Making reference to hip-hop and dance music, he suggested that there are different authenticities for different kinds of popular music.
For the latter group, it is not enough to group disparate genres of electronic dance music into one essentially uniform type of music, where the only variable is tempo.
Gradually it becomes a style of improvisatory embellishment to popular performance and to public dance music to be 'jazzed'.
It is possible to have a drink with a meal in civilised surroundings without having to listen to loud dance music.
So electronic dance music, popular culture and modern science inject the flesh with fantasies of immortality, limitless pleasures, and unadulterated agency.
However, his argument depends not on revisiting old ground, but on observing certain tendencies in (very recent) dance music practices.
We mingled with a normal timetabled class, playing a background of taped dance music and at the same time learning about each of the student's particular skills and limitations.
The dance music scene asserted a degree of selfgovernance and autonomy that in turn determined how the dynamic of the scene unfolded.
