Pub Date : 2020-11-16DOI: 10.12801/1947-5403.2020.12.01.06
T. Symmes
{"title":"Sound Systems at the George Floyd Protests in Minneapolis During the Summer of 2020","authors":"T. Symmes","doi":"10.12801/1947-5403.2020.12.01.06","DOIUrl":"https://doi.org/10.12801/1947-5403.2020.12.01.06","url":null,"abstract":"","PeriodicalId":36263,"journal":{"name":"Dancecult","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80118155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-16DOI: 10.12801/1947-5403.2020.12.01.05
Samantha Warren
In the Key of She is the title of my Leverhulme Trust Fellowship, exploring career experiences of female, female-identifying and gender minority electronic music (self) producers to shed light on the persistent male dominance of digital-creative cultural production. The music industry recognises its gender balance problem with various initiatives to balance festival and gig line-ups, such as the Keychange initiative. When we consider the more technical roles in the industry, things get even more unbalanced. For example, according to the Annenberg Inclusion Initiative, only around 2% of music producers are women (Smith et al. 2019). With electronic music production increasingly being seen as a source of reputational capital for contemporary DJs, if women are not producing and/or releasing their own tracks, they will struggle to compete with their male peers (Reitsamer 2011).
在她的钥匙是我的Leverhulme信托奖学金的标题，探索女性，女性认同和性别少数电子音乐(自我)制作人的职业经历，以阐明男性在数字创意文化生产中的持续主导地位。音乐行业意识到了性别平衡问题，采取了各种举措来平衡音乐节和演出阵容，比如Keychange倡议。当我们考虑到行业中更多的技术角色时，事情变得更加不平衡。例如，根据安嫩伯格包容性倡议，只有约2%的音乐制作人是女性(Smith et al. 2019)。随着电子音乐制作越来越被视为当代dj声誉资本的来源，如果女性不制作和/或发行自己的曲目，她们将很难与男性同行竞争(Reitsamer 2011)。
{"title":"Good Vibes Friday: Reflections on Livestreaming During the COVID-19 Lockdown","authors":"Samantha Warren","doi":"10.12801/1947-5403.2020.12.01.05","DOIUrl":"https://doi.org/10.12801/1947-5403.2020.12.01.05","url":null,"abstract":"In the Key of She is the title of my Leverhulme Trust Fellowship, exploring career experiences of female, female-identifying and gender minority electronic music (self) producers to shed light on the persistent male dominance of digital-creative cultural production. The music industry recognises its gender balance problem with various initiatives to balance festival and gig line-ups, such as the Keychange initiative. When we consider the more technical roles in the industry, things get even more unbalanced. For example, according to the Annenberg Inclusion Initiative, only around 2% of music producers are women (Smith et al. 2019). With electronic music production increasingly being seen as a source of reputational capital for contemporary DJs, if women are not producing and/or releasing their own tracks, they will struggle to compete with their male peers (Reitsamer 2011).","PeriodicalId":36263,"journal":{"name":"Dancecult","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77019358","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-16DOI: 10.12801/1947-5403.2020.12.01.07
Terje Toomistu, J. Heikkilä
{"title":"Transformation Through Connection? Insights From a Pilot Study of Story Sharing Cubes at Burning Man Events","authors":"Terje Toomistu, J. Heikkilä","doi":"10.12801/1947-5403.2020.12.01.07","DOIUrl":"https://doi.org/10.12801/1947-5403.2020.12.01.07","url":null,"abstract":"","PeriodicalId":36263,"journal":{"name":"Dancecult","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86923788","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-16DOI: 10.12801/1947-5403.2020.12.01.09
C. Charles
{"title":"Genre in Practice: Categories, Metadata and Music-Making in Psytrance Culture","authors":"C. Charles","doi":"10.12801/1947-5403.2020.12.01.09","DOIUrl":"https://doi.org/10.12801/1947-5403.2020.12.01.09","url":null,"abstract":"","PeriodicalId":36263,"journal":{"name":"Dancecult","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88062245","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-16DOI: 10.12801/1947-5403.2020.12.01.08
C. Christodoulou
This article focuses on the critical divergences between rhythm and repetition in contemporary drum ‘n’ bass music in three key ways. First, it shows how the characteristic “chopping” and acceleration of sampled break-beats emphasises continuity with the past, thereby placing the genre in a continuum of Black Atlantic cultural practice that articulates historical recuperation as a political priority, while signifying the discontinuity of time in an accelerated culture. Secondly, it addresses the persistent use of live break-beats as an impulse within the genre to emphasise competing discourses of authenticity in the context of Black Atlantic cultural memory. Thirdly, having examined the embodied performativity valorised in the sampling of live break-beats, the article shows how the critical valuation of rhythmic characteristics can function as a catalyst of genre mutation and sub-genre development in drum ‘n’ bass and other electronic dance music genres.
{"title":"Bring the Break-Beat Back! Authenticity and the Politics of Rhythm in Drum ‘n’ Bass","authors":"C. Christodoulou","doi":"10.12801/1947-5403.2020.12.01.08","DOIUrl":"https://doi.org/10.12801/1947-5403.2020.12.01.08","url":null,"abstract":"This article focuses on the critical divergences between rhythm and repetition in contemporary drum ‘n’ bass music in three key ways. First, it shows how the characteristic “chopping” and acceleration of sampled break-beats emphasises continuity with the past, thereby placing the genre in a continuum of Black Atlantic cultural practice that articulates historical recuperation as a political priority, while signifying the discontinuity of time in an accelerated culture. Secondly, it addresses the persistent use of live break-beats as an impulse within the genre to emphasise competing discourses of authenticity in the context of Black Atlantic cultural memory. Thirdly, having examined the embodied performativity valorised in the sampling of live break-beats, the article shows how the critical valuation of rhythmic characteristics can function as a catalyst of genre mutation and sub-genre development in drum ‘n’ bass and other electronic dance music genres.","PeriodicalId":36263,"journal":{"name":"Dancecult","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77807692","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-16DOI: 10.12801/1947-5403.2020.12.01.14
Graham St John
{"title":"Moon Juice Stomper: A Novel (Goa 1987-96) (Ray Castle)","authors":"Graham St John","doi":"10.12801/1947-5403.2020.12.01.14","DOIUrl":"https://doi.org/10.12801/1947-5403.2020.12.01.14","url":null,"abstract":"","PeriodicalId":36263,"journal":{"name":"Dancecult","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83820605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-11-11DOI: 10.12801/1947-5403.2019.11.01.09
Maria Perevedentseva
{"title":"The Relentless Pursuit of Tone: Timbre in Popular Music (Robert Fink, Melinda Latour & Zachary Wallmark, eds.)","authors":"Maria Perevedentseva","doi":"10.12801/1947-5403.2019.11.01.09","DOIUrl":"https://doi.org/10.12801/1947-5403.2019.11.01.09","url":null,"abstract":"","PeriodicalId":36263,"journal":{"name":"Dancecult","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79592122","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-11-11DOI: 10.12801/1947-5403.2019.11.01.04
Zoe Armour
This article begins with a reconsideration of the parameters of age in translocal EDM sound system and (super)club culture through the conceptualisation of a fluid multigenerationality in which attendees at EDM-events encompass a spectrum of ages from 0–75 years. Since the 1980s, it remains the case that the culture is fuelled through a constant influx of newcomers who are predominantly emerging youth, yet there are post-youth members in middle adulthood and later life that are also a growing body that continues to attend EDM-events. In this context, the baby rave initiative (2004–present) has capitalised on a gap in the family entertainment market and created a new chapter in (super)club and festival culture. I argue that the event is a catalyst for live heritage in which the accompanying children (aged from 0–12 years) temporarily become the beneficiaries of their parent’s attendee heritage and performance of an unauthored heritage.
{"title":"Baby Raves: Youth, Adulthood and Ageing in Contemporary British EDM Culture","authors":"Zoe Armour","doi":"10.12801/1947-5403.2019.11.01.04","DOIUrl":"https://doi.org/10.12801/1947-5403.2019.11.01.04","url":null,"abstract":"This article begins with a reconsideration of the parameters of age in translocal EDM sound system and (super)club culture through the conceptualisation of a fluid multigenerationality in which attendees at EDM-events encompass a spectrum of ages from 0–75 years. Since the 1980s, it remains the case that the culture is fuelled through a constant influx of newcomers who are predominantly emerging youth, yet there are post-youth members in middle adulthood and later life that are also a growing body that continues to attend EDM-events. In this context, the baby rave initiative (2004–present) has capitalised on a gap in the family entertainment market and created a new chapter in (super)club and festival culture. I argue that the event is a catalyst for live heritage in which the accompanying children (aged from 0–12 years) temporarily become the beneficiaries of their parent’s attendee heritage and performance of an unauthored heritage.","PeriodicalId":36263,"journal":{"name":"Dancecult","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83988494","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-11-11DOI: 10.12801/1947-5403.2019.11.01.03
Larissa Wodtke
The English duo Pet Shop Boys and American group LCD Soundsystem are notable for their representation as artists who entered and succeeded in the predominately youthful market of popular music and the hedonistic aesthetic of electronic dance music (EDM) at ages considered old for the industry: 32 for vocalists/lyricists Neil Tennant (Pet Shop Boys) and James Murphy (LCD Soundsystem). Neither of these bands makes straightforward EDM—Pet Shop Boys fall under pop and LCD Soundsystem can be considered post-punk—but both are influenced by the New York City dance scene of the late 70s and early 80s, and are characterized as ironic. I argue that Pet Shop Boys and LCD Soundsystem are ironic because of their belated, knowing position in a genre that privileges the infinite present and unproductive reproduction through repetition. In light of Lee Edelman’s claim that irony is the queerest of rhetorical devices, the ambivalence of Pet Shop Boys’ and LCD Soundsystem’s ostensible lack of youth and the youthful temporality of their EDM aesthetic place them in a queer tension between notions of immediate authenticity and the distance of age.
{"title":"The Irony and the Ecstasy: The Queer Ageing of Pet Shop Boys and LCD Soundsystem in Electronic Dance Music","authors":"Larissa Wodtke","doi":"10.12801/1947-5403.2019.11.01.03","DOIUrl":"https://doi.org/10.12801/1947-5403.2019.11.01.03","url":null,"abstract":"The English duo Pet Shop Boys and American group LCD Soundsystem are notable for their representation as artists who entered and succeeded in the predominately youthful market of popular music and the hedonistic aesthetic of electronic dance music (EDM) at ages considered old for the industry: 32 for vocalists/lyricists Neil Tennant (Pet Shop Boys) and James Murphy (LCD Soundsystem). Neither of these bands makes straightforward EDM—Pet Shop Boys fall under pop and LCD Soundsystem can be considered post-punk—but both are influenced by the New York City dance scene of the late 70s and early 80s, and are characterized as ironic. I argue that Pet Shop Boys and LCD Soundsystem are ironic because of their belated, knowing position in a genre that privileges the infinite present and unproductive reproduction through repetition. In light of Lee Edelman’s claim that irony is the queerest of rhetorical devices, the ambivalence of Pet Shop Boys’ and LCD Soundsystem’s ostensible lack of youth and the youthful temporality of their EDM aesthetic place them in a queer tension between notions of immediate authenticity and the distance of age.","PeriodicalId":36263,"journal":{"name":"Dancecult","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89528009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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