Dazed Magazineのインスタグラム(dazed) - 8月5日 22時59分
“The cultural capital embedded in dance music makes it a rich target for capitalism, which in turn absorbs that radical energy into itself and quietly deradicalises it” – @ehgillett 🙃
As journalist Ed Gillett explores in his excellent new non-fiction book Party Lines: Dance Music and the Making of Modern Britain, club culture’s position in society has shifted over the decades: in a continuous cycle, it is repressed and then reappropriated.
First, the authorities try to stamp it out, then they leverage its anarchic spirit in the service of profit. By broadening his scope beyond the rave era specifically, Gillett upends a number of popular myths about the history of dance music.
Rather than positioning it as a spontaneous eruption which exploded in 1989, he traces its roots further back to Black British sound system culture and the New Age Traveller movement of the 60s and 70s.
"There’s something inherently political about a group of people taking control of a space without necessarily having the approval of mainstream society. That could be a marginalised community finding a space of solace and peace for a night; it could mean mobilising 30,000 people to go and seize a piece of common land.”
Read the full interview through the link in our bio 📷
✍️ @jamesduncangrieg
📷 Darren Regnier, Tom Oldham, Paul Massey, Tristan O’Neill, Michael G Williams, Jason Manning, Pav Mxski via Getty
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