News Editing Final, Framarini

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  • 8/13/2019 News Editing Final, Framarini

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    CAMPUS VIBESMarissa Framarini Issue 1 December 2013Special Feature, Pg 1A look at the economicand drug boom withinthe EDM scene. Aninvestigative report byMarissa Framarini.

    Album Review, PG 3Does your iPod need arevamp? Check out ourCD review on Manches-ter-trio, Te 1975s debutsel -titled album.

    Artists Interview, Pg 4Staff writer Marissa Fra-marini sits down withGusters lead singer andguitarist to discuss thebands 20+ years.

    Concert Review, Pg 5In-depth glance at theFlaming Lips November10 per ormance at Cor-nell Universitys BartonHall.

    Photo: Symmetry Night Clubb

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    Dealing BehindClub Doors

    E x a m i n i n g t h e E D M D r u g E c o n o m y

    F e a t u r e S p e c i a l

    As the popular American music producer anddisk jockey DJ Shadow stated back in 2012,We are living in a musical renaissance. Elec-tronic dance music, popularly known as EDM, is thenatural soundtrack o a generation born into a pluggedin culture and according to the International Mu-sic Summer Consumer Report, its the astest growingmainstream genre in the United States. A quick look atthe salaries o EDMs pioneers is all thats need to provethis, with the 10 highest paid DJs amassing a combined$115 million last year alone, according to a report romForbes.

    However, while EDM is growing in demand, thescenes popularity has bee n undercut by an inabilityto shake off the il licit reputation that comes with thegenre as an underground, drug- ueled phenomenon.Te outlaw nature o EDM has only been urtherpropagated by the recent media attention to string odrug-related deaths at electronic dance events, whichhas dragged the issue into the spotlight. wo Mollyoverdoses at the Electric Zoo Festival hosted on LaborDay weekend in New York City resulted in the events

    immediate shutdown, and a total o seven drug-relateddeath at dance events in the United States since March.Te relationship between electronic dance culture

    and drug use is sometimes attributed to the musicindustry itsel , which is commonly accused o glamor-izing drug use. Lyrics rom artists rom Kanye West toMiley Cyrus have all mentioned Molly the slang termor MDMA an illegal drug that can be sold either inpill or powder orm. Te effects o MDMA resemblethose o both stimulants and psychedelics, althoughthe drugs main appeal is the condition o euphoria itproduces, which can cause a user to eel more open

    and connected to their surroundings somethingdiscos, the rst wave o EDM music, attempted to crin underground warehouses. Tese tragedies andthe growing media buzz surrounding the relationshipbetween EDM and a possibly related drug culture raquestions about the effectiveness o the security o thscene. Former EDM venue promoter Shane Morris explains that in his experience, itsonly easier or venues to turn a blind eye to drug usebut that its also ver y lucrative to do so. He said thatelectronic dance scene is arranged in a manner thatallows individuals and businesses to exploit the genyoung and ofen affluent an base or a handsome proHe described having taken advantage o the systemhimsel in the past. I would get prepaid credit cards rom gas stationand would process putting cash on the credit cards rthe money I was making selling drugs at a prior eveMorris said. Te money I was making would sit at mapartment in a shoe box and I would wait until the nevent would come up in two weeks, and then I woulsub-promote events or other promoters. It was goo

    or [concert promoters] because they had higher ticksales and were guaranteed to get a percentage o themoney. I was basically paying them or access to theevents, and they couldnt block me because they didwant to lose 200-300 ticket sales a night. He explains that in a system where everyone is ready getting what they want, no one eels motivatetake more sa ety precautions. o the promoter and agent, that show sold out aneverybody is happy. Tey dont have to work in such way that they are asking who are these 250 people thare supposed to show up. Teyre not looking or it. I

    1 Campus Vibes December 13

    Photo: Dave Yang

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    are a signicant enough parto the scene to result in thissort o recognition. Tis standsin stark contrast to the justsay no philosophy that hasdominated the rhetoric o thesecurity policies and guidelineso major estivals. As a result, venue ownersand concert organizers aceextreme pressure to avoidnegative publicity to theirevents, and ofen opt out othe services offered by Danc-eSa e, out o ear that asso-ciating with such a program

    acknowledges the presence odrug use at their events. Tisear was even urther perpetu-ated by the creation o anti-rave ordinances, such as theRAVE Act introduced in theearly 2000swhich was notpassed but would have made venue owners, event organizersand promoters, and even DJsresponsible or the drug use otheir patrons. DanceSa e wasofen denied access to these venues out o ear o implicitlyacknowledging the reality odrug use, and there ore takingresponsibility or it. Tis misperception oDanceSa e, Wooldridge said,has denied concertgoers theproper resources they needabout drug use. Never once do we go in

    and tell someone to take a drugor that a drug is sa e or anyo that, Wooldridge said. Werecognize the act that druguse is occurring, and its medi-cally and morally negligent tonot provide [participants] withhealth resources that can savelives.Te zero-tolerance policyadopted by most estivals and venues, while strict in nature,

    On its sel -titled debut album, Te1975 gives a nod to one o its greatest in-uences: the 80s. Just like a John Hugheslm, the sound o the album transportslisteners back to a time o synthesizers,in ectious beats and Morrissey-coiffedhair styles. Drawing inspiration rom alkingHeads and Peter Gabriel, the quartet hasput together a 16-song albumreminiscent o the white-punknoise that dominated the thetime period. Unlike the lineo traditional one-hit wondersrom the era, such as Devo andDexys Midnight Runners, Te1975 puts up a daring oppo-sition to the play-once-and-move-onmentality. Te album is packed with riff-heavyhooks and sing-along choruses, especiallyin catchy an- avorite and ourth track onthe album, Chocolate, which debuted asa single in January. Te track has since gained interna-tional notoriety and airplay or its big,blocky rhythm and blues drum loop and

    uturistic beats.Following up that number is th

    est hit rom the band, Sex, in wlead singer and guitarist Matthewcroons about the angst-ridden li ealling in love with a girl whos gboy riend anyway a lyrical gedown by overlapping guitar licksseries o clashing drum beats. S

    new, raw tone or the bandmusically and lyrically, prthe proper transition to a sdance-pop power ballads exclusively on the secondthe album. Te record nishes out the tinkling o a piano and

    whimpering cries o Healy on IsSomebody Who Can Watch You,the album in silence and letting tspeak or itsel : I know its me thposed to love you/ And when Imyou know I got you. Te 1975s experimental blend modern soul and alternative rockin a bold and diverse sound, makalbum worthy o being put on rep

    Modern band brings back80s sound on debut album

    R o c k & R o l l

    EDM

    Te 1975 put upp a daring opposition tothe play-once-and-move-on

    mentality.

    Rising Star

    3 Campus Vibes December 20

    Te 1975 peat Soho LonPhoto: Gary

    e tickets get sold then theyre happy.e system isnt mechanized enoughsophisticated enough to track whos

    oming in and whos not. Tey knew ie drugs disappeared, people would

    e less likely to go.Noting the increasing use and

    opularity o the drug, Morris saidat club promoters, venue owners

    nd other music industry personnelave, consciously

    not, arranged aystem to prot rome ree use and saledrugs. Based ons experiences, he

    elieves that thentirety o the EDMconomy was built upon the complexlationship between drug dealers andomoters, and that venue owners

    upply event-goers demands in orderensure their presence at events.While Morris says that not all venue

    wners are willing or involved in suchsystem, they are tacitly acknowledg-g that they will have lower protargins than their competition.Te nancial mechanisms in place

    r the electronic dance music econo-y are designed to attract people whotend to consume illicit drugs, said

    Morris. He said that while he no longerub-promotes he knows other man-

    gers who are still engaged in a similarusiness model.

    What you see are promoters,anagers and other people who get

    aid 2,000 to 4,000 a gig, that also sellugs because they are already there

    nd have access to the event and canet past security. When you work inectronic dance music you under-and that drugs are part o the model.ou dont talk about it but you knowat they are there. Te only reason Iarted doing it is because I got tired oug dealers making more money thane. I look at it as very practical, as anh these people need to go becauseeyre taking my prot margins.eres a certain amount o dollars be-g spent by this venue and Im going

    to make sure I maximize my prots its simple logistics. However, notall venue owners share Morriss pointo view. Dan Mastronardi, co-ownero Syracuses Westcott Teatre, a music venue that holds a capacity o 700people, said that he takes many precau-tions to ensure that events run sa elyand smoothly. We are very strict with security

    at our events, said Mastronardi onthe security measures at shows at theWestcott Teatre. We have a lot on theline and our job is to make sure thatwe create a sa e and un environmentor all ans. Te Westcott Teatre currentlymaintains a zero-tolerance drugpolicy and, and does a ull search opatrons be ore they enter. Likewise,major estivals have stepped up theirmeasures, even employing the use odrug-sniffing dogs or setting strict agerestrictions o 21 and above, such asthose seen at the most recent estival,omorrowLand. Some estivals haveeven taken a big nancial investmentin security. Smartassets.com reportedthat the popular Canadian electronicdance music estival, Te MonsterCenter o Gravity Festival, spent

    roughly $70,000 in contracting locallaw en orcement to maintain orderthroughout the event. While these guidelines and practicesset in place are intended to limit thepresence o drugs in the EDM com-munity, Missi Wooldridge, the currentpresident o the board o directors atDanceSa e, a nonprot organizationthat provides, non-biased educa-

    tional resources andservices at a varietyo events, believesthat this approach istoo idealistic. Teseguidelines, she ar-gued, ail to providean outlet necessary

    to the realities o the current drugculture. We can see through drug trendsthroughout time that drug use is aconstant, Wooldridge said. You cansee the war on drugs is a ailure andwe absolutely have not decreased thenumber o people taking substances,and all they have is increased incar-ceration to show or it. While not advocating or the use odrugs, DanceSa e has come under crit-icism or its harm-reduction approach,which offer suggestions (educationalpamphlets) and tools ( ree water anddrug testing kits) to help reduce thedangers associated with drug use.However, this approach concerns some venue owners and event managers,who view harm reduction as an ac-knowledgment that certain substances

    Te system isnt mechanized enough or sophisti-cated enough to track whos coming in and whosnot. Tey knew if the drugs disappeared, peoplewould be less likley to go.

    2 Campus Vibes December 2013

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