FREE ESSAY ON DJ VS. ROADMAN

DJ VS. ROADMAN

DJ vs. Roadman
Trance is usually achieved at communal rituals, with plenty of loud music and dancing.
The specifics-the costumes, music, and dance-vary from culture to culture, but the
pattern underneath is identical: loud music and vigorous dancing lead to a state of over
stimulation that can produce a form of egolessness that is the ground for any sacred
exploration. - Mickey Hart (Hart, 119)
Two types of music cultures today use community, music, and drugs to achieve a state of
trance that aids them in spiritual exploration. These two groups are the newly formed
electronic music rave scene of Europe and the United States and the 7000 year-old
tradition of peyote ceremonies still practiced by members of the Native American Church.
Each culture has very different music and settings for this exploration, but they have
similar ideologies for a better life and planet.
Raves are all night parties where people dance to electronic music. The main ingredients
are loud music, light shows, selected narcotics, and people (called Ravers). Ravers have
an ideology about Peace, Love, Unity and Respect (PLUR), for the raver, that all night
party is an escape from what her society wants her to be; material-oriented, financially
successful, a consumer, an a work-aholic. Ravers feel deeply connected to all the people
dancing around them and revert to a time when play was the most important thing in their
lives. In essence, ravers feel that they are living rather than merely surviving
(Estiens).
Raves began appearing in Manchester, England and Ibiza (popular English vacation spots)
in 1987 and 1988. At the same time, the same type of parties appeared in Germany,
specifically Berlin. Soon thereafter, the rave phenomenon was attracting thousands of
kids, aged between 16 and late twenties. It also attracted the attention of DJs from the
United States. The energy that fueled these parties was so great that American DJs wanted
to introduce it to the US, and UK DJs wanted to expand their horizons. The first US raves
began in San Francisco, which is long known for its eager acceptance of counterculture,
and also in Los Angeles. The scene spread quickly to the east coast in New York City as
well as the Mid-West, specifically Milwaukee (Estiens).
The new raves in the US were far from legal. They were advertised on flyers often
containing only a psychedelic image and a phone number. Directions to the rave site were
not divulged until the day of the party. As little as 50 to tens of thousands of kids
would show up for a night of PLUR. DJs would set up their equipment on private beaches or
broken-into abandoned warehouses. When (or if) the rave was found by authorities, the
dancers and DJs would quickly break down and flee with a speaker in tow to find somewhere
else to continue the party. Ravers who were present remember relocating up to ten times
in one night. Illicit drugs were also present, the raves in the US began primarily with
LSD and marijuana, but ecstasy and amphetamines from the UK scene soon became staples in
the ravers' drug diet. However, many ravers feel that drugs are unnecessary in order to
have a good time; the positive vibe from the rave is more than enough (Estiens).
Raves began in the United Kingdom, but the music has been developing since the 70s when
disco was popular. Techno, a broad term for electronic music created with a couple of
turntables, a drum machine, an equalizer, and sometimes a synthesizer, evolved from disco
and gay clubs in Chicago and Detroit, as well as progressive music from the UK such as
Depeche Mode and Kraftwerk. The US and UK traded musical influences for decades and in
the late 80s and early 90s, techno was born and began to mutate into many sub-genres such
as trance, house, acid-trance, acid-house, trance-house, industrial, hardcore, drum &
bass, happy house, jungle, gabber... the list goes on (Estiens).
Rave music in general is purely electronic, oriented largely around bass lines and is
usually anywhere between 115 beats per minute and 300 beats per minute. Some say that 120
beats per minute is preferred, since it simulates the pace of the heart as heard in the
womb. The DJ "spins" the music at a rave. Spinning refers to the DJ taking multiple
pre-recorded techno songs and blending them together to create a multi-layered effect. He
may change speeds of the original recordings, add samples (seconds of another recording),
and use a synthesizer. Rave music therefore is spontaneous like the event itself, the
music is always changing and new genres are constantly being formed (Estiens). 
The musical selections on the accompanying cassette represent two contrasting types of
techno music. The first selection, Angelic Particles, is an example of the trance genre
of electronica. The song sounds very smooth, connected and dreamlike. It is metric like
most techno pieces and is played at about 120 beats per minute. It keeps the listener
moving, but also deeply entranced at the same time. The bass and treble are equally
represented, giving the song a mellow feel. There are no vocals, and the texture is
mainly polyphonic. Harmony seems to be present, because nothing about it is discordant,
however it is hard to pick out specific chord progressions. This song is intended to be
emotionally gratifying, with the listener becoming very involved with the music and
feeling its power encircling her.
The second selection Shake that Ass!! is an example of the house genre. It has a lot more
repetition in lyrics and is strophic in form. The texture is homophonic with the voice
being the melody. Treble is a little more prevalent in house music as displayed by the
female vocals. Harmony is apparent and portrays a feeling of happiness. The metric nature
of this piece makes it a good dance song, although not capable of enthralling the
listener as much as Angelic Particles. 
The DJ plays the most important role at the rave, since he has to feel out the crowd and
respond accordingly. Ravers talk of a mutual energy that flows between them and the DJ,
the crowd receives inspiration from the DJ to do new fantastic dance moves, or simply a
feeling of utter joy; in turn the DJ feels the renewed energy surging through the crowd
and he creates new unbelievable sounds for the ravers. The DJ leads the dancers into a
trance like state of bliss (Estiens).
The ideology of the raver for the rave community is one of PLUR, Peace, Love Unity, and
Respect. Peace refers to an inner peace that is gained by being entranced by the music.
When in a trance-like state, the raver becomes egoless; this egolessness assists in inner
peace, a peace that can be spread to others. Love is given a more broad definition and
left for more interpretation, but Peter Douglas (a raver) sums it up well; "It means
people not only call out to you Are you okay mate? when they hear you heaving your dinner
in the toilet cubicle, but they care about the answer." Unity is something left to be
desired in the rave community, and exemplifies an ideal rather than a reality. There is
tension between fans of different sub-genres, a "we're better than you" attitude. The
ideal of unity is that the rave community as a whole can teach society about their ideals
and the validity of their culture. Respect is just that, the idea that people can accept
others beliefs and live harmoniously with them. Peter Douglas also states that he
envisions the day that a club can have coat hooks where people can leave their stuff and
actually find it there at the end of the night (Douglass). These are the ideals of the
rave community, and like any ideals, one should remember that just because people
envision these ideals, they are not necessarily present. For many people, PLUR is a
personal commitment, and the ravers try to bring these values to their everyday life.
Rave ideology centers around the writings of anarchist philosopher Hakim Bey,
specifically his writings on the Temporary Autonomous Zone (TAZ). The TAZ is spontaneous
and temporary. It is a place where no federal or state law, no religious norm, no
societal taboo or expectation exists. People are allowed to become egoless and forget
about everything that they are expected to do. In the case of raves, 18-year-old girls
are allowed to suck on pacifiers, pants can be as big as possible, hugs are exchanged
with total strangers, and people share water and candy (Estiens). These conditions must
be temporary because eventually the "real world" authorities will break the TAZ up. Hakim
states that they must be temporary because if they are allowed to perpetuate, authority
will manifest itself from within the group. Raves in essence are a TAZ, as well as other
historical examples such as pirate ships and even the first utopian communities in the
United States (Bey).
In comparison peyote ceremonies are all night vigils at which Native American Church
(NAC) members partake of the psychedelic cactus peyote. The people feel that by eating
the cactus, they will learn how to live correctly. Their belief system is a syncretism of
ancient Mexican peyote religions and Christianity brought by Europeans (The Peyote
Foundation). During these ceremonies members play peyote songs, where many chant and play
rattles and water drums in order to help them along the Peyote Road (Titon, 55).
Peyotists and their songs are can be traced back to the Tarahumare and Huichol Indians of
Mexico. Many Navajo Indians in the United States reflect their culture in ceremony and
song. The tradition is ancient because peyote caches aging up to 7000 years old have been
found in caves in Texas (The Peyote Foundation). Traditionally, only Native American men
were allowed to participate in the ceremonies, except for the Water Woman who brings
water at midnight and in the morning. More recently, however, more liberal communities of
peyotists allow women and non-Indians who show sincere interest to participate. There are
two types of ceremonies; Half Moon, traditionally more native, and the Cross Fire,
traditionally more Christian (Morgan).
Peyote ceremonies are staged when a member of the church feels that it is necessary,
either at the time of a funeral, wedding, or illness of another member. The ceremony is
then mainly concentrated on that purpose and prayers are offered all night in accordance.
The all night ceremonies are held in a circular tipi or hogan that has been made or
designated for that purpose. The tipi is symbolic of the womb and the drum played
throughout the night is symbolic of the fetal heartbeat. In the center of the structure
is a crescent altar that opens to the east. Inside the crescent is the sacred fire; on
the top of the crescent is an indented groove that represents the path of one's life. The
beginning to the curve represents birth, childhood, and maturing. The peak of the curve
marks the middle point of one's life before travelling down the curve to aging and death.
The four directions are constantly symbolic in all aspects of the evening's events
(Smith, 77-101). 
People accustomed to the ways of the Peyote ceremony are given specific roles to play
throughout the night. These are not paid clergy, nor are they formally educated in the
ways of the ceremony; all aspects of the ritual are learned from observing and imitating
elders. The Roadman plays the central role in the ceremony, leading the participants in
song, prayer, and consumption of their sacrament. He leads the participants in
trance-like observance down the Peyote Road of correct living. The Roadman sits to the
north of the opening of the lodge (which is on the east side). The Drum Chief sits on the
right of the Roadman and accompanies singing with his drum, driving the prayers to the
east. The Cedarman sits on the left of the Roadman and is responsible for placing cedar
on the fire to create a pleasant aroma. The Fireman or Fire Chief sits opposite the
Roadman and tends the fire throughout the night. The Water Woman brings water in the
morning, representing Peyote Woman, who is traditionally thought of as the first person
who discovered the religious sacrament. The other participants are expected to direct
their energy towards prayers for the intent of the ceremony (Smith 77-101).
Peyotists believe in many Christian values, such as abstinence from alcohol, the Ten
Commandments, and the relationship between God, Jesus and Man. "Grandfather" peyote is
considered a means of communication between God, Jesus and Man. It is said that God gave
humans peyote in order for them to appreciate and understand the world He had created for
them. It is considered their sacrament and will lead them down the Peyote Road to better
living and understanding. Peyotists believe in living in harmony with all creations of
the earth (Smith 77-101). 
Undoubtedly, the concern about the negative effects of the federally illicit drug has
remained controversial. However, few negative effects are found, occurring only when the
drug is combined with an existing condition of poor health or used without supervision.
Anthropologists have documented many positive effects in behavior and health after
consumption of the drug (Smith, 109-113) 
The peyote songs that are sung during the ceremony have distinctly native and European
elements. Native elements include the peyote rattle and water drum that accompany the
singers. The rattle symbolizes the earth and the people speaking from the inside. The
decor on the outside of the rattle represents worldly possessions. The vocals in the
songs are all vocables, rather than a translatable language. These syllables are from
native tradition, but are arranged in a distinctly European style, using the strophic
structure of Christian hymns (Titon, 56) 
The Navajo Peyote Song recorded on the accompanying cassette presents general features of
the sacred songs. The singer in accompanied by rattles and a water drum, and although
there is only one singer in this recording, oftentimes there are multiple singers. The
song is metric, played at a relaxing but inspiring pace, about 120 beats per minute. It
could be considered homophonic since the singer is accompanied, but the song would lose
meaning without the drum and rattle, so it should be considered polyphonic. Melody and
rhythm are present, but there is no harmony. It should be noted that the last he ne yo we
is very similar to Christian hymns ending in amen.
The drugs used by these cultures help their participants to define and experience their
ideologies. Ecstasy, the most prevalent drug at a rave, helps the raver become egoless
and more in tune with people around them. Those who have experienced this drug feel that
communication with other people becomes easier and their ideas are more readily conveyed
from one mind to another. Others have stated that while rolling (being under the
influence of ecstasy) everyone in the club feels like a best friend. The ideology of the
rave scene reflects this feeling of community. Peyote is a hallucinogen that makes
peyotists feel connected with nature. Some feel that peyote helps one explore their own
mind and therefore they can examine their actions and determine which are right and which
are wrong. The ideals of harmony with nature and choosing the right path for your life
are prevalent in NAC ideology.
In both of these music cultures, there are three main elements, music, people, and drugs.
It's fascinating how people in both cultures are involved with mind-altering substances
and music in order to achieve a state of trance and spiritual guidance. The drugs
consumed assist in making the listener more entranced with the music. In the peyote
tradition the drug is administered in a controlled and supervised manner, which is now
protected by the constitution under freedom of religion. Next to the traditional pow-wow,
peyote ceremonies are the most popular Native American ritual practiced today. However,
traditional minded Indians, as well as most government narcotics officers, oppose the use
of the psychedelic cactus. Many people also oppose the use of the drugs consumed by
ravers. All of which being illicit, these drugs are not administered in a supervised way,
nor is the purity of the narcotic guaranteed. Another controversial issue is the
remarkably young age of those attending raves, in contrast to a seemingly older, more
informed generation of peyotists. 
Other striking similarities between these two cultures are the use of a spiritual guider.
Ravers view the DJ as a person who helps them down an incredible path of ecstasy,
reassuring and challenging them with music. Peyotists view their Roadman as the same type
of spiritual assistant, and through the drum, the Drum Chief helps maintain connection
with the worldly plane while participants are entranced. In general, both cultures also
seem very accepting of all kinds of people, although there are exceptions. References to
the heartbeat as heard in the womb are surprising, reminding us that at either extreme,
"primitive" or "modern," we are all still human. 
Underneath the world's extraordinary musical diversity
Is another deeper realm in which there is no better or worse,
No modern or primitive, no art music versus folk music, 
No distinctions at all but rather an almost organic
Compulsion to translate the emotional fact of being alive
Into sound, into rhythm, into something you can dance to.
- Mickey Hart