By Erin Sherbert
By Erin Sherbert
By Leif Haven
By Erin Sherbert
By Chris Roberts
By Kate Conger
By Brian Rinker
By Rachel Swan
Unfortunately, among partygoers, there is a pretentious attitude that persists to this day regarding "who found rave first" and "who is legit."
I am disappointed (yet not surprised) to read Diana Eckhardt's comments about how the rave scene has gone massive and "when raving got big, it sold out." This is really code for "I am cooler than the newer people -- I found it first." Excuse me, Miss Priss, but last I checked, you have been involved in the scene for four years, while the American rave scene has been chugging along for more than a decade. At which point the scene "sold out" is simply a matter of perspective. From my vantage point, YOU might be part of the collective result of raves getting bigger and eventually "selling out."
Not to thump my chest too loudly, but I count myself among those who helped start the rave continuum in the San Francisco/ Sacramento scenes back in '90 -- promoting and DJing for 5 1/2 years through the better part of 1994. I was a small part of the collectives that were A Rave Called Sharon, the Gathering, Where's Waldo, etc. One of the main things that eventually turned me off of the scene was people who sported the attitude "I found rave before you did." (Ironically, time and time again, those touting this line tended to be the newest faces in the scene!) These same people claimed that too many new faces will spell the end of Rave as We Know It.
Their take in '94 is identical to yours in '00, yet, alas -- the Beat Does Go On. Eckhardt and the like, I have news for you and anyone else who takes the "mine first" position of pretense. Rave is for everyone -- intended to be all-inclusive. No one person or group can claim to be the originators of rave (at least in America). Let's not forget that in the mid-'80s, rave originated in England in the form of acid house, and in Belgium and Germany it manifested in what was coined as new beat music. (Eck-clones, have you even heard of these genres? I didn't think so.)
Rave in America has replicated and transformed these unique European formats of music/venue from a decade and a half ago. So it is not I in '94, or you, for that matter, in '00, who can get on a high horse and proclaim that "raving has gotten too big." Maybe there are some pissed off Euros out there who really did find it first clamoring for their credit. The bottom line is this: Exactly what constitutes a newcomer or an individual who is a part of "massive culture" is all relative. A greenhorn raver may seem uncool to you, but trust me, you need them.
The scene depends upon new faces to keep it financially afloat. I agree that the overblown, overhyped, 10,000-person corporate gig is not ideal. But it is better to accept these new faces and their dollars than experience the possible demise of a good thing from a lack of support for the scene. All partygoers -- scenesters and newcomers -- must stick together and be all-inclusive. There are already enough bullets the scene must dodge -- municipal red tape, overregulation, or overzealous city officials posturing raves as a collective scapegoat for the proliferation of "dangerous drug use." All of these new faces don't mean Armageddon for the Underground! They are simply replacing those of us who have hung up our Cross Colours (GOD, I'm dating myself!) and had our time.
Chris A. Cook
In the Feb. 2 issue of SF Weekly an article was run on the TGSF Cotillion which was informative and appreciated ("At the Cotillion," Night Crawler). In the article, our good friend Dear Diva made the following observation: "The TransGender Cotillion is a straight-world phenomenon, not a gay-world phenomenon." In regards to the genesis of the event and the sustaining energy behind it, the statement is a fair assessment. Our only concern in this response is to clarify that TGSF not only welcomes our gay, lesbian, and bisexual friends as members of our organization and guests at our events, but also to recognize that we have received a tremendous amount of help from the gay community over the years with the production and the success of the Cotillion.
TGSF Executive Committee
In our Feb. 16 cover story "Make Room for Dot-Coms," we incorrectly identified the San Francisco Partnership as San Francisco Tomorrow. SF Weeklyregrets the error.