also important to note that a lot of techno owes more to chicago than the belleville three (i mean even it should be called the juans/may axis because Reece Saunderson don't neatly fit into it.) which is a bit of self-serving mythology. Detroit is very important, but through the way it makes the chicago music more abstract - eddie Fowlkes, D Wynn, Jay Denham, Shakir etc, and of course Rob Hood, who arguably is the purist exponent of detroit techno.
If you listen to the 80s detroit music you can see that techno was more of a marketting term used by Neil Rushton of network records, of course Derrick May always had to mouth off and over fetishise himself even tho hes not done anything since 1992-3, but that's just him. The guys been a bit of a superstar sleaze for years (heard from mutuals of acquaintances for a while now) hope the rape allegations aren't true, but wouldn't doubt it.
Anyway its important to demystify what pretensions musicians might have about their own art.
If you listen to the 80s detroit music you can see that techno was more of a marketting term used by Neil Rushton of network records, of course Derrick May always had to mouth off and over fetishise himself even tho hes not done anything since 1992-3, but that's just him. The guys been a bit of a superstar sleaze for years (heard from mutuals of acquaintances for a while now) hope the rape allegations aren't true, but wouldn't doubt it.
Anyway its important to demystify what pretensions musicians might have about their own art.