The Insurgency: The War on Terror, the War on Drugs, since when did music become the insurgent? It’s the age-old story of the fear of the new. The turn of a century prophesizes the end of the world, so did jazz in the 1940’s. Rock and roll was considered the devil’s music. The new fear is electronic. With the rise of technology, electronic dance music has grown into a powerful multifaceted artistic movement, whether it’s Techno, Jungle, Happy Hardcore, House, Drum N’ Bass, Trance, etc. No matter the BPM (beats per minute) you can’t help but dance, sway back and forth, or even twitch, as the music indulges your eardrums.

Floors pulsate and the walls throb. The driving rhythm mimics the human heart and the urge becomes impossible to suppress. The room comes to life, packed with people from wall to wall, all propelled by the same desire, to dance, to co-exist. It doesn’t matter what country you come from, what religion you choose to take up, your sexual preference, or even your age. No one cares about money, politics, prejudice, or even war. They come armed with glows sticks (and other flashy shiny blinky things,) not guns or knives, or bombs in their shoes. Who goes to a rave with the intent of violence? Since when did the rave scene carry such a bad name?

The New Hippie : It’s like the Hippie movement of our generation, centered on peace, love, unity, and respect. In other words, P.L.U.R. It’s the philosophy that ravers, techno heads, and candy kids from all corners of the globe hold true. DJ Frankie Bones, referred to as the “Godfather of the American Rave Scene,” coined the term in 1993. It wasn’t until later that a second R was added to stand for responsibility. The “Summer of Love” in 1967 has taken on a new form and speaks to a new generation.

Coincidently, the government and even the media relentlessly attack the rave scene, as they did with the hippie movement, or any other emerging counterculture that doesn’t agree with the political establishment.

The Power Trip: The never-ending War on Drugs is the weapon of choice when it comes to targeting the rave scene. An arsenal of local, state, and federal drug laws, gives the government enormous power to do so. The rave scene has become notorious for

drug use. According to the DEA, raves do nothing more than promote the sale, distribution, and use of drugs. In order to suppress the illegal use of MDMA (ecstasy) and other club drugs, legislators have expanded the Controlled Substances Act, otherwise known as the “Crack House” Statute, to form the RAVE Act or the aptly named acronym for Reducing Americans' Vulnerability to Ecstasy. Ironically, it doesn’t shield any American from the drug users and dealers. Instead, it puts the stranglehold on the venue managers, music promoters, and landowners, at not only a rave, but also any other establishment or get-together that features electronic dance music. The RAVE Act treats businessmen and women like criminals, and if there is any evidence of drugs use, they can get up to 20 years imprisonment and a possible $500,000 fine. Other means of control exist in a variety of expensive and nearly impossible to obtain licenses, such as the Cabaret License. With out a license like this, dancing is turned into an illegal form of self-expression. This license is based on the Cabaret Laws, which were meant to suppress Jazz in 1926. Then there’s the Public Place of Amusement License, in which promoters may face up to a $10,000 fine. In some cities it’s illegal to throw a party with more than 100 people and a DJ. In some states Anti-Rave Laws make it illegal to dance for 9 months at a new club.

Four on the Floor: Amidst the fury of a pounding beat, a close friend’s body heat, a harsh flashlight glares through the warm glow stick show. Few groans are heard, when the lights go on. The DJ retaliates by kicking it up a notch, even though he’s sentenced to stop. And the rave goes on, if only for a few minutes. (The hippies did it in the 60’s and 70’s, Gandhi, with his Hunger Strike, this time dancing becomes a non-violent form of protest.) Eventually another rave goes down. The venue managers, and music promoters, succumb to heavy fines. Discontent dancers head back to their homes. The place is raided, scoured for drugs and paraphernalia. Even if all they could come up with was a counterfeit bill, the raid shows up on the news. And of course, as a side note “kids on ecstasy” is mentioned. The media strikes its blow, with a brilliant parental scare tactic.

Despite the oppression, Jazz thrived. Where would we be today with out Rock and Roll, Hip Hop, or Heavy Metal? Through music, a generation is defined. So what if electronic dance music is the new evil, the new insurgent? Despite the media slander, police involvement, and numerous laws and regulations, none of that matters, because what it all comes down to, really, is the music. That’s what’s important.