_ref-genres_4-0">a</a> <a href="#cite_ref-genres_4-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKembrew_McLeod2001" class="citation journal cs1">Kembrew McLeod (2001). "Genres, Subgenres, Sub-Subgenres and More: Musical and Social Difference Within Electronic/Dance Music Communities". Journal of Popular Music Studies. 13: 59–75. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1111%2Fj.1533-1598.2001.tb00013.x">10.1111/j.1533-1598.2001.tb00013.x</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Journal+of+Popular+Music+Studies&rft.atitle=Genres%2C+Subgenres%2C+Sub-Subgenres+and+More%3A+Musical+and+Social+Difference+Within+Electronic%2FDance+Music+Communities&rft.volume=13&rft.pages=59-75&rft.date=2001&rft_id=info%3Adoi%2F10.1111%2Fj.1533-1598.2001.tb00013.x&rft.au=Kembrew+McLeod&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-burgess115-5">^ <a href="#cite_ref-burgess115_5-0">a</a> <a href="#cite_ref-burgess115_5-1">b</a> <a href="/wiki/Richard_James_Burgess" title="Richard James Burgess">Richard James Burgess</a> (2014), The History of Music Production, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=qMKiAwAAQBAJ&pg=PA115">page 115</a>, <a href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</a> </li> <li id="cite_note-armada-6">^ <a href="#cite_ref-armada_6-0">a</a> <a href="#cite_ref-armada_6-1">b</a> <a rel="nofollow" class="external text" href="https://www.armadamusic.com/edm-electronic-dance-music">EDM – ELECTRONIC DANCE MUSIC</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20191022213319/https://www.armadamusic.com/edm-electronic-dance-music">Archived</a> October 22, 2019, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, <a href="/wiki/Armada_Music" title="Armada Music">Armada Music</a> Very interesting fact is, the term EDM is mostly in European area often associated with kitschy styles of electronic dance music genres like melodic techno, electro-house and similar cheesy imitations of underground culture. </li> <li id="cite_note-7"><a href="#cite_ref-7">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=xReSZczxSsU">"Silver Apples Made EDM in the 1960s - Supersonic - Ep. 6"</a>. <a href="/wiki/YouTube" title="YouTube">YouTube</a>. December 16, 2013. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20210415031130/https://www.youtube.com/watch?v=xReSZczxSsU">Archived</a> from the original on April 15, 2021. Retrieved July 11, 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=YouTube&rft.atitle=Silver+Apples+Made+EDM+in+the+1960s+-+Supersonic+-+Ep.+6&rft.date=2013-12-16&rft_id=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DxReSZczxSsU&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-veal-8">^ <a href="#cite_ref-veal_8-0">a</a> <a href="#cite_ref-veal_8-1">b</a> <a href="#cite_ref-veal_8-2">c</a> Michael Veal (2013), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=kYtiAgAAQBAJ&pg=PP54">Dub: Soundscapes and Shattered Songs in Jamaican Reggae, pages 26–44, "Electronic Music in Jamaica"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231108063147/https://books.google.com/books?id=kYtiAgAAQBAJ&pg=PP54#v=onepage&q&f=false">Archived</a> November 8, 2023, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, <a href="/wiki/Wesleyan_University_Press" title="Wesleyan University Press">Wesleyan University Press</a> </li> <li id="cite_note-9"><a href="#cite_ref-9">^</a> Michael Veal (2013), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=kYtiAgAAQBAJ&pg=PA85">Dub: Soundscapes and Shattered Songs in Jamaican Reggae, pages 85–86</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231108063143/https://books.google.com/books?id=kYtiAgAAQBAJ&pg=PA85#v=onepage&q&f=false">Archived</a> November 8, 2023, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, <a href="/wiki/Wesleyan_University_Press" title="Wesleyan University Press">Wesleyan University Press</a> </li> <li id="cite_note-10"><a href="#cite_ref-10">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTruesdell2007" class="citation book cs1">Truesdell, Cliff (2007). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=wMOMjt6FGK0C&pg=PA310">Mastering Digital Audio Production: The Professional Music Workflow with Mac OS X</a>. <a href="/wiki/John_Wiley_%26_Sons" class="mw-redirect" title="John Wiley & Sons">John Wiley & Sons</a>. p. 310. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780470165768" title="Special:BookSources/9780470165768"><bdi>9780470165768</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231108063148/https://books.google.com/books?id=wMOMjt6FGK0C&pg=PA310#v=onepage&q&f=false">Archived</a> from the original on November 8, 2023. Retrieved March 22, 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Mastering+Digital+Audio+Production%3A+The+Professional+Music+Workflow+with+Mac+OS+X&rft.pages=310&rft.pub=John+Wiley+%26+Sons&rft.date=2007&rft.isbn=9780470165768&rft.aulast=Truesdell&rft.aufirst=Cliff&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DwMOMjt6FGK0C%26pg%3DPA310&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-cambridge20-11"><a href="#cite_ref-cambridge20_11-0">^</a> Nicholas Collins, Margaret Schedel, Scott Wilson (2013), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=bQeAtG97BmEC&pg=PA20">Electronic Music: Cambridge Introductions to Music, page 20</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231108063151/https://books.google.com/books?id=bQeAtG97BmEC&pg=PA20#v=onepage&q&f=false">Archived</a> November 8, 2023, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, <a href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</a> </li> <li id="cite_note-eem-12"><a href="#cite_ref-eem_12-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHolmes2008" class="citation book cs1">Holmes, Thom (2008). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=hCthQ-bec-QC">Electronic and Experimental Music: Technology, Music, and Culture</a>. Routledge. p. 403. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0203929599" title="Special:BookSources/978-0203929599"><bdi>978-0203929599</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231108063151/https://books.google.com/books?id=hCthQ-bec-QC">Archived</a> from the original on November 8, 2023. Retrieved April 1, 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Electronic+and+Experimental+Music%3A+Technology%2C+Music%2C+and+Culture&rft.pages=403&rft.pub=Routledge&rft.date=2008&rft.isbn=978-0203929599&rft.aulast=Holmes&rft.aufirst=Thom&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DhCthQ-bec-QC&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-13"><a href="#cite_ref-13">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFToop1995" class="citation book cs1">Toop, David (1995). <a rel="nofollow" class="external text" href="https://archive.org/details/oceanofsoundaeth0000toop/page/115">Ocean of Sound</a>. Serpent's Tail. p. <a rel="nofollow" class="external text" href="https://archive.org/details/oceanofsoundaeth0000toop/page/115">115</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781852423827" title="Special:BookSources/9781852423827"><bdi>9781852423827</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Ocean+of+Sound&rft.pages=115&rft.pub=Serpent%27s+Tail&rft.date=1995&rft.isbn=9781852423827&rft.aulast=Toop&rft.aufirst=David&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Foceanofsoundaeth0000toop%2Fpage%2F115&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-14"><a href="#cite_ref-14">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://electronica.org.uk/blog/the-intersection-of-hip-hop-and-electronic-dance-music-a-history-of-influences/">"The Intersection of Hip Hop and Electronic Dance Music: A History of Influences"</a>. Electronica. March 22, 2021. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230622152500/https://electronica.org.uk/blog/the-intersection-of-hip-hop-and-electronic-dance-music-a-history-of-influences/">Archived</a> from the original on June 22, 2023. Retrieved June 22, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Electronica&rft.atitle=The+Intersection+of+Hip+Hop+and+Electronic+Dance+Music%3A+A+History+of+Influences&rft.date=2021-03-22&rft_id=https%3A%2F%2Felectronica.org.uk%2Fblog%2Fthe-intersection-of-hip-hop-and-electronic-dance-music-a-history-of-influences%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-places-15">^ <a href="#cite_ref-places_15-0">a</a> <a href="#cite_ref-places_15-1">b</a> Arthur P. Molella, Anna Karvellas (2015),<a rel="nofollow" class="external text" href="https://books.google.com/books?id=FyDaCwAAQBAJ&pg=PA47">"Places of Invention"</a>, Smithsonian Institution, p.47. </li> <li id="cite_note-16"><a href="#cite_ref-16">^</a> Nicholas Collins, Margaret Schedel, Scott Wilson (2013), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=bQeAtG97BmEC&pg=PA105">Electronic Music: Cambridge Introductions to Music, page 105</a>, <a href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</a> </li> <li id="cite_note-medium-17">^ <a href="#cite_ref-medium_17-0">a</a> <a href="#cite_ref-medium_17-1">b</a> Brian Coleman, <a rel="nofollow" class="external text" href="https://medium.com/@briancoleman/the-technics-1200-hammer-of-the-gods-xxl-fall-1998-5b93180a67da">The Technics 1200 — Hammer Of The Gods</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170709132525/https://medium.com/@briancoleman/the-technics-1200-hammer-of-the-gods-xxl-fall-1998-5b93180a67da">Archived</a> July 9, 2017, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, <a href="/wiki/Medium_(website)" title="Medium (website)">Medium</a> </li> <li id="cite_note-18"><a href="#cite_ref-18">^</a> <a href="/wiki/Billboard_(magazine)" title="Billboard (magazine)">Billboard</a>, May 21, 1977, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=XCMEAAAAMBAJ&pg=PT140">page 140</a> </li> <li id="cite_note-oxford-19">^ <a href="#cite_ref-oxford_19-0">a</a> <a href="#cite_ref-oxford_19-1">b</a> Trevor Pinch, Karin Bijsterveld, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=KuRfLG0IedYC&pg=PA515">The Oxford Handbook of Sound Studies, page 515</a>, <a href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</a> </li> <li id="cite_note-reverb-20"><a href="#cite_ref-reverb_20-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://reverb.com/news/history-of-the-record-player-part-ii-the-rise-and-fall">"History of the Record Player Part II: The Rise and Fall"</a>. <a href="/wiki/Reverb.com" title="Reverb.com">Reverb.com</a>. October 2015. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170811105441/https://reverb.com/news/history-of-the-record-player-part-ii-the-rise-and-fall">Archived</a> from the original on August 11, 2017. Retrieved June 5, 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Reverb.com&rft.atitle=History+of+the+Record+Player+Part+II%3A+The+Rise+and+Fall&rft.date=2015-10&rft_id=https%3A%2F%2Freverb.com%2Fnews%2Fhistory-of-the-record-player-part-ii-the-rise-and-fall&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-wired-21">^ <a href="#cite_ref-wired_21-0">a</a> <a href="#cite_ref-wired_21-1">b</a> <a rel="nofollow" class="external text" href="https://www.wired.com/2002/05/blackbox/">Six Machines That Changed The Music World</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170728083224/https://www.wired.com/2002/05/blackbox/">Archived</a> July 28, 2017, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, <a href="/wiki/Wired_(magazine)" title="Wired (magazine)">Wired</a>, May 2002 </li> <li id="cite_note-22"><a href="#cite_ref-22">^</a> Martin Russ (2012), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=X9h5AgAAQBAJ&pg=PA83">Sound Synthesis and Sampling, page 83</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231108063151/https://books.google.com/books?id=X9h5AgAAQBAJ&pg=PA83#v=onepage&q&f=false">Archived</a> November 8, 2023, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, <a href="/wiki/CRC_Press" title="CRC Press">CRC Press</a> </li> <li id="cite_note-books.google.co.uk-23">^ <a href="#cite_ref-books.google.co.uk_23-0">a</a> <a href="#cite_ref-books.google.co.uk_23-1">b</a> Mike Collins (2014), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=tdEABAAAQBAJ&pg=PA320">In the Box Music Production: Advanced Tools and Techniques for Pro Tools, page 320</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231108063151/https://books.google.com/books?id=tdEABAAAQBAJ&pg=PA320#v=onepage&q&f=false">Archived</a> November 8, 2023, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, <a href="/wiki/CRC_Press" title="CRC Press">CRC Press</a> </li> <li id="cite_note-echols21-24">^ <a href="#cite_ref-echols21_24-0">a</a> <a href="#cite_ref-echols21_24-1">b</a> Alice Echols (2010), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=DzrvOAA2tvAC&pg=PA21">Hot Stuff: Disco and the Remaking of American Culture, page 21</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231108063152/https://books.google.com/books?id=DzrvOAA2tvAC&pg=PA21#v=onepage&q&f=false">Archived</a> November 8, 2023, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, <a href="/wiki/W._W._Norton_%26_Company" title="W. W. Norton & Company">W. W. Norton & Company</a> </li> <li id="cite_note-echols250-25"><a href="#cite_ref-echols250_25-0">^</a> Alice Echols (2010), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=DzrvOAA2tvAC&pg=PA250">Hot Stuff: Disco and the Remaking of American Culture, page 250</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231108063634/https://books.google.com/books?id=DzrvOAA2tvAC&pg=PA250#v=onepage&q&f=false">Archived</a> November 8, 2023, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, <a href="/wiki/W._W._Norton_%26_Company" title="W. W. Norton & Company">W. W. Norton & Company</a> </li> <li id="cite_note-bionic_boogie-26"><a href="#cite_ref-bionic_boogie_26-0">^</a> <a rel="nofollow" class="external text" href="https://www.discogs.com/release/2809569">Biddu Orchestra – Bionic Boogie</a> at <a href="/wiki/Discogs" title="Discogs">Discogs</a> </li> <li id="cite_note-soal_coaxing-27"><a href="#cite_ref-soal_coaxing_27-0">^</a> <a rel="nofollow" class="external text" href="https://www.discogs.com/release/874902">Biddu Orchestra – Soul Coaxing</a> at <a href="/wiki/Discogs" title="Discogs">Discogs</a> </li> <li id="cite_note-cduniverse-28"><a href="#cite_ref-cduniverse_28-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.cduniverse.com/productinfo.asp?pid=7735242">"Futuristic Journey And Eastern Man CD"</a>. <a href="/wiki/CD_Universe" title="CD Universe">CD Universe</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20121025225734/http://www.cduniverse.com/productinfo.asp?pid=7735242">Archived</a> from the original on October 25, 2012. Retrieved July 7, 2011.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Futuristic+Journey+And+Eastern+Man+CD&rft.pub=CD+Universe&rft_id=http%3A%2F%2Fwww.cduniverse.com%2Fproductinfo.asp%3Fpid%3D7735242&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-discogs_futuristic-29"><a href="#cite_ref-discogs_futuristic_29-0">^</a> <a rel="nofollow" class="external text" href="https://www.discogs.com/master/109852">Biddu Orchestra – Futuristic Journey</a> at <a href="/wiki/Discogs" title="Discogs">Discogs</a> (list of releases) </li> <li id="cite_note-30"><a href="#cite_ref-30">^</a> <a rel="nofollow" class="external text" href="https://www.allmusic.com/album/r1401917">Futuristic Journey and Eastern Man</a> at <a href="/wiki/AllMusic_(identifier)" class="mw-redirect" title="AllMusic (identifier)">AllMusic</a> </li> <li id="cite_note-Billboard.com-31"><a href="#cite_ref-Billboard.com_31-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="http://www.billboard.com/biz/search/charts?page=41&f%5B0%5D=ts_chart_artistname%3A*donna%20summer*&f%5B1%5D=ss_bb_type%3Achart_item&type=2&artist=donna%20summer">"Chart Search: Billboard"</a>. Billboard.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Billboard&rft.atitle=Chart+Search%3A+Billboard&rft_id=http%3A%2F%2Fwww.billboard.com%2Fbiz%2Fsearch%2Fcharts%3Fpage%3D41%26f%26%2391%3B0%26%2393%3B%3Dts_chart_artistname%253A%2Adonna%2520summer%2A%26f%26%2391%3B1%26%2393%3B%3Dss_bb_type%253Achart_item%26type%3D2%26artist%3Ddonna%2520summer&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-32"><a href="#cite_ref-32">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFShapiro2000" class="citation book cs1">Shapiro, Peter (2000). <a rel="nofollow" class="external text" href="https://archive.org/details/impossibledancec00buck/page/254">Modulations: A History of Electronic Music</a>. Caipirinha Productions, Inc. pp. <a rel="nofollow" class="external text" href="https://archive.org/details/impossibledancec00buck/page/254">254 pages</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8195-6498-6" title="Special:BookSources/978-0-8195-6498-6"><bdi>978-0-8195-6498-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Modulations%3A+A+History+of+Electronic+Music&rft.pages=254+pages&rft.pub=Caipirinha+Productions%2C+Inc.&rft.date=2000&rft.isbn=978-0-8195-6498-6&rft.aulast=Shapiro&rft.aufirst=Peter&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fimpossibledancec00buck%2Fpage%2F254&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> see p.45, 46 </li> <li id="cite_note-33"><a href="#cite_ref-33">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.nytimes.com/2002/12/10/arts/arts-in-america-here-s-to-disco-it-never-could-say-goodbye.html?pagewanted=3&src=pm">"ARTS IN AMERICA; Here's to Disco, It Never Could Say Goodbye"</a>. The New York Times. December 10, 2002. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20161224103954/http://www.nytimes.com/2002/12/10/arts/arts-in-america-here-s-to-disco-it-never-could-say-goodbye.html?pagewanted=3&src=pm">Archived</a> from the original on December 24, 2016. Retrieved February 18, 2017.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=ARTS+IN+AMERICA%3B+Here%27s+to+Disco%2C+It+Never+Could+Say+Goodbye&rft.date=2002-12-10&rft_id=https%3A%2F%2Fwww.nytimes.com%2F2002%2F12%2F10%2Farts%2Farts-in-america-here-s-to-disco-it-never-could-say-goodbye.html%3Fpagewanted%3D3%26src%3Dpm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-FOOTNOTETrynkaBacon199660-34"><a href="#cite_ref-FOOTNOTETrynkaBacon199660_34-0">^</a> <a href="#CITEREFTrynkaBacon1996">Trynka & Bacon 1996</a>, p. 60. </li> <li id="cite_note-SR-35"><a href="#cite_ref-SR_35-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation journal cs1"><a rel="nofollow" class="external text" href="https://books.google.com/books?id=QVkJAQAAMAAJ&q=%22technopop%22+%22synthpop%22">"High-fidelity sound systems"</a>. <a href="/wiki/Stereo_Review" class="mw-redirect" title="Stereo Review">Stereo Review</a>. 48: 89. 1983. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231108063639/https://books.google.com/books?id=QVkJAQAAMAAJ&q=%22technopop%22+%22synthpop%22">Archived</a> from the original on November 8, 2023. Retrieved July 9, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Stereo+Review&rft.atitle=High-fidelity+sound+systems&rft.volume=48&rft.pages=89&rft.date=1983&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DQVkJAQAAMAAJ%26q%3D%2522technopop%2522%2B%2522synthpop%2522&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-electrosynth-36"><a href="#cite_ref-electrosynth_36-0">^</a> <a href="#CITEREFCollinsSchedelWilson2013">Collins, Schedel & Wilson 2013</a>, p. 97, "synth pop (also called electro pop, techno pop, and the like)"; <a href="#CITEREFHoffmann2004">Hoffmann 2004</a>, p. 2153, "Techno-pop, also termed synth-pop or electro-pop" </li> <li id="cite_note-37"><a href="#cite_ref-37">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.masterclass.com/articles/synth-pop-music-guide">"Synth-Pop Music Guide: A Brief History of Synth-Pop"</a>. Masterclass. June 7, 2021. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230708084202/https://www.masterclass.com/articles/synth-pop-music-guide">Archived</a> from the original on July 8, 2023. Retrieved July 9, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Masterclass&rft.atitle=Synth-Pop+Music+Guide%3A+A+Brief+History+of+Synth-Pop&rft.date=2021-06-07&rft_id=https%3A%2F%2Fwww.masterclass.com%2Farticles%2Fsynth-pop-music-guide&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-38"><a href="#cite_ref-38">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMayumi_Yoshida_Barakan_&_Judith_Connor_Greer1996" class="citation book cs1">Mayumi Yoshida Barakan & Judith Connor Greer (1996). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=vJbd43uxLiMC&pg=PA144">Tokyo city guide</a>. Tuttle Publishing. p. 144. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8048-1964-5" title="Special:BookSources/0-8048-1964-5"><bdi>0-8048-1964-5</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231108063639/https://books.google.com/books?id=vJbd43uxLiMC&pg=PA144">Archived</a> from the original on November 8, 2023. Retrieved June 6, 2011.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Tokyo+city+guide&rft.pages=144&rft.pub=Tuttle+Publishing&rft.date=1996&rft.isbn=0-8048-1964-5&rft.au=Mayumi+Yoshida+Barakan+%26+Judith+Connor+Greer&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DvJbd43uxLiMC%26pg%3DPA144&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-thevinyldistrict-39">^ <a href="#cite_ref-thevinyldistrict_39-0">a</a> <a href="#cite_ref-thevinyldistrict_39-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCarter2011" class="citation web cs1">Carter, Monica (June 30, 2011). <a rel="nofollow" class="external text" href="http://www.thevinyldistrict.com/losangeles/2011/06/it%E2%80%99s-easy-when-you%E2%80%99re-big-in-japan-yellow-magic-orchestra-at-the-hollywood-bowl/">"It's Easy When You're Big In Japan: Yellow Magic Orchestra at The Hollywood Bowl"</a>. The Vinyl District. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20120321110921/http://www.thevinyldistrict.com/losangeles/2011/06/it%E2%80%99s-easy-when-you%E2%80%99re-big-in-japan-yellow-magic-orchestra-at-the-hollywood-bowl/">Archived</a> from the original on March 21, 2012. 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Retrieved March 22, 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hip-hop+Japan%3A+rap+and+the+paths+of+cultural+globalization&rft.pages=60&rft.pub=Duke+University+Press&rft.date=2006&rft.isbn=0-8223-3892-0&rft.aulast=Condry&rft.aufirst=Ian&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D37QWE3yRY-4C%26pg%3DPA59&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-rockin-41">^ <a href="#cite_ref-rockin_41-0">a</a> <a href="#cite_ref-rockin_41-1">b</a> <a href="#cite_ref-rockin_41-2">c</a> <a href="https://nl.wikipedia.org/wiki/Rockin%27f" class="extiw" title="nl:Rockin'f">Rockin'f</a>, March 1982, <a rel="nofollow" class="external text" href="http://tokyosky.sub.jp/tokyosky_webmasters_blog/2011/02/f-19823-lmd-649-1982.html">pages 140–141</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20210113004917/https://tokyosky.sub.jp/tokyosky_webmasters_blog/2011/02/f-19823-lmd-649-1982.html">Archived</a> January 13, 2021, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> </li> <li id="cite_note-guardian_ymo-42">^ <a href="#cite_ref-guardian_ymo_42-0">a</a> <a href="#cite_ref-guardian_ymo_42-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLewis2008" class="citation news cs1">Lewis, John (July 4, 2008). <a rel="nofollow" class="external text" href="https://www.theguardian.com/music/2008/jul/04/electronicmusic.filmandmusic11">"Back to the future: Yellow Magic Orchestra helped usher in electronica – and they may just have invented hip-hop, too"</a>. <a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a>. London. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20111111061211/http://www.guardian.co.uk/music/2008/jul/04/electronicmusic.filmandmusic11">Archived</a> from the original on November 11, 2011. Retrieved May 25, 2011.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Back+to+the+future%3A+Yellow+Magic+Orchestra+helped+usher+in+electronica+%E2%80%93+and+they+may+just+have+invented+hip-hop%2C+too&rft.date=2008-07-04&rft.aulast=Lewis&rft.aufirst=John&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fmusic%2F2008%2Fjul%2F04%2Felectronicmusic.filmandmusic11&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-wire_2002-43"><a href="#cite_ref-wire_2002_43-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2"><a rel="nofollow" class="external text" href="https://books.google.com/books?id=qyFMAAAAYAAJ">"The Wire, Issues 221–226"</a>, <a href="/wiki/The_Wire_(magazine)" title="The Wire (magazine)">The Wire</a>, p. 44, 2002, retrieved May 25, 2011</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Wire&rft.atitle=The+Wire%2C+Issues+221%E2%80%93226&rft.pages=44&rft.date=2002&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DqyFMAAAAYAAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-44"><a href="#cite_ref-44">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.discogs.com/Chiemi-Manabe-%E4%B8%8D%E6%80%9D%E8%AD%B0%E5%B0%91%E5%A5%B3-/release/4389700">"Chiemi Manabe – 不思議・少女"</a>. Discogs. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170427192212/https://www.discogs.com/Chiemi-Manabe-%E4%B8%8D%E6%80%9D%E8%AD%B0%E5%B0%91%E5%A5%B3-/release/4389700">Archived</a> from the original on April 27, 2017. Retrieved March 22, 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Discogs&rft.atitle=Chiemi+Manabe+%E2%80%93+%E4%B8%8D%E6%80%9D%E8%AD%B0%E3%83%BB%E5%B0%91%E5%A5%B3&rft_id=https%3A%2F%2Fwww.discogs.com%2FChiemi-Manabe-%25E4%25B8%258D%25E6%2580%259D%25E8%25AD%25B0%25E5%25B0%2591%25E5%25A5%25B3-%2Frelease%2F4389700&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-45"><a href="#cite_ref-45">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.discogs.com/Logic-System-Orient-Express/release/703523">"Logic System – Orient Express"</a>. Discogs. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170427103536/https://www.discogs.com/Logic-System-Orient-Express/release/703523">Archived</a> from the original on April 27, 2017. Retrieved March 22, 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Discogs&rft.atitle=Logic+System+%E2%80%93+Orient+Express&rft_id=https%3A%2F%2Fwww.discogs.com%2FLogic-System-Orient-Express%2Frelease%2F703523&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-46"><a href="#cite_ref-46">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKirn2011" class="citation book cs1">Kirn, Peter (2011). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=IbtJAgAAQBAJ&q=%22mark+vail%22+808&pg=PT72">Keyboard Presents the Evolution of Electronic Dance Music</a>. Backbeat Books. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-61713-446-3" title="Special:BookSources/978-1-61713-446-3"><bdi>978-1-61713-446-3</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231108063714/https://books.google.com/books?id=IbtJAgAAQBAJ&q=%22mark+vail%22+808&pg=PT72#v=snippet&q=%22mark%20vail%22%20808&f=false">Archived</a> from the original on November 8, 2023. Retrieved February 13, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Keyboard+Presents+the+Evolution+of+Electronic+Dance+Music&rft.pub=Backbeat+Books&rft.date=2011&rft.isbn=978-1-61713-446-3&rft.aulast=Kirn&rft.aufirst=Peter&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DIbtJAgAAQBAJ%26q%3D%2522mark%2Bvail%2522%2B808%26pg%3DPT72&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-47"><a href="#cite_ref-47">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBeaumont-Thomas2016" class="citation news cs1">Beaumont-Thomas, Ben (February 14, 2016). <a rel="nofollow" class="external text" href="https://www.theguardian.com/music/2014/feb/14/roland-launch-new-instruments-808-909-303">"Roland launch new versions of the iconic 808, 909 and 303 instruments"</a>. The Guardian. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0261-3077">0261-3077</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160313045609/http://www.theguardian.com/music/2014/feb/14/roland-launch-new-instruments-808-909-303">Archived</a> from the original on March 13, 2016. Retrieved January 16, 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Roland+launch+new+versions+of+the+iconic+808%2C+909+and+303+instruments&rft.date=2016-02-14&rft.issn=0261-3077&rft.aulast=Beaumont-Thomas&rft.aufirst=Ben&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fmusic%2F2014%2Ffeb%2F14%2Froland-launch-new-instruments-808-909-303&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-48"><a href="#cite_ref-48">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHawking2014" class="citation news cs1">Hawking, Tom (January 16, 2014). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20190702134547/http://flavorwire.com/433944/10-great-songs-built-around-the-808/2">"10 great songs built around the 808"</a>. Flavorwire. Archived from <a rel="nofollow" class="external text" href="http://flavorwire.com/433944/10-great-songs-built-around-the-808/2">the original</a> on July 2, 2019. Retrieved January 16, 2017.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Flavorwire&rft.atitle=10+great+songs+built+around+the+808&rft.date=2014-01-16&rft.aulast=Hawking&rft.aufirst=Tom&rft_id=http%3A%2F%2Fflavorwire.com%2F433944%2F10-great-songs-built-around-the-808%2F2&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-49"><a href="#cite_ref-49">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAnderson2008" class="citation news cs1">Anderson, Jason (November 27, 2008). <a rel="nofollow" class="external text" href="http://www.cbc.ca/news/entertainment/slaves-to-the-rhythm-1.771508">"Slaves to the rhythm"</a>. CBC News. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20180124145210/http://www.cbc.ca/news/entertainment/slaves-to-the-rhythm-1.771508">Archived</a> from the original on January 24, 2018. Retrieved January 16, 2017.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Slaves+to+the+rhythm&rft.date=2008-11-27&rft.aulast=Anderson&rft.aufirst=Jason&rft_id=http%3A%2F%2Fwww.cbc.ca%2Fnews%2Fentertainment%2Fslaves-to-the-rhythm-1.771508&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-50"><a href="#cite_ref-50">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHamilton2016" class="citation news cs1">Hamilton, Jack (December 16, 2016). <a rel="nofollow" class="external text" href="http://www.slate.com/articles/arts/music_box/2016/12/_808_the_movie_is_a_must_watch_doc_for_music_nerds.html">"808s and heart eyes"</a>. Slate. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/1091-2339">1091-2339</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170116042034/http://www.slate.com/articles/arts/music_box/2016/12/_808_the_movie_is_a_must_watch_doc_for_music_nerds.html">Archived</a> from the original on January 16, 2017. Retrieved January 16, 2017.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Slate&rft.atitle=808s+and+heart+eyes&rft.date=2016-12-16&rft.issn=1091-2339&rft.aulast=Hamilton&rft.aufirst=Jack&rft_id=http%3A%2F%2Fwww.slate.com%2Farticles%2Farts%2Fmusic_box%2F2016%2F12%2F_808_the_movie_is_a_must_watch_doc_for_music_nerds.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-51"><a href="#cite_ref-51">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://complex.com/music/2014/09/roland-tr-909-tracks/">"Nine Great Tracks That Use the Roland TR-909"</a>. Complex. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20150905064829/http://complex.com/music/2014/09/roland-tr-909-tracks/">Archived</a> from the original on September 5, 2015. Retrieved March 26, 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Complex&rft.atitle=Nine+Great+Tracks+That+Use+the+Roland+TR-909&rft_id=http%3A%2F%2Fcomplex.com%2Fmusic%2F2014%2F09%2Froland-tr-909-tracks%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-52"><a href="#cite_ref-52">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="http://mixmag.net/feature/909-tracks-using-the-tr-909">"9 of the best 909 tracks using the TR-909"</a>. Mixmag. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20180326065428/http://mixmag.net/feature/909-tracks-using-the-tr-909">Archived</a> from the original on March 26, 2018. Retrieved March 26, 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Mixmag&rft.atitle=9+of+the+best+909+tracks+using+the+TR-909&rft_id=http%3A%2F%2Fmixmag.net%2Ffeature%2F909-tracks-using-the-tr-909&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-53"><a href="#cite_ref-53">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.vice.com/en_us/article/bma7eq/synth-roland-juno-feature">"The Story of the Synth that Changed Pop Forever"</a>. www.vice.com. May 27, 2016. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20200217072406/https://www.vice.com/en_us/article/bma7eq/synth-roland-juno-feature">Archived</a> from the original on February 17, 2020. Retrieved June 12, 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.vice.com&rft.atitle=The+Story+of+the+Synth+that+Changed+Pop+Forever&rft.date=2016-05-27&rft_id=https%3A%2F%2Fwww.vice.com%2Fen_us%2Farticle%2Fbma7eq%2Fsynth-roland-juno-feature&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-wire_1996-54">^ <a href="#cite_ref-wire_1996_54-0">a</a> <a href="#cite_ref-wire_1996_54-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2"><a rel="nofollow" class="external text" href="https://books.google.com/books?id=Qtw4AQAAIAAJ">"The Wire, Volumes 143–148"</a>, <a href="/wiki/The_Wire_(magazine)" title="The Wire (magazine)">The Wire</a>, p. 21, 1996, <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231108063716/https://books.google.com/books?id=Qtw4AQAAIAAJ">archived</a> from the original on November 8, 2023, retrieved May 25, 2011</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Wire&rft.atitle=The+Wire%2C+Volumes+143%E2%80%93148&rft.pages=21&rft.date=1996&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DQtw4AQAAIAAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> (see <a rel="nofollow" class="external text" href="http://www.thewire.co.uk/in-writing/essays/a-z-of-electro">online link</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170312062218/http://www.thewire.co.uk/in-writing/essays/a-z-of-electro">Archived</a> March 12, 2017, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>) </li> <li id="cite_note-55"><a href="#cite_ref-55">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation magazine cs1">"Zapp". <a href="/wiki/Vibe_(magazine)" title="Vibe (magazine)">Vibe</a>. Vol. 6. August 1999. p. 84.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Vibe&rft.atitle=Zapp&rft.volume=6&rft.pages=84&rft.date=1999-08&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-ElectroHistoryRoots-56">^ <a href="#cite_ref-ElectroHistoryRoots_56-0">a</a> <a href="#cite_ref-ElectroHistoryRoots_56-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.electrofunkroots.co.uk/articles/what.html">"Electro-Funk > WHAT DID IT ALL MEAN ?"</a>. Greg Wilson on electrofunkroots.co.uk. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160929154909/http://www.electrofunkroots.co.uk/articles/what.html">Archived</a> from the original on September 29, 2016. Retrieved December 23, 2009.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Electro-Funk+%3E+WHAT+DID+IT+ALL+MEAN+%3F&rft.pub=Greg+Wilson+on+electrofunkroots.co.uk&rft_id=http%3A%2F%2Fwww.electrofunkroots.co.uk%2Farticles%2Fwhat.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-Electro-57"><a href="#cite_ref-Electro_57-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.allmusic.com/style/electro-ma0000002571">"Electro"</a>. <a href="/wiki/Allmusic" class="mw-redirect" title="Allmusic">Allmusic</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230514131441/https://www.allmusic.com/style/electro-ma0000002571">Archived</a> from the original on May 14, 2023. Retrieved June 20, 2012.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Electro&rft.pub=Allmusic&rft_id=http%3A%2F%2Fwww.allmusic.com%2Fstyle%2Felectro-ma0000002571&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-58"><a href="#cite_ref-58">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://books.google.com/books?id=RDdWAAAAMAAJ&q=yamaha+dx7+replace+live+drums+electro-pop">"Nuts and Bolts"</a>. 2004. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231108063716/https://books.google.com/books?id=RDdWAAAAMAAJ&q=yamaha+dx7+replace+live+drums+electro-pop">Archived</a> from the original on November 8, 2023. Retrieved October 15, 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Nuts+and+Bolts&rft.date=2004&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DRDdWAAAAMAAJ%26q%3Dyamaha%2Bdx7%2Breplace%2Blive%2Bdrums%2Belectro-pop&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-59"><a href="#cite_ref-59">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.cbc.ca/news/entertainment/slaves-to-the-rhythm-1.771508">"Slaves to the rhythm"</a>. CBC News. November 28, 2008. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20081201041939/http://www.cbc.ca/arts/music/story/2008/11/27/f-history-of-the-808.html">Archived</a> from the original on December 1, 2008. Retrieved November 28, 2008.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=CBC+News&rft.atitle=Slaves+to+the+rhythm&rft.date=2008-11-28&rft_id=https%3A%2F%2Fwww.cbc.ca%2Fnews%2Fentertainment%2Fslaves-to-the-rhythm-1.771508&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-The_A_to_X_of_alternative_music-60">^ <a href="#cite_ref-The_A_to_X_of_alternative_music_60-0">a</a> <a href="#cite_ref-The_A_to_X_of_alternative_music_60-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTaylor2004" class="citation book cs1">Taylor, Steve (2004). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=KPOsu8JOHO8C&q=electro-funk+1st+dance+music+genre&pg=PA25">The A to X of alternative music</a> (2nd ed., reprint ed.). London: Continuum. p. 25. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780826482174" title="Special:BookSources/9780826482174"><bdi>9780826482174</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231108063717/https://books.google.com/books?id=KPOsu8JOHO8C&q=electro-funk+1st+dance+music+genre&pg=PA25#v=snippet&q=electro-funk%201st%20dance%20music%20genre&f=false">Archived</a> from the original on November 8, 2023. Retrieved February 13, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+A+to+X+of+alternative+music&rft.place=London&rft.pages=25&rft.edition=2nd+ed.%2C+reprint&rft.pub=Continuum&rft.date=2004&rft.isbn=9780826482174&rft.aulast=Taylor&rft.aufirst=Steve&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DKPOsu8JOHO8C%26q%3Delectro-funk%2B1st%2Bdance%2Bmusic%2Bgenre%26pg%3DPA25&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-Slslpop-61"><a href="#cite_ref-Slslpop_61-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRoyBorthwick2004" class="citation book cs1">Roy, Ron; Borthwick, Stuart (2004). Popular Music Genres: An Introduction. Edinburgh University Press. p. 255. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780748617456" title="Special:BookSources/9780748617456"><bdi>9780748617456</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Popular+Music+Genres%3A+An+Introduction&rft.pages=255&rft.pub=Edinburgh+University+Press&rft.date=2004&rft.isbn=9780748617456&rft.aulast=Roy&rft.aufirst=Ron&rft.au=Borthwick%2C+Stuart&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-Vincent-62"><a href="#cite_ref-Vincent_62-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRickey_Vincent2014" class="citation book cs1">Rickey Vincent (2014). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=Tb-FBAAAQBAJ&pg=PA289">Funk: The Music, The People, and The Rhythm of The One</a>. St. Martin's Press. p. 289. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4668-8452-6" title="Special:BookSources/978-1-4668-8452-6"><bdi>978-1-4668-8452-6</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231108064144/https://books.google.com/books?id=Tb-FBAAAQBAJ&pg=PA289#v=onepage&q&f=false">Archived</a> from the original on November 8, 2023. Retrieved August 27, 2017.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Funk%3A+The+Music%2C+The+People%2C+and+The+Rhythm+of+The+One&rft.pages=289&rft.pub=St.+Martin%27s+Press&rft.date=2014&rft.isbn=978-1-4668-8452-6&rft.au=Rickey+Vincent&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DTb-FBAAAQBAJ%26pg%3DPA289&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-63"><a href="#cite_ref-63">^</a> Mitchell, Euan. <a rel="nofollow" class="external text" href="http://www.4clubbers.net/modules.php?name=News&file=article&sid=125">Interviews: Marshall Jefferson</a> 4clubbers.net [<a href="/wiki/Wikipedia:Link_rot" title="Wikipedia:Link rot">dead link</a>‍] </li> <li id="cite_note-64"><a href="#cite_ref-64">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20120322041641/http://www.flyglobalmusic.com/fly/archives/uscanada_features/finding_jesse_-.html">"Finding Jesse – The Discovery of Jesse Saunders As the Founder of House"</a>. Fly Global Music Culture. October 25, 2004. Archived from <a rel="nofollow" class="external text" href="http://www.flyglobalmusic.com/fly/archives/uscanada_features/finding_jesse_-.html">the original</a> on March 22, 2012. Retrieved August 14, 2012.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Fly+Global+Music+Culture&rft.atitle=Finding+Jesse+%E2%80%93+The+Discovery+of+Jesse+Saunders+As+the+Founder+of+House&rft.date=2004-10-25&rft_id=http%3A%2F%2Fwww.flyglobalmusic.com%2Ffly%2Farchives%2Fuscanada_features%2Ffinding_jesse_-.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-65"><a href="#cite_ref-65">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPaoletta1989" class="citation journal cs1">Paoletta, Michael (December 16, 1989). "Back To Basics". Dance Music Report: 12.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Dance+Music+Report&rft.atitle=Back+To+Basics&rft.pages=12&rft.date=1989-12-16&rft.aulast=Paoletta&rft.aufirst=Michael&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-unesco_4-66"><a href="#cite_ref-unesco_4_66-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFikentscher2000a" class="citation journal cs1">Fikentscher, Kai (July–August 2000a). <a rel="nofollow" class="external text" href="http://unesdoc.unesco.org/images/0012/001201/120152e.pdf">"The club DJ: a brief history of a cultural icon"</a> (PDF). UNESCO Courier: 47. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160303181437/http://unesdoc.unesco.org/images/0012/001201/120152e.pdf">Archived</a> (PDF) from the original on March 3, 2016. Retrieved January 25, 2016. <q>Around 1986/7, after the initial explosion of house music in Chicago, it became clear that the major recording companies and media institutions were reluctant to market this genre of music, associated with gay African Americans, on a mainstream level. House artists turned to Europe, chiefly London but also cities such as Amsterdam, Berlin, Manchester, Milan, Zurich, and Tel Aviv. ... A third axis leads to Japan where, since the late 1980s, New York club DJs have had the opportunity to play guest spots.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=UNESCO+Courier&rft.atitle=The+club+DJ%3A+a+brief+history+of+a+cultural+icon&rft.pages=47&rft.date=2000-07%2F2000-08&rft.aulast=Fikentscher&rft.aufirst=Kai&rft_id=http%3A%2F%2Funesdoc.unesco.org%2Fimages%2F0012%2F001201%2F120152e.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-guardian_2010-67"><a href="#cite_ref-guardian_2010_67-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPattison2010" class="citation news cs1">Pattison, Louis (April 10, 2010). <a rel="nofollow" class="external text" href="https://www.theguardian.com/music/2010/apr/10/charanjit-singh-acid-house">"Charanjit Singh, acid house pioneer"</a>. <a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20161202015758/https://www.theguardian.com/music/2010/apr/10/charanjit-singh-acid-house">Archived</a> from the original on December 2, 2016. Retrieved March 22, 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Charanjit+Singh%2C+acid+house+pioneer&rft.date=2010-04-10&rft.aulast=Pattison&rft.aufirst=Louis&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fmusic%2F2010%2Fapr%2F10%2Fcharanjit-singh-acid-house&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-guardian_2011-68"><a href="#cite_ref-guardian_2011_68-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAitken2011" class="citation news cs1">Aitken, Stuart (May 10, 2011). <a rel="nofollow" class="external text" href="https://www.theguardian.com/music/2011/may/10/charanjit-singh-acid-house-ten-ragas">"Charanjit Singh on how he invented acid house ... by mistake"</a>. <a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20161202015759/https://www.theguardian.com/music/2011/may/10/charanjit-singh-acid-house-ten-ragas">Archived</a> from the original on December 2, 2016. Retrieved March 22, 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Charanjit+Singh+on+how+he+invented+acid+house+...+by+mistake&rft.date=2011-05-10&rft.aulast=Aitken&rft.aufirst=Stuart&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fmusic%2F2011%2Fmay%2F10%2Fcharanjit-singh-acid-house-ten-ragas&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-ra_raga-69"><a href="#cite_ref-ra_raga_69-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWilliam_Rauscher2010" class="citation web cs1">William Rauscher (May 12, 2010). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20120112035759/http://www.residentadvisor.net/review-view.aspx?id=7445">"Charanjit Singh – Synthesizing: Ten Ragas to a Disco Beat"</a>. <a href="/wiki/Resident_Advisor" title="Resident Advisor">Resident Advisor</a>. Archived from <a rel="nofollow" class="external text" href="http://www.residentadvisor.net/review-view.aspx?id=7445">the original</a> on January 12, 2012. Retrieved June 3, 2011.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Charanjit+Singh+%E2%80%93+Synthesizing%3A+Ten+Ragas+to+a+Disco+Beat&rft.pub=Resident+Advisor&rft.date=2010-05-12&rft.au=William+Rauscher&rft_id=http%3A%2F%2Fwww.residentadvisor.net%2Freview-view.aspx%3Fid%3D7445&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-boilerroom.tv-70"><a href="#cite_ref-boilerroom.tv_70-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://boilerroom.tv/balearic-beat/">"What Is Balearic Beat? – BOILER ROOM"</a>. BOILER ROOM. 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The Guardian. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0261-3077">0261-3077</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20130819144321/http://www.theguardian.com/music/2007/aug/12/electronicmusic">Archived</a> from the original on August 19, 2013. Retrieved October 28, 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=The+birth+of+rave&rft.date=2007-08-12&rft.issn=0261-3077&rft.aulast=Warren&rft.aufirst=Emma&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fmusic%2F2007%2Faug%2F12%2Felectronicmusic&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-72"><a href="#cite_ref-72">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.amnesia.es/history/en">"Amnesia – history"</a>. www.amnesia.es. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20161026183932/http://www.amnesia.es/history/en">Archived</a> from the original on October 26, 2016. Retrieved October 28, 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.amnesia.es&rft.atitle=Amnesia+%E2%80%93+history&rft_id=http%3A%2F%2Fwww.amnesia.es%2Fhistory%2Fen&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-FOOTNOTERietveld199840–50-73"><a href="#cite_ref-FOOTNOTERietveld199840–50_73-0">^</a> <a href="#CITEREFRietveld1998">Rietveld (1998)</a>, pp. 40–50. </li> <li id="cite_note-FOOTNOTERietveld199854–59-75"><a href="#cite_ref-FOOTNOTERietveld199854–59_75-0">^</a> <a href="#CITEREFRietveld1998">Rietveld (1998)</a>, pp. 54–59. </li> <li id="cite_note-FOOTNOTEBrewster2006398–443-76"><a href="#cite_ref-FOOTNOTEBrewster2006398–443_76-0">^</a> <a href="#CITEREFBrewster2006">Brewster (2006)</a>, pp. 398–443. </li> <li id="cite_note-77"><a href="#cite_ref-77">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFReynolds1999" class="citation book cs1">Reynolds, S. (1999). Generation Ecstasy: Into the World of Techno and Rave Culture. New York: Routledge. p. 71. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0415923736" title="Special:BookSources/978-0415923736"><bdi>978-0415923736</bdi></a>. <q>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.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Generation+Ecstasy%3A+Into+the+World+of+Techno+and+Rave+Culture&rft.place=New+York&rft.pages=71&rft.pub=Routledge&rft.date=1999&rft.isbn=978-0415923736&rft.aulast=Reynolds&rft.aufirst=S.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-78"><a href="#cite_ref-78">^</a> Unterberger R., Hicks S., Dempsey J, (1999). Music USA: The Rough Guide, Rough Guides Ltd; illustrated edition.(<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781858284217" title="Special:BookSources/9781858284217">9781858284217</a>) </li> <li id="cite_note-79"><a href="#cite_ref-79">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20040214105200/http://www.techno.de/mixmag/interviews/DerrickMay1.html">"Interview: Derrick May—The Secret of Techno"</a>. <a href="/wiki/Mixmag" title="Mixmag">Mixmag</a>. 1997. Archived from <a rel="nofollow" class="external text" href="http://www.techno.de/mixmag/interviews/DerrickMay1.html">the original</a> on February 14, 2004. Retrieved July 25, 2012.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Mixmag&rft.atitle=Interview%3A+Derrick+May%E2%80%94The+Secret+of+Techno&rft.date=1997&rft_id=http%3A%2F%2Fwww.techno.de%2Fmixmag%2Finterviews%2FDerrickMay1.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-FOOTNOTEBrewster2006419-80"><a href="#cite_ref-FOOTNOTEBrewster2006419_80-0">^</a> <a href="#CITEREFBrewster2006">Brewster (2006)</a>, p. 419. </li> <li id="cite_note-FOOTNOTECosgrove1988-81"><a href="#cite_ref-FOOTNOTECosgrove1988_81-0">^</a> <a href="#CITEREFCosgrove1988">Cosgrove (1988)</a>. </li> <li id="cite_note-83"><a href="#cite_ref-83">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFJohn_M.2013" class="citation web cs1">John M. (September 1, 2013). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170225123623/http://www.toucanmusic.co.uk/articles/trance.php">"A history of trance music"</a>. Archived from <a rel="nofollow" class="external text" href="http://www.toucanmusic.co.uk/articles/trance.php">the original</a> on February 25, 2017. Retrieved April 22, 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=A+history+of+trance+music&rft.date=2013-09-01&rft.au=John+M.&rft_id=http%3A%2F%2Fwww.toucanmusic.co.uk%2Farticles%2Ftrance.php&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-remixing_guide-84"><a href="#cite_ref-remixing_guide_84-0">^</a> Hawkins, Erik (2004). The Complete Guide to Remixing. Boston, MA: Berklee Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-87639-044-0" title="Special:BookSources/0-87639-044-0">0-87639-044-0</a>: p. 51 </li> <li id="cite_note-Trance_Music—What_is_trance_music?-85"><a href="#cite_ref-Trance_Music—What_is_trance_music?_85-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://dancemusic.about.com/od/genres/g/Trance_Music">""Trance Music—What is Trance Music?""</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=%22Trance+Music%E2%80%94What+is+Trance+Music%3F%22&rft_id=http%3A%2F%2Fdancemusic.about.com%2Fod%2Fgenres%2Fg%2FTrance_Music&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988">[<a href="/wiki/Wikipedia:Link_rot" title="Wikipedia:Link rot">permanent dead link</a>‍] </li> <li id="cite_note-tranceexperience-86">^ <a href="#cite_ref-tranceexperience_86-0">a</a> <a href="#cite_ref-tranceexperience_86-1">b</a> <a href="#cite_ref-tranceexperience_86-2">c</a> <a href="#cite_ref-tranceexperience_86-3">d</a> <a href="#cite_ref-tranceexperience_86-4">e</a> Fassbender, Torsten (2008). The Trance Experience. Knoxville, Tennessee: Sound Org Inc. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-2405-2107-7" title="Special:BookSources/978-0-2405-2107-7">978-0-2405-2107-7</a>: p. 15, 16, 17, 19 </li> <li id="cite_note-snomanmanual-87"><a href="#cite_ref-snomanmanual_87-0">^</a> Snoman, Rick (2009). The Dance Music Manual: Tools, Toys, and Techniques – Second Edition. Oxford, UK: Elsevier Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-9748438-4-9" title="Special:BookSources/0-9748438-4-9">0-9748438-4-9</a>: p. 251, 252, 253, 266 </li> <li id="cite_note-AMProgTrance-88"><a href="#cite_ref-AMProgTrance_88-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.allmusic.com/style/progressive-trance-ma0000011914">"Progressive Trance"</a>. <a href="/wiki/AllMusic" title="AllMusic">AllMusic</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20190417061108/https://www.allmusic.com/style/progressive-trance-ma0000011914">Archived</a> from the original on April 17, 2019. Retrieved April 22, 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=AllMusic&rft.atitle=Progressive+Trance&rft_id=http%3A%2F%2Fwww.allmusic.com%2Fstyle%2Fprogressive-trance-ma0000011914&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-89"><a href="#cite_ref-89">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFReynolds2013" class="citation book cs1">Reynolds, Simon (2013). Energy Flash: A Journey Through Rave Music and Dance Culture. Soft Skull Press. <q>So when I talk about the vibe disappearing from drum and bass, I'm talking about the blackness going as the ragga samples get phased out, the bass loses its reggae feels and becomes more linear and propulsive rather than moving around the beat with a syncopated relation with the drum.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Energy+Flash%3A+A+Journey+Through+Rave+Music+and+Dance+Culture&rft.pub=Soft+Skull+Press&rft.date=2013&rft.aulast=Reynolds&rft.aufirst=Simon&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-90"><a href="#cite_ref-90">^</a> <a rel="nofollow" class="external text" href="http://www.allmusic.com/style/dubstep-ma0000004465">AllMusic – Dubstep</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170923151236/http://www.allmusic.com/style/dubstep-ma0000004465">Archived</a> September 23, 2017, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> "Absorbed and transfigured elements of techno, drum'n' bass and dub" </li> <li id="cite_note-Reynolds-91">^ <a href="#cite_ref-Reynolds_91-0">a</a> <a href="#cite_ref-Reynolds_91-1">b</a> Reynolds, S.(2012),Energy Flash: A Journey Through Rave Music and Dance Culture, Perseus Books; Reprint edition (Jan 5, 2012), pages 511–516, (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-59376-407-4" title="Special:BookSources/978-1-59376-407-4">978-1-59376-407-4</a>). </li> <li id="cite_note-92"><a href="#cite_ref-92">^</a> <a rel="nofollow" class="external text" href="http://uncarved.org/dub/splash/">The Big Big Sound System Splashdown</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20120509053430/http://uncarved.org/dub/splash/">Archived</a> May 9, 2012, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, <a href="/wiki/New_Musical_Express" class="mw-redirect" title="New Musical Express">New Musical Express</a>, February 21, 1981, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/search?fq=x0:jrnl&q=n2:0028-6362">0028-6362</a>. </li> <li id="cite_note-93"><a href="#cite_ref-93">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20120112122021/http://www.imorecords.co.uk/dubstep/hatcha-biography/">"Hatcha Biography"</a>. <a href="/wiki/IMO_Records" title="IMO Records">IMO Records</a>. October 17, 2011. Archived from <a rel="nofollow" class="external text" href="http://www.imorecords.co.uk/dubstep/hatcha-biography/">the original</a> on January 12, 2012. Retrieved November 22, 2011.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=IMO+Records&rft.atitle=Hatcha+Biography&rft.date=2011-10-17&rft_id=http%3A%2F%2Fwww.imorecords.co.uk%2Fdubstep%2Fhatcha-biography%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-USA_Today_EDM_glossary-94"><a href="#cite_ref-USA_Today_EDM_glossary_94-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLopez2011" class="citation news cs1">Lopez, Korina (December 13, 2011). <a rel="nofollow" class="external text" href="https://www.usatoday.com/life/music/news/story/2011-12-13/electronic-music-glossary/51863490/1">"Electronic dance music glossary"</a>. USA Today. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160304041512/http://www.usatoday.com/life/music/news/story/2011-12-13/electronic-music-glossary/51863490/1">Archived</a> from the original on March 4, 2016. Retrieved May 17, 2012. <q>Electro: 'It's meant so many things in the last 30 years. Originally, it meant futuristic electronic music and was used to describe Kraftwerk and Afrika Bambaataa. Now, it means hard electronic dance music.' Electro can be used as an adjective, such as electro-house and electro-pop.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Electronic+dance+music+glossary&rft.date=2011-12-13&rft.aulast=Lopez&rft.aufirst=Korina&rft_id=https%3A%2F%2Fwww.usatoday.com%2Flife%2Fmusic%2Fnews%2Fstory%2F2011-12-13%2Felectronic-music-glossary%2F51863490%2F1&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-Beat_Explorers_Dance_Music_Guide-95"><a href="#cite_ref-Beat_Explorers_Dance_Music_Guide_95-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://archive.today/20150615061216/http://thedancemusicguide.com/electro-house">"Electro House"</a>. Beat Explorers' Dance Music Guide. Archived from <a rel="nofollow" class="external text" href="http://thedancemusicguide.com/electro-house">the original</a> on June 15, 2015. <q>Electro House rose to prominence in the early to mid 00's as a heavier alternative to other house subgenres that were prevalent at the time. [...] Electro House usually sits somewhere between 125-135bpm and tracks are arranged in a way that gives a large focus on the climax or drop. This usually contains a heavy bassline, and frequently includes melodic elements to help establish cohesion within the track.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Beat+Explorers%27+Dance+Music+Guide&rft.atitle=Electro+House&rft_id=http%3A%2F%2Fthedancemusicguide.com%2Felectro-house&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-DI_Electro_House-96"><a href="#cite_ref-DI_Electro_House_96-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.di.fm/electro/">"Electro House"</a>. DI Radio. Digitally Imported. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20150618141846/http://www.di.fm/electro">Archived</a> from the original on June 18, 2015. Retrieved April 23, 2018. <q>Buzzing basslines, huge kicks, party rocking drops. House music packed full of gigantic bass and massive synths.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=DI+Radio&rft.atitle=Electro+House&rft_id=http%3A%2F%2Fwww.di.fm%2Felectro%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-DJ_Mag_Top_100_Skrillex_2014-97"><a href="#cite_ref-DJ_Mag_Top_100_Skrillex_2014_97-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFEdwards" class="citation web cs1">Edwards, Owen. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20150523062719/http://djmag.com/djmag.com/content/top100djs/2014/Skrillex">"Skrillex"</a>. DJ Mag. Archived from <a rel="nofollow" class="external text" href="http://djmag.com/djmag.com/content/top100djs/2014/Skrillex">the original</a> on May 23, 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=DJ+Mag&rft.atitle=Skrillex&rft.aulast=Edwards&rft.aufirst=Owen&rft_id=http%3A%2F%2Fdjmag.com%2Fdjmag.com%2Fcontent%2Ftop100djs%2F2014%2FSkrillex&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-Guardian_New_Band_Skrillex-98"><a href="#cite_ref-Guardian_New_Band_Skrillex_98-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLester2011" class="citation news cs1">Lester, Paul (September 1, 2011). <a rel="nofollow" class="external text" href="https://www.theguardian.com/music/2011/sep/01/new-band-skrillex">"Skrillex (No 1,096)"</a>. New band of the day. London: The Guardian. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20200716043208/https://www.theguardian.com/music/2011/sep/01/new-band-skrillex">Archived</a> from the original on July 16, 2020. Retrieved August 25, 2012. <q>... Skrillex, a 23-year-old electro-house/dubstep producer ...</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=New+band+of+the+day&rft.atitle=Skrillex+%28No+1%2C096%29&rft.date=2011-09-01&rft.aulast=Lester&rft.aufirst=Paul&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fmusic%2F2011%2Fsep%2F01%2Fnew-band-skrillex&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-DJ_Mag_Top_100_Steve_Aoki_2013-99"><a href="#cite_ref-DJ_Mag_Top_100_Steve_Aoki_2013_99-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRoullier" class="citation web cs1">Roullier, Ian. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20150521141950/http://www.djmag.com/content/steve-aoki">"Steve Aoki"</a>. DJ Mag. Archived from <a rel="nofollow" class="external text" href="http://djmag.com/content/steve-aoki">the original</a> on May 21, 2015. Retrieved April 23, 2018. <q>Steve Aoki's stock has risen once again over the past 12 months as he continues to perform the biggest, most audacious EDM sets across the globe and pump out his stomping, strutting electro house productions.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=DJ+Mag&rft.atitle=Steve+Aoki&rft.aulast=Roullier&rft.aufirst=Ian&rft_id=http%3A%2F%2Fdjmag.com%2Fcontent%2Fsteve-aoki&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-100"><a href="#cite_ref-100">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDavid_Jeffries" class="citation web cs1">David Jeffries. <a rel="nofollow" class="external text" href="http://www.allmusic.com/artist/benny-benassi-mn0000791609/biography">"Benny Benassi"</a>. AllMusic. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20220111062313/https://www.allmusic.com/artist/benny-benassi-mn0000791609/biography">Archived</a> from the original on January 11, 2022. 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Retrieved February 18, 2017.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=Electronic+Dance+Concerts+Turn+Up+Volume%2C+Tempting+Investors&rft.date=2012-04-04&rft.au=Ben+Sisario&rft_id=https%3A%2F%2Fwww.nytimes.com%2F2012%2F04%2F05%2Fbusiness%2Fmedia%2Felectronic-dance-genre-tempts-investors.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-Spin-124">^ <a href="#cite_ref-Spin_124-0">a</a> <a href="#cite_ref-Spin_124-1">b</a> <a href="#cite_ref-Spin_124-2">c</a> <a href="#cite_ref-Spin_124-3">d</a> <a href="#cite_ref-Spin_124-4">e</a> <a href="#cite_ref-Spin_124-5">f</a> <a href="#cite_ref-Spin_124-6">g</a> Sherburne, Philip. <a rel="nofollow" class="external text" href="https://www.spin.com/2011/09/new-rave-generation/">"Harder, Better, Faster, Stronger"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20180405154919/https://www.spin.com/2011/09/new-rave-generation/">Archived</a> April 5, 2018, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, <a href="/wiki/Spin_Magazine" class="mw-redirect" title="Spin Magazine">Spin Magazine</a>, pages 41–53, October 2011 </li> <li id="cite_note-125"><a href="#cite_ref-125">^</a> Chaplin, Julia & Michel, Sia. <a rel="nofollow" class="external text" href="https://books.google.com/books?id=HpC1D--hcoAC&q=fire+starters&pg=PA40">"Fire Starters"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230403212927/https://books.google.com/books?id=HpC1D--hcoAC&q=fire+starters&pg=PA40">Archived</a> April 3, 2023, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, <a href="/wiki/Spin_Magazine" class="mw-redirect" title="Spin Magazine">Spin Magazine</a>, page 40, March 1997, Spin Media LLC. </li> <li id="cite_note-126"><a href="#cite_ref-126">^</a> <a rel="nofollow" class="external text" href="https://www.rollingstone.com/music/lists/the-30-greatest-edm-albums-of-all-time-20120802/21-madonna-ray-of-light-maverick-1998-19691231">The 30 Greatest EDM Albums of All Time</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20150129101450/http://www.rollingstone.com/music/lists/the-30-greatest-edm-albums-of-all-time-20120802/21-madonna-ray-of-light-maverick-1998-19691231">Archived</a> January 29, 2015, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, <a href="/wiki/Rolling_Stone" title="Rolling Stone">Rolling Stone</a>, August 2, 2012 </li> <li id="cite_note-127"><a href="#cite_ref-127">^</a> <a rel="nofollow" class="external text" href="http://www.allmusic.com/song/ray-of-light-mt0003907536">Ray of Light—Madonna</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20151120174739/http://www.allmusic.com/song/ray-of-light-mt0003907536">Archived</a> November 20, 2015, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> Allmusic </li> <li id="cite_note-Sanneh-128"><a href="#cite_ref-Sanneh_128-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSanneh2001" class="citation news cs1">Sanneh, Kelefa (September 2, 2001). <a rel="nofollow" class="external text" href="https://www.nytimes.com/2001/09/02/arts/a-pioneer-briefly-of-a-new-sound.html">"A Pioneer, Briefly, Of a New Sound"</a>. <a href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20121108045550/http://www.nytimes.com/2001/09/02/arts/a-pioneer-briefly-of-a-new-sound.html">Archived</a> from the original on November 8, 2012. Retrieved December 9, 2012.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=A+Pioneer%2C+Briefly%2C+Of+a+New+Sound&rft.date=2001-09-02&rft.aulast=Sanneh&rft.aufirst=Kelefa&rft_id=https%3A%2F%2Fwww.nytimes.com%2F2001%2F09%2F02%2Farts%2Fa-pioneer-briefly-of-a-new-sound.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-guardian-tiestoolympics-129"><a href="#cite_ref-guardian-tiestoolympics_129-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.theguardian.com/music/2011/jun/15/tiesto-athens-olympics-opening-ceremony">"A history of dance music: Tiësto DJs at the Athens Olympics opening ceremony"</a>. 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Retrieved July 9, 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Billboard&rft.atitle=How+David+Bowie+Inspired+Justin+Timberlake%27s+%27SexyBack%27&rft.date=2016-07-08&rft.au=Craddock%2C+Lauren&rft_id=http%3A%2F%2Fwww.billboard.com%2Farticles%2Fcolumns%2Fpop%2F7431171%2Fdavid-bowie-justin-timberlake-sexyback&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-133"><a href="#cite_ref-133">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAbel_Alvarado" class="citation news cs1">Abel Alvarado. <a rel="nofollow" class="external text" href="http://www.cnn.com/2014/12/18/world/how-did-edm-get-so-popular/index.html">"It's a $6.2B industry but, how did EDM get so popular?"</a>. 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Retrieved November 16, 2012.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=FACT+Magazine&rft.atitle=%27The+potential+for+disaster+was+just+too+big%27%3A+small+Canadian+city+shuts+down+Skrillex+gig&rft.date=2012-06-26&rft_id=http%3A%2F%2Fwww.factmag.com%2F2012%2F06%2F26%2Fthe-potential-for-disaster-was-just-too-big-small-canadian-city-shuts-down-skrillex-gig%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-137"><a href="#cite_ref-137">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20121016161509/http://mixmag.net/words/news/is-dubstep-the-new-metal">"Is dubstep the new metal?"</a>. Mixmag. 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Retrieved January 27, 2014.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Billboard&rft.atitle=The+Year+EDM+Sold+Out%3A+Swedish+House+Mafia%2C+Skrillex+and+Deadmau5+Hit+the+Mainstream&rft_id=http%3A%2F%2Fwww.billboard.com%2Fbiz%2Farticles%2Fnews%2F1483909%2Fthe-year-edm-sold-out-swedish-house-mafia-skrillex-and-deadmau5-hit-the&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-billboard-voodoo-142"><a href="#cite_ref-billboard-voodoo_142-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="http://www.billboard.com/biz/articles/news/touring/1521628/exclusive-sfx-acquires-idt-voodoo-experience">"Exclusive: SFX Acquires ID&T, Voodoo Experience"</a>. 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Retrieved April 18, 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Billboard&rft.atitle=Exclusive%3A+SFX+Acquires+ID%26T%2C+Voodoo+Experience&rft_id=http%3A%2F%2Fwww.billboard.com%2Fbiz%2Farticles%2Fnews%2Ftouring%2F1521628%2Fexclusive-sfx-acquires-idt-voodoo-experience&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-billboard-sfx-143"><a href="#cite_ref-billboard-sfx_143-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="http://www.billboard.com/biz/articles/news/1553846/sfx-purchases-75-stake-in-idt-announce-us-edition-of-tomorrowland-at-ultra">"SFX Purchases 75% Stake in ID&T, Announce U.S. Edition of Tomorrowland at Ultra"</a>. 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Retrieved April 16, 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Billboard&rft.atitle=SFX+Purchases+75%25+Stake+in+ID%26T%2C+Announce+U.S.+Edition+of+Tomorrowland+at+Ultra&rft_id=http%3A%2F%2Fwww.billboard.com%2Fbiz%2Farticles%2Fnews%2F1553846%2Fsfx-purchases-75-stake-in-idt-announce-us-edition-of-tomorrowland-at-ultra&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-billboard-lnsomniac-144"><a href="#cite_ref-billboard-lnsomniac_144-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFZel_McCarthy2013" class="citation news cs1">Zel McCarthy (June 20, 2013). <a rel="nofollow" class="external text" href="http://www.billboard.com/biz/articles/news/branding/1567396/live-nation-teams-with-insomniac-events-in-creative-partnership">"Live Nation Teams With Insomniac Events in 'Creative Partnership'"</a>. 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Retrieved June 13, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Forbes&rft.atitle=Is+Electronic+Dance+Music+The+Ticket+To+Reach+Millennials%3F&rft.date=2014-05-26&rft.aulast=Burns&rft.aufirst=Will&rft_id=https%3A%2F%2Fwww.forbes.com%2Fsites%2Fwillburns%2F2014%2F05%2F26%2Fis-electronic-dance-music-the-ticket-to-reach-millennials%2F%3Fsh%3D4e1cc12865da&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-153"><a href="#cite_ref-153">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKusnierek2016" class="citation web cs1">Kusnierek, Timmy (April 21, 2016). <a rel="nofollow" class="external text" href="https://www.youredm.com/2016/04/19/why-millennials-and-edm-get-along-so-well/">"Why Millennials And EDM Get Along So Well"</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20210618055713/https://www.youredm.com/2016/04/19/why-millennials-and-edm-get-along-so-well/">Archived</a> from the original on June 18, 2021. 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Retrieved August 15, 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=SFX+Entertainment+Is+Back+on+the+Block&rft.date=2015-08-14&rft.au=Sisario%2C+Ben&rft_id=https%3A%2F%2Fwww.nytimes.com%2F2015%2F08%2F15%2Fbusiness%2Fmedia%2Fsfx-entertainment-is-back-on-the-block.html%3Fref%3Dbusiness&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-159"><a href="#cite_ref-159">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFaughnder,_Ryan2015" class="citation web cs1">Faughnder, Ryan (August 14, 2015). <a rel="nofollow" class="external text" href="http://www.latimes.com/entertainment/envelope/cotown/la-et-ct-sfx-entertainment-ceo-takeover-20150814-story.html">"After failed CEO takeover bid, what's next for SFX Entertainment?"</a>. 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Retrieved August 17, 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Los+Angeles+Times&rft.atitle=After+failed+CEO+takeover+bid%2C+what%27s+next+for+SFX+Entertainment%3F&rft.date=2015-08-14&rft.au=Faughnder%2C+Ryan&rft_id=http%3A%2F%2Fwww.latimes.com%2Fentertainment%2Fenvelope%2Fcotown%2Fla-et-ct-sfx-entertainment-ceo-takeover-20150814-story.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-forbes-edmbubble-160"><a href="#cite_ref-forbes-edmbubble_160-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.forbes.com/sites/natalierobehmed/2015/10/15/the-future-of-edm/#2715e4857a0b155e7254792f">"The $6.9 Billion Bubble? Inside The Uncertain Future Of EDM"</a>. 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The New York Times. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170226140137/https://www.nytimes.com/2016/12/07/business/media/sfx-entertainment-livestyle.html?_r=0">Archived</a> from the original on February 26, 2017. Retrieved February 9, 2017.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=SFX+Entertainment+Emerges+From+Bankruptcy+With+New+Name%3A+LiveStyle&rft.date=2016-12-07&rft.aulast=Sisario&rft.aufirst=Ben&rft_id=https%3A%2F%2Fwww.nytimes.com%2F2016%2F12%2F07%2Fbusiness%2Fmedia%2Fsfx-entertainment-livestyle.html%3F_r%3D0&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-billboard-livestyle-163"><a href="#cite_ref-billboard-livestyle_163-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="http://www.billboard.com/articles/business/7604354/sfx-emerges-bankruptcy-new-name-livestyle-new-leader-randy-phillips">"SFX Emerges From Bankruptcy with a New Name, LiveStyle, and New Leader in Randy Phillips"</a>. Billboard. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170211081607/http://www.billboard.com/articles/business/7604354/sfx-emerges-bankruptcy-new-name-livestyle-new-leader-randy-phillips">Archived</a> from the original on February 11, 2017. 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September 17, 2021. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20220110021404/https://www.musicbusinessworldwide.com/uk-based-festival-promoter-superstruct-entertainment-buys-electronic-music-giant-idt/">Archived</a> from the original on January 10, 2022. 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Retrieved October 9, 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.peacefmonline.com&rft.atitle=Kuami+Eugene%2C+Wendy+Shay%2C+Edem%2C+Yaa+Pono%2C+Others+For+Jack+Daniel%27s+Music+Festival&rft.aulast=Online&rft.aufirst=Peace+FM&rft_id=https%3A%2F%2Fwww.peacefmonline.com%2Fpages%2Fshowbiz%2Fnews%2F201908%2F389626.php&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-185"><a href="#cite_ref-185">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1 cs1-prop-foreign-lang-source"><a rel="nofollow" class="external text" href="http://www.yasour.org/2018/ar/news/details/news-13116">"منسق الموسيقى وحفلات ال dj العالمي سكاي وفريقه زار مستشفى سرطان الاطفال في غانا"</a>. يا صور (in Arabic). April 21, 2019. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20191009155250/http://www.yasour.org/2018/ar/news/details/news-13116">Archived</a> from the original on October 9, 2019. 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Retrieved March 6, 2017.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Atlantic&rft.atitle=Electronic+Dance+Music%27s+Love+Affair+With+Ecstasy%3A+A+History&rft.date=2013-09-20&rft.au=P.+Nash+Jenkins&rft_id=https%3A%2F%2Fwww.theatlantic.com%2Fhealth%2Farchive%2F2013%2F09%2Felectronic-dance-music-s-love-affair-with-ecstasy-a-history%2F279815%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-pmid22392347-223"><a href="#cite_ref-pmid22392347_223-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCarvalhoCarmoCostaCapela2012" class="citation journal cs1">Carvalho M, Carmo H, Costa VM, Capela JP, Pontes H, Remião F, Carvalho F, Bastos Mde L (August 2012). "Toxicity of amphetamines: an update". Arch. Toxicol. 86 (8): 1167–1231. <a href="/wiki/Bibcode_(identifier)" class="mw-redirect" title="Bibcode (identifier)">Bibcode</a>:<a rel="nofollow" class="external text" href="https://ui.adsabs.harvard.edu/abs/2012ArTox..86.1167C">2012ArTox..86.1167C</a>. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1007%2Fs00204-012-0815-5">10.1007/s00204-012-0815-5</a>. <a href="/wiki/PMID_(identifier)" class="mw-redirect" title="PMID (identifier)">PMID</a> <a rel="nofollow" class="external text" href="https://pubmed.ncbi.nlm.nih.gov/22392347">22392347</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:2873101">2873101</a>. <q>MDMA has become a popular recreational drug of abuse at nightclubs and rave or techno parties, where it is combined with intense physical activity (all-night dancing), crowded conditions (aggregation), high ambient temperature, poor hydration, loud noise, and is commonly taken together with other stimulant club drugs and/or alcohol (Parrott 2006; Von Huben et al. 2007; Walubo and Seger 1999). This combination is probably the main reason why it is generally seen an increase in toxicity events at rave parties since all these factors are thought to induce or enhance the toxicity (particularly the hyperthermic response) of MDMA. ... Another report showed that MDMA users displayed multiple regions of grey matter reduction in the neocortical, bilateral cerebellum, and midline brainstem brain regions, potentially accounting for previously reported neuropsychiatric impairments in MDMA users (Cowan et al. 2003). Neuroimaging techniques, like PET, were used in combination with a 5-HTT ligand in human ecstasy users, showing lower density of brain 5-HTT sites (McCann et al. 1998, 2005, 2008). Other authors correlate the 5-HTT reductions with the memory deficits seen in humans with a history of recreational MDMA use (McCann et al. 2008). A recent study prospectively assessed the sustained effects of ecstasy use on the brain in novel MDMA users using repeated measurements with a combination of different neuroimaging parameters of neurotoxicity. 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"Cognitive, dissociative and psychotogenic effects of ketamine in recreational users on the night of drug use and 3 days later". <a href="/wiki/Addiction_(journal)" title="Addiction (journal)">Addiction</a>. 95 (4): 575–90. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1046%2Fj.1360-0443.2000.9545759.x">10.1046/j.1360-0443.2000.9545759.x</a>. <a href="/wiki/PMID_(identifier)" class="mw-redirect" title="PMID (identifier)">PMID</a> <a rel="nofollow" class="external text" href="https://pubmed.ncbi.nlm.nih.gov/10829333">10829333</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Addiction&rft.atitle=Cognitive%2C+dissociative+and+psychotogenic+effects+of+ketamine+in+recreational+users+on+the+night+of+drug+use+and+3+days+later&rft.volume=95&rft.issue=4&rft.pages=575-90&rft.date=2000-04&rft_id=info%3Adoi%2F10.1046%2Fj.1360-0443.2000.9545759.x&rft_id=info%3Apmid%2F10829333&rft.aulast=Curran&rft.aufirst=HV&rft.au=Morgan%2C+C&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation journal cs1">Gahlinger, PM (June 1, 2004). <a rel="nofollow" class="external text" href="http://www.aafp.org/afp/2004/0601/p2619.html">"Club drugs: MDMA, gamma-hydroxybutyrate (GHB), Rohypnol, and ketamine"</a>. <a href="/wiki/American_Family_Physician" title="American Family Physician">American Family Physician</a>. 69 (11): 2619–2626. <a href="/wiki/PMID_(identifier)" class="mw-redirect" title="PMID (identifier)">PMID</a> <a rel="nofollow" class="external text" href="https://pubmed.ncbi.nlm.nih.gov/15202696">15202696</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20151117033142/http://www.aafp.org/afp/2004/0601/p2619.html">Archived</a> from the original on November 17, 2015. Retrieved November 15, 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=American+Family+Physician&rft.atitle=Club+drugs%3A+MDMA%2C+gamma-hydroxybutyrate+%28GHB%29%2C+Rohypnol%2C+and+ketamine&rft.volume=69&rft.issue=11&rft.pages=2619-2626&rft.date=2004-06-01&rft_id=info%3Apmid%2F15202696&rft.aulast=Gahlinger&rft.aufirst=PM&rft_id=http%3A%2F%2Fwww.aafp.org%2Fafp%2F2004%2F0601%2Fp2619.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation journal cs1">Jansen, KL (March 6, 1993). <a rel="nofollow" class="external text" href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1676978">"Non-medical use of ketamine"</a>. <a href="/wiki/BMJ" class="mw-redirect" title="BMJ">BMJ</a>. 306 (6878): 601–2. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1136%2Fbmj.306.6878.601">10.1136/bmj.306.6878.601</a>. <a href="/wiki/PMC_(identifier)" class="mw-redirect" title="PMC (identifier)">PMC</a> <a rel="nofollow" class="external text" href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1676978">1676978</a>. <a href="/wiki/PMID_(identifier)" class="mw-redirect" title="PMID (identifier)">PMID</a> <a rel="nofollow" class="external text" href="https://pubmed.ncbi.nlm.nih.gov/8461808">8461808</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=BMJ&rft.atitle=Non-medical+use+of+ketamine&rft.volume=306&rft.issue=6878&rft.pages=601-2&rft.date=1993-03-06&rft_id=https%3A%2F%2Fwww.ncbi.nlm.nih.gov%2Fpmc%2Farticles%2FPMC1676978%23id-name%3DPMC&rft_id=info%3Apmid%2F8461808&rft_id=info%3Adoi%2F10.1136%2Fbmj.306.6878.601&rft.aulast=Jansen&rft.aufirst=KL&rft_id=https%3A%2F%2Fwww.ncbi.nlm.nih.gov%2Fpmc%2Farticles%2FPMC1676978&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"></li> <li><a href="#CITEREFJoe-LaidlerHunt2008">Joe-Laidler & Hunt (2008)</a></li></ul> </li> <li id="cite_note-FOOTNOTEJoe-LaidlerHunt2008-229">^ <a href="#cite_ref-FOOTNOTEJoe-LaidlerHunt2008_229-0">a</a> <a href="#cite_ref-FOOTNOTEJoe-LaidlerHunt2008_229-1">b</a> <a href="#CITEREFJoe-LaidlerHunt2008">Joe-Laidler & Hunt (2008)</a>. </li> <li id="cite_note-KetamineAsEctstasy-230"><a href="#cite_ref-KetamineAsEctstasy_230-0">^</a> Ketamine sold as "ecstasy" references: <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation journal cs1">Tanner-Smith, E.E. (July 2006). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160304044352/http://www.recoveryonpurpose.com/upload/Pharmacology%20of%20Ecstasy.pdf">"Pharmacological content of tablets sold as "ecstasy": Results from an online testing service"</a> (PDF). Drug and Alcohol Dependence. 83 (3): 247–254. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1016%2Fj.drugalcdep.2005.11.016">10.1016/j.drugalcdep.2005.11.016</a>. <a href="/wiki/PMID_(identifier)" class="mw-redirect" title="PMID (identifier)">PMID</a> <a rel="nofollow" class="external text" href="https://pubmed.ncbi.nlm.nih.gov/16364567">16364567</a>. Archived from <a rel="nofollow" class="external text" href="http://www.recoveryonpurpose.com/upload/Pharmacology%20of%20Ecstasy.pdf">the original</a> (PDF) on March 4, 2016. Retrieved November 15, 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Drug+and+Alcohol+Dependence&rft.atitle=Pharmacological+content+of+tablets+sold+as+%22ecstasy%22%3A+Results+from+an+online+testing+service&rft.volume=83&rft.issue=3&rft.pages=247-254&rft.date=2006-07&rft_id=info%3Adoi%2F10.1016%2Fj.drugalcdep.2005.11.016&rft_id=info%3Apmid%2F16364567&rft.aulast=Tanner-Smith&rft.aufirst=E.E.&rft_id=http%3A%2F%2Fwww.recoveryonpurpose.com%2Fupload%2FPharmacology%2520of%2520Ecstasy.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation journal cs1">Copeland, J.; Dillon, P. (2005). "The health and psycho-social consequences of ketamine use". International Journal of Drug Policy. 16 (2): 122–131. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1016%2Fj.drugpo.2004.12.003">10.1016/j.drugpo.2004.12.003</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=International+Journal+of+Drug+Policy&rft.atitle=The+health+and+psycho-social+consequences+of+ketamine+use&rft.volume=16&rft.issue=2&rft.pages=122-131&rft.date=2005&rft_id=info%3Adoi%2F10.1016%2Fj.drugpo.2004.12.003&rft.aulast=Copeland&rft.aufirst=J.&rft.au=Dillon%2C+P.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1">Measham, Fiona; Parker, Howard; Aldridge, Judith (2001). Dancing on Drugs: Risk, Health and Hedonism in the British Club Scene. 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Retrieved January 4, 2017.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=LA+Weekly&rft.atitle=%27EDC%27+Raver+Teen+Sasha+Rodriguez+Died+From+Ecstasy+Use&rft.date=2010-08-31&rft_id=http%3A%2F%2Fwww.laweekly.com%2Fnews%2Fedc-raver-teen-sasha-rodriguez-died-from-ecstasy-use-2386344&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"> </li> <li id="cite_note-trib-edcladeath-234"><a href="#cite_ref-trib-edcladeath_234-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.chicagotribune.com/2014/06/22/man-dies-at-electric-daisy-carnival-in-las-vegas/">"Man dies at Electric Daisy Carnival in Las Vegas"</a>. Chicago Tribune. 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[<a href="/wiki/Wikipedia:Citing_sources#What_information_to_include" title="Wikipedia:Citing sources">full citation needed</a>],</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFikentscher2000" class="citation book cs1">Fikentscher, Kai (2000). 'You Better Work'!: Underground Dance Music in New York. Hanover, NH: <a href="/wiki/Wesleyan_University_Press" title="Wesleyan University Press">Wesleyan University Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780819564047" title="Special:BookSources/9780819564047"><bdi>9780819564047</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=%27You+Better+Work%27%21%3A+Underground+Dance+Music+in+New+York&rft.place=Hanover%2C+NH&rft.pub=Wesleyan+University+Press&rft.date=2000&rft.isbn=9780819564047&rft.aulast=Fikentscher&rft.aufirst=Kai&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHoffmann2004" class="citation book cs1">Hoffmann, Frank (2004). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=-FOSAgAAQBAJ">Encyclopedia of Recorded Sound</a>. Routledge. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-135-94950-1" title="Special:BookSources/978-1-135-94950-1"><bdi>978-1-135-94950-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Encyclopedia+of+Recorded+Sound&rft.pub=Routledge&rft.date=2004&rft.isbn=978-1-135-94950-1&rft.aulast=Hoffmann&rft.aufirst=Frank&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D-FOSAgAAQBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFJoe-LaidlerHunt2008" class="citation journal cs1">Joe-Laidler, K.; Hunt, G. (June 1, 2008). <a rel="nofollow" class="external text" href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2744071">"Sit down to float: The cultural meaning of ketamine use in Hong Kong"</a>. Addiction Research & Theory. 16 (3): 259–271. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F16066350801983673">10.1080/16066350801983673</a>. <a href="/wiki/PMC_(identifier)" class="mw-redirect" title="PMC (identifier)">PMC</a> <a rel="nofollow" class="external text" href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2744071">2744071</a>. <a href="/wiki/PMID_(identifier)" class="mw-redirect" title="PMID (identifier)">PMID</a> <a rel="nofollow" class="external text" href="https://pubmed.ncbi.nlm.nih.gov/19759834">19759834</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Addiction+Research+%26+Theory&rft.atitle=Sit+down+to+float%3A+The+cultural+meaning+of+ketamine+use+in+Hong+Kong&rft.volume=16&rft.issue=3&rft.pages=259-271&rft.date=2008-06-01&rft_id=https%3A%2F%2Fwww.ncbi.nlm.nih.gov%2Fpmc%2Farticles%2FPMC2744071%23id-name%3DPMC&rft_id=info%3Apmid%2F19759834&rft_id=info%3Adoi%2F10.1080%2F16066350801983673&rft.aulast=Joe-Laidler&rft.aufirst=K.&rft.au=Hunt%2C+G.&rft_id=https%3A%2F%2Fwww.ncbi.nlm.nih.gov%2Fpmc%2Farticles%2FPMC2744071&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKoskoff2004" class="citation book cs1">Koskoff, Ellen (2004). Music Cultures in the United States: an Introduction. Routledge. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780415965897" title="Special:BookSources/9780415965897"><bdi>9780415965897</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Music+Cultures+in+the+United+States%3A+an+Introduction&rft.pub=Routledge&rft.date=2004&rft.isbn=9780415965897&rft.aulast=Koskoff&rft.aufirst=Ellen&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRietveld1998" class="citation book cs1">Rietveld, Hillegonda C. (1998). This is Our House: House Music, Cultural Spaces, and Technologies. Popular Cultural Studies. Vol. 13. Ashgate. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781857422429" title="Special:BookSources/9781857422429"><bdi>9781857422429</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=This+is+Our+House%3A+House+Music%2C+Cultural+Spaces%2C+and+Technologies&rft.series=Popular+Cultural+Studies&rft.pub=Ashgate&rft.date=1998&rft.isbn=9781857422429&rft.aulast=Rietveld&rft.aufirst=Hillegonda+C.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"></li> <li>Graham St John, editor. Weekend Societies: Electronic Dance Music Festivals and Event-Cultures, 2017, Bloomsbury Academic</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTrynkaBacon1996" class="citation book cs1">Trynka, Paul; Bacon, Tony, eds. (1996). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=HDrIjd5FQ8QC&pg=RA1-PA1946">Rock Hardware</a>. Balafon Books. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-87930-428-7" title="Special:BookSources/978-0-87930-428-7"><bdi>978-0-87930-428-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Rock+Hardware&rft.pub=Balafon+Books&rft.date=1996&rft.isbn=978-0-87930-428-7&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DHDrIjd5FQ8QC%26pg%3DRA1-PA1946&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+dance+music" class="Z3988"></li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2>[<a href="/w/index.php?title=Electronic_dance_music&action=edit&section=41" title="Edit section: Further reading">edit</a>]</div> <ul><li>Hewitt, Michael. Music Theory for Computer Musicians. 1st Ed. U.S. Cengage Learning, 2008. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-59863-503-4" title="Special:BookSources/978-1-59863-503-4">978-1-59863-503-4</a></li> <li><a rel="nofollow" class="external text" href="https://www.usatoday.com/life/music/news/story/2011-12-13/electronic-music-glossary/51863490/1">"Electronic dance music glossary"</a> by <a href="/wiki/Moby" title="Moby">Moby</a> for <a href="/wiki/USA_Today" title="USA Today">USA Today</a> (December 13, 2011)</li> <li>Simplified guide to the various EDM genres with sample tracks: <a rel="nofollow" class="external text" href="http://www.complex.com/music/2013/03/an-idiots-guide-to-edm-genres">"An Idiot's Guide to EDM Genres"</a></li> <li>Vice Magazine. 2013. Rave Culture, a handy guide for middle America: <a rel="nofollow" class="external text" href="https://www.vice.com/en_uk/read/rave-culture-a-handy-guide-for-middle-america">"Explaining Rave Culture to Americans"</a></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20161109053234/http://thedancemusicguide.com/">"Beat Explorers Dance Music Guide"</a> from <a rel="nofollow" class="external text" href="http://beatexplorers.com/">"BeatExplorers"</a></li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl 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this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Electronica" title="Special:EditPage/Template:Electronica"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Electronic-based_music_styles" style="font-size:114%;margin:0 4em"><a href="/wiki/Electronic_music" title="Electronic music">Electronic</a>-based music styles</div></th></tr><tr><td class="navbox-abovebelow" colspan="2"><div><a class="mw-selflink selflink">Electronic dance music</a> · <a href="/wiki/Electronica" title="Electronica">Electronica</a></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/List_of_electronic_music_genres" title="List of electronic music genres">Genres</a> by <a href="/wiki/Timeline_of_electronic_music_genres" title="Timeline of electronic music genres">decade of origin</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">Early</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Guitar_amplifier" title="Guitar amplifier">Amplified guitar</a> <ul><li><a href="/wiki/Electric_blues" title="Electric blues">Electric blues</a></li> <li><a href="/wiki/Music_of_Hawaii#Guitar_innovations" title="Music of Hawaii">Hawaiian guitar</a></li> <li><a href="/wiki/J%C3%B9j%C3%BA_music" title="Jùjú music">Jùjú</a></li> <li><a href="/wiki/Rock_music" title="Rock music">Rock</a> <ul><li><a href="/wiki/List_of_rock_genres" title="List of rock genres">List of rock genres</a></li></ul></li> <li><a href="/wiki/Western_swing" title="Western swing">Western swing</a></li></ul></li> <li><a href="/wiki/Biomusic" title="Biomusic">Biomusic</a></li> <li><a href="/wiki/Computer_music" title="Computer music">Computer music</a></li> <li><a href="/wiki/Electroacoustic_music" title="Electroacoustic music">Electroacoustic music</a> <ul><li><a href="/wiki/Acousmatic_music" title="Acousmatic music">Acousmatic music</a></li> <li><a href="/wiki/Musique_concr%C3%A8te" title="Musique concrète">Musique concrète</a></li> <li><a href="/wiki/Tape_music" class="mw-redirect" title="Tape music">Tape music</a></li></ul></li> <li><a href="/wiki/Elektronische_Musik" class="mw-redirect" title="Elektronische Musik">Elektronische Musik</a></li> <li><a href="/wiki/Live_electronic_music" title="Live electronic music">Live electronics</a></li> <li><a href="/wiki/Noise_music" title="Noise music">Noise</a></li> <li><a href="/wiki/Sound_system_(Jamaican)" title="Sound system (Jamaican)">Sound system (Jamaican)</a></li> <li><a href="/wiki/Space_age_pop" title="Space age pop">Space age pop</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1960s</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Ambient_music" title="Ambient music">Ambient</a></li> <li><a href="/wiki/Drone_music" title="Drone music">Drone</a></li> <li><a href="/wiki/Dub_music" title="Dub music">Dub</a></li> <li><a href="/wiki/Electronic_rock" title="Electronic rock">Electronic rock</a></li> <li><a href="/wiki/Jazz-funk" title="Jazz-funk">Jazz-funk</a></li> <li><a href="/wiki/Krautrock" title="Krautrock">Krautrock</a></li> <li><a href="/wiki/New-age_music" title="New-age music">New-age music</a></li> <li><a href="/wiki/Progressive_rock" title="Progressive rock">Progressive rock</a></li> <li><a href="/wiki/Psychedelic_music" title="Psychedelic music">Psychedelic music</a> <ul><li><a href="/wiki/Psychedelic_funk" title="Psychedelic funk">Psychedelic funk</a></li> <li><a href="/wiki/Psychedelic_rock" title="Psychedelic rock">Psychedelic rock</a></li> <li><a href="/wiki/Sampledelia" title="Sampledelia">Sampledelia</a></li></ul></li> <li><a href="/wiki/Space_music" title="Space music">Space music</a> <ul><li><a href="/wiki/Space_rock" title="Space rock">Space rock</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1970s</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Afro/cosmic_music" title="Afro/cosmic music">Afro/cosmic music</a> <ul><li><a href="/wiki/Space_disco" class="mw-redirect" title="Space disco">Space disco</a></li></ul></li> <li><a href="/wiki/Boogie_(genre)" title="Boogie (genre)">Boogie</a></li> <li><a href="/wiki/Chiptune" title="Chiptune">Chiptune</a></li> <li><a href="/wiki/Dancehall" title="Dancehall">Dancehall</a></li> <li><a href="/wiki/Electropunk" class="mw-redirect" title="Electropunk">Electropunk</a></li> <li><a href="/wiki/Eurodisco" title="Eurodisco">Eurodisco</a></li> <li><a href="/wiki/Hi-NRG" title="Hi-NRG">Hi-NRG</a></li> <li><a href="/wiki/Industrial_music" title="Industrial music">Industrial</a> <ul><li><a href="/wiki/Industrial_rock" title="Industrial rock">Industrial rock</a></li></ul></li> <li><a href="/wiki/Japanoise" title="Japanoise">Japanoise</a></li> <li><a href="/wiki/New_wave_music" title="New wave music">New wave</a> <ul><li><a href="/wiki/Cold_wave_(music)" title="Cold wave (music)">Cold wave</a></li> <li><a href="/wiki/Dark_wave" title="Dark wave">Dark wave</a></li> <li><a href="/wiki/Minimal_wave" title="Minimal wave">Minimal wave</a></li></ul></li> <li><a href="/wiki/Post-disco" title="Post-disco">Post-disco</a> <ul><li><a href="/wiki/Dance-punk" title="Dance-punk">Dance-punk</a></li> <li><a href="/wiki/Dance-rock" title="Dance-rock">Dance-rock</a></li> <li><a href="/wiki/Italo_disco" title="Italo disco">Italo disco</a></li></ul></li> <li><a href="/wiki/Reggae_fusion" title="Reggae fusion">Reggae fusion</a></li> <li><a href="/wiki/Synth-pop" title="Synth-pop">Synth-pop</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1980s</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Acid_jazz" title="Acid jazz">Acid jazz</a></li> <li><a href="/wiki/Alternative_dance" title="Alternative dance">Alternative dance</a> <ul><li><a href="/wiki/Baggy" title="Baggy">Baggy</a></li></ul></li> <li><a href="/wiki/Ambient_pop" class="mw-redirect" title="Ambient pop">Ambient pop</a></li> <li><a href="/wiki/Breakbeat" title="Breakbeat">Breakbeat</a> <ul><li><a href="/wiki/Florida_breaks" title="Florida breaks">Florida breaks</a></li></ul></li> <li><a href="/wiki/Contemporary_R%26B" title="Contemporary R&B">Contemporary R&B</a> <ul><li><a href="/wiki/New_jack_swing" title="New jack swing">New jack swing</a></li></ul></li> <li><a href="/wiki/Dark_ambient" title="Dark ambient">Dark ambient</a></li> <li><a href="/wiki/Dubtronica" title="Dubtronica">Dubtronica</a></li> <li><a href="/wiki/Electro_(music)" title="Electro (music)">Electro</a> <ul><li><a href="/wiki/Freestyle_music" title="Freestyle music">Freestyle</a></li></ul></li> <li><a href="/wiki/Electro-industrial" title="Electro-industrial">Electro-industrial</a> <ul><li><a href="/wiki/Electronic_body_music" title="Electronic body music">Electronic body music</a></li></ul></li> <li><a href="/wiki/Electropop" title="Electropop">Electropop</a></li> <li><a href="/wiki/Ethnic_electronica" title="Ethnic electronica">Ethnic electronica</a> <ul><li><a href="/wiki/Funk_carioca" title="Funk carioca">Funk carioca</a></li> <li><a href="/wiki/Kuduro" title="Kuduro">Kuduro</a></li> <li><a href="/wiki/Kwaito" title="Kwaito">Kwaito</a></li> <li><a href="/wiki/Tecnocumbia" title="Tecnocumbia">Tecnocumbia</a></li> <li><a href="/wiki/Turbo-folk" title="Turbo-folk">Turbo-folk</a></li></ul></li> <li><a href="/wiki/Eurobeat" title="Eurobeat">Eurobeat</a></li> <li><a href="/wiki/Eurodance" title="Eurodance">Eurodance</a></li> <li><a href="/wiki/Grebo_(music)" title="Grebo (music)">Grebo</a></li> <li><a href="/wiki/House_music" title="House music">House</a> <ul><li><a href="/wiki/Acid_house" title="Acid house">Acid</a></li> <li><a href="/wiki/Ambient_house" title="Ambient house">Ambient</a></li> <li><a href="/wiki/Balearic_beat" title="Balearic beat">Balearic beat</a></li> <li><a href="/wiki/Chicago_house" title="Chicago house">Chicago</a></li> <li><a href="/wiki/Deep_house" title="Deep house">Deep</a></li> <li><a href="/wiki/Garage_house" title="Garage house">Garage</a></li> <li><a href="/wiki/Funky_house" title="Funky house">Funky</a></li> <li><a href="/wiki/Italo_house" title="Italo house">Italo</a></li> <li><a href="/wiki/New_Jersey_sound" title="New Jersey sound">Jersey sound</a></li> <li><a href="/wiki/Hip_house" title="Hip house">Hip house</a></li> <li><a href="/wiki/Latin_house" title="Latin house">Latin</a></li> <li><a href="/wiki/Tech_house" title="Tech house">Tech</a></li> <li><a href="/wiki/Tribal_house" title="Tribal house">Tribal</a></li></ul></li> <li><a href="/wiki/Industrial_hip_hop" title="Industrial hip hop">Industrial hip hop</a></li> <li><a href="/wiki/Industrial_metal" title="Industrial metal">Industrial metal</a></li> <li><a href="/wiki/Martial_industrial" title="Martial industrial">Martial industrial</a></li> <li><a href="/wiki/Miami_bass" title="Miami bass">Miami bass</a></li> <li><a href="/wiki/New_beat" title="New beat">New beat</a></li> <li><a href="/wiki/Power_electronics_(music)" class="mw-redirect" title="Power electronics (music)">Power electronics</a></li> <li><a href="/wiki/Ragga" title="Ragga">Ragga</a></li> <li><a href="/wiki/Sophisti-pop" title="Sophisti-pop">Sophisti-pop</a></li> <li><a href="/wiki/Synth-metal" class="mw-redirect" title="Synth-metal">Synth-metal</a></li> <li><a href="/wiki/Techno" title="Techno">Techno</a> <ul><li><a href="/wiki/Acid_techno" title="Acid techno">Acid techno</a></li> <li><a href="/wiki/Bleep_techno" title="Bleep techno">Bleep techno</a></li> <li><a href="/wiki/Detroit_techno" title="Detroit techno">Detroit techno</a></li></ul></li> <li><a href="/wiki/Tracker_music" class="mw-redirect" title="Tracker music">Tracker music</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1990s</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Ambient_dub" class="mw-redirect" title="Ambient dub">Ambient dub</a></li> <li><a href="/wiki/Ambient_techno" title="Ambient techno">Ambient techno</a></li> <li><a href="/wiki/Asian_underground" class="mw-redirect" title="Asian underground">Asian underground</a></li> <li><a href="/wiki/Baltimore_club" title="Baltimore club">Baltimore club</a></li> <li><a href="/wiki/Bhangragga" class="mw-redirect" title="Bhangragga">Bhangragga</a></li> <li><a href="/wiki/Big_beat" title="Big beat">Big beat</a></li> <li><a href="/wiki/Bitpop" title="Bitpop">Bitpop</a></li> <li><a href="/wiki/Breakbeat_hardcore" title="Breakbeat hardcore">Breakbeat hardcore</a> <ul><li><a href="/wiki/Darkcore" title="Darkcore">Darkcore</a></li> <li><a href="/wiki/Happy_hardcore" title="Happy hardcore">Happy hardcore</a></li> <li><a href="/wiki/Toytown_techno" title="Toytown techno">Toytown techno</a></li></ul></li> <li><a href="/wiki/Broken_beat" title="Broken beat">Broken beat</a></li> <li><a href="/wiki/Changa_tuki" class="mw-redirect" title="Changa tuki">Changa tuki</a></li> <li><a href="/wiki/Chopped_and_screwed" title="Chopped and screwed">Chopped and screwed</a></li> <li><a href="/wiki/Dark_electro" class="mw-redirect" title="Dark electro">Dark electro</a></li> <li><a href="/wiki/Denpa_song" title="Denpa song">Denpa song</a></li> <li><a href="/wiki/Digital_hardcore" title="Digital hardcore">Digital hardcore</a></li> <li><a href="/wiki/Disco_polo" title="Disco polo">Disco polo</a></li> <li><a href="/wiki/Diva_house" title="Diva house">Diva house</a> <ul><li><a href="/wiki/Hardbag" title="Hardbag">Hardbag</a></li></ul></li> <li><a href="/wiki/Downtempo" title="Downtempo">Downtempo</a> <ul><li><a href="/wiki/Bristol_sound" class="mw-redirect" title="Bristol sound">Bristol sound</a></li> <li><a href="/wiki/Psybient" class="mw-redirect" title="Psybient">Psybient</a></li> <li><a href="/wiki/Trip_hop" title="Trip hop">Trip hop</a></li></ul></li> <li><a href="/wiki/Drum_and_bass" title="Drum and bass">Drum and bass</a> <ul><li>Heavy <ul><li><a href="/wiki/Darkstep" class="mw-redirect" title="Darkstep">Darkstep</a></li> <li><a href="/wiki/Hardstep" title="Hardstep">Hardstep</a></li> <li><a href="/wiki/Neurofunk" title="Neurofunk">Neurofunk</a></li> <li><a href="/wiki/Techstep" title="Techstep">Techstep</a></li></ul></li> <li><a href="/wiki/Jungle_music" title="Jungle music">Jungle</a> <ul><li><a href="/wiki/Ragga_jungle" class="mw-redirect" title="Ragga jungle">Ragga jungle</a></li></ul></li> <li>Light <ul><li><a href="/wiki/Atmospheric_drum_and_bass" class="mw-redirect" title="Atmospheric drum and bass">Atmospheric</a></li> <li><a href="/wiki/Intelligent_drum_and_bass" class="mw-redirect" title="Intelligent drum and bass">Intelligent</a></li> <li><a href="/wiki/Jazzstep" class="mw-redirect" title="Jazzstep">Jazzstep</a></li> <li><a href="/wiki/Liquid_funk" title="Liquid funk">Liquid funk</a></li></ul></li></ul></li> <li><a href="/wiki/Dub_techno" title="Dub techno">Dub techno</a></li> <li><a href="/wiki/Dungeon_synth" title="Dungeon synth">Dungeon synth</a></li> <li><a href="/wiki/Electroclash" title="Electroclash">Electroclash</a></li> <li><a href="/wiki/Folktronica" title="Folktronica">Folktronica</a></li> <li><a href="/wiki/French_house" title="French house">French house</a> <ul><li><a href="/wiki/Nu_disco" class="mw-redirect" title="Nu disco">Nu disco</a></li></ul></li> <li><a href="/wiki/Funkot" title="Funkot">Funkot</a></li> <li><a href="/wiki/Futurepop" title="Futurepop">Futurepop</a></li> <li><a href="/wiki/Ghetto_house" title="Ghetto house">Ghetto house</a> <ul><li><a href="/wiki/Footwork_(genre)" title="Footwork (genre)">Footwork</a></li> <li><a href="/wiki/Ghettotech" title="Ghettotech">Ghettotech</a></li></ul></li> <li><a href="/wiki/Glitch_(music)" title="Glitch (music)">Glitch</a></li> <li><a href="/wiki/Hardcore_(electronic_dance_music_genre)" title="Hardcore (electronic dance music genre)">Hardcore</a> <ul><li><a href="/wiki/Belgian_hardcore_techno" title="Belgian hardcore techno">Belgian techno</a></li> <li><a href="/wiki/Bouncy_techno" title="Bouncy techno">Bouncy techno</a></li> <li><a href="/wiki/Breakcore" title="Breakcore">Breakcore</a></li> <li><a href="/wiki/Free_tekno_(music)" class="mw-redirect" title="Free tekno (music)">Free tekno</a></li> <li><a href="/wiki/Frenchcore" title="Frenchcore">Frenchcore</a></li> <li><a href="/wiki/Gabber" title="Gabber">Gabber</a></li> <li><a href="/wiki/Hardstyle" title="Hardstyle">Hardstyle</a> <ul><li><a href="/wiki/Lento_violento" title="Lento violento">Lento violento</a></li></ul></li> <li><a href="/wiki/J-core" title="J-core">J-core</a></li> <li><a href="/wiki/M%C3%A1kina" title="Mákina">Mákina</a></li> <li><a href="/wiki/Speedcore" title="Speedcore">Speedcore</a></li></ul></li> <li><a href="/wiki/Harsh_noise_wall" title="Harsh noise wall">Harsh noise wall</a></li> <li><a href="/wiki/Illbient" title="Illbient">Illbient</a></li> <li><a href="/wiki/Indietronica" class="mw-redirect" title="Indietronica">Indietronica</a></li> <li><a href="/wiki/Industrial_techno" title="Industrial techno">Industrial techno</a></li> <li><a href="/wiki/Intelligent_dance_music" title="Intelligent dance music">Intelligent dance music</a> <ul><li><a href="/wiki/Drill_%27n%27_bass" title="Drill 'n' bass">Drill 'n' bass</a></li></ul></li> <li><a href="/wiki/Kidandali" title="Kidandali">Kidandali</a></li> <li><a href="/wiki/Jam_band#1996–2008:_rise_of_Phish_and_music_festivals" title="Jam band">Livetronica</a></li> <li><a href="/wiki/Merenhouse" title="Merenhouse">Merenhouse</a></li> <li><a href="/wiki/Microhouse" title="Microhouse">Microhouse</a></li> <li><a href="/wiki/Minimal_techno" title="Minimal techno">Minimal techno</a> <ul><li><a href="/wiki/Schaffel" title="Schaffel">Schaffel</a></li></ul></li> <li><a href="/wiki/Nu_jazz" title="Nu jazz">Nu jazz</a> <ul><li><a href="/wiki/Electro_swing" title="Electro swing">Electro swing</a></li></ul></li> <li><a href="/wiki/Nu_metal" title="Nu metal">Nu metal</a></li> <li><a href="/wiki/Nu_skool_breaks" title="Nu skool breaks">Nu skool breaks</a></li> <li><a href="/wiki/Post-rock" title="Post-rock">Post-rock</a></li> <li><a href="/wiki/Power_noise" title="Power noise">Power noise</a></li> <li><a href="/wiki/Progressive_house" title="Progressive house">Progressive house</a></li> <li><a href="/wiki/Psydub" title="Psydub">Psydub</a></li> <li><a href="/wiki/Reggaeton" title="Reggaeton">Reggaeton</a> <ul><li><a href="/wiki/Dembow" class="mw-redirect" title="Dembow">Dembow</a></li></ul></li> <li><a href="/wiki/Trance_music" title="Trance music">Trance</a> <ul><li><a href="/wiki/Acid_trance" title="Acid trance">Acid</a></li> <li><a href="/wiki/Balearic_trance" title="Balearic trance">Balearic</a></li> <li><a href="/wiki/Dream_trance" title="Dream trance">Dream</a></li> <li><a href="/wiki/Goa_trance" title="Goa trance">Goa</a></li> <li><a href="/wiki/Eurodance#Hands_Up" title="Eurodance">Hands Up</a></li> <li><a href="/wiki/Hard_trance" title="Hard trance">Hard</a></li> <li><a href="/wiki/Progressive_trance" class="mw-redirect" title="Progressive trance">Progressive</a></li> <li><a href="/wiki/Psychedelic_trance" title="Psychedelic trance">Psy</a></li> <li><a href="/wiki/Tech_trance" title="Tech trance">Tech</a></li> <li><a href="/wiki/Uplifting_trance" title="Uplifting trance">Uplifting</a></li> <li><a href="/wiki/Vocal_trance" class="mw-redirect" title="Vocal trance">Vocal</a></li></ul></li> <li><a href="/wiki/UK_garage" title="UK garage">UK garage</a> <ul><li><a href="/wiki/2-step_garage" title="2-step garage">2-step</a></li> <li><a href="/wiki/Breakstep" title="Breakstep">Breakstep</a></li> <li><a href="/wiki/Speed_garage" title="Speed garage">Speed garage</a></li></ul></li> <li><a href="/wiki/UK_hard_house" title="UK hard house">UK hard house</a> <ul><li><a href="/wiki/Hardbass" title="Hardbass">Hardbass</a></li> <li><a href="/wiki/Hard_NRG" title="Hard NRG">Hard NRG</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">2000s</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Afrobeats" title="Afrobeats">Afrobeats</a></li> <li><a href="/wiki/Bassline_(music_genre)" title="Bassline (music genre)">Bassline</a></li> <li><a href="/wiki/Budots" title="Budots">Budots</a></li> <li><a href="/wiki/Christian_electronic_dance_music" title="Christian electronic dance music">Christian electronic dance music</a></li> <li><a href="/wiki/Cloud_rap" title="Cloud rap">Cloud rap</a></li> <li><a href="/wiki/Coup%C3%A9-d%C3%A9cal%C3%A9" title="Coupé-décalé">Coupé-décalé</a></li> <li><a href="/wiki/Crunk" title="Crunk">Crunk</a> <ul><li><a href="/wiki/Crunkcore" title="Crunkcore">Crunkcore</a></li></ul></li> <li><a href="/wiki/Dancehall_pop" title="Dancehall pop">Dancehall pop</a></li> <li><a href="/wiki/Dubstep" title="Dubstep">Dubstep</a> <ul><li><a href="/wiki/Reggaestep" title="Reggaestep">Reggaestep</a></li></ul></li> <li><a href="/wiki/Electro_house" title="Electro house">Electro house</a> <ul><li><a href="/wiki/Complextro" class="mw-redirect" title="Complextro">Complextro</a></li> <li><a href="/wiki/Dutch_house" class="mw-redirect" title="Dutch house">Dutch house</a></li> <li><a href="/wiki/Fidget_house" class="mw-redirect" title="Fidget house">Fidget house</a></li></ul></li> <li><a href="/wiki/Electronicore" title="Electronicore">Electronicore</a></li> <li><a href="/wiki/Future_garage" title="Future garage">Future garage</a></li> <li><a href="/wiki/Grime_(music_genre)" class="mw-redirect" title="Grime (music genre)">Grime</a> <ul><li><a href="/wiki/Grindie" title="Grindie">Grindie</a></li></ul></li> <li><a href="/wiki/Hauntology_(music)" title="Hauntology (music)">Hauntology</a></li> <li><a href="/wiki/Hypnagogic_pop" title="Hypnagogic pop">Hypnagogic pop</a> <ul><li><a href="/wiki/Chillwave" title="Chillwave">Chillwave</a></li> <li><a href="/wiki/Glo-fi" class="mw-redirect" title="Glo-fi">Glo-fi</a></li></ul></li> <li><a href="/wiki/Jersey_club" title="Jersey club">Jersey club</a></li> <li><a href="/wiki/Juke_house" class="mw-redirect" title="Juke house">Juke house</a></li> <li><a href="/wiki/Jumpstyle" title="Jumpstyle">Jumpstyle</a></li> <li><a href="/wiki/Mainstream_hardcore" title="Mainstream hardcore">Mainstream hardcore</a></li> <li><a href="/wiki/Nightcore" title="Nightcore">Nightcore</a></li> <li><a href="/wiki/Nintendocore" title="Nintendocore">Nintendocore</a></li> <li><a href="/wiki/Nortec" title="Nortec">Nortec</a></li> <li><a href="/wiki/Phonk" title="Phonk">Phonk</a></li> <li><a href="/wiki/Post-punk_revival" title="Post-punk revival">Post-punk revival</a> <ul><li><a href="/wiki/New_rave" title="New rave">New rave</a></li></ul></li> <li><a href="/wiki/Rab%C3%B2day" title="Rabòday">Rabòday</a></li> <li><a href="/wiki/Reductionism_(music)" title="Reductionism (music)">Reductionism</a> <ul><li><a href="/wiki/Lowercase_(music)" title="Lowercase (music)">Lowercase</a></li> <li><a href="/wiki/Onkyokei" title="Onkyokei">Onkyokei</a></li></ul></li> <li><a href="/wiki/Russ_music" title="Russ music">Russ music</a></li> <li><a href="/wiki/Sambass" title="Sambass">Sambass</a></li> <li><a href="/wiki/Shangaan_electro" title="Shangaan electro">Shangaan electro</a></li> <li><a href="/wiki/Skweee" title="Skweee">Skweee</a></li> <li><a href="/wiki/Synthwave" title="Synthwave">Synthwave</a> <ul><li><a href="/wiki/Sovietwave" title="Sovietwave">Sovietwave</a></li></ul></li> <li><a href="/wiki/Tecno_brega" title="Tecno brega">Tecno brega</a></li> <li><a href="/wiki/Trival" class="mw-redirect" title="Trival">Trival</a></li> <li><a href="/wiki/UK_bass" title="UK bass">UK bass</a></li> <li><a href="/wiki/UK_funky" title="UK funky">UK funky</a> <ul><li><a href="/wiki/Funkstep" title="Funkstep">Funkstep</a></li></ul></li> <li><a href="/wiki/Vocaloid_music" class="mw-redirect" title="Vocaloid music">Vocaloid music</a></li> <li><a href="/wiki/Witch_house_(genre)" title="Witch house (genre)">Witch house</a></li> <li><a href="/wiki/Wonky_(genre)" title="Wonky (genre)">Wonky</a></li> <li><a href="/wiki/Wonky_pop" title="Wonky pop">Wonky pop</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">2010s</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Afroswing" title="Afroswing">Afroswing</a></li> <li><a href="/wiki/Algorave" title="Algorave">Algorave</a></li> <li><a href="/wiki/Amapiano" title="Amapiano">Amapiano</a></li> <li><a href="/wiki/Azonto" title="Azonto">Azonto</a></li> <li><a href="/wiki/Big_room_house" title="Big room house">Big room house</a></li> <li><a href="/wiki/Black_MIDI" title="Black MIDI">Black MIDI</a></li> <li><a href="/wiki/Brazilian_bass" class="mw-redirect" title="Brazilian bass">Brazilian bass</a></li> <li><a href="/wiki/Bro-country" title="Bro-country">Bro-country</a></li> <li><a href="/wiki/Deconstructed_club" title="Deconstructed club">Deconstructed club</a></li> <li><a href="/wiki/Dreampunk" title="Dreampunk">Dreampunk</a></li> <li><a href="/wiki/Funktronica" class="mw-redirect" title="Funktronica">Funktronica</a></li> <li><a href="/wiki/Future_bass" title="Future bass">Future bass</a> <ul><li><a href="/wiki/Kawaii_future_bass" class="mw-redirect" title="Kawaii future bass">Kawaii future bass</a></li></ul></li> <li><a href="/wiki/Future_house" title="Future house">Future house</a></li> <li><a href="/wiki/Future_soul" title="Future soul">Future soul</a></li> <li><a href="/wiki/Hyperpop" title="Hyperpop">Hyperpop</a></li> <li><a href="/wiki/Gqom" title="Gqom">Gqom</a></li> <li><a href="/wiki/Jungle_terror" class="mw-redirect" title="Jungle terror">Jungle terror</a></li> <li><a href="/wiki/Lofi_hip_hop" title="Lofi hip hop">Lofi hip hop</a></li> <li><a href="/wiki/Mahraganat" title="Mahraganat">Mahraganat</a></li> <li><a href="/wiki/Melbourne_bounce" class="mw-redirect" title="Melbourne bounce">Melbourne bounce</a></li> <li><a href="/wiki/Moombahton" title="Moombahton">Moombahton</a> <ul><li><a href="/wiki/Moombahcore" class="mw-redirect" title="Moombahcore">Moombahcore</a></li> <li><a href="/wiki/Moombahsoul" class="mw-redirect" title="Moombahsoul">Moombahsoul</a></li></ul></li> <li><a href="/wiki/Mumble_rap" title="Mumble rap">Mumble rap</a></li> <li><a href="/wiki/Outsider_house" title="Outsider house">Outsider house</a></li> <li><a href="/wiki/Plugg_(music)" class="mw-redirect" title="Plugg (music)">Plugg</a></li> <li><a href="/wiki/Post-dubstep" title="Post-dubstep">Post-dubstep</a> <ul><li><a href="/wiki/Brostep" title="Brostep">Brostep</a></li> <li><a href="/wiki/Riddim_(genre)" title="Riddim (genre)">Riddim (genre)</a></li></ul></li> <li><a href="/wiki/Rara_tech" title="Rara tech">Rara tech</a></li> <li><a href="/wiki/Seapunk" title="Seapunk">Seapunk</a></li> <li><a href="/wiki/Shamstep" title="Shamstep">Shamstep</a></li> <li><a href="/wiki/Trap_music_(EDM)" class="mw-redirect" title="Trap music (EDM)">EDM trap</a></li> <li><a href="/wiki/Tropical_house" title="Tropical house">Tropical house</a></li> <li><a href="/wiki/Vaporwave" title="Vaporwave">Vaporwave</a> <ul><li><a href="/wiki/Hardvapour" title="Hardvapour">Hardvapour</a></li> <li><a href="/wiki/Mallsoft" title="Mallsoft">Mallsoft</a></li> <li><a href="/wiki/Chopped_%26_screwed#Slowed_and_reverb" class="mw-redirect" title="Chopped & screwed">Slowed and reverb</a></li></ul></li> <li><a href="/wiki/Wave_music" title="Wave music">Wave</a> <ul><li><a href="/wiki/Hardwave" class="mw-redirect" title="Hardwave">Hardwave</a></li></ul></li> <li><a href="/wiki/Weird_SoundCloud" title="Weird SoundCloud">Weird SoundCloud</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">2020s</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Breakcore#2020s_revival" title="Breakcore">Breakcore revival</a></li> <li><a href="/wiki/Drift_phonk" class="mw-redirect" title="Drift phonk">Drift phonk</a></li> <li><a href="/wiki/Hyperpop#Related_genres" title="Hyperpop">Hyperpop microgenres</a></li> <li><a href="/wiki/Plugg_(music)#Proliferation_of_micro-subgenres" class="mw-redirect" title="Plugg (music)">Plugg microgenres</a></li> <li><a href="/wiki/Rage_rap" class="mw-redirect" title="Rage rap">Rage</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other topics</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">Culture</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Drop_(music)" title="Drop (music)">Beat drop</a></li> <li><a href="/wiki/Club_drug" title="Club drug">Club drug</a></li> <li><a href="/wiki/Disc_jockey" title="Disc jockey">Disc jockey</a> <ul><li><a href="/wiki/DJ_mix" title="DJ mix">DJ mix</a></li> <li><a href="/wiki/Sound_system_(DJ)" title="Sound system (DJ)">Sound system</a></li> <li><a href="/wiki/Turntablism" title="Turntablism">Turntablism</a></li></ul></li> <li><a href="/wiki/Mashup_(music)" title="Mashup (music)">Mashup</a></li> <li><a href="/wiki/Microgenre" title="Microgenre">Microgenre</a></li> <li><a href="/wiki/Nightclub" title="Nightclub">Nightclub</a></li> <li><a href="/wiki/Rave" title="Rave">Rave</a> <ul><li><a href="/wiki/Acid_house_party" title="Acid house party">Acid house party</a></li> <li><a href="/wiki/Circuit_party" title="Circuit party">Circuit party</a></li> <li><a href="/wiki/Doof" title="Doof">Doof</a></li> <li><a href="/wiki/List_of_electronic_dance_music_festivals" class="mw-redirect" title="List of electronic dance music festivals">EDM festival</a></li> <li><a href="/wiki/Free_party" title="Free party">Free party</a> <ul><li><a href="/wiki/Teknival" title="Teknival">Teknival</a></li></ul></li></ul></li> <li><a href="/wiki/Remix" title="Remix">Remix</a></li> <li><a href="/wiki/Sampling_(music)" title="Sampling (music)">Sampling</a> <ul><li><a href="/wiki/Plunderphonics" title="Plunderphonics">Plunderphonics</a></li> <li><a href="/wiki/Rare_groove" title="Rare groove">Rare groove</a></li> <li><a href="/wiki/Riddim" title="Riddim">Riddim</a></li></ul></li> <li><a href="/wiki/Street_dance" title="Street dance">Street dance</a> <ul><li><a href="/wiki/House_dance" title="House dance">House dance</a></li> <li><a href="/wiki/Rave_dance" class="mw-redirect" title="Rave dance">Rave dance</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Genres</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Bass_music" title="Bass music">Bass music</a></li> <li><a href="/wiki/Celtic_fusion" title="Celtic fusion">Celtic fusion</a></li> <li><a href="/wiki/Chill-out_music" title="Chill-out music">Chill-out music</a> <ul><li><a href="/wiki/Lounge_music" title="Lounge music">Lounge music</a></li></ul></li> <li><a href="/wiki/Disco" title="Disco">Disco</a></li> <li><a href="/wiki/Doujin_music" title="Doujin music">Doujin music</a></li> <li><a href="/wiki/Lo-fi_music" title="Lo-fi music">Lo-fi music</a></li> <li><a href="/wiki/Madchester" title="Madchester">Madchester</a></li> <li><a href="/wiki/Progressive_electronica" class="mw-redirect" title="Progressive electronica">Progressive electronica</a></li> <li><a href="/wiki/Rave_music" class="mw-redirect" title="Rave music">Rave music</a></li> <li><a href="/wiki/Reggae" title="Reggae">Reggae</a></li> <li><a href="/wiki/Sound_collage" title="Sound collage">Sound collage</a></li> <li><a href="/wiki/Video_game_music" title="Video game music">Video game music</a> <ul><li><a href="/wiki/Adaptive_music" title="Adaptive music">Adaptive music</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Tools</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Bass_(sound)#Music_shows_and_dances" title="Bass (sound)">Bass</a></li> <li><a href="/wiki/Data_sonification" title="Data sonification">Data sonification</a></li> <li><a href="/wiki/Digital_audio_workstation" title="Digital audio workstation">Digital audio workstation</a></li> <li><a href="/wiki/Drum_break" class="mw-redirect" title="Drum break">Drum break</a> <ul><li><a href="/wiki/Category:Sampled_drum_breaks" title="Category:Sampled drum breaks">List</a></li></ul></li> <li><a href="/wiki/Electronic_musical_instrument" title="Electronic musical instrument">Electronic musical instrument</a> <ul><li><a href="/wiki/Drum_machine" title="Drum machine">Drum machine</a></li> <li><a href="/wiki/Sampler_(musical_instrument)" title="Sampler (musical instrument)">Sampler</a></li> <li><a href="/wiki/Synthesizer" title="Synthesizer">Synthesizer</a></li></ul></li> <li><a href="/wiki/Electronics_in_rock_music" title="Electronics in rock music">Electronics in rock music</a></li> <li><a href="/wiki/MIDI" title="MIDI">MIDI</a></li> <li><a href="/wiki/Music_technology_(electronic_and_digital)" title="Music technology (electronic and digital)">Music technology (electronic and digital)</a></li> <li><a href="/wiki/Recording_studio_as_an_instrument" title="Recording studio as an instrument">Recording studio as an instrument</a></li> <li><a href="/wiki/Waveform" title="Waveform">Waveform</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"><style data-mw-deduplicate="TemplateStyles:r1038841319">.mw-parser-output .tooltip-dotted{border-bottom:1px dotted;cursor:help}</style></div><div role="navigation" class="navbox authority-control" aria-labelledby="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q851213#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q851213#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata" style="font-size:114%;margin:0 4em"><a href="/wiki/Help:Authority_control" title="Help:Authority control">Authority control databases</a> <a href="https://www.wikidata.org/wiki/Q851213#identifiers" title="Edit this at Wikidata"><img alt="Edit this at Wikidata" src="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png" decoding="async" width="10" height="10" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/15px-OOjs_UI_icon_edit-ltr-progressive.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/20px-OOjs_UI_icon_edit-ltr-progressive.svg.png 2x" data-file-width="20" data-file-height="20" /></a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">International</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><a rel="nofollow" class="external text" href="http://id.worldcat.org/fast/1160932/">FAST</a></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">National</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><a rel="nofollow" class="external text" href="https://id.loc.gov/authorities/sh00000588">United States</a></li><li><a rel="nofollow" class="external text" href="https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=ph114446&CON_LNG=ENG">Czech Republic</a></li><li><a rel="nofollow" class="external text" href="https://kopkatalogs.lv/F?func=direct&local_base=lnc10&doc_number=000160559&P_CON_LNG=ENG">Latvia</a></li><li><a rel="nofollow" class="external text" href="http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987011340552705171">Israel</a></li></ul></div></td></tr></tbody></table></div>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1" alt="" width="1" height="1" style="border: none; position: 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1,\n [\"CITEREFSanneh2001\"] = 1,\n [\"CITEREFSarah_Maloy2012\"] = 1,\n [\"CITEREFShapiro2000\"] = 1,\n [\"CITEREFSisario,_Ben2015\"] = 1,\n [\"CITEREFSisario2016\"] = 1,\n [\"CITEREFTaylor2004\"] = 1,\n [\"CITEREFToop1995\"] = 1,\n [\"CITEREFTruesdell2007\"] = 1,\n [\"CITEREFTrynkaBacon1996\"] = 1,\n [\"CITEREFValerie_Lee2014\"] = 1,\n [\"CITEREFWalzer2016\"] = 1,\n [\"CITEREFWarren2007\"] = 1,\n [\"CITEREFWatsUpTV2019\"] = 1,\n [\"CITEREFWilliam_Rauscher2010\"] = 1,\n [\"CITEREFZalokar\"] = 1,\n [\"CITEREFZel_McCarthy2013\"] = 1,\n}\ntemplate_list = table#1 {\n [\"!\"] = 4,\n [\"AllMusic\"] = 1,\n [\"Authority control\"] = 1,\n [\"Better source needed\"] = 1,\n [\"Cbignore\"] = 1,\n [\"Citation\"] = 2,\n [\"Citation needed\"] = 4,\n [\"Cite book\"] = 23,\n [\"Cite journal\"] = 16,\n [\"Cite magazine\"] = 18,\n [\"Cite news\"] = 67,\n [\"Cite web\"] = 92,\n [\"Dead link\"] = 2,\n [\"Discogs master\"] = 1,\n [\"Discogs release\"] = 2,\n [\"Electronica\"] = 1,\n [\"Full citation needed\"] = 1,\n [\"Harvid\"] = 1,\n [\"Harvnb\"] = 2,\n [\"Harvp\"] = 2,\n [\"ISBN\"] = 6,\n [\"ISSN\"] = 1,\n [\"Main\"] = 14,\n [\"Main article\"] = 2,\n [\"Nowrap\"] = 1,\n [\"Page needed\"] = 1,\n [\"Pipe\"] = 4,\n [\"Refbegin\"] = 1,\n [\"Refend\"] = 1,\n [\"Reflist\"] = 2,\n [\"Refn\"] = 2,\n [\"See also\"] = 16,\n [\"Sfn\"] = 1,\n [\"Sfnp\"] = 10,\n [\"Short description\"] = 1,\n [\"Use mdy dates\"] = 1,\n [\"Verify source\"] = 1,\n [\"Webarchive\"] = 20,\n [\"Wikicite\"] = 1,\n}\narticle_whitelist = table#1 {\n}\n","limitreport-profile":[["MediaWiki\\Extension\\Scribunto\\Engines\\LuaSandbox\\LuaSandboxCallback::callParserFunction","240","13.0"],["?","160","8.7"],["MediaWiki\\Extension\\Scribunto\\Engines\\LuaSandbox\\LuaSandboxCallback::match","140","7.6"],["MediaWiki\\Extension\\Scribunto\\Engines\\LuaSandbox\\LuaSandboxCallback::gsub","140","7.6"],["MediaWiki\\Extension\\Scribunto\\Engines\\LuaSandbox\\LuaSandboxCallback::plain","120","6.5"],["dataWrapper 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