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| List of Illustrations | |
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| Preface | |
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| Acknowledgments | |
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| Introductions | |
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| Discovering the Underground: Entry to the Field | |
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| The Objective of Investigation: Underground Dance Music | |
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| Why study Underground Dance Music? The role of New York City | |
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| Music and Marginality | |
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| The Purpose of a Study of Underground Dance Music | |
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| A Definition of Underground | |
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| A Definition of Dance Music | |
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| The Relationship of underground Dance Music to New York City | |
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| Meditated music and musical immediacy | |
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| The music-dance relationship in social dance | |
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| Research phases | |
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| Ethnography and ethno history: A brief detour | |
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| Disco: The Premise for Underground Dance Music | |
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| Literature on disco and dance music | |
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| Social dance in America: The African American continuum | |
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| Social dancing in New York: The Gay Factor | |
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| The Cult And Culture of The DJ | |
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| Vinyl records as meditated music | |
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| The disco concept: Meditated music and musical immediacy | |
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| The art of spinning: The DJ as musician | |
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| DJ technology 8 DJ repertoire: Programming versus mixing | |
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| Peaking the floor | |
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| Beyond mixing: The DJ as cultural hero | |
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| The rise of the club DJ: Remix and production work | |
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| Conclusion: Why 12-inch vinyl is critical | |
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| The Dancers: Working (It) Out | |
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| Dancing: Interactive versus collective performance | |
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| The body as musical instrument | |
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| A definition of dance | |
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| The body as social instrument | |
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| The body as social instrument: Dance, identity, marginality | |
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| Clubbing in the field: Underground dance venues in New York City | |
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| Interactive performance: The musical process and cultural context of underground dance music | |
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| Conclusion: Keep on dancing | |
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| Underground Dancing: Autonomy And Interdependence in Music and Dance | |
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| Interactive performance: Synchronicity beyond simultaneity | |
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| Vibe: the booth-floor interaction | |
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| Rhythm as primary link between sound and motion | |
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| Changing modes of dance music production | |
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| A comparison of for 12-inch dance singles | |
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| Conclusion: Feel the vibe | |
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| The Underground As Cultural Context: The Marginality of Ethnic and Sexual Minorities | |
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| Gay culture and black culture | |
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| Double marginality, social affinity | |
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| Historical links between African-American and gay culture | |
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| The discotheque and gay liberation | |
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| The African American imprint: The discotheque as church | |
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| Conclusion: Underground dance music as a celebration of marginality | |
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| Outlook: Underground Dance Music Beyond The 1990's | |
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| Appendix: A Selection of 100 UDM Records | |
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| Notes | |
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| Glossary | |
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| Text and Image | |
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| Second Recordings | |
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| Index | |