item: #1 of 344 id: dancecult-1000 author: Cox, James title: Hip-Hop Headphones: A Scholar’s Critical Playlist (James B. Peterson) date: 2017 words: 1051 flesch: 55 summary: Hip-Hop Headphones: A Scholar’s Critical Playlist James B. Peterson New York: Bloomsbury Academic, 2016. 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. keywords: book; hip; hop cache: dancecult-1000.htm plain text: dancecult-1000.txt item: #2 of 344 id: dancecult-1005 author: Farrugia, Rebekah; Olszanowski, Magdalena title: Introduction to Women and Electronic Dance Music Culture date: 2017 words: 4732 flesch: 51 summary: Despite government institutions’ official efforts to ensure equal male and female representation as prescribed by “The Gender Equality Act”, women DJs continue to be underrepresented at high profile EDMC events in Norway. Rupert Till (University of Huddersfield, UK), tobias c. van Veen (Université de Montréal, CA), Michael Veal (Yale University, US), Botond Vitos (University of Fribourg, CH) Dancecult: Journal of Electronic Dance Music Culture is a peer-reviewed, open-access e-journal for the study of electronic dance music culture (EDMC). 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 344 id: dancecult-1022 author: Savery, Richard James title: An Interactive Algorithmic Music System for EDM date: 2018 words: 6528 flesch: 58 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 344 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 words: 8341 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; smith; text; tidalcycles; time; visuals; wan; wookie cache: dancecult-1026.pdf plain text: dancecult-1026.txt item: #5 of 344 id: dancecult-1032 author: Armitage, Joanne Louise title: Spaces to Fail in: Negotiating Gender, Community and Technology in Algorave date: 2018 words: 7490 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 working within algorave have full time jobs and responsibilities elsewhere, but several have already conducted workshops for women and non-binary people. keywords: algorave; code; coding; community; computer; gender; music; performance; practice; scene; technology; women cache: dancecult-1032.pdf plain text: dancecult-1032.txt item: #6 of 344 id: dancecult-1036 author: McLean, Alex; Fanfani, Giovanni; Harlizius-Klück, Ellen title: Cyclic Patterns of Movement across Weaving, Epiplokē and Live Coding date: 2018 words: 12310 flesch: 49 summary: ⏑ - - ⏑ ⏑ - - ⏑ ⏑ - ⏑ - ⏑ - - ⏑ ⏑ - ⏑ - ⏑ - - ⏑ ⏑ - ⏑ - ⏑ - - ⏑ ⏑ - ⏑ - - τόδε δ᾽ αὖ θαῦμά μ᾽ ἔχει, πῶς ποτε πῶς ποτ᾽ ἀμφιπλή- κτων ῥοθίων μόνος κλύων, πῶς ἄρα πανδάκρυτον οὕ- τω βιοτὰν κατέσχεν ⏑ ⏑ - - ⏑ ⏑ - - ⏑ ⏑ - ⏑ - ⏑ - - ⏑ ⏑ - ⏑ - ⏑ - - ⏑ ⏑ - ⏑ - ⏑ - - ⏑ ⏑ - ⏑ - - 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: -⏑⏑-×-⏑--|⏑⏑-×-⏑-⸣-⸤⏑⏑-×-⏑--|⏑⏑-×--. A further application of epiplokē takes place within the structure of a single verse where rhythmical shifts are mediated by modulating sequences common to both metrical types (often ⏑ -). 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; poetry; programming; sequences; structure; tidal; time; weaving; ⏑ -×-; ⏑ ⏑ cache: dancecult-1036.pdf plain text: dancecult-1036.txt item: #7 of 344 id: dancecult-1054 author: Phillips, Matthew T title: Dancing with Dumont: Individualism at an Early Morning Melbourne Rave date: 2021 words: 6551 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 This occurs through various exercises, such as breathing or touching, targeting the body’s “energy field” to “tune” into the energies of other people and places and “learn how they affect us” (Manné 2004: 125). keywords: dance; dumont; energy; individualism; kapferer; morning; music; people; rave; ritual; space; vibe cache: dancecult-1054.pdf plain text: dancecult-1054.txt item: #8 of 344 id: dancecult-1064 author: Cheng, Lee title: Teaching Live Coding of Electronic Dance Music: A Case Study date: 2018 words: 3546 flesch: 49 summary: This paper presents a case study of teaching undergraduate students the skill of live coding EDM in an elective course. Live coding has often been associated with contemporary musical styles such as electronic dance music (EDM), which favors the design of rhythms through algorithms and does not require extensive musicianship training. keywords: coding; edm; learning; music; participants; programming; students; teaching cache: dancecult-1064.htm plain text: dancecult-1064.txt item: #9 of 344 id: dancecult-1065 author: Kiefer, Chris title: Luuma, Between Code and Controllerism date: 2018 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. The instrument was at the same time highly intuitive and hugely difficult to play due to the massively non-linear state space of genetic code generation, but when it was programmed with decent constraints it was quite addictive to use. keywords: code; feedback; kiefer; performance cache: dancecult-1065.htm plain text: dancecult-1065.txt item: #10 of 344 id: dancecult-1066 author: Ocelotl, Emilio; Del Angel, Luis N; Teixido, Marianne title: Saboritmico: A Report from the Dance Floor in Mexico date: 2018 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 344 id: dancecult-1073 author: Betancur Gutiérrez, Esteban title: ¿Algoritmos? Algo ¡Ritmos! Algorithms? Algo Rhythms! date: 2018 words: 1405 flesch: 63 summary: Also, he developed CineVivo, a graphics render engine for rendering live coding languages. First Live Coding Performance Made by Young Programmers Algoraves were already happening in other places, and the work in live coding and education was already taking place in Europe. keywords: chuck; coding; language; music cache: dancecult-1073.htm plain text: dancecult-1073.txt item: #12 of 344 id: dancecult-1074 author: Cardenas, Alexandra title: Live Coding: A New Approach to Musical Composition date: 2018 words: 903 flesch: 56 summary: 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. Due to the rapid growth of the worldwide algorave scene, some journalists have speculated that it could be the future of dance music. keywords: coding; music; new cache: dancecult-1074.htm plain text: dancecult-1074.txt item: #13 of 344 id: dancecult-1082 author: Bell, Renick title: Limits in Algorithmic Dance Music date: 2018 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 344 id: dancecult-1086 author: Knotts, Shelly; Armitage, Joanne title: ALGOBABEZ: Writing Code, Pushing Buttons date: 2018 words: 1187 flesch: 53 summary: [2] Clip of first ALGOBABEZ performance: [3] We are not exaggerating; the sound system was literally smoking. Through collaboration with other women including Alexandra Cardenas, Lucy Cheesman and Miri Kat we have helped to establish a critical mass of women who are performing, teaching and organising live coding activities (Bolt 2017). keywords: algobabez; algorave; coding; performance cache: dancecult-1086.htm plain text: dancecult-1086.txt item: #15 of 344 id: dancecult-1105 author: Young, Toby title: Playing with Something That Runs: Technology, Improvisation, and Composition in DJ and Laptop Performance (Mark J. Butler) date: 2018 words: 667 flesch: 30 summary: In addition to offering useful reviews on existing literature, each chapter draws together central elements of dance music performance studies with other recurring themes in Butler’s work such as ontology and the “work concept” (chapter one), creativity and materiality (chapter two), perception (chapter three) and technological mediation (chapter four). At the heart of the discussion is an exploration of the various elements (both practical and theoretical) that comprise live performance in EDM. keywords: butler; performance cache: dancecult-1105.htm plain text: dancecult-1105.txt item: #16 of 344 id: dancecult-1106 author: Rauh, Andreas title: Popular Music, Digital Technology and Society (Nick Prior) date: 2018 words: 1463 flesch: 42 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: #17 of 344 id: dancecult-1108 author: Magaudda, Paolo title: Frankenstein Goes to Holocaust: Mostri Sonori, Hyper Mash-up, Audio Espropri (Riccardo Balli) date: 2018 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: #18 of 344 id: dancecult-1109 author: De Ledesma, Charles title: Weekend Societies: Electronic Dance Music Festivals And Event-Cultures (Graham St John, ed.) date: 2018 words: 1558 flesch: 43 summary: St John explains, “I have long been cognisant that festivals, especially those across the alternative spectrum of events, are transformational. Further chapters explore equally fascinating and instructive avenues of the EDMC, or wider alternative festival, experience. keywords: culture; festival; john; man; music; ruane cache: dancecult-1109.htm plain text: dancecult-1109.txt item: #19 of 344 id: dancecult-1110 author: Hancock, Maren title: Girl (dir. Kandeyce Jorden) date: 2018 words: 1766 flesch: 61 summary: Filmmaker, visual artist and actor Kandeyce Jorden notes that it was an enthusiasm for dance music and culture that inspired her to direct this film. Each DJ is interviewed separately, and each addresses one or more of the now-familiar themes identified in the growing body of work on gender and DJ culture (Rogers 2010; Farrugia 2012; Gavanas & Reitsamer 2013, 2016; Gadir 2017), albeit from primarily white, cis-gendered and correspondingly hegemonic perspectives; in the film, Jorden profiles one racialized DJ (Lady D) and one openly queer DJ (Irene). keywords: collins; djs; film; jorden cache: dancecult-1110.htm plain text: dancecult-1110.txt item: #20 of 344 id: dancecult-1112 author: Knotts, Shelly; Collins, Nick title: Introduction to Algorithmic EDM date: 2018 words: 2722 flesch: 45 summary: A recent manifestation of this is the algorave, an explicit site of live algorithmic electronic dance music (EDM), produced through such means as on stage computer programming (algorave.com). The From the Floor contributions include Lee Cheng’s case study where a university level teaching module uses live coding as a method to teach EDM styles and introduce students to computer music practices. keywords: algorave; coding; computer; dance; dancecult; edm; live; music; performance; programming; university cache: dancecult-1112.pdf plain text: dancecult-1112.txt item: #21 of 344 id: dancecult-1130 author: O'Grady, Alice; Madill, Anna title: Being and Performing "Older" Woman in Electronic Dance Movement Culture date: 2019 words: 10994 flesch: 60 summary: Grounded in the accounts of aging female clubbers and their participation in electronic dance music culture, it investigates the lived experience of being and performing the category of “older woman” in this context. In a landscape where scholarship on female participation in club cultures is, at best, scarce, research into the experiences of older women in dance music culture is virtually non- existent. keywords: age; club; context; culture; dance; experience; music; participants; participation; people; psytrance; research; scene; space; time; women cache: dancecult-1130.pdf plain text: dancecult-1130.txt item: #22 of 344 id: dancecult-1131 author: Wodtke, Larissa title: The Irony and the Ecstasy: The Queer Aging of Pet Shop Boys and LCD Soundsystem in Electronic Dance Music date: 2019 words: 10880 flesch: 61 summary: Pet Shop Boys, Literally. 5 Pet Shop Boys problematize the genre of EDM, especially as it has been used over the past decade in a more mainstream, American context (including artists such as Skrillex, Deadmau5 and David Guetta), and assert that Pet Shop Boys music is not strictly EDM because of the underground nature of their influences: “It’s sort of fragmentary. keywords: boys; dance; dance music; edm; irony; lcd; lcd soundsystem; murphy; music; new; pet; present; shop; shop boys; soundsystem; temporality; tennant; time; tonight; york cache: dancecult-1131.pdf plain text: dancecult-1131.txt item: #23 of 344 id: dancecult-1134 author: Armour, Zoe title: Baby Raves: Youth, Adulthood and Ageing in Contemporary British EDM Culture date: 2019 words: 10001 flesch: 57 summary: Early academic interpretations of EDM club culture in the UK have primarily taken a youth studies approach. The most compelling research to date, from a position of critical distance, has been Thornton’s seminal work on EDM club culture, which provided a portrait of British youth and the shift to British Acid house from 1988–1992 as a distinct culture (1994: 8-11). keywords: age; ageing; baby; british; children; club; culture; dance; edm; edm culture; edm sound; event; family; london; music; new; parents; rave; sound; super; super)club; system; years; youth cache: dancecult-1134.pdf plain text: dancecult-1134.txt item: #24 of 344 id: dancecult-1142 author: Brasil Teixeira, Michel Antônio title: Boom Bap, Trap and Ageing in Belo Horizonte's Rap Music Scene date: 2019 words: 3731 flesch: 71 summary: Rappers who sing over trap beats also sing over boom bap beats. Producers who make boom bap beats also make trap style beats. keywords: bap; beats; boom; hip; hop; rap; trap cache: dancecult-1142.htm plain text: dancecult-1142.txt item: #25 of 344 id: dancecult-1146 author: Payling, Dave title: Travellers and Sound System Protest: Matthew Smith’s Visual Commentary date: 2019 words: 2317 flesch: 66 summary: Travellers and Sound System Protest: Matthew Smith’s Visual Commentary Dave Payling Staffordshire University (UK) Protest and resistance have been an integral part of the UK underground dance music culture since its emergence at the end of the 1980s. This relationship has been documented by Matthew Smith, who began photographing the events and people involved while studying his undergraduate degree in Stoke-on-Trent, the home of Shelley’s Laserdome and other dance clubs. keywords: credit; london; march; matthew; photo; smith cache: dancecult-1146.htm plain text: dancecult-1146.txt item: #26 of 344 id: dancecult-1147 author: Kneschke, Tristan Rodin title: An Interview with Genesis Breyer P-Orridge date: 2019 words: 2799 flesch: 81 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: #27 of 344 id: dancecult-1148 author: Bentley, Donna Cynthia title: Have Things Really Changed, or Is It Just Me? Ageing and Dance Music Culture date: 2019 words: 3447 flesch: 78 summary: I do like seeing older people other than the ones that I went out with at events. Going to events and meeting new people outside of the familiar social groups that orbited my everyday life, reminded me that there is a big world out there. keywords: dance; events; music; people; scene; time cache: dancecult-1148.htm plain text: dancecult-1148.txt item: #28 of 344 id: dancecult-1153 author: Christodoulou, Chris title: Bring the Break-Beat Back! Authenticity and the Politics of Rhythm in Drum ‘n’ Bass date: 2020 words: 8776 flesch: 52 summary: By the early-1990s, a significant proportion of British EDM tracks entirely replaced 4/4 kick and bass drum patterns with sampled break-beats, whose relative speed prompted the use of the appellation “hardcore”. Secondly, he claims that the increasing rate of technological development and tempos on the one hand, and the proliferation and self-cancellation of electronic music genres on the other hand, has become ever more rapid. keywords: atlantic; bass; beats; break; context; dance; digital; drum; funk; genre; jungle; london; music; production; rhythm; sense; track; use cache: dancecult-1153.pdf plain text: dancecult-1153.txt item: #29 of 344 id: dancecult-1154 author: Madden, David title: Introduction to Ageing with EDMC date: 2019 words: 1694 flesch: 50 summary: How might electronic dance music scenes and practices offer critiques of successful ageing and ageing scripts? Dance music scenes also have a way of both reaffirming and queering heteronormative and dominant temporalities, which presume that a life course should proceed in a linear and sequential way, from birth to death (Taylor 2010). keywords: ageing; culture; dance; edmc; music; time; university cache: dancecult-1154.pdf plain text: dancecult-1154.txt item: #30 of 344 id: dancecult-1155 author: St John, Graham title: Ten Years of Dancecult date: 2019 words: 1450 flesch: 48 summary: Dave Payling (Staffordshire University, UK) Dancecult Journal of Electronic Dance Music Culture Issue 11(1) 2019 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), Botond Vitos (University of Fribourg, CH) Dancecult: Journal of Electronic Dance Music Culture is a peer-reviewed, open-access e-journal for the study of electronic dance music culture (EDMC). Executive Editorial, Masthead and Table of Contents Ageing with EDMC Guest Editor David Madden Volume 11 Number 1 2019 Executive Editor Graham St John (University of Fribourg, CH) Production Editor Botond Vitos (University of Fribourg, CH) From the floor Editors Alice O’Grady (University of Leeds, UK) 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) Art Director Botond Vitos (University of Fribourg, CH) Associate Editors Kath O’Donnell (AU) keywords: culture; dancecult; editor; fribourg; music; university cache: dancecult-1155.pdf plain text: dancecult-1155.txt item: #31 of 344 id: dancecult-1156 author: Jori, Anita title: Popular Viennese Electronic Music, 1990–2015: A Cultural History (Ewa Mazierska) date: 2019 words: 9152 flesch: 49 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: #32 of 344 id: dancecult-1157 author: Perevedentseva, Maria title: The Relentless Pursuit of Tone: Timbre in Popular Music (Robert Fink, Melinda Latour & Zachary Wallmark, eds.) date: 2019 words: 9152 flesch: 49 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-1157.pdf plain text: dancecult-1157.txt item: #33 of 344 id: dancecult-1158 author: Christodoulou, Chris title: Sweet Harmony: Rave|Today (Philly Adams & Kobi Prempeh, curs.) date: 2019 words: 9152 flesch: 49 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-1158.pdf plain text: dancecult-1158.txt item: #34 of 344 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 words: 9152 flesch: 49 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: #35 of 344 id: dancecult-1160 author: Breyley, Gay Jennifer title: Raving Iran (Susanne Regina Meures, dir.) date: 2019 words: 9152 flesch: 49 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-1160.pdf plain text: dancecult-1160.txt item: #36 of 344 id: dancecult-1163 author: Castagner, Marc-Olivier title: The Vibe as Peace: EDMC Conflict Studies and Montreal Psytrance Spheres date: 2020 words: 9258 flesch: 58 summary: He specializes in critical security, conflict and peace studies and the thought of Peter Sloterdijk. He previously published on the relationship between humour and violence and European security, and he lectured in peace studies and conflict resolution at St. Paul University in Ottawa. keywords: conflict; culture; dietrich; edmc; experience; harmony; modern; montreal; new; party; peace; psytrance; sloterdijk; space; spheres; studies; vibe; world cache: dancecult-1163.pdf plain text: dancecult-1163.txt item: #37 of 344 id: dancecult-1165 author: Hayward, Philip Roy title: Out of Love:: EDM Tourism to Ibiza and the Repression of Local Cultural Identity date: 2021 words: 2566 flesch: 51 summary: Regarded as irredeemably cheesy by aficionados of Ibizan club culture, the song merits passing comment. Out of Love: EDM Tourism to Ibiza and the Repression of Local Cultural Identity Philip Hayward University of Technology Sydney (Australia) As a researcher of both island cultures and music more generally, I have had the opportunity to collaborate in research in Chiloé island, in South America, in Japan’s Amami and Ogasawara islands and in Vanuatu over the last decade. keywords: club; culture; ibiza; island; music; scene; tourism cache: dancecult-1165.htm plain text: dancecult-1165.txt item: #38 of 344 id: dancecult-1166 author: Chambers, Paul title: The Studio as Contemporary Autonomous Zone: Crisis and Creativity in Electronic Music date: 2020 words: 9037 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; autonomous; contemporary; expression; life; music; people; personal; practice; research; self; sense; space; stirner; studio; work; zone cache: dancecult-1166.pdf plain text: dancecult-1166.txt item: #39 of 344 id: dancecult-1167 author: Charles, Christopher David title: Genre in Practice: Categories, Metadata and Music-Making in Psytrance Culture date: 2020 words: 10518 flesch: 57 summary: Web 2.0 services have given musicians greater control over how their music is categorised than in previous eras, and the tagging systems they contain have created a non-hierarchical environment in which musical genres, descriptive terms, and a wide range of other metadata can be deployed in combination, allowing musicians to describe their musical output with greater subtlety than before. Genre and the Internet When the first internet music distribution services (CDNow, Amazon) emerged in the mid-1990s, decisions about musical genre were made by the individual or group responsible for managing a given website: the webmaster. keywords: categories; concepts; culture; forest; genre; globular; krosis; making; metadata; music; pedm; practice; psydub; psytrance; scene; sounds; tags; terms; use cache: dancecult-1167.pdf plain text: dancecult-1167.txt item: #40 of 344 id: dancecult-1170 author: Assiter, Ben title: No Screenshots on the Dance Floor date: 2020 words: 2735 flesch: 51 summary: Livestreaming Under Lockdown When COVID-19 lockdown measures forced the indefinite closure of nightclubs and venues around the world, fundamental questions were raised as to how the aesthetics, communities and economies of dance music culture could survive a physically despatialised context. At the same time, much of this shift can also be understood as a sudden and unexpected acceleration of processes that were already well underway in much of dance music culture. keywords: club; culture; dance; events; music; space; time cache: dancecult-1170.htm plain text: dancecult-1170.txt item: #41 of 344 id: dancecult-1171 author: Toomistu, Terje; Heikkilä, Jukka-Pekka title: Transformation Through Connection? Insights From a Pilot Study of Story Sharing Cubes at Burning Man Events date: 2020 words: 2994 flesch: 58 summary: Story Sharing Cubes at Burning Man Events Since its inception with a handful of participants in San Francisco in 1986, Burning Man has grown into an annual gathering of 80,000 participants in Nevada’s Black Rock Desert (see St John 2018), and evolved into a worldwide network of regional events, such as The Borderland. Encountering these cubes in Black Rock City (BRC) 2019 and Burning Man regional events, The Borderland 2019 in Denmark, and Burning Bär 2020 in Berlin, participants who opened the box, found simple instructions along with the consent request to participate in the research, and a single button. keywords: connection; events; people; research; sharing; stories; story cache: dancecult-1171.htm plain text: dancecult-1171.txt item: #42 of 344 id: dancecult-1172 author: Simao, Emilia; Guerra, Paula title: Virtual Dance Floors: Shall We Dance or Fly? date: 2020 words: 1163 flesch: 51 summary: In territories like SL, people have been listening and dancing to psytrance in virtual dance floors for over 12 years, sharing psychedelic experiences with their friends and their second selves (Simão, Silva and Magalhães 2015). Nowadays, from SL to Plug In to social networks' live streams and other similar platforms, these virtual experiences seem to be more effective than ever: virtual dance floors and performances are not totally new phenomena but are growing exponentially. keywords: dance; simão; university; virtual cache: dancecult-1172.htm plain text: dancecult-1172.txt item: #43 of 344 id: dancecult-1174 author: Liederman, Camille LeBlanc title: A Post-Post-Soviet Scene Post-Quarantine date: 2020 words: 2817 flesch: 57 summary: While it was a scary time for all of us around the world, it was also an epic time to be collecting anthropological data on an underground culture, specifically rave culture.[2] My work became about presenting a portrait of Lithuanian rave culture as it existed just before this quarantine took place. It's not like super offensive, I don't really think ravers care much, it's more like wtf.[5] What was most interesting about this was that it seemed that the quarantine's void in actual rave events taking place was being filled with an amplified discourse of real and fake ravers, a discursive differencing mechanism that has been documented as part of Lithuanian rave culture since the 1990s (Šliavaitė 1997). keywords: culture; post; quarantine; rave; soviet; underground cache: dancecult-1174.htm plain text: dancecult-1174.txt item: #44 of 344 id: dancecult-1177 author: McGuinness, Chris title: India's Electronic Music Scene Under Lockdown: The First Three Months of the COVID-19 Pandemic date: 2020 words: 2458 flesch: 58 summary: The spirit of experimentation drove many electronic music producers to take inspiration from a coronavirus-saturated mediascape. Over the last five years, India's electronic music scene has grown into a vibrant independent industry, with electronic music producers playing at clubs and festivals sponsored by beverage and clothing brands. keywords: artists; author; india; june; lockdown; music; producers; whatsapp cache: dancecult-1177.htm plain text: dancecult-1177.txt item: #45 of 344 id: dancecult-1178 author: Warren, Sam title: Good Vibes Friday: Reflections on Livestreaming During the COVID-19 Lockdown date: 2020 words: 3559 flesch: 68 summary: I had already seen this response to deep house/ techno DJ Mr. C's Facebook offer of one-to-one DJ lessons via Zoom for $100, plus a similar reaction to another DJ’s offer to provide detailed feedback on bedroom producers' tracks for £30 a time. The backlash demonstrates an assumption that DJs are well paid, something that is not true for the vast majority of those who work in the industry. keywords: august; djs; music; set; stream; time; vibes; women cache: dancecult-1178.htm plain text: dancecult-1178.txt item: #46 of 344 id: dancecult-1179 author: S, Bharat title: Beyond Club Cultures: The Mobile DJ and Devotional Music in North India date: 2021 words: 3596 flesch: 67 summary: In the process, mobile DJ culture in North India has developed its own vocabulary of music production and listening distinct from the club. Mobile DJs are hired by pilgrims to accompany them on the journey. keywords: bharat; credit; figure; kanwar; mobile; music; photo; photo credit; s. bharat cache: dancecult-1179.htm plain text: dancecult-1179.txt item: #47 of 344 id: dancecult-1183 author: Symmes, Tommy Colton title: Sound Systems at the George Floyd Protests in Minneapolis During the Summer of 2020 date: 2020 words: 1672 flesch: 62 summary: Prosecute the police!” Memorial Square, 2nd June While decentralized musical protests scatter themselves across the city in confrontations with an institutional web of police authority, the site of George Floyd’s murder has become a memorial to the cause and its martyr. Smaller speakers, megaphones and musical instruments punctuate the throngs of people demonstrating resistance to heternormativity, racism and capitalism, demonstrating support for queer minorities. keywords: minneapolis; people; police; protests; sound; speakers cache: dancecult-1183.htm plain text: dancecult-1183.txt item: #48 of 344 id: dancecult-1184 author: Payling, Dave; St John, Graham title: Editorial Introduction: Dance Culture in the Time of Corona date: 2020 words: 1575 flesch: 52 summary: Cover Design and Photography by Botond Vitos and Dave Payling Thanks to Loophole Berlin for providing the space Executive Editor Graham St John (AU) Production Editor Botond Vitos (DE) From the floor EditorIAL DIRECTOR Dave Payling (Staffordshire University, UK From the floor Editor Alice O’Grady (University of Leeds, UK) Reviews Editor Toby Young (University of Oxford, UK) Operations director Botond Vitos (DE) Managing Editor Tommy Colton Symmes (Rice University, US) Community Manager Katrina Loughrey (DE) Art Director Botond Vitos (DE) Associate Editors Kath O’Donnell (AU) Alistair Fraser (Maynooth University, IE) Production AssistantS Richard Anderson (University of Liverpool, UK) Christopher Charles (University of Bristol, UK) Rupert Till (University of Huddersfield, UK), Botond Vitos (DE), Toby Young (University of Oxford, UK) Dancecult: Journal of Electronic Dance Music Culture is a peer-reviewed, open-access e-journal for the study of electronic dance music culture (EDMC). keywords: culture; dance; dancecult; floor; issue; music; university cache: dancecult-1184.pdf plain text: dancecult-1184.txt item: #49 of 344 id: dancecult-1185 author: St John, Graham title: Moon Juice Stomper: A Novel (Goa 1987-96) (Ray Castle) date: 2020 words: 6013 flesch: 60 summary: The study of the architecture of music venues is a developing area, illustrated here by two publications, one offering a historical perspective on spaces of live popular music performance, the other specifically on the more recent development of clubs where dancing to records prevails. Kronenburg offers a broader architectural timeline of music venues that historically have enabled the experiential and transience of live music, mainly in West-Europe and the USA. keywords: bass; bergling; book; clubs; culture; dance; film; goa; london; muggs; music; new; people; sound; venues cache: dancecult-1185.pdf plain text: dancecult-1185.txt item: #50 of 344 id: dancecult-1190 author: Spencer, Edward title: Bass, Mids, Tops: An Oral History of Sound System Culture (Joe Muggs & Brian David Stevens) date: 2020 words: 6013 flesch: 60 summary: The study of the architecture of music venues is a developing area, illustrated here by two publications, one offering a historical perspective on spaces of live popular music performance, the other specifically on the more recent development of clubs where dancing to records prevails. Kronenburg offers a broader architectural timeline of music venues that historically have enabled the experiential and transience of live music, mainly in West-Europe and the USA. keywords: bass; bergling; book; clubs; culture; dance; film; goa; london; muggs; music; new; people; sound; venues cache: dancecult-1190.pdf plain text: dancecult-1190.txt item: #51 of 344 id: dancecult-1191 author: Musgrave, George title: Avicii: True Stories (Levan Tsikurishvili, dir.) date: 2020 words: 6013 flesch: 60 summary: The study of the architecture of music venues is a developing area, illustrated here by two publications, one offering a historical perspective on spaces of live popular music performance, the other specifically on the more recent development of clubs where dancing to records prevails. Kronenburg offers a broader architectural timeline of music venues that historically have enabled the experiential and transience of live music, mainly in West-Europe and the USA. keywords: bass; bergling; book; clubs; culture; dance; film; goa; london; muggs; music; new; people; sound; venues cache: dancecult-1191.pdf plain text: dancecult-1191.txt item: #52 of 344 id: dancecult-1192 author: Rietveld, Hillegonda C title: Night Fever: Designing Club Culture 1960 – Today (Mateo Kries, Jochen Eisenbrand & Catherine Rossi, eds.) & This Must Be the Place: An Architectural History of Popular Music Performance Venues (Robert Kronenburg) date: 2020 words: 6013 flesch: 60 summary: The study of the architecture of music venues is a developing area, illustrated here by two publications, one offering a historical perspective on spaces of live popular music performance, the other specifically on the more recent development of clubs where dancing to records prevails. Kronenburg offers a broader architectural timeline of music venues that historically have enabled the experiential and transience of live music, mainly in West-Europe and the USA. keywords: bass; bergling; book; clubs; culture; dance; film; goa; london; muggs; music; new; people; sound; venues cache: dancecult-1192.pdf plain text: dancecult-1192.txt item: #53 of 344 id: dancecult-1194 author: Madden, David title: Covid Nights: Crisis, and Street-level Institutions in Montreal and Beyond date: 2021 words: 7571 flesch: 46 summary: The former music director is also a DJ and producer under the moniker Softcoresoft, and like many working within local music scenes, has permanently stopped her musical activities as a source of generating primary or even tertiary income because of the pandemic. Music venues play a vital role in local music scenes in that they provide meeting points, circulation, and space for a range of cultural activities, and in their Madden | COVID Nights: keywords: city; crisis; culture; dance; edm; institutions; january; level; montreal; music; new; night; nva; pandemic; scenes; street; venues cache: dancecult-1194.pdf plain text: dancecult-1194.txt item: #54 of 344 id: dancecult-1195 author: Rees, William David James title: Future Nostalgia? 21st Century Disco date: 2021 words: 8614 flesch: 56 summary: Themes of tolerance, unity and liberation were featured, often implicitly, in disco music – a set of utopian ideas that had been passed to it through 1960s psychedelic culture (Lawrence 2003: 10). As this article has examined, there is a utopian element to disco music, and this links in with how people in the 21st century remember the utopian imaginings of the 1970s. keywords: 1970s; album; century; culture; dance; disco; dua; future; history; lipa; march; memories; music; new; nostalgia; past; present; punk cache: dancecult-1195.pdf plain text: dancecult-1195.txt item: #55 of 344 id: dancecult-1196 author: von Pawel-Rammingen, Katharina title: Black Feminism and the Violence of Disco date: 2021 words: 7204 flesch: 54 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. Abstract This article interrogates the ways through which Black women and Black feminist perspectives have been written out of disco’s history. 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: #56 of 344 id: dancecult-1198 author: Mazierska, Ewa; Rigg, Tony title: Challenges to British Nightclubs During and After the Covid-19 Pandemic date: 2021 words: 9942 flesch: 51 summary: Against this backdrop, arrangements to resource the survival of nightclub businesses such as bank loans, would be difficult to assess without a sense of the extent of the problem. The Ritz has so far survived, but other nightclubs have become casualties of residential representations. keywords: businesses; clubbing; covid; covid-19; culture; dance; economy; government; industry; london; mazierska; music; new; nightclubs; number; pandemic; rigg; sector; time cache: dancecult-1198.pdf plain text: dancecult-1198.txt item: #57 of 344 id: dancecult-1201 author: Reuter, Anders title: Pop as Process: The Digitalization of Groove, Form and Time date: 2021 words: 9402 flesch: 51 summary: Digital pop music offers very intricate and particular technology-signifying heterogenous temporalities that are based on a negotiation of the relationship between music and time in ways that are innately digital. This assimilation has arguably found a new home or even realisation in recent iterations of the digital audio workstation (DAW), offering new production practices in pop music production.1 The question then arises: What does the computational shift mean for music’s relationship to time? keywords: digital; edm; form; groove; hip; human; media; music; new; pop; press; process; processes; production; repetition; rhythm; sound; time; track cache: dancecult-1201.pdf plain text: dancecult-1201.txt item: #58 of 344 id: dancecult-1204 author: Collins, Dave; Dunn, Michael title: Golden Section Proportionality in the Music of dZihan and Kamien date: 2021 words: 9559 flesch: 50 summary: Atlas, in discussing the potentiality for contradictions of golden section points when the music is being performed, points out in his scrutiny of recordings of Puccini aria from La Bohème that these range from 1.6% to 2.66% (Atlas 2003: 277). Significantly, this shaped the overall approach towards determining golden section event points in the study; that is to say, it focussed the analysis upon the boundaries of these key sections that demarcated their start and end points, which are now referred to as sectional boundary points. keywords: breakdown; composition; core; deviation; dzihan; end; event; gs point; kamien; music; point; proportionality; section; track cache: dancecult-1204.pdf plain text: dancecult-1204.txt item: #59 of 344 id: dancecult-1206 author: Avis-Ward, Daisy title: Moments of Connection As Means of Survival: A Study of Queer Identity, Freedom and Community in UK Raves During the Covid-19 Pandemic date: 2022 words: 9755 flesch: 49 summary: Like the wider sample, participants who attended queer raves emphasised their experiences of community, self-expression and safety. Ezra described queer raves as “an environment that isn’t hostile… there’s no judgment on the dance floor”. keywords: community; covid-19; culture; dance; government; griffin; identity; music; pandemic; participants; people; queer; raves; research; social; spaces cache: dancecult-1206.pdf plain text: dancecult-1206.txt item: #60 of 344 id: dancecult-1207 author: Pascual, Luciano title: Technique, Experience and the Social Function of Techno Music: A Comparative Analysis of Theodor Adorno and Robert Fink date: 2022 words: 8455 flesch: 47 summary: Keywords: techno music; aesthetics; social function; experience Luciano Pascual is a PhD candidate in Arts at the National University of Córdoba in Argentina and a doctoral fellow at CONICET (Consejo Nacional de Investigaciones Científicas y Técnicas). In the first one, we deal with reflections on the social function that can be traced in the production of techno music. keywords: adorno; desire; experience; fink; function; music; technique; techno; techno music; tension; time cache: dancecult-1207.pdf plain text: dancecult-1207.txt item: #61 of 344 id: dancecult-1208 author: Laurence, Adam title: The Production of Space in Chicago Footwork date: 2021 words: 3078 flesch: 62 summary: Indeed, taking Traxman's and Manny’s word, a picture is built up of the interactions between men and women within footwork spaces. In theorising Chicago footwork as a gendered space, I wish not to confine my argument within a narrative of simply claiming that it either does or does not possess a ‘gendered’ musical assemblage. keywords: chicago; footwork; gendered; jlin; music; sound; space cache: dancecult-1208.htm plain text: dancecult-1208.txt item: #62 of 344 id: dancecult-1209 author: Vitos, Botond title: Dance Librarian: Sonic Explorations of the Bandcamp Underground date: 2021 words: 3471 flesch: 48 summary: For instance, the TensorFlow auto-tagging models supplied with the Essentia audio and music analysis library (Alonso-Jiménez et al. 2020) can be employed to predict a wider group of popular music genres, venturing beyond the boundaries of electronic dance music in such sonic explorations. (Note: focused on dance music genres, the classifier does not include an “experimental” class, with ambient falling closest to this category.) keywords: bandcamp; botond; cluster; dance; genre; music; tags; techno; tracks; vitos cache: dancecult-1209.htm plain text: dancecult-1209.txt item: #63 of 344 id: dancecult-1211 author: Iten, Moses title: Mexican Sonidero Sound System Culture Online: From Dancing on the Streets to Social Media in Times of Covid-19 date: 2021 words: 2978 flesch: 59 summary: Being physically based far away from the main sphere of creative influence on my practice, I have become accustomed to primarily participating with sonidero culture online. There are a handful of texts providing greater insight into sonidero culture, although this research is almost exclusively published in Spanish and written by cronistas (chroniclers) rather than scholars.[2] keywords: culture; cumbia; mexico; online; sonidera; sonideros; sonido; sound cache: dancecult-1211.htm plain text: dancecult-1211.txt item: #64 of 344 id: dancecult-1212 author: St John, Graham title: Executive Editor's Introduction date: 2021 words: 1201 flesch: 54 summary: Community Manager Katrina Loughrey (DE) Art Director Botond Vitos (Leuphana University, DE) Operations Associate Dave Payling (Staffordshire University, UK) Associate Editors Ben Assiter (Goldsmiths, University of London, UK) Alistair Fraser (Maynooth University, IE) Moses Iten (RMIT, AU) Editor Dave Payling (Staffordshire University, UK) Reviews Editor Toby Young (University of Oxford, UK) Operations director Botond Vitos (Leuphana University, DE) Foreign Languages Editor Moses Iten (RMIT, AU) Managing Editor Tommy Colton Symmes (Rice University, US) keywords: culture; dancecult; editor; music; university cache: dancecult-1212.pdf plain text: dancecult-1212.txt item: #65 of 344 id: dancecult-1213 author: Trowell, Ian Michael title: Join The Future: Bleep Techno and the Birth of British Bass Music (Matt Anniss) date: 2021 words: 7116 flesch: 50 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-1213.pdf plain text: dancecult-1213.txt item: #66 of 344 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 words: 7116 flesch: 50 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: #67 of 344 id: dancecult-1215 author: Smith, Tom title: The New Age of Electronic Dance Music and Club Culture (Anita Jóri, Martin Lücke, eds) date: 2021 words: 7116 flesch: 50 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: #68 of 344 id: dancecult-1216 author: Hutton, Fiona title: Exploring Nightlife: Space, Society and Governance (Jordi Nofre and Adam Eldridge, eds) date: 2021 words: 7116 flesch: 50 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-1216.pdf plain text: dancecult-1216.txt item: #69 of 344 id: dancecult-1220 author: Whitehead, Gareth title: Exploring Personal Spectres in Electronic Music date: 2022 words: 9412 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 strategy in which electronic music artists might engage with a variety of hauntological vehicles. keywords: audio; culture; fisher; ghosts; hauntology; music; nostalgia; past; personal; present; process; recording; spectres; themes; time; whitehead; work cache: dancecult-1220.pdf plain text: dancecult-1220.txt item: #70 of 344 id: dancecult-1222 author: Payling, Dave title: Explosions in the Mind: Composing Psychedelic Sounds and Visualisations (Jonathan Weinel) date: 2022 words: 7828 flesch: 49 summary: 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). 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. keywords: artists; balvin; book; community; discourse; fabulousness; gender; house; jóri; medellín; moore; music; people; queer; reggaetón; salkind; university; weinel; work cache: dancecult-1222.pdf plain text: dancecult-1222.txt item: #71 of 344 id: dancecult-1223 author: Young, Toby title: Dancefloor-Driven Literature: The Rave Scene in Fiction (Simon A. Morrison) date: 2022 words: 7828 flesch: 49 summary: 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). 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. keywords: artists; balvin; book; community; discourse; fabulousness; gender; house; jóri; medellín; moore; music; people; queer; reggaetón; salkind; university; weinel; work cache: dancecult-1223.pdf plain text: dancecult-1223.txt item: #72 of 344 id: dancecult-1224 author: Whelan, Andrew title: The Discourse Community of Electronic Dance Music (Anita Jóri) date: 2022 words: 7828 flesch: 49 summary: 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). 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. keywords: artists; balvin; book; community; discourse; fabulousness; gender; house; jóri; medellín; moore; music; people; queer; reggaetón; salkind; university; weinel; work cache: dancecult-1224.pdf plain text: dancecult-1224.txt item: #73 of 344 id: dancecult-1225 author: Hermes, Kirsten title: 8-Bit Music on Twitch: How the Chiptune Scene Thrived During the Pandemic date: 2022 words: 3560 flesch: 57 summary: As a tech-savvy breed of musicians that are eager to learn and “tinker”, chiptune artists use streaming technology confidently and enjoy customising the look at sound of their shows online. To investigate the advantages and disadvantages of streaming gigs for chiptune music, I will analyse my own experiences alongside questionnaire responses from six other chiptune artists. keywords: artists; audience; chiptune; creativity; face; gigs; music; musicians; online; sound; streaming cache: dancecult-1225.htm plain text: dancecult-1225.txt item: #74 of 344 id: dancecult-1226 author: Mouraviev, Ivan title: Outlook Festival: A Celebration of Sound System Culture date: 2022 words: 3642 flesch: 63 summary: Musically, while the festival’s early emphasis on UK bass music has remained stable, its period of rapid growth in 2010–13 and beyond has seen many established artists invited as headline acts. Held at the same site in Croatia immediately before or after Outlook, Dimensions can be read as entrepreneurial—why not run a second festival when you’re already importing expensive equipment and occupying the site for weeks?—but it also invites critical analysis of how the boundaries of bass music are negotiated. keywords: bass; dub; event; festival; music; outlook; sound; stage cache: dancecult-1226.htm plain text: dancecult-1226.txt item: #75 of 344 id: dancecult-1227 author: Anderson, Richard title: Plague Raver Reflections: What Happened in the Pandemic Stays in the Pandemic date: 2022 words: 3378 flesch: 59 summary: The predominant acceptance of Plague Rave DJs behaviours evidenced in the above analysis of social media posts and comments is reflective of a dance music media culture in which journalists foster an adoration of DJs. There were DJs who spoke out and directly condemned Plague Rave DJs such as the UK’s Dave Clarke, Bicep and Bushwaka. keywords: dance; djs; events; music; pandemic; plague; raves; september cache: dancecult-1227.htm plain text: dancecult-1227.txt item: #76 of 344 id: dancecult-1228 author: Riley, Andrew title: Smokescreen Free Party Sound System date: 2022 words: 1261 flesch: 66 summary: In response Smokescreen, and other midlands sound systems, organised to raise awareness with a series of all-nighters entitled “All Systems No”, later emended to “All Systems Go” once the bill became law. Smokescreen Campout Birthday Celebration Nottinghamshire 2022. keywords: credit; party; photo; smokescreen cache: dancecult-1228.htm plain text: dancecult-1228.txt item: #77 of 344 id: dancecult-1229 author: Power, Ciara title: Plugging the Creative Drain: A Glimpse Into Electronic Music Migration in Northern Ireland date: 2022 words: 2722 flesch: 51 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: #78 of 344 id: dancecult-1230 author: Diaz, Juan Diego; Díaz Pinto, Ana María title: The Boy from Medellín (Dir. Matthew Heineman) date: 2022 words: 7828 flesch: 49 summary: 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). 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. keywords: artists; balvin; book; community; discourse; fabulousness; gender; house; jóri; medellín; moore; music; people; queer; reggaetón; salkind; university; weinel; work cache: dancecult-1230.pdf plain text: dancecult-1230.txt item: #79 of 344 id: dancecult-1232 author: Sovik, Liv; D'Aquino, Brian title: The Power to Name and Other Dilemmas Presented by Brazilian Funk Subgenres date: 2022 words: 3588 flesch: 58 summary: They introduce the article as follows: The proibidão is a subgenre of carioca funk music, together with consciente, putaria, montagem, melody and ostentação. Brazilian funk is a genre-bending phenomenon from the beginning. keywords: categories; funk; music; october; research; sound; sst; subgenres; youtube cache: dancecult-1232.htm plain text: dancecult-1232.txt item: #80 of 344 id: dancecult-1233 author: Iten, Moses; Marquez, Israel title: Digital Cumbia: Tradition and Postmodernity date: 2022 words: 7260 flesch: 54 summary: But the new phase represented by digital cumbia, given its newness, has received very little academic attention and practically no studies documenting and critically explaining the phenomenon, with only a few exceptions.7 Most of the existing sources of information come from interviews, news and reports published in the media in different parts of the world, in which digital cumbia has been presented as one of the most original and innovative musical propositions to have emerged in the Americas in recent years. Tradition and Postmodernity 63 Side A: Digital Cumbia in Buenos Aires Curiously, the phenomenon of digital cumbia does not have its origins in Colombia, the cradle of cumbia. keywords: aires; american; bass; buenos; cumbia; dengue; digital; digital cumbia; electronic; genre; label; latin; music; new; parties; sounds; zizek cache: dancecult-1233.pdf plain text: dancecult-1233.txt item: #81 of 344 id: dancecult-1234 author: Chambers, Paul title: Beyond the Brain: Happening at East Edge date: 2023 words: 5518 flesch: 68 summary: Local events, such as Electric Tepee, fused electronic music, lighting projections and ritual celebration. I met an artist attending local parties and checked out their work. keywords: brain; byron; dance; event; fig; flyer; mckenna; music; parties; party; people; scene; space; time cache: dancecult-1234.htm plain text: dancecult-1234.txt item: #82 of 344 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 words: 7828 flesch: 49 summary: 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). 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. keywords: artists; balvin; book; community; discourse; fabulousness; gender; house; jóri; medellín; moore; music; people; queer; reggaetón; salkind; university; weinel; work cache: dancecult-1235.pdf plain text: dancecult-1235.txt item: #83 of 344 id: dancecult-1237 author: St John, Graham title: Executive Editor's Introduction date: 2022 words: 1194 flesch: 50 summary: Production Editor Botond Vitos (Leuphana University, DE) From the floor Editor Dave Payling (Staffordshire University, UK) Reviews Editor Toby Young (University of Oxford, UK) Operations director Botond Vitos (Leuphana University, DE) Foreign Languages Editor Moses Iten (RMIT, AU) Managing Editor Tommy Colton Symmes (Rice University, US) Community Manager Katrina Loughrey (DE) Art Director Botond Vitos (Leuphana University, DE) Operations Associate Dave Payling (Staffordshire University, UK) Associate Editors Ben Assiter (Goldsmiths, University of London, UK) Alistair Fraser (Maynooth University, IE) Moses Iten (RMIT, AU) , Botond Vitos (Leuphana University, DE), Toby Young (University of Oxford, UK) Dancecult: Journal of Electronic Dance Music Culture is a peer-reviewed, open-access e-journal for the study of electronic dance music culture (EDMC). keywords: dancecult; editor; issue; music; university cache: dancecult-1237.pdf plain text: dancecult-1237.txt item: #84 of 344 id: dancecult-1241 author: Nofre, Jordi; Garcia-Ruiz, Manuel title: Nightlife Studies: Past, Present and Future date: 2023 words: 8896 flesch: 54 summary: Abstract This article attempts to present a comprehensive, synthetic and critical epistemological review of the interdisciplinary field of Nightlife Studies from the late 19th century to the present, unveiling a fascinating interplay between an “alternative cultural approach”, a “community approach” and a “geographical turn” that arose in the mid- to late 2000s. Keywords: Nightlife Studies, comprehensive, epistemological review Jordi Nofre is FCT Associate Research Professor in Urban Geography at the Interdisciplinary Centre of Social Sciences, NOVA University Lisbon. keywords: approach; city; community; culture; dance; future; international; journal; leisure; london; new; nightlife; nightlife studies; nofre; pandemic; past; present; research; routledge; scholars; spaces; studies; time; university; urban; work; york; youth cache: dancecult-1241.pdf plain text: dancecult-1241.txt item: #85 of 344 id: dancecult-1242 author: St John, Graham title: The Voice of the Apocalypse: Terence McKenna as Raving Medium date: 2023 words: 11758 flesch: 56 summary: The Voice of the Apocalypse: Terence McKenna as Raving Medium Dancecult: Journal of Electronic Dance Music Culture 15(1): 61–91 ISSN 1947-5403 ©2023 Dancecult http://dj.dancecult.net http://dx.doi.org/10.12801/1947-5403.2023.15.01.04 The Voice of the Apocalypse: Terence McKenna as Raving Medium Graham St John University of Huddersfield (UK) Keywords: Terence McKenna, nanomedia, psychedelics, remixticism, sampling, psytrance Graham St John is cultural anthropologist specialising in transformational events, movements and figures. keywords: album; alien; apocalypse; clark; culture; dance; dancecult; end; event; evolution; figure; history; john; language; mckenna; medium; music; new; rave; raving; records; terence; terence mckenna; time; voice; world cache: dancecult-1242.pdf plain text: dancecult-1242.txt item: #86 of 344 id: dancecult-1244 author: Perevedentseva, Maria title: Timbre and the "Zone of Entanglement" in Electronic Dance Music: Re-Thinking Musico-Social Ontologies with the Mycelial Turn date: 2023 words: 9812 flesch: 42 summary: What is it like for EDM listeners to be, think, feel and know as part of this Dancecult 15(1)46 extended living entity? Fales’ speculations suggest that the types of electronic timbres that make up EDM are perceived uncoupled from everyday sound sources, thus encouraging EDM listeners to enjoy the “unconstrained cognition” characteristic of psychedelic states (Kennedy 2014: 119). keywords: brain; consciousness; dance; edm; entanglement; entrainment; life; listeners; mind; music; mycelial; new; ontology; psychedelics; relations; self; sound; timbre; turn; world; zone cache: dancecult-1244.pdf plain text: dancecult-1244.txt item: #87 of 344 id: dancecult-1246 author: Farrugia, Rebekah title: Detroit Ecstasy: Ruminations on Raving, "Movement" and Place date: 2023 words: 3322 flesch: 67 summary: This was the moment when Detroit techno arrived. Detroit techno had been evolving for nearly two decades by this point, but McCollum’s reporting plays into the appeal of the party, that when one enters its physical and sonic space, everyday life is left behind and new experiences materialize. keywords: city; detroit; festival; music; new; people; place; press; techno; time cache: dancecult-1246.htm plain text: dancecult-1246.txt item: #88 of 344 id: dancecult-1251 author: Koçer, Bahadırhan title: Noise as a Spectre in Dub Techno date: 2024 words: 9786 flesch: 42 summary: The deliberate integration of noise into dub techno tracks emerges as a nuanced artistic choice, marked by an array of noise types that contribute multifarious sonic attributes to each composition. The sequence map illustrates the process of incorporating noise into dub techno tracks. keywords: dub; dub techno; elements; figure; fisher; genre; hauntology; music; noise; oswald; past; present; production; sound; spectre; techno; track; von cache: dancecult-1251.pdf plain text: dancecult-1251.txt item: #89 of 344 id: dancecult-1253 author: Mohr, Kelci title: Dancing through Transformational Music Festivals in Western Canada: Tales from the Forest Floor date: 2023 words: 3297 flesch: 68 summary: Festival dance floors are places where people may experiment with love-centered ways of knowing, relating and creating. The following autoethnographic narratives were created to illuminate how people may find meaning through dance floor experiences at “transformational” music festivals in western Canada. keywords: art; dance; festival; life; music; people; photo; stage cache: dancecult-1253.htm plain text: dancecult-1253.txt item: #90 of 344 id: dancecult-1254 author: Monteanni, Luigi title: Ears as Portals: Alternative Realities of Musical Infrastructures (A CTM Festival 2023 Review) date: 2023 words: 8661 flesch: 53 summary: Reviews 115 Given the social dynamics, risks, and potentials that McKenzie Wark discusses, raving seems fundamentally different from the more individually defined practices fly-fishing, juggling and running—if that’s not a completely biased perspective of a review for a journal of electronic dance music culture. But what is the book’s contribution to a critical discourse on electronic dance music culture? keywords: berghain; berlin; book; chapter; club; ctm; culture; dance; experience; iten; liechti; music; new; norient; practice; research; robin; sampling; sound; space; time; university; wark cache: dancecult-1254.pdf plain text: dancecult-1254.txt item: #91 of 344 id: dancecult-1255 author: Giorgia Gaia title: Kaos, Kilowatt and Ketamine : A Cultural History of the Free Tekno Movement date: 2023 words: 4094 flesch: 59 summary: In the period from 1990 to 2005, Italy, my country of origin, emerged as a prominent destination for traveling sound systems coming mostly from the UK and France. In the aftermath of Castlemorton, many members of the Spiral Tribe faced arrest; their vehicles and sound systems were seized. keywords: credit; figure; free; movement; photo; rave; scene; sound; system; teknival; tekno cache: dancecult-1255.htm plain text: dancecult-1255.txt item: #92 of 344 id: dancecult-1256 author: Schwanhäußer, Anja title: Berghain, Techno und die Körperfabrik: Ethnographie eines Stammpublikums (Guillaume Robin) date: 2023 words: 8661 flesch: 53 summary: Reviews 115 Given the social dynamics, risks, and potentials that McKenzie Wark discusses, raving seems fundamentally different from the more individually defined practices fly-fishing, juggling and running—if that’s not a completely biased perspective of a review for a journal of electronic dance music culture. But what is the book’s contribution to a critical discourse on electronic dance music culture? keywords: berghain; berlin; book; chapter; club; ctm; culture; dance; experience; iten; liechti; music; new; norient; practice; research; robin; sampling; sound; space; time; university; wark cache: dancecult-1256.pdf plain text: dancecult-1256.txt item: #93 of 344 id: dancecult-1257 author: Reddell, Trace title: Other Kinds of Mind There: Echologies of Psychedelic Sonic Substance date: 2023 words: 12275 flesch: 53 summary: The notion of music as cognitive nourishment has of course been a mainstay of psychedelic popular music since Grace Slick exhorted us in 1967 to “feed your head” in the rousing final lines of “White Rabbit”. Putting indigenous shamanic practices in conversation with contemporary neuropsychopharmacology, sound studies and psychedelic music production, this article offers a diagnostic inventory of the effects of the sonic substance. keywords: album; ambient; april; boards; brabec; canada; dead; echologies; house; human; listening; lotus; media; mind; mori; music; perry; records; reynolds; sonic; sound; space; substance; work; world; youtube cache: dancecult-1257.pdf plain text: dancecult-1257.txt item: #94 of 344 id: dancecult-1258 author: Taylor, C Scott title: From Spontinuity to Dream Seeds: My Journey with Lightshows from the Sixties to the Present date: 2023 words: 3657 flesch: 74 summary: I used my fingers to “bend the light”, shaping, melting, morphing images that I could control with great precision. I copied images where I could find them, and took many, many hundreds of slides of my own. keywords: boulder; endor; experience; figure; images; lightshow; liquids; new; projector; slides cache: dancecult-1258.htm plain text: dancecult-1258.txt item: #95 of 344 id: dancecult-1259 author: van Veen, tobias c. title: Weekend Societies in the Walled Garden: Montréal’s Piknic Electronik in the Post-Pandemic Era date: 2025 words: 4490 flesch: 65 summary: The vibe was good, not at all the jittery, post-club scene that I remember Piknic descending into a decade prior. Weekend Societies in the Walled Garden: Montréal’s Piknic Electronik in the Post-Pandemic Era tobias c. van Veen California State University Northridge (USA) MUTEK at Piknik Electronik 2011–2012, tobias c. van Veen (2023a) Piknic Electronic has been one of the defining features of Montréal’s post-rave scene. keywords: c. van; credit; dancefloor; mutek; photo; piknic; tobias; tobias c.; van; van veen; veen cache: dancecult-1259.htm plain text: dancecult-1259.txt item: #96 of 344 id: dancecult-1260 author: Iten, Moses title: This Track Contains Politics: The Culture of Sampling in Experimental Electronica (Hannes Liechti) date: 2023 words: 8661 flesch: 53 summary: Reviews 115 Given the social dynamics, risks, and potentials that McKenzie Wark discusses, raving seems fundamentally different from the more individually defined practices fly-fishing, juggling and running—if that’s not a completely biased perspective of a review for a journal of electronic dance music culture. But what is the book’s contribution to a critical discourse on electronic dance music culture? keywords: berghain; berlin; book; chapter; club; ctm; culture; dance; experience; iten; liechti; music; new; norient; practice; research; robin; sampling; sound; space; time; university; wark cache: dancecult-1260.pdf plain text: dancecult-1260.txt item: #97 of 344 id: dancecult-1261 author: Feser, Kim title: Raving (McKenzie Wark) date: 2023 words: 8661 flesch: 53 summary: Reviews 115 Given the social dynamics, risks, and potentials that McKenzie Wark discusses, raving seems fundamentally different from the more individually defined practices fly-fishing, juggling and running—if that’s not a completely biased perspective of a review for a journal of electronic dance music culture. But what is the book’s contribution to a critical discourse on electronic dance music culture? keywords: berghain; berlin; book; chapter; club; ctm; culture; dance; experience; iten; liechti; music; new; norient; practice; research; robin; sampling; sound; space; time; university; wark cache: dancecult-1261.pdf plain text: dancecult-1261.txt item: #98 of 344 id: dancecult-1262 author: Reddell, Trace; St John, Graham title: Guest Editors' Introduction to "Psychedelica and Electronica" date: 2023 words: 4391 flesch: 43 summary: Such circular logics are prevalent throughout the history of psychedelic music, leading to my adoption of “The Magic Circle” (a rejected title for the Beatles’ 1966 album, Revolver) to characterize the perennial nature of psychedelic experience. This is Trace here reminding you that psychedelic music has evolved, mutated, hybridized and flourished over the past sixty years. keywords: dance; dancecult; electronica; experience; issue; john; mckenna; music; psychedelics; research; sound; voice cache: dancecult-1262.pdf plain text: dancecult-1262.txt item: #99 of 344 id: dancecult-1263 author: St John, Graham title: Executive Editor's Introduction date: 2023 words: 2031 flesch: 51 summary: Production Editor Botond Vitos (Leuphana University, DE) From the floor Editor Dave Payling (Staffordshire University, UK) Reviews Editor Anita Jóri (Berlin University of the Arts, DE) Operations director Botond Vitos (Leuphana University, DE) Foreign Languages Editor Moses Iten (RMIT, AU) Managing Editor Tommy Colton Symmes (Rice University, US) Community Manager Katrina Loughrey (DE) Art Director Botond Vitos (Leuphana University, DE) Operations Associate Dave Payling (Staffordshire University, UK) Associate Editors Ben Assiter (Goldsmiths, University of London, UK) Alistair Fraser (Maynooth University, IE) Moses Iten (RMIT, AU) , Botond Vitos (Leuphana University, DE), Toby Young (University of Oxford, UK) Dancecult: Journal of Electronic Dance Music Culture is a peer-reviewed, open-access e-journal for the study of electronic dance music culture (EDMC). keywords: dance; dancecult; editor; john; mirrorball; music; university cache: dancecult-1263.pdf plain text: dancecult-1263.txt item: #100 of 344 id: dancecult-1264 author: Hill, Tara title: Spectacle, Fashion and the Dancing Experience in Britain, 1960–1990 (Jon Stratton) date: 2023 words: 8661 flesch: 53 summary: Reviews 115 Given the social dynamics, risks, and potentials that McKenzie Wark discusses, raving seems fundamentally different from the more individually defined practices fly-fishing, juggling and running—if that’s not a completely biased perspective of a review for a journal of electronic dance music culture. But what is the book’s contribution to a critical discourse on electronic dance music culture? keywords: berghain; berlin; book; chapter; club; ctm; culture; dance; experience; iten; liechti; music; new; norient; practice; research; robin; sampling; sound; space; time; university; wark cache: dancecult-1264.pdf plain text: dancecult-1264.txt item: #101 of 344 id: dancecult-1265 author: Lhooq, Michelle title: No Way Back date: 2023 words: 1635 flesch: 72 summary: In the late’90s, a media-fueled moral panic over ecstasy use had resulted in a nationwide crackdown on rave culture—and Detroit “clamped down hard”, according to a Red Bull Music Academy’s report, “Breaking up parties, writing tickets and occasionally even brutalizing ravers” (Glazer 2014). “I was sick of going to parties and seeing the DJs right in front of a pool table, and looking at my reflection in a Coors sign. keywords: detroit; music; party; rave; way cache: dancecult-1265.htm plain text: dancecult-1265.txt item: #102 of 344 id: dancecult-1269 author: Fewer, Rory title: Together, Somehow: Music, Affect, and Intimacy on the Dancefloor (Luis Manuel Garcia-Mispireta) date: 2024 words: 5352 flesch: 44 summary: Luis Manuel Garcia-Mispireta’s Together, Somehow: Music, Affect, and Intimacy on the Dancefloor adds an essential contribution to a limited yet gradually expanding body of ethnomusicological scholarship on electronic dance music cultures. This book offers a novel contribution to ethnomusicological scholarship and will surely lend itself as an important resource for scholars and other readers interested in the global phenomenon of electronic dance music culture or studies on music and affect more generally. keywords: book; club; culture; dance; dmcs; mann; mispireta; music; rave; spaces; stories; venue cache: dancecult-1269.pdf plain text: dancecult-1269.txt item: #103 of 344 id: dancecult-1272 author: O'Sullivan, Caroline title: The Steady Decline of Club Culture in Dublin: Neoliberal Policy, Touristification and the Pandemic date: 2024 words: 10465 flesch: 48 summary: While assessing the impact that Covid-19 has had on Ireland’s dance music culture, this article argues that neoliberal government policy, planning decisions and the changing realities of living in Dublin city in the preceding 20 years had resulted in a scene that was already in a perilous state of contraction. 2 See Powell (1991), O’Hare (2001) and Haughey Family (2020). 3 For a social history of the Dublin Club scene during the 1990s and early 2000s see Wynne-Jones (2022). keywords: change; city; club; club culture; cultural; culture; dance; decline; dublin; economy; gentrification; government; ireland; irish; music; night; nightclubs; october; pandemic; policy; public; spaces; time; venues cache: dancecult-1272.pdf plain text: dancecult-1272.txt item: #104 of 344 id: dancecult-1273 author: Mouraviev, Ivan title: London Dubstep Culture in an Online Discord Community: The Mediation of Bass, Space and Place date: 2024 words: 9944 flesch: 55 summary: He established a Twitch channel describing the project as a community committed to underground bass music and real dubstep, inviting viewers to participate as DJs and join Real Heads. “This is a community about dubstep music and culture. keywords: bass; community; culture; discord; djs; dubstep; fruit; heads; internet; london; march; members; music; new; online; radio; sessions; space cache: dancecult-1273.pdf plain text: dancecult-1273.txt item: #105 of 344 id: dancecult-1276 author: Fuernkranz, Magdalena title: “Being a DJ is My Form of Resistance”: The Dance Floor As a Safer Space for Queer-Feminist Communities in Vienna date: 2024 words: 9448 flesch: 50 summary: The study shows that gender identity remains an essential category for participating on the dance floor, contributing to cultural production and organizing events in electronic dance music scenes. Hyperreality is a safer space based on a shared interest in the advancement of the careers of marginalized DJs, an intersectional solidarity for protesting exclusions from dance music scenes, harassment online and during the event and tokenism in the music business. keywords: artists; club; culture; dance; djs; event; female; feminist; festival; floor; gender; hyperreality; media; music; networks; pressure; queer; scenes; space; vienna cache: dancecult-1276.pdf plain text: dancecult-1276.txt item: #106 of 344 id: dancecult-1278 author: Smith, Jeremy title: Squelches, Wobbles and Risers: Continuous Processes and Subgenres in Electronic Dance Music date: 2024 words: 9659 flesch: 62 summary: However, I agree with Tom Johnson that “genre is not dead” and is still relevant in many ways (2020: 177).3 As I will discuss in this article, scholars, DJs, producers and fans still speak about meaningful distinctions between EDM genres and subgenres. This article discusses all of these and provides a scholarly update on discourse about EDM genres in the 2020s, but also highlights one aspect of the discourse Dancecult 16(1)100 that has not been significantly discussed in previous scholarship, namely, the role of what I call “continuous processes” (such as wobbles and risers) in genre distinctions (Smith 2021). keywords: bass; dance; dubstep; edm; electro; figure; genres; house; music; processes; remix; risers; section; subgenres; track cache: dancecult-1278.pdf plain text: dancecult-1278.txt item: #107 of 344 id: dancecult-1282 author: Hermes, Kirsten title: Augmented Creativity: Using AI Collaborators to Make a Music Video date: 2025 words: 8998 flesch: 50 summary: By separating the creative process into distinct stages, AI creativity can be studied in a more nuanced way. AI creativity is typically evaluated based on the output (Ritchie 2007: 69). keywords: artist; creativity; generative; hermes; human; image; intelligence; kirsten; music; new; outputs; practice; process; research; tools; university; video; work cache: dancecult-1282.pdf plain text: dancecult-1282.txt item: #108 of 344 id: dancecult-1284 author: Raine, Sarah title: An Old School Stomper: Reflections on Place, Identity, and Drugs and the Fluctuating Roles of the Participating Ethnographer date: 2024 words: 3547 flesch: 60 summary: Why, then, do so many popular music ethnographers remove themselves from this essential layering of music scene experience? Instead, I turn to place, placemaking and work that attempts to consider the role that drugs play in embodied experience and what this might mean for our current and remembered spaces of dancing. keywords: club; dance; drug; experience; house; music; research; scene cache: dancecult-1284.htm plain text: dancecult-1284.txt item: #109 of 344 id: dancecult-1285 author: Jiang, Tianyu title: Finding Shelter: Recollections of Shanghai’s Underground Music Scene in the 2010s date: 2024 words: 2829 flesch: 76 summary: For me, one thing that was cool about Shelter is that it had more of a mix of expats and locals than most places that were doing underground music at that time. Finding Shelter: Recollections of Shanghai’s Underground Music Scene in the 2010s Tianyu Jiang University of Music and Performing Arts Vienna (Austria) The Shelter was an underground club in Shanghai which, during its 9 years of operation from 2007 to 2016, transformed Shanghai’s underground electronic music scene.[1] keywords: music; people; place; shanghai; shelter cache: dancecult-1285.htm plain text: dancecult-1285.txt item: #110 of 344 id: dancecult-1286 author: Hidalgo, Danielle title: Platformization and Its Ongoing Impact on Dance Music Spaces date: 2024 words: 2805 flesch: 52 summary: Conclusion My work calls for a deeper exploration of the effects of digital media on dance music culture and industry standards, emphasizing the need to examine how these shifts impact both creators and consumers of dance music content. Answering these questions will elucidate concerns about how digital media is impacting dance music industry standards (see Chandran 2023) and music industry trends in general. keywords: content; dance; djs; industry; music; october cache: dancecult-1286.htm plain text: dancecult-1286.txt item: #111 of 344 id: dancecult-1287 author: Murphy, Emily L title: Reparative Raving date: 2024 words: 2734 flesch: 77 summary: Durham: Duke University Press. Oxford: Oxford University Press. keywords: dance; grief; press; queer; raving; university cache: dancecult-1287.htm plain text: dancecult-1287.txt item: #112 of 344 id: dancecult-1288 author: Figueredo, Natalia title: Passinho Chronicles: Unveiling Urban Narratives Through Dance date: 2024 words: 3468 flesch: 64 summary: As they move through the streets, others join them in dance movements. This combination of elements allows us to understand urban space as a choreography orchestrated by different elements present, or not, in the same space. keywords: body; chão; dance; dancing; favelas; funk; music; passinho; pow; rabisca; space; video cache: dancecult-1288.htm plain text: dancecult-1288.txt item: #113 of 344 id: dancecult-1289 author: Janssen, Phoebe title: Foraging Places and Spaces through Dance: The Mycelium-like Spaces of Post-1989 Berlin date: 2024 words: 2452 flesch: 58 summary: Reminiscent of this burst, Berlin’s perceived, imagined and lived identity as a capital, as a cultural metropolis and as a European city still invites new spaces to pop up amongst the mélange of architecture. Author Biography Berlin-born but currently based between Amsterdam and Naarm/Melbourne, Phoebe Max Alice Janssen is a cultural musicologist and visual anthropologist researching environmental and cultural sustainability in city spaces. keywords: berlin; city; clubs; east; mycelium; spaces cache: dancecult-1289.htm plain text: dancecult-1289.txt item: #114 of 344 id: dancecult-1290 author: Ella title: Reflections from the Frontlines of Grassroots Venue Design date: 2024 words: 3701 flesch: 36 summary: Spatial Bureaucracy in the context of neoliberal crisis In Britain, grassroots music venues are being eradicated by a set of interlocked hostilities: the covid-19 pandemic, speculative residential development, increased business rates and 13 years of austerity among them (O'Connor 2023). Arguably, the co-dependence between architecture and real-estate positions the architect as an antagonist to the propagation of grassroots venues in British cities. keywords: building; community; design; grassroots; london; music; operators; planning; use; venues cache: dancecult-1290.htm plain text: dancecult-1290.txt item: #115 of 344 id: dancecult-1291 author: Hughes, Ruth title: Windows on the Dance Floor date: 2024 words: 985 flesch: 65 summary: As a fellow dancer and DJ, I’ve seen ways that windows on dance floors can affect our experiences; their function as a threshold of space; their materiality; their practical uses and what all of this might mean for our perception of ourselves as well as the collective dance floor. Photo credit: Ruth Hughes (2023). keywords: dance; floor; window cache: dancecult-1291.htm plain text: dancecult-1291.txt item: #116 of 344 id: dancecult-1292 author: Fraser, Alistair title: Out of Space: How UK Cities Shaped Rave Culture (Jim Ottewill) date: 2024 words: 5352 flesch: 44 summary: Luis Manuel Garcia-Mispireta’s Together, Somehow: Music, Affect, and Intimacy on the Dancefloor adds an essential contribution to a limited yet gradually expanding body of ethnomusicological scholarship on electronic dance music cultures. This book offers a novel contribution to ethnomusicological scholarship and will surely lend itself as an important resource for scholars and other readers interested in the global phenomenon of electronic dance music culture or studies on music and affect more generally. keywords: book; club; culture; dance; dmcs; mann; mispireta; music; rave; spaces; stories; venue cache: dancecult-1292.pdf plain text: dancecult-1292.txt item: #117 of 344 id: dancecult-1293 author: Chaudhury, Aadita title: Rude Citizenship: Jamaican Popular Music, Copyright, and the Reverberations of Colonial Power (Larisa Kingston Mann) date: 2024 words: 5352 flesch: 44 summary: Luis Manuel Garcia-Mispireta’s Together, Somehow: Music, Affect, and Intimacy on the Dancefloor adds an essential contribution to a limited yet gradually expanding body of ethnomusicological scholarship on electronic dance music cultures. This book offers a novel contribution to ethnomusicological scholarship and will surely lend itself as an important resource for scholars and other readers interested in the global phenomenon of electronic dance music culture or studies on music and affect more generally. keywords: book; club; culture; dance; dmcs; mann; mispireta; music; rave; spaces; stories; venue cache: dancecult-1293.pdf plain text: dancecult-1293.txt item: #118 of 344 id: dancecult-1294 author: Gibson, Max title: Venue Stories: Narratives, Memories, and Histories from Britain’s Independent Music Spaces (Fraser Mann, Robert Edgar and Helen Pleasance. eds) date: 2024 words: 5352 flesch: 44 summary: Luis Manuel Garcia-Mispireta’s Together, Somehow: Music, Affect, and Intimacy on the Dancefloor adds an essential contribution to a limited yet gradually expanding body of ethnomusicological scholarship on electronic dance music cultures. This book offers a novel contribution to ethnomusicological scholarship and will surely lend itself as an important resource for scholars and other readers interested in the global phenomenon of electronic dance music culture or studies on music and affect more generally. keywords: book; club; culture; dance; dmcs; mann; mispireta; music; rave; spaces; stories; venue cache: dancecult-1294.pdf plain text: dancecult-1294.txt item: #119 of 344 id: dancecult-1295 author: McNeill, Jack title: Living at Night in Times of Pandemic: Night Studies and Club Culture in France and Germany (Anita Jóri and Guillaume Robin eds) date: 2024 words: 5352 flesch: 44 summary: Luis Manuel Garcia-Mispireta’s Together, Somehow: Music, Affect, and Intimacy on the Dancefloor adds an essential contribution to a limited yet gradually expanding body of ethnomusicological scholarship on electronic dance music cultures. This book offers a novel contribution to ethnomusicological scholarship and will surely lend itself as an important resource for scholars and other readers interested in the global phenomenon of electronic dance music culture or studies on music and affect more generally. keywords: book; club; culture; dance; dmcs; mann; mispireta; music; rave; spaces; stories; venue cache: dancecult-1295.pdf plain text: dancecult-1295.txt item: #120 of 344 id: dancecult-1297 author: Assiter, Ben title: Guest Editor's Introduction to Spaces of Dancing date: 2024 words: 2985 flesch: 53 summary: As with other popular music cultures, the physical geographies of EMDC exist in ever- closer relation with the mediations of online space (Baym 2018; Jones 2021). Daniella Antoinette Hidalgo’s “Platformization and its Ongoing Impact on Dance Music Spaces” reflects on the role of online space in shaping EMDC within structures of platform capitalism. keywords: culture; dance; dancing; emdc; london; music; new; nightlife; online; spaces cache: dancecult-1297.pdf plain text: dancecult-1297.txt item: #121 of 344 id: dancecult-1298 author: Werlen, Arsène; Shanahoy, Cyber; Izik-Dzurko, Aria; Verbuc, David title: A Thrice-experienced Clubnight: Three Ethnographic Readings of a Club Night in Ankali, Prague, 7 June 2024 date: 2025 words: 4475 flesch: 69 summary: These analytic foci were drawn from in-class theoretical and methodological discussions during the summer school, which was one of our key pedagogical goals: to teach the students how to combine theory and ethnography while researching electronic dance music scenes. In terms of years of participation in electronic dance music scenes, Arsène had 7 years of experience, Cyber 15 years and Anonymous no previous experience. keywords: ankali; club; dance; ethnographic; experience; music; people; prague; school; space cache: dancecult-1298.htm plain text: dancecult-1298.txt item: #122 of 344 id: dancecult-1299 author: robin, guillaume title: Berghain, Techno and the Body Factory: Ethnography of a Club’s Regulars date: 2024 words: 7586 flesch: 59 summary: The idea of conducting an ethnographic study on Berghain emerged when I observed at various festivals in Brandenburg (Garbicz, Nation of Gondwana, Her Damit) that Berghain regulars were often identifiable by their distinctive dance style.12 One thing was clear: Berghain is much more than a machine. While many Berghain regulars had travelled to Tbilisi’s Bassiani club during the lockdown, the end of the pandemic has coincided with an influx of Ukrainian refugees into the Berghain scene. keywords: age; audience; berghain; berlin; body; club; community; crowd; culture; dance; experience; night; regulars; robin; scene; space; study; techno; years cache: dancecult-1299.pdf plain text: dancecult-1299.txt item: #123 of 344 id: dancecult-1300 author: Bottin, Guglielmo title: Historical Emergence and Current Uses of the Term italodisco date: 2025 words: 4049 flesch: 63 summary: For this reason, I prefer to use italo or spell italodisco as one word, since it is not merely shorthand for Italian disco music, as the hyphenated spelling italo-disco may seem to suggest. This earlier iteration of Italian dance music productions tried to match the disco sound that was coming out of the United States, Germany and France. keywords: 1980s; dance; disco; inch; italian; italo; italodisco; music; oid; records; sound; zyx cache: dancecult-1300.htm plain text: dancecult-1300.txt item: #124 of 344 id: dancecult-1301 author: St John, Graham title: Executive Editor's Introduction date: 2024 words: 1224 flesch: 51 summary: Production Editor Botond Vitos (Leuphana University, DE) From the floor Editor Dave Payling (Staffordshire University, UK) Reviews Editor Anita Jóri (Berlin University of the Arts, DE) Operations director Botond Vitos (Leuphana University, DE) Foreign Languages Editor Moses Iten (RMIT, AU) Managing Editor Tommy Colton Symmes (Rice University, US) Community Manager Katrina Loughrey (DE) Art Director Botond Vitos (Leuphana University, DE) Operations Associate Dave Payling (Staffordshire University, UK) Associate Editors Ben Assiter (Goldsmiths, University of London, UK) Alistair Fraser (Maynooth University, IE) Moses Iten (RMIT, AU) Editor's Introduction, Masthead and Table of Contents Spaces of Dancing Edited by Ben Assiter V16.1 2024 Dancecult Journal of Electronic Dance Music Culture Issue 16(1) 2024 ISSN 1947-5403 ©2024 Dancecult Published yearly at International Advisory Board Sean Albiez (Southampton Solent University, UK), Anthony D’Andrea (University of Limerick, IE), Rebekah Farrugia (Oakland University, US), Kai Fikentscher (DE), Alistair Fraser (Maynooth University, IE), Luis-Manuel Garcia (University of Birmingham, UK), Anna Gavanas (Institute for Futures Studies, SE), Ross Harley (University of New South Wales, AU), Moses Iten (RMIT, AU), Anita Jóri (Berlin University of the Arts, DE), Tim Lawrence (University of East London, UK), Geert Lovink (University of Amsterdam, NL), Paolo Magaudda (University of Padova, IT), Charity Marsh (University of Regina, CA), Andrew Murphie (University of New South Wales, AU), Jordi Nofre (NOVA University Lisbon, PT), Alice O’Grady (University of Leeds, United Kingdom), Christopher Partridge (Lancaster University, UK), Dave Payling (Staffordshire 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 Huddersfield, UK), Jonathan Sterne (McGill University, CA), Will Straw (McGill University, CA), Rupert Till (University of Huddersfield, UK), Botond Vitos (Leuphana University, DE), Toby Young (University of Oxford, UK) keywords: culture; dance; dancecult; editor; music; university cache: dancecult-1301.pdf plain text: dancecult-1301.txt item: #125 of 344 id: dancecult-1304 author: Chakravarty, Devpriya title: Negotiating Sonic Spaces: Exploring Urban Indian Youth and the Semantic Flux of Electronic Dance Music Culture date: 2025 words: 9646 flesch: 44 summary: The bicultural nature of urban Indian youth identity is a recurring theme in their engagement with EDMC. Based on ethnographic fieldwork and interviews (2020–2023), the research highlights the shift of Indian dance music scene from its global underground origins to a commercialised mainstream culture. keywords: chakravarty; class; contemporary; culture; dance; edm; edmc; festivals; global; goa; identities; identity; indian; london; music; new; scene; spaces; trance; urban; youth cache: dancecult-1304.pdf plain text: dancecult-1304.txt item: #126 of 344 id: dancecult-1305 author: Moriaty, Manoli; Kehagia, Nina title: Playing by the Rules? : Genre Conventions in Contemporary DJ Performance date: 2025 words: 9714 flesch: 56 summary: Keywords: DJ performance, digital technology, genre and practice, club culture, mixed methods Manoli Moriaty is a music producer, performer and scholar. Hip-hop DJs’ role in legitimising DJ performance cannot be understated, as the exaggerated gesturality of early scratch DJs made technical skill visible in ways comparable to that of traditional instrumentalists (Katz 2012). keywords: audience; bass; conventions; djing; djs; drum; genre; house; music; people; performance; playing; question; set; survey; techno; technology cache: dancecult-1305.pdf plain text: dancecult-1305.txt item: #127 of 344 id: dancecult-1306 author: Amaral, Adriana; Pereira, Simone Luci; Goulart, Lucas; Cordova, Jonara; Wizniewsky Amaral, João Pedro; Iten, Moses title: “It’s not just a Party, ya know?”: Work and Affective Circuits in LGBTQIA+ Music Collectives in the South of Brazil date: 2025 words: 9996 flesch: 50 summary: A scene or circuit of electronic music parties has been established on city streets and other public spaces, as well as abandoned areas occupying the so-called urban “fractures” (Pereira and Gheirart 2023), giving them renewed meanings. In this sense, collectives and electronic music parties highlight their political dimension, as they underscore dissident identities and bodies in action and make use of public and semi-public spaces in the city. keywords: affective; alegre; amaral; bodies; brazil; city; coletivo; collective; identities; individuals; music; music scene; parties; party; people; porto; production; rio; scene; spaces; trans; university cache: dancecult-1306.pdf plain text: dancecult-1306.txt item: #128 of 344 id: dancecult-1309 author: Barlindhaug, Gaute title: EDM, Tech-House or Business Techno? “Trolling” Inauthentic Club Music Through Social Media date: 2025 words: 9904 flesch: 56 summary: He returns to Gunders´s account of club music artists bringing more live instruments into their performance, but turns this development into a comic punchline. Abstract This article explores how the term EDM, along with other newer labels for club music, is used among some audiences to distinguish between authenticity and inauthenticity within club culture. keywords: authenticity; club; club music; culture; dance; edm; group; house; media; memes; music; new; social; techno; term; troxler; twtmegp cache: dancecult-1309.pdf plain text: dancecult-1309.txt item: #129 of 344 id: dancecult-1310 author: Mathei, Dennis title: Beats on Airwaves: Radio, Electronic Dance Music Selection and Meanings date: 2025 words: 9755 flesch: 55 summary: Shortening describes the structural streamlining of music titles in general. This development is not limited to edm and has been taking place in different music genres. keywords: analysis; categories; dance; dance music; dancecult; editors; edm; edm titles; genres; music; pop; radio; radio stations; research; selection; sound; stations; time; titles cache: dancecult-1310.pdf plain text: dancecult-1310.txt item: #130 of 344 id: dancecult-1313 author: Davis, Dylan; Callander, Mike; Haberfeld, David title: On The Spectrum: Where Is EDM Placed Within Electronic Dance Music Culture? date: 2025 words: 4101 flesch: 60 summary: The queer, POC roots of electronic dance music have been discarded, and the gender and racial diversity at the roots of electronic dance music culture have been corporatised to a bland homogeneity (Ghanny 2016). The history of electronic dance music involves the creation, occupation and repurposing of space for temporal freedoms. keywords: aoki; artists; audience; culture; dance; djs; edm; events; music; november; space cache: dancecult-1313.htm plain text: dancecult-1313.txt item: #131 of 344 id: dancecult-1314 author: Dwyer, Rosie title: A Laptop and Some Talent: We Are Your Friends, the EDM Pop DJ and the Gig Economy date: 2025 words: 2182 flesch: 66 summary: Accordingly, a staple of gig economy opportunities is that they require little training even as they promise big rewards. Of course, DJs have always worked for themselves and made money from gigs. keywords: economy; edm; gig; pop; wayf cache: dancecult-1314.htm plain text: dancecult-1314.txt item: #132 of 344 id: dancecult-1321 author: Anderson, Richard title: Dance Your Way Home: A Journey Through the Dancefloor (Emma Warren) date: 2025 words: 7283 flesch: 43 summary: By this, she means that dance music culture is not necessarily mundane (although it often is, as she demonstrates), but socially and structurally embedded; indeed, dance music is shot through with the same exclusions, hierarchies and contradictions as any other cultural practice. For Gadir, origin stories about Detroit, Chicago, Berlin and New York may have been politically useful in early subcultural theory, but they have since become canonical and limiting: “What has happened since,” she argues in the conclusion, “is that such interventions have become the accepted stories of dance music culture. keywords: book; brown; chapter; club; culture; dance; dance music; dancing; gadir; live; liveness; music; paulette; streaming; techno; warren; work cache: dancecult-1321.pdf plain text: dancecult-1321.txt item: #133 of 344 id: dancecult-1322 author: Öztürk, Emre title: Assembling a Black Counter Culture (DeForrest Brown, Jr) date: 2025 words: 7283 flesch: 43 summary: By this, she means that dance music culture is not necessarily mundane (although it often is, as she demonstrates), but socially and structurally embedded; indeed, dance music is shot through with the same exclusions, hierarchies and contradictions as any other cultural practice. For Gadir, origin stories about Detroit, Chicago, Berlin and New York may have been politically useful in early subcultural theory, but they have since become canonical and limiting: “What has happened since,” she argues in the conclusion, “is that such interventions have become the accepted stories of dance music culture. keywords: book; brown; chapter; club; culture; dance; dance music; dancing; gadir; live; liveness; music; paulette; streaming; techno; warren; work cache: dancecult-1322.pdf plain text: dancecult-1322.txt item: #134 of 344 id: dancecult-1323 author: Finnan, Sean title: Platformed! How Streaming, Algorithms and Artificial Intelligence are Shaping Music Cultures (Tiziano Bonini and Paolo Magaudda) date: 2025 words: 7283 flesch: 43 summary: By this, she means that dance music culture is not necessarily mundane (although it often is, as she demonstrates), but socially and structurally embedded; indeed, dance music is shot through with the same exclusions, hierarchies and contradictions as any other cultural practice. For Gadir, origin stories about Detroit, Chicago, Berlin and New York may have been politically useful in early subcultural theory, but they have since become canonical and limiting: “What has happened since,” she argues in the conclusion, “is that such interventions have become the accepted stories of dance music culture. keywords: book; brown; chapter; club; culture; dance; dance music; dancing; gadir; live; liveness; music; paulette; streaming; techno; warren; work cache: dancecult-1323.pdf plain text: dancecult-1323.txt item: #135 of 344 id: dancecult-1324 author: McNeill, Jack title: Live Spielen: Liveness in Performances elektronischer Tanzmusik (Josef Schaubruch) date: 2025 words: 7283 flesch: 43 summary: By this, she means that dance music culture is not necessarily mundane (although it often is, as she demonstrates), but socially and structurally embedded; indeed, dance music is shot through with the same exclusions, hierarchies and contradictions as any other cultural practice. For Gadir, origin stories about Detroit, Chicago, Berlin and New York may have been politically useful in early subcultural theory, but they have since become canonical and limiting: “What has happened since,” she argues in the conclusion, “is that such interventions have become the accepted stories of dance music culture. keywords: book; brown; chapter; club; culture; dance; dance music; dancing; gadir; live; liveness; music; paulette; streaming; techno; warren; work cache: dancecult-1324.pdf plain text: dancecult-1324.txt item: #136 of 344 id: dancecult-1327 author: Brethome title: Black Music in Britain in the 21st Century (Monique Charles, ed., with Mary W. Gani) date: 2025 words: 7283 flesch: 43 summary: By this, she means that dance music culture is not necessarily mundane (although it often is, as she demonstrates), but socially and structurally embedded; indeed, dance music is shot through with the same exclusions, hierarchies and contradictions as any other cultural practice. For Gadir, origin stories about Detroit, Chicago, Berlin and New York may have been politically useful in early subcultural theory, but they have since become canonical and limiting: “What has happened since,” she argues in the conclusion, “is that such interventions have become the accepted stories of dance music culture. keywords: book; brown; chapter; club; culture; dance; dance music; dancing; gadir; live; liveness; music; paulette; streaming; techno; warren; work cache: dancecult-1327.pdf plain text: dancecult-1327.txt item: #137 of 344 id: dancecult-1328 author: Hancock, Maren title: Dance Music: A Feminist Account of an Ordinary Culture (Tami Gadir) & Welcome to the Club: The Life and Lessons of a Black Woman DJ (DJ Paulette) date: 2025 words: 7283 flesch: 43 summary: By this, she means that dance music culture is not necessarily mundane (although it often is, as she demonstrates), but socially and structurally embedded; indeed, dance music is shot through with the same exclusions, hierarchies and contradictions as any other cultural practice. For Gadir, origin stories about Detroit, Chicago, Berlin and New York may have been politically useful in early subcultural theory, but they have since become canonical and limiting: “What has happened since,” she argues in the conclusion, “is that such interventions have become the accepted stories of dance music culture. keywords: book; brown; chapter; club; culture; dance; dance music; dancing; gadir; live; liveness; music; paulette; streaming; techno; warren; work cache: dancecult-1328.pdf plain text: dancecult-1328.txt item: #138 of 344 id: dancecult-1333 author: Jori, Anita title: Introduction to EDM and its Discontents: The Contested Meaning of “Electronic Dance Music” date: 2025 words: 1676 flesch: 45 summary: To address these questions and explore the discursive and cultural or regional conflicts surrounding this terminology, this special issue has encouraged researchers to share their experiences, perspectives, suggestions and findings regarding the controversies surrounding electronic dance music and EDM. In “Beats on Airwaves: Radio, Electronic Dance Music Selection and Meanings”, Dennis Mathei investigates the challenges of categorizing electronic dance music on German radio. keywords: culture; dance; edm; issue; music cache: dancecult-1333.pdf plain text: dancecult-1333.txt item: #139 of 344 id: dancecult-1334 author: St John, Graham title: Executive Editor's Introduction date: 2025 words: 1330 flesch: 57 summary: Production Editor Botond Vitos (DE) From the floor Editor Dave Payling (Staffordshire University, UK) Reviews Editor Anita Jóri (Leuphana University, DE) Operations director Dave Payling (Staffordshire University, UK) Foreign Languages Editor Moses Iten (RMIT, AU) Managing Editor Moses Iten (RMIT, AU) Community Manager Katrina Loughrey (DE) Art Director Dave Payling (Staffordshire University, UK) Operations Manager Evan Shulman (SDSU, USA) Associate Editors Ben Assiter (Goldsmiths, University of London, UK) Alistair Fraser (Maynooth University, IE) Moses Iten (RMIT, AU) Editor's Introduction, Masthead and Table of Contents EDM and its Discontents Edited by Anita Jóri V17.1 2025 JOURNAL OF ELECTRONIC MUSIC & DANCE CULTURE Dancecult Journal of Electronic Music & Dance Culture Issue 17(1) 2025 ISSN 1947-5403 ©2025 Dancecult Published yearly at International Advisory Board Sean Albiez (Southampton Solent University, UK), Anthony D’Andrea (University of Limerick, IE), Rebekah Farrugia (Oakland University, US), Kai Fikentscher (DE), Alistair Fraser (Maynooth University, IE), Luis-Manuel Garcia (University of Birmingham, UK), Anna Gavanas (Institute for Futures Studies, SE), Ross Harley (University of New South Wales, AU), Moses Iten (RMIT, AU), Anita Jóri (Berlin University of the Arts, DE), Tim Lawrence (University of East London, UK), Geert Lovink (University of Amsterdam, NL), Paolo Magaudda (University of Padova, IT), Charity Marsh (University of Regina, CA), Andrew Murphie (University of New South Wales, AU), Jordi Nofre (NOVA University Lisbon, PT), Alice O’Grady (University of Leeds, United Kingdom), Christopher Partridge (Lancaster University, UK), Dave Payling (Staffordshire 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 Huddersfield, UK), Jonathan Sterne (McGill University, CA), Will Straw (McGill University, CA), Rupert keywords: culture; dance; dancecult; editor; music; university cache: dancecult-1334.pdf plain text: dancecult-1334.txt item: #140 of 344 id: dancecult-267 author: St John, Graham title: Editor's Introduction and Masthead date: 2009 words: 3127 flesch: 40 summary: (US) Dancecult: Journal of Electronic Dance Music Culture is a peer-reviewed, open-access e- journal for the study of electronic dance music culture (EDMC). A platform for interdis- ciplinary 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. keywords: adobe; culture; dancecult; editor; edmc; journal; life; music; research; techno; university cache: dancecult-267.pdf plain text: dancecult-267.txt item: #141 of 344 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 words: 11949 flesch: 51 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 genealogy as a type of dance music: it resists any unmediated incorporation into IDM of the progressive rock “text”. keywords: album; autechre; culture; dance; deleuze; guattari; identity; idm; intelligence; james; language; literature; music; reynolds; subject; subjectivity; text; track; warp cache: dancecult-268.pdf plain text: dancecult-268.txt item: #142 of 344 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 words: 7490 flesch: 59 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: #143 of 344 id: dancecult-270 author: St John, Graham title: Neotrance and the Psychedelic Festival date: 2009 words: 13225 flesch: 50 summary: It should be recognised, however, that, in evidence across global psytrance events, multiple elements jeopardise the “vibe”, where freak concentration is not essentially racial or phenotypical. As an evolved ex- pression of this dynamic, psytrance festivals enable participants from diverse national, cultural and stylistic backgrounds to give expression to their difference while at the same time potentiating the experience of singularity. keywords: alternative; boom; culture; dance; dance music; dancecult; events; experience; festival; forthcoming; goa; graham; john; journal; london; movement; music; music culture; neotrance; new; participants; psytrance; rave; religion; routledge; self; st john; tribal; world; york cache: dancecult-270.pdf plain text: dancecult-270.txt item: #144 of 344 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 words: 8574 flesch: 58 summary: Such a framework, it is maintained, helps highlight the nuanced influences of normative social discourses in relation to people’s experiences and descriptions of moving in, through and past active rave participation. Third, the importance of age and gender a propos in- terviewees’ past active rave participation is discussed.3 Finally, a review of the research findings and theoretically-informed suggestions for future research are offered. keywords: age; culture; dance; experiences; gender; interviewees; music; participation; rave; ravers; scene; toronto; women cache: dancecult-271.pdf plain text: dancecult-271.txt item: #145 of 344 id: dancecult-272 author: Montano, Ed title: DJ Culture in the Commercial Sydney Dance Music Scene date: 2009 words: 8030 flesch: 60 summary: For this reason, the following discussion explores in greater detail the way local Sydney DJs interpret their profession, and works through some of the issues that shape and define the DJ’s role. As Sydney DJ Goodwill explains in regard to his own DJing: None of it is predetermined. keywords: culture; dance; dance music; djs; music; play; playing; scene; set; sydney cache: dancecult-272.pdf plain text: dancecult-272.txt item: #146 of 344 id: dancecult-273 author: van Veen, tobias c. title: Convergence and Soniculture: 10 Years of MUTEK date: 2009 words: 5952 flesch: 43 summary: 1. vanVeen-typeset From the floor Dancecult: Journal of Electronic Dance Music Culture 1(1) 2009 ISSN 1947-5403 ©2009 Dancecult http://www.dancecult.net/ Convergence and Soniculture: 10 Years of MUTEK TOBIAS C. VAN VEEN MCGILL UNIVERSITY (CANADA) When considering electronic dance music culture (EDMC) – not as an object of study in the world, but as a description, a concept itself – the variables of the phrase come under some pressure. Satellite MUTEK festivals were established in Mexico, China and Chile, with events now taking place in Southern America and tours throughout Europe. keywords: august; culture; dance; electronic; festival; music; mutek; new; photo; techno; tobias; van; van veen; veen cache: dancecult-273.pdf plain text: dancecult-273.txt item: #147 of 344 id: dancecult-274 author: Gilbert, Jeremy title: The Hardcore Continuum? date: 2009 words: 3255 flesch: 40 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: #148 of 344 id: dancecult-275 author: Fisher, Mark title: The Abstract Reality of the "Hardcore Continuum" date: 2009 words: 2078 flesch: 44 summary: 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. It is certainly related to a reality external to itself (a set of musics, clubs, people) but its role is not passive, but active. keywords: continuum; hardcore; hcc; music; theory cache: dancecult-275.pdf plain text: dancecult-275.txt item: #149 of 344 id: dancecult-276 author: St John, Graham title: 12 Noon, Black Rock City date: 2009 words: 2646 flesch: 63 summary: St John • 12 Noon, Black Rock City 129 Camp Low Expectations. St John • 12 Noon, Black Rock City 131 Mutate and Survive Green Gorilla Lounge. keywords: black; city; dance; graham; john; man; photo; rock cache: dancecult-276.pdf plain text: dancecult-276.txt item: #150 of 344 id: dancecult-277 author: Vitos, Botond title: The Inverted Sublimity of the Dark Psytrance Dance Floor date: 2009 words: 1536 flesch: 45 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: #151 of 344 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 words: 8377 flesch: 55 summary: ISBN: 978-1-881798-46-0 RRP: $35 (paperback) 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: #152 of 344 id: dancecult-279 author: Nye, Sean title: Lost and Sound: Berlin, Techno, und der Easyjetset (Rapp) date: 2009 words: 8377 flesch: 55 summary: ISBN: 978-1-881798-46-0 RRP: $35 (paperback) 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: #153 of 344 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 words: 8377 flesch: 55 summary: ISBN: 978-1-881798-46-0 RRP: $35 (paperback) 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: #154 of 344 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 words: 8377 flesch: 55 summary: ISBN: 978-1-881798-46-0 RRP: $35 (paperback) 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: #155 of 344 id: dancecult-282 author: Ferrigno, Emily title: Breakcore: Identity and Interaction on Peer-to-Peer (Whelan) date: 2009 words: 8377 flesch: 55 summary: ISBN: 978-1-881798-46-0 RRP: $35 (paperback) 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: #156 of 344 id: dancecult-283 author: Gibson, Lucy title: The High Life: Club Kids, Harm and Drug Policy (Perrone) date: 2009 words: 8377 flesch: 55 summary: ISBN: 978-1-881798-46-0 RRP: $35 (paperback) 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: #157 of 344 id: dancecult-284 author: St John, Graham title: Editor's Introduction and Masthead date: 2010 words: 1335 flesch: 34 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: Journal of Electronic Dance Music Culture is a peer-reviewed, open-access e- journal for the study of electronic dance music culture (EDMC). keywords: culture; dancecult; journal; music; rave; university cache: dancecult-284.pdf plain text: dancecult-284.txt item: #158 of 344 id: dancecult-285 author: St John, Graham title: Making a Noise – Making a Difference: Techno-Punk and Terra-ism date: 2010 words: 11896 flesch: 54 summary: And, like hardcore punk, and with the assistance of the ever-alert corporate entertainment in- dustry and its advertising arms, such style could be affected by those with little experi- ence of, or concern for, poverty, racism or the environment. 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”. keywords: 1990s; australia; culture; dance; dance music; dancecult; difference; figure; future; hardcore; jacobs; john; journal; labrats; making; media; music; new; noise; non; people; politics; post; punk; rave; sound; strong; sydney; system; techno cache: dancecult-285.pdf plain text: dancecult-285.txt item: #159 of 344 id: dancecult-286 author: van Veen, tobias c. title: Technics, Precarity and Exodus in Rave Culture date: 2010 words: 11666 flesch: 53 summary: 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. So goes the received wisdom – witness the rise and fall of rave culture as riotous carnival declines into packaged hedonism. keywords: collective; conditions; culture; dance; demands; exodus; forms; labour; leisure; mcrobbie; music; new; politics; precarity; press; question; rave; rave culture; technics; work cache: dancecult-286.pdf plain text: dancecult-286.txt item: #160 of 344 id: dancecult-287 author: Alwakeel, Ramzy title: The Aesthetics of Protest in UK Rave date: 2010 words: 7432 flesch: 60 summary: Accordingly, there is no model to be found within rave music for its response to the world outside itself. I therefore argue that rave’s aesthetic politics are dialectical, but that the dialectic does not recognise subject as privileged over object: indeed, the internal dynamics of rave records do not recognise the two as distinct at all. keywords: act; aesthetic; autechre; culture; dance; experience; music; politics; power; protest; rave; sound; subject cache: dancecult-287.pdf plain text: dancecult-287.txt item: #161 of 344 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 words: 8632 flesch: 66 summary: 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. That is to say, the rave scene, as it existed in the early 2000s, occupied both mainstream and marginalized physical space, where the deregulation of a branded rave culture accompanied a re-regulation of the marginal, the deviant, and the supposed immoral aspects of rave culture (Chatterton and Hollands 2003: 56). 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: #162 of 344 id: dancecult-289 author: Reynolds, Simon title: The History of Our World: The Hardcore Continuum Debate date: 2010 words: 4144 flesch: 54 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; big; continuum; culture; hardcore; history; music; new; sound; system cache: dancecult-289.pdf plain text: dancecult-289.txt item: #163 of 344 id: dancecult-290 author: Farrugia, Rebekah title: “Let’s Have At It!”: Conversations with EDM Producers Kate Simko and DJ Denise date: 2010 words: 4008 flesch: 64 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: #164 of 344 id: dancecult-291 author: St John, Graham title: Sound System Nation: Jamaica date: 2010 words: 3356 flesch: 62 summary: I knew of dancehall through passing mediators like Steve Bedlam (Bedlam sound system) and founder of reggae roots sound Negusa Ne- gast, “Bashment” Bish, whose collaborative rig was imported from the UK to Australia for the Earthdream convoyage in 2000. 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”. keywords: author; culture; dancehall; jamaica; john; kingston; music; night; party; photo; sound; system cache: dancecult-291.pdf plain text: dancecult-291.txt item: #165 of 344 id: dancecult-292 author: Querner, Pascal title: Capturing the Vision at California's Symbiosis Festival date: 2010 words: 593 flesch: 49 summary: Participants 110 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 2 For more information’s to the festival see www.symbiosisgathering.com and the following video of the 2009 event: http://www.youtube.com/watch?v=BvDOoV7s2X4 ••••••• Author Biography Pascal Querner is a biologist and photographer living in Berlin and Vienna who loves documenting psychedelic festivals and uses his camera to capture the spirit and atmosphere of each moment.  Compared to many other electronic music festivals, art, in the form of larger exhibitions, small galleries, dance and theater performances, and individuals selling self-made jewelry, represented a signi!cant component of the festi- val. keywords: dance; music cache: dancecult-292.pdf plain text: dancecult-292.txt item: #166 of 344 id: dancecult-293 author: Madrid, Alejandro L. title: Reggaeton (Rivera, Marshall and Hernandez) date: 2010 words: 8631 flesch: 56 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: #167 of 344 id: dancecult-294 author: Peter, Beate title: Rave Culture: The Alteration and Decline of a Philadelphia Music Scene (Anderson) date: 2010 words: 8631 flesch: 56 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: #168 of 344 id: dancecult-295 author: Hutton, Fiona title: Club Cultures: Boundaries, Identities and Otherness (Rief) date: 2010 words: 8631 flesch: 56 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: #169 of 344 id: dancecult-296 author: Nye, Sean title: Review Essay: Run Lola Run and Berlin Calling date: 2010 words: 8631 flesch: 56 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: #170 of 344 id: dancecult-297 author: St John, Graham title: Editor's Introduction and Masthead date: 2011 words: 2089 flesch: 62 summary: 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: Journal of Electronic Dance Music Culture is a peer-reviewed, open-access e-journal for the study of electronic dance music culture (EDMC). 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: culture; dancecult; editor; love; music; parade; university cache: dancecult-297.pdf plain text: dancecult-297.txt item: #171 of 344 id: dancecult-298 author: Rietveld, Hillegonda C. title: Disco’s Revenge: House Music’s Nomadic Memory date: 2011 words: 10046 flesch: 55 summary: According to Lawrence (2003: 86), “Mancuso’s extended sets usually opened with a range of esoteric selections that slowly built into a fully charged session of African and Latino rhythms, driving R&B, and danceable rock”.8 This heady mix of ideas, people and sounds became of seminal importance to the genealogy of both disco and house music; several young aspiring underground disco DJs who later shaped the sound of dance music (including young Frankie Knuckles), regularly attended The Loft (Lawrence 2003). As an important aspect of disco music, the incessant groove has been forged within the basic functional DJ mix to keep dance music going all night long. keywords: chicago; club; culture; dance; disco; example; heard; 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: #172 of 344 id: dancecult-299 author: Pope, Richard title: Hooked on an Affect: Detroit Techno and Dystopian Digital Culture date: 2011 words: 10663 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; experience; form; future; music; new; pope; sense; subculture; techno; university cache: dancecult-299.pdf plain text: dancecult-299.txt item: #173 of 344 id: dancecult-300 author: Gholz, Carleton S. title: Maintaining "Synk" in Detroit: Two Case Studies in the Remix Aesthetic date: 2011 words: 8457 flesch: 60 summary: A In an interview, conducted for the local Detroit alternative press paper Metro Times for an October 2010 performance by #e Wizard, Mills acknowledged why he might be interested in performing a potentially older mix of records with turntables by showing concern for the state of dance music culture’s musicians and audiences. Mills and Hawtin have much to contribute to this apparent impasse. keywords: audience; dance; detroit; djs; hawtin; mills; music; new; ompson; people; performance; plastikman; remix; screen; sound; time; video cache: dancecult-300.pdf plain text: dancecult-300.txt item: #174 of 344 id: dancecult-301 author: Montano, Ed title: Festival Fever and International DJs: The Changing Shape of DJ Culture in Sydney’s Commercial Electronic Dance Music Scene date: 2011 words: 10061 flesch: 56 summary: Drawing on a decade of ethnographic research and participant-observation in the commercial electronic dance music scene in Sydney, this article explores how this festival fever is changing the shape of DJ and dance music culture in the city. The History of EDM Culture in Sydney The historical development of dance music culture in Sydney is intrinsically linked to the acid house phenomenon and warehouse party culture that developed in the UK in the late 1980s. keywords: club; culture; dance; dance culture; dance music; day; djs; edm; events; festivals; house; international; line; mainstream; music; new; scene; sydney; underground cache: dancecult-301.pdf plain text: dancecult-301.txt item: #175 of 344 id: dancecult-302 author: Gavanas, Anna title: Nomads in Sound vol. 1 date: 2010 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). The tracks below, composed for the current project Nomads in Sound vol. 1, approach the central themes in EDM culture described above: Resolution Intent Mind States Struggle Communitas Belonging Resistance 1. EDM as Resolution: “Mawlid” by Mutamassik There can be no political solution without spiritual resolution. keywords: communitas; dance; edm; john; music; resistance; sound cache: dancecult-302.htm plain text: dancecult-302.txt item: #176 of 344 id: dancecult-303 author: Nye, Sean; Hitzler, Ronald title: Where is Duisburg? An LP Postscript date: 2011 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; cities; city; cultural; duisburg; event; february; germany; love parade; media; music; region; ruhr; ruhr valley; techno; year cache: dancecult-303.htm plain text: dancecult-303.txt item: #177 of 344 id: dancecult-304 author: St John, Graham title: Party, Love and Profit: The Rhythms of the Love Parade (Interview with Wolfgang Sterneck) date: 2010 words: 7830 flesch: 64 summary: Love Parade posters (1994). At one point, I wished that the acid sound pumping straight out of the speakers at a Love Parade party would flow through the streets every day. keywords: culture; development; event; fuckparade; love parade; music; party; people; scene; sterneck; techno; time cache: dancecult-304.htm plain text: dancecult-304.txt item: #178 of 344 id: dancecult-305 author: Garcia, Luis-Manuel title: Pathological Crowds: Affect and Danger in Responses to the Love Parade Disaster at Duisburg date: 2011 words: 3423 flesch: 60 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: #179 of 344 id: dancecult-306 author: Bodenheimer, Rebecca title: Hip Hop Underground: The Integrity and Ethics of Racial Identification (Anthony Kwame Harrison) date: 2010 words: 11584 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. DOI: 10.12801/1947-5403.2011.02.01.08 PHIL KIRBY University of Liverpool, UK 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; culture; dance; dancecult; documentary; donk; film; goodman; harrison; hip; hip hop; hop; john; music; psytrance; rave; rodgers; scene; sound; techno; underground; white; work cache: dancecult-306.pdf plain text: dancecult-306.txt item: #180 of 344 id: dancecult-307 author: Till, Rupert title: The Local Scenes and Global Culture of Psytrance (Graham St John) date: 2010 words: 11584 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. DOI: 10.12801/1947-5403.2011.02.01.08 PHIL KIRBY University of Liverpool, UK 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; culture; dance; dancecult; documentary; donk; film; goodman; harrison; hip; hip hop; hop; john; music; psytrance; rave; rodgers; scene; sound; techno; underground; white; work cache: dancecult-307.pdf plain text: dancecult-307.txt item: #181 of 344 id: dancecult-308 author: Gavanas, Anna title: Pink Noises: Women on Electronic Music and Sound (Tara Rodgers) date: 2010 words: 11584 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. DOI: 10.12801/1947-5403.2011.02.01.08 PHIL KIRBY University of Liverpool, UK 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; culture; dance; dancecult; documentary; donk; film; goodman; harrison; hip; hip hop; hop; john; music; psytrance; rave; rodgers; scene; sound; techno; underground; white; work cache: dancecult-308.pdf plain text: dancecult-308.txt item: #182 of 344 id: dancecult-309 author: Kirby, Philip Ronald title: Technomad: Global Raving Countercultures (Graham St John) date: 2010 words: 11584 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. DOI: 10.12801/1947-5403.2011.02.01.08 PHIL KIRBY University of Liverpool, UK 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; culture; dance; dancecult; documentary; donk; film; goodman; harrison; hip; hip hop; hop; john; music; psytrance; rave; rodgers; scene; sound; techno; underground; white; work cache: dancecult-309.pdf plain text: dancecult-309.txt item: #183 of 344 id: dancecult-310 author: van Veen, tobias c. title: Sonic Warfare: Sound, Affect, and the Ecology of Fear (Steve Goodman) date: 2010 words: 11584 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. DOI: 10.12801/1947-5403.2011.02.01.08 PHIL KIRBY University of Liverpool, UK 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; culture; dance; dancecult; documentary; donk; film; goodman; harrison; hip; hip hop; hop; john; music; psytrance; rave; rodgers; scene; sound; techno; underground; white; work cache: dancecult-310.pdf plain text: dancecult-310.txt item: #184 of 344 id: dancecult-311 author: Kirby, Philip Ronald title: Music World: Donk (Dir. Andy Capper) date: 2010 words: 11584 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. DOI: 10.12801/1947-5403.2011.02.01.08 PHIL KIRBY University of Liverpool, UK 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; culture; dance; dancecult; documentary; donk; film; goodman; harrison; hip; hip hop; hop; john; music; psytrance; rave; rodgers; scene; sound; techno; underground; white; work cache: dancecult-311.pdf plain text: dancecult-311.txt item: #185 of 344 id: dancecult-312 author: van Veen, tobias c. title: Speaking in Code (Dir. Amy Grill) date: 2010 words: 11584 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. DOI: 10.12801/1947-5403.2011.02.01.08 PHIL KIRBY University of Liverpool, UK 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; culture; dance; dancecult; documentary; donk; film; goodman; harrison; hip; hip hop; hop; john; music; psytrance; rave; rodgers; scene; sound; techno; underground; white; work cache: dancecult-312.pdf plain text: dancecult-312.txt item: #186 of 344 id: dancecult-313 author: Gavanas, Anna; Attias, Bernardo Alexander title: Guest Editor's Introduction: Special Issue on the DJ date: 2011 words: 2202 flesch: 49 summary: Dancecult Journal of Electronic Dance Music Culture Issue 3(1) 2011 ISSN 1947-5403 ©2011 Dancecult Published twice 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), 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: Journal of Electronic Dance Music Culture is a peer-reviewed, open-access e-journal for the study of electronic dance music culture (EDMC). .132 Charlie de Ledesma The idea for this special issue on DJ culture came about during a sound system party in Kingston in the summer of 2008. keywords: culture; dance; djs; issue; music; university cache: dancecult-313.pdf plain text: dancecult-313.txt item: #187 of 344 id: dancecult-314 author: Lawrence, Tim title: The Forging of a White Gay Aesthetic at the Saint, 1980–84 date: 2011 words: 11487 flesch: 62 summary: These developments led Saint DJs to place an ever-greater emphasis on the creation of a smooth and seamless aesthetic that enhanced the crowd’s embrace of a synchronized dancing style. The article also notes that although Saint DJs were nearly unanimous in their rejection of house music across the 1985–88 period, they helped pioneer an aesthetic that emphasized smooth blending and the matching of texturally similar tracks across an extended period of time, and therefore anticipated the sensibility that would later inform a significant proportion of DJ mixing in clubs that supported electronic dance music. keywords: aesthetic; crowd; culture; dance; dancers; disco; djs; gay; interview; leslie; mailman; men; music; new; night; records; saint; sound; thode; venue; vinyl; white; york cache: dancecult-314.pdf plain text: dancecult-314.txt item: #188 of 344 id: dancecult-315 author: Reitsamer, Rosa title: The DIY Careers of Techno and Drum ‘n’ Bass DJs in Vienna date: 2011 words: 8140 flesch: 56 summary: The above study of the experiences of cultural producers such as electronic music DJs has shown that the distinctions between the subfield of restricted cultural production and the subfield of mass production that Bourdieu drew according to the opposition between art and money do not hold for electronic dance music scenes. The fees for techno DJs range from €300 for performances in Austria to up to €5,000—and in rare cases, more—for appearances in other European cities. keywords: bass; bourdieu; capital; careers; club; diy; djs; drum; music; nights; production; scene; self; techno; vienna cache: dancecult-315.pdf plain text: dancecult-315.txt item: #189 of 344 id: dancecult-316 author: Christodoulou, Chris title: Rumble in the Jungle: City, Place and Uncanny Bass date: 2011 words: 8512 flesch: 56 summary: For Henriques, bass frequencies galvanise participants into a complete whole within sonic space: “sound is everywhere, hardly even making the dualistic division between here and there” (2003: 459). Abstract While bass powerfully resonates among the cultural discourses, lexicology and marketing of a range of electronic dance music (EDM) styles, little popular music scholarship has paid attention to the subjective, phenomenological and psycho- physiological significance of bass in its modulation of intense feelings of pleasure. keywords: bass; bass culture; body; city; culture; dance; drum; industrial; jungle; london; male; mother; music; sense; sound; space; speed; uncanny; womb cache: dancecult-316.pdf plain text: dancecult-316.txt item: #190 of 344 id: dancecult-317 author: Nye, Sean title: Headphone–Headset–Jetset: DJ Culture, Mobility and Science Fictions of Listening date: 2011 words: 12920 flesch: 58 summary: These headphone uses lead me to consider the dialectic that has, in fact, existed between DJ culture and headphone culture since the 1920s, when gramophones and the radio first achieved mass-market success (Brewster and Broughton 2000: 22–4). This is indicative of the fact that DJ culture is only partially related to the most dedicated audiophile communities within headphone culture. keywords: club; context; culture; cyborg; dancecult; detroit; disc; dj culture; djs; ear; edm; electric; figure; headphone culture; headphones; headset; history; jetset; listening; media; music; new; nye; performance; private; radio; sound; stage; war cache: dancecult-317.pdf plain text: dancecult-317.txt item: #191 of 344 id: dancecult-318 author: St John, Graham title: DJ Goa Gil: Kalifornian Exile, Dark Yogi and Dreaded Anomaly date: 2011 words: 12824 flesch: 62 summary: Goa Gil party. DJ Goa Gil: Kalifornian Exile, Dark Yogi and Dreaded Anomoly Dancecult: Journal of Electronic Dance Music Culture 3(1): 97–128 ISSN 1947-5403 ©2011 Dancecult http://dj.dancecult.net DOI 10.12801/1947-5403.2011.03.01.05 Feature Article DJ Goa Gil Kalifornian Exile, Dark Yogi and Dreaded Anomaly Graham St John University of Queensland Abstract Connecting three generations of music enthusiasts, Goa Gil is an imposing figure in the world of psychedelic trance. keywords: anjuna; author; beach; castle; culture; dance; dancecult; dark; devas; dj goa; email; figure; gil; goa; goa gil; goa trance; john; march; music; new; parties; party; psychedelic; psytrance; scene; techno; time; trance; world cache: dancecult-318.pdf plain text: dancecult-318.txt item: #192 of 344 id: dancecult-319 author: van Veen, tobias c.; Attias, Bernardo Alexander title: Off the Record: Turntablism and Controllerism in the 21st Century, Part 1 date: 2011 words: 5645 flesch: 55 summary: Now admittedly I'm making arguments based on technologies and techniques that are not in widespread use—there are a few people using sync as I described but it's not common practice among digital DJs by any means, and I'm suggesting software plugins that don't even exist yet for DJ software. This annoys the crap out of other DJs but more often than not the majority of the audience couldn’t care less. keywords: beatmatching; computer; djs; mix; music; point; risk; software; sync; vinyl cache: dancecult-319.htm plain text: dancecult-319.txt item: #193 of 344 id: dancecult-320 author: Gavanas, Anna title: Nomads In Sound vol 2 date: 2011 words: 2981 flesch: 66 summary: With a background in reggae and rocksteady in his small but well crafted backpack, he traversed the sonic road for over a decade to gather inspiration from genres such as world music, hip hop, jungle, drum ‘n’ bass, techno, rock and even pop. “This track illustrates how music scenes can be a refuge from the intensity and invasiveness of everyday life. keywords: culture; edm; figure; gavanas; john; music; sound cache: dancecult-320.htm plain text: dancecult-320.txt item: #194 of 344 id: dancecult-321 author: Attias, Bernardo Alexander title: Meditations on the Death of Vinyl date: 2011 words: 3907 flesch: 57 summary: Vinyl DJs had been frowned upon by mainstream musical culture until the turntable could be authenticated as a performance instrument in the 1980s (Schloss 2004). While digitization of recorded music separated it from the material conditions of the production of sound, it also opened up possibilities for musical expression that could only be dreamed of by vinyl DJs. keywords: culture; djs; music; new; record; technologies; technology; vinyl cache: dancecult-321.htm plain text: dancecult-321.txt item: #195 of 344 id: dancecult-322 author: O'Donnell, Kath title: Turntables of Doom date: 2011 words: 1801 flesch: 76 summary: The only way I can imagine it being better (in my head), is if there had been a battle, or if there had been two sounds (sound systems) on opposite sides of a fenced off outdoor basketball court or a Jamaican dance hall, like back in the early days of hip hop DJ battles. The rules of DJ Battles are the opposite to Rule One and Rule Two of Fight Club (Fincher 1999) since everybody in the DJ community talks about the battle before and afterwards. keywords: april; hip; hop; sheep cache: dancecult-322.htm plain text: dancecult-322.txt item: #196 of 344 id: dancecult-323 author: Ostrom, Anna title: We call it Swedish Techno date: 2011 words: 3033 flesch: 69 summary: The media's portrayal of techno clubs as drug liberal was all that was needed for the public and the authorities to support the police to close as many techno clubs as possible. By the end of the 1990s, the number of techno clubs in Stockholm had been reduced drastically, with venue owners categorically turning techno club promoters down in favour of clubs playing other kinds of music. keywords: club; djs; male; music; svaj; swedish; techno cache: dancecult-323.htm plain text: dancecult-323.txt item: #197 of 344 id: dancecult-324 author: Paulsson, Johanna title: ”War on the Dancefloor”: The Reproduction of Power and Pleasure at the Amphi Festival in Cologne date: 2011 words: 4192 flesch: 61 summary: Till explores whether functions formerly served within society by religions are now being addressed by cults of popular music and observes that a feature common to electronic dance music culture “is its separation from mainstream culture. Referring to the writings of Michel Foucault, who argued that modern western society is “a giant prison, where every structure and institution is there to tame and discipline us”, cultural philosopher Paul Hegarty describes industrial music as “a Foucauldian take on power” (2007: 119–20). keywords: festival; harris; industrial; music; nachtmahr; people; power; rainer; scene; war cache: dancecult-324.htm plain text: dancecult-324.txt item: #198 of 344 id: dancecult-325 author: Sterling, Marvin Dale title: Man Vibes: Masculinities in the Jamaican Dancehall (Donna P. Hope) date: 2011 words: 2658 flesch: 47 summary: However, Hope notes that many middle-class men, too, secretly engage in this behavior; the ability to father and financially provide for many children in and out of wedlock is a measure of manhood for many Jamaican men across classes. While these are certainly crucial to an understanding of dancehall subculture, the more complex sociohistorical, political and economic nuances of Jamaican masculinity as expressed in this space have remained largely unexplored. keywords: dancehall; hope; jamaican; lawrence; masculinity; music; russell cache: dancecult-325.pdf plain text: dancecult-325.txt item: #199 of 344 id: dancecult-326 author: de Ledesma, Charlie title: Hold on to Your Dreams: Arthur Russell and the Downtown Music Scene, 1973–92 (Tim Lawrence) date: 2011 words: 2658 flesch: 47 summary: However, Hope notes that many middle-class men, too, secretly engage in this behavior; the ability to father and financially provide for many children in and out of wedlock is a measure of manhood for many Jamaican men across classes. While these are certainly crucial to an understanding of dancehall subculture, the more complex sociohistorical, political and economic nuances of Jamaican masculinity as expressed in this space have remained largely unexplored. keywords: dancehall; hope; jamaican; lawrence; masculinity; music; russell cache: dancecult-326.pdf plain text: dancecult-326.txt item: #200 of 344 id: dancecult-327 author: St John, Graham title: Guest Editor’s Introduction: The Exodus of Psytrance? date: 2012 words: 1973 flesch: 49 summary: Botond Vitos (Monash University, AU) Operations Assistant Neal Thomas (UNC Chapel Hill, US) Dancecult Journal of Electronic Dance Music Culture Issue 4(1) 2012 ISSN 1947-5403 ©2012 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), 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), Reviews Editor Karenza Moore (Lancaster University, UK) Art Director Cato Pulleyblank (Fairy Punk Creative Studio, CA) Copyeditors Catherine Baker (University of Southampton, (UK) Jerome Hansen (UK) Sheena Hyndman (York University, CA) Katrina Loughrey (AU) keywords: culture; dancecult; editor; exodus; music; psytrance; university cache: dancecult-327.pdf plain text: dancecult-327.txt item: #201 of 344 id: dancecult-328 author: St John, Graham title: Seasoned Exodus: The Exile Mosaic of Psyculture date: 2012 words: 12152 flesch: 56 summary: Abstract Psychedelic trance music and culture (psyculture) is explored as a culture of exodus rooted in the seasonal dance party culture evolving in Goa, India, over the 1970s/1980s, and revealing a heterogeneous exile sensibility shaping Goa trance and psyculture from the 1990s/2000s. Thus, resisting circumscription under singular heuristic formulas, Goa trance and its progeny are shown to be internally diverse. keywords: 1980s; anders; anjuna; beach; culture; dance; dancecult; exile; exodus; experience; figure; freak; goa; goa trance; john; movement; music; new; parties; party; photo; psyculture; psytrance; records; scene; sound; state; techno; trance; world cache: dancecult-328.pdf plain text: dancecult-328.txt item: #202 of 344 id: dancecult-329 author: Schmidt, Joshua title: Full Penetration: The Integration of Psychedelic Electronic Dance Music and Culture into the Israeli Mainstream date: 2012 words: 11396 flesch: 44 summary: Likewise, it supports Heelas and Woodhead’s (2005) observation that “outer directed religion” is being replaced by “inner directed spirituality” which has led to a “dual process of secularization with regard to religious observance and sacralization with regard to everyday life” (18).1 With secular Israeli PEDMC clearly infused with paradox, the second half of the article broadens the discussion of trance culture in Israel by focusing on a separate but parallel EDMC-related youth activity—trance parties for religious Israelis. Like mesibot fliers, dosibot fliers are cleverly worded, yet invites to religious dance parties are comparatively self-explanatory and welcoming. keywords: behavior; communities; conduct; culture; dance; dancecult; dati’im; dosibot; dosistim; events; israeli; mesibot; music; orthodox; participants; parties; party; pedmc; penetration; psytrance; secular; socio; trance; trancistim; use; youth cache: dancecult-329.pdf plain text: dancecult-329.txt item: #203 of 344 id: dancecult-330 author: van Straaten, Eva-Maria Alexandra title: “What are we doing here?” Nostalgic Desires for a Cosmopolitan Sensory Aesthetic in the Amsterdam-based Psytrance Scene date: 2012 words: 10311 flesch: 54 summary: This article critically explores how, in the context of the perceived decline of this aesthetic in the scene, nostalgic narratives about psytrance parties of the past fuel a desire for the return of the cosmopolitan psytrance party. Websites such as and provide narratives and images of psytrance parties organized in Amsterdam, as well as similar parties held at often unspecified locations elsewhere on the planet. keywords: aesthetic; amsterdam; cosmopolitan; dan; dat; desire; die; een; experience; gewoon; goa; het; interview; maar; music; ook; participants; parties; party; past; psytrance; psytrance party; scene; sounds; van; world cache: dancecult-330.pdf plain text: dancecult-330.txt item: #204 of 344 id: dancecult-331 author: O'Grady, Alice title: Spaces of Play: The Spatial Dimensions of Underground Club Culture and Locating the Subjunctive date: 2012 words: 8597 flesch: 56 summary: | Spaces of Play would argue, play) allows us to see utopia as a process of spending time (2005: 13) that integrates social, political and aesthetic concerns. Whilst the example above sought to achieve political transformation on a relatively large scale, the performance academic Jill Dolan’s concept of “utopian performatives” is particularly useful here in helping to identify the smaller instances of personal shift that might be experienced through underground play. keywords: club; culture; dance; festival; john; london; new; party; performance; play; psytrance; rave; routledge; space; underground; world; york cache: dancecult-331.pdf plain text: dancecult-331.txt item: #205 of 344 id: dancecult-332 author: van Veen, tobias c.; Attias, Bernardo Alexander title: Off the Record: Turntablism and Controllerism in the 21st Century (Part 2) date: 2012 words: 4895 flesch: 53 summary: Off the Record: Turntablism and Controllerism in the 21st Century (Part 2) tobias c. van Veen McGill University Bernardo Alexander Attias California State University Northridge In part two of this conversation concerning the role of technology in DJ performance and electroniculture, scholars and DJs tobias c. van Veen and Bernardo Alexander Attias explore the ways in which various technologies change the means as well as the context of DJ performance. To this end the aesthetic regime of controllerism perhaps owes more to the proliferation of popular videogaming software oriented toward music performance, such as Guitar Hero, Rock Band, and MAGIX Music Maker. keywords: aesthetic; beatmatching; controllerism; music; performance; point; sound; turntablism; visual cache: dancecult-332.htm plain text: dancecult-332.txt item: #206 of 344 id: dancecult-333 author: Mothersole, Dave title: Unveiling the Secret: The Roots of Trance date: 2012 words: 2390 flesch: 75 summary: The story of how Goa became a magnet for freaks the world over, can be seen in the excellent Facebook documentary, Goa Hippy Tribe. It’s unclear exactly who set up the first electronic music parties in Goa—some credit a character called Dr Bobby (father of Tiga)—but it is known that many of the new arrivals would frequent clubs in Ibiza, London, Berlin, Rimini and Riccione when they returned to Europe for the summer. keywords: beach; goa; laurent; music; parties; party; people; time cache: dancecult-333.htm plain text: dancecult-333.txt item: #207 of 344 id: dancecult-334 author: Diotalevi, Lisa title: Random Steps Through Boom Festival 2010 date: 2012 words: 1743 flesch: 73 summary: Random Steps through Boom Festival 2010 Lisa Diotalevi University of Strasbourg Dance Temple, Boom Festival, Portugal (2010). Tripical Beach, Boom Festival 2010. keywords: boom; dance; festival; music cache: dancecult-334.htm plain text: dancecult-334.txt item: #208 of 344 id: dancecult-335 author: Baldini, Chiara title: Aurora Festival and the Sacred Rituals of Samothraki: Past, Present... What Future? date: 2012 words: 2852 flesch: 63 summary: Sometimes it sounds even a bit too slow for the night, but still, for me, it is much better than the ultra dark necro-trance often played at night in many parties. She has been attending psytrance parties since the late 1990s, joining festivals all around the world. keywords: dance; festival; greek; island; photo; psytrance; samothraki cache: dancecult-335.htm plain text: dancecult-335.txt item: #209 of 344 id: dancecult-336 author: van Veen, tobias c. title: Tribal Revival: West Coast Festival Culture (Kyer Wiltshire and Erik Davis) date: 2012 words: 1491 flesch: 44 summary: With Tribal Revival, something of this archival mission has succeeded, with 200 pages of colour photography documenting several years of festival culture and expression from the West Coast, circa 2002 through 2009. The same can be said for documentation of similar festivals up and down the left coast, from Shambhala in BC to Faerie Worlds in Oregon and Harmony Festival in Northern California. keywords: davis; festival; fire; wiltshire cache: dancecult-336.htm plain text: dancecult-336.txt item: #210 of 344 id: dancecult-337 author: Luckman, Susan title: The Tribes of Burning Man: How an Experimental City in the Desert is Shaping the New American Counterculture (Steven T. Jones) date: 2012 words: 901 flesch: 49 summary: The Tribes of Burning Man follows Steven Jones (aka. The Tribes of Burning Man: How an Experimental City in the Desert is Shaping the New American Counterculture Steven T. Jones San Francisco: Consortium of Collective Consciousness (CCC) Publishing, 2011 ISBN: 978-1888729290 (paperback) RRP: US$17.95 (paperback) Susan Luckman University of South Australia (AU) Steven T. Jones’ book is in many ways summed up by the signs marking the entry to the festival site identified by Larry Harvey—event founder and general king pin—as his favourite: “What happens in Vegas stays in Vegas. keywords: jones; man; playa cache: dancecult-337.htm plain text: dancecult-337.txt item: #211 of 344 id: dancecult-338 author: Bhardwa, Bina title: Discombobulated: Dispatches from the Wrong Side (Simon A. Morrison) date: 2012 words: 1158 flesch: 61 summary: Morrison’s exploration of club culture extends beyond the confines of club space. We follow Morrison’s clubbing trajectory through pre-, in- and post-club spaces (Moore and Miles 2004). keywords: clubland; dispatches; drugs; morrison cache: dancecult-338.htm plain text: dancecult-338.txt item: #212 of 344 id: dancecult-339 author: Kirby, Philip Ronald title: Bassweight date: 2012 words: 1348 flesch: 62 summary: 2000f also notes how various UK bass music styles have spread internationally, with producers in other countries creating their own music using UK genres as production templates. Benga and Skream explore the development of a strand of UK garage into dubstep and acknowledge that although they initially tried to make garage tunes, their lack of ability to reproduce the style precisely led them to focus on the exploration of sonic avenues opened up by their production mistakes. keywords: dubstep; genre; music cache: dancecult-339.htm plain text: dancecult-339.txt item: #213 of 344 id: dancecult-340 author: St John, Graham title: Editor's Introduction date: 2012 words: 1171 flesch: 56 summary: Paul Jasen (Carleton University, CA) Marc Kushin Garth Sheridan Dancecult Journal of Electronic Dance Music Culture Issue 4(2) 2012 ISSN 1947-5403 ©2012 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), 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: Journal of Electronic Dance Music Culture is a peer-reviewed, open-access e-journal for the study of electronic dance music culture (EDMC). keywords: dance; editor; music; production; university cache: dancecult-340.pdf plain text: dancecult-340.txt item: #214 of 344 id: dancecult-341 author: Olszanowski, Magdalena title: What to Ask Women Composers: Feminist Fieldwork in Electronic Dance Music date: 2012 words: 9757 flesch: 57 summary: 7Olszanowski | What To Ask Women Composers Gendered Subjectivities: The Thorny Issue One of my hopes for the documentary is that other women will see it, be inspired by these women’s output like I was and pursue producing electronic music. They all mentioned that they should be more pro-active in not just establishing but maintaining their relationships with other women. keywords: artists; composers; dancecult; documentary; edm; female; feminist; gender; interview; london; method; music; questions; research; time; women; work cache: dancecult-341.pdf plain text: dancecult-341.txt item: #215 of 344 id: dancecult-342 author: Madden, David title: Crossdressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music date: 2012 words: 9903 flesch: 56 summary: Even though the electro of the 1980s is very commonly referred to as either electro, electro-funk or electro-boogie, there is generally a tremendous amount of disagreement amongst electronic dance music producers, consumers, listeners and scholars when it comes to fixing certain musical styles within genre boundaries. These supposed design flaws prevented it from being widely accepted amongst electronic dance music producers. keywords: album; artists; culture; dance; dance music; drum; electroclash; genre; house; music; new; peaches; play; practices; producers; production; recording; rock; sound; studio; techno; tigre; way cache: dancecult-342.pdf plain text: dancecult-342.txt item: #216 of 344 id: dancecult-343 author: Morrison, Simon Andrew title: “Clubs aren’t like that”: Discos, Deviance and Diegetics in Club Culture Cinema date: 2012 words: 8837 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; music; nightclub; rave; scene; terms; texts; welsh cache: dancecult-343.pdf plain text: dancecult-343.txt item: #217 of 344 id: dancecult-344 author: Turner, Eric title: The First Four Years of Bangface Weekender: an Overview date: 2012 words: 2463 flesch: 68 summary: Most Bangface Weekender ravers have at least one good story about getting lost and running in circles to find one’s chalet! Bangface Weekender 2010 had a “Juracid Park” theme to mark “the 65 millionth anniversary of the extinction of the dinosaurs” (Bangface 2012c). keywords: bangface; chalet; festival; party; ravers; weekender cache: dancecult-344.htm plain text: dancecult-344.txt item: #218 of 344 id: dancecult-345 author: Adamek, Cathy title: Acid House Night at Cuckoo, Hindley St, Adelaide, South Australia July 2011. date: 2012 words: 1820 flesch: 73 summary: At Cuckoo, suss out dance floor—best position and sound in the middle, and Sugar at the front near the DJ box. Being seen and being watched is as important as performing for oneself in this context, where clothes and dance style are gifts you bring to make the night special. keywords: cam; dance; floor; music; new cache: dancecult-345.htm plain text: dancecult-345.txt item: #219 of 344 id: dancecult-346 author: van Veen, tobias c. title: How to Wreck a Nice Beach: The Vocoder from World War II to Hip-Hop, the Machine Speaks (Dave Tompkins) date: 2012 words: 1855 flesch: 67 summary: Though analogue vocoders had been built after the War by the likes of Siemens, it was Robert Moog (and Wendy Carlos) who built one of the first solid-state vocoders in 1970. In 1939, vocoder inventor Homer Dudley (of Bell Labs) offered the vocoder to MGM Studios in Hollywood as a “scientific aid to movie stars,” a kind of autofix for bad voicing, possibly for use in overdubbing (49). keywords: alien; pain; tompkins; use; vocoder; war cache: dancecult-346.htm plain text: dancecult-346.txt item: #220 of 344 id: dancecult-347 author: Forman, Murray title: Groove Music: The Art and Culture of the Hip-Hop DJ (Mark Katz) date: 2012 words: 1599 flesch: 40 summary: As he explains, there are a variety of modes within which DJs work (e.g. club or EDM DJs) but not all of these involve hip-hop and not all of them embrace the crucial facets of compositional creativity, battle, and performance that are essential to hip-hop’s DJ practices. Defining his project, Katz writes, “The purpose of this book is to chronicle and investigate the rise of a new type of musician—the DJ—who developed a new musical instrument—the turntable—and in doing so helped create a new type of music: hip-hop” (6). keywords: book; hip; hop; katz cache: dancecult-347.htm plain text: dancecult-347.txt item: #221 of 344 id: dancecult-348 author: Gaule, Scott title: The Record Players: DJ Revolutionaries (Bill Brewster and Frank Broughton) date: 2012 words: 1508 flesch: 56 summary: In all respects, this was a defining moment that shaped Moulton’s life in dance music production and as a consequence gifted DJs the format they craved, an extended mix designed specifically for the dance floor. The sampling-like approach coined by Baker on “Planet Rock” prior to the widespread advent and use of sampling technologies illustrates how DJ sensibilities honed on the dance floor have been fed back into the production process, helping to create the sampling cut and paste aesthetic that became so influential with EDM production. keywords: book; djing; music cache: dancecult-348.htm plain text: dancecult-348.txt item: #222 of 344 id: dancecult-349 author: Montano, Ed title: Popular Music: Topics, Trends & Trajectories (Tara Brabazon) date: 2012 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: #223 of 344 id: dancecult-350 author: Kirby, Philip Ronald title: Big Fun in the Big Town (Dir. Bram van Splunteren) date: 2012 words: 1699 flesch: 67 summary: Then the film takes the viewer to Queens to L.L. Cool J’s grandmother’s house for an interview with L.L., her home located in an apparently pleasant residential neighbourhood, a striking contrast to the footage of urban dereliction in the Bronx that is standard fare in hip hop documentaries. 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”. keywords: film; hip; hop; music; rap cache: dancecult-350.htm plain text: dancecult-350.txt item: #224 of 344 id: dancecult-351 author: St John, Graham title: Executive Editor's Introduction date: 2013 words: 1364 flesch: 52 summary: 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 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) keywords: dancecult; editor; garcia; luis; production; university cache: dancecult-351.pdf plain text: dancecult-351.txt item: #225 of 344 id: dancecult-352 author: Garcia, Luis-Manuel title: Editor's Introduction: Doing Nightlife and EDMC Fieldwork date: 2013 words: 7141 flesch: 54 summary: Dancecult 5(1)12 Finally, confidentiality is an especially important consideration for EDM fieldwork, although these concerns do not differ greatly in their nature from those found in the ethnography of “hidden” populations, and so one can find a great deal of guidance in already-established practices. Nonetheless, one issue that may arise in EDM fieldwork concerns scene-actors who are also publicly-known performers and/or promoters: on the one hand, it may become difficult to conceal their identities as they disclose details about their biography and musical practices; on the other hand, they may explicitly request that their real name or artist’s moniker be used in order to raise their own public profile. keywords: chicago; dance; edm; edmc; ethnography; events; fieldwork; issue; methods; music; new; nightlife; research; scenes; studies; university cache: dancecult-352.pdf plain text: dancecult-352.txt item: #226 of 344 id: dancecult-353 author: O'Grady, Alice title: Interrupting Flow: Researching Play, Performance and Immersion in Festival Scenes date: 2013 words: 9495 flesch: 51 summary: As Kershaw and Nicholson point out, in performance research it is common for relationships between the researcher and the researched to be “fluid, improvised and responsive” (2011: 2). To take this into account, there has been a surge of creative approaches to research practices that challenge conventional research imperatives. keywords: context; edinburgh; experience; festival; flow; kershaw; knowledge; methods; new; performance; play; practice; press; processes; research; space; university; work cache: dancecult-353.pdf plain text: dancecult-353.txt item: #227 of 344 id: dancecult-354 author: Bhardwa, Bina title: Alone, Asian and Female: The Unspoken Challenges of Conducting Fieldwork in Dance Settings date: 2013 words: 10496 flesch: 63 summary: On both fieldwork trips I chose to stay in Playa den Bossa, which I perceived to be a safer environment to conduct field research, away from the alcohol-fuelled crowds of San Antonio. Having seen my ID card pinned to my top, many clubbers at this event were intrigued about what I was doing and approached me, which took the pressure off of me to actively seek research participants. keywords: club; culture; dance; female; field; fieldwork; friends; ibiza; identity; interview; lone; night; participants; process; research; settings; spaces; tent; university; use cache: dancecult-354.pdf plain text: dancecult-354.txt item: #228 of 344 id: dancecult-355 author: moore, madison alexander title: Looks: Studio 54 and the Production of Fabulous Nightlife date: 2013 words: 7460 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: #229 of 344 id: dancecult-356 author: Kühn, Jan Michael title: Focused Ethnography as Research Method: A Case Study of Techno Music Producers in Home-Recording Studios date: 2013 words: 4467 flesch: 52 summary: From this and my choice of empirical research field, I derived my research question (“How do new things arise in the production of electronic dance music in home-recording studios?”) and situated my fieldwork plan as an exploratory form of workplace study (Knoblauch/Heath 2006) and “technography” (Rammert/Schubert 2006). Introduction In this article, I would like to present the method of focused ethnography (FE) through the example of my current research on techno music producers working in home-recording studios. keywords: ethnography; field; knoblauch; knowledge; music; producers; production; recording; research; scene; sector; techno cache: dancecult-356.htm plain text: dancecult-356.txt item: #230 of 344 id: dancecult-357 author: St John, Graham title: Writing the Vibe: Arts of Representation in Electronic Dance Music Culture date: 2013 words: 10768 flesch: 53 summary: 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. 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. 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; york cache: dancecult-357.htm plain text: dancecult-357.txt item: #231 of 344 id: dancecult-358 author: Gadir, Tami title: Techno Intersections: An Aural Account of Research in Edinburgh date: 2013 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. 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; night; people; research; techno cache: dancecult-358.htm plain text: dancecult-358.txt item: #232 of 344 id: dancecult-359 author: Robinson, Caitlin title: Wasta Capital: Ethnographic Reflexivity at a Rooftop Nightclub in Beirut date: 2013 words: 3650 flesch: 55 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] , 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: #233 of 344 id: dancecult-360 author: Hyndman, Sheena D. title: Dance Floors of the Mind: Performing Nightlife Research During the Day date: 2013 words: 3866 flesch: 50 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. Dance Floors of the Mind: Performing Nightlife Research During the Day Sheena Hyndman York University (Canada) Over the last decade, electronic dance music (EDM) has become a pervasive musical and cultural phenomenon, extending far beyond the realm of the underground dance scene and becoming something of a fixture in contemporary popular culture. keywords: dance; edm; floor; music; people; research; respondents cache: dancecult-360.htm plain text: dancecult-360.txt item: #234 of 344 id: dancecult-361 author: Rosendahl, Todd J. title: Negotiating Salient Identities in Queer EDM Spaces date: 2013 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. As such, it became an important part of the social fabric for many queer individuals and straight allies in Tallahassee. keywords: community; dance; queer; university cache: dancecult-361.htm plain text: dancecult-361.txt item: #235 of 344 id: dancecult-362 author: Mikkelsen, Lars Nørr title: Describing Experience: Working Actively with Fieldnote Genres in Anthropological Fieldwork date: 2013 words: 3570 flesch: 56 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; university; use; writing cache: dancecult-362.htm plain text: dancecult-362.txt item: #236 of 344 id: dancecult-363 author: Leneghan, Sean title: Flashback: Drugs and Dealing in the Golden Age of the London Rave Scene (Jennifer R. Ward) date: 2013 words: 1339 flesch: 45 summary: This orientation to ethnographic research allows the ethnographer to get a detailed first-hand sense of the actions, meanings, emotions and projects of the individuals, groups or communities with whom the ethnographer is working. 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. keywords: ecstasy; research; study; ward cache: dancecult-363.htm plain text: dancecult-363.txt item: #237 of 344 id: dancecult-364 author: O'Grady, Pat title: The Art of Record Production: An Introductory Reader for a New Academic Field (eds. Simon Frith and Simon Zagorski-Thomas) date: 2013 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: #238 of 344 id: dancecult-365 author: Nardi, Carlo title: The Sound Studies Reader (ed. Jonathan Sterne) date: 2013 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. Undeniably a qualified figure to pursue this endeavor, Jonathan Sterne is a point of reference for everyone interested in the cultural study of sound, mostly thanks to his groundbreaking book The Audible Past: Cultural Origins of Sound Reproduction (2003), not to mention, among others, his examination of the role of commodification and psychoacoustic models of hearing in the development and success of the MP3 format (2012), his critique of the concept of orality according to writers of the Toronto School (2011) and his investigation of the use of music as a crime prevention tool (1997). keywords: hearing; music; reader; senses; sound; sterne; studies; study cache: dancecult-365.htm plain text: dancecult-365.txt item: #239 of 344 id: dancecult-366 author: Alisch, Stefanie title: Musical Rhythm in the Age of Digital Reproduction (ed. Anne Danielsen) date: 2013 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: #240 of 344 id: dancecult-367 author: Oldham, Paul title: The International Recording Industries (ed. Lee Marshall) date: 2013 words: 1466 flesch: 35 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: #241 of 344 id: dancecult-369 author: Ratcliffe, Robert title: A Proposed Typology of Sampled Material Within Electronic Dance Music date: 2014 words: 11671 flesch: 49 summary: Abstract The following article contains a proposed typology of sampled material within electronic dance music (EDM). 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; sample; sampling; sound; source; sub; track; transformation; typology; use cache: dancecult-369.pdf plain text: dancecult-369.txt item: #242 of 344 id: dancecult-370 author: Lalioti, Vassiliki title: Stay in Synch!: Performing Cosmopolitanism in an Athens Festival date: 2013 words: 10215 flesch: 53 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; arts; athens; audience; city; contemporary; cosmopolitanism; cultural; culture; dance; events; festival; greece; greek; international; music; new; participants; people; synch; world cache: dancecult-370.pdf plain text: dancecult-370.txt item: #243 of 344 id: dancecult-371 author: Vitos, Botond title: “An Avatar ... in a Physical Space”: Researching the Mediated Immediacy of Electronic Dance Floors date: 2014 words: 9829 flesch: 46 summary: Similar accounts were stated by my interlocutors, with one describing the influence of such drugs through the analogy 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; space; symbolic; techno; world cache: dancecult-371.pdf plain text: dancecult-371.txt item: #244 of 344 id: dancecult-372 author: Montano, Ed title: Ethnography From the Inside: Industry-based Research in the Commercial Sydney EDM Scene date: 2013 words: 9136 flesch: 60 summary: My understanding of the UK dance scene, when placed alongside and in contrast to my exploration of the Sydney scene, granted me an increased sense of the fluidity and interaction between dance music scenes around the world. As a method of research into music scenes, ethnography has been, and remains, a useful and productive approach. keywords: culture; dance; dance music; djs; edm; ethnography; industry; insider; local; music; people; record; research; scene; study; sydney; work cache: dancecult-372.pdf plain text: dancecult-372.txt item: #245 of 344 id: dancecult-376 author: Reddell, Trace title: Ethnoforgery and Outsider Afrofuturism date: 2013 words: 12441 flesch: 51 summary: collision of vernacular Western music with African music” (quoted in Kelly 1995). This media collision marks the moment of Afrofuturism’s emergence as a unique strategy for engaging technologies across media not only to achieve ethico-aesthetic contact with the cultural flux—that is, “the collective assemblages of enunciation” that have the potential to yield “new Universes of reference” (Guattari 1995: 19)—but also as a strategy for new modalities of polyphonic subjectivity: African music underlies practically everything I do—even ambient, since it arose directly out of wanting to see what happened if you ‘unlocked’ the sounds in a piece of music, gave them their freedom, and didn’t tie them all to the same clock. keywords: african; afrofuturism; american; black; byrne; culture; dery; eno; eshun; ethnological; fiction; future; guattari; hassell; identity; media; multiculturalism; music; new; outsider; science; sound; subjectivity; way; work; world cache: dancecult-376.pdf plain text: dancecult-376.txt item: #246 of 344 id: dancecult-378 author: Fisher, Mark title: The Metaphysics of Crackle: Afrofuturism and Hauntology date: 2013 words: 6846 flesch: 63 summary: The kind of figure capable of exhibiting and expressing such longing belongs to a paradigmatically modernist moment—think, for instance, of Proust’s and Joyce’s ingenious exercises in recovering lost time. He does not mean psychological nostalgia—indeed, the nostalgia mode as Jameson theorises it might preclude psychological nostalgia, since it arises only when a coherent sense of historical time breaks down. keywords: axe; crackle; future; ghosts; hauntology; history; london; metaphysics; music; past; presence; time; tricky; voice cache: dancecult-378.pdf plain text: dancecult-378.txt item: #247 of 344 id: dancecult-381 author: St John, Graham title: The Vibe of the Exiles: Aliens, Afropsychedelia and Psyculture date: 2013 words: 14329 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; astral; black; culture; dance; dancecult; earth; exiles; experience; floor; goa; inch; john; london; music; new; planet; 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: #248 of 344 id: dancecult-387 author: Fraser, Alistair title: On the Content and Contribution of MCs in British Drum 'n' Bass date: 2014 words: 9826 flesch: 65 summary: Moreover, the use of “call and response” interactions between MCs and the audience, which “involves a succession of two distinct phrases performed by different musicians, whereby the second is heard as a direct response to the first” (2009: 53), reflects the Black Atlantic diaspora (Gilroy 1993) of which many MCs are members. Not surprisingly, lyrics by leading MCs such as Funsta have led some commentators within the industry to publicly call for an end, as the following tweet from drum ‘n’ bass journalist Joanna Ronson and subsequent (sarcastic) re-tweet by MC Funsta demonstrates: “‘@JoannaRonson: @FunstaMC remember our little chat in Brizzle? keywords: bass; bass mcs; bass music; british; british drum; culture; dance; drum; events; fraser; london; lyrics; mcs; music; rave; way; work cache: dancecult-387.pdf plain text: dancecult-387.txt item: #249 of 344 id: dancecult-389 author: Sheridan, Garth title: Electronic Awakening (Dir. Andrew Johner) date: 2013 words: 886 flesch: 43 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: #250 of 344 id: dancecult-391 author: van Veen, tobias c. title: Afrofuturism Unbound: tobias c. van Veen in conversation with Paul D. Miller date: 2013 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: #251 of 344 id: dancecult-392 author: van Veen, tobias c. title: Afrofuturism: The World of Black Sci-Fi and Fantasy Culture (Ytasha L. Womack) date: 2013 words: 2416 flesch: 46 summary: This approach would seem to suggest, then, that scholars should not just look for representations of blackness, “specific to the experiences of black people”, but to ways in which blackness has been constructed as a particular “technolology” that Afrofuturism unearths through its alien, android and other post-human identities. These remain avenues of thought that, though hinted at in Afrofuturism, as well as in Post-Black, remain mostly unexplored. keywords: afrofuturism; black; book; fiction; future; past; womack cache: dancecult-392.htm plain text: dancecult-392.txt item: #252 of 344 id: dancecult-393 author: van Veen, tobias c. title: Vessels of Transfer: Allegories of Afrofuturism in Jeff Mills and Janelle Monáe date: 2013 words: 14790 flesch: 51 summary: A pervasive futurity-to-come propels Jeff Mills and techno music, as well as electronic music’s futurology in general—the latter unfortunately absent from Gilroy’s repertoire of Afrofuturology. The alien and offworld nexus of techno music doesn’t “represent” Earthly concerns, geographies, or identities in the way that gangsta’ hip-hop or West coast g-funk articulates—in a double-movement of critique and fetishization, celebration and mourning—the violence of impoverishment, the confines of ghettoization, or the anger and frustration of structural unemployment and systemic discrimination.24 This is not to say that Afrofuturist music—including its hip-hop—turns a blind eye to earthly conditions. keywords: african; afrofuturism; alien; allegory; android; black; blackness; eshun; fiction; future; gilroy; history; human; jeff; mills; monáe; music; new; past; science; star; sun; techno; time; van; veen cache: dancecult-393.pdf plain text: dancecult-393.txt item: #253 of 344 id: dancecult-394 author: Anderson, Reynaldo title: Fabulous: Sylvester James, Black Queer Afrofuturism, and the Black Fantastic date: 2013 words: 2659 flesch: 52 summary: Although performers like Alice and John Coltrane, Cecil Taylor and others would parallel and contribute to the experimental expression of black music of the time, it was Ra’s critical heterodox form of extraterrestrial utopianism that would later aesthetically influence musical groups like Earth, Wind & Fire, George Clinton and his groups Parliament and Funkadelic in the 1970s. However, what is less understood is how Afrofuturism is related to the cultural production of one of the musical genres that Afrofuturism engages with: disco music. keywords: african; afrofuturism; culture; dance; disco; gay; music; new; sylvester cache: dancecult-394.htm plain text: dancecult-394.txt item: #254 of 344 id: dancecult-395 author: Zuberi, Nabeel title: Vocalizing: MC culture in the UK date: 2013 words: 4101 flesch: 64 summary: There is both a curatorial and hauntological dimension to some of instrumental grime’s use of MC voices. The range of sites for MC voices across media is a theme in many Grime tracks, which offer a vernacular commentary on the emergent media assemblages in which these recording artists work. keywords: culture; dance; grime; hip; london; music; recordings; trim; voice; wiley cache: dancecult-395.htm plain text: dancecult-395.txt item: #255 of 344 id: dancecult-398 author: Kirby, Philip Ronald title: Showtime (Dir. Rollo Jackson) date: 2013 words: 1225 flesch: 60 summary: From the brief interview segments the centrality of sound system culture and pirate radio to the emergence of UK bass music styles becomes clear. UK MCs subsequently found their voice by incorporating influences from Jamaican culture. keywords: dancehall; mcs; music cache: dancecult-398.htm plain text: dancecult-398.txt item: #256 of 344 id: dancecult-399 author: Zuberi, Nabeel title: MP3: The Meaning of a Format (Jonathan Sterne) date: 2013 words: 2014 flesch: 41 summary: As Sterne notes—and I can confirm since I happen to be typing this on the first Cassette Store day—older or residual media formats survive; though he also points to the fragility of digital files and hard drives which means that some major currents in MP3 music such as the mashup may not be archived adequately. Sterne is persuasive in his argument that the history of music piracy from radio, to home taping and the Internet in many parts of the world reveals that unsanctioned forms of copying and distribution and their associated activities have often had a symbiotic relationship with sanctioned market practices. keywords: chapter; media; mp3; music; sound; sterne cache: dancecult-399.htm plain text: dancecult-399.txt item: #257 of 344 id: dancecult-400 author: Rietveld, Hillegonda C title: Electronica, Dance and Club Music (ed. Mark J. Butler) date: 2013 words: 655 flesch: 52 summary: These include authors such as Mark J. Butler, Tara Rodgers, Fiona Buckland, Anthony D'Andrea, Graham St John, Arun Saldanha and others, who engage with electronic dance music cultures from musicological and/or anthropological perspectives. A complete anthology is never possible, but it does provide a handy point of reference for those that teach in the area of electronic dance music and culture, and it can also work well as a primer for an early literature review in research dissertation work. keywords: culture; dance; music cache: dancecult-400.htm plain text: dancecult-400.txt item: #258 of 344 id: dancecult-404 author: van Veen, tobias c. title: Music is a plane of wisdom—Transmissions from the Offworlds of Afrofuturism date: 2013 words: 2365 flesch: 46 summary: Afrofuturism, coined by Mark Dery in a 1993 roundtable with Samuel R. Delany, Tricia Rose and Greg Tate, arose to describe the production of Afrodiasporic science fiction in multiple art forms, from music to literature, comics to film. But Afrofuturism—as Dery pointed out himself, along with his interlocutors—is inherently more complex than this. keywords: afrofuturism; dance; fiction; identity; music; science; sun cache: dancecult-404.pdf plain text: dancecult-404.txt item: #259 of 344 id: dancecult-405 author: St John, Graham title: Executive Editor's Introduction date: 2013 words: 913 flesch: 57 summary: Dancecult Journal of Electronic Dance Music Culture Issue 5(2) 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 5(2) 2013: Executive Editor's Introduction, Masthead and Table of Contents Volume 5 Number 2 2013 Special issue on Afrofuturism Edited by tobias c. van Veen Executive Editor Graham St John (Griffith University, AU) keywords: editor; tobias; university cache: dancecult-405.pdf plain text: dancecult-405.txt item: #260 of 344 id: dancecult-449 author: Zeiner-Henriksen, Hans T. title: Old Instruments, New Agendas: The Chemical Brothers and the ARP 2600 date: 2014 words: 7323 flesch: 52 summary: The Chemical Brothers indicate their disapproval of the fact that everybody can get their hands on new digital synthesizers (later in the interview, they also mention equipment made in very limited numbers by an esoteric German producer). Furthermore, old analogue synthesizers have a number of outboard controllers that facilitate altering or modifying sounds while playing, and the instrument is housed in a wooden, not plastic, case, lending it both substance and a sense of history. keywords: analogue; bijker; brothers; chemical; dance; digital; house; instruments; music; musicians; new; sound; synthesizers; technology cache: dancecult-449.pdf plain text: dancecult-449.txt item: #261 of 344 id: dancecult-450 author: Sheridan, Garth title: Fruity Batidas: The Technologies and Aesthetics of Kuduro date: 2014 words: 6706 flesch: 51 summary: “‘Estámos Sempre a Subir’: kuduro music in Angola and Portugal” University of Notre Dame (Notre Dame) Africa in Portuguese, the Portuguese in Africa: http://norient.com/en/academic/kuduro http://oskuduristas.com/en/posts/8 http://oskuduristas.com/en/posts/8 http://dx.doi.org/10.1215%2F01642472-2009-063 http://kuduro.podomatic.com/entry/2009-09-16T14_15_11-07_00 http://kuduro.podomatic.com/entry/2009-09-16T14_15_11-07_00 http://dx.doi.org/10.1017/S0261143010000449 Dancecult 6(1)96 An International Research Conference. Furthermore, I argue that kuduro producers and performers have developed a range of aesthetic and performative practices that reflect material, technological and social restraints common to life in contemporary Angola. keywords: angola; class; fruity; genre; kuduro; luanda; music; performance; producers; production; recording; studio; technologies; technology; use; war cache: dancecult-450.pdf plain text: dancecult-450.txt item: #262 of 344 id: dancecult-451 author: Solberg, Ragnhild Torvanger title: “Waiting for the Bass to Drop”: Correlations between Intense Emotional Experiences and Production Techniques in Build-up and Drop Sections of Electronic Dance Music date: 2014 words: 9601 flesch: 54 summary: My hypothesis is that the musical features in these parts affect us to such a great extent that they can contribute to intense musical experience, and placed in a broader club context, provide the clubbers with peak experiences. Through a theoretical framework consisting of musical expectancy and gravity, an analysis of two recently produced EDM tracks suggests that i) extensive use of uplifters, ii) the “drum roll effect”, iii) large frequency changes, iv) removal and reintroduction of bass and bass drum, and v) a contrasting “breakdown” cause tension and anticipation, which seem to correlate with a possible intensification of emotional experience. keywords: bass; bass drum; body; build; clubbers; dance; drop; drum; edm; experience; icarus; madeon; music; responses; techniques; track cache: dancecult-451.pdf plain text: dancecult-451.txt item: #263 of 344 id: dancecult-454 author: Morey, Justin; McIntyre, Phillip title: The Creative Studio Practice of Contemporary Dance Music Sampling Composers date: 2014 words: 10335 flesch: 56 summary: This emphasis on timbre over melody further enforces the idea that the co-opted participants in sample based music will often be the musicians that played on the sampled track, and that moments of performance that are sonically pleasing are often of more interest to sampling composers than identifiable riffs or melodies. Perhaps the chief distinction between sampling composers and other popular music composers in this regard is that the foundations in their ground-up approach may often arrive ready-made. keywords: author; composers; dance; interview; loop; mcintyre; morey; music; practice; production; record; sample; sampling; sound; studio; time; use cache: dancecult-454.pdf plain text: dancecult-454.txt item: #264 of 344 id: dancecult-455 author: Speise, Brian Daniel title: From Grapefruit to Plastic Surgery: Experiments in Contemporary Musique Concrète date: 2014 words: 2519 flesch: 67 summary: I found interesting sounds when I least suspected them; by carrying my Zoom H4n recorder with me at all times and actively listening for sound, I opened myself up to the possibility of finding useable material. Tea Kettle Organ By this point, I knew that it was possible to create big percussion samples out of found sounds, but I was not sure how feasible it would be to create tonal instruments out of them. keywords: concrète; music; musique; recording; samples; sound cache: dancecult-455.htm plain text: dancecult-455.txt item: #265 of 344 id: dancecult-456 author: Nardi, Carlo title: Gateway of Sound: Reassessing the Role of Audio Mastering in the Art of Record Production date: 2014 words: 8872 flesch: 48 summary: The benefits of this kind of interest can be especially fruitful if we look at the responses of mastering engineers in relation to changes in music formats and technologies as a partial and yet significant snapshot of current transformations of the music industry at large. It goes without saying that, insofar as the aim of mastering is to produce an object that can be used to produce a limitless amount of copies, music formats are of central concern. keywords: art; audio; engineers; formats; listening; mastering; music; new; practice; production; record; sound; studio; techniques; technology cache: dancecult-456.pdf plain text: dancecult-456.txt item: #266 of 344 id: dancecult-457 author: McGuire, Colin P. title: The Concrete and the Ephemeral of Electronic Music Production date: 2014 words: 3161 flesch: 54 summary: In digital music, copies of recordings are no longer duplications, but rather part of a clonal colony, like a field of genetically identical mushrooms that has reproduced by vegetative asexual procreation.[5] The vagaries of distribution and playback have their own effect on the solidity of digital music. keywords: audio; digital; music; new; recording; software; studio; technology cache: dancecult-457.htm plain text: dancecult-457.txt item: #267 of 344 id: dancecult-460 author: Vitos, Botond title: Along the Lines of the Roland TB-303: Three Perversions of Acid Techno date: 2014 words: 2637 flesch: 60 summary: In acid techno this modified bass line (which is very far from the sound of the bass guitar) is used in conjunction with the physically moving grooves of hard techno music, contributing to a kinaesthetic intensity that is often further amplified by drugs. In acid techno the Roland TB-303 bass synthesiser is responsible for the acid sound, the history of which emerged from the creative perversion of technology by certain early producers. keywords: acid; drugs; melbourne; music; sound; tb-303; techno cache: dancecult-460.htm plain text: dancecult-460.txt item: #268 of 344 id: dancecult-461 author: Manuel, Reba T. title: Laevorotation at Boom 2012 date: 2014 words: 4721 flesch: 72 summary: My temporal pursuit accelerates at the cusp of the moment where an ostensibly endless event will peak, festival time will compress and, tragically, it will be over. Photo credit: Jakob Kolar (2012). keywords: acid; boom; credit; dance; festival; figure; lake; people; photo; temple; time cache: dancecult-461.htm plain text: dancecult-461.txt item: #269 of 344 id: dancecult-479 author: Strong, Catherine title: Pop-Rock Music: Aesthetic Cosmopolitanism in Late Modernity (Motti Regev) date: 2014 words: 1100 flesch: 46 summary: Regev notes, however, that “popular music” covers a wider array of styles than “pop-rock”, as popular music includes folk and traditional musics also. This chapter involves some re-treading of well-worn paths in pop music academia, such as the development of popular music criticism and the use of authenticity versus commercialism as a way of ascribing value to music and artists. keywords: music; pop cache: dancecult-479.htm plain text: dancecult-479.txt item: #270 of 344 id: dancecult-480 author: Evans, Mark title: Popular Music in Evangelical Youth Culture (Stella Sai-Chun Lau) date: 2014 words: 1221 flesch: 53 summary: What Lau manages to achieve in this volume is to open up the discussion on the intersection of popular music and contemporary Christian music (and liturgy). She goes on to conclude that “Whether a genre is ‘authorised’ or not, it hinges on the openness of those in mainstream Christian leadership to new music genres that are of interest to young people” (170), and so too, the academic discipline of contemporary Christian music is bettered by those willing to pursue music at the margins of the field. keywords: christian; lau; music cache: dancecult-480.htm plain text: dancecult-480.txt item: #271 of 344 id: dancecult-485 author: Nardi, Carlo title: DJ Culture in the Mix: Power, Technology, and Social Change in Electronic Dance Music (eds. Bernardo Alexander Attias, Anna Gavanas and Hillegonda C. Rietveld) date: 2014 words: 1971 flesch: 42 summary: Specifically, Hall and Zukic draw on Deleuze and Guattari’s concept of refrain to establish the function of the DJ as a deterritorializer of “power/knowledge spaces of EDM culture” (106); Christodoulou deals with the ritualization of speed at social dance events within drum ‘n’ bass, thus offering a concrete illustration of Paul Virilio’s idea of a “regime of speed” within contemporary capitalism; Paulsson investigates the adoption of military aesthetics within Swedish so-called synthscenen and the political economy of sexuality that is thereby constructed; and Morrison engages the reader in an excursion into literary reinterpretations of DJ culture by Irvine Welsh and Pat W. Hendersen. I will then conclude with some remarks that are intended to problematize the association between DJ culture and EDM. keywords: attias; culture; dance; edm; music cache: dancecult-485.htm plain text: dancecult-485.txt item: #272 of 344 id: dancecult-486 author: Rietveld, Hillegonda C title: Beyond the Dance Floor: Female DJs, Technology and Electronic Dance Music Culture (Rebekah Farrugia) date: 2014 words: 1590 flesch: 58 summary: Female DJs negotiate this performative dimension of their profession through self-conscious use of dress codes. In the US, this includes online forums, similar to female:pressure, and e-zines, such as Shejay, as well as potlucks at which female DJs gather to exchange technical skills and musical knowledge. keywords: dance; djs; music; women cache: dancecult-486.htm plain text: dancecult-486.txt item: #273 of 344 id: dancecult-487 author: Katz, Mark title: Hip-Hop Turntablism, Creativity and Collaboration (Sophy Smith) date: 2014 words: 814 flesch: 56 summary: To me, that’s crazy good, to keep pushing it in that way” (57) (Smith would have benefited from books such as Ingrid Monson’s Saying Something: Jazz Improvisation and Interaction (1997), though I should point out that the performances that Smith studies are not improvised). Even for readers of this journal and devotees of the art of the DJ, the advanced form of record manipulation that Sophy Smith spotlights in her 2013 monograph, Hip-Hop Turntablism, Creativity and Collaboration, may seem rather recherché. keywords: hip; hop; smith cache: dancecult-487.htm plain text: dancecult-487.txt item: #274 of 344 id: dancecult-489 author: van Veen, tobias c. title: Global Tribe: Technology, Spirituality and Psytrance (Graham St John) date: 2014 words: 3653 flesch: 36 summary: St John challenges readings that would see psyculture as but a consumerist, nihilist or hedonist practice, and dismisses moralising tendencies that mask as critical scholarship. Yet, neither Lava 303 nor St John address that such misogyny is faced by not only white women, but all women, and overwhelmingly by women of colour. keywords: global; goa; john; psyculture; saldanha; st john; traveller; white cache: dancecult-489.htm plain text: dancecult-489.txt item: #275 of 344 id: dancecult-491 author: Montano, Ed; Zagorski-Thomas, Simon title: Production Technologies and Studio Practice in Electronic Dance Music Culture Guest Editors’ Introduction date: 2014 words: 4127 flesch: 40 summary: The landscape of music production has shifted significantly in recent years, with digital technologies, software and home studios supplanting analogue hardware and professional studio spaces. Women are conspicuous by their absence in these articles, which is reflective of the field of music production more broadly. keywords: dance; edm; issue; music; practice; production; studio; technologies; technology; university cache: dancecult-491.pdf plain text: dancecult-491.txt item: #276 of 344 id: dancecult-495 author: O'Grady, Alice title: This Place is my Place: Sunrise [Total Recall], West Indian Centre, Leeds, UK. date: 2014 words: 2350 flesch: 81 summary: Cold night air—it’s not summer yet, remember. We stand here on the cusp of lighter nights, brighter days and the promise of good things to come. keywords: centre; dance; place; sunrise; time cache: dancecult-495.htm plain text: dancecult-495.txt item: #277 of 344 id: dancecult-505 author: Karpetz, Jonathan title: Competitive Remix Practice and Networks of Support in Electronic Dance Music Economies date: 2014 words: 9898 flesch: 46 summary: While performance-based competitions such as Battle of the Bands, Star Search and American Idol are not new, the contemporary mode of DJ contests, which include local contests and web-based remix contests, have produced and reflected a new form of work that asks DJs and producers to continually “labour to compete”. If claims about contemporary DJ contests seem vague, I hope that my situation within current DJ networks will develop productive knowledge of the issues at hand to lend voice to those most affected in hopes of an eventual escape from labour precarity.7 Karpetz | Competitive Remix Practice and Networks of Support 25 Contemporary DJ and Producer Labour The engagement of DJs and producers on social media fueled competition platforms has grown out of the many crises creatives in EDM networks have had to confront in their everyday practice. keywords: afrojack; beatport; competition; contemporary; contest; djs; edm; labour; media; music; networks; new; platforms; practice; producers; remix; support cache: dancecult-505.pdf plain text: dancecult-505.txt item: #278 of 344 id: dancecult-509 author: Lange, Barbara Rose title: Folk Music and Commercialization in Danubian Trances and Boheme date: 2015 words: 8675 flesch: 58 summary: For my Hungarian acquaintances and friends who participate in electronic dance music culture, local folk music has a miniscule role, although folk music has such prominence in the country that it nonetheless appears in unexpected ways. During the communist period in the 1970s and 1980s, Claude Flagel had been a strong advocate of Hungarian folk music, managing to visit Hungary, record music and arrange tours and record releases for Hungarian folk groups in Belgium and France. keywords: album; boheme; budapest; copyright; cserepes; danubian; european; folk; folk music; forest; hungarian; hungary; károly; music; people; romani; rostás; samples; sebestyén; song; trances cache: dancecult-509.pdf plain text: dancecult-509.txt item: #279 of 344 id: dancecult-518 author: van Veen, tobias c. title: Towards a Granular Study of Scenes at Vancouver's New Forms Festival date: 2014 words: 1970 flesch: 45 summary: A techno-turntablist and practitioner of interventionist media arts since 1993, tobias is also creative director of the IOSOUND.ca music label and resident DJ of Ion Storm podcast at djtobias.com. Unconventional spaces such as The Butchershop, Open Studios, and Memelab, featuring organisational efforts of renegade media arts curators such as Jesse Scott, ssiess, and olo j. milkman—among others whom I apologise for not mentioning here—but also soon-to-be-closed media arts venues The Blinding Light and the beloved Sugar Refinery, were integral to developing mixed-media aesthetics outside of the constraints of both club culture and gallery settings. keywords: arts; events; festival; media; music; rave; vancouver cache: dancecult-518.htm plain text: dancecult-518.txt item: #280 of 344 id: dancecult-521 author: Schnee, Daniel title: The Varieties of Ecstasy Experience (Sean Leneghan) date: 2014 words: 1420 flesch: 46 summary: Indeed, Leneghan states that the two aesthetic reports of ecstasy experience contained in the book are an example of the user's imagination augmenting what sense perception takes as given in the empirical world (115). The thesis examines narratives by ecstasy users concerning its effects and role in their participation in Sydney, Australia's underground club culture. keywords: ecstasy; experience; leneghan; world cache: dancecult-521.htm plain text: dancecult-521.txt item: #281 of 344 id: dancecult-523 author: Balli, Riccardo title: How To Cure a Gabba date: 2014 words: 2935 flesch: 57 summary: Hardly anything has been written, said or debated about gabber, especially in Italy. The first wave of gabber rose from the ashes of hard house, in the early nineties, in Rotterdam, around Den Hag and partially in Amsterdam, from a sound inspired by hedonistic elements, distinguished by a 4/4 tempo at 140BPM with melodic contrapuntal synth-leads accompanied by soul vocal samples, in which their only purpose was to find the most effective form of entertainment. keywords: dance; frequencies; gabba; gabber; hardcore; music; noise; techno; time cache: dancecult-523.htm plain text: dancecult-523.txt item: #282 of 344 id: dancecult-527 author: St John, Graham title: Astronauts, Psychonauts and Electronauts date: 2014 words: 2164 flesch: 57 summary: Uniquely exposed to Earth from space, Mitchell, who later founded the Institute of Noetic Sciences, recalls: “You develop an instant global consciousness, a people orientation, an intense dissatisfaction with the state of the world, and a compulsion to do something about it”. The work is a rendering of Ed White, the first American to walk in space, during the Gemini 4 mission on 3 June 1965. keywords: apollo; astronaut; earth; journey; llwydd; mission; space cache: dancecult-527.htm plain text: dancecult-527.txt item: #283 of 344 id: dancecult-531 author: Koszolko, Martin title: The Digital Musician (Andrew Hugill) date: 2014 words: 1259 flesch: 43 summary: Aiming to build up a picture of shared ideas and practices in digital music (258), Hugill has collected qualitative data through interviews with sixteen international musicians with a range of experiences behind them. While there is no shortage of books on many of the topics covered in Hugill's text, The Digital Musician is an important summary of key issues concerning music practitioners using digital technologies. keywords: book; hugill; music cache: dancecult-531.htm plain text: dancecult-531.txt item: #284 of 344 id: dancecult-533 author: Brighenti, Andrea title: Apocalypso Disco: La rave-o-luzione della post techno (Riccardo Balli) date: 2014 words: 670 flesch: 40 summary: Yet Balli's emphasis on the directly affective experience of the electronic dance floor is well understandable by anyone who has ever attended one of his sulphurous DJ sets: with joyful irreverence, parody, prankish attitude, and a certain nerdish citationist goût for obscure trash-pop references appositely mixed with occultist and high-brow sources, DJ Balli routinely serves his mash-up of sounds, a hotchpotch that is the essential counterpart to the theory and analyses outlined in the pages of his book. Contrary to other genres of underground music, Balli claims, electronic music has the potential to directly set the brainframe of the dancer—yes, a mind-control talk that comes straight out of a 1950s sci-fi movie. keywords: apocalypso; balli; music cache: dancecult-533.htm plain text: dancecult-533.txt item: #285 of 344 id: dancecult-534 author: O'Regan, Jadey title: Popular Music Fandom: Identities, Roles and Practices (Mark Duffett ed.) date: 2014 words: 1410 flesch: 51 summary: The study of music fandom is a relatively new area of academic interest within the wider field of popular music studies. Twenty-two years later, Popular Music Fandom offers a new collection of fan perspectives on music from the 1950s to the 2000s that also touch on new technologies (such as the internet and social media) which now play a significant role in shaping music fandom. keywords: edm; fandom; music; studies cache: dancecult-534.htm plain text: dancecult-534.txt item: #286 of 344 id: dancecult-535 author: St John, Graham title: Masthead date: 2014 words: 670 flesch: 55 summary: ©2014 Dancecult Published twice 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 Groningen (NL), 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) 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-535.pdf plain text: dancecult-535.txt item: #287 of 344 id: dancecult-557 author: MacCutcheon, Douglas; Greasley, Alinka E.; Elliott, Mark T title: Investigating the Value of DJ Performance for Contemporary Music Education and Sensorimotor Synchronisation (SMS) Abilities date: 2016 words: 11445 flesch: 50 summary: Conclusion The aim of this research was to establish the skills learned through DJing and to map perspectives on the potential value of DJing for music education from a variety of people involved in music performance and education. Supporting Repp’s findings, the effects of phase attraction were also evident in all populations in this study, however, a key finding is that DJ participants were least variable of all the groups when faced with large phase-distractor offsets that increased variability in the other two groups, an advantage that may be due to regular beatmatching of two unsynchronised tracks during the mixing process. keywords: distractor; djing; djs; education; group; learning; mean; metronome; music; music education; musicians; non; participants; performance; phase; repp; research; skills; synchronization; target; value cache: dancecult-557.pdf plain text: dancecult-557.txt item: #288 of 344 id: dancecult-637 author: Ruane, Deirdre title: Harm Reduction or Psychedelic Support? Caring for Drug-Related Crises at Transformational Festivals date: 2015 words: 8731 flesch: 53 summary: Her research interests include drug harm reduction, festival cultures and EDMCs. “Psychedelic harm reduction” is a somewhat contentious phrase. keywords: culture; dance; discourse; drug; festival; harm; harm reduction; kosmicare; policy; reduction; self; space; support; use; users; visitors; workers; zendo cache: dancecult-637.pdf plain text: dancecult-637.txt item: #289 of 344 id: dancecult-642 author: Park, Judy Soojin title: Searching for a Cultural Home: Asian American Youth in the EDM Festival Scene date: 2015 words: 9593 flesch: 47 summary: I used the snowball sampling method by first asking my high school and college networks in Southern California and then my interviewees for introductions to Asian American EDM festival participants. Despite rave’s roots in providing a space of belonging and acceptance for marginalized groups, few scholars have focused on nonwhite participants’ negotiations of race or class in either the rave or EDM festival scenes. keywords: american; asian; belonging; class; culture; edm; edm festival; festival; interviewees; middle; participants; scene; white; whiteness; youth cache: dancecult-642.pdf plain text: dancecult-642.txt item: #290 of 344 id: dancecult-643 author: Schmidt, Bryan title: Boutiquing at the Raindance Campout: Relational Aesthetics as Festival Technology date: 2015 words: 8938 flesch: 38 summary: The Limits of Relational Aesthetics While intersubjective connections may be intensely meaningful to festival participants, it is crucial to question their durability and political directionality rather than assume their inherent value. Leung’s TEDx Vancouver talk in 2010, entitled “Transformational Festivals and the New Evolutionary Culture”, codified the term around a series of event models, principles, and aesthetics, and helped disseminate it widely amongst festival participants and organizers. keywords: aesthetics; art; bourriaud; boutique; campout; community; culture; event; festival; leung; music; new; organizers; participants; performance; practices; raindance; self; sound; space cache: dancecult-643.pdf plain text: dancecult-643.txt item: #291 of 344 id: dancecult-644 author: Madden, David title: DJ Mini and Montreal’s Vulgar Dance Music date: 2016 words: 9911 flesch: 53 summary: Dominant histories of electronic dance music have typically been woven by a “moral geography”, says Will Straw, which tend to selectively emphasize the more rigid and mechanical Northern European styles of dance music while rooting out and downplaying its more extravagant and vulgar permutations and expressive possibilities (2008: 114–5). Previous to these developments, electronic dance music DJs and performers usually took more of an anonymous stance in a live setting, even if they were high profile DJs and/ or producers. keywords: 1990s; city; club; culture; dance; dance music; disco; djs; drouin; electroclash; mini; mix; montreal; music; new; night; overdose; production; scene; straw cache: dancecult-644.pdf plain text: dancecult-644.txt item: #292 of 344 id: dancecult-650 author: O'Grady, Alice title: Dancing Outdoors: DiY Ethics and Democratised Practices of Well-Being on the UK Alternative Festival Circuit date: 2015 words: 8924 flesch: 50 summary: To a certain extent, festival events that situate themselves at the more alternative, radical or transformational end of the spectrum have been subject to this very process of incorporation. In festival terms, this translates into events modelling themselves differently to the large-scale, highly commercial festivals such as V, Leeds and Reading, Download and Glastonbury (despite the latter’s status as being largely responsible for giving birth to alternative festival culture in the UK in the early 1970s3). keywords: alternative; community; culture; dancing; events; experience; festival; free; music; nature; new; outdoors; o’grady; participation; people; space cache: dancecult-650.pdf plain text: dancecult-650.txt item: #293 of 344 id: dancecult-654 author: Rogers, Ian Keith title: Danger Mouse’s The Grey Album (Charles Fairchild) date: 2015 words: 1090 flesch: 60 summary: The currency of these books neatly dovetails with some of the core aesthetic tendencies of popular music studies. The series squarely addresses our history of public outreach; something all-but-written into the DNA of popular music studies via the early involvement of leftist advocates like Stuart Hall and the music-critic-slash-scholar Simon Frith. keywords: album; fairchild; music cache: dancecult-654.htm plain text: dancecult-654.txt item: #294 of 344 id: dancecult-666 author: Balli, Riccardo title: Dead by Dawn 1995 date: 2015 words: 3750 flesch: 77 summary: The discussion moved eventually to the anti-chill out zone, in front of a big pot of chips and beans, a post-Dead by Dawn ritual. I walked through all of Hackney, then London Bridge as I marched on endlessly towards South London. keywords: art; crash; dance; dawn; floor; home; london; music; night; sound cache: dancecult-666.htm plain text: dancecult-666.txt item: #295 of 344 id: dancecult-667 author: Ghannoum, Michael Arty title: Strobe light Salvation date: 2015 words: 4201 flesch: 94 summary: “It’s what separates us from junkies”, he’s said time and time again. “I guess it’s about time we get into this mess”. keywords: dance; hand; kurt; mind; right; step; time cache: dancecult-667.htm plain text: dancecult-667.txt item: #296 of 344 id: dancecult-668 author: Nelligan, Kat title: Why Music Matters (David Hesmondhalgh) date: 2015 words: 1525 flesch: 41 summary: This is followed by a discussion of how dance music enriches people’s lives through the bodily experience of dancing. He traces music’s changing relations to sex and sexuality, discussing themes of love and emotion in post-WWII pop music; notions of sexual freedom and the sexual politics of countercultural rock music; sex and love in relation to dance music and the dance floor; punk music’s rejection of romantic love and its embracing of gay politics; alternative rock’s hyper masculinity; and the sexual explicitness and racialised sexualities of twenty-first century pop and hip-hop. keywords: dance; hesmondhalgh; music; value cache: dancecult-668.htm plain text: dancecult-668.txt item: #297 of 344 id: dancecult-670 author: Sheridan, Garth title: The Globalization of Musics in Transit: Music Migration and Tourism (Simone Krüger and Ruxandra Trandafoiu eds.) date: 2015 words: 914 flesch: 34 summary: Accordingly, the globalization of music is an increasingly well-researched area of inquiry within popular music studies and ethnomusicology. “Music and Tourism” features seven chapters that consider how music features in tourism discourses and how musical cultures develop around tourist subcultures. keywords: globalization; music; psyculture cache: dancecult-670.htm plain text: dancecult-670.txt item: #298 of 344 id: dancecult-674 author: Giuffre, Liz title: Music, Style, and Aging: Growing Old Disgracefully? (Andy Bennett) and Ageing and Youth Cultures: Music, Style and Identity (Andy Bennett and Paul Hodkinson eds.) date: 2015 words: 943 flesch: 49 summary: The development of a space for ageing in popular music studies shows that our field is maturing finally (pun intended). Both works make valuable contributions to the field of popular music studies and beyond, challenging the implication that listeners and participants simply stop being part of the field once they reach a certain age. keywords: music; youth cache: dancecult-674.htm plain text: dancecult-674.txt item: #299 of 344 id: dancecult-675 author: St John, Graham title: Introduction to Weekend Societies: EDM Festivals and Event-Cultures date: 2015 words: 7549 flesch: 47 summary: So far as dance cultural studies is concerned, this is relatively fresh terrain, despite the fact that EDM cultural events and their event-cultures proliferate and diversify rapidly. Such triggers an avalanche of questions concerning the role of new mediatisation practices in EDM cultural events, notably the deregulation of broadcasting that has permitted event-organisations to distribute video by way of YouTube and social media. keywords: boom; culture; dance; dancecult; edm; event; experience; festivals; free; global; introduction; john; man; music; new; participants; societies; university; way; weekend cache: dancecult-675.pdf plain text: dancecult-675.txt item: #300 of 344 id: dancecult-676 author: Petiau, Anne title: Free Parties and Teknivals: Gift-Exchange and Participation on the Margins of the Market and the State date: 2015 words: 7001 flesch: 59 summary: Keywords: free party, teknival, gift-exchange, participation, amateur practices, marginality After completing a PhD in sociology on electronic music (“Musiques et musiciens électroniques. Petiau notes that free parties are understood by organizers and attendees to be “free” in both senses of the term—freedom keywords: donation; exchange; free; gift; music; paris; participants; participation; parties; party; raves; sound; teknivals cache: dancecult-676.pdf plain text: dancecult-676.txt item: #301 of 344 id: dancecult-677 author: Schmidt, Joshua title: Goa: 20 Years of Psychedelic Trance (Tom Rom and Pascal Querner) date: 2015 words: 1363 flesch: 49 summary: In the course of its trajectory, Goa psytrance was gradually engulfed by capitalist economies and underwent a process of commodification and subdivision. This coffee table book, elegantly published and stylishly edited, ventures to capture and convey the romance and excitement that accompanied the expansions of Goa psytrance music and culture in the past few decades. keywords: book; goa; movement; parties; psytrance cache: dancecult-677.htm plain text: dancecult-677.txt item: #302 of 344 id: dancecult-678 author: Vendryes, Thomas title: Versions, Dubs and Riddims: Dub and the Transient Dynamics of Jamaican Music date: 2015 words: 9932 flesch: 53 summary: The 1985 success of Sleng Teng concluded the transitional dynamics of Jamaican popular music production that had begun with Redwood’s first version in 1967. In this paper, I explore the modalities and evolution of Jamaican music production and consumption. keywords: 1970s; 2004; audio; dub; dubs; genre; hitchins; jamaica; king; lee; mixing; music; perry; production; sound; tubby; versions cache: dancecult-678.pdf plain text: dancecult-678.txt item: #303 of 344 id: dancecult-681 author: Harries, John Vaughan title: Africa on the Moon: The Complexities of an Afrofuturist Reading of Dub date: 2015 words: 10349 flesch: 56 summary: Lee Scratch Perry. Abstract This article attempts a detailed and specific analysis of the music and the mythology of Lee “Scratch” Perry and other key figures and works in dub, in relation to Afrofuturist thought and the music, theory and philosophy of Sun Ra in particular. keywords: africa; afrofuturism; ark; black; dancecult; dub; history; lee; man; moon; music; new; perry; reggae; scientist; scratch; sense; sound; space; sullivan; sun; world cache: dancecult-681.pdf plain text: dancecult-681.txt item: #304 of 344 id: dancecult-686 author: Kolioulis, Alessio title: Borderlands: Dub Techno’s Hauntological Politics of Acoustic Ecology date: 2015 words: 10070 flesch: 50 summary: The co-evolution of “humans” and “machines” in Detroit is a fundamental trait of Detroit techno music production. Keywords: dub techno, Detroit techno, dub diaspora, acoustic ecology, post-Fordism, neoliberalism Alessio Kolioulis is a PhD candidate at Paris 8 University and Sapienza University of Rome. keywords: berlin; burial; city; culture; dancecult; detroit; detroit techno; dub; dub techno; ecology; fisher; future; inch; london; music; new; oswald; politics; production; sound; techno; time; urban; von cache: dancecult-686.pdf plain text: dancecult-686.txt item: #305 of 344 id: dancecult-688 author: Ramstedt, Kim title: “Chase Sound Boys Out of Earth”: The Aura of Dubplate Specials in Finnish Reggae Sound System Culture date: 2015 words: 8962 flesch: 52 summary: Taking a different perspective, distance can be experienced in the work because, while the listener in Finland is brought closer to the Jamaican setting of the dubplate special, the distance between MPV sound system and their fans increases due to the recording’s exclusivity. While a fan can easily listen to the commercial version of “Chase the Devil” for the full duration of the song, the experience of listening to the dubplate special depends on the programming of MPV sound system and, as Stolzoff notes, dubplates “are rarely played for more than a minute, or only a few seconds” (2000: 207). keywords: aura; benjamin; chase; culture; devil; dubplate; mpv; performance; recording; reggae; sound; sound system; special; system cache: dancecult-688.pdf plain text: dancecult-688.txt item: #306 of 344 id: dancecult-695 author: Christodoulou, Chris title: Darkcore: Dub’s Dark Legacy in Drum ‘n’ Bass Culture date: 2015 words: 2563 flesch: 51 summary: The genre is based on a combination of powerful bass sounds and break-beats that are either synthesised or digitally sampled from existing musical recordings, before being accelerated and looped, whereby, the tempos of drum ‘n’ bass bass-lines are typically half those of its break-beats. As 1993 progressed, the more descriptive term “drum ‘n’ bass” was being used alongside jungle to designate jungle tracks that emphasised the drums and bass as the core elements. keywords: bass; culture; dread; drum; dub; jungle; london; music cache: dancecult-695.htm plain text: dancecult-695.txt item: #307 of 344 id: dancecult-696 author: MacLeod, Erin Christine title: “The Only Good System is a Sound System”: The Dub Riddim Revival in Kingston date: 2015 words: 1506 flesch: 73 summary: Though dancehall is still Jamaica’s popular music and available on the radio and in the street at pretty much every hour of the day, every Sunday evening you can now pay a visit to Gabre Selassie’s house to hear his Rockers Sound Station sound system at Kingston Dub Club. Behind the bar at Kingston Dub Club. keywords: dub; jamaica; reggae; sound; system cache: dancecult-696.htm plain text: dancecult-696.txt item: #308 of 344 id: dancecult-698 author: van Veen, tobias c. title: Victims Themselves of a Close Encounter: On the Sensory Language and Bass Fiction of Space Ape (In Memoriam) date: 2015 words: 13984 flesch: 56 summary: I write in memoriam and reverence to Stephen—an inspiring force whom I met but once, but saw perform as Space Ape twice.23 I write in the spirit of the changing same, the spirit Space Ape embraced in his xorcism of the alien within. Victims Themselves of a Close Encounter: On the Sensory Language and Bass Fiction of Space Ape (In Memoriam) Dancecult: Journal of Electronic Dance Music Culture 7(2): 86–115 ISSN 1947-5403 ©2015 Dancecult http://dj.dancecult.net http://dx.doi.org/10.12801/1947-5403.2015.07.02.05 Victims Themselves of a Close Encounter: keywords: alien; atlantic; bass; bass fiction; black; body; close; cthulhu; culture; dread; dub; dubstep; encounter; fiction; hyperdub; imaginary; music; press; sign; sine; space ape; step; van; veen; victims; white; xorcism cache: dancecult-698.pdf plain text: dancecult-698.txt item: #309 of 344 id: dancecult-731 author: Partridge, Christopher title: Conscious Sounds: Encountering Jah Shaka date: 2015 words: 1668 flesch: 60 summary: The purpose of the panel, which also included Jah Shaka and Neil Perch of Zion Train, was to discuss dub reggae and sound system culture in Britain. Although he has been central to British sound system culture since the early 1970s, owns a record label (Jah Shaka Music), and has produced numerous important dub albums, he spoke far less about his music than he did about the importance of being a good member of the human race. keywords: dub; music; shaka; sound cache: dancecult-731.htm plain text: dancecult-731.txt item: #310 of 344 id: dancecult-732 author: Zuberi, Nabeel title: War Dubs date: 2015 words: 2999 flesch: 61 summary: Such a picture might help us to visualize the affinities, threads and traces that run through Jamaican dub and other electronic dance music since its emergence in Kingston studios and sound system culture in the early 1970s. 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; system; war cache: dancecult-732.htm plain text: dancecult-732.txt item: #311 of 344 id: dancecult-734 author: van Veen, tobias c. title: Remixology: Tracing the Dub Diaspora (Paul Sullivan) date: 2015 words: 2353 flesch: 33 summary: Remixology shines in Sullivan’s evidently more familiar surroundings of ragga jungle, drum ‘n’ bass, 2-step, garage, grime and dubstep, where he traces in some detail the early import of dub music, immigrant musicians and soundsystem performance to the UK during the 1970s. Insofar as the book is a discourse (logos) on the remix, it isn’t, really—Remixology is more concerned with the history and worldwide spread of dub music, its practice of versionings, its significant personages and locales of influences, and its forging of what might be called a “diaspora” of sonic and cultural networks, moreso than any particular discourse upon the “remix” as such. keywords: diaspora; dub; jamaican; music; remixology; studio; sullivan cache: dancecult-734.htm plain text: dancecult-734.txt item: #312 of 344 id: dancecult-737 author: Howard, Dennis title: Sonic Bodies: Reggae Sound Systems, Performance Techniques and Ways of Knowing (Julian Henriques) date: 2015 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. Sonic Bodies manages to elevate the conversation about the Jamaican sound system culture from its usual sociocultural and political orientations to an auditory exploration of sound culture and theory. keywords: henriques; performance; sound; system cache: dancecult-737.htm plain text: dancecult-737.txt item: #313 of 344 id: dancecult-738 author: Schnee, Daniel Paul title: Groove: A Phenomenology of Rhythmic Nuance (Tiger C. Roholt) date: 2015 words: 1680 flesch: 54 summary: Roholt’s later use of Sly and The Family Stone’s “Thank You (Falettinme Be Mice Elf Agin)” is such an example (113) and one could argue that his thesis would have been better served focusing on such grooves for their intensity and bodily affect. In this case, Roholt’s work also creates a significant gateway into groove phenomenology amongst non-musicians, the groove-receiving body being as potent experientially as the groove-creating body. keywords: body; example; groove; ponty; roholt cache: dancecult-738.htm plain text: dancecult-738.txt item: #314 of 344 id: dancecult-742 author: Bhardwa, Bina title: Deviance and Risk on Holiday: An Ethnography of British Tourists in Ibiza (Daniel Briggs) date: 2015 words: 841 flesch: 43 summary: In Chapter Two: The Flexible but Entirely Serious Methodology (and revisited in Chapter Eleven), Briggs outlines his position in the field as a participant observer and highlights the ethical dilemmas that accompany research with intoxicated participants. As Briggs notes, the challenges of conducting research in dance settings raises much ethical debate—an important debate to have—and Briggs’ research is pivotal in opening up the muted dialogue. keywords: briggs; ibiza; research cache: dancecult-742.htm plain text: dancecult-742.txt item: #315 of 344 id: dancecult-751 author: Rietveld, Hillegonda C. title: The Routledge Companion to Remix Studies (Eduardo Navas, Owen Gallagher and xtine burrough eds.) date: 2015 words: 1198 flesch: 50 summary: Although the role of the DJ has shifted over the years, at that time DJs could be regarded as performers who used mass-produced consumer items, in this case music recordings, as narrative elements to produce a unique dialogue with dancers. In a parallel world, in the context of Jamaican reggae, dub emerged as a type of remix practice. keywords: dance; dub; music; remix; sound cache: dancecult-751.htm plain text: dancecult-751.txt item: #316 of 344 id: dancecult-766 author: van Veen, tobias c. title: Riddims & Routes date: 2015 words: 558 flesch: 67 summary: Riddims & Routes Dub Diaspora DJ Mix tobias c. van Veen, a.k.a. tobias.dj Université de Montréal / http://djtobias.com Tikiman – Acting Crazy (Club Vocal) – Main Street Records (1996) Studio 1 – Silber – Studio 1 (1996) Basic Channel – Phylyps Trak II – Basic Channel (1994) keywords: dub; maurizio; mix cache: dancecult-766.htm plain text: dancecult-766.txt item: #317 of 344 id: dancecult-767 author: Rietveld, Hillegonda C.; van Veen, tobias c. title: Introduction to Echoes from the Dub Diaspora date: 2015 words: 2272 flesch: 51 summary: ©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), 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 (Université de Montréal, CA), Michael Veal (Yale University, US Foreign Languages Editor Luis-Manuel Garcia (University of Groningen, NL) Production Editor Botond Vitos (DE) Operations director Ed Montano (RMIT University, AU) keywords: diaspora; dub; music; sound; university; van; veen cache: dancecult-767.pdf plain text: dancecult-767.txt item: #318 of 344 id: dancecult-809 author: Palombini, Carlos title: Os DJs da Perifa: Música Eletrônica, Trajetórias e Mediações Culturais em São Paulo (Ivan Paolo de Paris Fontanari) date: 2016 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; music; periphery cache: dancecult-809.htm plain text: dancecult-809.txt item: #319 of 344 id: dancecult-887 author: Schnee, Daniel Paul title: Sonic Possible Worlds: Hearing the Continuum of Sound (Salomé Voegelin) date: 2016 words: 1775 flesch: 43 summary: This, as Voegelin states, is directly built on Theodor Adorno’s concept of the essay as a formless form of text that “makes no claim of being anything other than an experiment, a suggestion, a provocation maybe, and relies on the fact that as an essay it has no obligation to be all inclusive . . . It is on this phenomenological foundation that author Salomé Voegelin builds Sonic Possible Worlds: keywords: miếu; music; sound; voegelin; văn cache: dancecult-887.htm plain text: dancecult-887.txt item: #320 of 344 id: dancecult-890 author: Young, Toby title: Aphex Twin’s Selected Ambient Works Volume II (Marc Weidenbaum) date: 2016 words: 1180 flesch: 40 summary: Albums like the fragile Analogue Bubblebath EPs and the ghostly pop of Selected Ambient Works 85-92 set James up as one of the most original and free-thinking of electronic producers. Aphex Twin’s Selected Ambient Works Volume II (33 1/3 Series) Marc Weidenbaum New York: Bloomsbury, 2014. keywords: album; music; weidenbaum cache: dancecult-890.htm plain text: dancecult-890.txt item: #321 of 344 id: dancecult-897 author: Payling, Dave title: The DiY Free Party Collective date: 2016 words: 1836 flesch: 65 summary: [3] The same Soundcloud user (Mumbo Jumbo & DiY archive) has many archived and recent mixes form DiY DJs https://soundcloud.com/mumbo-jumbo-2/digs-whoosh-diy-25th-bithday-pt2 They had many releases on their own Strictly for Groovers label, part of DiY discs, and supported and influenced other producers such as Inland Knights, Nail, the Littlemen and many others. keywords: diy; free; parties; party; sound cache: dancecult-897.htm plain text: dancecult-897.txt item: #322 of 344 id: dancecult-901 author: De Ledesma, Charlie - title: Life and Death on the New York Dance Floor 1980–1983 (Tim Lawrence) date: 2016 words: 1391 flesch: 54 summary: On the title, Lawrence explains, “the reference to life is intended to evoke the way that New York party culture didn’t merely survive the hyped death of disco but positively flourished in its wake”. Finally, as Lawrence draws his paean to the era’s ethic of “democratic socializing” (461) to a close, he draws out parallel urban lives and deaths: “Clearly the task of redemocratizing New York and indeed other global cities remains daunting, yet the gathering desire to listen to music, dance, and engage creatively with a level of public freedom that was once taken for granted is visceral. keywords: death; lawrence; life; new; york cache: dancecult-901.htm plain text: dancecult-901.txt item: #323 of 344 id: dancecult-904 author: Heuguet, Guillaume title: When Club Culture Goes Online: The Case of Boiler Room date: 2016 words: 7181 flesch: 49 summary: In exchange for their financial support, brands can have their logo displayed on various media associated with Boiler Room events. Moreover, the disused pool “Stattbad Wedding” is a regular venue for Boiler Room events, and certain remarkable staging effects correspond to recurrent choices made by the organization during that phase of their development. keywords: boiler; boiler room; broadcast; club; club culture; culture; event; live; media; music; online; page; room; video; web cache: dancecult-904.pdf plain text: dancecult-904.txt item: #324 of 344 id: dancecult-905 author: Balli, Riccardo title: Frankenstein, or the 8 bit Prometheus date: 2016 words: 2333 flesch: 60 summary: But carrying on with my controversial association of ideas, I would say that the plunderphonics technique causes a similar modification in the genes of pop music: it warps its first goal (i.e. the numbing pursuit of turbo-capitalistic hedonism) in order to create something different, something literally bastardised (“bastard pop” is another term to refer to the genre). In this hour, when I momentarily expect my release, a strenuous concern disturbs me: That the sonic wretch might continue to undermine the strict categorisations of music genres. keywords: bit; frankenstein; hyper; mash; music; prometheus; shelley; sonic cache: dancecult-905.htm plain text: dancecult-905.txt item: #325 of 344 id: dancecult-906 author: Lawrence, Tim title: Life and Death on the Pulse Dance Floor: Transglocal Politics and the Erasure of the Latinx in the History of Queer Dance Culture date: 2016 words: 11779 flesch: 52 summary: A history of Latinx dance culture that extends to the 1980s and 1990s might take account of several key developments, including the rise of John “Jellybean” Benitez as one of the most influential party DJs of the early 1980s; the contribution of Shannon’s “Let the Music Play” to the emergence of freestyle as a uniquely Latin-flavoured dance floor sound, including Nayobe’s breakthrough contribution; the manner in which “Little” Louie Vega made a name for himself on the New York freestyle scene before becoming one of the most influential house music DJs of the 1990s; the game-changing impact of Vega’s Masters at Work and Nuyorican Soul collaboration with Kenny “Dope” Gonzalez, which saw the duo frequently team up with Latinx musicians as they established themselves as the most influential house music remix/production team of the decade; the contribution of Chicago Latinx DJs and artists, including Jesse Velez, Ralphie Rosario and Liz Torres, and New York DJ/producer/remixer David Morales; the pioneering role played by Cutting Records and Nervous Records when it came to showcasing Latinx house artists; the ongoing fluctuations of the New York dance floor, which included the rise of the House of Xtravaganza as the first Latinx ballroom house and the closure of the Garage; and the opening of a number of queer Latinx and cross racial party spots, including Escuelita and Suspect in Manhattan, Krash in Queens, and the Warehouse in the Bronx. Like Latinidad it understands connections that exist between Latinx people without reducing them to an essential characteristic. keywords: attack; august; community; culture; dance; death; disco; djs; floor; gay; july; june; latinx; lawrence; lgbtq; life; massacre; mateen; music; new; night; orlando; people; pulse; queer; rivera; terrorism; violence; york cache: dancecult-906.pdf plain text: dancecult-906.txt item: #326 of 344 id: dancecult-908 author: Lovink, Geert title: Dancing to the Loop: Repetition in Contemporary Music - An Interview with Tilman Baumgärtel date: 2016 words: 5937 flesch: 67 summary: Arguably, Schleifen is the first book on the history of electronic music that is solely dedicated to loops. I don’t want to say that they are right as far as electronic music is concerned, but I can see where they are coming from. keywords: book; dance; loops; media; music; new; repetition; tape; techno; time; type; way cache: dancecult-908.htm plain text: dancecult-908.txt item: #327 of 344 id: dancecult-912 author: Montano, Ed title: Brian Eno: Oblique Music (Sean Albiez and David Pattie eds.) date: 2016 words: 2387 flesch: 44 summary: While the authors clearly demonstrate the importance of Eno’s work, they do so by situating it in relevant social and cultural contexts and acknowledging the contributions of the other musicians Eno has constantly surrounded himself with. 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). keywords: book; eno; music; pattie; production; work cache: dancecult-912.htm plain text: dancecult-912.txt item: #328 of 344 id: dancecult-916 author: St John, Graham title: Masthead date: 2016 words: 653 flesch: 59 summary: ©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), 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: #329 of 344 id: dancecult-918 author: James, Robin title: Post-Feminism’s “New Sexual Contract” and Electronic Dance Music’s Queered Femme Voices date: 2017 words: 10656 flesch: 49 summary: Whereas post-feminist pop aims to grant women voice, civil personhood, and property-in- person, Decon/Recon adopts a compositional style that abolishes the division of labor and private property. Patriarchy hides itself behind the superficial acceptance of feminist women: if we like feminists, if we even have friends who are feminist, how can we be sexist? keywords: body; bottoms; contract; decon; feminism; gender; james; music; new; november; person; pop; post; property; queer; resilience; sia; use; voice; white; women cache: dancecult-918.pdf plain text: dancecult-918.txt item: #330 of 344 id: dancecult-921 author: Rebbetoy, Jennifer title: Mapping a Lineage of Female Event Producers Living in British Columbia date: 2017 words: 3185 flesch: 65 summary: Mapping a Lineage of Female Event Producers Living in British Columbia Jennifer Rebbetoy Independent Researcher The raver experience at festivals is well documented in popular media, such as VICE. Since all of them are at different stages of their careers I began to see their connections across festivals as a lineage, each indirectly setting the stage for the next. keywords: andrea; bass; coast; corrine; festival; music; smf; stage cache: dancecult-921.htm plain text: dancecult-921.txt item: #331 of 344 id: dancecult-940 author: Gadir, Tami title: Forty-Seven DJs, Four Women: Meritocracy, Talent, and Postfeminist Politics date: 2017 words: 11465 flesch: 59 summary: This interview was conducted as part of my current research project (2015–18) on women DJs from around the world. Together with other policies that include affirmative action for women on corporate boards and gender self-determination legislation, it has helped to inform the contemporary, mainstream cultural paradigm of gender equality in Norway. keywords: agents; booking; club; culture; dance; djs; equality; female; gadir; gender; interview; lars; male; media; music; norway; oslo; participants; people; talent; women; work cache: dancecult-940.pdf plain text: dancecult-940.txt item: #332 of 344 id: dancecult-942 author: Motl, Kaitlyne A title: Fear in the Festival Field: Threat, Apprehension and Apathy date: 2017 words: 2877 flesch: 57 summary: Although participant safety is paramount, researcher perceptions and experiences of threat cannot be ignored—especially when study participants compromise researcher safety, as well as the projects they undertake. Doing so destigmatizes researcher risk, fostering proactive measures that realistically recognizes the varied experiences and severity of unsafety that scholars face within fieldwork settings and prepares them with skills they may need to abate these threats. keywords: edmc; festival; field; participants; research; researchers; women cache: dancecult-942.htm plain text: dancecult-942.txt item: #333 of 344 id: dancecult-945 author: Busby, Lisa title: Like so many things I both know and don't know date: 2017 words: 4445 flesch: 62 summary: The nomadic stance—embodied in embracing outdoor or other unexpected locations, un-staged performances when in more traditional venues, and the decision to restrict ourselves to battery power only. i left my performance area to talk to him i felt torn but equally if this is in part about engaging other people i’m not interested in denying people their own way in, that comfort through dialogue 22/9/14, Gathörnet Västra Strandgatan (a street in town, near the river and some ex-industrial buildings) the night before the temperature dropped suddenly by performance time the wind was high and so weather moved through quickly it felt like I experienced all the weather the city offered on this day i kept taking off and putting on layers, by the end of the day I was huddled under a bridge to shelter from a snow shower 24/9/14, Naturvetarstråket, Ålidhem (a park and playground) this day I really enjoying finding spots to sit quietly and be with the sound I was handling, probably the first time felt in the zone for extended periods of time various children came to see me and examine extensively my equipment and bike cart, climbing trees and on rocks i wondered if I disturbed their playing, and if I had the right to be here 25/9/14, Skulpturparken Aktrisgränd (a sculpture park and open wooded area, near residences) there was a turn today, an oppressive loneliness characterised the performance i had to deal with the sun setting and working in the dark, in a more rural setting, for the first time i was terrified even though I knew I must be safe[4] 28/9/14, Nydalasjön (a lake) the first time it rained and I had no real shelter i dropped a record player in the wet sand, I think the needle’s still okay i wonder about how hard it is to mix for 8 hours, and is contributing to this the fact that in some locations there is no audience but my experience has been more about creating a landscape in response and collaboration with the surroundings, moment to moment can the physical landscape be my audience these zones I am creating—who are they really for? to be honest I wonder if this is a work for me 1/10/14, Grillplatsen mitt i Gimmonässpåren och olika platser i skogen (a forest) this location was far and hard to get to, and I wanted to go into the forest, not sit on the edges i found a hut at the end of the day, and my friend organised a little party of people to camp there with me, to listen to my mix in the final few hours we ate sausages, it was kind of them this was an unsettling location again, particularly in the darkness i don't really understand this uncontrolled reaction, i’m not exactly doing something that puts myself at risk, so it seems melodramatic to feel scared i guess the courage that is part of this self-imposed methodology, manifests somehow in not just the endurance but actually channeling a focus to mix given the conditions, and my own feelings about them it doesn't always work keywords: busby; female; feminist; music; opting; people; performance; sound; sounding cache: dancecult-945.htm plain text: dancecult-945.txt item: #334 of 344 id: dancecult-951 author: Hancock, Maren title: Lick My Legacy: Are Women-Identified Spaces Still Needed to Nurture Women-Identified DJs? date: 2017 words: 8641 flesch: 65 summary: As a female DJ who had worked hard to establish a name for herself in Vancouver, I had a personal mission to make things easier for other female DJs and to do my best to destabilize the “boys’ club” of DJ networks that predominated Vancouver DJ culture. This research corroborates other studies of female DJs in the USA (Farrugia 2004, 2012) and Europe (Gavanas and Reitsamer 2013, 2016) that demonstrate how mentors are of acute importance in fostering the careers of female and non-binary DJs. 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: #335 of 344 id: dancecult-952 author: Palombini, Carlos title: A Danceable Shower of Bullets: Sound Morphologies, Concrescence and Neurosis in the Genesis of an EDM Beat date: 2019 words: 10534 flesch: 59 summary: The word camarote (usually, a seated compartment in a theatre) designates here approximately semicircular structures above the ground floor that surround the internal walls of spaces where funk carioca dances take place. The eviction of funk dances from clubs to favelas coincides with the passage from volt-mix to tamborzão, and with losses in the upper region of the tessitura. keywords: attack; bass; beat; bullets; carioca; dances; drum; favelas; funk; line; loop; march; mix; music; palombini; rio; samba; schaeffer; second; snare; sound; tamborzão; volt cache: dancecult-952.pdf plain text: dancecult-952.txt item: #336 of 344 id: dancecult-958 author: Morgan, Frances title: Delian Modes: Listening for Delia Derbyshire in Histories of Electronic Dance Music date: 2017 words: 9303 flesch: 45 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 technology 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 technology 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: #337 of 344 id: dancecult-966 author: Fraser, Alistair title: Death of/in British Drum 'n' Bass Music date: 2019 words: 1094 flesch: 66 summary: 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. Rest in peace Marcus Intalex. keywords: bass; drum; marcus; music cache: dancecult-966.htm plain text: dancecult-966.txt item: #338 of 344 id: dancecult-973 author: Lavoie, Sebastien title: My Practice of Live Performance of Spatial Electronic Dance Music date: 2019 words: 2869 flesch: 54 summary: 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. 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. keywords: edm; music; performance; sound; spatialisation; studio cache: dancecult-973.htm plain text: dancecult-973.txt item: #339 of 344 id: dancecult-976 author: Bentley, Donna Cynthia title: Onwards and Upwards: Playing My Way Through the Gender Division date: 2017 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: #340 of 344 id: dancecult-977 author: Olszanowski, Magdalena title: Why would I want to put my art in your museum if I have my own house? An Interview with Rucyl date: 2017 words: 6299 flesch: 83 summary: “Teri Thornton is Dead at 65; Jazz Singer Had Hits in 1960s”. She received her Masters from the Interactive Communication Program at NYU, which alongside mentor, unsung jazz vocalist, Teri Thornton, provided her with resources and time to hone her craft and branch out fully into electronic music using blues and jazz vocal improvisation in electronic composition. keywords: art; money; music; people; rucyl; things; time; way cache: dancecult-977.htm plain text: dancecult-977.txt item: #341 of 344 id: dancecult-993 author: Koszolko, Martin Kamil title: An Introduction to Music Technology, Second Edition (Dan Hosken) date: 2017 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: #342 of 344 id: dancecult-996 author: Kaul, Timor title: Techno Studies: Ästhetik und Geschichte Elektronischer Tanzmusik (Kim Feser and Matthias Pasdzierny eds.) date: 2017 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: #343 of 344 id: dancecult-997 author: Young, Toby title: Digital Arts: An Introduction to New Media (Cat Hope and John Ryan) date: 2017 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: #344 of 344 id: dancecult-999 author: Schnee, Daniel Paul title: Low End Theory: Bass, Bodies and the Materiality of Sonic Experience (Paul C. Jasen) date: 2017 words: 1803 flesch: 46 summary: 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). 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. keywords: body; book; jasen; myth; sound cache: dancecult-999.htm plain text: dancecult-999.txt