For Cirque du Soleil's touring arena show Corteo, music is a central feature of every performance. In this article, I focus on Corteo's touring sound technicians, who play an essential role in the show's musical presentation. I discuss a methodological approach to my ethnographic research, which provides new insights into large-scale intermedia performance environments like Corteo. I theorize a masculine-gendered, stoic mode of emotional labour that is enacted through voice-to-voice remote communication during performance. Through participant observation, public intercept interviews, and what I call "working interviews"-interviews with the sound technicians that take place during performances or other operational activities-I engage directly with the technical and emotional labour practices of musical production.

Demons, ogres, and oni, or Japanese supernatural creatures, have been central to Japanese culture for hundreds of years. In Seven Demon Stories from Medieval Japan, Noriko T. Reider writes, "to study the oni in Japanese folklore is to study humanity" (250), and after reading this volume, it is easy to see why this might be the case. Universal themes of human society, such as good and evil, mortality, religion, ethics, sexuality, and political conflict, are explored in oni stories, and in Seven Demon Stories, Reider provides a clear, accessible overview of a selection of this oni literature.