In general, you will produce a slide deck and well-practiced 7-9 minute presentation about your project that you will record and then post it on the final discussion board. Your presentation should summarize the main contents of your report, emphasizing the findings of your research and the practical conclusions and recommendations based on your research. Your presentation will be assessed based on the following criteria: Content includes, in a well-organized and clear manner: brief context of your project, central problem and research questions, brief overview of research methodology, findings/themes (your grounded theory of the phenomenon under investigation), conclusions and recommendations Quality presentation skills: Presentation skills are well-executed: voice, articulation, volume, flow; as applicable, also considers eye contact, body movements Visual Aid: Effective + Professional visual representation (PowerPoint or equivalent): aesthetically pleasing, good balance of text and whitespace, used well (i.e., not fumbling with the technology, etc.) Introduction Raves are night dance parties that, in most cases, feature arrays of electronic dance music (EDM) populated mainly by youth and young adults. In the early years of the 80s and 90s, the word “rave” was commonly used to refer to a unique culture composed of young people developed from Chicago house music and Detroit techno, which flourished mainly in the United States and the U.K. Over the years, EDM has developed from its humble start to a more internationally recognized nightlife perceived to be more lucrative and profitable. Due to the increased profitability in the EDM industry, the amount of quality music produced has gone up drastically. Moreover, the attendance of raves has increased throughout the years, with more people reorganizing its influence on the overall social interaction. Consequently, modern society perceives a high-end EDM as a prodigious audio-visual experience that attracts people from different walks of life. The vibe behind rave events is one with high temper music that gains acceptance and creates a sense of unity, peace, love, and respect among people in such a community. Compared to other sub cultures of music in society, ravers are not often associated with violence and, in most cases, associate with each other nicely. Furthermore, ravers are considered to be generous where they share things such as capes while practicing friendship and are primarily aware of the imminent accidents of spilling alcohol or even bumping into someone. According to recent reports, some ravers tend to practice such philosophy in the outside community. While the EDM culture has gained acceptance across the globe, individuals in the broader society look down upon such events due to the perception that people tend to abuse drugs, with casualties reported each year due to overdose. Moreover, race culture has often been perceiving to cause a negative impact between ravers and people on the broader community. For instance, people have expressed some negative feelings towards ravers associating them with drug culture. Moreover, people have found it hard to express themselves as ravers to the overall professional world, highlighting a barrier between those who enjoy EDM and those who do not. In most cases, a lot of these judgments arise from people who enjoy other forms of genres. Consequently, the overall division between other subgenres and EDM is much more comprehensive. For example, people who enjoy heavy EDMs tend to judge fans who listen to house music and mainstream genres and vice versa. However, such judgments often depend on the person one meets. Despite the overall transgression associated with EDM culture, rave culture tends to create a good impression among different individuals worldwide due to its welcoming society. In this regard, many people are often drawn to attending the rave culture and perceiving the broader society with a non-judgmental nature rave. In this regard, rave culture has in a big way influenced the way people express themselves and interact with other individuals in society. Like other subcultures, the overall authenticity of the genre and the possession of artifacts are deemed essential in the EDM community. In this regard, maintaining originality and having esoteric knowledge of music is undoubtedly essential to the ravers. Moreover, people have expressed their confidence in wearing different outfits while others tend to be more free while at rave shows. In this regard, people admit to being inspired by ravers who seem to be original and different. Therefore, identity, originality, community dynamics, and social interaction have advised the current research question. From gender, age, dress codes, drug abuse, race, and professionalism, EDM culture tends to influence people differently. One diverse challenge in reconciling the overall perspective of rave culture and identity lies in the connection between community interaction and ravers in society. Therefore, the current research question guiding this study is “how does membership in the EDM community affect individuals’ interactions with people outside the community?” The overall motivation for writing this research was to determine overall solidarity seen by ravers across the globe. In this regard, the paper looks forward to seeing how such solidarity has influenced social interaction and the way ravers associate with the wider society. Background Information Dress Codes and Conventions The dress codes of individuals in the EDM community and the accompanying conventions have alienated the outside community. The outsiders are normally hesitant to attend the dancing clubs because they are often not sure whether they will be granted a gate pass or not. Also, some outsiders may fear being embarrassed due to a lack of knowledge of the dress etiquette for other genres. The dance music culture scene is normally specific to the music genres, and they exhibit peculiar fashions and style. The clubbers who are involved should have the relevant knowledge or be conversant with the dressing etiquette to gain the desirable reputation. Knowing what to put on is normally essentials because it often grants an individual the opportunity to access liminal spaces. Enforcement of these performances through specific conventions and dressing codes widens the gap between the outsider and the insider because the insider is enriched with knowledge that enhances his cultural credibility and alienates the outsiders (Jaimangal et al., 2015). Nevertheless, today, Anderson (2009) asserts that there is a decline and alteration of the rave scene compared to its high point during the 1990s. He claims that these variations have been caused by generational schism, commercialization, cultural otherness/ deviance and selfdestruction, social control and genre-based fragmentation Anderson, (2009). In this analysis, it is evident that the dress code favours those who have the cultural knowledge and serves as a penalty to the outsiders. Furthermore, even though there are no strict defined dressing styles, failure to dress per the occasion will negatively impact the legitimate performers because they will feel like their status is being undermined, and it will affect the enjoyment of the event. In a club setting, people are always quick to judge others based on their cultural knowledge, their conversance with the ethos of the event and their manner in which they choose their groups in the club depending on what they are wearing. Even though presentational conventions such as the dressing codes are attached little significance by most of the clubs, a given standard of a presentational convention must be met to gain entry in a club or events. The only thing that makes events unique is the wide range of dress styles that it permits and encourages. These conventional presentations that allow a wide range of dressing codes tend to facilitate a high level of cohesion in the club because the present individuals are filtered effectively (Jaimangal et al., 2015). Those who share common cultural values and knowledge often tend to segregate themselves from others. Derrett, R. (2003) gives a practical example of a sense of belonging and communism in his research on the people of the northern rivers region of NSW who identified themselves after attending several community festivals and developed their own culture that they could be identified with (Derrett, 2003). Thus, those who do not belong are normally put at ease. Jaimangal et al. (2015) assert that there is normally a general assumption that those who have managed to pass through the door of the club are normally part of the EDM community; therefore, they can participate in the dance event. Moreover, being that the rate of club promotion is high, the promoters always find a way to differentiate their products; thus, they are normally influenced by the varying dressing codes in the clubs, which defines their target market. These events have made clubs promote varying clubbing stages that would facilitate diversity. Customers are viewed as part of the product because of the intimate nature of production and consumption. Dressing codes that are not well defined by clubs can force other people to let go because they are supposed to perform welldefined roles and identities different to their normal lives (Jaimangal et al., 2015). Therefore, dressing codes in these clubs can be viewed as a marketing strategy for promoting brands images in competitive markets. Furthermore, EDM groups are always not ready to identify themselves with other social groups which they do not share a common culture. For instance, when Bakagiannis & Tarrant (2006), Experimented on a group of adolescence, study results indicated that, when no information was revealed across the groups, there was no positive relation that was noticed, nevertheless, after they were told that their musical preferences were common, the relation between the groups improved; there was a positive perception between the groups. Ott & Herman (2003) asserts that music is considered both as a symbolic experience and an embodied experience (Ott & Herman, 2003). Therefore, the embodied experience of their music could have made them feel that they share a common experience; thus, they should flock together. Besides, a study that was done by Peter & Williams (2019) on aging ravers indicated that the participants were still involved in raves at their older age. They concluded that the culture created by ravers have a long-lasting impact, and it experiences a powerful impact at the adolescence stage (Peter & Williams, 2019). It shows that music is a powerful tool for enhancing relations between individuals (Bakagiannis & Tarrant, 2006). The strong social bond that is common angst ravers might impact them negatively during this COVID-19 pandemic (Palamar & Acosta, 2020) because they are likely to convene together during the weekend. Thus, it can be concluded that EDM communities do not have a positive relationship with outsiders unless they share common preferences and tastes. The EDM communities tend to have their encrypted language where outsiders may not comprehend what is being said. For instance, Ott & Herman (2003) claim that in 1990s, the underground raves communist developed their concept termed PLUR, which meant Peace Love Unity and respect, it meant to foster communion in the 1990s (Ott & Herman, 2003). These were moral rules and guidelines that were meant to establish order when participating in the rave. Ecstasy as Drug EDM communities have often been linked to substance abuse. Therefore, parents tend to protect their children from joining EDM groups. In the early 1990s, when rave was just found, the raving culture was overwhelming in the United States. During that time, the drug Ecstasy was on the front pages of newspapers. Reports claimed that those who were using the drug puked and then picked the half-digested pills and swallowed them back. Additionally, rumors of children using syringes to inject drugs into their systems were overwhelming. There were antirave sentiments that grew across the United Kingdom. The deaths that were occurring during that time were all tied to Ecstasy. However, the main cause of death was not Ecstasy; it was the “Cocktail” pills that were being sold by the selfish profiteers who corrupted the compounds of Ecstasy by substituting MDMA with a cheaper drug that had the same effects as Ecstasy. By 1994, public sentiments against raves were at pick, to the extent that the British government started putting restraining measures against raves. People turned to clubs while the underground raves were legalized and sanitized (Ott & Herman, 2003). The rave movement was considered a victory in the end. However, during this time, stereotype notions were constructed about raves and are being practiced up to date. The majority of people often tie EDM communities to drugs. Sub-cultures Sub-cultural choices often tend to be consumer choices. Sub-cultures tend to be highly influential to other groups in terms of fashion, wealth, accessories and leisure that often speak symbolically. In a nutshell, the picture that is being created about raves can well be defined by Karl Marx as “Sub-cultural capital.” The outstanding feature that distinguishes rave and other sub-cultures is that it does not consider age nor class. Besides, all individuals from every social class are always welcomed. Furthermore, it is often not reactionary like the rebellion of the working class “Teddy Boy” and the middle-class movement “Hippy”. Additionally, it is not a daily routine or lifestyle of an individual because their methods do not permit daily lifestyle contrasted by the Punk. The Punk adopted a peculiar code of dressing that enabled them to navigate through a daily routine. Rave is normally a weekend culture of sensation, escape and hedonism. In a nutshell, they normally have temporary experience. It was evident from the constant movement in the early stages of Rave during the early 90s (Goulding, 2002). It gives an individual a chance to do away with reality and engage in fantasy. Members of EDM communities often appear to engage in a competition with other groups and individuals. Jaimangal et al. (2014) claim that individual cultural background may influence how a member in the community struggles for recognition within the group, which is often reflected in the entire group. In a nutshell, individual and intergroup competition tend to be common amongst the EDM groups. This competition was depicted at the time when rave was found. Ott and Herman (2003) claim that rave emerged due to cross-pollination between the American and the European music scenes. These scenes were characterized by competition. Mixing multiple records by the DJs emerged from the disco era, during which the DJs were mixing records with similar beats to maintain the dancing motion. After being influenced by the Europeans, the Atlantic started producing electronic dance music. This music was built upon thick repetitive beats, and it was a sound that was essential to the DJs. The DJ was able to mix sound from two different records while playing them at the same time. However, a study by Horak (2009) indicates that today, these early technologies have been replaced by mass reproducibility of digital images and have made individual work of art lose meaning, but they have not been abandoned. He claims that if these ideas are applied to modern music, they could have an enormous impact (Horak, 2009). However, not everything has been abandoned because today, we still have ballet dancers with lived experiences who can tell their stories in the Western mystical and spiritual experiences during their era (Flower, 2019). It indicates that different subcultures are often in competition because, during the early days, the rave groups were competing to innovate. Race The early rave gave the Gay community their freedom during the 1970s and 1980. The early EDM became an essential outlet for the gay communities in America. More specifically, New York City and Chicago. These are the constructs where garage and house music were found. The underground clubs were occupied by black and Latino Gay men who were victimized and oppressed by those who were straight. They found a ground where they could release their frustration and interact freely. It was the only place where they could be themselves and express their desires without hesitation or fear. These spaces were found in abandoned industrial places that were completely separated from the neighborhoods (Wanser, 2017). They exploited their energies and bonded more during these events. The main theme that was being echoed in the clubs was unity and togetherness. They were relieved from the pressure they were facing out there. The gay communities were able to communicate at ease with one another. Explanation of Research Methodology Research Site. Recently, a survey on festival goers was conducted, particularly in Las Vegas. By the use of different data collection methods such as interviews and Survey Monkey technique, relevant data were collected. Before, highlighting and elaborating on the specific data collection technique, the report will provide a brief socio-historical context regarding the selected site. Las Vegas early rave festivals were conducted in various abandoned warehouses as well as parks, and sometimes in open spaces. Moreover, EDM were conducted in the desert in the early 90s in Las Vegas which was regarded to be unconventional places. Accordingly, desert move was regarded to be a part of its kind where people converged in to listen to unique music throughout the nights. With time, rave gained increased popularity and people were forced to move indoors, while relocating to large and extensive nightclubs in Vegas. Nightlife or rave culture in Las Vegas is mostly similar to other cities in the United States. As a home to major DJs, Las Vegas became famous in a global EDM culture. In modern society, Las Vegas is considered to be a home of EDM music with many DJs advocating for the same. Survey Monkey. This Survey Monkey online poll was conducted focusing on the group analysis. Notably, the focus of the survey was aimed at festival goers which included lost lands music festival groups, EDC Las Vegas groups, and electronic forest groups. Data for this research were weighted based on age, sex, education, professionalism, and geographical location of participants. Moreover, responses from different states and cities were obtained, thus asserting credibility to our research. For instance, different results came from Massachusetts, Corpus Christi Austin, Michigan, Hawaii, Tennessee, Connecticut, Colorado, and Middletown. The survey used unlimited questions touching on different themes and how EDM affects people’s daily life and social interaction. The survey monkey results were documented in charts and tables answering different questions asked to participants. The number of participants in the survey monkey was 12, each giving different responses on questions posted. Research Results. Different questions were asked to participants ranging from different walks of life. Therefore, this section will elaborate various responses as tabulated by survey monkey. From the survey, it was apparent that music has played a major part in deciding the place where a person lives. For instance, the result consisting of 12 answers indicated that more than 66.67% of people confirmed that music played a part in deciding a place where a person lived. On the other hand, 16.67% of those questioned showed that music did not play a part in their geographical location while 8.33% ignored the choices and 8.33% were willing to move if needed. From the survey, most people approximately 83.33% showed no involvement in the EDM industry with only 16.67% indicating that they had involvement in the same. Furthermore, the survey questioned participants on the number of years they had been attending EDM events. Consequently, various responses were recorded with most people nearly 50% indicated that they had spent 3 to 5 years attending the EDM events. Moreover, 41.67% indicated that they had spent 5 to about 10 years attending the event, while 8.33% of the participants had spent 1 to 3 years on the same. From the survey, it is clear that different participants listen to variety of genres of EDM with Dubstep, registering the highest (91.67%) percentage of listeners. Also, the survey indicated that participants had varying association with ravers. For instance, 8.33% of participants indicated that they had friends who were all ravers, while 16.67% of the participants had friend’s ravers. On the other hand, 75% of the participants indicated that they had mixed or diverse friends who were not necessarily ravers. While rave culture has for a long time been perceived to be for the youths, 66.67% of the respondents indicated that they prefer listening to EDM and raving until they are old. However, 33.33% of the respondents were undecided on the same. Moreover, the overall survey shows that most people believe that raving has influenced their spirituality with more than 91.67% saying that EDM play a role in the same. 8.33% of the respondents. However, indicated that raving had no impact on their spirituality. Consequently, most of the respondent said that they enjoy listening to EDM and others highlighted that some of the friends they have first met while in an EDM event and others responding that such events make them happy. Most importantly, the survey indicated that social interaction with other ravers as well as the wider society is similar. In this regard, some participants expressed smiles and hugs which is similar to when they meet friends and strangers alike. However, some expressed some difficulties in associating with the wider societies, particularly those that perceive EDM culture as one which embraces drugs. Discussion Analysis and Findings The research question in focus was to determine whether membership in the EDM community impacts the overall individual’s interaction with people outside the said community and culture. From the survey methodology and results, people have expressed different and varying perception on the effect of such culture to their interaction with outside word. Notably, literatures have outlined the alienation that lies between the outside community and the overall EDM culture. One notable alienation is that of dress codes and convections associated with ravers. Moreover, research shows that the outsiders are normally hesitant to attend the dancing clubs because they are often not sure whether they will be granted a gate pass or not. Also, some outsiders may fear being embarrassed due to a lack of knowledge of the dress etiquette for other genres. The dance music culture scene is normally specific to the music genres, and they exhibit peculiar fashions and style. Based on the survey results, it is essential that EDM tend to change the way people express themselves to the outside community. In this regard, there are those who believe that being one of the EDM members makes them feel confident and free to the outside community. Moreover, ravers believe that the way they interact with each other should be transformed to social interaction in the wider society. Notably, this poses an essential point on communication and EDM culture. Consequently, EDM tend to play a role in improving people’ interaction in society. Moreover, the survey results show that being an EDM member enables one to strike a conversation friendlier to each other. This shows that attending a rave show improves a person’s sense of communication while allowing people to talk to each other easily while helping each other. Therefore, EDM culture creates a sense of identity where solidarity plays a significant role in communication in social settings. While ravers tend to have a better communication with the outside world, the survey also outlined that majority of the people tend to have a better conversation with the ravers compared to the outside community. Notably, this is as a result of different reasons some being negative perceptions of people towards ravers. Moreover, there has been a clear barrier between those individuals who tend to enjoy EDMs and those that express their love to mainstream music. Also, there are individuals who tend to make judgements and assumptions based on type of song a person listens to. Nonetheless, EDM community improves the overall social interaction which validates the research question of this study. Conclusion and Recommendations Different approaches to the current survey have been conducted to determine whether involvement in the EDM community have an influence with the way people interact with the outside community. While different participants expressed their differences based on the questions posted. It is clear that different people have varying perceptions towards EDM and the overall Rave culture. In this regard, it was determined that EDM and taking part in raving improves a person’s sense of communication and solidarity among members, which can sometimes be transferred to the wider society. Although there were other underlying barriers to communication and raving culture such as alcoholism associated to ravers and dressing codes, it was apparent that most ravers would like to treat other people in society similarly to the way they interact with the fellow ravers. To some extent, the research was able to achieve its focus of thee research question, this pointing out that involvement in the EDM community has a great impact on the overall social interaction to both fellow ravers and the members of the outside community. To create a wider sense of acceptance, there should be more community involvement in the EDM culture. Moreover, there should be enough awareness of the EDM music and interpretation of rave culture to lessen hate while involving less politics. Also, people should reduce the overall hate create when comparing favorite genres. Reference Anderson, T. L. (2009, June). Understanding the Alteration and Decline of a Music Scene: Observations from Rave Culture 1. In Sociological Forum (Vol. 24, No. 2, pp. 307-336). Oxford, UK: Blackwell Publishing Ltd. Bakagiannis, S., & Tarrant, M. (2006). Can music bring people together? Effects of shared musical preference on intergroup bias in adolescence. Scandinavian Journal of Psychology, 47(2), 129-136. Derrett, R. (2003). Festivals & regional destinations: How festivals demonstrate a sense of community & place. Rural Society, 13(1), 35-53. Flower, L. (2019). Spiritual experiences of post-performance career ballet dancers: a qualitative study of how peak performance spiritual lived experiences continued into and influenced later teaching lives. Research in Dance Education, 20(2), 184-196. Goulding, C., Shankar, A., & Elliott, R. (2002). Working weeks, rave weekends: identity fragmentation and the emergence of new communities. Consumption, Markets and Culture, 5(4), 261-284. Goulding, C., Shankar, A., & Elliott, R. (2002). Working weeks, rave weekends: identity fragmentation and the emergence of new communities. Consumption, Markets and Culture, 5(4), 261-284. Horak, R. (2009). Rave on: The effects and effectiveness of popular music. Jaimangal-Jones, D., Pritchard, A., & Morgan, N. (2015). Exploring dress, identity and performance in contemporary dance music culture. Leisure Studies, 34(5), 603-620. Ott, B. L., & Herman, B. D. (2003). Mixed messages: Resistance and reappropriation in rave culture. Western Journal of Communication (Includes Communication Reports), 67(3), 249-270. Palamar, J. J., & Acosta, P. (2020). Virtual raves and happy hours during COVID-19: new drug use contexts for electronic dance music partygoers. International Journal of Drug Policy, 102904. Peter, B., & Williams, L. (2019). One Foot in the Rave: Aging Ravers’ Transitions to Adulthood and Their Participation in Rave Culture. Leisure Sciences, 1-19. Wanser, J. (2017). Rave: Rave and its Influence on Art and Culture. Purchase answer to see full attachment Tags: social interaction EDM techno like music race culture alcoholism and violence User generated content is uploaded by users for the purposes of learning and should be used following Studypool’s honor code & terms of service.

MLA In-Text Citations: The Basics

Guidelines for referring to the works of others in your text using MLA style are covered throughout the MLA Handbook and in chapter 7 of the MLA Style Manual. Both books provide extensive examples, so it’s a good idea to consult them if you want to become even more familiar with MLA guidelines or if you have a particular reference question.

BASIC IN-TEXT CITATION RULES

In MLA Style, referring to the works of others in your text is done using parenthetical citations. This method involves providing relevant source information in parentheses whenever a sentence uses a quotation or paraphrase. Usually, the simplest way to do this is to put all of the source information in parentheses at the end of the sentence (i.e., just before the period). However, as the examples below will illustrate, there are situations where it makes sense to put the parenthetical elsewhere in the sentence, or even to leave information out.

General Guidelines

• The source information required in a parenthetical citation depends (1) upon the source medium (e.g. print, web, DVD) and (2) upon the source’s entry on the Works Cited page.
• Any source information that you provide in-text must correspond to the source information on the Works Cited page. More specifically, whatever signal word or phrase you provide to your readers in the text must be the first thing that appears on the left-hand margin of the corresponding entry on the Works Cited page.

IN-TEXT CITATIONS: AUTHOR-PAGE STYLE

MLA format follows the author-page method of in-text citation. This means that the author’s last name and the page number(s) from which the quotation or paraphrase is taken must appear in the text, and a complete reference should appear on your Works Cited page. The author’s name may appear either in the sentence itself or in parentheses following the quotation or paraphrase, but the page number(s) should always appear in the parentheses, not in the text of your sentence. For example:

Wordsworth stated that Romantic poetry was marked by a “spontaneous overflow of powerful feelings” (263).

Romantic poetry is characterized by the “spontaneous overflow of powerful feelings” (Wordsworth 263).

Wordsworth extensively explored the role of emotion in the creative process (263).

Both citations in the examples above, (263) and (Wordsworth 263), tell readers that the information in the sentence can be located on page 263 of a work by an author named Wordsworth. If readers want more information about this source, they can turn to the Works Cited page, where, under the name of Wordsworth, they would find the following information:

Wordsworth, William. Lyrical Ballads. Oxford UP, 1967.

IN-TEXT CITATIONS FOR PRINT SOURCES WITH KNOWN AUTHOR

For print sources like books, magazines, scholarly journal articles, and newspapers, provide a signal word or phrase (usually the author’s last name) and a page number. If you provide the signal word/phrase in the sentence, you do not need to include it in the parenthetical citation.

Human beings have been described by Kenneth Burke as “symbol-using animals” (3).

Human beings have been described as “symbol-using animals” (Burke 3).

These examples must correspond to an entry that begins with Burke, which will be the first thing that appears on the left-hand margin of an entry on the Works Cited page:

Burke, Kenneth. Language as Symbolic Action: Essays on Life, Literature, and Method. University of California Press, 1966.