Addressing the international emergence of electroclash at the turn of the millenium, this article investigates the distinct character of the genre and its related production practices, both in and out of the studio. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. Electroclash also emphasizes, rather than hides, the European, trashy elements of electronic dance music. The coming together of rock and electro is examined vis-à-vis the ongoing changing sociality of music production/ distribution and the changing role of the producer. Numerous women, whether as solo producers, or in the context of collaborative groups, significantly contributed to shaping the aesthetics and production practices of electroclash, an anomaly in the history of popular music and electronic music, where the role of the producer has typically been associated with men. These changes are discussed in relation to the way electroclash producers Peaches, Le Tigre, Chicks on Speed, and Miss Kittin and the Hacker often used a hybrid approach to production that involves the integration of new(er) technologies, such as laptops containing various audio production softwares with older, inexpensive keyboards, microphones, samplers and drum machines to achieve the ironic backbeat laden hybrid electro-rock sound.
Remembered for his early novels and tough‐guy style, James M. Cain was a prolific author whose career spanned 58 years as a journalist, playwright, screenwriter, short story writer, and novelist. Although he suffered from obscurity in his last 25 years, Cain's novels and the film adaptations of his works have continually fascinated audiences and spawned imitators. Key elements of this popularity are his swift‐paced plotting, “hard‐boiled” dialogue, and commonplace characters whose worlds change radically when confronted with the possibility of the fulfillment of their dreams.
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