# data[].attributes.body
I think that house music started as being a counter culture as I think every music does. Before any music becomes popular or becomes a trend, it’s considered to be counter culture then when it’s spread it becomes a subculture. When house music was first introduced, a few people listened to it since it’s only music with no words, then by time, words has been added to house music so many people started listening to house music and that’s when it became a subculture.

# data[].attributes.body
this is part 2
article 1:
in this article i had observed 6 culture dimensions which are distance, individualism, uncertainty avoidance, orientation, masculinity and indulgence. in my opinion i think that masculinity rates it the top diemnsion in japan. i say this because people act independently with out the need of help from others. they give there 100% in both school and work. this shows us that the society there is aminig for the best and not the worst. i think that its is a sub culture because the majority of japans society is competitive between groups.

article 2:
second article is talking about gaming in japan. gaming in japan is very known and it is one of there top technology. not many would be surprised when we read and article saying that the japenese lock themselves to play video games. i believe that this is a sub culture because japan is known for video games and that its not something new.

this is part 3:
in egypt house music was a counter culture because the music then did not have a beat. then in 20th century it stated to become a sub culture you would hear it every where you go and has become very popular in the country. however there are still some people like our parents and older that are not convinced that this is music

something that is not known in egypt is ravers. in our religion drinking is forbidden as well as other things. and the point of a party is getting drunk thats why very rarely is when you would find parties here in egypt comapared to europe and america.

this is part 4

it is something un ordinary when you find a hipster here in Egypt. this is because it not something of our culture and that they both act and look different from the majority of the community. this is specified to be a counter culture in egypt. it is not very often when you would see a hipster walking around in the streets. however there might be particular places you would find, like in maddi.

# data[].attributes.body
House music was never a counterculture, personally I think its subculture because it already existed before then and has been upgraded. In the beginning it started as electro/ techno music and then got upgraded to the better. In Egypt house music is not well known except in touristic places but we as Egyptians have our own form of it. House music is the new form of techno music. Comparing this to Egypt we had “shaaby music “ then it evolved to “mahraganat” which is the new form of music.I don’t think its counter culture because every age is different if you make a seven year old listen to Michael Jackson he might not be interested but if you tell him “skrillex” or “dead mouse” he will definitely know it and thanks to the internet he might tell you a little about their background. In conclusion every age time is different and they probably have different tastes in music. House music was techno and electro music and then evolved and upgraded.

# data[].attributes.body
House Music.

House music started as being a counter culture in Egypt. People in the past used to listen to slow and calm genres. In the past few years house music became a sub culture due to its popularity. Weddings, parties and shops put house music on which lead Egyptians to get used to it. Although some people still think house music shouldn’t be a genre because its “beeps, and loud noise”.

Ravers:
Ravers are not common in Egypt as they are in many other countries. Not many parties are held in Egypt comparing to Miami for example. The reason for this is because many people are against drinking because Egypt is an Islamic culture. Also some people find it inappropriate to attend parties.

# data[].attributes.body
ravers may be the modern day hippies. I believe that they are a counterculture. Ravers are not very common in egypt and this is why im sure its a counterculture. If you think about it, in egypt, there arent many parties that are common today.

# data[].attributes.body
At first, House music was considered a counter culture. This was because house music was different from the beats and rhythms they normally listened to, like jazz, blues, and rock and other old music; such as abd el halim and om kalthoum and later other arabis singers. From the start, people viewed house music as noise and not music, although some people liked it.  It by time was more familiar to the people's ears as it was more western and most people looked up to the western culture. Now it is a subculture as in weddings, birthdays and parties, house music is played a lot. The dimension that would fit best here is indulgence vs restraint as overtime House music was accepted as a part of enjoying life and having fun.

# data[].attributes.body
From the 6 cultural dimensions, i believe it could be considered uncertainty avoidance. this is because when house music was introduced at the beginning, people were not sure if it would be accepted as a music genre or not. Technology has an impact on house today. DJs are now able to easily download programs hat already have beats and vocals so they're able to create music cheaper and more efficiently.

Second Article:

# data[].attributes.body
In past music wasn't popular as much like now, people didn't listen to a lot of house music like nowadays. Therefore consider house music as a counter culture. If we compare people nowadays we would see that young teens still listen to house music and old adults are still interested in Jazz old music in all of the culture worldwide. Which makes it nowadays as a subculture anyone who's noting to pop or, classic rock music its defiantly interred in house music. In addition to all the parties that are made opens new musics genres in today's society.

Article
This article is about ravers becoming the New Flower Children. This can be considered as a subculture because ravings is not something popular in today's world. Connecting to Egypt I can say that ravings are not something that is common At All! A very small percentage of Egyptian like to rave and only in special occasions. Mainly because of hot all Egyptian parties have alcohol and Egyptian culture is against consuming alcohol.

# data[].attributes.body
I think that yes house music used to be a counter culture. Not a lot of people were interested in listening to house music in the past. In fact, they were more interested into jazz and blues. I believe that people who liked house music still existed but they were a few for sure. This is why if we look now to any culture in the world, we will find that old people usually still listen to jazz but all the young adults listen to house music. This means that right now, house music became a subculture. Today, many people listen to house music especially young ones.

# data[].attributes.body
Of course, House music was once a counter culture, because all music was counter culture in the begging and when it becomes a trend and that specific trend starts to spread then it becomes a sub culture. Once, everyone starts listening to that specific type of music it doesn't even have to be house music. Yet, in this case house music in the begging was a counter culture. When house music first started it was a counter culture, because only specific types of people of the culture enjoyed it and listened to it, and mostly people who enjoyed music with beats and no words. Yet, through the time deep house was invented and words were added to music , and that when it became a trend and in the same time many people started to enjoy the music and that is when it became a sub culture.

# data[].attributes.body
I think that all music are counter culture, not just House and EDM, all kinds of music starts as a counter culture and then transforms to a subculture. This indicates that the people start as a small portion of the society then it expands to other people that triggers this genre or type.

# data[].attributes.body
I think that all music when it begins is counter culture, we know that art and media in its inception is often greeted with apprehension. For example when Michelangelo sculpted David, it was seen as porn, but now it is a piece of history and we appreciate it for the work of art it is. I think with house music it was originally seen by 'real musicians' as theft or that dj's were imposters and stealing music from them. However as time progressed and technology advanced the

# 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.

# 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.