The LA rave scene is a whole universe unto itself. I’ve been to one party in Southern California, but it was small, somewhere in the desert, and far away from the metropolis. This party was hosted by a underground group with no intention to become big and famous. Moontribe much respect.
By contrast, 185,000 people attended this year’s corporate Electric Daisy Carnival. Yet plenty of people got in for free. Here is how:
I look at this “security mess,” the girl with the bloody face, and kids who can’t breathe, etc. and I see a real social antagonism. This is not “mob mentality.” This was a breakdown in class hierarchy, and a leveling-out of economic inequalities.
Think about it. The Electric Daisy Carnival is a capitalist enterprise, and these big parties happen in order to make the promoters big money. The promoters do not care about any of the fans. They want fame and money. They profess to be “professionals” and distance themselves from the underground by criticizing it, then turning around and stealing music of the underground to promote it in huge, commercial venues.
Think of the 2010 Electronic Daisy Carnival as a miniaturized version of the capitalist system.
The fans are the proletariat. The promoters are the ruling class. The police are the police. (There to make sure the ruling class makes their money from the proles.) The role of the bourgeoisie VIP (i.e. Lil Jon) is to discourage the proles from being “rowdy” in order to preserve their status as VIPs. Further hierarchies are created to divide the prole-fans according to the tickets they hold (level 1, level 2, level 3, Media, Staff, Performers.) The thing everybody is after is the commodity — the tickets! If you don’t have a ticket, you don’t have any status at all. Commodities and status are what define you. But the limited supply of tickets at the gate help to maintain the price structure of the tickets sold.
They always have a variety of tickets at different prices. They are all the same ticket. The difference is just the price. General admission at the door was $100. Parking near the Coliseum was $60. I’m sure a bottle of water was $7. Try to squeeze as much money from people as you can and you’re going to get burned.
Screw the tickets, people are making counterfeit passes and jumping over the fences to get close to the spectacle — the musical superstars like Moby and Deadmau5 — because this is where everybody else is. If you are not close to the spectacle, not receiving its awesome messages, you have no connection to the rest of your social class at all. So everybody wants to get in. Everybody needs to get in! It’s a social necessity. They have to get closer to the stage, the artisans of desire, the spectacle of society.
But wait a minute! This is not what real “rave culture” is about. Real rave culture is about uniting our animal souls, realizing our own desires and measuring our strength against reality, knowing that a sea of people are feeling the same things as you.
People who knocked over these fences show their human superiority over the commodity. They stopped submitting to arbitrary security personnel which distort real social desires. That some people jumped fences even when they already owned the tickets to gain entry, is the best image of the lie of affluence transformed into a truth in play. Once it is no longer bought, to paraphrase Guy Debord, the commodity lies open to criticism and alteration, whatever form it may take. Only when it is paid for with money is it respected as an admirable fetish, as a symbol of status within the world of survival.