the Rave Subculture - Popular/American Culture Association in the ...

Chrys Kahn-EganDegeneration X: The Artifacts and Lexicon ofthe Rave SubcultureT\e dizzying laser lights flashed in synchronicity with the pulsating bass ofthemusic that bounced offthe psychedelic warehouse walls. As my boyfriend and Imentally attempted to organize the chaos surrounding us, we pushed our waythrough the crowd of spasmodic lunatics who contorted their bodies in time withthe music and lights. We located a couch in a room covered with cartoonesque,hyper-graphic graffiti. An androgynous man sat himself at my feet and beganrnassaging my thighs, while a girl with her eyes rolled back into her head demandedthat my boyfriend give her a massage. Just then the deejay laid his head inmy lap, told me he w.as in love with me, and placed a bitter pill on my tongue. Thiscertainly was the most bizarre method of earning three graduate credit hours Icouldimagine.So began my two-year ethnography on the American rave subculture.The scene described above was my initiation into the underground subculturewhere rave kids, typically tmdertwenty-one years old, are given secret invitationsto attend private warehouse parties with dancing, drugs, and thousands of theirclosest friends. Because of my youthful and unorthodox appearance, I was invitedtojointhe then-highly-exclusive underground scene and attended numerousraves in several major cities inNorth Carolina. Although my chosen subculturewas not typically examined by academia, I conducted an academic ethnographyof w-hat Maton (1993) describes as a "group whose world views, values andpractices diverge from mainstream North American and social science cultures"(747). As a result, I received three graduate credit hours for "supervised research

Kahn-Egan 37that are typically 38 inches around--bigger at the ankle than the waist."They look like they're floating." (20)Gordon continues:[R]avers are so committed to their ultrabaggies that they will make them ifthey can't find them in stores. Gwen Berland, 15, a raver from Park Slope,Brooklyn, had a friend make her pants with legs that each measure six feetaround. "lt's hard to walk," she acknowledged at Satellite, where the offthe-rackpants cost $50-$90. Within rave culture, there are even subgroupsbased on style. Ms. Berland says she was making the transitionfiom being a,,candy raver," or younger girl who Iikes to accessorize withtoys and baby-style jewelry, to being a raver with a more sophisticatedlook. One of herfriends, Ike Young, 15, is known as a"Polo raver" becauseof his preference for mixing his Mom and Me pants with preppyitems from Nautica, Polo, Ralph Lauren, and Tommy Hilfiger. (20)Along with proper attire, certain supplies are essential to keep kids ravingall night long in the physically demanding environment. The first supply a ravermust have is a book bag. in keeping with the reglessive theme of raves. the bookbag makes ravers look like young school children. More functionally, the bookbag contains all of the other supplies the ravers will need that night and the followingday. In essence, the book bag serves as an overnight bag because ravestypically run from midnightto noon, or at least from dusk until dawn. Some ofthemost important supplies in the book bag include: water bottle; items to suck(pacifier, suckers, and gum); and vicks vaporub and oil. Because of the extremelyhightemperatures fromthousands ofkids dancing fortwelve hours in anunairconditioned walehouse, a raver needs an ample supply of water. Waterbottles or baby bottles are preferable due to the need for sucking. One strangeside effect ofthe rave drug ofchoice (to be discussed later) is the needto suck onthings to reducetension inthejaws. Tightness inthejaws is also relievedby suckingon pacifiers, suckers, and gum. Pacifiers, called "nukes," are certainly Iegressive,as are lollipops and bubble gum. The final essential supplies are Vicks andoil. Ravers will often massage each other with baby oil to loosen their muscles.Additionally, they will apply Vicks to themselves and others to let it seep into theirpores, especially their temples, says McKusick (1992). Supplies then becomeboth practical and fun."Trip toys" are purely amusing rave supplies such as gadgetsand trinkets to delight and amuse ravers under the flashing strobe lights. Garcia

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Kahn-Egan39people in the UK take it regularly, says Smith (1992:3 1). In both the UK and theUS, X "is easily obtainable on the black market," alleges Garcia (1992:60).Reynolds (1994) reveals that specific brands of X are named after 1970s sweets,such as Pez or Smarties (56), and McKusick (1992) adds that "Special K'is anydrug enriched with ketamine (23). Depending on the location, X sells for about$20-$30 for a full pill about the size and consistency of an aspirin. Ravers reportneeding anywhere between ahalfroll and afew full rolls.No matter how much X is consumed, there are serious dangers involved.Schifano and Magni (1994)record abuse symptoms including: aggression, psychosis,depression, panic, cognitive disturbances, outbursts, temper, changes inappetite,andchocolatecravings (763-767). Ofallofthesymptomscitedinthislist, the ravers interviewed during this ethnography reported only suffering fromchanges in appetite. Other negative side effects reported by these ravers includedchanges in sleeping pattems, dehydration, and muscle soreness. But there may befar more serious consequences. Randall (1992a) documents fifteen cases ofxdeaths in the UK, primarily due to extreme overheating and blood clots (1505).These deaths are not necessarily drug-induced,butare drug-related. The amphetarninein X may induce ravers to dance longer, which in hot warehouses isextremely dangerous. Randall (1992b) acknowledges that as ofyet, there havebeen no X deaths reported in the US, but some are expected as the popularity ofthe drug rises ( 1 506). Surprisingly, the FDA is cunently investigating a reporteddeath by Herbal X (which is natural and legal) rather than synthetic X (which ismanufactured and ille gal).Whether legal or illegal, as the popularity of X rises, so do the number ofterms associated with it. Other lexicon terms associated with X are "rolling,""trolling," and "crank." When ravers take X, they are "rolling" because theybecome so euphoric that their eyes roll back into their heads. If they take LSD, or"acid," wi*r X then they are "tripping" and "rolling," known as "trolling." "Crank"is cheap speed which wrll crankravers up and give them energy with the sideeffect of rnaking them edgy or cranlqt;hence the name. McKusick (1992) explainsthat ravers can also be "sledgied" into oblivion and "cabbaged," like avegetable brain (23).For those who want to avoid chemical highs, there are natural methods,such as the previously mentioned "Herbal Ecstasy," and "smart drinks." HerbalEcstasy has been legally released in "head shops," tobacco and paraphenalia stores,for around $ 19.95 for ten tablets. However, users report that it takes at least five

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Kahn-Egan.1 lBeing onthe cutting edge ofbizane,altemative music is an elite privilege,complete with buzzwords to exclude the mainstream. The music makes or breaksthe scene. One rave deejay explains to Rosen and Flick (1992),"A great rave ortechno record is like a religious experience. A bad one will give you a headache"(48). Garcia (1992) explains that rave music is a "galvanizing, metronomic beat oftechno, a term coined to describe an intensely synthetic, hypnotic form of dancemusic that was bom in Detroit during the mid-'80s" (60). It symbolizes the mechanized,synthetic,futuristic technology available to this generation. Fisher (1994)describes two basic genres that have emerged: silly and dark. According toReynolds (1994),silly music is very hyper-spastic with samples of"kiddie TV," orfunny sounds that appeal to the youthful spirit of ravers; dark music, by contrast,has eerie sounds with horror movie samples and shrieks to appeal to the Gothicsinthe crowd (56).Whether silly or dark, the music is part ofthe "rhyttrm engine." The rhythmengine consists of the music, the culture, and the people. As implied by the term"engine," the music, culture, and people are considered mechanical parts of asynthetic machine. Reynolds (1994) likens rave music to a "mad inventor's contraptiongone berserk" (56). Critics contend that the machine is very demandingof is human cogs. The culture reinforces the use ofdrugs and exhausting dancing,which are physically detrimental at best and fatal at worst. Exhaustion and fatalitiesare often the result ofthe spasmodic "b.p.m." The beats per minute (b. p. m.)are at least 120 b.p.m. ortwo beats every second, with songs categorized as 140,160 or even 180 b.p.m. Unforlunately many inexperienced ravers may feel pressureto keep up the pace and may become exhausted, dehydrated, or even unconscious.Ravers who can keep up the pace earn the right to give attitude. Theattitude of the music differs from most contemporary forms heard on the radio."lnstead ofthe tension/climax narrative oftraditional pop, rave music creates afeeling of 'arrested orgasms,' a plateau of bliss that can be neither exceeded norreleased," according to Reynolds (1994:56). Also unlike other movements, ravemusic has taken contol of its own fate. When it was not played on album orientedradio, rave promoters hosted their own events with their own deejays. Bradburn(Jul. 1 993) describes how, rather than deal with the recording industry, recordingartistsproduced "white labels," which are self-recordings withoutpackaging (32).The overall attitude is that the kids control the movement and have since its onsetinAmerica.

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Kahn-Egan+)1993: 16). Even the recent controversial film "KIDS," which chronicles the livesof some New York City kids, includes a rave club scene and hallucinogenic drugs.The problem is that as the underground becomes mainstream, rebels will no longerbe participants. "Like any underground social scene on its way to mass acceptance,raves have already lost their cachet with many of their early devotees,"alleges McKusick (1992 24). "The danger is that as the scene becomes largerand more commercial, it risks losing the cozy counterculture atmosphere that drewpeople to it in the first place," observes Garcia (1992:61). So, ifthe bizarre ravecourterculture becomes mainstream, what aberrant deviations of society will graduatestudents study in the future? The mind reels with the possibilities.Florida State University1748-B Hartsfield RoadTallahassee, FL 32303WORKS CITEDBradburn. D. "Shabba-Doo Fihns the Rave Scene." Dance Magazine Jan. 1993: 16.Bradbum. D. "Rave On." Dance Magazine July 1993: YD 5.Fisher.\,1. "HelloDarkness,OurNewFriend." NewStatesmanandSociee ll Mar. 1994 32-J+.Garcia. G. "Tripping the Light Fantastic." Time 17 August 1992:60-62.Gelman. D. "Tune In. Come Out." Newsweek 8 Nov. 1993 70.Gordon. M. E. ''Fashion Police: What's Hot & What's Rot in the World of Fashion ." Break4-10Feb.1998:20.Hesrnondhalgh. D. "Technoprophecy: A Response to Tagg." Popular Mttsic 14 (1995):261-2&.Hucker, D. "Jungle Fever Spreads in UK: Reggae/Techno Hybrid Growing Quickly. " Bil/-board29 Oct. 1994:1.Lyttle, T., & Montagne. M. "Drugs, Music, and ldeology: A Social PharmacologicalInterpretation of the Acid House Movement." International Journal of the Addictions,27 (1992):1159-1177 .Maton, K. I. "A Bridge Betrveen Cultures: Linked Ethno-Ernpirical Methodology for CultureAnchored Research." American Journal of Community P syc h ologt 2l (1993): 1 47 .McDowell, D. M., & Kleber, H. D. "MDMA: Its history and pharmacology." PsychiatricA n n als 24 (1 99 4): 127 - 1 3 0.McKusick, T. "Catch a Rave: Is This New Drug-and-Dance Scene a Triumph of Tribalism orthe Discos ofthe'90's?" Utne Rectder Sept.-Oct. 1992 22-25.

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