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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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