The Rave’s Second Wind

Gideon Lewis-Kraus is thrilled:

Somehow the thing that everybody had predicted circa 1995—that electronic dance music (hereafter: EDM) would take over pop—had been delayed a mere seventeen years. In 2012, a gentleman named Skrillex, whose music sounds like a computerized raccoon fight, took home three Grammys, sweeping the electronic categories, and was the first EDM act to be nominated for Best New Artist. Deadmau5 appeared on the front page of The New York Times in his signature mouse head. Forbes estimated that Tiësto was averaging $83,000 an hour for his DJ sets. No corner deli went unthrobbed by a Calvin Harris beat.

The reason? The Internet:

Because what's important now is not where or how you heard a track first; it's that it's heard repeatedly and by as many people as possible. It's the opposite of hipsterism. Where hipsterism is about being part of the few in the know, the EDC scene is about being a part of the many. Insofar as it's a scene at all, it's one geared toward the universal coalescence that the focus group of the Internet makes possible. This is a youth phenomenon that has submitted to the fact that access to knowledge—the secret location, say, of a warehouse party—no longer sets one particular group off as a special vanguard.