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It used to be that raves were grassroots organized, anti-establishment, unlicensed all-night drug-fueled dance parties held in abandoned warehouses or an open field. These days, you pay $40 for a branded party at popular riverfront nightclubs where age and status, rather than DJ expertise and dancing, shape your experience. In Rave Culture sociologist Tammy Anderson explores the dance music, drug use and social deviance that are part of the pulsing dynamics of this collective. Her ethnographic study compares the Philadelphia rave scene with other rave scenes in London and Ibiza. She chronicles how generational change, commercialization, law enforcement, hedonism, and genre fragmentation fundamentally altered electronic dance music parties. Her analysis calls attention to issues of personal and collective identity in helping to explain such social change and what the decline of the rave scene means for the future of youth culture and electronic dance music.
Vast numbers of western youth have attached primary significance to raving and post-rave experiences. This collection of essays explores the socio-cultural and religious dimensions of the rave, 'raving' and rave-derived phenomena.
In Generation Ecstasy, Simon Reynolds takes the reader on a guided tour of this end-of-the-millenium phenomenon, telling the story of rave culture and techno music as an insider who has dosed up and blissed out. A celebration of rave's quest for the perfect beat definitive chronicle of rave culture and electronic dance music.
Published to accompany the exhibition Energy flash - the Rave Movement, M HKA, 17 June 25-September 2016.
Peace, Love, Unity, and Respect. Cultural liberation and musical innovation. Pyrotechnics, bottle service, bass drops, and molly. Electronic dance music has been a vital force for more than three decades now, and has undergone transformation upon transformation as it has taken over the world. In this searching, lyrical account of dance music culture worldwide, Matthew Collin takes stock of its highest highs and lowest lows across its global trajectory. Through firsthand reportage and interviews with clubbers and DJs, Collin documents the itinerant musical form from its underground beginnings in New York, Chicago, and Detroit in the 1980s, to its explosions in Ibiza and Berlin, to today’s mainstream music scenes in new frontiers like Las Vegas, Shanghai, and Dubai. Collin shows how its dizzying array of genres—from house, techno, and garage to drum and bass, dubstep, and psytrance—have given voice to locally specific struggles. For so many people in so many different places, electronic dance music has been caught up in the search for free cultural space: forming the soundtrack to liberation for South African youth after Apartheid; inspiring a psychedelic party culture in Israel; offering fleeting escape from—and at times into—corporatization in China; and even undergirding a veritable “independent republic” in a politically contested slice of the former Soviet Union. Full of admiration for the possibilities the music has opened up all over the world, Collin also unflinchingly probes where this utopianism has fallen short, whether the culture maintains its liberating possibilities today, and where it might go in the future.
Ecstasy did for house music what LSD did for psychedelic rock. Now, in Energy Flash, journalist Simon Reynolds offers a revved-up and passionate inside chronicle of how MDMA (“ecstasy”) and MIDI (the basis for electronica) together spawned the unique rave culture of the 1990s. England, Germany, and Holland began tinkering with imported Detroit techno and Chicago house music in the late 1980s, and when ecstasy was added to the mix in British clubs, a new music subculture was born. A longtime writer on the music beat, Reynolds started watching—and partaking in—the rave scene early on, observing firsthand ecstasy’s sense-heightening and serotonin-surging effects on the music and the scene. In telling the story, Reynolds goes way beyond straight music history, mixing social history, interviews with participants and scene-makers, and his own analysis of the sounds with the names of key places, tracks, groups, scenes, and artists. He delves deep into the panoply of rave-worthy drugs and proper rave attitude and etiquette, exposing a nuanced musical phenomenon. Read on, and learn why is nitrous oxide is called “hippy crack.”
Through hundreds of interviews with DJ's, recording artists, producers, promoters, drug lords, club celbrities, and nightworld casualties, this book takes readers into the deepest recesses of the electronic dance culture, uncovering secrets and stories never before seen inprints. Starting with club culture in the 70s and 80s the book inlcudes such greats as DJ Frankie Bones, the acid fuelled dreams of SF's Full Moon beach parties, Florida's DJ Icey, right up to the twelve hour post-aids muscle raves of the cross coutnry gay circuit parties.
Robin Sylvan combines colorful firsthand accounts, extensive interviews with ravers, and cutting edge scholarly analysis to paint a compelling portrait of global rave culture as an important new religious and spiritual phenomenon that also serves as a template for mapping the future evolution of new forms of religion and spirituality in the twenty-first century.
During the 90s, Melbournes warehouse party scene was at its peak. Every weekend in Techno City, thousands of ravers expressed their freedom through music, ecstasy and dancing the Melbourne shuffle. Techno Shuffle traces raves evolution from tiny underground clubs to vast waterfront wonderlands sparkling with creativity. We meet the personalities and places that shaped a subculture and we learn how bitter rivalries, the internet and a city on the move ultimately tore the scene apart. Techno Shuffle unfolds against a backdrop of post-war migration, gay and lesbian rights, the AIDS crisis, Australian drinking culture, the Melbourne gangland killings and the global ascendancy of dance music. During these anxious times in our post-truth age, 90s rave teaches us the value of freedom, community and respect. Let the party begin.