Massive #4

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massive No 4 the underground is massive

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RAPTURE saturday, july 2nd in green bay, wisconsin jon williams (san francisco) esp woody (mineapolis) acid boy todd p (milwaukee) mindrive (madison) jedidiah the messiah (milwaukee) davey dave (chicago) miles maeda (chicago) sunshyne (detroit) mr. bill (milwaukee) mark verbos (milwaukee) visual and listening pleasure provided by maxximum sound & lights chillout room by the universal groove sound system of detroit free giveaways from moonshine records smart drinks provided by waterworks breakdancing compitition at 2:00am all-night permitted location plenty of free parking limited tickets available...pre sale tickets sold for a reduced price at: surfin bird (green bay) 414.432.1959 · crunch (appleton) 414.830.2414 · fiasco sports (green bay) 414.435.8777 hot jams (chicago) 312.581.5267 · fak eye (madison) 608.833.4264 · beachfront (oshkosh) 414.231.0377 cynthesia (minneapolis) 612.824.7126 · sky high (milwaukee) 414.529.8970 · ear waves (milwaukee) 414.271.8808 event information: green bay / appleton: 414.234.4214 milwaukee : 414.777.3998 madison: 608.258.0003 chicago: 312.604.1777 minneapolis: 612.649.4768 detroit: 313.930.6362 supported by: drop bass network, disco family plan, atp, gravity, fathouse, the away team, inhouse productions, carpe noctem, network 10, x-factor, massive design: fourty three d saturday, july 2nd in green bay, wisconsin RAPTURE UPCOMING PARTY REPORT 6.04.94 / Chicago / Liquid Groovy/ Scott Hardkiss, Gemini 312.509.8111 6.04.94 / Marion County, Indiana/ Believe / Hyperactive, Astroboy 317.895.4546 6.11.94 / Racine / Shanti- 303 Preparty /Mystic Bill, JaJo, Jedidiah, 312.604.1978 6.11.94 / Chicago /-303 / Miss D-Jax, Acid Junkies 312.509.8168 6.18.94 / Detroit / The World Party / Derrick May, Ritchie Hawtin / 313.568.9899 6.18.94 / St. Louis / Liquid Dreams / Derrick Carter, Hipp E 314.995.9518 6.18.94 / Milwaukee / Too Speed Demon, ESP 414.256.1733 6.25.94 / Chicago / Blossum / Doc Martin, Mark Farina 314.944.1114 6.25.94 / Knoxville / Dimitry, DB / 615.730.3730 7.02.94 / Green Bay / Rapture/ Jon Williams, Miles Maeda 414.234.4214 7.09.94 / Chicago / Tornado / Repete, Rob G / 312.509.8068 7.16.94/ Madison / Suck / 608.251.3881 7.16.94 / Nashville /Scotched/ Hyperactive, French E 615.259.2220 7.23.94 / Milwaukee / Earth / Derrick Carter, Lenny Dee, Carl Cox, Dieselboy 414.777.3982 8.26-28.94 / Lexington Interstellar Outback- Free 3 day Party / Ritchie Hawtin, Dieselboy / 606.281.4193

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ance. 'I USE THE ENEMY, I USE ANARCHY' SEX PISTOLS: ANARCHY IN THE U.K. SPINE Hegemony- Leadership or predominant influence, esp. when exercised by one state over others. The control over the interests of a subordinated people. --In the days of Slavery, the slave owners- along with physical force- dominated the slaves through the control of their language. Haitian slaves were educated with common Spanish to make it easier to communicate to their masters and for their masters to strip them of their cultural identity. --With growing compassion for the deaf in the dawn of this century, the education of these people was taken up. The deaf were put into schools dedicated to teaching them oral articulation, lip reading, and reading. This was done without any study of deaf behavior or regard to deaf peoples wishes of being educated. The vocal majority then controlled their communication and education. In each case above, 'disabled' people were technically forced to conform to the world they unfortunately came into. A world where they were at the mercy of someone with an upper hand or the establishment. In both cases, these people developed what they were forced to know into languages they used at their OWN will. There was SILENT REBELLION against systems they were defenseless to. --Within the realm of slaves, they developed their own language and power using the language that was meant to control them. As insignificant as it may seem, the use of nicknames among familiar slaves was a grain of rebellion. Though they were given suited names by their masters, they called each other what they pleased, as well as giving Master a few names he wouldn't be too happy about if he knew what they meant. As long as they used the language given to them, they were not punished. Utilizing the language to their own means gave the slaves something that was definitely theirs- something to hold on to. To remind History buffs, Haiti was the first place in the Western Hemisphere where the slaves overthrew their Masters. --Automated Sign Language (ASL) has only become more popular in this half of the century. Though assistants to the deaf could teach them lip reading and some vocal communication, they could not make their students abandon their crude hand gestures they used to communicate with each other. The more the students were made to conform to the hearingman's world, the more complex their hand language became. Soon it was realized that, though the deaf are the disabled ones, it was the vocal world that had to compromise. Thus ASL was developed- using the gestures that the deaf had always been using. --By some fluke in government control, technology is moving faster than the government's control over this technology. So who is using and benefiting from these new advances? We are. It is now time for us, the disabled, over-controlled populace to take control. It is time to use the Enemy and overthrow it as a result of it's own inability to keep with the ever changing times. To bring this a little more down to earth.... In the Rave community itself, we are using equipment, instruments, and technology seemingly beyond the common man's grasp, but yet only a phone call away. The world shrinks as we share information and communicate through voice mails, pager systems, Bulletin Boards, and the Internet. For us the world is becoming a smaller, more interactive place. Our only enemies are distance, time, money, and stupid laws. To use any of this new technology automatically instills the flame of questioning the authorities..... WHY must we be separated by borders, boundaries, restraints, governments? WHY is the talk between myself and my friends free and unrestrained- yet I can be punished for my beliefs? We have the technology. We are unifying. We are asking WHY. It's time for the mice to play.

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World Enlightment by brian keigher page layout by 43d studios i've been reading these zines for awhile now. i love them so much i decided to start my own. Spread what you know. ya know???? these zines are a great tool to share music or thoughts on the scene we've got going here in the midwest. i love finding out what track this dj or that dj played so i can maybe check it out or finally get it out of my head. i think it's cool that almost all of the tracks we hear at raves are hard to find and/or imports from the other countries, and that these dj's, ravers, music buffs.. go to great lengths to bring you these tracks (& to get their fix). don't overlook this fact. i realize it must be costly too-- i spend a lot of $$$ on music, all kinds of music. a lot of hard to find "world" music mainly now, but i still groove on a hell of a lot of different music. i was raised listening to a lot of "classic rock", jazz and whatever else came around to me. the classic rock got to me -- & still gets to me because they still play it like it just came out on the radio or whatever, & who's to call them "classics" i still like it, just not quite as much anymore. the jazz side has stayed with me, always looking for something new. i've always loved house music and mixes by dj's. i use to break dance to it & get into "old school" rap, "hardcore(punk)", "heavy metal", grateful dead, "funk", a lot of art of noise, big audio dynamite, "reggae", "techno", new age & whatever else. the first album i bought was the clash. they were into a "reggae" sound in a way. anyways, i feel that if you listen to too much of one form of music you're keeping your head (& your ears) limited!! i've been on a mission (for the last 5 years now) to spread ethnic music to whoever will listen. i've had pretty good results on my mission, people get really happy and have thanked me for sharing my music with them. you see, i only touch the surface for people, they have to find their styles they like more than others (what country? what instrument?) there's soooo much culture & music out there that you & i both would never be able to hear all the different "world" music. the possibilities are endless. with a lot of this "world" music there is definitely a ritual involved, but we miss it unless we see it going on before our eyes. just like friends you & i have that don't like techno & won't go to a rave, they miss the ritual involved. (techno must be played loud for full effect & feeling) Whoever coined the term "techno pagan ritual" was very correct in describing a rave. i spread techno to people who have never had a chance to listen to it. just like "world" music!! i love turning people on to new music, opening others ears is how i look at it. most of the people i meet at raves have open minds (which is the first step toward anything at all) still a lot attitude though (i hope to see that change). most music i listen to is heavy on the drums & percussion (even techno). i play the drums & percussion & collect different instruments from around the world. that's a big part of how i got into "world" music. there are sooo many types of drums in this world and instruments in general. it's a bottomless pit of sound out there. it's not just the drums & instruments, but the traditional or non-traditional rhythms that intrigue me. i thought you might be intrigued by them also. they might just bore the hell out of you & put you to sleep, but you don't know until you listen for yourself. i feel that the rhythms these people weave can lose you within their beautiful tapestry (tap is the key word--you should see some of the fast finger work by these masters of the drums!!). you might have already heard some of these people, alla rakha, who used to play tablas (asian hand drums) for ravi shankur or his son zakir hussain, also a great indian tabla player ( i consider him & his father to be the best

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drummers i've ever heard), or glen velez, a master of the frame hoop drum. i've been giving cd's to woody mcbride & he's been playing them in the chill out rooms. i've wondered and asked people what they think & the response has been good. it's a za za zoney music---almost hypnotic at time. i give much respect to people who are willing to give time to understand these other forms of music, whether they like the music or not. i don't care for country music or much opera (or a few other forms of music), but i definitely don't put it down & can appreciate it. i see, read & hear people saying how "gabber (hardcore)" is better than "trance" or "deep house" or vice versa, but these are all words (stereotypes) for us to to try to breakdown and describe a whole section of music labeled and stereotyped "techno". my point is that music is music and words are words-- it will either appeal to someone or it won't. there's no sense in putting anything "all i can say is that i was very, very high on music" down in order to hype something else up... that's too easy. i don't claim that "world" music is better then "techno". all music is "world" music. it comes from one country or another, right? ethnic music might sound better. for me, i love the way some of this "ethnic" music hits me (deep), very spiritual. i'm not saying "techno" or whatever else isn't spiritual because believe me i've been "there" at a rave (touched spiritually i mean). i get so into the rhythms from both or almost all forms of music. live music (including dj's of coarse) is the best music (i feel). it's the best feeling, the on the spot thing you'll probably never hear the same again. things just click and take off and it gives the performer a high you can't describe & even sometimes the listener or viewer the same kind of high. i got the most high i've ever been two years ago tonight--4/3/92-- at an indian classical concert in philadelphia. two friends & myself drove from racine, wi to philly just to see this concert & another in new york that the artists were giving. the artists were alla rakha (age 73 at the time) & his son zakir hussain (42) both playing a set of those tabla drums in duets in a 14 beat cycle (very hard), and they were accompanied by sultan khan on the sarangi (an ancient bowed instrument of india) keeping a type of bass line. i decided to stay sober for the concert even though we had plenty of "goodies" for our trip. i've taken "things" at indian or "world" music concerts before, its like any gathering it is what you make of it. anyways, i got so intoxicated by the rhythms they were playing (kind of like a rave). it was an experience so blissful i could never do it justice with words. all i can say is that i was very, very high on music (the best high i might add). i love indian classical music because 90% of it is made up on the spot and improvised over thousand-year-old cycles and systems handed down generation after generation. unchanging throughout the centuries. now that is tradition. it took me a lot of listening to get into some "world" music. i had no idea what some of these people were playing, singing or saying but i don't need to know the words as long as i can feel it. some of these sounds were so new and sounded so good to me that it really got me curious about the instruments i'd hear from other countries and loved the mystery of trying to figure out how they were getting some of these sounds, either by listening (over & over) going and reading up on this music, but seeing is everything. going to a concert or workshop is real education. go and check out an indian (asian or native american), african, irish, or whatever concert. look in your local events listings (or wherever) art mags, galleries, bookstores, specialty shops for events going on around you or in other towns you'll be in (for raves or whatever). i hope you like what culture feeds you. peace through music people, keep your ears wide open! look for the first issue of WE (world enlightment) to be givin out at further (4/29/94).

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