BLUE @ AQUA & THE RED ROOM!

[sNyx]

Poking the fire much?

Originally Posted by wellbelove's

This generalization comment that the red room is like a rave hasnt had any real points yet ;p

GENERAL ELEMENTS: RAVE

• Loud music, in a venue, with DJ's
• Lots of people, mixed race/age/gender
• Equality of people hyped on booze/drugs/hormones
• Low-high priced entrance and refreshments

Now im gunna run this list over the General Elements of CLUB..
I'll report back with there similarities.

Originally Posted by gusto

the red room is more similiar to a rave than any other club i've been to in vancouver

Let it go wellbelove

[cubed]

"Techno.1
Just repeat the word to yourself. Listen to it. What does it sound like to you? The word seems to carry two totally opposite images with it. It sounds at once monolithic and impersonal, like the acronym of a multinational conglomerate. But it also sounds toylike, as in brightly coloured plastic Lego blocks.
Rave culture is an echo of these two contradictory images. It is retrofuturist, heading in opposite directions at the same time: forward, to the seductive dystopia of Blade Runner's Los Angeles, 2019, and backward, to the psychedelic utopia of the 'Summer of Love'. At its best, it is like orgasmic relief or Buddhist Nirvana, or the momentary blackout of a fighter pilot pulling G's at supersonic speed. At its worst, it can pummel the brain to mush with its locomotive rhythms and monorail melodies.
Listen to it. On one hand it has a love of silky, lustrous textures. On the other, a fondness for scabrous, crusty timbres. It is an amorphous sexuality and a masculinist algebra of dominance and submission. It is fluidity and rigidity. It is utopia and dystopia.

The application of the music is paradoxical as well. In an age where the standard formats are CDs and digital recordings, techno largely reverts back to 12-inch vinyl cuts and analog synths.
The genre is also anti-capitalist at the same time. Dozens of 12-inch singles are released every week, but few of the producers or musicians--there is usually no band--use the same name twice; they form short partnerships, release a couple of tracks and move on. None seem worried about fame or fortune; the 'image' of the music is transported directly from composer to consumer, without any interfering middleman.
Techno is the end of natural law of pop music: the end of harmony, of melodic development, of album-oriented marketing, of live performance in the "classic rock" sense. Techno signals the death of the song, to be replaced by the unresolved, infinite track. It is the death of the star, of message, of meaning. It is a revolutionary concept, but a recording company's nightmare.

And raves? Because social gravity is suspended, raves can be anything, like the student rebellion in Paris in 1968, or a group grope, or Mardis Gras in New Orleans. Or a lynch mob. They can be both Woodstock and Altamont, Plato's Republic and Jonestown. The suspension of mores and norms permits cultures which are polar opposite to one another; communitarian "families" are present as well as teenage wolfpacks, out for a night of wilding.
The 'rave', in the modern sense, addresses the utopian yearnings of both cynics and true believers alike. Heads, it's a Love-in; tails, it's a Two Minutes' Hate.
The raver is caught in this paradox. Like the hippy movement of the 60's, the raver seeks drums, seeks refuge to a simpler mode of existence, seeks to change the nature of the human condition through tribal gatherings and celestial events, seeks to be environmentally-conscious. But also to be urban, to be tech-oriented, to be wired into the information age. At the birth of a new millennium, the raver appears to be both luddite and industrialist; naturist and technocrat.

Blip culture means the death of sequential, linear thought. There is only a NOW--and it is either blissed-out or dreadful. Sometimes it is both.2

And that's all I have to say about that.




1 NOTE: The word techno, in this introduction, is used loosely, in the context of how people normally not associated with electronic music identify such music--as the umbrella term for electronic music. Not as the specific style of music arising from Detroit in the mid-80's.
2 adapted from Keyboarding Magazine's April 1993 article on Techno, by Mark Dery."

(Kenneth Taylor, http://www.ishkur.com/culture/)

There you go, not the definitive, but a start.

[deliverance]

Originally Posted by cubed

"Techno.1
Just repeat the word to yourself. Listen to it. What does it sound like to you? The word seems to carry two totally opposite images with it. It sounds at once monolithic and impersonal, like the acronym of a multinational conglomerate. But it also sounds toylike, as in brightly coloured plastic Lego blocks.
Rave culture is an echo of these two contradictory images. It is retrofuturist, heading in opposite directions at the same time: forward, to the seductive dystopia of Blade Runner's Los Angeles, 2019, and backward, to the psychedelic utopia of the 'Summer of Love'. At its best, it is like orgasmic relief or Buddhist Nirvana, or the momentary blackout of a fighter pilot pulling G's at supersonic speed. At its worst, it can pummel the brain to mush with its locomotive rhythms and monorail melodies.
Listen to it. On one hand it has a love of silky, lustrous textures. On the other, a fondness for scabrous, crusty timbres. It is an amorphous sexuality and a masculinist algebra of dominance and submission. It is fluidity and rigidity. It is utopia and dystopia.

The application of the music is paradoxical as well. In an age where the standard formats are CDs and digital recordings, techno largely reverts back to 12-inch vinyl cuts and analog synths.
The genre is also anti-capitalist at the same time. Dozens of 12-inch singles are released every week, but few of the producers or musicians--there is usually no band--use the same name twice; they form short partnerships, release a couple of tracks and move on. None seem worried about fame or fortune; the 'image' of the music is transported directly from composer to consumer, without any interfering middleman.
Techno is the end of natural law of pop music: the end of harmony, of melodic development, of album-oriented marketing, of live performance in the "classic rock" sense. Techno signals the death of the song, to be replaced by the unresolved, infinite track. It is the death of the star, of message, of meaning. It is a revolutionary concept, but a recording company's nightmare.

And raves? Because social gravity is suspended, raves can be anything, like the student rebellion in Paris in 1968, or a group grope, or Mardis Gras in New Orleans. Or a lynch mob. They can be both Woodstock and Altamont, Plato's Republic and Jonestown. The suspension of mores and norms permits cultures which are polar opposite to one another; communitarian "families" are present as well as teenage wolfpacks, out for a night of wilding.
The 'rave', in the modern sense, addresses the utopian yearnings of both cynics and true believers alike. Heads, it's a Love-in; tails, it's a Two Minutes' Hate.
The raver is caught in this paradox. Like the hippy movement of the 60's, the raver seeks drums, seeks refuge to a simpler mode of existence, seeks to change the nature of the human condition through tribal gatherings and celestial events, seeks to be environmentally-conscious. But also to be urban, to be tech-oriented, to be wired into the information age. At the birth of a new millennium, the raver appears to be both luddite and industrialist; naturist and technocrat.

Blip culture means the death of sequential, linear thought. There is only a NOW--and it is either blissed-out or dreadful. Sometimes it is both.2

And that's all I have to say about that.




1 NOTE: The word techno, in this introduction, is used loosely, in the context of how people normally not associated with electronic music identify such music--as the umbrella term for electronic music. Not as the specific style of music arising from Detroit in the mid-80's.
2 adapted from Keyboarding Magazine's April 1993 article on Techno, by Mark Dery."

(Kenneth Taylor, http://www.ishkur.com/culture/)

There you go, not the definitive, but a start.

wow. awesome.

J

[mindgurl]

Originally Posted by wellbelove's

*sacarsim* <--- for 'reading forums for dummies' ppl :p

*i am blonde*

*sarcasm*

[Lenny]

Aqua was neat. heh, never been asked what I was doing somewhere so many times in my life!

Hirshee, Deliverance & a frickin lazer.. seemed a little ravey to me... j/k

Interesting crowd, a couple choice tunes, might have to swing by again sometime =]

[Ree Fresh]

Originally Posted by cubed

"Techno.1
Just repeat the word to yourself. Listen to it. What does it sound like to you? The word seems to carry two totally opposite images with it. It sounds at once monolithic and impersonal, like the acronym of a multinational conglomerate. But it also sounds toylike, as in brightly coloured plastic Lego blocks.
Rave culture is an echo of these two contradictory images. It is retrofuturist, heading in opposite directions at the same time: forward, to the seductive dystopia of Blade Runner's Los Angeles, 2019, and backward, to the psychedelic utopia of the 'Summer of Love'. At its best, it is like orgasmic relief or Buddhist Nirvana, or the momentary blackout of a fighter pilot pulling G's at supersonic speed. At its worst, it can pummel the brain to mush with its locomotive rhythms and monorail melodies.
Listen to it. On one hand it has a love of silky, lustrous textures. On the other, a fondness for scabrous, crusty timbres. It is an amorphous sexuality and a masculinist algebra of dominance and submission. It is fluidity and rigidity. It is utopia and dystopia.

The application of the music is paradoxical as well. In an age where the standard formats are CDs and digital recordings, techno largely reverts back to 12-inch vinyl cuts and analog synths.
The genre is also anti-capitalist at the same time. Dozens of 12-inch singles are released every week, but few of the producers or musicians--there is usually no band--use the same name twice; they form short partnerships, release a couple of tracks and move on. None seem worried about fame or fortune; the 'image' of the music is transported directly from composer to consumer, without any interfering middleman.
Techno is the end of natural law of pop music: the end of harmony, of melodic development, of album-oriented marketing, of live performance in the "classic rock" sense. Techno signals the death of the song, to be replaced by the unresolved, infinite track. It is the death of the star, of message, of meaning. It is a revolutionary concept, but a recording company's nightmare.

And raves? Because social gravity is suspended, raves can be anything, like the student rebellion in Paris in 1968, or a group grope, or Mardis Gras in New Orleans. Or a lynch mob. They can be both Woodstock and Altamont, Plato's Republic and Jonestown. The suspension of mores and norms permits cultures which are polar opposite to one another; communitarian "families" are present as well as teenage wolfpacks, out for a night of wilding.
The 'rave', in the modern sense, addresses the utopian yearnings of both cynics and true believers alike. Heads, it's a Love-in; tails, it's a Two Minutes' Hate.
The raver is caught in this paradox. Like the hippy movement of the 60's, the raver seeks drums, seeks refuge to a simpler mode of existence, seeks to change the nature of the human condition through tribal gatherings and celestial events, seeks to be environmentally-conscious. But also to be urban, to be tech-oriented, to be wired into the information age. At the birth of a new millennium, the raver appears to be both luddite and industrialist; naturist and technocrat.

Blip culture means the death of sequential, linear thought. There is only a NOW--and it is either blissed-out or dreadful. Sometimes it is both.2

And that's all I have to say about that.




1 NOTE: The word techno, in this introduction, is used loosely, in the context of how people normally not associated with electronic music identify such music--as the umbrella term for electronic music. Not as the specific style of music arising from Detroit in the mid-80's.
2 adapted from Keyboarding Magazine's April 1993 article on Techno, by Mark Dery."

(Kenneth Taylor, http://www.ishkur.com/culture/)

There you go, not the definitive, but a start.

Well in that case... the term 'rave' actualy compares with the red room.