>Perhaps that is part of the transition from niche to
>mainstream culture, it becomes watered down in moving towards
>accessibility?

i think that's a common occurrence, but in the case of electronic music, what's popular now, outside of electronically produced vocal pop music and hip-hop, isn't really even mainstream. you won't hear "bedroom" producers on the radio or tv nor most of the fake electro artists just yet (although word to BEP). it's just trendy, and the people discovering electronic music (as a form) through either or both of these trendy styles aren't being exposed to the best talents, and in the current system, they won't, because they're purposely excluded.


>Originators displaced and obscured by
>imitation until such time as their contributions are properly
>canonized and acknowledged?

absolutely. doing the aforementioned paper for music history class i finally understood why a lot of the original american techno and house artists and their fans/supporters had an attitude about the '90s europeans. now they're both in the same position of neglect.


>Electronic music is young enough
>I don't think it has fully solidified yet.

i agree, but it's really not that young either if you think about it.


>May I also ask do you have any particular newer favorites in
>the modern era that you perceive as fulfilling a similar role
>as the marginalized artists from before, or that you like
>equally?

i wouldn't go as far as to say liking equally, but the answer that immediately comes to mind is the "miles davis of our generation" aka the "jimi hendrix of our generation" (others' words, not mine), flying lotus. i like others, too, but flylohan is the one closest to the '90s to early '00s stuff i really fell for. also, i like the field, and i have a sneaking suspicion a lot of his young and/or coming-from-other-genres fans are unaware of similar but older artists on the same label (kompakt).


>At any rate, I appreciate all of the thoughtful responses.

u2