# data[].attributes.body
Egyptian ravers are a sub-culture due to the Egyptian mind base of being very enthusiastic and crazy when they are at their comes time off. This article talks about how ravers became the New Flower Children. Egypt is not known for being a raving place while it still exists. One of the big differences between us Egyptians and people from different cultures is that the celebrations of occasions differentiate from person to person, some Egyptians celebrate Halloween, some do not but celebrate Easter.

# data[].attributes.body
Ravers are known for the Electric Daisy electronic dance music (EDM), they manged to have 400,000 old people in Las Vagas. This is a modern day known for the hippies. The ravers would be known as a subculture because they are known in some countries but in Egypt maybe the hippies would know them.  They are known in festivals but they aren't a big name. For example Maroon 5 are known worldwide, its not targeted for Hippes.

# data[].attributes.headline
Its sub culture,since there are not so many ravers in Egypt. It's not so so popular.

# data[].attributes.subject
Its sub culture,since there are not so many ravers in Egypt. It's not so so popular.

# data[].attributes.body
ravers may be considered the modern day hippies. they would be considered a counter culture since back in the day the hippie culture emerged during a time of war and violence and was a culture of love peace and happiness while the western world was drawing people more towards war and violence (ie; the vietnam war) today we see the same pattern; there is a lot of violence and war in the world at the moment coming from most super powers and from communities in general. ravers have a principal of “Friede, Freude, und Eierkuchen”         ( peace, joy, and pancakes)and that shows that they are completely against violence hate and war which has become the norm nowadays. “Rave culture, despite all the negative attention it receives about its ties to club drugs, is really about togetherness,” says a raver. even though there is a certain negative stigma attached to ravers because of supposed drug use the same attitude was given towards hippies back in the day as they used drugs such as marijuana and often lsd and several other psychedelic drugs that helped people connect to their inner selves. rave music also provides almost the same feel to people as it puts them in a sort of "trance" and helps them come together in a group, connect, and just enjoy the music and each others company.

# data[].attributes.body
house music back in the day was considered a counterculture while 6 years ago it was considered a subculture of music but now its considered the norm. the normal of music culture back when house music had just started was to make music using instruments and instruments only, they didnt mix technology with music very much and house music was not even considered real music. it was just a bunch of loud beeps and zips that had no correlation with what music was supposed to be.

# data[].attributes.body
i believe that house music was a counter culture back in the past because back then house music was not common and as popular as it is now. You may consider it to have always been a sub culture because it was popular back then but was not considered as house music back then. It later on evolved and new technologies were invented and house music became a popular music genre all over the world. Uncertainty avoidance is represented because it shows how house music was uncommon and kind of weird as soon as it emerged and shows us how people began to accept it and indulge into it thus becoming a famous music genre worldwide. The article also talks about ravers, people who enjoy listening to music and partying all night and how they became the new flower children. This shows how music evolves between cultures and is considered as a sub culture because raving is not common especially here in Egypt because a small percentage of the population enjoys to rave.

# data[].attributes.body
Video: Housemusic is considered a counter culture. In the 90's house music was different than the other genres because the beats were different and people weren't used to it. People who listened to house music were considered different due to not being popular since rock and Jazz ruled this period of time. For example the Beatles were known for their rock music and pop music. Bohemian rhapsody is also known for there rock music

# data[].attributes.body
Video continuation:
It can be considered Uncertainty Avoidance out of the 6 cultural dimensions because of how when House music was first introduced, people were uncertain on whether or not it would be accepted as an actual music genre or not.

Article:
This article talks about how ravers became the New Flower Children. Ravers can be considered to be a subculture because it is not very common around the world, especially in Egypt, except in music festivals and such. In Egypt, ravers take up only a very small part of the population, so it is a subculture.

# data[].attributes.body
Article: This article notices ravers turning into the New Flower Children. This can be viewed as a sub culture since raving is not a typical thing to do on the planet, particularly in Egypt. Just a little measure of Egyptians get a kick out of the chance to rave, and for a short measure of time

# data[].attributes.body
At first, House music was a counter culture. It was a counter culture since it was not the same as the music they ordinarily listened to, similar to jazz, and rock. Individuals considered audience members of House music to be a part of that counter culture, not acknowledged. It by time transformed into a subculture when more individuals began enjoying House and listening to it until it got to be distinctly a standout amongst the most well known music types.

# data[].attributes.body
Video:
When it was first introduced, House music was a counter culture. It was a counter culture because it was different than the music they normally listened to, like jazz, blues, and rock. People considered listeners of House music to be a part of that counter culture, not accepted. It by time turned into a subculture when more and more people started liking House and listening to it until it became one of the most popular music genres. It can be considered

# data[].attributes.body
People evolve, and so does music. I would say that house music was considered a counterculture in the older days, because people were more into funk, jazz and blues. People were always at discos dancing to music that had a smooth beat, just like Daddy Cool. House music started turning into a subculture when new technologies were produced, and also when DJS started becoming a thing; just like David Guetta and Sam Feldt.

Ravers became the new flower children, and Coachella is a huge representation of that. All the ravers go to coachella and music festival to party, wearing hipster clothing and acting like they don't give a damn about the world.

# data[].attributes.body
video: I don't think house was ever considered a counter culture because as far as i know, house was never not-popular. back in the 80's and 90's they had some sort of house music, yes the beats were different but it can still fit under the category of house. And to this day it is a popular sub culture, almost anyone who is not in to classic rock is into house.

Article: This article mentions ravers becoming the New Flower Children. This can be considered a sub culture because raving is not a common thing to do in the world, especially Egypt. Only a small amount of Egyptians like to rave, and for a short amount of time like in summer parties, not all the time.

# data[].attributes.body
House music was considered a counter culture back then, because it was different compared to the common music. Now it has changed to subculture, because It is still a minority type of music, however it is acknowledged by the world. It is still celebrated by some people, however it is not that big of a tradition to become a culture. This could be caused by power distance, because teens may have put a new standard they follow, different from the normal father son standards.

# data[].attributes.body
To me, this is a subculture This article is considered a sub-culture because raving is well known in various parts of the world but if i would compare it to Egypt, its not well known here but it does exist. Compared to Egypt, Egypt loves to party, look at the major touristic places like gouna, sharm. Only those who are upperclass and go crazy all weekend know these types of music but other local Egyptians dont. this is extreme raving altho we r known for liking to go crazy and have fun but not this much or to this extent. Only those who are educated and have money like to patty and listen to these songs, others wont. It became a well known type of genre and a reconginzed one ppl rnt fightin to listen for it like metal and there are a lot of widely known festivals that encourages ppl to listen to them

# data[].attributes.body
This article is considered a sub-culture because raving is well known in various parts of the world but if i would compare it to Egypt, its not well known here but it does exist. Compared to Egypt, Egypt loves to party, look at the major touristic places like Gouna and Sharm.

# data[].attributes.body
I would consider Egyptian ravers to be a sub-culture because due to the Egyptian mentality of being wild and fun when it comes to having time off. For example, at weddings all we do is go crazy listening to music and dance, another example is the less cultured people of Egyptian have a wild time at local weddings. Even though that is common ravers essentially are sub-culture because in Egypt raving isn't a common thing, yet still does exist. The biggest difference would be here we do it as a celebration, there they do it for unnecessary fun, secondly, drugs play a major part here not so much.

# data[].attributes.body
This article talks about how ravers became the New Flower Children. This is considered a sub-culture due to raving not being a common cultural thing around the world, for example Egypt. Egypt is not known for being a raving place while it still exists. One of the big differences between us Egyptians and people from different cultures is that we might celebrate occasions while they do it commonly.

# data[].attributes.body
House music was never a counter culture; it has been and still is at best a sub-culture mainly due to the fact of its evolution from electronic music/techno. House music really hit the mainstream once Skrillex entered the scene with his hard hitting non-apologetic style of house which we now call dubstep, Skrillex of course didn’t create dubstep but he brought it to the masses, especially with his 2011 tour “The Mothership” pioneered house music festivals for years to come. Out of the six cultural dimensions, uncertainty avoidance index is one that represents the evolution of house music festivals, house music in the beginning was something hard to understand, people are used to rock, metal, rap, and other genres that people are used to, so there was uncertainty on whether house music was going to prosper and flourish or flop and disappear from our ears, but it is now prevalent now that EDM festivals are here, and they’re not going anywhere.

# data[].attributes.attachment_link.readable_text
FERDY DAMMAN/AFP/GETTY IMAGES

EDM is the feel-good music of a new generation

The 400,000-odd people who flocked to Las Vegas last month for the Electric Daisy electronic dance music (EDM) festival probably didn't make much of its name. Clad in sparkly tutus, neon spandex, glittery bikinis, and enormous furry boots, they came to dance, to gaze starry-eyed at the LED graphics, and to enjoy the warmth and communal spirit of the crowd-not to question the unlikely juxtaposition of electricity and daisies.

But the tension at the heart of the growing electronic music movement is manifest in the festival's name. Electronic music festivals like Electric Daisy, Electric Forest, and Electric Zoo celebrate a culture of warmth, geniality, and flowers on the one hand, and a musical tradition of impersonal digitization on the other. The Raver's Manifesto, an anonymous document that outlines the electronic music movement's core tenets, epitomizes this apparent inconsistency: "the thunderous, muffled, echoing beat was comparable to a mother's heart soothing a child in her womb of concrete, steel, and electrical wiring," it proclaims. The music that gave rise to P.L.U.R.-"peace, love, unity, and respect," a doctrine that underlies much of the American EDM scene-is at once tenderly maternal and brutally mechanical.

Why is it this music-which has seen an unprecedented surge in attendance in recent years, with the Ultra Music Festival in Miami boasting between 50,000 and 60,000 attendees each day-that has occasioned such an explicit celebration of human connection and community? "Rave culture, despite all the negative attention it receives about its ties to club drugs, is really about togetherness," a raver gushed to me.

But electronic music often lacks the spontaneity of jazz or hip-hop, which lend themselves more easily to improvisation. (DJ Deadmau5 recently scandalized critics when he confessed that his "live" performances consist of premixed sets: "we all hit play," he titled the gloomy Tumblr post.) And it usually lacks the plaintive human voices that grace sappy pop hits. Yet, it is electronic music, heralded by The Atlantic as " the new rock," that has triggered the resurgence of old-fashioned, hippy-dippy sentimentalism.

The question of why EDM has prompted the second coming of flower-power is complicated by the music's origins, which have often invoked futuristic and post-human imagery that seems to clash with contemporary festival culture. The 1970s German electronic band Kraftwerk, one of the most important forerunners of contemporary electronica, made albums with names like The Man-Machine and Computer World, while American techno originated with a group of Detroit artists who called themselves Cybotron and produced tracks like "Cosmic Cars" and "Cyber Ghetto." Juan Atkins, a founding member of Cybotron and an important DJ in his own right, once likened the sound of a synthesizer to "UFOs landing on records." A few years later, Detroit DJ Richie Hawtin, widely credited with instigating the second wave of Detroit techno, adopted the persona of the robotic Plastikman, a pale, otherworldly figure with cold, glowing eyes.

In keeping with this tradition, contemporary electronic music artist Skrillex embraced his role as a pioneer of new, intergalactic frontiers, christening his 2011 tour "The Mothership." According to his sponsor-Red Bull-he emerged this year from his "Mad Scientist Laboratory" (a womb of concrete, steel, and software) to embark on a 2014 Mothership tour. He is pictured wearing glasses that glow like computer screens on the tour's promotional poster.

Recent festivals have been quick to adopt a similar aesthetic, billing themselves as forums for technical innovation: Sonar in Barcelona is an "advanced music and multimedia art" festival, while the Movement festival in Detroit offers "an interactive technology center featuring the hottest gear in the industry" and "several art displays to stimulate the senses.

But electronic music has a softer side, with historical roots running just as deep. Participants in the 1989 Love Parade in Berlin, an early prototype of the modern music festival, half-marched and half-danced through the streets of the city, agitating for "Friede, Freude, und Eierkuchen" (peace, joy, and pancakes). Set in a divided Germany, the event could not help but carry political undertones: It was a self-aware plea for unity (and, evidently, love) in a fragmented city. American rave culture quickly followed suit, embracing P.L.U.R, an ideology popularized by New York DJ Frankie Bones and his 1990 record "P.L.U.M.," "The Peace Love and Unity Movement." The touchy-feely fuzziness, partially MDMA-induced, of today's rave culture was just a short step away.

If EDM has such contradictory and distinct origins, what accounts for the happy convergence of sappy and cyber at the contemporary festival? It would be easy enough to ascribe this unlikely marriage to the effects of drugs like ecstasy and molly (MDMA)-and undoubtedly, P.L.U.R. owes some of its popularity to pill-poppers and their drug-fueled euphoria. EDM has always had an intimate relationship with aptly named "club drugs," which have yielded a number of highly publicized deaths throughout its history. But if we accepted this ready answer, we'd be left with another question: Why is this the music that has prompted its following to take so many feel-good drugs? Why don't the crowds drowsily nodding their heads at acoustic rock concerts reach for a similar fix?

One explanation might be the genre's utopian leanings. EDM's aim is not just to create a few tracks or a set, but, rather, to devise elaborate alternatives to contemporary culture. Richie Hawtin's record label, Minus, for instance, has been described by interviewers as a "vehicle for an aesthetic" rather than an exercise in strict music-making. In his Reddit AMA, Pasquale Rotella, founder of Insomniac Events and promoter of Electric Daisy, expressed a similar sentiment, explaining that the purpose of his festivals is to inspire ravers "to connect with their inner self." In another interview, Rotella emphasized that Electric Daisy is "really so much more" than a concert.

For a musical movement, EDM's aims are ambitious and expansive, not unlike those of rock 'n' roll in the '60s and '70s. "Festivals are kind of like an escape," one electronic music fan told me. "It's not just about listening to the music ... really, it's about the notion that you can do whatever you want while you're there without any reasonable expectation of repercussions or judgment ... what I mean is that it's a place where you can feel comfortable." The authors of the Raver's Manifesto, whoever they were, agree, casting electronic music events as a refuge for the downtrodden in an otherwise hostile world:

somewhere around 35Hz we could feel the hand of God at our backs, pushing us forward, pushing us to push ourselves to strengthen our minds, our bodies, and our spirits. Pushing us to turn to the person beside us to join hands and uplift them by sharing the uncontrollable joy we felt from creating this magical bubble that can, for one evening, protect us from the horrors, atrocities, and pollution of the outside world.

This explains the scale of the modern music festival, not so much a glorified concert as full-fledged spectacle, integrating the aural, the visual, and the cultural to create a comprehensive site of discontinuity with external expectation. Festivals like Electric Daisy are about the music, but they're also about the active creation and maintenance of a counter-culture, about the indulgence of a communal fantasy. By attending festivals, ravers tacitly agree to participate in the project of realizing P.L.U.R.: They agree to bring an ideal, albeit short-lived, world to life for the span of a single weekend.

The fanciful element is not lost on festival organizers and promoters: With names like Mountain Oasis, Tomorrowland, Isle of Dreams, and Dancefesttopia, festivals worldwide frame themselves as temporary wonderlands. Where more traditional concerts and performances are a continuation of everyday social relations, successful electronic music festivals function as breaks or disruptions. Embracing cyberpunk while promoting love and harmony, festivals are spaces of strange possibilities. They are explicit in their rejection of the values and the logics of the outside world.

This is the key to reconciling the conflicting imagery that crops in the electronic music world-the bleak post-industrial warehouse parties packed with smiling dancers, the outpourings of love set to a series of electronic bloops, the electric forests and delicate daisies-without just attributing it to the effects of molly. The parade of cyborg figures-first Kraftwerk's "man-machines," then Richie Hawtin's Plastikman, now Skrillex in his futuristic glasses-marching through the history of electronic music draw on technological resources to enhance rather than eliminate our humanity, using technology as a means of intensifying our sense of connectedness to our fellow humans. They aren't post-human so much as hyper-human.

In a society of doomsayers and chronic unpluggers prophesying The Singularity and other digital disasters, ravers comprise one of the few communities to consistently imagine a positive place for technology. Electronic music festivals function as partially realized fantasies of self-improvement, booming right through to morning, hinting, if only for a night, at a utopian future.

Becca Rothfeld is a PhD candidate in philosophy at Harvard.

# data[].attributes.attachment_link.title
How Ravers Became the New Flower Children

# data[].attributes.attachment_link.description
FERDY DAMMAN/AFP/GETTY IMAGES EDM is the feel-good music of a new generation The 400,000-odd people who flocked to Las Vegas last month for the Electric Daisy electronic dance music (EDM) festival probably didn't make much of its name.

# data[].attributes.body
Was HOUSE music ever a COUNTER CULTURE? If so when did it turn into a SUB CULTURE.  WHY? Which of the six Cultural Dimensions is best represented by this movement?

# data[].attributes.attachment_link.title
Evolution of House Music - Kinetic Type Assignment

# data[].attributes.attachment_link.description
This is a STUDENT project for a Kinetic Typography Class class at Emily Carr University. I wanted to find a way to make a quick crash course for some basic genres that were directly related to House or grew out of it, in the context of dance music.