item: #1 of 119 id: dancecult-1000 author: None title: dancecult-1000 date: None words: 1051 flesch: 56 summary: By his own admission, James Braxton Peterson is “one of the earlier professors to teach Hip-Hop at the collegiate level”, and Hip-Hop Headphones is a great representation of Peterson’s 20+ years of engagement with hip-hop at this scholarly level. Hip-Hop Headphones: A Scholar’s Critical Playlist James B. Peterson New York: Bloomsbury Academic, 2016. keywords: book; hip; hop cache: dancecult-1000.htm plain text: dancecult-1000.txt item: #2 of 119 id: dancecult-1005 author: Farrugia, Rebekah; Olszanowski, Magdalena title: Introduction to Women and Electronic Dance Music Culture date: 2017-11-14 words: 4745 flesch: 52 summary: Photo by Magdalena Olszanowski http://dj.dancecult.net Volume 9 Number 1 2017 Introduction to Women and Electronic Dance Music Culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . It was our hope that this issue Farrugia and Olszanowski | Introduction to Women and Electronic Dance Music Culture 5 of Dancecult would bring electronic dance music into this conversation, and while it was unable to do so, we note the consideration of how much work needs to be done within our discipline and welcome readers to do so! keywords: culture; dance; dance music; dancecult; djs; edmc; female; gender; issue; music; music culture; olszanowski; university; women cache: dancecult-1005.pdf plain text: dancecult-1005.txt item: #3 of 119 id: dancecult-1022 author: Savery, Richard James title: An Interactive Algorithmic Music System for EDM date: 2018-11-23 words: 6531 flesch: 59 summary: Artiin was created to explore how continuing developments in music generation, interactive music systems and music information retrieval can be applied to an EDM system. The “listen to” options allow the user to choose up to three incoming streams of either audio or MIDI, including other Artiin instruments. keywords: artiin; audio; drum; edm; ideas; input; level; midi; music; note; system; time; user cache: dancecult-1022.pdf plain text: dancecult-1022.txt item: #4 of 119 id: dancecult-1026 author: Smith, Ryan Ross; Lawson, Shawn title: Rogue Two: Reflections on the Creative and Technological Development of the Audiovisual Duo—The Rebel Scum date: 2018-11-23 words: 8350 flesch: 57 summary: Still, however insignificant this conceptual basis might be, it is worth noting the in-between space of VJing and live cinema: A third, and lesser-known type of audiovisual performance practice operates within a performing arts context while also drawing from conceptual, performance art, and new media art practices. The first performance set we created, if it can be called that, was hastily thrown together for an evening of audiovisual performances held at the Electronic Media Performing Arts Center (EMPAC) in Troy, NY in April, 2014. keywords: appiosc; audio; code; codenobi; coding; collins; edm; force; lawson; live; music; new; performance; set; smith; text; tidalcycles; time; visual; wan; wookie cache: dancecult-1026.pdf plain text: dancecult-1026.txt item: #5 of 119 id: dancecult-1032 author: Armitage, Joanne Louise title: Spaces to Fail in: Negotiating Gender, Community and Technology in Algorave date: 2018-11-23 words: 7516 flesch: 55 summary: Dancecult 10(1)36 More than the visibility of role models, the social dimensions of coding workshops and the critical mass of women in the algorave scene though, what many women cited as important was the performative dimensions of algorave as something that was a turning point in terms of their coding and involvement in algorave: Algoraver 1:  We were told that there was an algorave coming up, and anyone who wanted could have a go. Many women interviewed discussed their approach in abstract and intangible terms that are not goal orientated but felt experiences. keywords: algorave; code; coding; community; computer; gender; music; performance; scene; technolog; women cache: dancecult-1032.pdf plain text: dancecult-1032.txt item: #6 of 119 id: dancecult-1036 author: McLean, Alex; Fanfani, Giovanni; Harlizius-Klück, Ellen title: Cyclic Patterns of Movement across Weaving, Epiplokē and Live Coding date: 2018-11-23 words: 12310 flesch: 50 summary: The mechanism of epiplokē encourages us to see these sequences as a cycle of interwoven ionic- choriambic dimeters rather than as segmented cola, with rhythmical ambiguity as a meaningful part of the poetic design: -⏑⏑-×-⏑--|⏑⏑-×-⏑-⸣-⸤⏑⏑-×-⏑--|⏑⏑-×--. The epiplokē of choriambic and ionic (also contemplated by the ancient doctrine), acting in the context of strophic responsion, should be seen as a continuous rhythmical cycle with interweaving demarcations and encompassing both the metra (⸣-⸤⏑⏑-×-⏑-⸣-⸤⏑⏑-×-⏑-⸣-⸤⏑⏑-⏑--), rather than being disambiguated as featuring either one or the other meter. keywords: -×- ⏑; coding; cycle; cyclic; epiplokē; fanfani; greek; harlizius; klück; lyric; mclean; movement; music; patterns; performance; poetry; programming; sequences; structure; tidal; time; weaving; ⏑ ⏑ cache: dancecult-1036.pdf plain text: dancecult-1036.txt item: #7 of 119 id: dancecult-1054 author: Phillips, Matthew T title: Dancing with Dumont date: 2021-12-14 words: 6585 flesch: 58 summary: Graham St. John suggests that the term is derived from “vibration” and that it designates “an ‘intuitive signal’ that may be picked up from other people and the atmosphere” Dancecult 13(1)94 (2012: 79). This occurs through various exercises, such as breathing or touching , targeting the body’s “energ y field” to “tune” into the energies of other people and places and “learn how they affect us” (Manné 2004: 125). keywords: dance; energ; individualism; kapferer; morning; music; people; rave; ritual; space; vibe cache: dancecult-1054.pdf plain text: dancecult-1054.txt item: #8 of 119 id: dancecult-1064 author: None title: dancecult-1064 date: None words: 3546 flesch: 50 summary: Mean (M) and standard deviations (SD) of participants’ rating on live coding experience for EDM. They concluded that live coding environments may be involved in the creation of higher-order conceptual representations of time-based art. keywords: coding; edm; learning; live; music; participants; programming; teaching cache: dancecult-1064.htm plain text: dancecult-1064.txt item: #9 of 119 id: dancecult-1065 author: None title: dancecult-1065 date: None words: 1552 flesch: 58 summary: I played at my first algorave in 2013 in Brighton, although I didn’t do much coding on stage other than run a mass of SuperCollider code at the beginning, before playing the gig with various controllers. This may be because livecoding performance has made the way I think about music more algorithmic. keywords: code; feedback; kiefer; performance cache: dancecult-1065.htm plain text: dancecult-1065.txt item: #10 of 119 id: dancecult-1066 author: None title: dancecult-1066 date: None words: 3195 flesch: 53 summary: Mexican music genres such as Banda, Huapango and Son are persistently heard in the streets, on public transportation, at parties, bars and clubs. Despite an active participation of women in the creation, interpretation and development of electronic music, often male names are the ones that survive in archives and historical retellings. keywords: coding; collective; latin; mexican; mexico; music; performance; rggtrn; visuals cache: dancecult-1066.htm plain text: dancecult-1066.txt item: #11 of 119 id: dancecult-1073 author: None title: dancecult-1073 date: None words: 1405 flesch: 64 summary: Also, he developed CineVivo, a graphics render engine for rendering live coding languages. “Extramuros: Making Music in a Browser-Based, Language-Neutral Collaborative Live Coding Environment”. keywords: chuck; coding; language; music cache: dancecult-1073.htm plain text: dancecult-1073.txt item: #12 of 119 id: dancecult-1074 author: None title: dancecult-1074 date: None words: 903 flesch: 55 summary: As a composer of Western classical music, my work has always leaned towards algorithmic patterning, and live coding has become the ideal tool to express my musical thought, as well as to generate a space for questioning given paradigms about contemporary music. Algorave (a portmanteau of Algorithmic Rave) is a scene that promotes the creation of (often live coded) music for the dance floor, putting together the apparent disparate disciplines of computer programming, dance music, live veejaying, and musical composition in real-time. keywords: coding; live; music cache: dancecult-1074.htm plain text: dancecult-1074.txt item: #13 of 119 id: dancecult-1082 author: None title: dancecult-1082 date: None words: 1182 flesch: 51 summary: Having used algorithmic music systems for over 20 years and having also studied piano, I felt intuitively this was not the case. A person sitting at a piano lacks the endurance, creativity, and speed to execute the range of patterns which can be generated by algorithmic systems; the limitation is more stark if you consider the necessity for the human piano player to practice. keywords: dance; music; system cache: dancecult-1082.htm plain text: dancecult-1082.txt item: #14 of 119 id: dancecult-1106 author: None title: dancecult-1106 date: None words: 1463 flesch: 40 summary: His aims are ambitious, and the breadth of topics covered in the seven chapters (including online music consumption, digital music production, mobile listening and the connections between music and video games) is evidence of the author’s broad and in-depth knowledge of relevant fields and debates, as well as the importance and ubiquity of digital technologies in the worlds of contemporary popular musics. The breadth of topics that the book touches on is commendable, and it was a pleasant surprise to read a chapter dedicated to music and video games alongside an in-depth analysis of software for audio manipulation and circulation (an often overlooked yet important element of contemporary digital music production). keywords: music; prior; society; technology cache: dancecult-1106.htm plain text: dancecult-1106.txt item: #15 of 119 id: dancecult-1108 author: None title: dancecult-1108 date: None words: 1199 flesch: 37 summary: Recently, his enduring creative efforts have expanded toward book writing, again exploring some of the most unconventional electronic music genres. Two things are, however, clear and plain: first, that Frankenstein goes to Holocaust is a tribute to the culture, practice and aesthetics of plunderphonics and music plagiarism, and a useful and inspiring read for musicians and listeners who fell in love with making music by cutting and pasting sounds produced by other; secondly, that Balli’s book is above all an act of creative writing or, even better, an imaginative attempt to compose a book that is completely dissimilar to any other book about music I have come across. keywords: balli; book; music cache: dancecult-1108.htm plain text: dancecult-1108.txt item: #16 of 119 id: dancecult-1142 author: None title: dancecult-1142 date: None words: 3731 flesch: 72 summary: In an interview with producer/rapper Clebin Quirino, we talked about boom bap rap and he stated that the predilection for boom bap beats is part of the experience of a particular generation of artists and audience: Rappers who sing over trap beats also sing over boom bap beats. keywords: bap; beats; boom; hip; hop; rap; trap cache: dancecult-1142.htm plain text: dancecult-1142.txt item: #17 of 119 id: dancecult-1147 author: None title: dancecult-1147 date: None words: 2799 flesch: 82 summary: They said I'm strong, that I'm amazingly fit in other ways for my age. Then there's applying William S. Burroughs and Brion Gysin's cut-up techniques in their extreme pandrogyne project (NPR 2014), a melding of bodies with P-Orridge’s late partner Lady Jaye, involving hundreds of thousands of dollars of plastic surgery. keywords: body; gbp; genesis; jaye; orridge; people cache: dancecult-1147.htm plain text: dancecult-1147.txt item: #18 of 119 id: dancecult-1155 author: St John, Graham title: Ten Years of Dancecult date: 2019-11-11 words: 1451 flesch: 48 summary: ISSN 1947-5403 ©2019 Dancecult Published yearly at International Advisory Board Sean Albiez (Southampton Solent University, UK), Eliot Bates (University of Birmingham, UK), Andy Bennett (Griffith University, AU), Mark J Butler (Northwestern University, US), Anthony D’Andrea (University of Limerick, IE), Rebekah Farrugia (Oakland University, US), Kai Fikentscher (DE), Luis-Manuel Garcia (University of Birmingham, UK), François Gauthier (University of Fribourg, CH), Anna Gavanas (Institute for Futures Studies, SE), Ross Harley (University of New South Wales, AU), Tim Lawrence (University of East London, UK), Geert Lovink (University of Amsterdam, NL), Alejandro L. Madrid (University of Illinois, Chicago, US), Paolo Magaudda (University of Padova, IT), Charity Marsh (University of Regina, CA), Andrew Murphie (University of New South Wales, AU), Alice O’Grady (University of Leeds, United Kingdom), Christopher Partridge (Lancaster University, UK), Anne Petiau (ITSRS / Université Paris 5, FR), Hillegonda C Rietveld (London South Bank University, UK), Geoff Stahl (Victoria University of Wellington, NZ), Sonjah Nadine Stanley-Niaah (University of West Indies, JM), Graham St John (University of Fribourg, CH), Jonathan Sterne (McGill University, CA), Will Straw (McGill University, CA), Rupert Till (University of Huddersfield, UK), tobias c. van Veen (Université de Montréal, CA), Michael Veal (Yale University, US), Dave Payling (Staffordshire University, UK) Reviews Editor Toby Young (University of Oxford, UK) Operations director Botond Vitos (University of Fribourg, CH) Managing Editor Tommy Colton Symmes (Rice University, US) Community Manager Katrina Loughrey (GE) keywords: dancecult; editor; fribourg; journal; music; university cache: dancecult-1155.pdf plain text: dancecult-1155.txt item: #19 of 119 id: dancecult-1156 author: Jori, Anita title: Popular Viennese Electronic Music, 1990–2015: A Cultural History (Ewa Mazierska) date: 2019-10-30 words: 9172 flesch: 50 summary: Whilst every chapter in this rich volume warrants detailed discussion, two essays from Fales and Robert Fink, which deal with timbre in electronic dance music and bass cultures respectively, are of particular interest to Dancecult’s readership. For EDM scholars, the ideas presented this book offer a potential way out of the music-analytical stalemate that has dogged our subfield since its inception, by showcasing approaches that enable us to engage more directly with the “matter” (i.e. the sounds and technologies) of electronic dance music. keywords: anoosh; arash; bass; book; chapter; culture; dance; dancecult; festival; film; fraud; fyre; iran; mcfarland; media; music; musicians; party; rave; scene; sound; timbre; work; world cache: dancecult-1156.pdf plain text: dancecult-1156.txt item: #20 of 119 id: dancecult-1159 author: Symmes, Tommy Colton title: Fyre Fraud (Jenner Furst & Julia Willoughby Nason, dirs.) & Fyre: The Greatest Party That Never Happened (Chris Smith, dir.) date: 2019-11-11 words: 9172 flesch: 50 summary: Whilst every chapter in this rich volume warrants detailed discussion, two essays from Fales and Robert Fink, which deal with timbre in electronic dance music and bass cultures respectively, are of particular interest to Dancecult’s readership. For EDM scholars, the ideas presented this book offer a potential way out of the music-analytical stalemate that has dogged our subfield since its inception, by showcasing approaches that enable us to engage more directly with the “matter” (i.e. the sounds and technologies) of electronic dance music. keywords: anoosh; arash; bass; book; chapter; culture; dance; dancecult; festival; film; fraud; fyre; iran; mcfarland; media; music; musicians; party; rave; scene; sound; timbre; work; world cache: dancecult-1159.pdf plain text: dancecult-1159.txt item: #21 of 119 id: dancecult-1166 author: Chambers, Paul title: The Studio as Contemporary Autonomous Zone date: 2020-11-13 words: 9047 flesch: 56 summary: Sharing some parallels with Cooper’s conception Everyday Utopias, the city’s sonic socialities and music studios could be viewed as networks and spaces that offered the chance to perform everyday life in a different fashion, creating change by building new forms of experiencing the world (2014: 227). The stories of dedication, invention and becoming through music practice, I argue, were suggestive of Stirnerian strategies of self-construction. keywords: age; contemporary; expression; life; making; max; music; people; personal; practice; research; self; sense; space; stirner; studio; work; zone cache: dancecult-1166.pdf plain text: dancecult-1166.txt item: #22 of 119 id: dancecult-1196 author: von Pawel-Rammingen, Katharina title: Black Feminism and the Violence of Disco date: 2021-12-14 words: 7212 flesch: 55 summary: Both Lawrence and Shapiro include women in their histories, but neither significantly engage with the meanings of Black women’s contribution to disco for Black women themselves, and they certainly fail to incorporate a Black feminist perspective.2 Consequently, the lack of representation of Black women in these historiographies is unable to include Black women’s musical practices as expressions of Black feminist thought and thus, shaping of 1970s American culture. Instead, an analysis through Black feminist informed ideas has attended to the absence of Black women in discographies and located specific instances of epistemic violence. keywords: article; cultural; culture; disco; feminist; gay; labelle; lawrence; liberation; music; new; shapiro; women; work; york cache: dancecult-1196.pdf plain text: dancecult-1196.txt item: #23 of 119 id: dancecult-1214 author: Nye, Sean title: Dutch Dance, 1988-2018: How the Netherlands Took the Lead in Electronic Music Culture (Mark van Bergen, Trans. Andrew Cartwright) date: 2021-12-14 words: 7124 flesch: 51 summary: The topic of this book is primarily the history and rise of Dutch dance music both within Holland and abroad. In the 1980s chapter, van Bergen primarily explores the reception of disco, house, techno, and new beat in Holland, emphasizing the foundations of dance music in queer and Black American dance cultures. keywords: anniss; bergen; berlin; book; chapter; city; club; culture; dance; dutch; gentrification; history; music; new; nightlife; scene; spaces; time; van; volume cache: dancecult-1214.pdf plain text: dancecult-1214.txt item: #24 of 119 id: dancecult-1215 author: Smith, Tom title: The New Age of Electronic Dance Music and Club Culture (Anita Jóri, Martin Lücke, eds) date: 2021-12-14 words: 7124 flesch: 51 summary: The topic of this book is primarily the history and rise of Dutch dance music both within Holland and abroad. In the 1980s chapter, van Bergen primarily explores the reception of disco, house, techno, and new beat in Holland, emphasizing the foundations of dance music in queer and Black American dance cultures. keywords: anniss; bergen; berlin; book; chapter; city; club; culture; dance; dutch; gentrification; history; music; new; nightlife; scene; spaces; time; van; volume cache: dancecult-1215.pdf plain text: dancecult-1215.txt item: #25 of 119 id: dancecult-1220 author: Whitehead, Gareth title: Exploring Personal Spectres in Electronic Music date: 2022-11-14 words: 9469 flesch: 50 summary: Electronic music artists have been able to explore hauntological themes with less effort for over 30 years because it has been possible to, quite easily, sample music from different historical periods (Sexton 2012: 562). However, as discussed in my original works portfolio, I have proposed an alternative strateg y in which electronic music artists might engage with a variety of hauntological vehicles. keywords: audio; cultural; fisher; ghosts; hauntolog; music; nostalgia; past; personal; present; process; recording; spectres; themes; time; whitehead; work cache: dancecult-1220.pdf plain text: dancecult-1220.txt item: #26 of 119 id: dancecult-1222 author: Payling, Dave title: Explosions in the Mind: Composing Psychedelic Sounds and Visualisations (Jonathan Weinel) date: 2022-11-14 words: 7847 flesch: 50 summary: Of course, Balvin and other reggaetón artists are not the first popular musicians to have experienced pressure from their audiences to take political stances at critical junctures. The documentary features various pieces in this tradition such as “Ay Vamos,” “En mi,” and “Obra de Arte,” which can be contrasted with the confrontational style that characterized early Colombian productions such a “Tiradera Pa’l Guru,” a piece first performed in 2003 by a collective of reggaetón artists called Colombian Flow.1 The main theme and source of tension in the film is Balvin’s dilemma: one the one hand he has come to his home city to reconnect with his family, friends and fans, to visit the neighborhood where he grew up, and to perform what he called “the most important concert of his career” in Medellín’s largest venue (a local football stadium). keywords: artists; balvin; book; community; discourse; fabulousness; gender; house; jóri; medellín; moore; music; people; press; queer; reggaetón; salkind; university; weinel; work cache: dancecult-1222.pdf plain text: dancecult-1222.txt item: #27 of 119 id: dancecult-1224 author: Whelan, Andrew title: The Discourse Community of Electronic Dance Music (Anita Jóri) date: 2022-11-14 words: 7847 flesch: 50 summary: Of course, Balvin and other reggaetón artists are not the first popular musicians to have experienced pressure from their audiences to take political stances at critical junctures. The documentary features various pieces in this tradition such as “Ay Vamos,” “En mi,” and “Obra de Arte,” which can be contrasted with the confrontational style that characterized early Colombian productions such a “Tiradera Pa’l Guru,” a piece first performed in 2003 by a collective of reggaetón artists called Colombian Flow.1 The main theme and source of tension in the film is Balvin’s dilemma: one the one hand he has come to his home city to reconnect with his family, friends and fans, to visit the neighborhood where he grew up, and to perform what he called “the most important concert of his career” in Medellín’s largest venue (a local football stadium). keywords: artists; balvin; book; community; discourse; fabulousness; gender; house; jóri; medellín; moore; music; people; press; queer; reggaetón; salkind; university; weinel; work cache: dancecult-1224.pdf plain text: dancecult-1224.txt item: #28 of 119 id: dancecult-1227 author: None title: dancecult-1227 date: None words: 3378 flesch: 58 summary: There were DJs who spoke out and directly condemned Plague Rave DJs such as the UK’s Dave Clarke, Bicep and Bushwaka. This data was supplemented with reflections from survey respondents and in depth semi-structured interviews with dancers and local scene infrastructure practitioners [n=29], to examine how scenes responded to the idea of Plague Rave DJs and what resonance this may have, if any, within dance music cultures after the pandemic’s long moment.[1] Reactions to illegal raves generally deemed these irresponsible, despite most sympathising with participant’s desire to dance again. keywords: dance; djs; events; music; pandemic; plague; raves; september cache: dancecult-1227.htm plain text: dancecult-1227.txt item: #29 of 119 id: dancecult-1228 author: None title: dancecult-1228 date: None words: 1261 flesch: 66 summary: These didn’t come without considerable risk and Smokescreen parties in Derbyshire and Nottinghamshire were busted, people arrested and equipment confiscated. But their roots remain, and Smokescreen are as popular now as they were during their hedonistic heyday over the course of the 90s, and now attracting the next generation of party people who come out to dance with the old-school heads (some of whom are their parents!). keywords: credit; party; photo; smokescreen cache: dancecult-1228.htm plain text: dancecult-1228.txt item: #30 of 119 id: dancecult-1229 author: None title: dancecult-1229 date: None words: 2722 flesch: 52 summary: As this reflection will show, there is a need for greater understanding of the demographic, social, political and economic push and pull factors (Latukha 2022: 2226-7) which influence electronic music talent migration in Northern Ireland, but also attract such electronic music talent from other global scenes. After attendance of other parties and the dying nature of our own in recent months - this magic has died (Fahad 2022).[1] The lack of progressive night time policies in Northern Ireland also plays a significant factor in electronic music sustainability and is an encompassing push factor for electronic music migration. keywords: belfast; ireland; migration; music; night; northern; talent cache: dancecult-1229.htm plain text: dancecult-1229.txt item: #31 of 119 id: dancecult-1230 author: Diaz, Juan Diego; Díaz Pinto, Ana María title: The Boy from Medellín (Dir. Matthew Heineman) date: 2022-11-14 words: 7847 flesch: 50 summary: Of course, Balvin and other reggaetón artists are not the first popular musicians to have experienced pressure from their audiences to take political stances at critical junctures. The documentary features various pieces in this tradition such as “Ay Vamos,” “En mi,” and “Obra de Arte,” which can be contrasted with the confrontational style that characterized early Colombian productions such a “Tiradera Pa’l Guru,” a piece first performed in 2003 by a collective of reggaetón artists called Colombian Flow.1 The main theme and source of tension in the film is Balvin’s dilemma: one the one hand he has come to his home city to reconnect with his family, friends and fans, to visit the neighborhood where he grew up, and to perform what he called “the most important concert of his career” in Medellín’s largest venue (a local football stadium). keywords: artists; balvin; book; community; discourse; fabulousness; gender; house; jóri; medellín; moore; music; people; press; queer; reggaetón; salkind; university; weinel; work cache: dancecult-1230.pdf plain text: dancecult-1230.txt item: #32 of 119 id: dancecult-1232 author: None title: dancecult-1232 date: None words: 3588 flesch: 58 summary: The section of the questionnaire related to music genres was one of the most challenging to draft. The Problems of Calling Musics by their Names Drafting a classification of music genres that can be recognised within different SST scenes around the globe shows up the theoretical and political implications of the survey tool. keywords: categories; funk; music; october; research; sound; subgenres; youtube cache: dancecult-1232.htm plain text: dancecult-1232.txt item: #33 of 119 id: dancecult-1233 author: Iten, Moses; Marquez, Israel title: Digital Cumbia date: 2022-11-14 words: 7265 flesch: 54 summary: This type of cumbia is generally known as electronic cumbia, cumbiatronica, new cumbia, or nu-cumbia. But they did know how to create a platform to give visibility to the phenomenon and approach electronic cumbia from a commercial point of view. keywords: american; bass; buenos; cumbia; dengue; digital; digital cumbia; electronic; genre; label; latin; music; musical; new; parties; popular; sounds; zizek cache: dancecult-1233.pdf plain text: dancecult-1233.txt item: #34 of 119 id: dancecult-1235 author: Bird, Jacob Mallinson title: Do You Remember House? Chicago’s Queer of Colour Undergrounds (Micah E. Salkind) and Fabulous: The Rise of the Beautiful Eccentric (Maddison Moore) date: 2022-11-14 words: 7847 flesch: 50 summary: Of course, Balvin and other reggaetón artists are not the first popular musicians to have experienced pressure from their audiences to take political stances at critical junctures. The documentary features various pieces in this tradition such as “Ay Vamos,” “En mi,” and “Obra de Arte,” which can be contrasted with the confrontational style that characterized early Colombian productions such a “Tiradera Pa’l Guru,” a piece first performed in 2003 by a collective of reggaetón artists called Colombian Flow.1 The main theme and source of tension in the film is Balvin’s dilemma: one the one hand he has come to his home city to reconnect with his family, friends and fans, to visit the neighborhood where he grew up, and to perform what he called “the most important concert of his career” in Medellín’s largest venue (a local football stadium). keywords: artists; balvin; book; community; discourse; fabulousness; gender; house; jóri; medellín; moore; music; people; press; queer; reggaetón; salkind; university; weinel; work cache: dancecult-1235.pdf plain text: dancecult-1235.txt item: #35 of 119 id: dancecult-267 author: St John, Graham title: Editor's Introduction and Masthead date: 2009-09-24 words: 3128 flesch: 44 summary: Journal of Electronic Dance Music Culture is a peer-reviewed, open-access e- journal for the study of electronic dance music culture (EDMC). The feature articles in this first edition offer an engaging crosscurrent of work in EDMC studies, addressing a variety of themes in research from various regions ob- served from the vantage points of multiple disciplinary perspectives. keywords: adobe; culture; dancecult; editor; edmc; journal; music; research; techno; university cache: dancecult-267.pdf plain text: dancecult-267.txt item: #36 of 119 id: dancecult-268 author: Alwakeel, Ramzy title: IDM as a "Minor" Literature: The Treatment of Cultural and Musical Norms by "Intelligent Dance Music" date: 2009-09-20 words: 11968 flesch: 52 summary: Humanism/mechanism; the mechanical subject-object A variety of IDM texts explore the meshing of human and mechanism, often by the location of “mechanical” forms within the human or of “subjective” forms within ma- chinery. Not only does this set up a difficulty between IDM and its supposed genealog y as a type of dance music: it resists any unmediated incorporation into IDM of the progressive rock “text”. keywords: album; artificial; autechre; dance; deleuze; guattari; identity; idm; intelligence; james; language; literature; minor; music; subject; subjectivity; text; track; warp cache: dancecult-268.pdf plain text: dancecult-268.txt item: #37 of 119 id: dancecult-269 author: Chew, Matthew M title: Decline of the Rave Inspired Clubculture in China: State Suppression, Clubber Adaptations and Socio-cultural Transformations date: 2009-09-21 words: 7496 flesch: 60 summary: But Chinese dance clubs, VIP rooms within dance clubs, karaoke boxes within a host- ess or karaoke establishment, private apartments or hotel rooms cannot be the contexts for such a collective atmosphere. But the interior spatial arrangement of Chinese dance clubs do not facilitate sociality so strongly. keywords: china; chinese; clubbers; clubbing; clubculture; clubs; dance; drug; ecstasy; music; party; police; rave; state; suppression cache: dancecult-269.pdf plain text: dancecult-269.txt item: #38 of 119 id: dancecult-271 author: Gregory, Julie title: Too Young to Drink, Too Old to Dance: The Influences of Age and Gender on (Non) Rave Participation date: 2009-09-20 words: 8590 flesch: 59 summary: According to this account, men are not necessarily exempt from having to think about responsibilities outside and/or beyond rave, but they are more likely than women to remain active in rave scenes – even as they age. Given these findings, while it may be fair to claim that rave-going fosters and is fostered by feeling of peace, love, unity and respect (PLUR) (see, Hutson 2000; Mar- tin 1999; Weber 1999), analyses must not end here; following the above discussion, rave scenes and related experiences also must be understood as embedded in historical, political and discursive processes of exclusion and discrimination (see also, Saldanha 2000) – or what I term “HATE” (hostility, antagonism, tension and elitism).15 keywords: age; culture; dance; experiences; gender; interviewees; music; participation; rave; scene; social; toronto; women cache: dancecult-271.pdf plain text: dancecult-271.txt item: #39 of 119 id: dancecult-272 author: Montano, Ed title: DJ Culture in the Commercial Sydney Dance Music Scene date: 2009-09-21 words: 8036 flesch: 61 summary: The article is intended to complement analysis that has previously been con- ducted on Sydney, and Australian, dance music culture (examples being Murphie and Scheer 1992; Homan 1998; Gibson and Pagan 2000; Brookman 2001; Luckman 2002; Slavin 2004; Brennan-Horley 2007). With its quick turnover of music, fashions and styles, dance music culture is very much based on contemporary happenings, with constant attention being given to new music, and with a “strong emphasis upon the ‘here and now’” (Malbon 1999: 182). keywords: culture; dance; dance music; djs; music; play; playing; scene; set; sydney cache: dancecult-272.pdf plain text: dancecult-272.txt item: #40 of 119 id: dancecult-274 author: Gilbert, Jeremy title: The Hardcore Continuum? date: 2009-09-24 words: 3262 flesch: 45 summary: Put simply, Reynolds has argued for the existence of an identifiable continuity between the producers of and audiences for a sequence of dance music forms to have emerged from urban London since the early 1990s, and has argued for the extraordinary vitality of the creative matrix which has produced “hardcore” techno, jungle, drum & bass, UK garage, grime, dubstep and “funky”. Like it or not, the flattened-out relationships of the digital universe just don’t produce musics which carry the same affective charge as those emerging from dense locales of shared lived experience. keywords: continuum; culture; dance; dubstep; hardcore; london; music; reynolds cache: dancecult-274.pdf plain text: dancecult-274.txt item: #41 of 119 id: dancecult-275 author: Fisher, Mark title: The Abstract Reality of the "Hardcore Continuum" date: 2009-09-24 words: 2084 flesch: 44 summary: This decade’s dance music is held to have moved beyond critical models established in response to the music of the 1990s, and the disputes here bring into play a certain generational antagonism, the devotees of this decade’s dance music arguing that those who continue to talk about the HCC are out-of-touch nostalgics. In other words, the theory exists and has certain effects – how it influences other forms of production, how it adds to our own experiences of music. keywords: continuum; hardcore; hcc; music; theory cache: dancecult-275.pdf plain text: dancecult-275.txt item: #42 of 119 id: dancecult-276 author: St John, Graham title: 12 Noon, Black Rock City date: 2009-09-24 words: 2647 flesch: 65 summary: Photo by Graham St John As night falls over Black Rock City, it explodes with a collective charge unparalleled anywhere on the planet. St John • 12 Noon, Black Rock City 129 Camp Low Expectations. keywords: city; dance; dancecult; graham; john; man; photo; rock cache: dancecult-276.pdf plain text: dancecult-276.txt item: #43 of 119 id: dancecult-277 author: Vitos, Botond title: The Inverted Sublimity of the Dark Psytrance Dance Floor date: 2009-09-24 words: 1539 flesch: 46 summary: Such dance floors incorporate crowds of varying sizes, influenced by psychedelic drugs, and dancing through the night (and sometimes through the morning ) on a music which can be considered the hard core of psytrance. Photo by Richard Cattien Based on my experiences and understanding of Hungarian, Czech and Greek psy- trance parties, this text offers a concise view on the aesthetic categories triggered by dark psychedelic dance floors. keywords: dance; floor; music; sublime cache: dancecult-277.pdf plain text: dancecult-277.txt item: #44 of 119 id: dancecult-278 author: Rietveld, Hillegonda C. title: We Call It Techno! A Documentary About Germany’s Early Techno Scene (Sextro and Wick) date: 2009-09-24 words: 8390 flesch: 55 summary: DOI: 10.12801/1947-5403.2009.01.01.16 LUCY GIBSON University of Manchester (UK) Dina Perrone’s study of “club kids” based in New York City presents an illuminating analysis of the cultural and situational context in which club drugs are used. Moreover, the chapter describes the ethno- graphic field methods deployed to study the participants’ use of club drugs such as MDMA, methamphetamine (crystal meth), ketamine and GHB. keywords: analysis; berlin; book; club; culture; dance; drug; d’andrea; goa; kids; music; new; psytrance; race; rapp; saldanha; scene; techno; use; whelan; white cache: dancecult-278.pdf plain text: dancecult-278.txt item: #45 of 119 id: dancecult-279 author: Nye, Sean title: Lost and Sound: Berlin, Techno, und der Easyjetset (Rapp) date: 2009-09-24 words: 8390 flesch: 55 summary: DOI: 10.12801/1947-5403.2009.01.01.16 LUCY GIBSON University of Manchester (UK) Dina Perrone’s study of “club kids” based in New York City presents an illuminating analysis of the cultural and situational context in which club drugs are used. Moreover, the chapter describes the ethno- graphic field methods deployed to study the participants’ use of club drugs such as MDMA, methamphetamine (crystal meth), ketamine and GHB. keywords: analysis; berlin; book; club; culture; dance; drug; d’andrea; goa; kids; music; new; psytrance; race; rapp; saldanha; scene; techno; use; whelan; white cache: dancecult-279.pdf plain text: dancecult-279.txt item: #46 of 119 id: dancecult-280 author: D'Andrea, Anthony title: Chromatic Variation in Ethnographic Research: A Review of Psychedelic White: Goa Trance and the Viscosity of Race (Saldanha) date: 2009-09-24 words: 8390 flesch: 55 summary: DOI: 10.12801/1947-5403.2009.01.01.16 LUCY GIBSON University of Manchester (UK) Dina Perrone’s study of “club kids” based in New York City presents an illuminating analysis of the cultural and situational context in which club drugs are used. Moreover, the chapter describes the ethno- graphic field methods deployed to study the participants’ use of club drugs such as MDMA, methamphetamine (crystal meth), ketamine and GHB. keywords: analysis; berlin; book; club; culture; dance; drug; d’andrea; goa; kids; music; new; psytrance; race; rapp; saldanha; scene; techno; use; whelan; white cache: dancecult-280.pdf plain text: dancecult-280.txt item: #47 of 119 id: dancecult-281 author: De Ledesma, Charles title: Global Nomads: Techno and New Age as Transnational Countercultures in Ibiza and Goa (D'Andrea) date: 2009-09-24 words: 8390 flesch: 55 summary: DOI: 10.12801/1947-5403.2009.01.01.16 LUCY GIBSON University of Manchester (UK) Dina Perrone’s study of “club kids” based in New York City presents an illuminating analysis of the cultural and situational context in which club drugs are used. Moreover, the chapter describes the ethno- graphic field methods deployed to study the participants’ use of club drugs such as MDMA, methamphetamine (crystal meth), ketamine and GHB. keywords: analysis; berlin; book; club; culture; dance; drug; d’andrea; goa; kids; music; new; psytrance; race; rapp; saldanha; scene; techno; use; whelan; white cache: dancecult-281.pdf plain text: dancecult-281.txt item: #48 of 119 id: dancecult-282 author: Ferrigno, Emily title: Breakcore: Identity and Interaction on Peer-to-Peer (Whelan) date: 2009-09-24 words: 8390 flesch: 55 summary: DOI: 10.12801/1947-5403.2009.01.01.16 LUCY GIBSON University of Manchester (UK) Dina Perrone’s study of “club kids” based in New York City presents an illuminating analysis of the cultural and situational context in which club drugs are used. Moreover, the chapter describes the ethno- graphic field methods deployed to study the participants’ use of club drugs such as MDMA, methamphetamine (crystal meth), ketamine and GHB. keywords: analysis; berlin; book; club; culture; dance; drug; d’andrea; goa; kids; music; new; psytrance; race; rapp; saldanha; scene; techno; use; whelan; white cache: dancecult-282.pdf plain text: dancecult-282.txt item: #49 of 119 id: dancecult-283 author: Gibson, Lucy title: The High Life: Club Kids, Harm and Drug Policy (Perrone) date: 2009-09-24 words: 8390 flesch: 55 summary: DOI: 10.12801/1947-5403.2009.01.01.16 LUCY GIBSON University of Manchester (UK) Dina Perrone’s study of “club kids” based in New York City presents an illuminating analysis of the cultural and situational context in which club drugs are used. Moreover, the chapter describes the ethno- graphic field methods deployed to study the participants’ use of club drugs such as MDMA, methamphetamine (crystal meth), ketamine and GHB. keywords: analysis; berlin; book; club; culture; dance; drug; d’andrea; goa; kids; music; new; psytrance; race; rapp; saldanha; scene; techno; use; whelan; white cache: dancecult-283.pdf plain text: dancecult-283.txt item: #50 of 119 id: dancecult-284 author: St John, Graham title: Editor's Introduction and Masthead date: 2010-07-28 words: 1335 flesch: 40 summary: Anne Petiau ITSRS / Université Paris 5 (France) Hillegonda C Rietveld London South Bank University (UK) Geoff Stahl Victoria University of Wellington (NZ) Sonjah Nadine Stanley-Niaah University of West Indies (Jamaica) Will Straw McGill University (Canada) Rupert Till University of Huddersfield (UK) tobias c. van Veen McGill University (Canada) Michael Veal Yale University (US) Dancecult: 0. keywords: culture; dancecult; journal; music; rave; university cache: dancecult-284.pdf plain text: dancecult-284.txt item: #51 of 119 id: dancecult-285 author: St John, Graham title: Making a Noise – Making a Difference: Techno-Punk and Terra-ism date: 2010-07-27 words: 11970 flesch: 56 summary: By contrast with nihilists identifying with an exclusively shocking and anti-authoritarian aesthetic which would itself be subject to consumerist normaliza- tion, DIY milieus exemplified by the anarcho-punk band Crass and the free food “distro” activists Food Not Bombs would demonstrate commitment towards volunta- rism, social justice, human rights and ecological sustainability (McKay 1998).7 Imply- ing an historical trajectory, Dylan Clark (2003: 233) argues that with post-punk “the performance of anarchy” found in early punk would be replaced by “the practice of anarchism”. It is of course curious that, often misrepresented and dismissed as apathetic, gullible and naïve in popular media throughout the 1970s and 1980s (see Stephens 1998: 79), the sixties counterculture (hippies) were generally despised by earlier punks. keywords: 1990s; australia; culture; dance; dance music; dancecult; difference; figure; future; hardcore; jacobs; john; journal; labrats; making; media; music; new; noise; non; people; post; punk; rave; sound; strong; sydney; system; techno cache: dancecult-285.pdf plain text: dancecult-285.txt item: #52 of 119 id: dancecult-286 author: van Veen, tobias c. title: Technics, Precarity and Exodus in Rave Culture date: 2010-07-28 words: 11734 flesch: 53 summary: Art2-typeset-ver1 Technics, Precarity and Exodus in Rave Culture TOBIAS C. VAN VEEN MCGILL UNIVERSITY Abstract Without a doubt, the question of rave culture’s politics – or lack thereof – has polarized debate concerning the cultural, social and political value of rave culture not only within electronic dance music culture (EDMC) studies, but in disciplines that look to various manifestations of subculture and counterculture for political innovation. Rave culture, cut off at last from the dangerous rhetoric of DIY collectivism and the even more suspect impulses of an-archic desire, and carefully severed frofm the greater social body of travelers, hippies, anarchist enclaves, punks, hackers and freaks, was safe for public consumption once again. keywords: collective; conditions; culture; dance; demands; exodus; forms; labour; leisure; mcrobbie; music; new; political; politics; precarity; question; rave; rave culture; representative; technics; work cache: dancecult-286.pdf plain text: dancecult-286.txt item: #53 of 119 id: dancecult-287 author: Alwakeel, Ramzy title: The Aesthetics of Protest in UK Rave date: 2010-07-27 words: 7438 flesch: 61 summary: In being its own object, rave culture itself says “rave sounds like this” or “rave makes you feel like this” or, more generally, “rave is”. Accordingly, there is no model to be found within rave music for its response to the world outside itself. keywords: act; aesthetic; autechre; culture; dance; experience; music; politics; power; protest; rave; sound; subject cache: dancecult-287.pdf plain text: dancecult-287.txt item: #54 of 119 id: dancecult-288 author: Wu, Eileen M title: Memory and Nostalgia in Youth Music Cultures: Finding the Vibe in the San Francisco Bay Area Rave Scene, 2002-2004 date: 2010-07-23 words: 8640 flesch: 66 summary: Finding the Vibe in the San Francisco Bay Area Rave Scene, 2002-2004 EILEEN M. WU INDEPENDENT SCHOLAR Abstract In the wake of the major commercial success of rave scenes in the San Francisco Bay Area, accompanied by an increasing crackdown on venues and promoters in the electronic dance music scene, this article follows the “death” of a rave scene and looks at some of the ways young people imagined and engaged with rave culture during that time. Keywords nostalgia, youth studies, cultural studies, rave scenes, San Francisco Bay Area Introduction 2002. keywords: area; bay; culture; dance; experience; music; nostalgia; past; people; rave; respondents; scene; time; youth cache: dancecult-288.pdf plain text: dancecult-288.txt item: #55 of 119 id: dancecult-289 author: Reynolds, Simon title: The History of Our World: The Hardcore Continuum Debate date: 2010-07-28 words: 4153 flesch: 56 summary: For in- stance, the role of the MC in hardcore continuum genres was not paralleled in Big Beat, nor was the rewind as derived from Jamaican sound system culture, and as far as I’m aware, dubplates were not part of Big Beat. This relates to the notion I broached above of music history having become spatialized, splayed out like an atemporal smorgasbord. keywords: beat; continuum; culture; hardcore; history; music; new; people; sound; system cache: dancecult-289.pdf plain text: dancecult-289.txt item: #56 of 119 id: dancecult-290 author: Farrugia, Rebekah title: “Let’s Have At It!”: Conversations with EDM Producers Kate Simko and DJ Denise date: 2010-07-27 words: 4016 flesch: 65 summary: Not only can Spectral take credit for its anomalous discovery but Simko’s presence is an element it can potentially use to differentiate itself from other EDM labels, most of which do not have any women on their rosters. Relying on personal interviews with both producers, this essay describes their experiences in order to highlight their different approaches to music production and distribution. keywords: dance; denise; edm; kate; label; music; simko; women cache: dancecult-290.pdf plain text: dancecult-290.txt item: #57 of 119 id: dancecult-291 author: St John, Graham title: Sound System Nation: Jamaica date: 2010-07-28 words: 3357 flesch: 63 summary: Amid the dry heat and fugue triggered by sleep-interrupted nights in thin-walled campus apartments, I ran a panel on tension and change within electronic dance music cultures called “Uncertain Vibes”. At these all-night parties, drawn out and fatigued, I ventured to a crossroads in electronic dance music culture, the home of the rave, if not the term “rave” itself, a possibility entertained by Helen Evans in “Out of Sight, Out of Mind: An Analysis of Rave Culture”. keywords: author; culture; dancehall; jamaica; kingston; music; night; party; photo; sound; system cache: dancecult-291.pdf plain text: dancecult-291.txt item: #58 of 119 id: dancecult-293 author: Madrid, Alejandro L. title: Reggaeton (Rivera, Marshall and Hernandez) date: 2010-07-28 words: 8641 flesch: 57 summary: However, the speed of techno city Berlin is reinforced with shots of the TV Tower at Alexanderplatz, techno’s preferred counter-monument of modern Berlin against the Brandenburg Gate. However, it offers important insights into changes in Berlin techno since the 1990s. keywords: berlin; calling; chapter; city; club; clubbing; culture; dance; edm; film; lola; lola run; music; new; rave; reggaeton; rief; run; scene; techno cache: dancecult-293.pdf plain text: dancecult-293.txt item: #59 of 119 id: dancecult-294 author: Peter, Beate title: Rave Culture: The Alteration and Decline of a Philadelphia Music Scene (Anderson) date: 2010-07-28 words: 8641 flesch: 57 summary: However, the speed of techno city Berlin is reinforced with shots of the TV Tower at Alexanderplatz, techno’s preferred counter-monument of modern Berlin against the Brandenburg Gate. However, it offers important insights into changes in Berlin techno since the 1990s. keywords: berlin; calling; chapter; city; club; clubbing; culture; dance; edm; film; lola; lola run; music; new; rave; reggaeton; rief; run; scene; techno cache: dancecult-294.pdf plain text: dancecult-294.txt item: #60 of 119 id: dancecult-295 author: Hutton, Fiona title: Club Cultures: Boundaries, Identities and Otherness (Rief) date: 2010-07-28 words: 8641 flesch: 57 summary: However, the speed of techno city Berlin is reinforced with shots of the TV Tower at Alexanderplatz, techno’s preferred counter-monument of modern Berlin against the Brandenburg Gate. However, it offers important insights into changes in Berlin techno since the 1990s. keywords: berlin; calling; chapter; city; club; clubbing; culture; dance; edm; film; lola; lola run; music; new; rave; reggaeton; rief; run; scene; techno cache: dancecult-295.pdf plain text: dancecult-295.txt item: #61 of 119 id: dancecult-296 author: Nye, Sean title: Review Essay: Run Lola Run and Berlin Calling date: 2010-07-28 words: 8641 flesch: 57 summary: However, the speed of techno city Berlin is reinforced with shots of the TV Tower at Alexanderplatz, techno’s preferred counter-monument of modern Berlin against the Brandenburg Gate. However, it offers important insights into changes in Berlin techno since the 1990s. keywords: berlin; calling; chapter; city; club; clubbing; culture; dance; edm; film; lola; lola run; music; new; rave; reggaeton; rief; run; scene; techno cache: dancecult-296.pdf plain text: dancecult-296.txt item: #62 of 119 id: dancecult-297 author: St John, Graham title: Editor's Introduction and Masthead date: 2011-03-09 words: 2094 flesch: 63 summary: Botond Vitos (Monash University, AU) Operations Assistant Neal Thomas (McGill University, CA) Copyeditors Catherine Baker (University of Southampton, UK) Katrina Loughrey (AU) Dancecult Journal of Electronic Dance Music Culture Issue 2 (1) 2011 ISSN 1947-5403 ©2011 Dancecult Published twice yearly at: International Advisory Board Eliot Bates (University of Maryland, College Park, US), Andy Bennett (Griffith University, AU), Mark J Butler (Northwestern University, US), Anthony D’Andrea (University of Limerick, IE), Rebekah Farrugia (Oakland University, US), Kai Fikentscher (DE), François Gauthier (Université du Québec à Montréal, CA), Anna Gavanas (Institute for Futures Studies, SE), Chris Gibson (University of New South Wales, AU), Jeremy Gilbert (University of East London, UK), Ross Harley (University of New South Wales, AU), David Hesmondhalgh (University of Leeds, UK), Tim Lawrence (University of East London, UK), Geert Lovink (University of Amsterdam, NL), Gordon Lynch (Birkbeck University of London, UK), Rene Lysloff (University of California, Riverside, US), Alejandro L. Madrid (University of Illinois, Chicago, US), Charity Marsh (University of Regina, CA), Tony Mitchell (University of Technology Sydney, AU),Karenza Moore (Lancaster University, UK), Andrew Murphie (University of New South Wales, AU), Christopher Partridge (Lancaster University, UK), Anne Petiau (ITSRS / Université Paris 5, FR), Hillegonda C Rietveld (London South Bank University, UK), Geoff Stahl (Victoria University of Wellington, NZ), Sonjah Nadine Stanley-Niaah (University of West Indies, JM), Graham St John (University of Queensland, AU), Will Straw (McGill University, CA), Rupert Till (University of Huddersfield, UK), tobias c. van Veen (McGill University, CA), Michael Veal (Yale University, US) Dancecult: Dancecult 2.1 - Cover, TOC and Editor's Introduction Volume 2 Number 1 2011 Executive Editor Graham St John (University of Queensland, AU) Managing Editor tobias c. van Veen (McGill University, CA) Reviews Editor Karenza Moore (Lancaster University, UK) Art Director Cato Pulleyblank (Fairy Punk Creative Studio, CA) Production Director Gary Botts Powell (Texas A&M University, US) Production Assistants Luis-Manuel Garcia (University of Chicago, US) Ed Montano (RMIT University, AU) keywords: dancecult; editor; love; mcgill university; music; parade; university cache: dancecult-297.pdf plain text: dancecult-297.txt item: #63 of 119 id: dancecult-298 author: Rietveld, Hillegonda C. title: Disco’s Revenge: House Music’s Nomadic Memory date: 2011-03-09 words: 10074 flesch: 56 summary: Revenge: House Music’s Nomadic Memory Hillegonda C. Rietveld London South Bank University Abstract This article addresses the role of house music as a nomadic archival institution, constituted by the musical history of disco, invigorating this dance genre by embracing new production technologies and keeping disco alive through a rhizomic assemblage of its affective memory in the third record of the DJ mix. Keywords: house music, DJ practices, third record, cultural memory, nomadolog y Dr. Hillegonda Rietveld is Reader in Cultural Studies at London South Bank University, UK, where she teaches and supervises topics in sonic culture. keywords: 2006; chicago; club; culture; dance; disco; example; house; house music; london; mary; memory; mix; music; new; nomadic; production; records; rietveld; set; tracks; underground; york cache: dancecult-298.pdf plain text: dancecult-298.txt item: #64 of 119 id: dancecult-299 author: Pope, Richard title: Hooked on an Affect: Detroit Techno and Dystopian Digital Culture date: 2011-02-14 words: 10680 flesch: 51 summary: Similarly, as Detroit techno is now nearing thirty years of age, markers of its identity have been produced and continue to be circulated, though it nevertheless remains the case that there is no recognizable style for Detroit techno fans (whereas one can detect ravers at a glance). Fixated on the Real of dystopian affect, Detroit techno thereby marks a kind of shadow culture for those who do not turn their radar away from the dystopia of the dehistoricized and desubstantialized present and the “future” which is its necessary result. keywords: affect; art; artists; capitalism; culture; demise; desire; detroit; detroit techno; dystopian; experience; form; future; music; new; pope; sense; social; techno cache: dancecult-299.pdf plain text: dancecult-299.txt item: #65 of 119 id: dancecult-300 author: Gholz, Carleton S. title: Maintaining "Synk" in Detroit: Two Case Studies in the Remix Aesthetic date: 2011-02-14 words: 8471 flesch: 62 summary: Mills and Hawtin have much to contribute to this apparent impasse. Multiple shots of the crowd, split- screen shots of Mills and video images on the huge screen behind and above Mills’ multiple pieces of equipment, not to mention the huge mirror ball, made the space di$cult for the viewer—and we presume the club-goer—to navigate. keywords: audience; dance; detroit; djs; hawtin; mills; music; new; ompson; performance; plastikman; remix; screen; sound; time; visual cache: dancecult-300.pdf plain text: dancecult-300.txt item: #66 of 119 id: dancecult-302 author: None title: dancecult-302 date: None words: 2360 flesch: 59 summary: Moreover, in EDM culture, struggles for oppressed groups to claim sonic space as well as “struggles for the right to dance”, are crucial battles in contexts where authorities seek to regulate the activities of certain groups in specific areas (Buckland 2002). 1, approach the central themes in EDM culture described above: Resolution Intent Mind States Struggle Communitas Belonging Resistance 1. keywords: communitas; dance; edm; john; music; resistance; sound cache: dancecult-302.htm plain text: dancecult-302.txt item: #67 of 119 id: dancecult-303 author: None title: dancecult-303 date: None words: 9621 flesch: 59 summary: To top it off, a major player in Dortmund city politics, Ullrich Sierau, who was elected mayor of Dortmund just a year later, counted from his helicopter roughly the same number as was concluded by Dortmund police: the Love Parade in Dortmund had 1.6 million participants and had thereby achieved the all-time record for Love Parade participants. With a 21-year long history that ended in the deaths of 21 people and the injuring of hundreds more at the 2010 Love Parade, a shadow has been cast across the Love Parade's legacy. keywords: berlin; bild; cities; city; duisburg; event; february; germany; love parade; media; music; region; rhine; ruhr; ruhr valley; techno; year cache: dancecult-303.htm plain text: dancecult-303.txt item: #68 of 119 id: dancecult-304 author: None title: dancecult-304 date: None words: 7830 flesch: 64 summary: Love Parade posters (1994). Love Parade poster (1994). keywords: culture; development; event; fuckparade; love parade; music; party; people; scene; sterneck; streets; techno; time cache: dancecult-304.htm plain text: dancecult-304.txt item: #69 of 119 id: dancecult-305 author: None title: dancecult-305 date: None words: 3423 flesch: 62 summary: This essay reviews this recent discourse and traces it back to earlier theories of crowd psychology as well as current debates about crowds. Out-of-control affect (feelings, emotions) is a key concern for theorists of crowds, often serving dual-duty as both the cause and effect of crowd behavior. keywords: affect; crowds; duisburg; event; love; parade; people; psychology cache: dancecult-305.htm plain text: dancecult-305.txt item: #70 of 119 id: dancecult-306 author: Bodenheimer, Rebecca title: Hip Hop Underground: The Integrity and Ethics of Racial Identification (Anthony Kwame Harrison) date: 2010-12-30 words: 11623 flesch: 50 summary: Initially the protestival was concerned with the regulation of dance music culture, but has since been harnessed to a range of different causes. Graham St John is a cultural anthropologist whose latest publication explores “themes of counterculture and resistance” in global electronic dance music culture (EDMC). keywords: book; chapter; cultural; culture; dance; dancecult; documentary; donk; film; goodman; harrison; hip; hip hop; hop; john; music; pink; psytrance; rave; scene; sound; techno; underground; white; work cache: dancecult-306.pdf plain text: dancecult-306.txt item: #71 of 119 id: dancecult-307 author: Till, Rupert title: The Local Scenes and Global Culture of Psytrance (Graham St John) date: 2010-12-30 words: 11623 flesch: 50 summary: Initially the protestival was concerned with the regulation of dance music culture, but has since been harnessed to a range of different causes. Graham St John is a cultural anthropologist whose latest publication explores “themes of counterculture and resistance” in global electronic dance music culture (EDMC). keywords: book; chapter; cultural; culture; dance; dancecult; documentary; donk; film; goodman; harrison; hip; hip hop; hop; john; music; pink; psytrance; rave; scene; sound; techno; underground; white; work cache: dancecult-307.pdf plain text: dancecult-307.txt item: #72 of 119 id: dancecult-308 author: Gavanas, Anna title: Pink Noises: Women on Electronic Music and Sound (Tara Rodgers) date: 2010-12-30 words: 11623 flesch: 50 summary: Initially the protestival was concerned with the regulation of dance music culture, but has since been harnessed to a range of different causes. Graham St John is a cultural anthropologist whose latest publication explores “themes of counterculture and resistance” in global electronic dance music culture (EDMC). keywords: book; chapter; cultural; culture; dance; dancecult; documentary; donk; film; goodman; harrison; hip; hip hop; hop; john; music; pink; psytrance; rave; scene; sound; techno; underground; white; work cache: dancecult-308.pdf plain text: dancecult-308.txt item: #73 of 119 id: dancecult-309 author: Kirby, Philip Ronald title: Technomad: Global Raving Countercultures (Graham St John) date: 2010-12-30 words: 11623 flesch: 50 summary: Initially the protestival was concerned with the regulation of dance music culture, but has since been harnessed to a range of different causes. Graham St John is a cultural anthropologist whose latest publication explores “themes of counterculture and resistance” in global electronic dance music culture (EDMC). keywords: book; chapter; cultural; culture; dance; dancecult; documentary; donk; film; goodman; harrison; hip; hip hop; hop; john; music; pink; psytrance; rave; scene; sound; techno; underground; white; work cache: dancecult-309.pdf plain text: dancecult-309.txt item: #74 of 119 id: dancecult-343 author: Morrison, Simon Andrew title: “Clubs aren’t like that”: Discos, Deviance and Diegetics in Club Culture Cinema date: 2012-11-06 words: 8852 flesch: 57 summary: As Hebdige remarks, music (in film terms, the soundtrack) is of paramount importance to subcultures, and therefore the films that fall within the EDMC film canon, and have music itself at their core. For clarity let us refer to these two functions of film texts as Beeler’s 1st and 2nd law. keywords: audience; cinema; club; culture; dance; ecstasy; edmc; experience; film; heydon; irvine; music; nightclub; rave; scene; terms; texts; welsh cache: dancecult-343.pdf plain text: dancecult-343.txt item: #75 of 119 id: dancecult-344 author: None title: dancecult-344 date: None words: 2463 flesch: 69 summary: Bangface Weekender 2010 had a “Juracid Park” theme to mark “the 65 millionth anniversary of the extinction of the dinosaurs” (Bangface 2012c). The First Four Years of Bangface Weekender: An Overview Eric Turner University of New Mexico (US) The Setting Is Bangface Weekender a festival? keywords: bangface; chalet; festival; party; people; ravers; weekender cache: dancecult-344.htm plain text: dancecult-344.txt item: #76 of 119 id: dancecult-347 author: None title: dancecult-347 date: None words: 1599 flesch: 42 summary: Groove Music: The Art and Culture of the Hip-Hop DJ Mark Katz New York: Oxford University Press, 2012 ISBN: 978-0-19-533112-7 RRP: US$24.95 Murray Forman Northeastern University (US) Mark Katz provides a beautifully written account of the DJ’s evolution in Groove Music: The Art and Culture of the Hip-Hop DJ that is sure to stand as the go-to text for anyone seeking knowledge about the who, what, when, where, why and how of DJ culture. keywords: book; hip; hop; katz cache: dancecult-347.htm plain text: dancecult-347.txt item: #77 of 119 id: dancecult-349 author: None title: dancecult-349 date: None words: 1100 flesch: 42 summary: While all of this is nothing new for the scholar of EDM, the attention given to dance music and club culture is an acknowledgement of EDM’s standing in the development of popular music, Brabazon going beyond the rock-centred orientation of much popular music writing. For students of popular music there is no shortage of books, with the field now firmly established in the corridors of academia and interpreted through a body of literature as diverse and as vibrant as the music itself. keywords: book; brabazon; music cache: dancecult-349.htm plain text: dancecult-349.txt item: #78 of 119 id: dancecult-350 author: None title: dancecult-350 date: None words: 1699 flesch: 67 summary: The director originally hoped to explore the origins and culture of hip hop with the aim of educating the Dutch TV viewer whose perception of the style may have been tainted by exposure to novelty material such as Dutch act MC Miker G and Deejay Sven’s 1986 hit “Holiday Rap”. Explaining the origin of the style entirely on educational cutbacks somewhat over-simplifies the origins of hip hop. keywords: film; hip; hop; music; rap cache: dancecult-350.htm plain text: dancecult-350.txt item: #79 of 119 id: dancecult-351 author: St John, Graham title: Executive Editor's Introduction date: 2013-05-12 words: 1367 flesch: 51 summary: Graham St John (Griffith University, AU) Reviews Editor Ed Montano (RMIT University, AU) Foreign Languages Editor Luis-Manuel Garcia (University of Chicago, DE) Production Editor Botond Vitos (Monash University, AU) Operations director Ed Montano (RMIT University, AU) Copyeditors Luis-Manuel Garcia (University of Chicago, DE) Jerome Hansen (UK) Sheena D. Hyndman (York University, CA) Katrina Loughrey (AU) Kath O’Donnell (AU) Production Assistants Martin Koszolko (RMIT University, AU) Marc Kushin (Goldsmiths, University of London, UK) Garth Sheridan (RMIT University, AU) Alejandro L. Madrid (University of Illinois, Chicago, US), Charity Marsh (University of Regina, CA), Tony Mitchell (University of Technology Sydney, AU), Karenza Moore (Lancaster University, UK), Andrew Murphie (University of New South Wales, AU), Christopher Partridge (Lancaster University, UK), Anne Petiau (ITSRS / Université Paris 5, FR), Hillegonda C Rietveld (London South Bank University, UK), Geoff Stahl (Victoria University of Wellington, NZ), Sonjah Nadine Stanley-Niaah (University of West Indies, JM), Graham St John (Griffith University, AU), Will Straw (McGill University, CA), Rupert Till (University of Huddersfield, UK), tobias c. van Veen (McGill University, CA), Michael Veal (Yale University, US), Andrew Whelan (University of Wollongong, Australia) Dancecult: keywords: dancecult; editor; garcia; luis; production; university cache: dancecult-351.pdf plain text: dancecult-351.txt item: #80 of 119 id: dancecult-355 author: moore, madison alexander title: Looks: Studio 54 and the Production of Fabulous Nightlife date: 2013-05-12 words: 7467 flesch: 65 summary: Nonetheless, Studio’s strenuous door policy marks the beginning of the popularization as well as the mainstreaming of “door culture” in New York nightlife. For Siano, in other words, Studio 54 featured the superfluous and perhaps more commercialized aspects of nightlife culture, not necessarily the vibe, the music or even the DJs. keywords: club; culture; dance; door; experience; music; new; nightlife; party; people; space; studio; study; way; york cache: dancecult-355.pdf plain text: dancecult-355.txt item: #81 of 119 id: dancecult-357 author: None title: dancecult-357 date: None words: 10768 flesch: 53 summary: A Space Odyssey—the open-ended and desirable consequences of surrendering control is burlesqued.[15] Cultural datafacts may then be purposed to gnostic clarity, while at other times, on other dance floors, and under the direction of other DJs, or perhaps within the same track, they may be purposed to subvert, confuse, mystify. In the “second life of the people”, disorder, freakiness, the anomalous, hold sovereignty, a rollicking circumstance fuelled by mind-alterants such as the psychoactive compounds and research chemicals circulating within EDM event cultures, like THC, 2C-I or methoxetamine. keywords: anthropology; compounds; culture; dance; edm; events; experience; field; floor; john; media; music; new; press; producers; records; research; researchers; ritual; self; studies; trance; turner; university; vibe; writing; york cache: dancecult-357.htm plain text: dancecult-357.txt item: #82 of 119 id: dancecult-358 author: None title: dancecult-358 date: None words: 3866 flesch: 65 summary: In the piece, I reflect upon some of my doctoral research experiences of participant observation in Edinburgh techno club nights. Alienation The first intersection depicts the habitual patterns of my attendance at techno club nights, and introduces the possibility that these patterns can be perceived as problematic for research. keywords: audio; club; edinburgh; music; night; people; research; techno cache: dancecult-358.htm plain text: dancecult-358.txt item: #83 of 119 id: dancecult-359 author: None title: dancecult-359 date: None words: 3650 flesch: 56 summary: Ali's aspirations for increased fame and social recognition are set against the backdrop of insecurity associated with sectarian political fragmentation and the weak Lebanese state.[4] Ethnographic Reflexivity at a Rooftop Nightclub in Beirut Caitlin Robinson SOAS, University of London (UK) Over the course of my year-long fieldwork in Beirut, I often joked with Ali, a prominent Lebanese DJ and electronic music producer, about how he would make an excellent anthropologist.[1] keywords: ali; beauty; beirut; evening; nightclub; nightlife; table; wasta cache: dancecult-359.htm plain text: dancecult-359.txt item: #84 of 119 id: dancecult-360 author: None title: dancecult-360 date: None words: 3866 flesch: 51 summary: When it came to discerning the effects of remixed music consumption on the listening habits of my non-musician audience respondents, this broad approach allowed me to gain insight on why it is that people listen to remixed music in a variety of different contexts. I didn’t want to hear only from people who enjoy and regularly consume electronic music, and I hoped to be able to add dissenting voices to my conversation about remixing in addition to the perspectives of die-hard fans and the people who only occasionally come into contact with remixed music. keywords: dance; edm; floor; music; people; research; respondents cache: dancecult-360.htm plain text: dancecult-360.txt item: #85 of 119 id: dancecult-361 author: None title: dancecult-361 date: None words: 1445 flesch: 53 summary: During an interview with an important staff member in 2010, I began the conversation discussing my credentials as a doctoral student with experience conducting research projects in other queer dance spaces, assuming it would be important in this case. He thought it was unbelievable, and very exciting, that someone in academia would be interested in dance club cultures. keywords: community; dance; queer; university cache: dancecult-361.htm plain text: dancecult-361.txt item: #86 of 119 id: dancecult-362 author: None title: dancecult-362 date: None words: 3570 flesch: 55 summary: Whereas realist fieldnotes try to avoid interpretation, poetic fieldnotes explicitly interpret experience while also inviting further interpretation on the part of the reader. In general, the poetic genre is employed less frequently in ethnographic fieldnotes, but it nonetheless did appear regularly in the notes of almost all of the researchers in our team. keywords: experience; fieldnotes; fieldwork; project; research; use; writing cache: dancecult-362.htm plain text: dancecult-362.txt item: #87 of 119 id: dancecult-363 author: None title: dancecult-363 date: None words: 1339 flesch: 45 summary: Finally, this study could be used as a blueprint by future researchers wishing to undertake ethnographic research into the worlds of drug dealers and consumers. Chapter Three explores the friendship networks, groups and styles associated with drug use and distribution. keywords: ecstasy; ethnographic; study; ward cache: dancecult-363.htm plain text: dancecult-363.txt item: #88 of 119 id: dancecult-364 author: None title: dancecult-364 date: None words: 1267 flesch: 44 summary: The final chapter, “Recording the Revolution: 50 Years of Music Studios in Revolutionary Cuba”, by Jan Fairley and Alexandrine Boudreault-Fournier, offers a contrasting non-Western perspective on recording practice, providing cultural considerations for recording practices in recording studios in Cuba. She considers this through the context of the work of Brian Wilson, a pioneer in the confluence of recording practices and composition in popular music. keywords: chapter; production; record; recording cache: dancecult-364.htm plain text: dancecult-364.txt item: #89 of 119 id: dancecult-365 author: None title: dancecult-365 date: None words: 2769 flesch: 50 summary: It will thus be of interest firstly for anyone whose research interests are in such fields as music, sound art, cinema, media (including radio, television, video games and the Internet), linguistics, drama, dance, sound design, architecture, disability, sound storage and reproduction, telecommunications and psychoacoustics, that is, where sound is already a central object of study. With this reader, however, Sterne does not intend to establish a new academic field in the traditional sense, that is, by cocooning an embryonic discipline within a given set of theoretical concerns and epistemological boundaries, but rather to advance a dynamic and open concept of sound studies as “a name for the interdisciplinary ferment in the human sciences that takes sound as its analytical point of departure or arrival” (2). keywords: hearing; music; reader; senses; sound; sterne; studies; study cache: dancecult-365.htm plain text: dancecult-365.txt item: #90 of 119 id: dancecult-366 author: None title: dancecult-366 date: None words: 1577 flesch: 53 summary: The discussion of frequency ranges, transients and pitch shifts within certain bass drum sounds shows an increasing trend to deploy bass drums with descending pitch shifts over the last three decades. Danielsen's introduction summarizes key concepts of groove research such as basic pulsation; the synching of different rhythms on a material level or a perception level called entrainment; the idea that an abstract model of a rhythm exists and that each played actualization diverges from the abstract model; and the notion that inter-onset-intervals are the fundamental criteria for perceiving the structure of a rhythm. keywords: bass; danielsen; groove; rhythm; sound cache: dancecult-366.htm plain text: dancecult-366.txt item: #91 of 119 id: dancecult-367 author: None title: dancecult-367 date: None words: 1466 flesch: 34 summary: The anthology commences with a contentious piece by John Williamson and Martin Cloonan which problematizes much of the previous writing on recording industries and argues that these industries are indeed far from homogenous and best studied in terms of component parts (notably recording, live music and publishing). C. Michael Elavsky describes a Czech music culture that is both fully integrated into global industry practices but highly resistant to the Westernising cultural imperialism of copyright and intellectual property regulations. keywords: industry; international; market; music; recording cache: dancecult-367.htm plain text: dancecult-367.txt item: #92 of 119 id: dancecult-369 author: Ratcliffe, Robert title: A Proposed Typology of Sampled Material Within Electronic Dance Music date: 2014-06-02 words: 11748 flesch: 50 summary: Abstract The following article contains a proposed typolog y of sampled material within electronic dance music (EDM). Ratcliffe | A Proposed Typology of Sampled Material Within Electronic Dance Music 99 Figure 1: A proposed typology of sampled material within EDM. keywords: bass; category; dance; drum; edm; elements; example; material; music; new; performance; ratcliffe; referential; sample; sampling; smalley; sound; source; sub; track; transformation; use cache: dancecult-369.pdf plain text: dancecult-369.txt item: #93 of 119 id: dancecult-370 author: Lalioti, Vassiliki title: Stay in Synch!: Performing Cosmopolitanism in an Athens Festival date: 2013-10-24 words: 10244 flesch: 52 summary: Participating in Synch festival is a complex activity. However, according to participants, the history of Synch festival shows a process of the two cultural poles of high-brow and low-brow (Levine 1988; Peterson and Kern 1996) merging , while mainstream dance-based styles and experimental music and artists become Lalioti | Performing Cosmopolitanism in an Athens Festival 143 more mixed. keywords: artists; athens; audience; city; contemporary; cosmopolitanism; cultural; culture; dance; events; festival; greece; greek; international; music; new; participants; people; social; synch; world cache: dancecult-370.pdf plain text: dancecult-370.txt item: #94 of 119 id: dancecult-371 author: Vitos, Botond title: “An Avatar ... in a Physical Space”: Researching the Mediated Immediacy of Electronic Dance Floors date: 2014-11-15 words: 9851 flesch: 46 summary: Similar accounts were stated by my interlocutors, with one describing the influence of such drugs through the analog y of using coloured sunglasses. Attempting to address the possible ontological status of drug worlds, during a focus group I enquired about Second Life, the online virtual world where users interact with each other through “avatars”.4 The expression had been spontaneously applied to techno parties by Stuart, and subsequently adopted by other participants of the same focus group. keywords: baudrillard; consumer; consumption; culture; dance; drugs; effects; everyday; experience; focus; life; media; melbourne; music; reality; social; space; symbolic; techno; virtual; world cache: dancecult-371.pdf plain text: dancecult-371.txt item: #95 of 119 id: dancecult-372 author: Montano, Ed title: Ethnography From the Inside: Industry-based Research in the Commercial Sydney EDM Scene date: 2013-10-24 words: 9147 flesch: 60 summary: As a method of research into music scenes, ethnography has been, and remains, a useful and productive approach. Tourists are a very different demographic because, by their nature, they are freed up from the restrictions or rules of their other life back home, so as a tourist you do things you wouldn’t otherwise do, and that’s the lifeblood of commercial clubs for sure.9 Montano | Ethnography from the Inside 121 Research on local music scenes needs to be connected to the broader transnational processes that facilitate the global spread of culture. keywords: culture; dance; dance music; djs; edm; ethnography; industry; insider; interview; music; people; record; research; scene; study; sydney; work cache: dancecult-372.pdf plain text: dancecult-372.txt item: #96 of 119 id: dancecult-376 author: Reddell, Trace title: Ethnoforgery and Outsider Afrofuturism date: 2013-10-24 words: 12476 flesch: 51 summary: I’d say that anything I’m doing is simply my misunderstanding of black music. In order to address head-on the relationship between black music and white music, Eshun’s discussion of Cybotron stages “futurity” as an overflow of the production of Reddell | Ethnoforgery and Outsider Afrofuturism 95 polyphonic subjectivities. keywords: african; afrofuturism; american; black; byrne; culture; dery; eno; eshun; fiction; future; guattari; hassell; identity; media; multiculturalism; music; new; outsider; science; sound; subjectivity; time; way; white; work; world cache: dancecult-376.pdf plain text: dancecult-376.txt item: #97 of 119 id: dancecult-378 author: Fisher, Mark title: The Metaphysics of Crackle: Afrofuturism and Hauntology date: 2013-10-24 words: 6890 flesch: 64 summary: In Derrida’s work, “hauntolog y” was a play on “ontolog y”. Around 2006, writers such as Simon Reynolds and myself turned to the concept of hauntolog y when spectrality started to emerge as a theme—and a practice—in the work of producers from a range of backgrounds, including experimental rocker Ariel Pink, composer William Basinski, turntablist Philip Jeck, and the dubstepper Burial. keywords: axe; crackle; future; ghosts; hauntolog; history; london; metaphysics; music; past; presence; time; tricky; voice cache: dancecult-378.pdf plain text: dancecult-378.txt item: #98 of 119 id: dancecult-381 author: St John, Graham title: The Vibe of the Exiles: Aliens, Afropsychedelia and Psyculture date: 2013-10-24 words: 14356 flesch: 54 summary: Psytrance shares music production technologies and DJ techniques with other electronic dance music cultures (EDMCs), including “Detroit techno”. Keywords: alien-ation; psyculture; Afrofuturism; posthumanism; psytrance; exiles; aliens; vibe Graham St John is a cultural anthropologist and researcher of electronic dance music cultures and festivals. keywords: alien; alienation; black; culture; dance; dancecult; earth; exiles; experience; floor; goa; inch; israeli; john; london; music; new; people; planet; psychedelic; psyculture; psytrance; records; rock; self; sound; space; st john; sun; techno; trance; vibe; vinyl; world; york cache: dancecult-381.pdf plain text: dancecult-381.txt item: #99 of 119 id: dancecult-387 author: Fraser, Alistair title: On the Content and Contribution of MCs in British Drum 'n' Bass date: 2014-11-15 words: 9838 flesch: 65 summary: Representing drum n bass. Such practices mean that drum ‘n’ bass audiences develop knowledge about what the response might be to specific calls, for example, by no means was it inevitable that everyone in an audience would know “Bo!” keywords: bass; bass mcs; bass music; british; british drum; dance; drum; events; fraser; london; lyrics; mcs; music; rave; way; work cache: dancecult-387.pdf plain text: dancecult-387.txt item: #100 of 119 id: dancecult-389 author: None title: dancecult-389 date: None words: 886 flesch: 41 summary: Through the interweaving of footage filmed at festivals and interviews, outdoor parties are presented as religious gatherings. Indeed, the film has been screening at outdoor parties and chill out spaces globally to great response since 2011. keywords: festival; parties; scene cache: dancecult-389.htm plain text: dancecult-389.txt item: #101 of 119 id: dancecult-391 author: None title: dancecult-391 date: None words: 4592 flesch: 55 summary: Arts movements, are usually way too European. One of the main issues I always, always, always see in arts movements like Afro-Futurism is a kind of informal Apartheid between use-practice in the everyday world—gasp, multiculturalism!!!—and the basic sense of theory and ideas that drive the agenda of an art movement. keywords: afrofuturism; art; artists; film; hop; idea; kind; remix; slavery; spooky; think; way cache: dancecult-391.htm plain text: dancecult-391.txt item: #102 of 119 id: dancecult-392 author: None title: dancecult-392 date: None words: 2416 flesch: 46 summary: On the other channel, as Womack emphasizes, and following her similar meditations in Post-Black, Afrofuturists not only redefine contemporary as well as past/future “notions of blackness” (9), but articulate how race is “a creation too” (27). In her discussion of Afrofuturist scholarship, Womack places emphasis on the role of representation, in which scholars are apparently “dedicated to the study of works that analyze dynamics of race and culture specific to the experiences of black people through sci-fi and fantasy works” (23). keywords: afrofuturism; book; fiction; future; past; people; womack cache: dancecult-392.htm plain text: dancecult-392.txt item: #103 of 119 id: dancecult-668 author: None title: dancecult-668 date: None words: 1525 flesch: 41 summary: Why Music Matters is an important contribution to sociology and music, but it also delves into philosophy, anthropology, musicology, ethnomusicology, psychology, political theory and music history. This is followed by a discussion of how dance music enriches people’s lives through the bodily experience of dancing. keywords: dance; hesmondhalgh; music; value cache: dancecult-668.htm plain text: dancecult-668.txt item: #104 of 119 id: dancecult-732 author: None title: dancecult-732 date: None words: 2999 flesch: 60 summary: The techniques of the sound system remain at the heart of what Linton Kwesi Johnson termed “bass culture” (on his 1980 album of the same title) and they continue to reverberate in the belly of “bass music”, the category applied to several genres today. My interest here is primarily in how a few of dub’s techniques pervade electronic dance music culture and mediate the representations and affects of violent conflict, particularly since 9/11 with the “war on terror”, the wars on Afghanistan and Iraq, and the growth in the western hemisphere of surveillance and securitization. keywords: bass; culture; dance; dub; gibbs; inch; joe; music; sound; war cache: dancecult-732.htm plain text: dancecult-732.txt item: #105 of 119 id: dancecult-737 author: None title: dancecult-737 date: None words: 1647 flesch: 37 summary: Sonic Bodies manages to achieve Henriques’ intentions of departing from the established literature and presents a theoretically fresh approach to the study of Jamaican sound system culture. Chapter Four establishes a historiography of sound system development through the prism of engineering and the tradition of apprenticeship. keywords: henriques; performance; sound; system cache: dancecult-737.htm plain text: dancecult-737.txt item: #106 of 119 id: dancecult-767 author: Rietveld, Hillegonda C.; van Veen, tobias c. title: Introduction to Echoes from the Dub Diaspora date: 2015-11-11 words: 2286 flesch: 49 summary: Editor's Introduction, Masthead and Table of Contents Volume 7 Number 2 2015 Echoes from the Dub Diaspora Guest Editors tobias c. van Veen and Hillegonda C. Rietveld Executive Editor Graham St John (Griffith University, AU) From the floor Editors Alice O’Grady (University of Leeds, UK) ©2015 Dancecult Published twice yearly at International Advisory Board Sean Albiez (Southampton Solent University, UK), Eliot Bates (University of Birmingham), Andy Bennett (Griffith University, AU), Mark J Butler (Northwestern University, US), Anthony D’Andrea (University of Limerick, IE), Rebekah Farrugia (Oakland University, US), Kai Fikentscher (DE), Luis-Manuel Garcia (University of Groningen, NL), François Gauthier (Université de Fribourg, CH), Anna Gavanas (Institute for Futures Studies, SE), Chris Gibson (University of New South Wales, AU), Jeremy Gilbert (University of East London, UK), Alice O’Grady, University of Leeds (UK), Ross Harley (University of New South Wales, AU), David Hesmondhalgh (University of Leeds, UK), Tim Lawrence (University of East London, UK), Geert Lovink (University of Amsterdam, NL), Rene Lysloff (University of California, Riverside, US), keywords: diaspora; dub; music; sound; university; van; veen cache: dancecult-767.pdf plain text: dancecult-767.txt item: #107 of 119 id: dancecult-809 author: None title: dancecult-809 date: None words: 1275 flesch: 57 summary: Fontanari narrates how he built up the character of the ethnographer so as to become another—rather than the other—and thus conveniently circulate among periphery DJs and partygoers; among residents of the working-class neighbourhoods where periphery DJs and partygoers lived; among people in the unmarked territories periphery DJs and partygoers named the centre; and to cross these boundaries without attracting hostility or unwanted attention. He explains: “For this reason, the most valued performances were those by periphery DJs who had followed the longest trajectories, individualizing and personalizing themselves to the utmost degree in relation to the periphery audience” (112). keywords: bass; djs; drum; periphery cache: dancecult-809.htm plain text: dancecult-809.txt item: #108 of 119 id: dancecult-912 author: None title: dancecult-912 date: None words: 2387 flesch: 46 summary: Achtermann uses Eno’s ambient output to consider how one defines such music, and the extent to which it can be considered as actual music, concluding that Eno’s work, while presented as art, also calls into question the nature of art, encouraging listeners to “reappraise their understanding of music and the uses of music” (103). Eno’s production work on Ferry’s compositions helped to position him as a key figure in the popular music landscape in the 1970s, and even if his time in the band was only brief, Pattie demonstrates how Eno was beginning to formulate some of the key principles that have continually informed his work since. keywords: book; eno; music; pattie; production; work cache: dancecult-912.htm plain text: dancecult-912.txt item: #109 of 119 id: dancecult-916 author: St John, Graham title: Masthead date: 2016-11-18 words: 654 flesch: 57 summary: Jerome Hansen (UK) Jonathan Karpetz (McGill University, CA) Katrina Loughrey (AU) Kath O’Donnell (AU Magdalena Olszanowski (Concordia University, CA) Production AssistantS Paul Jasen (Carleton University, CA) Garth Sheridan (RMIT University, AU) Dancecult Journal of Electronic Dance Music Culture Issue 8(1) 2016 ISSN 1947-5403 ©2016 Dancecult Published yearly at International Advisory Board Sean Albiez (Southampton Solent University, UK), Eliot Bates (University of Maryland, College Park, US), Andy Bennett (Griffith University, AU), Mark J Butler (Northwestern University, US), Anthony D’Andrea (University of Limerick, IE), Rebekah Farrugia (Oakland University, US), Kai Fikentscher (DE), Luis-Manuel Garcia (University of Birmingham, UK), François Gauthier (CA), Anna Gavanas (Institute for Futures Studies, SE), Ross Harley (University of New South Wales, AU), Tim Lawrence (University of East London, UK), Geert Lovink (University of Amsterdam, NL), Alejandro L. Madrid (University of Illinois, Chicago, US), Paolo Magaudda (University of Padova, IT), Charity Marsh (University of Regina, CA), Ed Montano (RMIT University, AU), Andrew Murphie (University of New South Wales, AU), Alice O’Grady (University of Leeds, United Kingdom), Christopher Partridge (Lancaster University, UK), Anne Petiau (ITSRS / Université Paris 5, FR), Hillegonda C Rietveld (London South Bank University, UK), Geoff Stahl (Victoria University of Wellington, NZ), Sonjah Nadine Stanley-Niaah (University of West Indies, JM), Graham St John (University of Fribourg, CH), Jonathan Sterne (McGill University, CA), Will Straw (McGill University, CA), Rupert Till (University of Huddersfield, UK), tobias c. van Veen (Université de Montréal, CA), Michael Veal (Yale University, US), Botond Vitos (DE) Dancecult: Graham St John (University of Fribourg, CH) Reviews Editor Ed Montano (RMIT University, AU) Foreign Languages Editor Luis-Manuel Garcia (University of Groningen, NL) Production Editor Botond Vitos (DE) Operations director Ed Montano (RMIT University, AU) keywords: dance; music; university cache: dancecult-916.pdf plain text: dancecult-916.txt item: #110 of 119 id: dancecult-951 author: Hancock, Maren title: Lick My Legacy: Are Women-Identified Spaces Still Needed to Nurture Women-Identified DJs? date: 2017-11-14 words: 8657 flesch: 65 summary: This study concludes that although female DJs are becoming more common in Canadian nightclubs and festivals, networks such as the one fostered by Lick are still significantly important to the careers of DJs whose identities do not afford them access to the “boys’ club(s)”. The Power of DJ Networks Lick was different in that it was predominantly run by queer management, they actually promoted female DJs learning and working there; that had happened in the past but never in that kind of capacity. . . . keywords: clark; club; community; culture; djs; female; lick; music; people; queer; space; trans; vancouver; women cache: dancecult-951.pdf plain text: dancecult-951.txt item: #111 of 119 id: dancecult-958 author: Morgan, Frances title: Delian Modes: Listening for Delia Derbyshire in Histories of Electronic Dance Music date: 2017-11-14 words: 9336 flesch: 44 summary: The media play a key role in presenting , framing and delineating areas of music in which such traditional genre boundaries demarcating “popular” and “classical”, or, say, “EDM” and “ambient’, or “techno” and “noise” are blurred or problematised; they also, Dancecult 9(1)12 increasingly, present accounts of electronic music history, which might otherwise remain an area of specialist study, to a general public that includes groups such as record collectors, music technolog y enthusiasts and EDM fans. In “Pioneer Spirits: New Media Representations of Women In Electronic Music History” (Morgan 2017: 238–49), I argue that, “print and online media play a role in making visible certain aspects of electronic music history to consumers who might also be practising musicians, music scholars, and potential researchers”, while “[a]cademic writers and researchers exploring the relations between gender, sound and technolog y increasingly use the same platforms as online critics to discuss, promote and present their interests” (Morgan 2017: 239). keywords: bbc; dance; dance music; delia; delia derbyshire; derbyshire; edm; feminist; gender; histories; history; media; morgan; music; radiophonic; sound; women; workshop cache: dancecult-958.pdf plain text: dancecult-958.txt item: #112 of 119 id: dancecult-966 author: None title: dancecult-966 date: None words: 1094 flesch: 66 summary: Rest in peace Marcus Intalex. Within two days of the news breaking, MC DRS and Luke LSB released a track called “Angels Fall” (DRS and LSB 2017) originally on bandcamp.com and announced that all proceeds would be used to help pay for funeral costs for Marcus’ family: We are still very much mourning the sad and sudden passing of our beloved friend Marcus Kaye, known to many as Marcus Intalex or Trevino. keywords: bass; drum; marcus cache: dancecult-966.htm plain text: dancecult-966.txt item: #113 of 119 id: dancecult-973 author: None title: dancecult-973 date: None words: 2869 flesch: 54 summary: I started to go to nightclubs at the age of 14 years old and I grew up listening to dance music, which at the time (around 1988) coincided with the birth of house music. The objective when I compose/perform is to feed into what sounds good to me and into different models of musical decision-making such as adding or removing music loops, or by filtering the sonic content of the music. keywords: edm; music; performance; sound; spatialisation; studio cache: dancecult-973.htm plain text: dancecult-973.txt item: #114 of 119 id: dancecult-976 author: None title: dancecult-976 date: None words: 2914 flesch: 77 summary: I always found it interesting, the concept of being at work and the need to deflect advances (almost like going to your job and people assuming that maybe you were only there because you wanted to get “on the job”). The positive feedback from people who enjoyed what I did was enough to keep me going forwards. keywords: decks; people; records; time cache: dancecult-976.htm plain text: dancecult-976.txt item: #115 of 119 id: dancecult-977 author: None title: dancecult-977 date: None words: 6299 flesch: 83 summary: “Teri Thornton is Dead at 65; Jazz Singer Had Hits in 1960s”. However, now I have created a situation where I can do other things creatively and I can get paid for them and enjoy them and I don’t have to change the way I do music to make money. keywords: art; money; music; people; rucyl; things; time; way cache: dancecult-977.htm plain text: dancecult-977.txt item: #116 of 119 id: dancecult-993 author: None title: dancecult-993 date: None words: 1259 flesch: 44 summary: Hosken argues that principles of music technology should be analysed in the context of practical work, and throughout the text he provides suggested activities, complementing the core content. While a good understanding of the fundamental knowledge related to computer hardware and software is very helpful in troubleshooting of the technical problems as well as the efficient day-to-day work with music technology, the priority in the volume is given to sound-related topics, which is a sensible choice. keywords: book; music; technology cache: dancecult-993.htm plain text: dancecult-993.txt item: #117 of 119 id: dancecult-996 author: None title: dancecult-996 date: None words: 1512 flesch: 40 summary: In Techno Studies, he writes three short essays concerning the practical and epistemological problems of writing reviews of techno tracks. As a consequence of the methodological difficulties involved in analysing techno tracks, she suggests a combination of traditional and new methods including participant observation, and descriptions of sounds and aural textures. keywords: berlin; chapter; music; scene; studies; techno cache: dancecult-996.htm plain text: dancecult-996.txt item: #118 of 119 id: dancecult-997 author: None title: dancecult-997 date: None words: 1297 flesch: 42 summary: Given the spiralling of this book towards a final concluding chapter on hyperrealism in digital art, this movement from mapping to tracing seems to be no coincidence, perhaps presenting a subtle meta-critique of the relationship between the fluid nature of digital arts and the pedagogical need to linearize a field which is still very much a boundary-less network space (pace Latour), perhaps even a vulnerable space loosely encompassing a group of discrete disciplines with shared processes but not necessarily goals. The opening chapter in particular is a stroke of genius in this respect, presenting the context of digital art as a cartography—a brilliant alternative to either the repertoire-based canonic approach taken by Cox and Warner (2004) or the techno-centric focus of Demers (2010). keywords: art; book; chapter; music cache: dancecult-997.htm plain text: dancecult-997.txt item: #119 of 119 id: dancecult-999 author: None title: dancecult-999 date: None words: 1803 flesch: 46 summary: As Jasen reveals, bodies of myth science accumulate around unusual vibratory milieus (28), and Sun Ra’s own “tale of becoming”, how he categorized and philosophized about his experiential knowledge, serves as an excellent parergon to Jasen’s own attempt at rigorous speculation on the sound body. Thus, not meaning to be definitive, Jasen intends for the book to be an “experiment” (187), its own kind of myth science, a work that “strives instead to engender a mode of thought that draws sound-related scholarship into unfamiliar territory, and help nudge the humanities more broadly towards a greater appreciation of material agencies” (19). keywords: body; book; jasen; myth; sound cache: dancecult-999.htm plain text: dancecult-999.txt