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By Jeremy Gilbert

Experiencing disco, hip hop, condo, techno, drum 'n' bass and storage, Discographies plots a direction during the transatlantic dance scene of the final final twenty-five years. It discusses the issues posed by means of modern dance tradition of either educational and cultural examine and unearths those origins within the historical past of competition to track as a resource of sensory pleasure.Discussing such matters as expertise, membership house. medicinal drugs, the musical physique, gender, sexuality and delight, Discographies explores the ecstatic stories on the center of up to date dance tradition. It indicates why politicians and organisations as diversified because the self reliant song press and public broadcasting can be so antagonistic to this cultural phenomenon.

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Discographies: Dance Music Culture and the Politics of Sound

Experiencing disco, hip hop, residence, techno, drum 'n' bass and storage, Discographies plots a direction in the course of the transatlantic dance scene of the final final twenty-five years. It discusses the issues posed via modern dance tradition of either educational and cultural learn and unearths those origins within the heritage of competition to song as a resource of sensory excitement.

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In ‘A night of research’,68 Thornton describes a visit to several clubs with one of the people she has met in the course of her investigations. In the name of 17 DISCOGRAPHIES research she and her guide share an MDMA capsule (a rather daring admission for an academic). We go to the toilets, cram into a cubicle where Kate opens the capsule and divides the contents. I put my share in my glass and drink. I’m not a personal fan of drugs—I worry about my brain cells. When the author is out researching, she claims to be both participating and observing, but can only account for the latter activity.

Pp. 383–98. , p. 398. See Goldman, Disco, p. 153. Andrew Holleran, Dancer From the Dance (London, Jonathan Cape, 1979), p. 38. Reynolds, ‘Rave Culture’, pp. 102–11. , p. 111. Alan Sheridan (London,Tavistock Publications, 1975); and Paul Willis, Profane Culture (London, Routledge, 1978). 87 See Brian Longhurst, Popular Music and Society (Cambridge, Polity, 1995), pp. 210–25. 88 Hebdige, Subculture, p. 122. 89 Simon Reynolds and Joy Press, The Sex Revolts (London, Serpent’s Tail, 1995), p. 39. 90 It was certainly the case that tabloid coverage, hysterical and tempting in turns, fuelled the rapid career of the rave movement from 1988–90, as Jane Bussman points out: ‘In autumn 1988, the tabloids announced a drugs for drugs’ sake free-for-all: just turn up and pop a pill.

Ripped on coke, speed and alcohol, he manages to spend a day and a night in Times Square. The article closes with a similar pay-off to its predecessor too. Having allowed him to spend some time within it, the street ultimately spits Cohn out, albeit more violently than the disco. Having survived twenty-four hours on the streets, at the moment of victory he meets his nemesis, a drunken woman who punches him out. Then somehow her eye caught mine, and she jumped to her feet, incensed. Red faced with fury, hands shaking in wildest outrage, the woman pointed at my face, and then at my paper bag.

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