Rave Dance Quotes

I danced in the flames and pranced on the shames of those whose names I could not reveal. I have been told, exhaustingly by a genus of psychiatry, that to forget allegedly means to heal but if only such a thought became real. To die when compared to living has, at times, seemed like the lesser evil.

They saw the Scots coming up out of their burrows like raving women in their skirts, dying in ripples across the yellowish-brown soil. They saw the steady tread of the Hampshire's as though they had willingly embarked on a slow-motion dance from which they were content not to return. They saw men from every corner walking, powerless, into an engulfing storm.

THEY WERE PEOPLE who went in for Negroes—Michael and Anne—the Carraways. But not in the social-service, philanthropic sort of way, no. They saw no use in helping a race that was already too charming and naive and lovely for words. Leave them unspoiled and just enjoy them, Michael and Anne felt. So they went in for the Art of Negroes—the dancing that had such jungle life about it, the songs that were so simple and fervent, the poetry that was so direct, so real. They never tried to influence that art, they only bought it and raved over it, and copied it. For they were artists, too.

We have gone sick by following a path of untrammelled rationalism, male dominance, attention to the visible surface of things, practicality, bottom-line-ism. We have gone very, very sick. And the body politic, like any body, when it feels itself to be sick, it begins to produce antibodies, or strategies for overcoming the condition of dis-ease. And the 20th century is an enormous effort at self-healing. Phenomena as diverse as surrealism, body piercing, psychedelic drug use, sexual permissiveness, jazz, experimental dance, rave culture, tattooing, the list is endless. What do all these things have in common? They represent various styles of rejection of linear values. The society is trying to cure itself by an archaic revival, by a reversion to archaic values. So when I see people manifesting sexual ambiguity, or scarifying themselves, or showing a lot of flesh, or dancing to syncopated music, or getting loaded, or violating ordinary canons of sexual behaviour, I applaud all of this; because it's an impulse to return to what is felt by the body -- what is authentic, what is archaic -- and when you tease apart these archaic impulses, at the very centre of all these impulses is the desire to return to a world of magical empowerment of feeling. And at the centre of that impulse is the shaman: stoned, intoxicated on plants, speaking with the spirit helpers, dancing in the moonlight, and vivifying and invoking a world of conscious, living mystery. That's what the world is. The world is not an unsolved problem for scientists or sociologists. The world is a living mystery: our birth, our death, our being in the moment -- these are mysteries. They are doorways opening on to unimaginable vistas of self-exploration, empowerment and hope for the human enterprise. And our culture has killed that, taken it away from us, made us consumers of shoddy products and shoddier ideals. We have to get away from that; and the way to get away from it is by a return to the authentic experience of the body -- and that means sexually empowering ourselves, and it means getting loaded, exploring the mind as a tool for personal and social transformation. The hour is late; the clock is ticking; we will be judged very harshly if we fumble the ball. We are the inheritors of millions and millions of years of successfully lived lives and successful adaptations to changing conditions in the natural world. Now the challenge passes to us, the living, that the yet-to-be-born may have a place to put their feet and a sky to walk under; and that's what the psychedelic experience is about, is caring for, empowering, and building a future that honours the past, honours the planet and honours the power of the human imagination. There is nothing as powerful, as capable of transforming itself and the planet, as the human imagination. Let's not sell it straight. Let's not whore ourselves to nitwit ideologies. Let's not give our control over to the least among us. Rather, you know, claim your place in the sun and go forward into the light. The tools are there; the path is known; you simply have to turn your back on a culture that has gone sterile and dead, and get with the programme of a living world and a re-empowerment of the imagination. Thank you very, very much.

Once in a while dancing is immaculate, a perfection: you understand why raves exist: when you’ve timed the drinks correctly and they lift your mood and your energy, the songs are ones you all know, and you look around at the girls, their happy lost faces, their beautiful bare stomachs, their jangly long earrings, something limbic, their skin just damp with sweat to the touch, the whole thing…

Only on Sundays do you come across political scout troops with sandals, walking sticks, and knives. In the woods they do round dances, they rave about nature, and have big brawls with each other. It's a strange, baffling young generation. It covet's the poet's eye in a fine frenzy rolling, but not his shy piety and love of nature.

CHORUS: He is always Bacchus.../Will dance out to the mountains --/Mountains where the women/Waiting in their concourse/Have raged from loom and shuttle/To rave with Bacchus.

Rave emerged spontaneously, neither planned or designed. It was a genuine grass roots phenomenon, egalitarian and welcoming. Thousands danced in fields all through the night, out under the moon, in order to achieve a trance-like, ecstatic state. It was a form of communion and it was pagan as fuck. Needless to say, it couldn't last. The press and the government, appalled by such non-violent having-of-a-good-time, moved quickly to crush it. Ultimately, though, they weren't quick enough. Rave grew too big too quickly, and it attracted the attention of those who felt they could make money from such events. Once this happened and the superstar DJs and the superclubs arrived, the focus shifted from the raw crowd back to the event itself. Rave's spell was broken.

prithee, grieve, to make me merry, York. What, hath thy fiery heart so parch'd thine entrails That not a tear can fall for Rutland's death? Why art thou patient, man? thou shouldst be mad; And I, to make thee mad, do mock thee thus. Stamp, rave, and fret, that I may sing and dance.

Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light. Though wise men at their end know dark is right, Because their words had forked no lightning they Do not go gentle into that good night. Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay, Rage, rage against the dying of the light. Wild men who caught and sang the sun in flight, And learn, too late, they grieved it on its way, Do not go gentle into that good night. Grave men, near death, who see with blinding sight Blind eyes could blaze like meteors and be gay, Rage, rage against the dying of the light. And you, my father, there on the sad height, Curse, bless, me now with your fierce tears, I pray. Do not go gentle into that good night. Rage, rage against the dying of the light.

Champagne, m'lord?' 'Have we got any? One bottle would do. Even a half-bottle.' Smith's face puckered, as if manfully attempting to force his mind to grapple with a mathematical or philosophical problem of extraordinary complexity. His bearing suggested that he had certainly before heard the word 'champagne' used, if only in some distant, outlandish context; that devotion to his master alone gave him some apprehension of what this question—these ravings, almost—might mean. Nothing good could come of it. This was a disastrous way to talk. That was his unspoken message so far as champagne was concerned. After a long pause, he at last shook his head. 'I doubt if there is any champagne left, m'lord.

He got into the tub and ran a little cold water. Then he lowered his thin, hairy body into the just-right warmth and stared at the interstices between the tiles. Sadness--he had experienced that emotion ten thousand times. As exhalation is to inhalation, he thought of it as the return from each thrust of happiness. Lazily soaping himself, he gave examples. When he was five and Irwin eight, their father had breezed into town with a snowstorm and come to see them where they lived with their grandparents in the small Connecticut city. Their father had been a vagabond salesman and was considered a bum by people who should know. But he had come into the closed, heated house with all the gimcrack and untouchable junk behind glass and he had smelled of cold air and had had snow in his curly black hair. He had raved about the world he lived in, while the old people, his father and mother, had clucked sadly in the shadows. And then he had wakened the boys in the night and forced them out into the yard to worship the swirling wet flakes, to dance around with their hands joined, shrieking at the snow-laden branches. Later, they had gone in to sleep with hearts slowly returning to bearable beatings. Great flowering things had opened and closed in Norman's head, and the resonance of the wild man's voice had squeezed a sweet, tart juice through his heart. But then he had wakened to a gray day with his father gone and the world walking gingerly over the somber crust of dead-looking snow. It had taken him some time to get back to his usual equanimity. He slid down in the warm, foamy water until just his face and his knobby white knees were exposed. Once he had read Wuthering Heights over a weekend and gone to school susceptible to any heroine, only to have the girl who sat in front of him, whom he had admired for some months, emit a loud fart which had murdered him in a small way and kept him from speaking a word to anyone the whole week following. He had laughed at a very funny joke about a Negro when Irwin told it at a party, and then the following day had seen some white men lightly kicking a Negro man in the pants, and temporarily he had questioned laughter altogether. He had gone to several universities with the vague exaltation of Old Man Axelrod and had found only curves and credits. He had become drunk on the idea of God and found only theology. He had risen several times on the subtle and powerful wings of lust, expectant of magnificence, achieving only discharge. A few times he had extended friendship with palpitating hope, only to find that no one quite knew what he had in mind. His solitude now was the result of his metabolism, that constant breathing in of joy and exhalation of sadness. He had come to take shallower breaths, and the two had become mercifully mixed into melancholy contentment. He wondered how pain would breach that low-level strength. "I'm a small man of definite limitations," he declared to himself, and relaxed in the admission.

The Dying Man" in memoriam W.B. Yeats 1. His words I heard a dying man Say to his gathered kin, “My soul’s hung out to dry, Like a fresh salted skin; I doubt I’ll use it again. “What’s done is yet to come; The flesh deserts the bone, But a kiss widens the rose I know, as the dying know Eternity is Now. “A man sees, as he dies, Death’s possibilities; My heart sways with the world. I am that final thing, A man learning to sing. 2. What Now? Caught in the dying light, I thought myself reborn. My hand turn into hooves. I wear the leaden weight Of what I did not do. Places great with their dead, The mire, the sodden wood, Remind me to stay alive. I am the clumsy man The instant ages on. I burned the flesh away, In love, in lively May. I turn my look upon Another shape than hers Now, as the casement blurs. In the worst night of my will, I dared to question all, And would the same again. What’s beating at the gate? Who’s come can wait. 3. The Wall A ghost comes out of the unconscious mind To grope my sill: It moans to be reborn! The figure at my back is not my friend; The hand upon my shoulder turns to horn. I found my father when I did my work, Only to lose myself in this small dark. Though it reject dry borders of the seen, What sensual eye can keep and image pure, Leaning across a sill to greet the dawn? A slow growth is a hard thing to endure. When figures our of obscure shadow rave, All sensual love’s but dancing on a grave. The wall has entered: I must love the wall, A madman staring at perpetual night, A spirit raging at the visible. I breathe alone until my dark is bright. Dawn’s where the white is. Who would know the dawn When there’s a dazzling dark behind the sun. 4. The Exulting Once I delighted in a single tree; The loose air sent me running like a child– I love the world; I want more than the world, Or after image of the inner eye. Flesh cries to flesh, and bone cries out to bone; I die into this life, alone yet not alone. Was it a god his suffering renewed?– I saw my father shrinking in his skin; He turned his face: there was another man, Walking the edge, loquacious, unafraid. He quivered like a bird in birdless air, Yet dared to fix his vision anywhere. Fish feed on fish, according to their need: My enemies renew me, and my blood Beats slower in my careless solitude. I bare a wound, and dare myself to bleed. I think a bird, and it begins to fly. By dying daily, I have come to be. All exultation is a dangerous thing. I see you, love, I see you in a dream; I hear a noise of bees, a trellis hum, And that slow humming rises into song. A breath is but a breath: I have the earth; I shall undo all dying with my death. 5. They Sing, They Sing All women loved dance in a dying light– The moon’s my mother: how I love the moon! Out of her place she comes, a dolphin one, Then settles back to shade and the long night. A beast cries out as if its flesh were torn, And that cry takes me back where I was born. Who thought love but a motion in the mind? Am I but nothing, leaning towards a thing? I scare myself with sighing, or I’ll sing; Descend O gentlest light, descend, descend. I sweet field far ahead, I hear your birds, They sing, they sing, but still in minor thirds. I’ve the lark’s word for it, who sings alone: What’s seen recededs; Forever’s what we know!– Eternity defined, and strewn with straw, The fury of the slug beneath the stone. The vision moves, and yet remains the same. In heaven’s praise, I dread the thing I am. The edges of the summit still appall When we brood on the dead or the beloved; Nor can imagination do it all In this last place of light: he dares to live Who stops being a bird, yet beats his wings Against the immense immeasurable emptiness of things.

5And David went out  fand was successful wherever Saul sent him, so that Saul set him over the men of war. And this was good in the sight of all the people and also in the sight of Saul’s servants. Saul’s Jealousy of David 6As they were coming home, when David returned from striking down the Philistine,  gthe women came out of all the cities of Israel, singing and dancing, to meet King Saul, with tambourines, with songs of joy, and with musical instruments. [1] 7And the women  hsang to one another as they celebrated, i“Saul has struck down his thousands, and David his ten thousands.” 8And Saul was very angry, and this saying displeased him. He said, “They have ascribed to David ten thousands, and to me they have ascribed thousands, and what more can he have but  jthe kingdom?” 9And Saul eyed David from that day on. 10The next day  ka harmful spirit from God rushed upon Saul, and  lhe raved within his house while David was  mplaying the lyre, as he did day by day.  nSaul had his spear in his hand. 11And Saul  ohurled the spear, for he thought, “I will pin David to the wall.” But David evaded him twice. 12

We have all been given a death sentence. We are all going to die. The countdown begins at the moment of our birth and whatever we may gain through the gift of life, we also lose our immortality for ever. Being born is the ultimate sacrifice.

My mission with Rave Scout is to promote cultural inclusiveness and increase the visibility of marginalized talent and diversify the underground scene through and by producing digital immersive experiences. The ultimate aim is to motivate the community and the scene to experience and learn how to feel and passively accept their vulnerabilities and one another.

His latest obsession is this show about a fruit salad dance party. Like a bunch of fruit and veggies have eyes and mouths but they don’t talk, they just dance to rave music. I swear to God whoever created that was dropping acid at the time.

Bastet, whose cult was based in the Nile city of Bubastis, had especially raucous festivals, where revelers from across the country floated into town on party barges. At their peak, these celebrations—more or less cat raves, in which worshippers danced and tore off their clothes—were attended by an estimated 700,000 people, a huge chunk of Egypt’s population

Abraham were granted the blessing of Ishmael, Moses were saved with the children of Israel, Osiris. the king, drowned in ravaging waves, New fate were sought by Pharaoh's slaves, To the Semites' heritage they danced in raves, Egypt immersed itself in the [Jew] phrase, Hearts & Souls breathed it together in praise, Chanted in false hope the ladder's anthem, In dementia, Giza got avatared into Jerusalem!

What if it was a war? • What if it was a movement? • What if there was an exclusive club? • What if it was a rare collectible? • What if it was a party? • What if it was a dance rave? • What if it was a celebration? • What if there was a charitable cause? • What if it was a patriotic event? • What if it was an unveiling? • What if there was a space rocket launch? • What if it was a visit by state dignitaries? • What if it was a pep rally? • What if it was a car show? • What if it was a football game? • What if it was a chess match?

I turn into a raving, blood-sucking maniac who prowls the streets looking for victims. Prostitutes mostly, but sometimes hipsters at Starbucks, or those young guys who dance around street corners holding signs pointing to furniture stores going out of business.” “Are

The ability of ritual to evoke both positive and negative affect is, of course, not specific to religion. Secular dances, concerts, and -raves- induce feelings of happiness and joy, and military boot camp elicits pain, shock, and awe. Such secular experiences have strong emotional impacts on participants also, particularly during adolescence.

This is what we did with our time; this is how we made it Our Time.

-give it a break, it says- It's an art to realize our worst fears Glee is the body turned out of shape, where meaningless expectations drool a string stiffened at both ends in fists of life and failures belief pirouette, bows and falls Those milky decision exiled in dust of time She says, "this year is raving, its skeleton has crippled the soil" Code blue has alarmed electronic crickets chime on monitor rhythms of farewell dance of death lodestar grins at distance. (Give it a break) The stars are gleaming outside the window birds chirruping intermittently valid sound of crickets dust settling on painted cities A cyclic equilibrium, I tell you, to bring the body in shape.

They’d heard it all, the dead: crying children, wailing widows, confessions, condemnations, questions that they could never answer; Halloween dares, raving drunks—invoking the ghosts or just apologizing for drawing breath; would-be witches, chanting at indifferent spirits, tourists rubbing the old tombstones with paper and charcoal like curious dogs scratching at the grave to get in. Funerals, confirmations, communions, weddings, square dances, heart attacks, junior-high hand jobs, wakes gone awry, vandalism, Handel’s Messiah, a birth, a murder, eighty-three Passion plays, eighty-five Christmas pageants, a dozen brides barking over tombstones like taffeta sea lions as the best man gave it to them dog style, and now and again, couples who needed something dark and smelling of damp earth to give their sex life a jolt: the dead had heard it.

His latest obsession is this show about a fruit salad dance party. Like a bunch of fruit and veggies have eyes and mouths but they don’t talk, they just dance to rave music. I swear to God whoever created that was dropping acid at the time. Whenever it’s on TV I feel like I’m in a fever dream.” 

Now I always looked after myself in between raves. I would eat properly, watch my alcohol intake and catch up on my sleep because that’s when you heal and grow. I’d dance non-stop for eight hours with my jaw aching from incessantly chewing gum. Connecting with the music was central to my experience. The stimulants I took helped me in this process and when the rave was over and the back to mine at someone’s house had reached that stage of looking for crumbs of coke on the carpet I knew it was time to leave.

copy or are influenced by our music.” 4 The 1996 documentary Universal Techno, produced by French-German public television service ARTE,5 features interviews with such major players as the Belleville Three, Aphex Twin, and LFO, in an attempt to historicize techno and rave culture as a form of global collaboration. As one of the oldest artifacts of the dance music phenomenon, Universal Techno documents their first encounters with rave culture and offers a pre-global oral history of techno's

Four or five hundred people, mostly between eighteen and twenty-five, but some as young as fifteen, were frozen in either the act of dancing or just hanging out. Because the disc jockeys at raves invariably played highly energized techno dance music with a rapidly pounding bass that could shake walls, many of the young celebrants had been Paused in bizarre poses of flailing and gyrating abandon, bodies contorted, hair flying. The men and boys were for the most part dressed in jeans or chinos with flannel shirts and baseball caps worn backward, or with preppy sportcoats over T-shirts, though some were decked out all in black. The girls and young women wore a wider variety of clothes, but every outfit was provocative-tight, short, low-cut, translucent, revealing; raves were, after all, celebrations of the carnal. The silence of graves had replaced the booming music, as well as the screams and shouts of the partiers; the eerie light combined with the stillness to impart an anti-erotic cadaverous quality to the exposed curves of calves, thighs, and breasts. As he and Connie moved through the crowd, Harry noticed the dancers' faces were stretched in grotesque expressions which probably had conveyed excitement and hopped-up gaiety when they were animated. In freeze-frame, however, they were eerily transformed into masks of rage, hatred, and agony.  In the fierce glow produced by the lasers and spots, and by the psychedelic images that film projectors beamed onto two huge walls, it was easy to imagine that this was no party, after all, but a diorama of Hell, with the damned writhing in pain and wailing for release from their excruciating torment.  By seining out the rave's noise and movement, the Pause might have captured the truth of the event in its net. Perhaps the ugly secret, beneath the flash and thunder, was that these revelers, in their obsessive search for sensation, were not truly having fun on any fundamental level, but were suffering private miseries from which they frantically sought relief that eluded them. 

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