dancecult vol. 1 no. 2 out. toc:

Making a Noise – Making a Difference: Techno-Punk and Terra-ism
Graham St John
Technics, Precarity and Exodus in Rave Culture
tobias c. van Veen
The Aesthetics of Protest in UK Rave
Ramzy Alwakeel
Memory and Nostalgia in Youth Music Cultures: Finding the Vibe in the San Francisco Bay Area Rave Scene, 2002-2004
Eileen M Wu
The History of Our World: The Hardcore Continuum Debate
Simon Reynolds
“Let’s Have At It!”: Conversations with EDM Producers Kate Simko and DJ Denise

Rebekah Farrugia
From the Floor
Sound System Nation: Jamaica
Graham St John
Capturing the Vision at California's Symbiosis Festival
Pascal Querner
Reggaeton (Rivera, Marshall and Hernandez)
Alejandro L. Madrid
Rave Culture: The Alteration and Decline of a Philadelphia Music Scene (Anderson)
Beate Peter
Club Cultures: Boundaries, Identities and Otherness (Rief)
Fiona Hutton
Review Essay: Run Lola Run and Berlin Calling
Sean Nye



term commences.


journal of punk and post-punk cfp

call for papers for the inaugural issue:

Punk & Post-Punk is a new peer-reviewed journal serving the international academic, industry and journalistic communities engaged with punk and post-punk culture. It explores the concepts of ‘alternative’ and ‘independent’ established during the punk explosion and developed through the ensuing post-punk era. Punk remains among the most significant and influential popular culture phenomena of the last forty years. Complementing the journal’s historical focus, therefore, is a prominent contemporary aspect. This considers how punk and post-punk’s ethos and aesthetic are absorbed into the present and projected into the future.

Article submissions:
We invite students of the punk and post-punk eras, as well as those from related disciplines into which punk’s influence has fed – including researchers, teachers and practitioners – to contribute to the first issue of Punk & Post-Punk. We welcome papers exploring punk’s impact on the wider culture beyond music, including the arts, language, iconography, sociology and gender and race
issues. We particularly encourage papers discussing regional and international differentiation and contribution. Similarly, each issue will aim to feature at least one paper in which relevant visual imagery will be a major component.

Articles should be between 4,000 and 6,000 words in length. Topics may include
(but are not limited to):
• Etymology and Language
• Genre Definition and Development
• Antecedents and ‘proto-punk’ influences
• Methodologies and theories appropriate for research and study in this field
• Industrial structures and practices in relation to production
• Gender, class and race issues
• Comparative study between nations or regions, cultures and industries
• Associated cultural industries including fanzines and fashion
• Performance of Style
• Concepts of Independence
• Modernist and Post-Modernist influence
• Global impact and Inclusion
• Performance authenticity
• Archival Approaches

Potential contributors should send a 200-word abstract to co-editor Dr Philip Kiszely at P.Kiszely at leeds.ac.uk. A prompt response will assess eligibility for inclusion and provide writer’s guidelines. The deadline for submitting completed articles for peer-review is 31 December 2010.
Punk &Post-Punk will be officially launched at the University of Leeds in
September 2011.


sayanora records - more brilliant japanese breakcore netlabel tunage.


meconium: rehab schmehab

on illphabetik, i think 2010.


Jessica Wood. 2010. "The Darknet: A Digital Copyright Revolution." Richmond Journal of Law and Technology vol. 16, no. 14.

intro reads:

[1] We are in the midst of a digital revolution. In this "Age of Peer Production," armies of amateur participants demand the freedom to rip, remix, and share their own digital culture. Aided by the newest iteration of file sharing networks, digital media users now have the option to retreat underground, by using secure, private, and anonymous file sharing networks, to share freely and breathe new life into digital media. These underground networks, collectively termed "the Darknet[,] will grow in scope, resilience, and effectiveness in direct proportion to [increasing] digital restrictions the public finds untenable." The Darknet has been called the public's great equalizing force in the digital millennium, because it will serve as "a counterbalancing force and bulwark to defend digital liberties" against forces lobbying for stronger copyrights and increased technological controls.

[2] This article proposes a digital use exception to existing copyright law to provide adequate compensation to authors while promoting technological innovation, and the creation and dissemination of new works. Although seemingly counterintuitive,
content producers, publishers, and distributors wishing to profit from their creations must relinquish their control over digital media in order to survive the Darknet era. Absent a government-granted monopoly, free market forces will provide adequate incentives to producers to create quality works, and an efficient dissemination
infrastructure will evolve.

[3] Part I examines the prospect that, due to the Darknet, it is virtually impossible to control digital copying. Peer production is increasing and darknets are becoming more prevalent. Liability rules, stringent copyrights, and technological protection measures stifle innovation, smother creation, and force consumers further underground into darknets. The Darknet poses a particular threat because it is impossible to track or proscribe user behavior. Further, the presence of the Darknet will render technological protection measures unenforceable, or at least impracticable, as a solution for digital copyright management. Part II introduces a digital use exception for copyright to deter development of the Darknet. The proposed copyright shelter is the solution most closely aligned with the goals of copyright, and a monopoly is no longer necessary or practical to accomplish those goals in the digital realm. Part III explores methods by which content creators, publishers, and distributors can profit under this new rule. Absent copyrights for digital works, service providers will capitalize on alternative business methods and data mining. Driven by necessity, they will commission the production of new works.


phuq on bad sekta from january. more info and tons more tunes here.


polish speedcore netlabel smokeskull records and their sublabel napierdalatornia ceased operations on june 8th. this links to their entire archive.





otherman records. japanese breakcore netlabel.