Dancecult 3(1) 2011: Guest Editor's Introduction to Special Issue on the DJ, Masthead and Table of Contents Volume 4 Number 2 2012 Executive Editor Graham St John (University of Queensland, AU) Managing Editor tobias c. van Veen (McGill University, CA) Reviews Editor Ed Montano (RMIT University, AU) Foreign Languages Editor Luis-Manuel Garcia (University of Chicago, DE) Art Director Cato Pulleyblank (Fairy Punk Creative Studio, CA) Copyeditors Jerome Hansen (UK) Sheena D. Hyndman (York University, CA) Katrina Loughrey (AU) Kath O’Donnell (AU) Production Director Botond Vitos (Monash University, AU) Production Assistants Martin Koszolko (RMIT University, AU) 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). A platform for interdisciplinary scholarship on the shifting terrain of EDMCs worldwide, the Journal houses research exploring the sites, technologies, sounds and cultures of electronic music in historical and contemporary perspectives. Playing host to studies of emergent forms of electronic music production, performance, distribution, and reception, as a portal for cutting-edge research on the relation between bodies, technologies, and cyberspace, as a medium through which the cultural politics of dance is critically investigated, and as a venue for innovative multimedia projects, Dancecult is the forum for research on EDMC. Cover Image: Monsters at Satyricon (2000), Vancouver, BC, Canada. Photo: tobias c. van Veen. http://dj.dancecult.net Volume 4 Number 2 2012 Executive Editor’s Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01 Graham St John FEATURE ARTICLES What to Ask Women Composers: Feminist Fieldwork in Electronic Dance Music . . . . . . . . . . . . . . . . . 03 Magdalena Olszanowski Cross-Dressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music . . . . . . . . . . . . . . . . . . . . 27 David Madden “Clubs aren’t like that”: Discos, Deviance, and Diegetics in Club Culture Cinema . . . . . . . . . . . . . . . . . 48 Simon A. Morrison FROM THE FLOOR – online The First Four Years of Bangface Weekender: An Overview Eric turner Acid House Night at Cuckoo, Hindley St., Adelaide, South Australia July 2011 Cathy Adamek REVIEWS Books How To Wreck A Nice Beach: The Vocoder from World War II to Hip-Hop—The Machine Speaks (Dave Tompkins) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 tobias c. van Veen Groove Music: The Art and Culture of the Hip-Hop DJ (Mark Katz) . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Murray Forman The Record Players: DJ Revolutionaries (Bill Brewster and Frank Broughton) . . . . . . . . . . . . . . . . . . . . . 74 Scott Gaule Popular Musics: Topics, Trends & Trajectories (Tara Brabazon) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Ed Montano Film Big Fun in the Big Town (Dir. Bram van Splunteren) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Philip Kirby Welcome to the 6th edition of Dancecult. Slimmer than usual, and yet you’ll discover within a wealth of data on current developments in EDM cultural studies. In “What to Ask Women Composers: Feminist Fieldwork in Electronic Dance Music”, Magdalena Olszanowski kicks off our Feature Articles with a study of the research methods for microfemininewarfare, an interactive database documentary investigating female EDM artists. Olzanowski focuses on the contribution of women to a male dominated music industry and through study of “feminist research-creation and friendship-as-method” contributes to broader discussions on female subjectivity. In “Cross-Dressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music”, David Madden, follows with an examination of the emergence and production of electroclash. Addressing the distinct character of this international rock/electro fusional genre said to signal an “attempt to reinvigorate dance music with a sense of sexuality, personality and irony”, Madden examines the role of numerous women who have significantly contributed to shaping the aesthetics and production practices of electroclash. And in “Clubs aren’t like that”: Discos, Deviance and Diegetics in Club Culture Cinema”, Simon A. Morrison considers methods by which filmmakers have translated EDMC into film. Through attention to the recent feature films Ecstasy and Irvine Welsh’s Ecstasy, Morrison critically investigates creative approaches and technical devices adopted by directors in efforts to portray EDM cultures and scenes in fictional narratives, asking “Is it possible to distil the energy of the dance floor and represent the actions, practices and attitudes of its participants for an arguably passive cinema audience?” In our From the Floor department, in this edition we have Eric Turner providing an overview of “The First Four Years of Bangface Weekender”, the EDM festival at Camber Sands, East Sussex, and Cathy Adamek reporting on an “Acid House Night at Cuckoo” in Hindley St, Adelaide, in July 2011. We also have four book and one film reviews. There have been a few recent changes in our editorial and production departments. I wish to thank Catherine Baker, Copyeditor at Dancecult since our inception in 2009, who, following her involvement in our first five editions has departed for new adventures. The dedication to detail of the kind undertaken by Catherine is among the practices keeping this journal going. Let me take this opportunity to thank all of our Copyeditors who sweat away behind the scenes. Copyediting is a painstaking, albeit not thankless, task. Congratulations to Botond Vitos who has stepped up to the role of Production Director beginning with this issue. I also welcome aboard Paul Jasen, Martin Koszolko, Marc Kushin and Garth David Sheridan, as our new Production Assistants. And this is Ed Montano’s first edition as our new Review’s Editor. Congratulations Ed. Executive Editor’s Introduction DOI: 10.12801/1947-5403.2012.04.02.00 St John | Guest Editor’s Introduction 2 Errata There were errors in Bernardo Attias’ From the Floor article “Meditations on the Death of Vinyl” in issue 3.1. The article by Farrugia and Swiss referenced was published in 2005 (not 2009), and in the first endnote the reference is “Farrugia and Swiss (2005)” and not “Ferguson (2009)”. Graham St John Executive Editor