true...but most people tend to only arrive on the 2nd day

its here!!

damn i want that one!

[ psyfreaks.ca ]

haha i got hang myslef

i'll see you all there! kemal is definatly an ill producer, been listening to some of his tracks

seb, i've actually heard that when you spin goa its amazing, i'm sorry I couldn't make it..i think there snobbish people in every scene, but these people hurt their scene more than anything

I think with the US its just another case of too much power and doing whatever they want.
Like with Iraq, there basically saying to the UN, were gonna invade whether you pass this resolution or not, so you better pass it. But at the same time, I think if you compare the period of American world power (1945-present) with say when Britian, France, and Germany were powers, the U.S. is actually not nearly as bad. At least there not colonizing the world..and dont forget the whole Israel/Palestinian conflict is really Britian's fault to begin with, something that you dont hear too many people saying.

haha nimi's gone ghettO

seb's optimism is inspiring, he's one of the chillest people i know

twas cool to meet you liam, chelsea, and gen

and kafwin is the rave goddess :)

alright cool :)

but its in 3 weeks..and no lineup, flyer, tickets, or even a thread for it on this board?

i must be missing something i guess

should someone take 'spread the word' off the calender if i'm right in assuming this party is replacing that?

i was talking to somebody at invasion, and he mentioned that he had a site where he was making available free hosting for tracks and mixes for up and coming dj's/producers

i haven't checked this out myslef, but in case anyone's interested heres the url:

[ carter.ath.cx ]

thats chill of you having an open invite :)

i dont think i have any plans that night, so msg me directions to your place from downtown and i should be able to show up

even if it was the normal security, as long as they didnt cause too many problems for people (and since noone on this board has complained about it I guess not) then it doesn't matter too much for me...yes i got an empty water bottle confiscated but I think all afterhours do that

i think the real problem here is difficulty in finding good venues. i dont think any promoter would perfer to hold a party there - it's far and has a bad reputation, even though the physical place is nice and no problems last night.

so what are you really succeding by boycotting the place? it really only hurts the promoter more than anyone else. and even if your boycott would be succesful and level goes out of business, how does that help anything?

in order to have develop cells capable of terrorist attacks on the scale of 9/11, you need a centralized operation to:
1. recruit members for cells and train them
2. develop and communicate intelligence to cells regarding american vulnerabilities
3. finance the operations
etc

If you look at what alqaeda was doing in afghanistan, it was pretty much the above 3 functions. While the actual 9/11 attack was low tech and relatively simple, the process leading up to the attack - study visas, flight training, intelligence, financing, - was pretty complicated. I highly doubt that 20 guys could meet in a bar somewhere and succeed in the 9/11 attack. You are definetly right that there are semi-independant cells which are probably already advanced in working towards whatever attack they are planning. But without centralized support, their task will be more difficult. Case in point - the latest al qaeda sponsored attack, on an Israeli owned hotel (in Africa i forget the county) was a pale shadow of their previous success.

my opinion...

1) 9/11 used to justify attack on Sadam is bullshit propaganda for stupid americans. Bush keeps claiming some sort of Iraq/alqaeda connection with absolutely no proof.

2) you can argue additional motives for attacking afghanistan, and i wont try to dispute that. but attacking afghanistan did have significant impact on reducing possibility for future terrorism. Reasons:
a. key alqaeda figures arrested/killed
b. training camps and other alqueda infrastructure destroyed
c. forcing remaining alqueda figures to flee from a county that allowed them to operate freely, to outlaw regions in other countries (Yemen, Pakistan) whose governments are actively working with u.s. to find them
d. ensuring that even al-queda sympathetic countries cant do anything to help alqaeda, since they know it will mean instant attack by u.s.

So basically from the u.s. point of view (which is correct), attack on afghanistan was a success. Of course that doesnt mean alqaeda wont be able to do another big operation, but the chance of that happening is less as a result of the war.

Another point: alot of people seem to forget that 9/11 was just the biggest of alqaeda operations: remember twin embassy attacks?

hahaha maybe I was wrong, it is a giant conspiracy. read this quote from ny times:

In Palestine, Tex., about 97 miles from Dallas, the police were barraged with calls from witnesses. "They saw vapor trails going across the sky and sparkles and stuff, then didn't see it anymore," said Cpl. Steve Petrovich of the Palestine police. "One person called to say they saw it going east, then turn north, then vanish."

if you think im making this up - [ www.nytimes.com ]

Just to add something: I consider myself centre-left on the israel-palestinian and us-iraq issue. But when people on the left make ridiculas arguments like "the whole 9/11 attack is a giant conspiracy - its all a us plot to take over afghanistan and iraq" - that only allows other people to dismiss the people who oppose us/israel policies as the "loony left". There are very good arguments against us/isreal actions, and these should be the ones that are heard, not paranoid theories that are going to be immediately dismissed - rightly so - by 99% of the population

voidnull - you ask "what investigation" ?

Obviously, the investigation will be to determine why the space shuttle disintegrated. Don't you think that's warranted? While it obviously wasnt a terrorist attack, people will still need to know why it happened so they can fix whatever the problem was for the future.

On the one hand, you could argue that they should declare right away it wasnt terrorism. On the other hand, since it just happened, I can understand why they want to know more about why it happened before reaching any conclusion - even the most obvious. For example, the status of the people on board the space shuttle is now official "unknown".

Yes, Israel is involved in a brutal war of oppression involving human rights abuses and collective punishment. But at the same, normal Israelis are getting blown up. For Israel, sending an austronaut was a symbolic symbol of acheivement and optimism at a very dark time - not nearly as bad as the Palestinians have it, but bad nonetheless. The fact that even this failed will crush peoples spirits even further. So is some sensitivity too much to ask?

I had a great time at this party.

I was abit apprehensive about it being at level, i've never been there but heard nuff bad stories, but at least at this event it was a really nice venue - lots of space to dance, no bathroom lineups, incredibly comfy leather couches. And of course the GREEN LASER!!

The music was really great. Of the first 2-3 Dj's in the main room, Genma impressed me the most. Once the freeform started it was 100% incredible till the end. I really liked the progression hardtrance > freeform > hhc. Though not many stayed for the hhc. The second room was nice breaks and techno, great music both to chill to and to dance. When not jumping around in the main room, I got to have some conversations with some really nice people in the 2nd room.

Had a blast - was dancing when the lights came on!

WILL THERE BE TICKETS AT THE DOOR???

does anyone know the street address of laval?

Adaptation is my favorite movie I have seen in awhile

What makes this board interesting is that people tend to express themselves quite openly - their thoughts, annoyances, hopes, fears, beefs, and more - making strangers aware of what would normally be considered personal material.

After scanning this board for some time now, I began to form impressions of people, even those I never met. Of course, much of the details about these people I have never met is missing - which leads to my imagination filling in the gaps. This results in a feeling of knowing that person, but in a superficial sense - like "knowing" the character of a sitcom you regularly watch. Every few days, I glance through ravewave to read the new developments in these "characters" lives, much like an obsessed soap opera fan.

When of course I actually have a chance to meet a person from ravewave for the first time, there is an enourmous curiousity to compare what the person is like in real life, as compared to my mental idea of that person, part based on whats on this site, part based on imagination. Every little detail of the person - their voice, posture, exspressions, etc - becames either a confirmation or a denial of the mental image existing beforehand of that person.

Anyone else feel the same way?

P.S. NICE TO MEET YOU!!!!

how different is mda compared to mdma?

mmmm ant cake

wow someone actually agrees with me!

harsh

potheads

i got the mix cd today at megohm, its quite good

i agree february is definetly the worst month

so thats what the crunching was

HAHAHA

Even if people hate each other, theres no point in bringing it on a message board where it doesn't affect most people, and defintely will not be resolved here in any case.

I dont think moderators should start deleting stuff, I just wish people would realize that trading insults on a message board is one of the most retarded things possible.

i am definetly looking forward to this. i think my brother may be coming too, if he's in town that weekend. 1 year anniversary = 1 year of great music, great parties, great people!!

History of Dance Culture and Rave


For that majority of the British population with no direct experience of rave culture, E stands for "danger". It evokes images of teenagers robbed of their lives; kids suffering from heatstroke through over-exertion and dehydration, being rushed to hospital with internal bleeding. Or it triggers mind's eye scenes of frenzied delirium, deranged dancing, zombie-like trances and un-English mass hysteria.
But for the several millions of young and not-so-young people who've passed through the dance-and-drug culture during rave's ten year lifespan, Ecstasy is normal, as banal and benign as a pint of lager. For many, E equals predictable, obvious, even slightly naff; in a word, "safe".

It wasn't always this way. In the late Eighties, Ecstasy was exalted as "the magic pill," a miraculous agent of individual and social transformation. It was the sacrament--the communion wafer, if you will--of a secular religion whose "loved up" adherents believed that house music and MDMA were set to change the world. At the height of the Eighties go-for-it, go-it-alone enterprise boom--whose spirit was encapsulated in Margaret Thatcher's infamous proclamation "there is no such thing as society"--Ecstasy catalysed an explosion of suppressed social energies. Rave's values-- collectivity, spirituality, the joy of losing yourself in the crowd--were literally counter to the dominant culture. Ecstasy's empathy and intimacy inducing effects didn't just offer a timely corrective to Thatcher-sponsored social atomisation; the drug was also the remedy for the English diseases of class-consciousness, reserve and emotional constipation.

But why did all this happen in the context of house and techno music? The drug seemed to fit the music like a glove. On E, its repetitive rhythms induced a blissed trance rather than irritation. And because MDMA intensifies sensations to the brink of pre-hallucinogenic synaesthesia, house and techno's ultra-vivid electronic textures became even more sensuously tactile, so that the music seemed to caress your skin and surround you like a fluid, immersive environment.

You're probably familiar with the story of how a bunch of holidaymking DJs discovered the synergy between house and Ecstasy in the clubs of Ibiza; how they brought the anything-goes "Balearic" vibe back to cool-crippled London in late 1987; how by the summer of '88, the trippy, futuristic sound of Chicago acid house had spawned the most demonized British subculture since punk, which then spilled out into the English countryside in '89 as inner city warehouse parties evolvd into massive raves in fields near the M25. It's a tale that, if not exactly sting-less, is certainly thrice told. But there's a case for saying that musical revolutions actually have their biggest impact a few years after their over-mythologized, "official" origins, when the ideas have filtered from the metropolitan hipster cliques through to suburbia.

Just as punk continued to prosper and mutate in the provinces for years after Sid Vicious's death, similarly rave really became a mass bohemia during the three year period 1990-92. A huge circuit of legal, commercial raves developed, while the liberalisation of licensing hours allowed for rave-style clubs with all-night dancing. It was also in 1990 that home-grown British house music really took off, breaking the dependence on Black American imports from Chicago, Detroit and New York. As sampling and sequencing technology got cheaper, hordes of teenage DJ/producers made tracks dirt-cheap on simple computer set-ups in their bedrooms, then sold these "white label" 12-inches direct to specialist record stores. Propelled by the demographic heft of the rave nation, these "hardcore" rave tunes bombarded the pop charts throughout 1991-92, despite next to no airplay. Hardcore was also the birth of a uniquely British rave sound--a mutant hybrid of hip hop breakbeats, seismic reggae bass, stabbing riffs and mindwarping samples. At the pop end of the hardcore spectrum, groups like The Prodigy, Altern-8, N-Joi, and SL2 invaded the Top Five. At the more underground end, hardcore was the staple of the pirate radio stations that infested the FM airwaves, and the ruling sound at illegal raves, which resurged massively in 1991 through the efforts of crusty-traveller outfits like Spiral Tribe.

As an anarchic cultural force, rave culture peaked in the summer of 1992, when the biggest commercial raves peaked at 25 to 35 thousand, and the techno traveller festival at Castlemorton Common in the West Country drew an estimated forty thousand revellers during its six days of highly illegal existence. By 1993, though, rave culture was in disarray: illegal raves were systematically crushed by local police forces across the country, the commercial rave circuit was in decline owing to bad vibes and rip-off events. Hardcore had always been less utopian than the uplifting house of 1988-89,. During the early Nineties, as ravers took progressively higher doses of Ecstasy and amphetamine, the subculture's metabolic rate accelerated drastically, resulting in ever-escalating tempos and a vibe that exhiliratingly blended euphoria and aggression. The result was a teenage "rush" culture that had more in common with videogames, extreme sports and joyriding than late Sixties transcendence-through-altered-states. By 1993, hyperkinetic hardcore rave plunged into the darkside, becoming the convulsive, bad-trippy soundtrack to paranoia, panic attacks and eerie feelings of the uncanny (all symptoms of long-term Ecstasy abuse). As the scene's atmosphere deteriorated, many abandoned the large one-off raves for the milder song-oriented house music of the club scene; those that persisted with the rave spirit witnessed the evolution of hardcore into jungle, a sound and a subculture as revolutionary as acid house, but blacker in sound and militant in mood.

By the mid-Nineties, rave culture--hitherto a chaos of social and sonic mixing--was stratifying into increasingly narrowcast scenes organised around race, class, and region. Once, you could go to a rave and not know who you'd end up talking to, or what kind of music you'd be exposed to; now, it was all too easy to choose a soundtrack that guaranteed satisfaction but no surprises, and to ensure that you only mixed with "your own kind". Club culture became professionalized, with the rise of "superclubs"like Cream, Renaissance and Ministry of Sound (mini-corporations who raked in the money with merchandising, sponsorship deals, even club tours that took their legendary "vibe" around the county), and with the emergence of a Premier League of star DJs who travelled up and down the UK, earning up to two thousand pounds for a two-hour set, and often playing several gigs per night at the weekend.

All this took the edge out of E culture. As the late Gavin Hills, journalist and acid house veteran, put it: "Ecstasy culture is like a video-recorder now: an entertainment device, something you use for a certain element of pleasure. The club structure is like the pub structure: it has a role in our society." That role is arguably as a kind of safety-valve/social-control mechanism, with youth living for the temporary utopia of the loved-up weekend rather than investing their idealism in a long-term collective project of political change. It's the traditional working class "culture of consolation", with three E's replacing ten pints. And E, the magic pill, has lost both its aura of enchantment and its status as the most favoured drug of the "chemical generation"; it is now just one brain-blitzing weapon in the neurochemical arsenal. Because of this "polydrug" culture of mixing-and-matching, the atmosphere in clubs has changed: instead of the clean, clear high of MDMA and the electric connection between total strangers, the vibe is bleary and untogether. Instead of getting "loved up", people talk of getting "messy".

In 1998, there's a feeling of exhaustion in British dance-and-drug culture, inevitably accompanied by a longing to return to the moment when it all felt so fresh and innocent and world-historical. There's been a boom in old skool nostalgia, with Back to '88/'89 or Back to '91/92 raves. Pop critics usually condemn nostalgia as a weak-willed retreat from the problems and challenges of the present. But sometimes nostalgia can be the recognition of real loss--in rave's case, the loss of the chaos in the culture and the madness in the music. Certain periods in the life of an individual or a culture are simply more intense, precious and *on fire* than others; nostalgia can be the first step towards reigniting the spark.

i think it means that squirell has its head too far up its own ass