Dancecult: Journal of Electronic Dance Music Culture
https://dj.dancecult.net:443/index.php/dancecult
<p><em>Dancecult</em> 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. To get started, <a href="/index.php/journal/user/register?source=" target="_blank" rel="noopener">register here</a>. Join the Dancecult-l <a href="http://listcultures.org/mailman/listinfo/dancecult-l_listcultures.org" target="_blank" rel="noopener">mailing list</a>. Or visit the <a href="https://www.facebook.com/Dancecult/">Dancecult Facebook Page</a>.</p> <p><em>Dancecult </em>is an activity of the <a title="Dancecult Research Network" href="https://dancecult-research.net" target="_blank" rel="noopener">Dancecult Research Network</a> whose webportal features a moderated user-updatable reference archive with EDMC researcher profiles and resource lists. Note. When the DRN webportal was re-launched in June 2018, all profiles and references archived in 2010 were migrated. Please update profiles and submit entries to the <a title="People" href="https://dancecult-research.net/people/" target="_blank" rel="noopener">People</a> & <a title="References" href="https://dancecult-research.net/references/" target="_blank" rel="noopener">References</a> lists (under Resources). </p> <p> </p> <p><a href="https://dancecult-research.net/" target="_blank" rel="noopener"><img class="center" src="/public/site/images/bvitos/DNR-Logo-Text-Final.png" alt="Dancecult Research Network"></a></p>en-USDancecult: Journal of Electronic Dance Music Culture1947-5403Authors who publish with this journal agree to the following terms:<ol type="a"><li>Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a <a href="http://creativecommons.org/licenses/by-nc-sa/3.0/" target="_new">Creative Commons Attribution-Noncommercial-Share Alike License</a> that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.</li><li>Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g. post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal. Such derivate works or subsequent publications must happen no less than one calendar year after the initial publication date in <em>Dancecult</em>.</li><li>Authors are permitted and encouraged to post their work online (e.g. in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See <a href="http://opcit.eprints.org/oacitation-biblio.html" target="_new">The Effect of Open Access</a>).</li></ol>Ten Years of Dancecult
https://dj.dancecult.net:443/index.php/dancecult/article/view/1155
Graham St John
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2019-11-112019-11-111111–21–210.12801/1947-5403.2019.11.01.00Introduction to Ageing with EDMC
https://dj.dancecult.net:443/index.php/dancecult/article/view/1154
David Madden
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2019-11-112019-11-111113–63–610.12801/1947-5403.2019.11.01.01Being and Performing "Older" Woman in Electronic Dance Movement Culture
https://dj.dancecult.net:443/index.php/dancecult/article/view/1130
<p>This article foregrounds the accounts of a cohort of clubbers who are largely ignored both by journalists and scholars alike. 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. It examines the materiality of their participation and their tactical responses to being in an environment that has been associated traditionally with youth. 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. As such this article represents a first step in addressing a significant gap in understanding women’s engagement with dance cultures as they mature.</p>Alice O'GradyAnna Madill
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2019-11-112019-11-111117–297–2910.12801/1947-5403.2019.11.01.02The Irony and the Ecstasy
https://dj.dancecult.net:443/index.php/dancecult/article/view/1131
<p>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 <em>because</em> 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.</p>Larissa Wodtke
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2019-11-112019-11-1111130–5230–5210.12801/1947-5403.2019.11.01.03Baby Raves
https://dj.dancecult.net:443/index.php/dancecult/article/view/1134
<p>This article begins with a reconsideration of the parameters of <em>age</em> in translocal EDM sound system and (super)club culture through the conceptualisation of a <em>fluid multigenerationality</em> in which attendees at <em>EDM-events</em> 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 <em>baby rave</em> 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 <em>live heritage </em>in which the accompanying children (aged from 0–12 years) temporarily become the beneficiaries of their parent’s <em>attendee heritage</em> and performance of an <em>unauthored</em><em> heritage.</em></p>Zoe Armour
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2019-11-112019-11-1111153–7153–7110.12801/1947-5403.2019.11.01.04A Danceable Shower of Bullets
https://dj.dancecult.net:443/index.php/dancecult/article/view/952
<p>The processes that lead from <em>volt-mix</em> to <em>tamborzão</em>, two <em>bases</em> (beats) of <em>funk carioca</em> (funk from the greater Rio de Janeiro city), are analysed with reference to Pierre Schaeffer’s <em>typo-morphology of sonic objects </em>(1966). Such transformations are viewed as instances of Gilbert Simondon’s <em>concretization </em>(1958). They are synchronous with changes in the geopolitics and human geography of <em>bailes funk</em> (funk dances). As the volt-mix morphs into the <em>tamborzão</em>, the epicentre of these events moves from clubs in the suburbs and periphery to favelas, and <em>funkeiros</em> (funksters) become subjected to tensions arising from control of their spaces by rival factions of illicit substance retailers. These shifts coincide with the rise of a human character, the <em>neurótico</em> (neurotic), and with the collective feeling of <em>neurose</em> (neurosis) associated with circulating in those territories, as Carla Mattos’s ethnography demonstrates (2006).</p>Carlos Palombini
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2019-11-112019-11-1111172–9672–9610.12801/1947-5403.2019.11.01.05Boom Bap, Trap and Ageing in Belo Horizonte's Rap Music Scene
https://dj.dancecult.net:443/index.php/dancecult/article/view/1142
Michel Antônio Brasil Teixeira
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2019-11-112019-11-1111110.12801/1947-5403.2019.11.01.11An Interview with Genesis Breyer P-Orridge
https://dj.dancecult.net:443/index.php/dancecult/article/view/1147
Tristan Rodin Kneschke
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2019-11-112019-11-1111110.12801/1947-5403.2019.11.01.12Travellers and Sound System Protest
https://dj.dancecult.net:443/index.php/dancecult/article/view/1146
Dave Payling
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2019-11-112019-11-1111110.12801/1947-5403.2019.11.01.13Death of/in British Drum 'n' Bass Music
https://dj.dancecult.net:443/index.php/dancecult/article/view/966
Alistair Fraser
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2019-11-112019-11-1111110.12801/1947-5403.2019.11.01.14Have Things Really Changed, or Is It Just Me?
https://dj.dancecult.net:443/index.php/dancecult/article/view/1148
Donna Cynthia Bentley
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2019-11-112019-11-1111110.12801/1947-5403.2019.11.01.15My Practice of Live Performance of Spatial Electronic Dance Music
https://dj.dancecult.net:443/index.php/dancecult/article/view/973
Sebastien Lavoie
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2019-11-112019-11-1111110.12801/1947-5403.2019.11.01.16Raving Iran (Susanne Regina Meures, dir.)
https://dj.dancecult.net:443/index.php/dancecult/article/view/1160
Gay Jennifer Breyley
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2019-11-112019-11-1111197–10097–10010.12801/1947-5403.2019.11.01.06Sweet Harmony: Rave|Today (Philly Adams & Kobi Prempeh, curs.)
https://dj.dancecult.net:443/index.php/dancecult/article/view/1158
Chris Christodoulou
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2019-11-112019-11-11111101–102101–10210.12801/1947-5403.2019.11.01.07Popular Viennese Electronic Music, 1990–2015: A Cultural History (Ewa Mazierska)
https://dj.dancecult.net:443/index.php/dancecult/article/view/1156
Anita Jori
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2019-10-302019-10-30111103–106103–10610.12801/1947-5403.2019.11.01.08The Relentless Pursuit of Tone: Timbre in Popular Music (Robert Fink, Melinda Latour & Zachary Wallmark, eds.)
https://dj.dancecult.net:443/index.php/dancecult/article/view/1157
Maria Perevedentseva
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2019-11-112019-11-11111107–111107–11110.12801/1947-5403.2019.11.01.09Fyre Fraud (Jenner Furst & Julia Willoughby Nason, dirs.) & Fyre: The Greatest Party That Never Happened (Chris Smith, dir.)
https://dj.dancecult.net:443/index.php/dancecult/article/view/1159
Tommy Colton Symmes
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2019-11-112019-11-11111112–116112–11610.12801/1947-5403.2019.11.01.10