New York Times (New York, NY); May 28, 1996
All-Night Parties and a Nod to the 60's (Rave On!)
by Neil Strauss
Gotham, Wis., May 27--The following snippets of conversation were
overheard on Memorial Day weekend at the Eagle Cave and Mountain Campgrounds
here: "Dudes, my last brain cell is already hanging on the edge, and
itŐs only Friday-- or Saturday." "Is everyone here a DJ?" "I hate
brushing my teeth when I'm wasted." "Does anyone have some milk or
vitamin B12?" "I can't find my car. Man, I don't even know if I drove
Memorial Day weekend marks the beginning of three months of beaches,
barbecues and sun for some people, for others it is the start of
a summer of outdoor raves, techno-music dance parties that can last
one night or several.
Friday night at Eagle Cave, rave season officially began, with one
of the biggest outdoor parties of the year: Even Furthur, which
drew some 4,000 people to a 300-acre campground with an onyx cave,
a lake and a petting zoo.
the event, which ended this morning, a laser show, fireworks, live
bands and more than a hundred American and European disk jockeys
were added to the site, with dance music thumping unremittingly,
even during the scheduled nap time, 8 am to noon.
4,000 people attended the Even Furthur rave festival over the
Memorial Day weekend at a campground near Gotham, Wis.
raves started popping up in the United States in the early 90's,
mixing fast electronic music, with roots in Detroit, and contemporary
British party culture, they were exciting, trendy and new. Raves
were all-night (and -morning) parties at which people on the dance
floor had the opportunity to be themselves, whether that meant playing
instruments, bringing toys or wearing homemade outfits.
the time, the new media covered raves extensively, focusing on the
music, the fashion, the youth movement or the drug taking (ecstasy,
LSD and the animal tranquilizer ketamine are common). But soon the
spotlight moved elsewhere.
five years later, the rave scene has grown and evolved on its own
energy, becoming an entrenched subculture that exists in a near-vacuum,
similar not only to the cults that gather around punk-rock or Gothic-rock
music but also the Deadheads who followed the Grateful Dead.
the death of Jerry Garcia and the end of the Grateful Dead, raves
are becoming the communal gathering of choice for Deadheads with
nowhere to congregate. At Even Furthur, people were decked out in
standard rave gear -- baggy pants, small backpacks, oversize logo-emblazoned
T-shirts, floppy hats or baseball caps and pacifiers or lollipops
-- but also on display were tie-dyed shirts, bandannas and torn,
some Deadheads follow groups like Phish and the Allman Brothers
Band around the country, rave culture seems to have a more entrenched
network of dedicated travelers, who spend the summer (or longer)
in van, chasing raves from city to city trying to see their favorite
DJs, as opposed to bands. (On the rave road map this summer are
a camp-out with bands like the Orb and Leftfield at Big Bear Lake
near Los Angeles on the weekend of June 21, One-der in Minneapolis
and Fantasia 2 at Randalls Island in New York City, both on July
and ravers actually have a lot in common. The music and the uniforms
may be different, but both groups are rooted in the 60's subculture
of tuning in, turning on and dropping out.
fact, the Wisconsin rave's oddly spelled name, Furthur, comes from
the word printed on the front of the bus Ken Kesey and the Merry
Pranksters drove around in the 60's. Coincidentally, when the former
members of the Grateful Dead tour together with their own bands
this summer, they will be calling the event the Furthur Festival,
inspired by the same bus-sign declaration of pressing forward on
the road and in the expansion of consciousness.
raves certainly have more relevance than Grateful Dead shows to
90's culture (with themes of speed, technology, synthetics and the
dismantling of individuality), they are becoming less relevant.
The rave scene, like the Deadhead scene, is turning into an autonomous,
self-referential and self-perpetuating culture with little desire
to effect change on the outside world-- just to escape it for a
little while. This was borne out by the location of Even Furthur,
which was a three-to-five-hour drive from the nearest major cities
(Chicago, Milwaukee and Minneapolis).
four days, an alternative community was built. The ravers, who ranged
in age from 12 to a stragglers in their late 30's, slept in tents,
recreational vehicles and cars. Some rented trucks, in the back
of which they set up their own sound systems and added to the filigree
of dance beats stretching over the campground valley.
rained every day; nonetheless, ravers danced in muddy tents to their
favorite DJs (Frankie Bones, ESP Woody McBride, Scott Hardkiss,
Apollo, Mixmaster Morris), marveled at how well electronics whizzes
like Daft Punk and Laura Grabb could perform the music on live instruments
and discovered that rock bands like Low and Poi Dog Pondering could
also fit into a rave.
raves can get a little more cliquish, fashion-conscious and musically
snobbish that a Grateful Dead concert, each night the crowd at Even
Furthur grew more generous and cohesive.
campfires became public shelters, where people could warm up, meet
fellow travelers and talk, away from the din of the music.
of the younger ravers who come from troubled home described the
community as a substitute family; others, from small towns where
being a raver means being an outcast, said the parties were the
only opportunities they had to meet and talk to people with similar
interest and mind-sets. (There was only one arrest over the weekend,
of a boy who was having a violent reaction to a psychedelic drug,
smashing car windows and screaming that he was dead.)
the crowds at Grateful Dead parking lots, ravers even formed a few
drum circles. As different as techno's pile-driver boogie and the
Dead's brand of jam-rock are, they both place importance on complex
rhythms and the primitive, spiritual force of percussion.
Deadhead ravers (call them Deadbeats) said that it wasn't a stretch
to like techno music, since the long, experimental "space" and "drums"
improvisations that were a staple of every Dead show are similar
in sound and hypnagagic intent.
future of raves is ambiguous. They are certainly now as entrenched
as any other music-based youth subculture, but with more and more
Deadheads and curious sybarites popping up at the parties, they
are slowly expanding.
promoters of Even Furthur see potential for the rave's grand entrance
into the mainstream in children born since 1989, the first generation
since the baby boomers to have an annual birth rate of more than
these children's parents and grandparents all listen to rock-and-roll,
one promoter from Chicago explained, they'll need to rebel and find
a music of their own.
he hopes, will be the electronic pulse of rave music, whatever it
will have evolved into by the time these children are old enough
to stay out (or sneak out) all night.