Popular Music Fandom
Identities, Roles and Practices (Mark Duffett ed)
Bibliographic Data
| ID | 7743165 |
|---|---|
| Authors | Jadey O'Regan (Griffith University, corresponding author) |
| Year | 2004 |
| Volume | 6 |
| Issue | 2 |
| Pages | 76-78 |
| Publication date | 2004-01-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Dancecult (JOURNAL) |
| Journal identifiers | ISSN: 1947-5403 • E-ISSN: 1947-5403 |
| Publisher | Maynooth University (PUBLISHER) |
| DOI | 10.12801/1947-5403.2014.06.02.08 |
| OpenAlex | W1983033676 |
| Language | EN |
| References cited | 4 |
An absolute insider of the international underground electronic music scene for 20 years or so, Riccardo Balli is the best conceivable Charon for those who weren't there and want to get at least a flavour of what it was-and still is-all about. But beware, Balli is neither a music critic nor a music historian. Rather, a DJ, label owner, composer, novelist, live performer and, above all, a relentless experimenter in every domain of cultural production, Balli has now released a book whose main aim is to resist historification-a process which, as anyone acquainted with the Situationists knows, is inherently akin to museification and death (or, worse, sell out)
Art · Fandom · Media studies · Sociology · Asian Culture and Media Studies · Media, Gender, and Advertising · Music History and Culture
| Highly cited | No |
|---|