"Using a concept she calls authenticity maneuvering to explain how clubs, clubbers, and DJs navigate authenticity, branding, and commercialism, Danielle Hidalgo argues that the strategic use of a rave ethos bolsters acceptance in dance music spaces while also making commercial practices less visible or problematic"--.

• Cover
• Half Title
• Series Page
• Title Page
• Copyright Page
• Dedication
• Contents
• List of Figures
• List of Figures
• Acknowledgments
• Introduction
  • The Project and Its Significance
    • The Literature and Methods Used: “I Just Believe House Is the Mother of Them All”
    • The Data Collection
  • Chapter Summaries
  • Notes
• Chapter 1: Experiencing Bliss: Spaces of Respite, Release, and Transcendence in Dance Music
  • PLUR and Contemporary Dance Music
  • The “Love” Messaging
    • Rethinking Our Temporal Dimensions: “Leaving time behind for a little while”
    • Slipping into Another Space, Even Momentarily
    • Crossing Boundaries: “Where You’re Absolutely Free”
    • Leaving Better than We Came: Timelessness as Necessary
  • Where the Dance Music Industry Fails
  • The “Bro” Side of Dance Music v. Its DIY History and House Music
  • Conclusions
  • Notes
• Chapter 2: The Blessed Madonna, Honey Dijon, and Peggy Gou: Different Kinds of DJs
  • The Blessed Madonna: A Different Kind of DJ
  • Honey Dijon: #honeyfuckingdijon Takes on Dance Music
  • Peggy Gou: The Age of Gou-Mania
  • Conclusions
  • Notes
• Chapter 3: Contemporary Dance Music Spaces and Their Dance Floors: A Snapshot
  • NYE 2017/2018
  • NYE 2018/2019
  • A Postrave Era: Making Sense of Today’s Dance Music Spaces
  • PLUR and the Dance Floor: Then and Now
  • Connecting on the Dance Floor: “God isn’t silent. God is loud”
  • Warm, Loving Interactions with Strangers
  • Leaving Better than We Came
    • Curbing Harassment on the Dance Floor
      • How Alcohol and Harassment Operates
      • Dancing into Timelessness
  • Less or No Connection on the Dance Floor
    • New Technologies: Smartphones On and Off the Dance Floor
    • Celebrity DJs and the Dance Floor
  • Conclusions
  • Notes
• Chapter 4: “We Still Believe. Do You?”: Navigating and Challenging the Business of Contemporary Dance Music
  • Navigating the Business of Contemporary Dance Music
    • How Social Media Transformed Club Culture
    • DJs’ Branding: Making Money on Fame
  • “We Still Believe. Do You?”: Challenging the Business of Contemporary Dance Music
    • Authenticity Maneuvering in Practice
      • DJs Using Their Platform for Activism, Personal Empowerment, and Love: “Making the World that I Am Advocating For”
      • Love Yourself and Each Other
      • “Music, For Me, Is Like Love”
      • Taking Breaks and Paying Attention to Mental Health
  • Conclusions
  • Notes
• Conclusion
  • From Social Justice to Spectacle
    • Steve Aoki’s Cake-ing
    • The Spectacle and Influencers
      • The Spectacle and Peggy Gou’s Superstardom
  • “Never for Money, Always for Love” and Other Challenges
    • Making Sense of Dance Music Today
    • “Never for Money, Always for Love” in Practice
      • A Model for Creating a “Positive Environment”
    • “Money, Not Love” in Practice
      • Selling Out in Riyadh and Elsewhere: “Taste” as an Explanation for Choosing Money Over Love
  • The Future of Dance Music: Productive Possibilities and Ongoing Challenges
    • Another Way: 59 Rue de Rivoli
    • “We Still Believe” This Must be the Place
  • Notes
• Bibliography
• Index
• About the Author