It's All the Rave. Flower Power Meets Technoculture

6 Pages·28.699 MB·English

by  Sloan J.

Today
Volume XIX • Issue 1 • January/February 2000
It's All the RAVE: "Flower Power" Meets "Technoculture"
~y John J. Sloan, III
University ofAlabama at Birmingham
"Straight outofanear-future movie they ofhistory (see: Shibamoto 1987;Kephart inturn, notonly protect subgroup mem-
come-bearing glowsticks and blow and Zellner 1993). All cultures have val- bers from invasion byout-group mem-
pops. They mass bythe hundreds and ues (a set of beliefs that are central to bers but help generate solidarity within
sometimes the thousands in tripped- the culture because they provide astan- the subgroup.
outwarehouses, abandoned shopping dard by which behavior is judged) and Sociologists also recognize thattheval-
malls, and roller rinks. Their [primary rituals (patterned ways of expressing ues, beliefs, and rituations of some
colored] clothes glow beneath black central values) that may include rites of subcultures are in direct opposition to
lights and pulsing, electronic music passage (e.g., initiation ceremonies in those of the dominant cultures. These
drives the throng to dance as one." adolescence). It is also the case that in subgroups are known as counter-cul-
(Morgan http://www.bouldernews. most cultures, there are subgroups that tures and provide an alternative
com/extra/rave, 1999). have unique experiences leading to di- lifestyle for indivduals who cannot or
verse life-styles, values, and beliefs.
"The love and bonding experienced at will not conform to the dominant cul-
These subgroups are known as subcul-
raves needs to be carried out into the ture. Countercultures, in essence, re-
tures and appear when access to the
world. We are the visionaries, and itis ject the values and beliefs ofthe domi-
general culture is different for some
ourjob tochange society slowly. There nant culture (Adler and Adler 1992;
members of society than for others. The
was a women's movement, a sexual Yinger 1982). For example, the 1960s
more complex theculture and diverse the
revolution, and many other giant steps "flower children" (hippies) preached
population, the more numerous are its
made by previous generations. It is "peace and love" as "the way," reject-
subcultures.
now time for the next revolution, the ing the larger cultural emphasis on
one back to realizing the beauty of hu- Subcultural values, beliefs, and rituals achievement and success as major
manity." (20 year-old raver quoted by are variations ongeneral cultural themes personal goals.
Kalmek http://www.ru.ac.za/depart- that help members to make sense of so- Countercultures tend to emerge dur-
ments/journ/awol/brave. html, 1999). ciety as experienced by them. Further, ing periods of rapid social change and
subgroups "protect" themselves by cre-
INTRODUCTION through their opposition to the domi-
ating and reinforcing boundaries through
nant culture, have a variable effect on
Sociologists speak of "culture" as a unique language ("jargon"), rituals, cloth-
the direction of future change (Adler
group's response to the conditions of ing, and other signs of recognition (e.g.,
existence, an adaptive solution to the a special form of handshake).' These RAVE
problems of survival and the effects boundary-maintaining mechanisms, continued on page 3
in this issue ...
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RAVE, cont'd Those who have even heard of raves lighting and sound systems at these
have probably done so because of their gatherings became not only more so-
andAdler 1992).
apparently illicitside. Forexample, raves phisticated, but were designed to en-
An extremely visible impact of counter- tend to travel from place to place (usu- hance the experience. Theoretically, the
cultural phenomena today is displayed ally an abandoned building, airplane constant beat, combined with the puls-
byyoung people who participate in the hanger, or other large structure) without ing lights and the constant dancing cre-
heavy metal, rap, and alternative music permit or license. Beyond the fact all ated a "vibe" that was communally
scenes. Participants in these scenes those attending the rave are trespassing, shared by participants.
emphasize their rejection of dominant
given the sheer size ofsome raves (some Through word of mouth, flyers tacked on
cultural values by defying conventional
have been attended by as many as telephone poles, "fanzines," ads inlocal
dress, speech, and in language. An in-
20,000 people), traffic snarls and related newspapers, announcements of the
teresting contemporary example of a
problems are likely tooccur. There isalso gatherings were made and increasing
countercultural movement in the U.S.
an apparent link between raves and use numbers of people flocked to the par-
andWestern Europe isthe phenomenon
of the synthetic drug known as "ecstasy" ties. Interestingly, the announcement
known as "raves."
(MDMA) (Measham et al. 1994, 1998;
would always occur only about a day or
"Raves" first appeared in the U.S. and Forsyth 1996; Lenton 1996; Schwartz two before the event inan effort to keep
the U.K. during the late 1980s and early and Miller 1997)2 its location "secret." Additionally, the
1990s. Raves are all-night parties Because most researchers have paid parties' locations would rotate from place
(dances) held in abandoned ware- attention to raves solely because of the to place.
houses, airplane hangers, and other
apparent link between raves and de- Soon, the size of the parties increased:
large-capacity buildings without permits
signer drug use, an incomplete picture at least one rave in Scotland reportedly
or licenses. Attracting a predominately
has emerged: there is far more to raves had 25,000 attendees. This facilitated a
young crowd (teenagers tothose intheir
than simply using ecstasy. Indeed, from
need for increasingly larger places in
mid-20s), raves involve almost continu-
a sociological standpoint, raves present
which the gatherings could be held.
ous dancing in a setting replete with
an interesting study in counterculture
Abandoned warehouses, airplane hang-
elaborate lighting and hypnotic music,
when considered holistically.
ers, and even open fields soon became
including "tech," "house," "acidjazz," and
To describe raves as counterculture, in the gathering place for hundreds (if not
"ambient house." (Forsyth et al. 1997;
this article I present a brief overview of thousands) ofyoung people. There, they
Hills 1996). The term "rave" was used
the rave phenomenon, including describ- danced non-stop for hours onend tothis
to distinguish the activities occurring at
ing its historical origins. I also describe new form of music, communed with one
mainstream, licensed clubs, from those
some raves' distinguishing features: mu- another, and began to describe the
occurring at "pay parties," or "dance
sic, fashion, ideology, and the use of il- events as "raves" and themselves as
clubs." Raves emphasize social bond-
licit drugs. "ravers."
ing, the collective experiences of danc-
ing, acommunal state of euphoria, and HISTORY OF RAVES During the early 1990s, raves started
the "happy vibe" (Measham et al. 1998; occurring inlarge cities inthe U.S They
There appears to be a historical linkage
Newcombe 1992). Ravers also reject were similar to those in Europe: no for-
between the "death" ofdisco in the early-
alcohol-related physical (and sexual) ag- mal announcement ofthe location ofthe
to mid- 1980s and the origins of raves.
gression common in mainstream clubs event until immediately before it hap-
The link seems to be in the music: rave
(Measham et al. 1998). pened; rotation of the location of event;
music apparently developed from the
word-of-mouth advertisement of the
Although some critics have dubbed beat that characterized disco music
event; and ashroud ofsecrecy surround-
raves as the "disco of the 90s," (Tomlinson 1998). As disco music was
ing the event.
Tomlinson (1998:195-196) argues that driven back underground, DJs and other
the two phenomenon differ on several innovators tinkered with itusing comput- As raves spread throughout Europe and
levels: the atmosphere at raves is ex- ers, ultimately creating a new sound the U.S., they began attracting increas-
tremely asexual; the synthetic drug ec- known as "house" and "techno" music. ingly younger audiences, mostly people
stasy has replaced cocaine as the drug Further, extremely sophisticated lighting in their late teens to mid-twenties.
of choice by rave participants; hard- and sound systems became the norm in Tomlinson (1998) reported that the rave
edged, instrumentally-based music has the clubs where this new form of music culture in England splintered into class-
replaced the vocals of disco; and a cel- became popular. bound factions, where working-class
ebration of the community at raves has raves typically featured harder-edged
In the 1980s, house and technomusic
replaced the celebration ofself common techno music. She also reported that
were exported tothe U.K.and inthe mid-
to disco. Finally, unlike disco that even- factionalization apparently occurred in
to late-1980s the forerunners of raves,
tually became a part of mainstream life, the U.S. as well, where techno fans in
"one-off" parties, appeared inBritain. As
raves have retained adistinctly youthful New York City were described as "ag-
the music became more popular, an in-
orientation, where participants can for- gressively heterosexual, working- and
creasing number of "one-off' parties oc-
get the harsh realities of coming of age
curred in Britain, the U.K., Western Eu-
inthe 1990s. Rave
rope, and Australia. Additionally, the
continued on page 4
Rave, cont'd as "blending the repetition of disco, the - a "new age dance trance".
middle-class males." African American frenzy of punk, and the melodic delicacy Music isatthe core ofthe rave phenom-
ravers, on the other hand, apparently of a car alarm" (all quoted inTomlinson enon. Itsbass-laden, rather hard-edged,
preferred trance music, a slower and 1998:197). repetitive, computer generated structure
more "groove-focused" form of rave Generally, rave music involves elec- isdesigned toencourage non-stop danc-
music. Raves, according to most ob- tronic, computer generated sounds ing, promote a communal vibe, and (as
servers, are also adistinctly male-domi- rather than those produced from tradi- discussed below) create ametaphysical
nated genre. Finally, few rave groups tional musical instruments. Ifvocals are experience for participants. At itsheart,
and DJs are female, despite the fact that present, they are provided by sampling a rave is about the music.
historically women and girls have always
(on computer or mixing disc) rather than RAVE FASHION
been more predominant indance-related
by people actually sinqinq.' The music,
activities (Tomlinson 1998). At raves, primary and Day-Glo colors,
according to ravers, is the most impor-
baggy pants, backpacks, pacifiers, pig-
Thus, raves appeared from the ashes tant thing about the rave. DJs are val-
tails, and toys as accessories consti-
ofthe "disco" phenomenon ofthe 1970s ued for their ability to "build the room,"
tute "the fashion." T-shirts and pants that
and early 1980s. They originated inthe gradually increasing beats-per-minute to
are two orthree sizes too large are com-
house and techno music developed by apoint where the self islost inthe inten-
mon attire. Some ravers carry pacifiers
DJs and others "tinkering" with the beat sity of the moment (Hopkins 1996:12).
because using them helps the person
of disco using computer-generated They (rather than the music per se) be-
avoid grinding his or her teeth after in-
sounds and tracks. The point was tocre- come the focal point of the event. The
gesting the drug "ecstasy." Women and
ate a new "ambiance," where lighting, DJ is the "conductor" of an "orchestra"
girls wear pigtails to make them appear
music, sophisticated sound systems of two turntables, a mixer, and a sam-
younger than they are.
(combined with non-stop dancing) al- pler. The DJ must know his (most rave
lowed participants to commune with one DJs are male) music, know where the Essentially, the norm for ravers isto pur-
another and their surroundings. breaks are, know the keys, and know posely dress younger than one's actual
the beats-per-minute to make the set age. To illustrate, Tomlinson (1998:205)
RAVE MUSIC
come out as perfect as possible (Hilker quotes one 22-year old raver: "We dress
The demise of disco in the early 1980s 1996). Inshort, the music under the or- this way because we want to look
apparently drove disco-type music un- chestration ofthe DJ becomes the "join- younger than we are. I want to feel
derground where, in Chicago's gay ing element" to produce the "common younger than Iam because getting older
clubs, itthen evolved into music without vibe"at the rave. inAmerica isnotmuch fun." Other ravers
singers or conventional instruments claim the fashion deliberately sets them
Specific styles of rave music that have
(Beadle 1993; Tomlinson 1998; Forsyth apart from the dress ofolder adults, even
been identified include the following
et al. 1997). This new musical form those frequenting dance clubs.
(Bradborn 1993):
quickly became known as Chicago
RAVE IDEOLOGY
"house" music. Around the same time, • Techno: largely instrumental and en-
musical innovators in Detroit combined tirely electronic, played at afrantic pace Ravers apparently have developed dis-
the grooves of house music with those of 160 beats per minute (bpm); does tinctive ways to interpret their life expe-
of hip-hop and the synthesized sounds away with the basics of pop-music song riences and help them to order societal
of European groups like Kraftwerk, structure, ignoring verses and choruses life. This "ideology" (Parsons 1968;
Ultravox, and Visage. This new blend of in favor of free-form, rhythm-driven ex- Merton 1968) seems to involve several
musical styles was tagged "techno" and pansion; general themes." Some have argued
"acid disco." Variations onthe two forms that while these themes have roots in
• House: mostly instrumental dance mu-
lateremerged inEurope under the moni- the 1960s, the technoculture of the
sic first played at warehouse parties in
kers "breakbeat," "jungle ." "ambient," 1990s drives them -- Haight-Ashbury
Detroit and Chicago inthe 1980s (thus,
"trance," "tribal," and "progressive." All meets Silicon Valley (Erlich 1992:43).
its name); similar to disco but with
of these musical genres employed Because technologized music drives
up-to-date electronic rhythms; slower
somewhat different musical structures them, raves offer a view of how young
than techno (about 120-130 bpm), but
and, as Tomlinson (1998: 197) people may beseeing, hearing, andfeel-
not by much;
suggests,"[they] seem[ed] to appeal to ing the future. They have apparently
different c1ass- and ethnic-based audi- • Acid Jazz: slower, more soulful, dance accepted the artificial as the natural.
ences, though they share[d] more than music featuring jazz instruments (e.g., There is a juxtaposition of the organic
just common musical roots." All the saxophone, trumpet, clarinet) as well as with the synthetic, ofthe natural with the
genres also set afrenzied pace fordanc- electronically produced sounds; artificial. Through computer-generated
ing by producinq up to 160 beats-per- • Ambient House: aform ameandering, music and high-tech lighting and sound
minute (bpm). Critics have described meditative electronic music that is very systems, raves celebrate an immersion
rave music as "repetitive and cold," slow, allowing dancers to achieve a into the synthetic, virtual world (Hopkins
"faceless, computer generated, dance "state of bliss" from the exhaustion of 1996).
music," "soulless machine music," and physically demanding non-stop dancing Rave
continued on page 5
Rave,cont'd plane of existence. Thus, ravers "make ment of the senses (like all psyche-
sense" ofatechnologically and informa- delics), loss of inhibition, as well as in-
Ravers emphasize human connected-
tion driven world bydrawing upon these creased empathy and openness. Effects
ness by suggesting they are not only
themes as a kind of "road to salvation" of atypical dose last about 4 hours. Can
connected with each other, but that all
for humanity. cause a slight but persistent hangover
of humanity is connected. In particular,
for upto two days. Ecstasy issomewhat
they emphasize the role played by the THE DRUGS-RAVE CONNECTION
toxic: may cause vomiting, feelings of
Internet asavehicle for connectedness:
Despite the fact that many ravers deny tension in the jaw and/or grinding of
itallows people to share information; it
a link between raves and drug use, es- teeth. Usually $40 a 100mg dose;
represents aloose community of people;
pecially the use ofsynthetic or "designer
and it continues to foster communica- • Special K: Ketamine ischemically re-
drugs," perhaps the best known aspect
tion on a larger scale. During a rave, of raves istheir alleged connection with lated to PCP, apowerful anesthetic used
there is a special sense of connected- use of these drugs. Hopkins (1996) ar- with large animals. When taken in low
ness.While raving isa spontaneous "of gues that the supposed connection be- doses (25mg-100mg), it produces psy-
the moment activity," the ability to com- tween the two helped the mainstream chedelic effects in users. Usual form is
pletely let go of mental and emotional press tocreate a"moral panic" thatlinked a liquid, but may be heated to obtain a
constraints depends upon anunderlying dance parties with (1) irresponsible white powder that issnorted or smoked.
senseofsecurity and safety. Everything sexual behavior and (2) an epidemic of Short-term effects lastabout 2hours and
isinterconnected - love and respect in- designer drug consumption. She also are stronger and more profound than
volves an awareness of and a taking suggests thatinAustralia, "Queensland's LSD. Common experiences of mind
care of both self and other. mainstream press, inparticular, has sen- leaving body and floating are reported
There is also a metaphysical aspect of sationalized the risks associated with among users. Usually about $200 gram.
rave ideology. DJs are "shamans," who rave, claiming the 'love drug,' ecstasy,
• DaB (Bromo/STP): A stronger ver-
forge musical paths to other realms or may be linked with a 'complete lack of
sion of the 1960s drug DaM (or STP).
planes of existence. Science and tech- inhibition' and an 'uncontrollable sexual
Originally sold as an LSD substitute,
nology provide the tools for techno-sha- urge'" (Hopkins 1996:13).
commonly appears onblotter paper. The
mans under whose guidance one can
Among researchers in the U.K, there effects may last as long as 36 hours.
explore the synergy between the mysti-
appears general agreement that a sig- Approximately $10-12 per dose.
cal and the physical. Raves create op-
nificant proportion of those attending
portunities to open minds, transcend • 2CB or Nexus: phenylethylamine ana-
raves are under the influence of one or
physicallimits,andexplore linkstothings logof DaB but issafer, lasting 4-6 hours.
more designer drugs (Lenton etal. 1997;
beyond the rave. Through technology, a Effects similar to MDMA but producing
Saunders 1995). For example, Lenton
new(andbetter)world isemerging which stronger visual effects. Usually snorted.
et al. (1997) reported that in Perth, 90%
will unite all people on avariety of levels A small 5mg dose may produce mild ef-
of a sample of 100 young people who
and where new ideas and information fects, while amore typical 15-30mg dose
had attended at least two raves in the
await discovery. produces much stronger effects. Ap-
last six months indicated that they had
proximately $5-$10 per dose.
Finally, ravers claim that raves are "tem- used a psychoactive substance either
porary autonomous zones" (TAZs) - prior to, during, or after attending the • Intellex: amphetamine derivative.
separate, self-governing events thattake rave. Research conducted in the U.S. Taken orally; MDMA like effects. The
place "between the cracks of society's has also shown that ecstasy (MDMA) drug supposedly boosts intelligence and
fabric." There is also a realization that was commonly used among college stu- encourages verbosity. Despite denials
what occurs at raves is not new or dents at Stanford attending raves inSan by ravers that synthetic drugs like ec-
unique, but rather a product of culture Francisco, and by high school students stasy are prevalent at their gatherings,
and history. In other words, the rave attending raves in New York City and drugs are a part of the rave "scene."
becomes one of many examples in his- Baltimore (Randall 1992). Illicit drugs These drugs are taken to enhance the
tory where humans seek to move be- commonly appearing at raves include: "vibe" experience, so important toravers,
yond the"here and now" to find a"better created by pulsing lights and strong beat
• Ecstasy (MDMA or methylene-
place." ofthe music that ispresent at raves. Ad-
diozymenthylamphetmaine). A cross of
ditionally, most of these drugs break
In short, rave ideology helps ravers to
a mescaline structure with an amphet-
down inhibitions in users which contrib-
ordersocietal lifebyconnecting with oth-
amine. MDMA is a short acting psyche- utes tothe "communal" aspects ofraves.
ers (especially other ravers) using sci-
delic that reduces anxiety. It is typically
Particularly interesting is the fact that
ence and technology. Through technol-
available in caplets, powder, or tablets.
most of the commonly used drugs at
ogy (especially the Internet), humans
In normal doses of 100mg it produces
raves are synthetic in nature which fits
can be united, share information, and
mild effects like those found inacombi-
nicely with the entire "artificial" aspects
explore links to things beyond the rave
nation of very low doses of LSD and
of raves (e.g., no live performers, com-
includingnew ideasand information. DJs
methamphetamine, but produces less
guide the journey into the mystical, al- Rave
chance ofa"bad trip." Causes enhance-
lowing one to move beyond the current continued on page 6
Rave, cont'd ENDNOTES Lenton, S.R. (1996). "Raves, Drugs, Risks
and Harms: An Interview Study With
puter-generated sounds and computer 1 For example, teenagers have different
Those inthe Dance Party Scene." Youth
ways of talking and dressing that set them
controlled lighting, and the ideological Studies 15:47-51.
apart from both children and from adults
emphasis on technology).
alike. Lenton, S.R., A Boys, and K. Norcross
Conclusion (1997)."Raves, Drugs and Experience:
2 See Tomlinson (1998) for a comparative
Drug Use by a Sample of People Who
Although raves gained mainstream me- analysis of the rave phenomenon and the
Attended Raves in Western Australia."
disco phenomenon inthe U.S. and U.K.
dia attention because of their alleged Addiction 92:1327-1337.
connection to the use of so-called "de- 3 Interestingly, concerns over the size of
Measham, F., R. Newcombe, and H.
signer drugs" like "ecstasy," raves (and raves, the possible drugs-rave connection,
Parker (1994). "The Normalisation of
ravers) have much greater substance to the fact they often occurred in places with-
Recreational Drug Use Amongst Young
out a permit, and the traffic and other prob-
them. Ravers possess a distinct ideol- People inthe North-West of England."
lems common to them eventually lead the
ogy, style of dress, language, and pre- British Journal of Sociology 45:21-23.
U.K., in 1992, to pass alaw specifically out-
feraspecific style ofmusic. Like the hip-
lawing raves (see: Thornton 1994). Measham, R. H. Parker, and J. Aldridge
pies' counterulture of the 1960s, ravers
(1998). "The Teenage Transition: From
preach a message of love, community, 4 A sampler is an electronic device, about Adolescent Recreational Drug Use to the
the size of an old-style record player, that
andconnectedness. However, unlike the Young Adult Dance Culture in Britain in
allows one to copy pieces ofsongs, digitally
flower children of bygone days, ravers the Mid-1990s." Journal of Drug Issues
remix these pieces intoawhole, and achieve
perceive thatscience andtechnology are a sound quality matching the original. 28:9-32.
the keys to achieving universal brother- Merton, R.K. (1968). Social Theory and
5Igathered this material forthis section from
hood. The point of the rave is to bring Social Structure. New York: Free Press.
postings atone ofthe (literally) hundreds of
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*This article grew out ofdiscussions with
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Laura Moriarty atthe 1999 Annual Meet-
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