Table of Contents

1. Cover
2. Title
3. Copyright
4. Dedication
5. List of Plates
6. List of Figures
7. Acknowledgements
8. 1  The Distinctions of Cultures Without Distinction
   1. Introduction
   2. Youth and their Social Spaces
9. 2  Authenticities from Record Hops to Raves (and the History of Disc Culture)
   1. The Authentication of a Mass Medium
   2. Industrial Forces, Musician Resistance and ‘Live’ Ideology
   3. ‘Real’ Events and Altered Spaces
   4. Disc Jockeys and Social Sounds
   5. The Authenticities of Dance Genres
   6. The Response of the ‘Live’ Gig
   7. Conclusion
10. 3  Exploring the Meaning of the Mainstream (or why Sharon and Tracy Dance around their Handbags)
    1. A Night of Research
    2. Academic Accounts of the Cultural Organization of Youth
    3. The Social Logic of Subcultural Capital
    4. Participation versus Observation of Dance Crowds
    5. Conclusion
11. 4  The Media Development of ‘Subcultures’ (or the Sensational Story of ‘Acid House’)
    1. The Underground versus the Overexposed
    2. Mass Media: ‘Selling Out’ and ‘Moral Panic’
    3. Micro-Media: Flyers, Listings, Fanzines, Pirates
    4. Niche Media: the Editorial Search for Subcultures
    5. Conclusion
12. Afterword
13. Bibliography
14. Index
15. End User License Agreement

List of Illustrations

1. 1 The Distinctions of Cultures Without Distinction
   1. Figure 1 Dance versus other entertainments 1979–94 (million admissions) (Source: Leisure Consultants)
   2. Plates 1 and 2 Two ‘mould-breaking’ raves held just ten miles apart on 26–7 August 1989. (1) Five thousand ravers at World Dance party just before sunrise (2) A few hours later eight hundred clubbers greet the dawn at Boy’s Own party near East Grinstead.
      (Photographs: David Swindells)
2. 2 Authenticities from Record Hops to Raves (and the History of Disc Culture)
   1. Figure 2 Axes of authenticity
   2. Plate 3 One of the first instances of records made specifically for the public dancefloor. In 1950 ‘Danceland Records’, allegedly payrolled by Mecca Ballrooms, advertised the sovereignty and savings that their releases afforded dancehall operators.
      (Reproduced by kind permission of the Musicians’ Union)
   3. Plate 4 In the late eighties DJs worried about the death of vinyl as a threat to the value of their record collections, mixing skills and livelihood. By the mid-nineties most DJs had come to use CDs, although the twelve-inch record was still their preferred medium.
3. 3 Exploring the Meaning of the Mainstream (or why Sharon and Tracy Dance around their Handbags)
   1. Figure 3 The academic divides of youth culture
4. 4 The Media Development of ‘Subcultures’ (or the Sensational Story of ‘Acid House’)
   1. Plate 5 Front-page coverage of the rave scene, June 1989. The caption read: ‘Night of Ecstasy … thrill-seeking youngsters in a dance frenzy at the secret party attended by more than 11,000’ (Reproduced by kind permission of the Sun)
   2. Plate 6 A selection of flyers from 1988–89
      (Photograph: David Swindells)
   3. Plate 7 DJ Danny Rampling and his devotees at Shoom just after the club changed its name to Joy because it had received too much media exposure. (Photograph: David Swindells)

Guide

1. Cover
2. Table of Contents
3. Begin Reading