different spin
by Neil Mulka photography: Rachel Merz
Chase Cookson never danced in his life until he went to a rave.
The Wichita senior was hooked when he was able to express himself without judgment and to dance without feeling stupid. He felt amenity with the hundreds of strangers from all walks of life dancing around him to the same steady, thumping, hypnotizing beat coming from the electronic music created by the disc jockey. The event was alcohol free and people younger than 14 were enjoying the communal vibe.
J. Phoenix, Lawrence resident, describes raves as tribal rituals. Instead of bonfires there are lasers and lights and drums made out of wood and animal skin are replaced by public announcement systems, mixers and turntables made of plastic, paper and vinyl. The DJ is the shaman who directs the masses through his or her music, and people dance as they try to attract the opposite sex.
Phoenix was amazed at what he saw at his first rave. "I walked in and it was nuts," Phoenix said, "It looked like a bunch of high schoolers commandeered an old, abandoned K-Mart. The music was insane. They had these stacks of speakers that I only saw at huge venues just blaring rhythm. It rocked that night, and I was hooked."
That rave was Migrations 2, which took place in September 1999.
Now, the glowsticks have burned out, the pacifiers and air filter masks are no longer worn, the candy has turned stale. Thanks to dance hall laws, media images of rampant drug use, maturing fans and financial risks the days of the all ages/all night rave is dead in the Kansas/Missouri area, but the music plays on.
Electronic music events in the region continue in nightclubs like Club 151 and Kabal in Kansas City, Mo., and in smaller house party settings. DJ Rob Lee plays his style of progressive house electronic music in nightclubs in the West Bottoms area of Kansas City, Kan. He says electronic music moved into clubs because several raves were busted and promoters became scared of throwing large-scale events that could lose money. The days of someone simply going into a warehouse and having a party are over. Now having an event takes more time and preparation to lessen the chance of getting busted.
Now 21 years old, Cookson no longer wants to go to anonymous parties crowded with strangers like he did when he was 16. He wants to go out with his friends to a smaller party or nightclub to see a DJ he likes.
Promoters now offer more events in the adult setting of a bar or nightclub. This projection of maturity brings more respect from authorities and older adults, Lee says. A club setting has lower production costs, better DJs playing longer sets and reasonably priced alcohol instead of over-priced water.
The clubs hosting these events are usually for ages 19 and over, thus keeping minors out of the event and away from older club goers who usually don't want to be around the immature younger set. The younger crowds were the ones that were getting into trouble and couldn't handle themselves in public because a lot of them were there to party and not for the music, Rachel Merz, Lawrence freshman, says. "Regardless of these little raver kids taking drugs and listening to it [the music] that's not what its about, that's not why were here. A lot of the older people are pushing the music to be a mature sound and be a more upscale thing," Lee says. "If you go to a club in New York, there might be a
huge DJ playing. You have to go in looking really nice and suitable for the club. That's because it's precious for the people that are involved in it. They are sick and tired of having that rap that raves are bad because of all these drugs. There are no more drugs at a rave than there are in a concert at Sandstone."
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2.B.C6 Jumping