The Generation of Rave Subcult

The dictionary defines subculture as “A cultural subgroup differentiated by status, ethnic background, residence, religion, or other factors that functionally unify the group and act collectively on each member.” Therefore anyone subscribed to that group must have similarities with other members. In the case of youth culture and subculture the links tend to be less permanent but have an extremely important and pervasive effect on the community. According to David Muggleton’s “Inside Subculture” youth culture is based around factors such as lifestyle, musical taste, beliefs, sexual orientation, even dress sense. These attributes encourage the generation and upkeep of a sub-sect of individuals all with similar ideals and principles. The culture overtime can generate expectations of its members in an almost autonomous role inspiring the use of drugs and changes in musical taste and doctrine. Mark Tittley, a researcher into subculture, explains how and why a subculture begins to grow.

“A subculture forms when the larger culture fails to meet the needs of a particular group of people.”

Rave developed as a kickback from the sterile, kraftwe

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This relationship brought with it some unpleasant side effects. Rave however had no such icon and no idol to worship at the feet of. But if popular cultures mimic those of the fringe subcultures then diversity will die out creating a mass of popular culture without diversity of change. Since there were no musicians present to idolise the admiration shifted to the DJ. Rave as a style of music was left by the wayside by most and dismissed by its almost all of its pioneering artists. Sarah Thornton’s “Club Cultures” remarks on a rather appropriate concept. It began as a quite innocent knee-jerk reaction to synth-pop that developed from a mandate from those select few in search of something new (as with any new movement). ”

The relationship between the music and the drugs became almost a symbiotic rapport. When rave legends work with pop princesses, opera singers release a “trance” hit and trip-hop guru’s produce for “nu-metal” rockers it becomes painfully obvious that subculture, especially in the case of “oldskool” rave and modern electronica, is becoming an obsolete term.

The future for anything is its constant evolution. Rave had to evolve or risk extinction. Opposing views as to the intent of ravers from national tabloids and government officials made raves an illegal pastime.

Common topics in this essay:
Ninja Tune, Genesis POrridge, Curt Cobain, Summer Love, Mark Tittley, America Raves, Inside Subculture, Leah Betts, Club Cultures, Relevant Genre, popular culture, acid house, youth culture, pop culture, subculture youth culture, common factor, diversity change, days acid, musical taste, rave culture, days acid house, music drugs,

Approximate Word count = 1269
Approximate Pages = 5 (250 words per page double spaced)

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