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Generation Ecstasy : Into The World Of Techno And Rave Culture (1999)

Generation ecstasy : into the world of techno and rave culture (1999)

Book Info

Rating
3.96 of 5 Votes: 1
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ISBN
0415923735 (ISBN13: 9780415923736)
Language
English
Publisher
routledge

About book Generation Ecstasy : Into The World Of Techno And Rave Culture (1999)

I never realized how much house music (or, more innacurately, "techno") had in common with punk music. Both genres were born in the hands of untrained amateurs who took instruments and bent them very far from their original purpose. Reynolds overlays the many, many sub-genres of house against the waves of ecstasy that first hit in England and the U.S in the mid-80's, and continued on through the 90's. He argues, persuasively, that Ecstasy itself is a rather harmless drug that can create a sense of community understanding and peaceful spirit that is therapeutic and revelatory. But, as people seek bigger and better highs, they turn to harder drugs, and the music they listen to can disintegrate from blissed-out house to dark jungle beats and beyond. Reynolds also points out that house is fundamentally opposed to the genius-makes-a-concept-album standard that we hold most rock music up to, as house was meant to be played by DJ's as part of an anonymous, intoxicated ride in a club. Techno needed to be adapted for careful home listening, and most of the results, he says, were bloated and hollow. While his initial premise seems accurate, he uses it to bludgeon the auteur-seeking rock and roll crowd, which seems unfair given his earlier allusions to punk. Any musical genre can create blissful tracks, genius albums, and pretentious stars, and the process is not so much the product of any one genre's fundamental qualities as it is the necessities of turning an artistic output into a free market career. I'm not sure that music which relies on drugs is any more or less sacred than music that relies on marketing: both require bending our basic senses via a conscious process. Overall, highly recommended. There is a history of music here that you do not know. Reynolds, as relatable as the best music critics, blends his personal experiences as a raver with astute critical observations, allowing us to follow along and learn on his own journey through this art.

Fantastic book that struck a chord with my own history of 'Raving' as the author got into the music in '92 which is the same time I was going out. ''Ardcore' was in full flow, there were so many good tunes and the music was changing week on week. It was evolving and laying down the foundations into the sub-genres of Jungle/D&B and Happy Hardcore and beyond. If you were there it will bring back some of those lost memories – if you weren't it will give you an insight into what it was really all about and how it came about. Very informative – my best history book by far!

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I finally woke up in 2004, after a decade of living this book. Clubland, and Party Monster, are two other books that capture the essence of this so-called era.It was very informative and quite revealing of how rave culture came about. It gives good insight into how the music was created, how the parties got started, where the drugs came from and what they did, and how and why it all ended. I don't know what to say. If you never took part in any of it, and you want to understand what went on, then this is the book for you. If you were there, but can't remember why, then this is the book for you. But if you lived it, breathed it, and loved it, then this is just a text book, and can't truely explain what it felt like to take part in the greatest love and freedom fest, ever. The 60's was about being who you were. The 90's and early early part of this century was about being whatever you wanted to be. The thing about this book is that while it gives you the data, it doesn't give you the feelings. The experience was different for everybody, even those at the same parties. I guess x, lsd, ghb, and meth do that to you. There is an ebb and a flow to the lifestyle, and it lives on today. You can still find raves and amazing djs in every major city if you know where to look, but they won't be run by Clear Channel. That's one idea that this book got exactly right... it went from being an expression to being a show. Those who truely cared still live the life, but don't shove it in peoples faces any more as they now want to keep it to themselves.
—Chris

Although a bit dated now, an excellent history of the origins of the rave scene in both the UK and America. This book stands out from others in the field due to 1) Reynolds skilled writing style, 2) his knowledge of the many variants of electronic music and ability to describe them for non-listeners, and 3) his theorizing about the meaning of the culture. He manages to demonstrate both that he's a fan and participant, but also able to turn a critical eye on the whole thing. If only this were required reading for everyone today whose knowledge of electronic dance music begins with Deadmau5, David Guetta and Swedish House Mafia!!
—Stefanie

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