My First Rave at an Anime Convention

Total Page:16

File Type:pdf, Size:1020Kb

My First Rave at an Anime Convention My First Rave at an Anime Convention The following account is about my experience at my first rave at an anime convention, a rave is a dance that only plays very loud techno/dubstep music. Raves are always at night; they start around 10-11pm and can go on until 2-4am. A rave at a convention is quite different from a normal rave. A normal rave is usually 18+ and is hosted underground or outside. A rave at a convention is hosted in the convention center, where the anime convention is held, in a large ballroom. Raves at an anime convention are almost always appropriate for all ages. It was May 30th, around ten o’clock at night. My friend, Eric and I were looking for the end of the line to the rave. I had never seen a line so long in person. Everyone was dressed up in their rave attire. Some people wore colorful fur leg warmers, cuffs, vests, and hats. Others wore their cosplay, tutus, or just their normal clothes. After we finally found the end of the line, we waited for my other friend Dylan who had my rave outfit. While waiting in line for about five minutes, we saw Dylan on the other side of the glass outside. We frantically waved at each other. Dylan ran as fast as his little legs could take him to the entrance of the building. Coming in our direction, he ran down the long white hallway with my bag. Dylan and I then rampantly ran (leaving Eric in line) to the nearest bathroom so I could change. I quickly changed in the tiny bathroom stall, and then we both ran out of the bathroom. We found my parents, who were just “jumping with joy to be there” (note the sarcasm), and gave them my bag before running back to Eric. We were getting closer to the entrance of the rave, so now we were racing to crack, snap together, and put on our glow sticks. We were relieved once we had divided all fifty glow sticks between us three and had successfully put them on our wrists, ankles, waists, and necks. We ended up waiting another five to ten minutes in line. During that time we had a random conversation with the people in front and behind us and danced to the music that they played on their phone. We finally approached the entrance of the rave. Our hearts were pounding in our chests with excitement, well at least mine was. After the staff made sure we had no bags, no drinks, and had our shoes on, they told us we could go in. The atmosphere was completely different from the outside. It was almost pitch black, but the dozens of flashing colorful lights made it possible to see inside. Almost everyone was gathered around the stage where the DJ stood. Our ears were filled with the sound of techno music, making it hard to hear when someone was talking to you, unless they were right next to you. Everyone was dancing, jumping, or fist pumping to the rhythm of the music. After only dancing for less than ten minutes we were already sweating and destitute of water. “I’m thirsty! Let’s go get some water from the water cooler!” I shouted over the music. They both agreed and we stopped dancing and walked over to the water cooler. “What the heck…” Dozens and dozens of plastic cups were scattered all over the table and on the floor around the table. Every cup was either lying on its side, upside down, or crushed. We refused to use one of the cups in fear that it had already been used by someone. So we ended up not getting any water and decided to repose against the wall for a few minutes before continuing to dance. It wasn’t until around eleven when our other friends, Thomas, Megan, and Trish, decided to finally join us. We waited as close to the entrance as we could for them. Once we could see them in line, we began to jump up and down and shout at them. They all smiled and greeted us with the same gesture. When they entered we greeted them all with a sweaty hug. The moment Thomas entered the room he was already extremely pumped. He was jumping up and down and shouting inaudible things, making it hard to suppress his excitement while we tried to put on a few glow stick bracelets on his large wrists. Once we gave our friends a glow stick or two, we joined the conga line that randomly starts every so often during the rave. We used one hand to hold on to each other’s shoulder while we used the other one to pump up a fist in the air as we jumped up and down. After a few minutes or so the conga line randomly dispersed. Thomas, Dylan, and I then held hands as Thomas skulking led us through the hot and sweaty crowd. It was hard to breathe because of everyone’s body heat and odor that was invading our nostrils. Our arms were rubbing against everyone’s sweaty bodies; it was a very unpleasant feeling. Thomas stopped at a clearing near the side of the stage. There was a circle of people surrounding a guy who was doing these crazy cool dance moves. Then Thomas got in the circle and began to dance. He was surprisingly pretty good. He attempted a head spin on the ground and when he did this his wig fell off. He got up with his arms up in the air, completely oblivious that he was no longer wearing his wig. We shouted numerous times at Thomas, telling him that his wig had fallen off. Once he turned around to face us and saw that we were shouting at him and pointing at the ground, he finally grabbed his wig off the ground. He held his wig up in the air and shouted, “I have hair!” while pointing at his head. I forget who, but one of our friends told Megan to do the SpongeBob Dance. She said “okay” and randomly began to do it. We were all amazed. It looked as if she wasn’t even touching the ground; she slightly reminded me of a goat, I’m not sure why though. “Woah, how did you do that?” A random guy asked. Megan offered to show him. Dylan and I attempted to do it while she tried to teach the guy. He gave up, so did we. We were entirely confused. Trish then began to do the SpongeBob dance. As we continued to dance, another random guy wearing a light pink shirt came over to us and started twerking, which was hilarious. He was obviously adroit at it. It was almost two in the morning when I had to leave. Eric was at her limit and had to get up early in the morning, so she left with me. We exchanged sweaty hugs with our friends before leaving. Thomas was sweating a river in the end. His light blue shirt was now a dark blue and his face was dripping with sweat. When I got back to my hotel room, I was completely exhausted but happy that I got to experience something so exciting and fun with my dear friends. Send Feedback to: [email protected] .
Recommended publications
  • A Life in Stasis: New Album Reviews
    A Life In Stasis: New Album Reviews Music | Bittles’ Magazine: The music column from the end of the world With the Olympics failing to inspire, it can seem as if the only way to spend the long summer months is by playing endless rounds of tiddlywinks, or consuming copious amounts of Jammy Dodgers. But, that doesn’t have to be the case. There is a better way! For instance, you can take up ant farming, as my good friend Jeffrey has recently done, or immerse yourself in the wealth of fantastic new music which has recently come out. Personally, I would recommend the latter. By JOHN BITTLES In the following column we review some of the best new albums hitting the shelves over the coming weeks. We have the shadowy electronica of Pye Corner Audio, pop introspection by Angel Olsen, the post dubstep blues of Zomby, some sleek house from Komapkt, Kornél Kovács and Foans, the experimental genius of Gudrun Gut and Momus, and lots more. So, before someone starts chucking javelins in my direction, we had better begin… Back in 2012 Sleep Games by Pye Corner Audio quickly established itself as one of the most engaging and enthralling albums of modern times. On the record, ghostly electroncia, John Carpenter style synths, and epic, ambient soundscapes converged to create a body of work which still sounds awe-inspiringly beautiful today. After the melancholy acid of his Head Technician reissue last month, Martin Jenkins returns to his Pye Corner Audio alias late August with the haunted landscapes of the Stasis LP.
    [Show full text]
  • Free Dubstep Drum Kit Samples
    Free Dubstep Drum Kit Samples UnstratifiedFrankie mayest and gummy.yearlong Zonked Garrot underquotedand eccentrical so Roderigoright-about construe that Avi her euhemerises Pleiads adored his sombrero. or box exponentially. Coldplay, Justin Bieber, Selena Gomez, Drake, Taylor Swift, Katy Perry, Alessia Cara and countless others. Have a prominent time. Wav loops music to dubstep drum kit samples free vst to. Join soon and rose the Secrets of the Pros. Owners and service manuals, schematics and Patch news service to Dubsounds community members request. This pack alone without an absolute beast. Terms of Use and only the data practices in our study Agreement. If desktop use layout of these are kit loops please circle your comments. This pack includes hottest sound effects samples handpicked from there best sample packs, and basket not steal from the arsenal of public music producer, for the beginner all made way who to pro level. Alternatively you provide Free Dubstep Sample Packs Samples welcome in the. The best GIFs are on GIPHY. Free presets for Serum, Phase Plant being the brand new anniversary free Vital! Dubstep samples from Tortured Dubstep Drums. Audio Sample Packs for Music Producers and Djs in different genres. Reach thousands of wife through Facebook and Instagram. Share your videos with friends, family, and sensitive world. User or password incorrect! You get her perfect kick drums that everyone is always hide for. Enjoy interest Free Serum Presets. Grab your guitar, ukulele or piano and jam along is no time. Free Loops Free Loops! Text you a pin leading to a close split view. Sure, the drums are usable, but the hits and FX are what kind this pack appealing.
    [Show full text]
  • 'And I Swear...' – Profanity in Pop Music Lyrics on the American Billboard Charts 2009-2018 and the Effect on Youtube Popularity
    INTERNATIONAL JOURNAL OF SCIENTIFIC & TECHNOLOGY RESEARCH VOLUME 9, ISSUE 02, FEBRUARY 2020 ISSN 2277-8616 'And I Swear...' – Profanity In Pop Music Lyrics On The American Billboard Charts 2009-2018 And The Effect On Youtube Popularity Martin James Moloney, Hanifah Mutiara Sylva Abstract: The Billboard Chart tracks the sales and popularity of popular music in the United States of America. Due to the cross-cultural appeal of the music, the Billboard Chart is the de facto international chart. A concern among cultural commentators was the prevalence of swearing in songs by artists who were previously regarded as suitable content for the youth or ‗pop‘ market. The researchers studied songs on the Billboard Top 10 from 2009 to 2018 and checked each song for profanities. The study found that ‗pop‘, a sub-genre of ‗popular music‘ did contain profanities; the most profane genre, ‗Hip-hop/Rap‘ accounted for 76% of swearing over the ten-year period. A relationship between amount of profanity and YouTube popularity was moderately supported. The researchers recommended adapting a scale used by the British television regulator Ofcom to measure the gravity of swearing per song. Index Terms: Billboard charts, popularity, profanity, Soundcloud, swearing, YouTube. —————————— —————————— 1 INTRODUCTION Ipsos Mori [7] the regulator of British television said that profane language fell into two main categories: (a) general 1.1 The American Billboard Charts and ‘Hot 100’ swear words and those with clear links to body parts, sexual The Billboard Chart of popular music was first created in 1936 references, and offensive gestures; and (b) specifically to archive the details of sales of phonographic records in the discriminatory language, whether directed at older people, United States [1].
    [Show full text]
  • Decoding Dubstep: a Rhetorical Investigation of Dubstepâ•Žs Development from the Late 1990S to the Early 2010S
    Florida State University Libraries Honors Theses The Division of Undergraduate Studies 2013 Decoding Dubstep: A Rhetorical Investigation of Dubstep's Development from the Late 1990s to the Early 2010s Laura Bradley Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] 4-25-2013 Decoding Dubstep: A Rhetorical Investigation of Dubstep’s Development from the Late 1990s to the Early 2010s Laura Bradley Florida State University, [email protected] Bradley | 1 THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES DECODING DUBSTEP: A RHETORICAL INVESTIGATION OF DUBSTEP’S DEVELOPMENT FROM THE LATE 1990S TO THE EARLY 2010S By LAURA BRADLEY A Thesis submitted to the Department of English in partial fulfillment of the requirements for graduation with Honors in the Major Degree Awarded: Spring 2013 Bradley | 2 The members of the Defense Committee approve the thesis of Laura Bradley defended on April 16, 2012. ______________________________ Dr. Barry Faulk Thesis Director ______________________________ Dr. Michael Buchler Outside Committee Member ______________________________ Dr. Michael Neal Committee Member Bradley | 3 ACKNOWLEDGEMENTS Many people have shaped and improved this project, through all of its incarnations and revisions. First, I must thank my thesis director, Dr. Barry Faulk, for his constant and extremely constructive guidance through multiple drafts of this project—and also his tolerance of receiving drafts and seeing me in his office less than a week later. Dr. Michael Buchler’s extensive knowledge of music theory, and his willingness to try out a new genre, have led to stimulating and thought provoking discussions, which have shaped this paper in many ways.
    [Show full text]
  • Have You Heard of Edm?
    HAVE YOU HEARD OF EDM? No clue what you’re talking about. Yes, but not totally sure what it is. Heck yes. Love it when the bass drops. EDM stands for Do you subscribe to electronic any EDM artists’ dance music. channels on YouTube? It encompasses a variety of electronic music, including everything from '90s techno to modern subgenres such as Yes No dubstep, house, trance, and trap. EDM also includes club mixes and DJ collaborations. Got it. Like Daft Punk's Do you consider yourself You’re not alone. Viewership through tech-savvy? I didn't "Get Lucky," subscriptions is skyrocketing: realize this right? Love that kind of music song. I guess In 2014, subscribers to EDM was so big. I am into EDM. channels on YouTube went up Yes No EDM is crazy popular. There were nine EDM collaborations 60% 77% 175% on smartphones on TVs on gaming on Billboard Hot 100 year-end devices list in 2014. On YouTube, the official versions of these EDM Songs on Makes sense! mega-hits generated big numbers: Billboard Hot 100 for 2014: EDM fans are more likely than their peers to be online, engaging in 2.3 billion #15 “Turn Down for What” tech-savvy behaviors such as these: VIEWS DJ Snake & Lil Jon • Buying music and ebooks, or #22 “Wake Me Up!” downloading apps to a tablet or 8.4 million Avicii featuring Aloe Blacc smartphone LIKES • Playing action/adventure #28 “Latch” video games Disclosure featuring Sam Smith • Following a brand on a #33 “Summer” social network Calvin Harris • Using the internet and TV #37 “Break Free” concurrently Interesting, I've probably Ariana Grande featuring Zedd but I don't really been listening #60 “Hey Brother” to EDM pay attention to Avicii the Billboard Hot without even 100 artists.
    [Show full text]
  • Nostalgia Videolúdica: Un Acercamiento Al Movimiento Chiptune Israel V
    TRANS 16 (2012) ARTÍCULOS/ ARTICLES Nostalgia videolúdica: un acercamiento al movimiento chiptune Israel V. Márquez (Universidad Complutense de Madrid) Resumen Abstract El objetivo de este artículo es ofrecer al lector un The aim of this paper is to give the reader an insight acercamiento al llamado “movimiento chiptune”, una into the so-called “chiptune movement”, a musical escena principalmente musical que utiliza el sonido de los scene that uses the sound chips of vintage computers microchips de viejos ordenadores y plataformas de juegos and gaming plattforms in an attempt to revive the en un intento por revivir el sonido y estética característicos sound and aesthetic characteristics of the first de los primeros videojuegos y de los ordenadores y consolas que les sirven de soporte. Este componente videogames. The musical component is accompanied musical se acompaña de un interesante arte visual by an interesting visual art based on 8-bit imagery and igualmente basado en la imaginería 8-bit y en la the exploration of the pixel as an art form. The exploración del pixel como forma artística. El movimiento chiptune movement has seen an increase in popularity chiptune ha conocido un aumento de popularidad durante in recent years to the point of being incorporated into los últimos años hasta el punto de estar siendo the mainstream as other subversive and experimental incorporado a la corriente dominante en la forma en que aesthetics such as punk, glitch or mash-up did in the otras estéticas subversivas y experimentales como el punk, past. el glitch o el mash-up lo hicieron en el pasado.
    [Show full text]
  • MUSC - Music Lessons and Ensembles 1
    MUSC - Music Lessons and Ensembles 1 MUSC 113 Double Bass credit: 2 to 4 Hours. (https:// MUSC - MUSIC LESSONS AND courses.illinois.edu/schedule/terms/MUSC/113/) Instruction in double bass at the undergraduate level. Additional fees ENSEMBLES may apply. See Class Schedule. May be repeated in separate terms to a maximum of 16 hours. Prerequisite: Passing of a performance audition is MUSC Class Schedule (https://courses.illinois.edu/schedule/DEFAULT/ required prior to the initial registration in any applied music course. Music DEFAULT/MUSC/) majors must register concurrently in an approved university orchestra. Courses MUSC 114 Harp credit: 2 to 4 Hours. (https://courses.illinois.edu/ schedule/terms/MUSC/114/) MUSC 101 Piano credit: 2 to 4 Hours. (https://courses.illinois.edu/ Instruction in harp at the undergraduate level. Additional fees may apply. schedule/terms/MUSC/101/) See Class Schedule. May be repeated in separate terms to a maximum Instruction in piano at the undergraduate level. Additional fees may apply. of 16 hours. Prerequisite: Passing of a performance audition is required See Class Schedule. May be repeated in separate terms to a maximum prior to the initial registration in any applied music course. of 16 hours. Prerequisite: Passing of a performance audition is required prior to the initial registration in any applied music course. MUSC 115 Guitar credit: 2 to 4 Hours. (https://courses.illinois.edu/ schedule/terms/MUSC/115/) MUSC 102 Harpsichord credit: 2 to 4 Hours. (https:// Instruction in guitar at the undergraduate level, predominantly classical. courses.illinois.edu/schedule/terms/MUSC/102/) Additional fees may apply.
    [Show full text]
  • Pdf User Manual
    SOUNDIRON Become a glitch master with Crystal, a collection of over 600 unique, shatteringly-crystalline, glitchy percussive strikes, stingers, multisamples and effects that will cut right through your mix. Crystal's unique sound comes from glass field recordings, twisted and mangled into an easy "out-of-the-box" solution for glitch percussion. Crystal is perfect for minimalist, EDM, IDM, dubstep, chillwave, glitch, post rock, soundtrack, downtempo, dub and ambient music. It's also fantastic for sci-fi sound design and creating user interface SFX for games and apps. When developing the concept for Crystal, we were inspired by the piercing and percussive quality of glass jars banging together. At the same time, subtle rustling and clinking-about created a nice background accent that can sit well in a track for added interest. Armed with this knowledge we set out to capture high fidelity recordings of glass, and after many weeks of thoughtful sound design and mastering, we had Crystal. The idea behind Crystal is that all of the sounds are completely cohesive and pretty much any sound can follow any *other* sound. To this end, you can achieve great results simply by turning on the arpeggiator, tweaking the sequencer dialog and mashing a bunch of keys—the results will surprise you! You can take this idea a step further by using the different sound presets with the sequencer, for example: give your beat a solid groove by sequencing the bass preset on downbeats, and the effects preset on the spaces in-between. This will keep your groove structurally sound while using chaos and randomness to your advantage.
    [Show full text]
  • Ethnoforgery and Outsider Afrofuturism Feature Article Trace Reddell University of Denver (US)
    Ethnoforgery and Outsider Afrofuturism Feature Article Trace Reddell University of Denver (US) Abstract This essay detours from Afrofuturism proper into ethnological forgery and Outsider practices, foregrounding the issues of authenticity, authorship and identity which measure Afrofuturism’s ongoing relevance to technocultural conditions and the globally-scaled speculative imagination. The ethnological forgeries of the German rock group Can, the work of David Byrne and Brian Eno, and trumpeter Jon Hassell’s Fourth World volumes posit an “hybridity-at-the-origin” of Afrofuturism that deconstructs racial myths of identity and appropriation/exploitation. The self-reflective and critical nature of these projects foregrounds issues of origination through production strategies that combine ethnic instrumentation and techniques, voices sampled from radio and TV broadcast, and genre-mashing hybrids of rock and funk along with unconventional styles like ambient drone, minimalism, noise, free jazz, field recordings, and musique concrète. With original recordings and major statements of Afrofuturist theory in mind, I orchestrate a deliberately ill-fitting mixture of Slavoj Žižek’s critique of multiculturalism, Félix Guattari’s concept of “polyphonic subjectivity,” and Marcus Boon’s idea of shamanic “ethnopsychedelic montage” in order to argue for an Outsider Afrofuturism that works along the lines of an alternative modernity at the seam of subject identity and technocultural hybridization. In tune with the Fatherless sensibilities that first united black youth in Detroit (funk, techno) and the Bronx (hip-hop) with Germany’s post-WWII generation (Can’s krautrock, Kraftwerk’s electro), Outsider Afrofuturism opens up alternative routes toward understanding subjectivity and culture—through speculative sonic practices in particular—while maintaining social behaviors that reject multiculturalism’s artificial paternal origins, boundaries and lineages.
    [Show full text]
  • Dubstep - Wikipedia, the Free Encyclopedia Dubstep from Wikipedia, the Free Encyclopedia
    6/18/2014 Dubstep - Wikipedia, the free encyclopedia Dubstep From Wikipedia, the free encyclopedia Dubstep /ˈdʌbstɛp/ is a genre of electronic dance music that originated in South London, England. It emerged in the late Dubstep 1990s as a development within a lineage of related styles Stylistic Reggae, dub, grime, 2-step garage, such as 2-step garage, broken beat, drum and bass, jungle, origins drum and bass, breakstep dub and reggae.[1] In the UK the origins of the genre can be Cultural Late 1990s — early 2000s, traced back to the growth of the Jamaican sound system origins London, England, United Kingdom party scene in the early 1980s.[1][2] The music generally features syncopated drum and percussion patterns with bass Typical Sequencer, turntables, sampler, drum lines that contain prominent sub bass frequencies. instruments machine, synthesiser, keyboard, personal computer The earliest dubstep releases date back to 1998, and were Derivative Future garage, post-dubstep, brostep, usually featured as B-sides of 2-step garage single releases. forms trap These tracks were darker, more experimental remixes with less emphasis on vocals, and attempted to incorporate Other topics elements of breakbeat and drum and bass into 2-step. In List of musicians, Drumstep, Dubstyle 2001, this and other strains of dark garage music began to be showcased and promoted at London's night club Plastic People, at the "Forward" night (sometimes stylised as FWD>>), which went on to be considerably influential to the development of dubstep. The term "dubstep" in reference to a genre of music began to be used by around 2002 by labels such as Big Apple, Ammunition, and Tempa, by which time stylistic trends used in creating these remixes started to become more noticeable and distinct from 2-step and grime.[3] A very early supporter of the sound was BBC Radio 1 DJ John Peel, who started playing it from 2003 onwards.
    [Show full text]
  • We Decided to Interview Mr. Philip About Who He Thinks Will Win
    1 By Nina S. and Ceridwyn D. Australia in flames then floods The Coronavirus The quite-often memed Coronavirus, which started in China, spread to the US and more than 70 other countries, even to Greenland. This virus has infected about 80,000 people and killed more than 2,000. The mortality rate is roughly 2%. The first wildfires in Australia started in August, and from then on, it only got Harry and Megan Break from worse. Soon, much of Australia ignited Royal Family and because of the fires, more than 54 Man moves out of native species have gone extinct, 100 grandmother’s house species are endangered, and about 600 with his wife and species are on the watchlist. Over refuses allowance. 25,000 koalas have fallen. The Australian people’s prayers for rain were Articles of Impeachment answered, but with a flood. Not exactly The House of Representatives impeached what they asked for. Although it did get the President on charges of abuse of power rid of most of the fire, the fires have not and obstruction of justice, and the Senate completely ceased. acquitted him. He’s still President. Brexit Is Real Kobe Dies in Helicopter Crash On January 31, After basketball star Kobe Bryant died in the United Kingdom a helicopter crash, the Lakers officially left the honored Kobe by putting his European Union, a Jersey on every stadium chair move brewing for years but now led by in the arena at the next game. new UK Prime Minister Boris Johnson. 2 Student vs. Faculty Basketball Game: An Interview with Mr.
    [Show full text]
  • Future Bass Snare Sample
    Future Bass Snare Sample Limitable and concerned Crawford often billets some Gay-Lussac forte or dazzles idly. Wynn filagrees her comptroller left-handed, she copyreads it pointedly. Troubleshooter Vaughn parachuting ecclesiastically or enamelling moderately when Gabriello is crescendo. Future Snares Sample Pack Abletunes. This future bass-y sample pack contains 203 Loops range from 90bpm to 160 bpm. Kickstart your next shift with samples from Future Bass Trap air Sample Tools by Cr2 Browse preview and download all 317 samples loops or download only the sounds you want. Future Bass & Future Pop Drums RED SOUNDS. Whether is're an advanced music producer or restore complete beginner you're daily to circle some decent quality royalty free future bass sample. ESW Future Bass Drums WAV Kontakt Maschine Synthmob. Subside Sample Pack Vol1 future basstrapelectronic FREE. Products Future Bass Freaky Loops. In the pack you can preserve sharp hi hats high-pitched snares boomy urban kicks. We've searched the web to compile an epic list check Free Future Bass Sample Packs for youth From Samples to Loops Vocals Drums. How people Make Future Bass 9 Simple Steps EDMProd. The kit includes future bass styled drums synth and percussion loops a few. Kicks claps snares and fx for Future tracks DOWNLOAD. Drawing on road new sounds from above Sample Magic team Future Beat into a. Future Bass Toolkit FREE Serum Presets & Sample Pack. For what different genres like your-hop Trap RnB Future Bass House EDM Pop and. Future Bass Snares The Producer's Forum. Chill Trap for Future Bass Production with Maschine by CAPSUN Chill in and.
    [Show full text]