It's a truism in dance music culture that “everyone's a DJ nowadays”. It's generally meant in a flip, pejorative sense – suggesting that cheap technology means every man Jack and his dog can put a sequence of records together and the role is somehow devalued. But it hides a rather more positive truth, which is that dance culture is intrinsically participative, that the line between industry and punters is so blurred as to be non-existent, that those punters truly are easily as important as the hallowed DJs they look up to.

In the mid-Nineties, America had a bit of a moment with electronic dance music. The most emblematic sign of this was The Prodigy’s Fat of the Land topping the Billboard charts in 1997. The truth was, however, that despite inventing house music and techno, en masse nationally they didn’t really get rave culture. The US liked their electronic dance stylistically performed as close to a KISS concert as possible. They liked it, in other words, to be rock’n’roll.

An awful lot of people involved in producing electronic dance music find a niche and stick to it. Many do this with a very po face. Speak to them about it and they may play you a track they think is "poppy" to demonstrate their range. It usually isn't, it's just a teensy-weensy bit less purely dance-floor functional than the rest of their oeuvre. Because all they ever listen to is techno, dubstep, fill-in-the-blank, their ability to make a comparative judgment has eroded.

The French national holiday of 14 July might be marked by parades and fly-pasts in Paris, but here on the Atlantic coast it’s the central date for Francofolies, the annual festival dedicated to French music. La Rochelle hosted its first Francofolies in 1985. Twenty-six years on, the festival remains the premier showcase for Francophone music. This year the bill took in David Guetta’s dance-floor cheesiness, Gotan Project's overhauled tango, actress Mélanie Laurent plugging her recent album and all points in between.

I walked in to find my new Radio 1 producer standing on our secretary’s desk – she was on the phone – wearing a sombrero, a huge rubber ear, and playing the trumpet. Around him, in the third floor typing pool of the Nation’s Favourite – unable, given the din of The Peanut Vendor, to mew to one another comparisons of train journeys to and from East Croydon – secretaries were varnishing their nails or even typing programme running orders.

It's time to dust down your tent and ice-box and plan some summer breaks with theartsdesk's definitive clickable festival guide - listings and links for all the UK festivals this summer, from rock by the lochs to DJs in London parks, and catching classical and opera on the way. See theartsdesk's invaluable European festivals 2011 guide too.

SCOTLAND

Cambridge University, cradle of Newton, Keynes and Wittgenstein, of Wordsworth, Turing and Tennyson, has produced 15 prime ministers and more Nobel Prize-winners than most nations. In its 200-year history, the university’s debating society has hosted princes, politicians and leaders in every field: the Dalai Lama, Winston Churchill, Nelson Mandela, and last week a 25-year-old east-London DJ, Kissy Sell Out.

Moby (b 1965) has been a presence on the dance scene and in global clubland for two decades. He is best known for the multimillion-selling 1999 album Play which, among other things, combined lush electronic orchestration with old field recordings of a cappella blues shouters. Moby's musical career, however, began at least a decade earlier.

As well as a new album, Destroyed, Moby is putting out a book of photographic prints under the same title. The idea of the book is to capture the essence of being on a global tour, from the mundanity of waiting in airports to the majesty of landscapes and cities, from the explosive excitement of stadium-sized crowds to the solitude of hotel rooms at night. The images will also be on display in the Proud Gallery in Camden Town, north London. theartsdesk showcases a selection below.

In 1970, Annie Nightingale became Radio 1’s first female DJ. The appointment was made somewhat grudgingly - DJs, believe it or not (and we’re talking about the likes of Ed “Stewpot” Stewart and Tony Blackburn here), were perceived to be “husband substitutes” and it was generally accepted that a female voice would alienate the listeners. And yet 40 years later, Nightingale is the only DJ left from the original line-up.