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CANDY RAVERS

“Customer quotes,

called “pull quotes,” are

an excellent way to

demonstrate your suc-

cess and put emphasis

on your values. They

also add visual interest

to your newsletter...”

- Kim Abercrombie

FMRK 360 Wendy Bendoni

Advantages of a Newsletter The purpose of a newsletter is to provide specialized information to a targeted

audience. Newsletters can be a great way to market your product or service, and

also create credibility and build awareness for you and the services you provide.

Use positive customer pull-quotes as eye-catching but subtle marketing.

Tips for Producing a Newsletter Every time you produce your newsletter, ask yourself:

Q: Who are our readers?

A: Existing customers and potential customers,

Q: What will our readers want to know about our business?

A: Timely, helpful, problem solving information.

Add Value to Your Newsletter Keep your content as current as possible. If you publish a monthly letter, ensure

you include content from only the last month. Also, use photographs and other

visuals to add interest and enable the reader to scan quickly for information.

By Nicole Mazzola December 9, 2014

Cultural Research Project on Dress and the Impact on Social Communities

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TABLE OF CONTENTS

“"It's the way people want to be, but don't express."

- Unkown

Eat.

Sleep.

Rave.

Repeat.

Photo from http://weheartit.com/entry/group/35986158

INTRODUCTION 3

HISTORY 4

LANGUAGE 6

DEFINING DRESS 7

LIFESTYLE 8

INFOGRAPH 9

CONCLUSION 10

REFERENCES 10

Cultural Research Project on Dress and the Impact on Social Communities: Sub-Culture May 2016

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Introduction Raves, otherwise known as the “club” or “dance scenes,” have created a

counterculture in the United States after there began a growing presence of

teenagers at raves in the 1990s. Specifically, the candy raver subculture as

emerged as those that dress in over-the-top costumes and trade kandi with one

another. The “high-energy, all-night dance parties and clubs…feature dance music

with a fast, pounding beat and choreographed laser programs,” (Scott, 2002). Mu-

sic types range from techno, to trance, jungle, drum ‘n’ bass, and garage (Scott,

2002). Often times, a well-known disk jockey will attract people to attend. To en-

hance the fast-paced music, bright, flashing lights and lasers beams extend from

every part of the scene. Raves occur late at night to the early morning in licensed

locations such as clubs and several unlicensed locations and temporary venues

including fields, warehouses, and empty buildings where attendees are normally in

their late teens to early twenties (Scott, 2002). Raves range in size, from hundreds

of people to hundreds of thousands of people, with more males present than fe-

males. At most licensed events where attendees must be seventeen or older, en-

ergy drinks, alcohol, and drugs are prevalent. Ravers are known for the use of

ecstasy, ketamine, LSD or acid, pohypnol, cocaine, and alcohol (Scott, 2000).

Because large crowds and an abundance of dancing tends to heat temperatures

up, extremely high-priced water vendors are always present (Scott, 2000).

Photograph from http://www.gottadancedirty.com/tag/edc/

Electric Daisy

Carnival

One of the

most popular

rave scenes,

otherwise

known as

EDC

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CANDY RAVERS

Ravers in

the 1980’s

Photo from http://www.pinterest.com/pin/504825439453473479/

History of Raves The history of the term “rave” dates back to the late 1950s in the United Kingdom and was the name for a wild bohe-

mian party (Huston, 2000). However, it was not until the late 1980s that the rave culture began to develop. Raves occurred in

large warehouses in London where a variety of hip-hop and house music would play (Hutson, 2000). At this point, rave music

began to develop in which people repeatedly spun voice-overs into songs. At the same time, there was influence from the

British youth who enjoyed partying and took to traveling to the Island of Ibiza for vacationing. The term “holiday” is used often

to refer to the vacation a group of young men from London took to Ibiza to escape their work, school, and social life (Hutson,

2000). After returning home to London, they wished to incorporate the laidback lifestyle they had in Ibiza into their life at

home. This set the tone for raves as being a place to escape everyday life and become surrounded in electronic music, danc-

ing, and laid-back people.

The influence of this lifestyle began a movement known as Acid House that spread throughout British youth (Huston,

2000). In Britain during the 1970s, prejudice and oppression created social disorder in which widely diverse young men and

women struggled to find similarities amongst themselves. They could, however, all escape the realities of society through

Acid House and in this way, created similarities amongst a variety of cultures (Huston, 2000). The British youth’s summer

celebrations in Ibiza in combination with the creation of European techno and American house music in the United States led

to the development of raves (Scott, 2002).

Cultural Research Project on Dress and the Impact on Social Communities: Sub-Culture

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Evolution of Raves

Raves have become heavily commercialized since the time they first be-gan. As Scott writes, “specialized industries were developed to market clothes, toys, drugs, and music [to] capitalize on the growing popularity of raves,” (2002). This commercialization has changed the location of raves. The scene has “spread from major metro-politan areas to more rural or conservation locations [such as] Colorado, Iowa, Louisiana, Michigan, Minne-sota, and Wiscon-sin” (Huston, 2000). No longer do people have to wait hours to find out secret rave locations or wait in ex-tensive lines to gain access into raves. Tickets for raves can be purchased nearly six months in advance with pric-es ranging from $50-$400 and are heavily advertised and promoted through social media and all throughout the internet. As written by Shin Luh of the Chicago Sun-Times, this advertising and networking costs nearly $40,000 (2000). Age-limits and the necessity for event permits and insurance are some requirements of raves in today’s society that are clear distinctions from the past (Shin Luh, 2000). The mainstream movement raves have undergone has contributed to defining rav-ers as a subculture and less of a counterculture. Where-as a counterculture can be described as a group of indi-viduals going against socie-tal norms, a subculture rep-resents a mainstream group of society.

http://www.djtechtools.com/2013/12/19/history-of-the-rave-scene-how-djs-built-modern-

History of Raves (cont.) Raves first began as an “underground” movement in which most were held in

secrecy (Scott, 2002). Often times, they occurred in open spaces such as fields or

warehouses with limited access. Unlike most raves today that are heavily advertised,

early raves were discrete and locations were unknown until a few hours prior to the

event. Those that were chosen to be invited were given a specific telephone number

to call to receive more information regarding the location (Scott, 2002). The spreading

awareness of these scenes and involvement of police caused the raves to move from

private clubs to larger scenes with “off-duty police security,” especially in London

(Scott, 2002). As they continued to grow in size and number, they spread to the United

States where the first raves occurred in Los Angeles and San Francisco (Scott, 2002).

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Language Candy ravers not only have their own language in attendance of a rave, the language carries over into their daily life. A

common word candy ravers use is PLUR, an acronym for peace, love, unity, and respect. These are considered the

“fundamental concepts of rave lifestyle,” (no author, 2010). PLUR was adopted as the ideal lifestyle for the British youth dis-

cussed previously who were experiencing difficult times in society in the 1970s (Hutson, 2002). These principles are practiced

outside of the raves as well. Kandi is another word in a candy raver’s dictionary. It is the name for the plastic beaded jewelry

that candy ravers exchange (Hernandez, 2013). Most of the jewelry is handmade, taking hours to craft and create unique brace-

lets, necklaces, rings, or any type of jewelry. A single is a simple bracelet usually consisting of colorful beads and beaded

words. A cuff is used to describe a wider bracelet that takes much longer to create. The exchange of kandi has several tech-

niques (Hernandez, 2013). The most common is forming the symbols of PLUR. Both people creating peace signs with one hand

and touching the tips of the fingers together form peace. Forming a heart, each person with one half, creates love. Unity is made

with both hands flat, palms against one another. Clasping hands together forms respect, and the process is complete by sliding

the kandi from one hand to the next while holding hands (Hernandez, 2013). Rolling is another common term, referring to the

use of ecstasy. This drug makes people particularly sensitive to the bright lights and colors around them, “inducing feelings of

love and empathy” (Scott, 2002). Ravers also tend to have rave names, given to them by their peers, friends, or even a

stranger. These have specific meanings, unique to every individual. Lastly, a light show is another common phrase used to de-

scribe the act of shining a bright light into someone’s face. As stated before, drug use can make a person more sensitive, and

they become mesmerized by the brightness (Scott, 2002).

Popular Phrases PLUR

Kandi

Rolling

Lightshow

Rave Names

Photo from http://whiteraverrafting.com/the-science-behind-plur-editorial/2013/10/14/

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Exploring

Public

Fantasy Candy ravers’ creative imag-

inations come into play

when they expose their pub-

lic self in the form of a

pubic fantasy. They show

their costumes to the public

at rave events and post pho-

tographs on the internet for

friends and family to see.

They do not hide their cos-

tumes, but rather take pride

in the unique color combina-

tions and silhouettes. They

dress as anybody they de-

sire to be. Their body is their

canvas for expressing their

emotions, and their love for

electronic music and danc-

ing heavily shows.

Photo from http://becuo.com/rave-outfits-for-men

Dress As Shin Luh states in regards to her personal experience at a rave, “[ravers] look like giant toddlers at a Halloween

party gone wild” (2000). The main things taken into consideration when it comes to dressing for a rave is comfort and “less is

more.” As a lot of dancing occurs, candy ravers normally get extremely hot in the venues. Baggy pants or short-shorts are

common and paired with comfortable shoes or sneakers. Bright and neon colors are the most common, however, candy

ravers dress the part of the theme of the rave. “Candy ravers” are the young ravers that are known for their extensive cos-

tumes (Shin Luh, 2000). Animals, famous celebrities, and anything over-the-top are common costumes of these ravers.

However, most costumes are expensive, and on top of entrance fees, can be out of the picture for attendees. This creates

an inequality within the subculture of those that desire to be “candy ravers” but do not meet the expectations. For most rav-

ers, it is said that “less is more,” with crop tops, bedazzled bra tops, and spandex bottoms for most women. The specific

“costume” of a raver acts as a signifier of a rave, partying, and drugs.

Clothing, however, is not the only defining characteristic of a candy raver. Additions to the body include bright acces-

sories and some body piercings. Some common accessories include the kandi described previously. On these bracelets are

the common terms “PLUR,” “LOVE”, “UNITY,” etcetera, symbolizing all that a raver values and stands for. Each piece of

kandi has a “heartfelt message” or meaning behind the bright colors or words (Hernandez, 2013). Ravers also use graphic t-

shirts and clothing to express their values and emotions.

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Lifestyle The dress, language, music preferences, and overall lifestyle of a candy raver at one of these all-night overcrowded

parties and events is best described by raver Brian Begley ,"It's the way people want to be, but don't express” (Shin Luh,

2000). Teenagers today have a difficult time expressing themselves in a society where they are afraid to stand out. Raves

provide a place of happiness where one rave organizer says, “[it’s] about finding out who you are” (Shin Luh, 2000). The

young adults of today use raves as an escapist outlet. Their tendency to keep emotions bottled in influences them to attend

raves, take part in the alternate universe feel, and let go of any unwanted emotion.

Ravers are known for their unique taste in Electronic Dance Music, or EDM, and extensive dancing. These identifying

characteristics of ravers represent a connection between all ravers. Although each person may have a unique style dance,

each is celebrated and dancing in unison brings each raver together.

While some straightedge ravers venture to the raves for the overall music, dance, and concert-like experience, others

go for an illusive and sensory experience enhanced with drugs and alcohol. It is common for ravers to experiment with differ-

ent drugs both during events and as a part of their normal life. Much of this is done illegally with the use of ecstasy, LSD,

otherwise known as acid, ketamine, and GHB, otherwise known as “club drugs” (Federal Bureau of Investigation, n.d.). The

most common, ecstasy, especially in combination with energy drinks and alcohol, gives ravers the energy to stay at raves

until four or five o’clock in the morning. Drugs are also used to enhance the experience and feeling of escaping society’s

stresses. This risky behavior is another identifying factor of candy ravers and one in which characterizes candy ravers as a

subculture defined by their harmful and illegal actions, behaviors and crimes.

Photo from www.youtube.com Photo from: https://twitter.com/Ravelifes/status/490987142353797120

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Infograph

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Conclusion Raves have transformed into a heavily commercialized all-night party from

what were once secret events. The dedicated ravers that attend nearly all events in

their area and travel far distances to participate in them are characterized by wearing

extravagant costumes, participating in illegal drug use, and staying long hours dancing

and “escaping” from society. The defiance of social norms and behaviors has turned

candy ravers into a new counterculture looked down upon by society. Ironically, ravers

use raves and events of the type to escape criticism, although they are most heavily

judged and scrutinized by their actions at these events.

As raves continue to become commercialized in the United States, specifically in

major cities such as Chicago and Los Angeles, the rave subculture continues to grow.

With increasing popularity and actions becoming more “normal,” those that view ravers

as a counterculture may begin to recognize them as a subculture.

References Federal Bureau of Investigation. (n.d.). Tips for parents: The truth about club drugs. Retrieved from http://www.fbi.gov/scams

-safety/clubdrugs

Hernandez, C. (2013, October 24). Messing with PLUR: Why taking away kanji is wrong. Retrieved from http://www.onlythebeat.com/editorials/2013/10/24/messing-plur-taking-away-kandi-wrong/

Hutson, S. R. (2000). The Rave: Spiritual healing in modern western subcultures. Anthropological Quarterly, 73(1), 35-49. Retrieved from http://www.jstor.org/stable/3317473?seq=4

PLURing the lines: Life as a wannabe raver. (2010, January 3). Retrieved from http://wannaberaver.wordpress.com/tag/language-lessons/

Scott, M. S. (2002). The problem of rave parties. Retrieved from http://www.popcenter.org/problems/rave_parties/

Shin Luh, S. (2000, July 2). US IL: Ravers want to keep their parties going. Chicago Sun-Times. Retrieved from http://

www.mapinc.org/drugnews/v00/n923/a03.html