This chapter investigates the ‘bass music’ genres of dubstep and trap at massive North American festivals in the 2010s, an era in which DJ sets were characterised by a sensationalised moment known as ‘the drop’. It begins by demonstrating that the sense of rupture delivered by the drop is emmeshed with social and musical disputes (especially in online festival groups). The chapter then examines the gendered dimensions of the bass music drop. It ends by considering bass music’s #MeToo moment of reckoning regarding alleged sexual misconduct by the dubstep producer-DJ Datsik. In doing so, the chapter suggests that despite previous and ongoing associations with unity, transcendence, and escapism, EDM is sometimes unable to escape the divisions and ills of the world as it is. Rather than ignoring the dark sides of EDM culture through affirmative scholarship, our field would benefit from a critical turn and methodological innovation.

Industry figures show that whilst most attendees at electronic dance music events are young adults, older people are also participating. The changing demographic destabilises conventional readings of a culture hitherto associated with youth and reveals the shifting priorities and expectations of older people in relation to (sub)cultural participation. This chapter investigates the impact of this emerging trend and examines the role clubbing plays in the lives of older people. Drawing on the perspectives of participants over forty, it highlights the contradictory attitudes that circulate around the topic of club culture and ageing. Whilst the reported benefits of participation are significant, older people’s presence provokes polarised views and notions of belonging in the scene can be undermined by concerns about fitting in, appearance and feeling ‘othered’. The discussion foregrounds these tensions and explore the ways in which older people’s participation in club culture is provoking change.

Based on ethnographic research in Berlin and further research into early rave cultures, this chapter addresses the commercialisation of the techno rave in Berlin as part of wider transformational processes, and as a source for protests movements that promoted alternative visions, economies, and practices of rave such as free parties, teknivals, and parades. That Berlin was ‘poor but sexy’ became the city’s leitmotif from 2003 onwards, when Berlin was still cheap and grimy. Rich with creative potential, it was just starting to attract foreign investors. In the aftermath, Berlin was embedded in a global tourism industry to market its urban identity, also through its electronic dance music cultures. The discussion shows how music and culture are entangled with political-economic processes of neoliberal capitalism and how these are contested through counter cultural practices linked with electronic dance music. Gentrification and commodification of culture continue to be pressing topics in urban Europe at large and reverberate in the musical genres at stake.

Flow is a concept used in studies of electronic dance music to articulate a range of social and bodily experiences on dance floors, centred around the musical performances of DJs. It is also used in other scholarly fields and applied in therapeutic and corporate contexts. The catch-all, plural, and positive quality of the concept makes flow easy to apply to many settings and phenomena. This chapter examines flow experiences on dance floors in conjunction with existing notions that club cultures epitomise neoliberal conceptions of creative labour. Overall, it suggests that capitalist logics of flow configure a social environment on dance floors where people can enjoy themselves with others while looking inward, rather than reaching outward in the pursuit of action and social change.

Offering a brief overview of electronic dance music formations, this chapter not only addresses readers who are new to the subject but also experienced participants and researchers who wish to engage with the topic from a broad perspective. In doing so, we offer a consolidation of issues in the development and definitions of extant genres and subgenres that constitute electronic dance music cultures. Drawing out common threads across these genres, the introduction locates several theoretical themes that can be found woven through electronic dance music research, such as immersion, liveness, musicking, technological affordances and affect, as well as challenges of various research methodologies and discourses in this area. Finally, we conclude with an overview of the volume in terms of dance settings, global and local contexts, genre aesthetics, production practices, embodied subjectivities and identities.

This chapter explores the pivotal role of DJs in shaping electronic dance music through their dual function as curators and innovators in the genre’s evolution. The discussion traces the DJ’s influence from the early days of synthesised music, through the post-disco era, to contemporary digital practices. It emphasises how DJs, through their record collections and live performances, drive genre formation and preservation. Examples include the archival work of Frankie Knuckles and Sven Väth, and the establishment of the Museum of Modern Electronic Music (MOMEM). Fiketscher argues that DJs’ extensive music collections and their role in curating and presenting music are crucial in documenting and defining dance music history. This comprehensive view highlights DJs as both historical archivists and genre-defining artists in electronic dance music.

The appropriation of black creativity has long driven the development of electronic dance music. While the electronic aspect of EDM, its distinctive relation to audio and computer technology, may seem an exception, a coherent discourse based in Afro-futurism sees black appropriation of technologies usually coded ‘white’ as itself creative, a form of bricolage that repurposes obsolete or deprecated technologies through transformative misuse. Tracking the evolution of this ‘secret technology’ requires careful attention to both dance music’s black roots and its silicon-coloured offshoots. Focusing on the technological underpinnings of acid house, UK rave, and breakbeat hardcore, this survey uses historical sources, technical manuals, and first-hand accounts to explore in detail how micro-generations of EDM producers built upon each other’s mistakes, turning the weaknesses of obsolete devices like the Roland TB-303 bassline synth, the Akai S950 digital sampler, and the Commodore Amiga PC into spurs for sonic innovation.

This chapter addresses issues in genre classification of electronic dance music. The discussion is particularly focused on how the genre negotiation of the techno genre is shaped by socio-cultural contexts and processes as it developed from specific localities and spaces to current online community-building and tagging practices. After locating the research context in genre theory, the chapter first evaluates historical narratives of the development of techno and argues that genre histories and categories are forged by the dynamic between genre cultures and the music industry. The engagement with genre definitions in the online world is addressed through a case study of an automatic genre classification and clustering algorithm that predicts stylistic repertoires of techno labels on the music distribution platform Bandcamp. The discussion leads to an understanding of how user-generated folksonomies enable DJs and producers to destabilise industry-prescribed taxonomies while remaining distinct from dominant forms of techno.

This chapter delves into the evolution of the modern circus, shedding light on its intricate interplay between national origins and international influences. While the genesis of the modern circus can be traced back to specific national contexts, it undeniably tapped into global connections and exotic imagery to craft narratives of national identity. While prior scholarship has extensively explored the emergence of the modern circus in the eighteenth century and its subsequent flourishing during the Georgian and Victorian eras, this chapter examines its quest for identity as it entered the twentieth century. Originally amalgamating rougher traditions associated with fairs and theatres, the modern circus found itself at a crossroads amidst the burgeoning influence of American mass culture. This juncture marked a pivotal moment for the circus, prompting cultural elites in Britain and Germany to reevaluate its direction. Circus directors, performers and fan associations embarked on a mission to redefine the essence of the modern circus. The aftermath of the First World War served as a catalyst for this reformation, as it engendered a renewed emphasis on professionalism and national heritage, while circuses were also competing for audience attention. Against a backdrop of economic, social and political upheaval, the modern circus in Britain and Germany underwent a profound metamorphosis, reinventing itself to align with shifting public sentiments and aspirations. The dynamics of domestic and international circus travel further shaped the evolution of the modern circus during this transformative period, highlighting its adaptability and resilience in the face of changing societal landscapes.

Chapter four elucidates contrasting approaches to the portrayal of difference in the British and German circuses during the interwar period. While the British circus showcased imperial subjects, the German circus tapped into anti-imperial themes to captivate audiences. Central to this dynamic was the fascination with American Indians, revered as symbols of exoticism and noble savagery within the German circus scene. The chapter delves into the profound impact of Native American culture on the German circus, exploring how it fuelled public enthusiasm and shaped circus performances. In interwar Germany, where imperial aspirations were connected to debates over the loss of its colonial possessions, Wild West shows featuring Native Americans emerged as a powerful anti-imperial fantasy. At the forefront of this phenomenon was the Sarrasani Circus, notably led by director Hans Stosch-Sarrasani senior, who himself embraced a cowboy persona. Through authentic encounters with Lakota performers from the Pine Ridge Reservation, framed as kindred spirits of the German people, the circus offered audiences a glimpse into a romanticised frontier world. By situating this spectacle within a transnational framework of imperial othering, the chapter reveals how both imperial and anti-imperial motifs operated within the same cultural context. Furthermore, it underscores the disparity between the idealised portrayal of American Indians in the circus and the harsh realities faced by the Lakota Indians residing on American reservations.

European animal trainers portrayed themselves as ‘Orientals’ while demonstrating their prowess with wild animals. Positioned at the crossroads of gender and imperial studies, this chapter unveils the intricate dynamics of these trainers’ agency in orchestrating performances with wild animals. Central to the argument is the assertion that these animal trainers strategically employed ‘Oriental’ motifs to anchor national spectacles within the framework of the modern circus. Against the backdrop of the interwar period, characterised by the reliance of circuses on international and, to some extent, global networks, the prominence of ‘Oriental’ themes in the display of wild animals soared. However, far from being mere exotic superfluities, these representations served a dual purpose: they not only catered to international tastes but also bolstered national identities, particularly in Germany and Britain. By presenting themselves as compassionate guardians of wildlife while simultaneously revealing their ferocity within the ring, these performances provided audiences with a reflection of their own national character. In essence, this chapter unveils the complex interplay between exoticism, national identity and the public’s perception of wildlife, shedding light on the nuanced ways in which the modern circus navigated the currents of global culture and imperial ideologies.

The modern circus emerged as a captivating spectacle, showcasing acts from across the globe – a vibrant amalgamation of diverse individuals, animals and daring feats. Worlds of the ring contends that these displays of diversity served as affirmations of national symbols, practices and narratives. This introductory chapter unveils a previously overlooked cultural history of the circus in Britain and Germany during the interwar period, contributing a fresh perspective to the study of popular culture. It explores the early manifestations of cultural globalisation, highlighting the circus as a microcosm of interwar popular entertainment. Circuses functioned as catalysts for social discourse and the construction of national identity. Performers, directors and audiences engaged in lively negotiations surrounding contemporary visions of nationality and its others. The chapter delves into the intricate relationship between the construction of the nation and the foreign others presented within the German and British circus, offering a dynamic stage for interwar debates.