6539MUS

The Context 3




EDM and Ecstasy: An Iconic Past
and Uncertain Future
An exploration of the EDM industry
and its associated drug culture.


Chasekeane (reddit)
May 2014










Contents

INTRODUCTION: THESIS/AIMS/METHODOLOGY ..................... 3
A HISTORY: THE CHICKEN & THE EGG CONUNDRUM ........... 5
MUSIC ENHANCING DRUG: A SCIENTIFIC & CULTURAL
PERSPECTIVE .............................................................................. 7
WAR ON DRUGS: A CRITIQUE OF CURRENT DRUG
LEGISLATION ............................................................................. 10
COMMERCIALIZATION - THE REBIRTH OF EDMDMA ............ 12
WAREHOUSE PROJECT: A UK CASE STUDY ........................ 15
MOLLY GOES DANCING: ARE DRUGS DAMAGING THE
INDUSTRY? ................................................................................. 18
CONCLUSION ............................................................................. 20




















The synthesis of the two (Ecstasy and House Music) had produced the
largest youth cultural phenomenon that Britain had ever seen. Ecstasy culture
had become the primary leisure activity for British youth, seamlessly
integrated into the fabric ritual
(Collin, 1998, p.264)


Introduction

This paper aims to explore the link between EDM (Electronic Dance Music)
and the associated drug culture. I will explore the historical roots of the rave
culture, determine whether this link is damaging to the EDM industry, examine
and critique current policies surrounding UK drug legislation and suggest
alternative solutions for the safeguarding of fans. I will concentrate my
research on specific case studies such as the Manchester based Warehouse
Project as well as some American and European counterparts for comparison.
I have also conducted field research in the form of a survey in order to obtain
quantifiable evidence from EDM event attendees.

In terms of my chosen methodology, I have constructed a quick 10 question
survey via survey monkey which expands upon the themes of this
dissertation. I used a series of open and closed questions to ascertain a wide
variety of opinions. I also ensured the anonymity of my participants as the
topic, recreation drug use is a rather sensitive subject matter. I then posted
this survey onto the online forum Reddit, under appropriate categories such
as EDM and DRUGS. I also posted a link to my survey via Facebook
requesting feedback from my peers. I clearly noted that the survey should
only be completed by those who have attended EDM events, this would
ensure that I targeted a representative cross section of the population. My
survey generated over 600 responses. One vital flaw of my survey was that I
failed to consider that it may generate an international response. One of my
questions is UK specific and thus many respondents commented that they
were unable to answer. Unfortunately, this may have skewed my results
slightly. However, overall the results were highly illuminating and contributed
greatly to my research. I have publicized my full findings in Appedix 1 and will
draw upon selected statistics and quotes from the survey in relevant sections
of my essay.


Electronic Dance Music is broad term that encompasses a long list of sub
genres including House, Techno, Drum & Bass, Trance, Dubstep and
hundreds more obscure splinter genres. Its electronically produced and
designed for large dance hall events, distinguishable by its percussive and
base heavy sounds.

As a both a producer and DJ of house music, as well as a fan of the genre,
this is a subject thats immediately relevant to my career. One of my major
projects in my final year of LIPA has been a collaborative project with Gavin
Medhurst called Sleepin Dags. We produce a range of material that can be
loosely categorized as Deep House, Progressive House, Techno and Disco
House. From being personally immersed in the scene in both a professional
and personal capacity it has become strikingly obvious that recreational drug
taking is often undertaken openly at EDM events. 85.59%, almost 600 of
survey respondents have taken recreational drugs at an EDM event. A
prevalent drug culture undoubtedly exists with the EDM community today
despite the feigned ignorance of many events organizers, artists and fans.
This most likely stems from the illegal status of the majority of recreational
drugs and the no tolerance stance of the UK Government. From a
professional perspective, I worry that the EDM community may be unable to
withstand the scrutiny it currently faces from news media, government and
law enforcement and what repercussions this could have on my chosen
career.

From its conception the genre has become synonymous with recreational
drug use, to the extent that it has become almost impossible to distinguish
which came first, the drugs or the music. Typical rave drugs include a wide
selection of illegal highs. The NHS defines club drugs as GBL/GHB,
Ketamine Methamphetamine, Cocaine, MDMA, Mephadrone and Legal Highs.
(NHS, 2013) MDMA, also known by street names Ecstasy, Molly, Mandy or
MD has become the iconic rave drug. It is therefore, MDMA that I will focus
my research on. Formally named methylenedioxy methylamphetamine,
MDMA is an emphatohenic drug that can induce a sense of euphoria, feelings
of intimacy, and psychedelic effects. Despite being criminalized in most
countries MDMA endures in popularity today the UN estimates 10-25 million
people used the substance in the past year. (Chawla, 2010) In my survey
99.56% of the respondents claim to have come into contact with MDMA at
EDM events. (see appendix one)x



A History: The Chicken and the Egg Conundrum

To unravel the convoluted mystery of which came first, the drugs or the music,
it is necessary to explore the origins of both respectively. MDMA has originally
synthesized by German pharmaceutical company Merck in 1912. The
accidental creation was a failed attempt to develop an innovative blood
clotting medicine. The substance was then largely forgotten about for the next
five centuries. In the mid 1950s, US cold-war scientists rediscovered the
substance and began experimenting on the minds of suspected US enemies.
Commonly used alongside other psychotropic drugs such as LSD as an
interrogation tool to try and extract information. In the same decade reputable
US based psychoanalysts began using MDMA as a legitimate form of therapy.
The substance frequently prescribed to combat posttraumatic stress, treat
AIDS and even used in marriage counseling.


Despite its medical uses MDMA remained virtually unknown to the general
public until the mid 1970s. It was Harvard psychopharmachologist Dr Alexder
Shulgin (affectionately coined the Godfather of MDMA) who is credited with
spearheading the use of MDMA in a recreational capacity. Shulgin
resynthesized MDMA in the mid sixties from his makeshift garden shed
laboratory with the attention of creating a low calorie martini. (Shulgin, 2013)
Indeed, his miracle pill would soon become a threat to brewers and distillers
across the globe who watched the rave generation reaching for pills in powder
in favor of the Western Worlds favorite drug, alcohol. Shulgins controversial
experiments saw him loose his job but he remains a folk hero to the rave
generation.

The appearance of MDMA on the club scene directly coincided with the birth
of EDM. Adam as it was first called, emerged on the Dallas club scene in the
early 70s, the first recreational users typically a collection of college yuppies
and gay clubbers. The drug had an almost exclusively white, middle class
demographic. Prior to criminalization an open distribution network was in
place, the drug was readily available for purchase through pyramid schemes,
800 numbers and credit card purchase options whilst club owners reaped the
rewards by setting up shop in their back rooms. The Chicago Warehouse
parties and Detroit Techno formed the centerpiece of the MDMA scene.
(Jenkins, 2013, p3) The synthesizer was heralded to be the sound of the
future, and by the early 80s DJs had realized its potential to captivate a large
audience.

The musical trend quickly travelled across the water and into UK dance halls.
During the mid to late 80s a British rave scene quickly emerged in
Manchester and spread to London. The scene was categorized by a series of
free, unauthorized warehouse parties and underground club events, Acid
House and Techno emerged as the prominent genres of the era. The British
Summer of 1988 was termed the Second Summer of Love an evolutionary
nod to the hippy subculture of the 1960s whose drug of choice was LSD. The
EDM culture following in the steps of its American and British trailblazers,
spread throughout the rest of mainland Europe and Ibiza readily established
itself as a Mecca for MDMA fuelled partygoers. By the late 80s the term
rave (from the French: to show signs of madness or delirium) had come to
apply to the nocturnal congress of ecstasy fueled souls. (Jenkins, 2013,p3).
The British Super club was formed, the likes of The Hacienda Manchester,
Cream Liverpool and The Ministry of Sound London emerging as giants on
the late eighties/early nineties British club scene.

As the nougties approached the original EDM subculture reached its
demise. Indeed it seemed that by the new millennium the scene had grown
shadier, and its kids had grown up. In 2001, a statistically successful
American public campaign against ecstasy targeted an audience that now
spent their Saturdays at home, relieved and burned out. (Jenkins, 2013, p5)
In the UK the public health narrative also deterred would be ravers with scare
tactics, who turned to alternative music based sub cultures such as Emo,
Goth and scene kids that defined the decade. This marked the end of the first
wave of rave. Although a few prominent DJS enjoyed continued success,
generally it can be said that decks stopped spinning and the warehouses
emptied until the genres rebirth in 2007. I will examine the 21
st
century EDM
scene later in my paper.

Music enhancing drug? A scientific and cultural perspective.
For a drug to be so steeped in the history of a genre now decades old, there
must be a link that intrinsically binds the two together. A common perspective
of many ravers is that ecstasy enhances the quality on the music, and vice
versa. I aim to examine whether there is any scientific merit to such claims.
Unfortunately, scientific research into MDMA has been dramatically stunted
due to its illegal status in much of the world. Many scientists and medical
practitioners risk damage to their career or even imprisonment by pursuing
studies on the effects of MDMA. It is therefore extremely difficult to assess
the music enhancing abilities of the drug in definitive terms. However, some
recent studies do exist which we may be able to draw some conclusions from.

Michelangelo Iannone, of the institute of Neurological science in Italy recently
conducted a study that sought to determine the effects of loud music on
MDMA users. (Iannone, M, 2006) Lannones principal aim was to measure
sensorial (acoustic stimuli) comparable to those occurring in human life within
young peoples social gatherings of the rave or techno type. To yield his
findings Iannone and team experimented on rats, which were administered
low doses of MDMA then exposed to both loud white noise and Techno
music, above 95db. The team observed increased brain activity in the
cerebral cortex upon prolonged exposure to loud music. They further found
that the abnormal neurological alterations in brain activity persisted for several
days after the MDMA dose was administered in the rat subject groups
exposed to loud music. In contrast, the effects of the MDMA dose deteriorated
much quicker on the rats that were examined in a quiet environment.
Lannones findings of increased cerebral activity seem to suggest that there
may be some truth to the till now urban myth that Molly makes music better.
The study presents some interesting findings, albeit being somewhat limited in
reliability. After all, it is somewhat questionable just how comparable a rats
neurological make-up is to that of a humans. Furthermore, Iannone noted no
change in the cerebral cortex of the rats exposed to white noise versus those
exposed to techno music. This suggests, the MDMA experience to be
enhanced by loud noise in general, not specifically music of the EDM variety.

Dr Douglas Ruskoff also explores the science behind this symbiotic
relationship of dance music and drug, concluding that the music light and
ambience of an EDM event were all fine tuned to augment an altered state of
consciousness. (Piltchner, 2006, p55) He refers to the hallucination educing
nature of the typical flashing strobe lights found at raves. Ruskoff also
observes that the rhythm of EDM music is generally around 120 beats per
minute, the same frequency as the fetal heart rate. EDM music thus
subconsciously evokes a womb like state of relaxation for MDMA users,
already experiencing the euphoric high of the drug. Ruskoff additionally
investigates recreational MDMA use from a cultural perspective. He notes that
the common 120 beats per minute EDM frequency was the same beat
supposedly used by South Americans shamans to being their tribes into a
trance state. (Plictner, 2006, p56)

Indeed, a long list of scholars point towards users desire to engage in a
spiritual experience, citing group consciousness as being a focal point of the
EDM ecstasy experience. Dr Rick Dobun states of EDM events, Theres a
spiritual aspect to it, something fundamentally wholesome about these
communal dance parties. (Doblin, R. 2013) Far from being isolated to Ruskoff
Shamans, there exists a well-recorded history of music ritual, typically within
a religious context. Sociological theory on music rituals can be traced back to
Durkheims 1912 study of religious ceremonies in tribal societies. His classic
study observed that intense drumming and frenzied dancing produced
feelings of intense euphoria in participants. EDM events are strangely akin to
these ancient tribal rituals.

The 1980s EDM subculture was founded upon the mantra of PLUR (Peace,
Love, Unity and Respect). The EDM community was in many ways an all-
inclusive bracket of society, which shared similar values to those preached by
the 1960s hippie subculture. Cultural studies scholars Bennet (2001) and
Thorton (1996) portray rave culture as a youth subculture characterized by
intense feelings of camaraderie and social belonging. MDMA tends to evoke
feelings of empathy and intimacy among users so it unsurprising that the EDM
mantra incorporates themes of togetherness and social cohesion. On the
other hand, various sociological theorists believe that the spirituality of the
rave experience is non-dependent upon drug use. This is a theory shared by
Lynch and Badger (2006); Huston (2003) and Patridge (2002) but to name a
few. These scholars insist that spiritual connotations of the rave scene can be
derived from the power of the music alone and point to the long established
history of music ritual as evidence to this theory.

Within a cultural context we can also explore MDMA use as an outlet for
feelings of anti-establishmentarianism. The rave can be considered a reaction
against capitalist society, whereby recreational drug taking forms a method of
escapism from the mundane realities of everyday life. Statistical data shows
that MDMA users are typically white, middle class men and women within the
under thirty age group. Many individuals use rave and drug consumption as a
stress relieving leisure activity after along week in the office. Subcultures
typically seek to define themselves against the core values of mainstream
society; illicit drug taking can be considered an important tool for rebellion in
this respect. Musical subcultures have historically been associated with an
illegal drug of choice; whether it be 1930s jazz & marijuana, 1960s
psychedelic rock and LSD, late 1990s and early 200s rap and marijuana.
Drugs and the neurological effect the exhibit on users undoubtedly contribute
towards the overarching ethos of that genre/subculture and help to define
members as a solidarity community with a shared ideology.

War on drugs
In the UK, public health perspective dominates, defining raves as a war on
drugs rather than a bona fide cultural identity. MDMA is currently illegal in all
UN/EU countries. In the UK its categorized a class A substance, possession
of the drug can warrant up to 7 year prison sentence, while distribution of
MDMA can lead to life imprisonment. (FRANK, 2014) This places MDMA in
the same category as heroin and methamphetamine. In spite of this,
criminalization has had a non-deterrent effect. Its illegal status has not
significantly deterred recreational drug use, but simply increase[d] demand,
raise[d] prices and limit[ed] availability.(Rosenbaum M & Doblin R, 1991 p6.)

MDMA was criminalized in the UK via an amendment to the Misuse of Drugs
Act in 1977; the drug thus ascertained its illegal status before even reaching
British shores. A British Chemist had been discovered in the process of
manufacturing hallucinogenic amphetamines which were not controlled by
law and so the legislation modified to criminalize what would later become
known as MDMA and its derivatives. (Collins, M, p40) US policy followed suit
with a no tolerance stance on MDMA distribution. In July 1984 the DEA
announced its intention to place MDMA in Schedule 1. However, DEA
scheduling of the drug was to be highly controversial and hotly contested. A
group of highly respectable professionals [suddenly] emerged from a decade
of secret work into the courtrooms and were ready to engage the legal
defence of medical MDMA. (Rosenbaum M & Doblin R, 1991 p2.) Even
monks and rabbis came forward to testify to the therapeutic benefits of
MDMA.

A logical argument was soon formed that suggested MDMA did not
constitute a significant social problem, nor did it fit the criteria of the American
drug-scheduling act. In order for a drug to place to placed into schedule one, it
must a) Have a high potential for abuse, b) No accepted medical, c) no
accepted safety for use under medical supervision. Various medical
professionals, political critics and cultural scholars have attempted to rebuke
these claims. Firstly, scientific research indicates that frequent MDMA use
produces a dysphoric reaction. Feelings of MDMA educed euphoria depend
upon a release of serotonin from the brain, our supply of which is limited and
will quickly run out. Thus a tolerance quickly builds up in users and one must
taper their use in order to experience the desired effects. .(Beck et al, 1989.)
By this logic, MDMA can only be used enjoyably every couple of weeks
suggesting its largely non-addictive. Moreover, MDMA can be classified as a
less addictive substance due to its closed network of users; manufacturers
and distributors, which is almost exclusively white, middle class men and
women. Most of these individuals have legitimate professions, valuable
assets, and are therefore, unrepresentative of the typical underclass
stereotype we associate with drug abuse problems. Furthermore, this bracket
of society tends to be well educated which generally makes users more aware
of the associated dangers of prolonged drug abuse. Secondly, many
members of the medical community advocate the medicinal uses of MDMA,
especially within a therapeutic context. Ive already touched upon the early
uses of MDMA in chapter 2. Various therapists claim to have successfully
prescribed the drug to uncover repressed memories; relinquish feelings of
fear and anxiety, foster models of communication and deal with traumatic
experiences. In Switzerland [particularly], psychiatrists have used MDMA
successfully in hundreds of cases. (Rosenbaum M & Doblin R, 1991 p2.)
Finally, no evidence exists of anyone coming into harm under medical
supervision while being administered MDMA.

Perhaps the most unfortunate aspect of the drugs illegality, is that it has
dramatically stunted credible research on the substance. Any academic and
scientific studies centering on MDMA must obtain home office approval in the
UK or FDA approval in the US. Medical researchers currently struggle to
obtain permission to study the drug, given this it seems fairly dubious that any
cultural research centering on the notorious EDM and MDMA link would be
approved. One recent exception was Channel 4s 2013 Drugs Live: the
Ecstasy trials, (CH4, 2012.) A live show presented by journalist Jon Snow
and Dr Christian Jensen, medical professionals administered MDMA to public
volunteers, and broadcast the results live. The program also addressed some
of the cultural ties with MDMA, interviewing advocates of ecstasy use as well
as avid ravers. This constitutes a small breakthrough in public awareness of
the drug, providing an unbiased look at the effects of the drug from both a
health and cultural perspective.

One of the leading scientists on the Ecstasy trials was David Nutt, a
prominent expounder in the reclassification debate. A psychiatrist and
neuropsychopharmacologist, Nutt was infamously terminated from his post as
Governments drug advisor in 2009 Nutt after publically and controversially
proclaiming ecstasy use [to be] as dangerous as riding a horse. (Nutt, 2009)
The government accused Nutt of Damaging efforts to give the public clear
messages on the danger of drugs, to which Nutt argued that the government
was distorting and devaluing the research evidence in the debate over illegal
drugs. Nutt called for a new way of classifying the harm caused by both legal
and illegal drugs. In 2010, he contributed to a study for the Independent
Scientific Committee on Drugs, called Drug harms in the UK: a multi-criteria
decision analysis, (Nutt, D, King, L, Phillips, L. 2010) which confirmed ecstasy to be
less dangerous than Alcohol and Tobacco. Nutts termination highlights the
predicament faced by academics who critique government drug legislation.

Commercialization: The rebirth of EDMDMA
Like a phoenix from the ashes, EDM was reborn in the late 2000s. In a
dramatic paradigm shift, dance music trickled back into the charts, replacing
the hip/hop and indie pop stalwarts that had dominated in its absence. By
2009 half of the top 10 was filled by electronically produced dance music.
With the emergence of new genres like dub step, featuring artists like
Deadmau5 and Skrillex, as well as pop friendly DJs like David Guetta making
a splash on the charts, EDM quickly became re-engrained in public
consciousness. However, arguably EDM didnt return with the same morals it
died with in the late 1990s. The PLUR mantra is no longer the ethos of a sub
culture but rather the marketing tool of a commercially bloated industry.

In 2011, Ultra Music Festival in Miami celebrated its 15
th
anniversary. You can
track its growth alongside the rapid resurgence of the EDM genre. In 2007 it
boasted a record breaking 50,000 people through its gates, and by 2011 this
figure had sored to over 300,000 attendees. It managed to encapsulate the
image of EDM the industry was rebroadcasting for a new flock of followers. An
Ultra attendee describes the scene: there was the neon, the dancing, the
love, of course the music, and there were also the drugs. (Jenkins, 2013, p7)
Ultra is a interesting case study as the festivals line up and its sudden rise to
popularity highlights the blurring of the EDM and pop genre brought about by
the commercialization of the genre. Madonna received harsh criticism after
encouraging MDMA use at Ultra 2012. Upon introducing Avicci the pop queen
brazenly asked the crowd if anyone had seen Molly? (Macia P, 2012) Her not
so subtly named album MDNA also evokes clear connotations of drug use.
(Madonna, 2012) Miley Cyrus is yet another pop superstar to publically
associate herself with MDMA. In French Montanas 2013 track Aint worried
about Nothing she sings Popped a molly and you know, and you know youll
never stop, you think Im turnt up wait until my album drops (Cyrus, M. 2013)
21
st
century pop artists like Madonna and Miley seem keen to cash in on the
iconic image of the rave scene; referencing MDMA to emulate the magic of a
bygone era as a tactic in their marketing campaigns. Whilst, the fact that their
tracks are categorized as EDM emphasizes the increasing hybridity of the
genre.

The EDM scene has evolved beyond all recognition, what was once an illegal
rave in a warehouse is now a massive production, with sky-high ticket prices
and attendance in the thousands. The crowd is often a confused selection of
ravers and fresh faces, often unable to distinguish between club etiquette and
rave etiquette. One could argue that todays EDM scene is not an authentic
subculture in its own right but rather an intimation of an extinct one. By this
logic, the idea of EDM as a culture of PLUR has been dead since Guetta
released his first Billboard Top 100 single. (Jenkins Nash P, p5, 2014) In his
essay titled Why MDMA is destroying EDM Derek Staples argues that the
EDM philosophy in the 21
st
century has eroded from PLUR into SEEP,
(Selfishness, Ego, Escape, Prophet). (Staples, D. 2013) Nevertheless, drug
use still plays an integral role in defining the modern day EDM culture.

The commercial evolution of dance music isnt just one recorded by cultural
theorists. DJs and producers who still hold the values of EDM at heart are
professing to the fall of the genre too. In an open letter to the public published
on VICE, Seth Troxler condemns the modern generation of EDM, branding
the new wave of pop DJs like Avicci and Steve Akoi are Over paid,
talentless, cake throwing cunts. He also complains that large-scale EDM
festivals are taking away the essence of the dance scene.

In all honesty, I find it profoundly sad. Were trying to move on and be
a real force of culture and conversationa wider genre recognised as
having real cultural depthbut EDM is wiping that slate. For being
taken seriously in a musical sense, thats frustrating. (Troxler S, 2014)

A boost in popularity has in turn lead to increased public scrutiny. For a
genre intrinsically linked with recreational drug use, it presents a clear and
present danger for the industrys viability. With festivals and events now
catering for thousands of attendees, their policies have to reflect public
demand for the appropriate safety measures. Large-scale EDM events often
boast an army security staff, on site ambulances, sniffer dogs and a police
presence. Clubs and venues can no longer feign ignorance to drug use in
their clubs, as the repercussions are too severe. The case of Electric Zoo
highlights this danger. During the 2013 EDM festival, two drug related
fatalities occurred and three others were admitted to hospital after ingesting a
chemical they believed to be MDMA. When an industry is so bloated, all it
takes is a little nudge to pop. EDM has historically endured through a cyclical
pattern of success. From its conception, the genre slowly underground,
suddenly exploded into the mainstream, was thrust into the public
consciousness and then crumbled under its own weight.



Warehouse project: A Case study
For my Case Study, I will be looking at two drug related fatalities that occurred
a
1
t The Warehouse Project, Manchester and exploring the Venue, the
industry and the publics response to the event. * WHP is a series of EDM
events that run seasonally in Manchester. Founded in 2007 by Sasha Lord-
Marchionne and Sam Kandel, Warehouse Project has risen to mammoth
popularity and now boasts a 5,000-person capacity at its new location in Old
Trafford. It was voted Best club in the UK by Mixmag, and later listed as one
of the Top 20 Clubs in the World by DJ Magazine. (DJ Magazine, 2014) The
venues 2013 Line Up Included a series of well respected EDM artists such as
the Chemical Brothers, Richie Hawtin, Nina Kraviz and The Prodigy. WHP hit
the national headlines in 2013 when two drug related deaths occurred in the
club within one fatal weekend. On the 27
th
of September, 30-year-old Nick
Bonnie died while 4 friends were admitted into hospital, shortly followed the
next night by 8 clubbers admitted to hospital; one of which was induced into a
coma the following week.

Medical examinations revealed a drug called PMA to be the cause of the
incident. PMA is similar to MDMA, sold in pill form it makes users feel
invigorated and full of energy, thus able to dance for hours. It originally came
into circulation when there was a global shortage of MDMA a few years ago.
Its nearly indistinguishable from ecstasy pills, as the pills are printed to look
like traditional Ecstasy designs and often sold under the same street names.
(e.g. Pink Rockstars.) Nevertheless, PMA is more poisonous and can kill at
lower doses than MDMA.(FRANK, 2014) The effects of PMA can often take
longer than MDMA to kick in; users will often mistake the delay for an
ineffective product and take more. This leads to increased body temperature
and dehydration. The office for National Statistics recorded 20 deaths in the
UK from PMA in 2012. (Gage, 2013)

WHP received a torrent of media attention from local papers and then national
news. Local councillors called for reviews the licensing laws and the
Manchester police drafted in to investigate the safety measures in the club. In

1
The Warehouse Project will hereafter be referred to as WHP
response to intense scrutiny, WHP insisted revellers were safer in their venue
than the majority of alternative clubs. "We have about 5,000 customers and if
it isn't happening they are not going to stay in, they are going to go elsewhere.
Ninety nine per cent of other places don't have private police on the door,
drug sniffer dogs and don't search everyone or have paramedics on site.
(Lord-Marchionne, 2013). WHPs emergency response in wake of the
disaster, included increasing security staff to a total of 101 personnel;
installing extra air con units, improving the lighting and providing more on site
medical facilities. In the weeks that followed the venue distributed a pamphlet
on drug safety that warned of the dangers of PMA (see appendix 2), and
provided free bottles of water to revelers. A welfare area was also erected,
where customers can seek help on drug related issues without fear of
prosecution.

They also implemented a drug testing pilot scheme, run by Fiona Measham of
Durham University. The process involves testing drugs from the clubs
amnesty box (a box of confiscated substances positioned in the venues
entrance). The results of which can be instantly publicized via social media
and large LED signs throughout the venue. They hope to be able to warn
attendees if there were unsafe batches of drugs being sold in the venue,
specifically PMA. Additionally, at 4AM, marking the close of the night, urine is
siphoned from the mens toilets and tested against samples from the Amnesty
box. Thus, providing current and accurate data on the chemical drugs in
circulation within the Northwest. However, I largely agree with Carangys
critique of the scheme: It's hoped that the scheme will prove useful in
collecting data but in terms of actively reducing harm, there are clear
limitations to the scheme. (Carnagy, P 2013.) Ultimately, WHP project needs
to take pro-active rather than reactive measures if they are to successfully
limit harm to customers.

WHP did further propose the introduction of an in house drug-testing scheme,
similar to those that have proved successful in other European Countries
including Spain, Portugal, Belgium, Switzerland, and the Netherlands. This
was a proposal, staunchly rejected by The Home Office. Unlike the amnesty
box method currently in place in WHP, attendees are handed their drugs back
and are free to enjoy at their own risk. A small shaving of the substance is
used to determine its exact chemical makeup within seconds. Energy
Control, Barcelona, Saferparty.ch, Zurich and Checkit!, Vienna and US based
Dance Safe are just a few established organizations which currently provide
this free public service to clubbers. These bodies strive to combat the risk of
taking mystery substances, often incorrectly labelled to nave or unsuspecting
ravers. In the 21
st
century, drug manufacturers are constantly cutting their
product with cheaper substances to make a quick profit and scientists
tweaking formulas to stay one step ahead of the law.
Staples warns of the current drug market: In order to make a quick
profit, dealers will be advertising molly but actually sell research
chemicals like 2C-B or 25I-NBOMe, or simply cut the pure MDMA with
cheaper amphetamine substitutes or other far more dangerous
substances. (Staples, D. 2012)
In Belgium over 55% of MDMA tested [on the club scene] contained no
MDMA whatsoever. (Lynch, C. 2013) This highlights the dangers of
recreational drug use, when no regulations for quality control are put in place.
Statistics prove that people will take drugs regardless of their illegal status;
such schemes allow users to make informed decisions before taking
potentially dangerous substances.

John Leech, Liberal Democrat MP for Manchester Withington, initially
supported WHPs pilot-testing scheme but his public statements portray an
ambivalent attitude at best:
In terms of allowing people to test their drugs before taking them, Im not
convinced this is something we ought to encourage. I think it sends out mixed
messages. Do we really want people to have the ability to test how pure their
crack is before taking it, and in essence encouraging people to kill
themselves? I certainly do not. (Leech, J. 2013)
Leech is emblematic of many of the political elite who remain unwilling to
waver from the official abstinence message preached by the UK government.
In this respect, WHP is currently stuck between a rock and a hard place, they
have a due diligence to protect their customers, but must at the same time,
operate within the strict confines of law. In my survey 87.7% of respondents
thought that the drug-testing scheme would help prevent drug related fatalities
at EDM events. (see appendix 1)

The additional security protocols put in place WHP cost an estimated
32,000 extra sum per weekend. (Pidd, 2013) Such high costs are
unsustainable in a profit lead industry. WHP announced during the October of
last year, their plans to dramatically scaling back the 2014 season with only 8
planned events. WHP has insisted that the break is a breather year in
anticipation for an even bigger 2015 season. However, one could speculate it
is a reaction to the intense scrutiny the club has face following the spat of
2014 deaths. The Warehouse Project faces an uncertain future, it may follow
the same fate as 90s Manchester based super clubs such as La Hacienda,
forced to close its doors in the June of 2007 due to escalating drug problems
and gang violence.


Molly goes dancing: Is Drug Use damaging the Industry?
When a genre has such an intrinsic link with a sub culture, its impossible to
completely separate the two, especially when one half of an industry is
actively advocating drug use and the other viciously avoiding it. I will examine
some industry insider perspective on either side of the drug debate. In the
aftermath of the Electric Zoo tragedies, we witnessed a rare willingness of
EDM artists to speak publically on the topic of drug use. It seems in light of
the recent deaths, the subject had become simply unavoidable. Of those who
spoke out, EDM duo Major Lazer stressed out the need for a fresh approach
to drug education. Diplo, one half of the electro duo warned that Prosecuting
the festival isnt going to help anyone. (Diplo, 2013) While Jillionaire added
Its going to sound weird, but we need to teach kids how to do drugs, the
same way we teach them about drinking responsibly and having safe sex!.
Instead of acting like drugs dont exist, acknowledge that drugs will be at
festival and address them. (Jillionaire, 2013). On the other side of the
spectrum, DJ/Producer Cassidy has been extremely vocal about his
opposition to drug use, using his personal blog to promote social responsibility
among his fans.
Its important to take a step back and realize the importance of life, hey,
were all here to have a good time, lets do it in away that smart so we
dont have to have these conversations. (Cassidy, 2013)
DJ/Producer Sebastian Ingrosso is yet another artist to promote the
abstinence message . Its a terrible thing that kids need to take drugs to
enjoy something. I enjoy music without any kind of substance and I wish all
people would do the same. (Ingrosso, 2013)

Fans seem to be equally divided on the topic of drug use, while 63.64% of
survey respondents agreed that drug use was an inherent part of the EDM
subculture, 23.81% thought that it was damaging to the industry. Of the 13%
who said neither, common themes were media manipulation: Misinformation
presented by the media is more damaging to the industry than drug use
(respondent #506) and that drug use isnt specifically an EDM issue but a
facet of all musical subcultures. Happens with all popular music, Look back at
the 60s, 70s and 80s it was happening then too. (Respondent #526, 2014.)

There too exists a divide between events promoters, ranging from those who
adopt controversial methods of harm reduction, to those restrained by the
letter of the law. Pasquel Rotella, CEO of Insomniac Events (Electric Daisy
Carnival, Live Nation), voice echoes the same frustration as the WHP
directors when she complains that Even if the promoter is open to harm
reduction, other entities can block it. (Rotella, 2013) Organizations like
Energy Control, Saferparty.ch, Checkit! And Dance Safe, all report being
approached by increasing numbers of high profile festivals. These
organizations stand in stark contrast to the Just Say No rhetoric that has
dominated much of the global political and public health discourse since the
80s. Unfortunately, many promoters are legally prevented from utilizing these
potentially life saving services. Rotella reveals how plans to contract Dance
Safes presence at Electric Daisy were prohibited by the venue provider who
objected to their controversial methods of drug testing. Just earlier this month
a group of 20 UK music festivals including the likes of T in the Park, Lovebox
and Bestival announced their decision to ban legal highs. Although, not all
strictly EDM centered events, this decision marks yet another step away from
the introduction of drug testing within the UK musical milieu. The campaign
somewhat ironically used the tagline dont be in the dark about legal highs
and scheduled a digital black out across partner sites to publicize their
message. (see appendix 3) Yet, arguably by adopting a pro abstinence
dialogue, they are limiting public knowledge and ensuring festival attendees
are kept in the dark about recreational drug safety.

Conclusion
In the light of my research I feel there is an undeniable link between
recreational drug use and the EDM genre. A problem exists not necessarily in
drug consumption itself but rather the way mainstream society approaches
the issue. Government policy prohibits self-regulation by the industry. The
current no tolerance stance of global drug legislation has remained relatively
unchanged for the past three decades. However Id argue that this policy is an
outdated model, comparable to the 1950s abstinence message regarding
pre-martial sex. The contemporary EDM genre is one heavily divided on the
raging drugs debate. Nevertheless, a compromise must be reached in order
to secure the genres future and safeguard fans from harm. There exist
glimmers of hope for a change of UK drug policy, such as WHPs unlikely
partnership with the Home Office. The Green Party too, places the issues
surrounding rave culture on their current manifestos, promising to:

Open up the whole issue of drug use to the public , establish
independent committees to oversee the structure of regulation for raves and
the repeal of the Public Entertainment (drugs misuse) Act (The "Barry Legg
act"), which is making outreach harm reduction measures impossible. (Green
Party, 2010.)

However, in the current geopolitical climate, the future of the EDM genre
remains uncertain. It runs the risk of imploding much like the first wave of
rave. This is obviously of great concern to me, as the future of my career
hinges upon its survival.





















































Appendix 2


Economist graph, Drug harms in the UK, David Nutt et al.



Appendix 3


Safety pamphlet distributed by WHP warning of the dangers of PMA in weeks after incident.



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