"Some musical styles seem to depend on drugs for their very right of existence: reggae is invariably associated with marijuana and electronic dance music (rave, house, techno) with ecstasy", Professor. Dr. Dirk J. Korf and Prof. Dr. Alfred Springer noted in their report ‘Markets, Methods, and Messages: Dynamics in European Drug Research’.
“The new musical style (house music) arose in the era of HIV and AIDS,” they continued, “The driving beat of electronic music, coupled with the drug -induced ecstatic high on the dance floor, resonated perfectly with the quest for bodily pleasure without dangerous sex ..."
Their findings matched the conclusions of deceased British MDMA expert Nicholas Saunders who in his seminal 1993 book E is For Ecstasy identified similar forces as popularizing rave culture.
“Behaviour at raves during the first few years, at events where nearly everyone was on E, was very different to that at alcohol-based clubs, and seemed to follow from the lack of male sexual aggression,” he noted.
“Hugging and even caressing strangers was acceptable on a sensual level without implying a sexual advance. Ravers would have a sense of belonging at any club or event where others were on E.”
He also identified earlier research by British scientist Sheila Henderson who writing in 1992 said for many revellers, raves provided a safer environment, particularly for females.
“Women can even enjoy snogging at raves because it is 'safe' - not a prelude to having sex. They are less likely to have casual sex following a night raving than after going to an alcohol-based club,” she said.
“As one girl put it, "you don't go to a rave to cop". In fact, sexual safety is an attraction at raves in contrast with alcohol-based clubs which are seen as a cattle market.”
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