Generation Ecstasy:Into The World Of Techno And Rave Culture Download.zip


In studying rave, I read works by sociologists who have written about similar socio-cultural phenomena in relation to ‘hip-hop’ [ 16, 17 ], such as the ‘neighborhood style’ and ‘party style’ [ 18 ]. Although these studies help illuminate how American youth experience hip-hop music and cultures, they do not provide as much insight into the broader socio-cultural experiences of non-hip-hop youth in the USA. When I compared this work with that of others, I found myself wondering what it was about the particular nature of techno music and techno scene that might have been applicable to this case. This was not because the case is different, but because the case is fairly straightforward – there were already many people in a largely suburban region who attended underground clubs and used drugs. Furthermore, there are many social practices (e.g., dance styles, fashion, language use) that tended to fall within the same categories of insider, outsider, and marginal, and there are also many ways in which urban youth in other parts of the USA (e.g., suburban) and in other countries (e.g., Canada) interacted with high-risk spaces and substances.

In 1986, Virgin Records released Mary Anne Hobbs’ landmark DJ mix “Wave One: The Album”, a visionary piece of contemporary music history that established a new kind of crossover between jazz and techno. In the UK, techno began to build on its success as a hip-hop style, bringing in new influences from American experimental music. Only a few record companies chose to release subgenres of the genre; London was home to one of the most important scenes, which was developed independently from its San Francisco counterpart. Label producer Kevin Saunderson spent much of his time touring US college campuses, playing techno and electronic music. Steve Hill (later known as Black Dog) played at the Spectrum club, run by Pete Waterman, and sold out many of his weekly shows. Chris Disson (later known as Chris Lines) at Phaze One introduced techno to Northern fans, while Mark Williams at MSM had a weekly midnight rave at his studio in northwest London. Hacking into the phone lines, Williams had a cassette compilation of his sets, “Phazing Out”, released in the UK by a New York label, called Septic. In Chicago in the fall of 1989, Aquarius Records released an album of Minimal music by Derrick May, the first such album released by a techno label. Later, Derrick May went to Chicago in the hope that labels would give his style credence, but to little effect.




In late 2011, Montreal, a city famed for its experimental arts and culture, became home to an enormous outdoor techno festival called Tomorrowland. Nearly 300,000 festival-goers gathered for the debut edition of a short-lived event that was reported to be the world’s largest music festival. 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. The first critical history of techno music–and the drug culture that accompanies it–Generation Ecstasy traces rave’s origins in Detroit techno and Chicago house, then shows how these black American genres were transformed by British and European youth. 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. The first critical history of techno music–and the drug culture that accompanies it–Generation Ecstasy traces rave’s origins in Detroit techno and Chicago house, then shows how these black American genres were transformed by British and European youth. A celebration of rave’s quest for the perfect beat and the ultimate rush, Generation Ecstasy is the definitive chronicle of rave culture and electronic dance music. Techno became more into the mainstream in 1988, with a huge, hugely successful club night, ‘Beats at the Rhythmix’, at the Hippodrome in London, run by techno hero Fatboy Slim. For the first time, the music was firmly established on the UK club scene, and became the soundtrack for a whole generation of ravers. The next year, Techno 2000 was another gigantic event, in Manchester, hosted by Warp and organised by Derrick May. 5ec8ef588b


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