Global Dance Cultures In The 1970s And 1980s
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Global Dance Cultures in the 1970s and 1980s
This book explores some of disco’s other lives which thrived between the 1970s and the 1980s, from oil-boom Nigeria to socialist Czechoslovakia, from post-colonial India to war-torn Lebanon. It charts the translation of disco as a cultural form into musical, geo-political, ideological and sociological landscapes that fall outside of its original conditions of production and reception, capturing the variety of scenes, contexts and reasons for which disco took on diverse dimensions in its global journey. With its deep repercussions in visual culture, gender politics, and successive forms of popular music, art, fashion and style, disco as a musical genre and dance culture is exemplary of how a subversive, marginal scene – that of queer and Black New York undergrounds in the early 1970s – turned into a mainstream cultural industry. As it exploded, atomised and travelled, disco served a number of different agendas; its aesthetic rootedness in ideas of pleasure, transgression and escapism and its formal malleability, constructed around a four-on-the-floor beat, allowed it to permeate a variety of local scenes for whom the meaning of disco shifted, sometimes in unexpected and radical ways.
Drugs Unlimited
The very first thing ever bought or sold on the Internet was marijuana, when Stanford and MIT students used ARPANET to cut a deal in the early '70s. Today, you can order any conceivable pill or powder with the click of a mouse. In Drugs Unlimited, Mike Power tells the tale of drugs in the Internet Age, in which users have outmaneuvered law enforcement, breached international borders, and created a massive worldwide black market. But the online market in narcotics isn't just changing the way drugs are bought and sold; it's changing the nature of drugs themselves. Enterprising dealers are using the Web to engage highly skilled foreign chemists to tweak the chemical structures of banned drugs—just enough to create a similar effect and just enough to render them legal in most parts of the world. Drugs are marketed as "not for human consumption," but everyone knows exactly how they're going to be used—what they can't know is whether their use might prove fatal. From dancefloors to the offices of apathetic government officials, via social networking sites and underground labs, Power explores this agile, international, virtual subculture that will always be one step ahead of the law.
Culture, Creativity and Economy
This book nuances our understanding of the contemporary creative economy by engaging with a set of three key tensions which emerged over the course of eight European Colloquiums on Culture, Creativity and Economy (CCE): 1) the tension between individual and collaborative creative practices, 2) the tension between tradition and innovation, and 3) the tension between isolated and interconnected spaces of creativity. Rather than focusing on specific processes, such as production, industries or locations, the tensions acknowledge and engage with the messy and restless nature of the creative economy. Individual chapters offer insights into poorly understood practices, locations and contexts such as co-working spaces in Berlin and rural Spain, creative businesses in Leicester and the role and importance of cultural intermediaries in creative economies within Africa. Others examine the nature of trans-local cultural flows, the evolving "field" of fashion, and the implications of social media and crowdfunding platforms. This book will be of interest to students, scholars and professionals researching the creative economy, as well as specific cultural and creative industries, across the humanities and social sciences.