Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Rap musics impact
Rap culture influence on teens
Rap musics impact
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Rap musics impact
Since the 1980’s, electronic music has become a staple in a lot of mainstream music genres. In the 1990’s though, electronic music branched out and became its own genre with a huge and very loyal following. EDM music, or as it’s also commonly referred to, Techno starting appearing in not only the underground scene, but also in the more common music outlets such as the radio. My goal as this research assignment progresses is to not only study the rave subculture, but also learn more about them to educate those who are not aware or do not understand it. I started with finding out more about locations that the subculture inhabits. My experience was incredible, but just the location itself was amazing to me. I enjoyed the opportunity to really get out there and have fun, but also do more research and create connections to further my research of the subculture as the semester progresses.
The night was cold, 38 degrees Fahrenheit to be exact, as I waited in line to enter the venue. A shiver ran
…show more content…
I was greeted by multi colored lights and music so loud it was almost impossible for one to think. Although it smelled like a mixture of perfume and body odor, the inside looked like a night club. To my right stood a stage so long, that it covered most of the length of the wall it sat against. Along the edge of the stage ran a spider web of wires that connected to several lights on the top and sides of the stage. A large blank back drop sat on the stage. This back drop was used for the DJ to project images and special effects while performing. In front of the stage was the main dance floor which already hosted a large crowd. Towards the back was a bar where one could acquire drinks and a small selection of food. Around the bar was a sitting area filled with booths, chairs, and tables. It was impressive to think that what was once a dingy, bleak warehouse was now transformed into a bright, energetic, party
Kate's family had rented out a ballroom in a neighborhood country club, and we intended to dance the night away. As I approached the scene, disco lights streamed through the large windows and ran all over the lawn. Music enveloped the parking lot as my adrenaline began to elevate. I sauntered in, waving to my friend...
The nightclub, is an aged, small wood structure in Rhode Island. The club is reported to have a capacity of 182 people. On February 20th 2003, more than 400 fans packed into the small club to see the band. Although there are discrepancies between reports of how many people were in attendance, it is obvious that the number is well over twice the club's capacity. During the performance, as part of the act, pyrotechnics were deployed.
Raves are often thought of as a “religious experience” displaying the audience as a “dance tribe” causing these electronic dance music culture “as spiritualties of life” (St John 12). There is no denying that the rave consists of “cultures whose participants committed to an ethos most famously expressed as Peace, Love, Unity and Respect (PLUR)” (St John 3). These participants have reported life- changing experiences, transcendence, and even conveying anecdotes of “ascension and re- enchantment” (St John 3). According to Graham St. John, “ [the] rave exemplifies the cultural phenomenon of religion, particularly that which, Bastide regarded ‘instituant’ or ‘savage’ religion rather than the domesticated or ‘instituted’ forms associated with institutional religion,” (St. John 3). Essentially, the rave functions as a religious community but not in the traditional sense; the DJ is thought of as the shaman and the dance floor is the communita (St John 5). Additionally, both the “ecstatic” experiences and ritual framework of raves intensifies the sense of belonging and demonstrates communal characteristics. The ravers experience a reconnection endemic and is considered to be “tribal” by the participants (St. John 9-10). Furthermore, this tribal nature of the ravers allows them to experience a sense of connectedness and inner peace with themselves. When a raver described this feeling as stating, “The MDMA experience makes you perceive by a kind of intuition, the real essence of your being. It’s not something elaborated by your conscious or unconscious mind, it’s something you suddenly realize you know without any doubt. You know the truth because you have experienced it. Now that you know that you, me, everything is one, or God as you wi...
By the time we got to the dance in the cafeteria, the music was pumping, people dancing their butts off, and me, hyper as anything. I was anything but bored. Ready to start jumping as soon as I got there, I raced into the cafeteria and brought my friend , Jimmy , with me. I had never felt so energized at a social event. I felt as if the music was literally flowing through my veins, pulsing with every move, and I was...high. But I wasn't. I was normal but I felt like I was high. Did being high feel like this? Had I had too much caffeine? Damn! I have to suck some helium out of those floating balloons! THe thoughs would not stop racing. Although I had never been to a rave, I thought that this dance felt like one. Euphoric, and as energized as a duracell battery after about 24 hours of charging, I hadn't checked my watch for at least two hours.
Echolls, Alice. Hot Stuff: Disco and the Remaking of American Culture. New York, NY: W.W. Norton & Company, Inc., 2010.
MDMA, also known as Ecstasy, beans, rolls, or just plain X. This drug has a long history, which began almost 90 years ago. In 1912 Merck, a German pharmaceutical company, first synthesized MDMA (Erowid). MDMA was then patented in 1913 or maybe 1914 (patent #274.350) by the same German company supposedly to be sold as a diet pill (The Invention). The patent has no mention of any intended uses of the drug. There are other urban legends associated with Ecstasy, such as in 1953 the US Army tested MDMA as a possible truth serum, but there is no evidence for this (Saunders).
The setup of the stage was very simple. It was the living room of a home in the early 1980’s. It looked like a normal household, and it had small things such as crumpled up pieces of paper lying around the wastebasket. It also had a couch, circular class table and a recliner in the living room. The dining room was to the left side of the stage and only had the dining table and surrounding chairs. There was a door in the back of the set where characters entered and exited through. Beside the door was a table and stool where Willum presumably worked on his blueprints for the hotel. The lighting design was great; it put you into the atmosphere of the
During the sixties Americans saw the rise of the counterculture. The counterculture, which was a group of movements focused on achieving personal and cultural liberation, was embraced by the decade’s young Americans. Because many Americans were members of the different movements in the counterculture, the counterculture influenced American society. As a result of the achievements the counterculture movements made, the United States in the 1960s became a more open, more tolerant, and freer country.
van Elteren, Mel. “The subculture of the Beats: a sociological revisit.” Journal of American Culture, Fall 1999, v 22, i3, pg 71.
Unlike Chicago House, which has a lingering obsession with seventies Philly, and unlike New York Hip Hop with its deconstructive attack on James Brown's back catalogue, Detroit Techno refutes the past. Techno is a post-soul sound...For the young black underground in Detroit, emotion crumbles at the feet of technology. Despite Detroit's rich musical history, the young techno stars have little time for the golden era of Motown. As the 1980s came to a close, the difference between techno and house music became increasingly pronounced, with techno's instrumentation growing more and more adventurous. Presenting themselves as a sort of techno Public Enemy, Underground Resistance were dedicated to 'fighting the power' not just through rhetoric but through fostering their own autonomy. Any form of electronica genealogically related to Techno but departing from it in one way or
Hip hop originated in the ghetto areas of New York during the 1970’s and is a mixture of DJ, MC, B boy and Beat boxing. In his studies of defining hip hop, Jeffries concluded that these mixtures of art forms do not define hip hop but rather that Hip hop itself is a culture of these elements. “Hip-hop is like a culture, it’s a voice for black people to be heard. Our own style, our own music” (Jeffries. 2011; 28). Jefferies identifies hip hop as a social movement, which stems from the concept of ‘collective identity’ (Jefferries.2011; 27). This can be defined as “an individual’s cognitive, moral and emotional connection with a broader community” (Polletta and Jasper. 2001; 84). Which relate to Smitherman’s views that hip hop is a celebration of black culture uniting these individual to form a collective community. (Smitherman. 1997; 20) .These Theorists generally accept that hip hop is culture and it’s the production of its creators and the individuals who consu...
The director’s concept was again realized in a very creative and simple way. The stage crew did not have time to literally place trees on the stage, or to paint a border that elaborate—the light made the slatted walls look real and really allowed the audience to become a part of the experience.
Subsequently, when completing my research on Grime, I learned that this music is a “hybrid of American rap and hip-hop and Jamaican dance hall, but with the aspects of punk, 1990 rave (Campion, 2004), drum and bass and garage (Mckinnum, 2005)” (Barron 536). It originated within the London area. However, it branches over into the different urban areas of Britain, and the music generates an awareness to the rest of society on what the youth of these inner-city boroughs is experiencing on a day to day basis, making this style of music “ethnographic in nature” (Barron 532). It allows us to hear and envision the social life of these individuals. Therefore, we are able to construe their lives through our own theorization and cognition. This British form of music allows individuals as myself the opportunity to understand that these artists are not as interested in the achievement of the “consumerist bling-bling” (Barron 536), but in fact, let the rest of the general public know what they are faced with daily through their musical
Caleb Philogene is a 20-year-old determined college student. He has possessed a love for music from the start of his childhood. When he was 14 years old he began recording Christian rap music. He would burn several blank cd and pass them out around his small high school. In order to efficiently create better music, Caleb taught himself how to produce beats. Eventually he used these skills to further his musical talents by becoming a disc jockey. In high school, the “weak party scene” encouraged him to better his disc jockey skills. Caleb threw several parties in the south suburbs of Chicago, in order to exhibit his Dj skills to the public. Caleb promoted "peaceful partying" among a population where parties are viewed as boxing matches. Caleb quickly learned had to form a strong connection with the crowd. He pays attention to what type of crowd he has and what type of music they respond best to. Besides country and heavy rock metal, Caleb plays a variety of music. His crowds tend to enjoy hip-hop, pop, house music, juke music, and EDM. He is a diverse DJ who tries to diversify his crowd by introducing them to new genres. The more free...
Rave Music is made up of technologically advanced beats that are mixed with other beats to form music. Rave Music has a culture of its own, as so does any other music type. The history of Rave Music is hard to sum up, but here it goes...