Dancecult 5(1) 2013: Executive Editor's Introduction, Masthead and Table of Contents Volume 5 Number 1 2013 Doing Nightlife and EDMC Fieldwork Edited by Luis-Manuel Garcia Executive Editor Graham St John (Griffith University, AU) From the floor Editors Alice O’Grady (University of Leeds, UK) 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) Dancecult Journal of Electronic Dance Music Culture Issue 5(1) 2013 ISSN 1947-5403 ©2013 Dancecult Published twice yearly at http://dj.dancecult.net 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 Chicago (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), 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), 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 (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: Journal of Electronic Dance Music Cult ure is a peer-reviewed, open-access e-journal for the study of electronic dance music culture (EDMC). A platform for interdisciplinary scholarship on the shifting terrain of EDMCs worldwide, the Journal houses research exploring the sites, technologies, sounds and cultures of electronic music in historical and contemporary perspectives. Playing host to studies of emergent forms of electronic music production, performance, distribution, and reception, as a portal for cutting-edge research on the relation between bodies, technologies, and cyberspace, as a medium through which the cultural politics of dance is critically investigated, and as a venue for innovative multimedia projects, Dancecult is the forum for research on EDMC. Cover Image: © Remysh (www.remysh.com) Volume 5 Number 1 2013 Executive Editor’s Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01 Graham St John Guest Editor’s Introduction: Doing Nightlife and EDMC Fieldwork . . . . . . . . . . . . . . . . . . . . . . . . . . . 03 Luis-Manuel Garcia FEATURE ARTICLES Interrupting Flow: Researching Play, Performance and Immersion in Festival Scenes . . . . . . . . . . . . . . . 18 Alice O’Grady Alone, Asian and Female: The Unspoken Challenges of Conducting Fieldwork in Dance Settings . . . . . . 39 Bina Bhardwa Looks: Studio 54 and the Production of Fabulous Nightlife . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 madison moore TRANSPOSITIONS – online Focused Ethnography as Research Method: A Case Study of Techno Music Producers in Home-Recording Studios Jan-Michael Kühn (trans. Luis-Manuel Garcia) CONVERSATIONS – online Writing the Vibe: Arts of Representation in Electronic Dance Music Culture Graham St John FROM THE FLOOR – online Techno Intersections: An Aural Account of Research in Edinburgh Tami Gadir Wasta Capital: Ethnographic Reflexivity at a Rooftop Nightclub in Beirut Caitlin Robinson Dance Floors of the Mind: Performing Nightlife Research During the Day Sheena Hyndman Negotiating Salient Identities in Queer EDM Spaces Todd J. Rosendahl Describing Experience: Working Actively with Fieldnote Genres in Anthropological Fieldwork Lars Nørr Mikkelsen REVIEWS Books Flashback: Drugs and Dealing in the Golden Age of the London Rave Scene (Jennifer R. Ward) . . . . . . . . . . . 75 Sean Leneghan The Art of Record Production: An Introductory Reader for a New Academic Field (eds. Simon Frith and Simon Zagorski-Thomas) . . . . . . . 78 Pat O’Grady The Sound Studies Reader (ed. Jonathan Sterne) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Carlo Nardi Musical Rhythm in the Age of Digital Reproduction (ed. Anne Danielsen) . . . . . . . . . . . . . . . . . . . . . . . . 86 Stefanie Alisch The International Recording Industries (ed. Lee Marshall) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Paul Oldham ISSN 1947-5403 ©2013 Dancecult http://dj.dancecult.net The following are a few announcements concerning recent internal personnel changes at Dancecult and the results of our recent crowdfunding initiative. For the introduction to this special edition, please see Guest Editor Luis-Manuel Garcia’s Introduction, which follows. Since the last edition, there have been several changes in the editorial and production crew. In late 2012, tobias c. van Veen stepped down as Managing Editor, a role he inhabited over four editions, with extraordinary results. Between 2010 and 2012, tobias was instrumental in Dancecult’s revisioned production, having formed an efficient production team, overseeing a server transfer, acting as OJS front man, redesigning the logo, overhauling the Dancecult Style Guide, and producing several other key production guides giving his successors a comparatively cushion-bottomed ride. Besides all that, he found the time to oversee the layout production with forensic attention to detail, with distinctly impressive results. Tobias is among the most committed and multi-talented volunteers I’ve known, his rapid-response mentality sometimes giving me cause to wonder if I was communicating with a machine. Beyond all the robotics, the OJS ordeal and the ongoing funding crisis, his tireless efforts advanced the cause of open access, cross platform publishing , and I personally wish tobias all the best as he migrates to more satisfying endeavours. We make fond farewell, also, to Cato Pulleyblank, stepping down as Arts Director. I thank her for redesigning , in collaboration with tobias, our logo, web banner and PDF layout. At the same time, I am pleased to welcome Ed Montano (also our Reviews Editor) to the position of Operations Director and Botond Vitos as Production Editor, new roles they have assumed with total professionalism. I’m also pleased to welcome Alice O’Grady who has joined the Dancecult Editorial Board as a From the Floor Editor. I thank Luis-Manuel Garcia who has worn several hats in the production of this edition. As Guest Editor, he has been responsible for the conception of this special edition Doing Nightlife on field methods in EDM, an important and overdue addition to the growing field of EDM cultural studies, the content of which should prompt debate and discussion among EDM researchers. In this edition, Luis has also translated the first article in Transpositions, a new section featuring translations of existing foreign-language articles. We are likely to see at least one Transpositions article per year in Dancecult, and members of the international EDM research community are very fortunate to be beneficiaries of Luis’ painstaking commitment to dissolving the borders of scholarship. Finally, thanks to our fine crews of Copy Editors and Production Assistants whose efforts have been essential to the continuing operations of the journal. Executive Editor’s Introduction DOI: 10.12801/1947-5403.2013.05.01.00 Dancecult 5(1)2 Over Jan–Feb 2013, Dancecult raised just over $4,500 USD (after fees) in our crowdfunding initiative. These funds are crucial to our ongoing operations and I sincerely thank all supporters who have enabled the survival of the journal. There were ninety separate funders and over two-dozen donors of materials (perks). See the . Huge thanks to Ed Montano who co-ordinated mailing of the many donated perks. As a result of this funding , Dancecult is registered with CrossRef. All current and back articles will be assigned and references linked with Digital Object Identifiers (DOIs) by the end of 2013. I thank Kath O’Donnell for her assistance with this time-consuming project. Finally, Dancecult is currently in the process of migrating to a new server at Griffith Centre for Cultural Research, Griffith University, Brisbane. We hope to complete the migration by the end of June 2013. Graha m St John, Execu tive Editor