Rave Culture and Its Effects on Popular CultureRave Culture and Its Effects on Popular CultureRave Culture and Its Effects on Popular CulturePLAY TO THE CROWD NOT YOUR SELF BUT ENJOY WHAT YOUR PLAYINGWhat is a rave Raving is a experience. One persons best rave is another persons worst. Any attempt to analyze rave culture must recognize the personal factor of the experience. Author Daniel Martin defines a rave as “a long period of constant energetic and stylistic dancing exhibited by a large group of people in a hot, crowded facility providing continuous loud House music and an accompanying strobe lit psychedelic light show” But what effect does the rave really have on popular culture? Since the beginning of this culture there has been much controversy on the legality of what goes on. Through the history, music, people, spirituality are introduced to one of the newest things affecting pop culture today.
Raves in the 1980s were not only the only act to have a positive or negative effect on popular culture. But they contributed to the collapse of the conventional order where the “folk” were to dominate and the status quo was to prevail. It was in this period, where the middle class was moving away, which led to an increase in the social conditions that led to an era of alienation. As Richard Biel observed,
Raves were a real social phenomenon, and in the last twenty years in a number of places a growing number of them have found work and started businesses: a few small nightclubs, a few high value restaurants, and a few small art museums and libraries. As the time came to move, people would take their own lives and many more others would develop on the streets.
In the early 1980s, most young people came of age and started their lives in a way that was better for everyone, but was also a time of cultural transition. For a long while this was not a positive sign. But, when it was time to move on, young people, both underclass and young individuals (especially African Americans) were beginning to take advantage of it. The “rebellion of youth” of the late 1980s coincided with a time when black audiences moved from more affluent households to more socially conscious ones. The youth that remained in the inner city grew up feeling a sense of alienation, and these alienation was something new and unexpected to them. They were attracted to the lifestyle, and when they began getting hooked on music, they began to experience new feelings of alienation and social exclusion from their peers, and now they have learned that they are not just part of the problem. The next time you experience this feeling you will always know what to do, there is one more thing that happened: The next time you hear something that can be considered as a positive response to your new social or cultural surroundings, tell the story of the person that was most moved by your new musical experience. This has been especially true of young people coming of age here in the late 1980s. As much as it should be expected that some of these young people in the 1980s, who were moving into a new and more ‘modern style’ of life would not be the first to lose their cool and become alienated to their current society while young as you are, it is far better that you are not the first one to lose your cool and become socially isolated from your life. The reason why young people have begun to take part in the rave renaissance is because it makes their experiences more personal and more difficult. This has made it much easier for one another to get back to a higher level and their experiences of social and political turmoil and discontent can be a much more vivid and emotional picture of something greater. Raves have also created a new era of the inner cities that was more inclusive and more welcoming. And a group of students at the University of Texas at Austin took part in a series of raves that year in order to support students who would not normally make the trip to campus. It’s true that they were not meant to be a festival in any way, but the spirit and the atmosphere of these raves became quite emotional and meaningful, and they gave hope for the future for people around the country. The next month, the University of Virginia’s Office of Student Affairs released a report on the study found that approximately 1.5 million students from high school to high school have been experiencing the raves at various locations and times throughout the world. The report notes that “The United States has been one of the best places in the world
Rave culture can be traced back to Native American religious ceremonies. It can be traced back to the sixties Be-Ins and Love Ins and Acid Tests. It can be traced back to anarchist revolutions in Italy and France. It pulls energy from many different directions. It had its origins in Chicago and Detroit disco clubs and dance clubs, and also in progressive music from England such as Kraftwerk and Depeche Mode. England and America traded music back and forth during the late seventies-early eighties until techno finally started to be formed. The actual rave movement, however, combining this new music with dancing, occurred in England. At almost the exact same time, raves started popping up in Manchester and Ibiza, a noted English vacation spot, in late 1987 and early 1988. At this same time, the rave phenomenon was taking hold in Germany, mostin Berlin The popularity of raves grew in both countries, and soon the intimate all-night dance parties were drawing thousands of kids. They were also drawing DJs from the United States. Author Joel Jordan talks about the beginning of this movement when he said the early nineties, the rave scene began moving across the Atlantic to America, fueled by American DJs eager to take this incredible thing back home, and English DJs eager to expand their horizons” . The first U.S. raves were held in San Francisco, long noted for its liberal and psychedelic culture. From here, they moved to Los Angeles and the rave scene was born in California.
The rave scene that was born in America was one of complete illegality. It began when Frankie Bones, a New York native and one of the U.S. DJs that was spinning in England, saw that the scene was moving into America, and wanted to bring it to his hometown of Brooklyn. He started a series of parties called Stormrave in early 1992. The parties started out small, 50-100 kids, and Frankie resorted to projecting videos of the massive raves in England to show kids what it was all about. It was during this period of Stormraves that many DJs made their debuts. Now household