In the heart of Michigan, long before the warehouses of Berlin pulsed with strobe lights and bass, or Ibiza became a mecca for electronic music lovers, a sonic revolution was quietly being born in the basements and bedrooms of a few young African American visionaries from Belleville, just outside Detroit. That revolution would come to be known as techno, a genre that would explode into a global, multi-billion-dollar industry—yet, ironically, remains widely misunderstood and under-credited in its origins.
At the center of this cultural shift were three teenage friends: Juan Atkins, Derrick May, and Kevin Saunderson. Influenced by the futuristic soundscapes of Kraftwerk, the cosmic funk of Parliament, and the mechanized soul of Detroit’s industrial rhythm, the trio—often referred to as the Belleville Three—began experimenting with synthesizers and drum machines in the early 1980s. What emerged was a completely new form of music: cold yet emotional, minimal yet rich, pulsing with both machine precision and raw soul.
Juan Atkins, often called the “Originator,” laid the groundwork with his group Cybotron and the seminal track “Clear,” fusing sci-fi themes with electro-funk.
Derrick May, the “Innovator,” added depth and elegance with tracks like “Strings of Life,” giving techno its spiritual resonance.
Kevin Saunderson, the “Elevator,” brought it to the masses with his group Inner City and crossover hits like “Good Life.” Together, these three young Black men from metro Detroit ignited a genre that would shape global music culture for decades to come.
As techno gained traction in Europe—particularly in Germany, the UK, and the Netherlands—it was celebrated, commodified, and mass-consumed. Yet, few knew that the blueprint for this music came from Black American youth channeling their realities and dreams through machines. The crowds filling European festivals were largely white, the industry executives mostly foreign, and the profits often far removed from the city that birthed it.
Still, Detroit never stopped creating. Jeff Mills, a techno purist and founding member of Underground Resistance, pushed the boundaries of sound and performance. Carl Craig, with his Planet E label, championed Detroit’s legacy globally. Moodymann brought in gritty soul, deep house textures, and unapologetic Black Detroit pride, always reminding the world where it all began.
Techno was never just about the beat. It was a political statement, a refuge, a vision of the future. It was designed to bring people together—across race, nationality, and background. And it still does.
Each year in May, thousands gather at Hart Plaza for the Movement Festival, a world-renowned celebration of electronic music. It’s one of the few events that directly pays homage to Detroit’s foundational role in techno’s creation. But even at Movement, not everyone fully realizes that this global culture was built from the brilliance of young Black minds.
As techno continues to evolve and influence everything from fashion to film scores, it’s time we celebrate its roots with the reverence they deserve. Juan Atkins, Derrick May, Kevin Saunderson, and the wave of Detroit artists who followed didn’t just make music—they made history.
Detroit didn’t just contribute to techno.
Detroit is techno.
