A Chronicle of my EDMS
By Miss Raquel

Welcome to Toronto! My home; my haven; and the place where I have experienced a music scene that has affected me in ways I would have never imagined. When I first experienced the electronic music dance scene (EMDS) it was on a dance floor in Toronto, and I’m fortunate to say it was, and still is one of the best cities in the world for this music scene.

Toronto’s electronic dance music scene (EDMS) is the largest in Canada and a very notable one within the world. The rave scene in the 90s was one of the biggest until the early millennium when it was banned. The Toronto Raver Info Project (TRIP); a community based peer education and harm reduction group in Toronto brought together approximately 20,000 people to rally against it at Toronto’s City Hall. DanceSafe took measures to fight Toronto’s government in its rave crackdown. The Party People Project and the Toronto Dance Safety Committee put together an in-depth information package to dispel all of the myths about raves and its community.

This rally brought headline news. I remember being fed extreme stories of illicit drug use, dirty drinking water, unsanitary washrooms all allegedly used by those in baggy pants with bright coloured shirts and Koo-Aid hair dancing with glow-sticks and soothers in their mouths. What they were doing was similar to the Woodstock days protecting an essential part of humanity; the impact of music on their life, and freedom of expression; the freedom to dance to the beat of their own drum.

P.L.U.R. a.k.a. Peace, Love, Unity and Respect was popular within rave culture (circa 90s). The odd time today P.L.U.R. may be read on a flyer to remind people of this common party denominator. This philosophy of rave culture in theory took priority over any chemical aspect of the rave scene.

For many it was the rave days which introduced them to the intense spiritualality of this culture and music in Toronto. Parties such as the Destiny Raves (WEMF) were some of the most attended events until 2009 when it officially ended as the last large rave of its kind.

Shaun Proulx of Shaun Proulx Media says “For me the rave days at their very best were about bringing together a large diversity of people as “one”, which I think is the end goal most of us are reaching for in the broadest of senses. So when I would look around a rave and see that in full progress, however it came to be, and for however long it lasted, it always proved to me that ultimately such a fine thing is possible.”

Toronto always had and continues to have a vibrant and open minded party scene no matter what the political views may try to lay upon the media. Over the years this has evolved from free parties to raves to nightclubs. Today there hasn’t been a by-law or ban on extended hours which I feel goes to show the parties will continue.

Many successful Canadian DJs/producers have emerged from the Canadian rave scene to national and international heights including, Hatiras, Richie Hawtin (Plastikman), Max Graham, deadmau5, Tiga, Deko-ze, Adam K, MC Flipside, Jelo, DJ Addy among many others. Looking at these amazing talents, and digging into the history of Toronto’s EDMS. I can’t help but reflect on Toronto’s timeline, and give you some context to my reflection.

Back in the 80s, the Twilight Zone was Toronto’s equivalent of the legendary Warehouse in Chicago, and NYC’s Paradise Garage. In the 90s Industry Nightclub was the only place that mattered when it came to dance music, DJs and vibe; it still holds the title as the best damn nightclub Toronto has ever experienced.
After Industry shut its doors at the beginning of the millennium, System Soundbar (System) became the hot spot for DJ talent and party-goers. It became a favorite for those who liked it intimate, passionate and sweaty. It had the perfect combination of international and local talent.

System was my second experience within the scene (The Guvernment was my first). I went to System by myself on many occasion, made friends and discovered a community of like minded individuals who understood one another through deeper channels then just conversation. Like Industry, System couldn’t be matched during its era and was one of my places of self discovery.

As System carried the torch in early 2000, the scene moved into the club atmosphere. The days of the rave and warehouse parties became a memory and the club culture within Toronto began to grow and accommodate trying to recreate the rave vibe and community. It was at System where I put on the first JaXx HouZe – the Enchanted Tribal Platoon event.

The Guvernment Entertainment Complex a.k.a. the Guvernment or Guv had a bigger vision. It wanted to present the DJ experience to the masses with a spectacle. Taking a page out of the European super clubs, a brilliant business man by the name of Charles Khabouth showed the city as well as the world what the Toronto club experience could truly be.

The Guv has evolved and has set the standard for the ultimate big party experience. I used to go there after work and dance till dawn. I remember taking a cab home watching the sun come up and remembering my great night!

The Guv brought back the rave vibe with a sensory overload journey, with its many different rooms and sounds. Saturday nights inside The Drink have been most memorable with residents Manzone and Strong, in the main room with resident Mark Oliver. The Gallery was a room I ended up hosting every other Saturday from 2005 – 2006. This super club has maintained its relevance as one of the seven wonders of the entertainment world.

As I moved along my musical journey I longed to find my Studio 54 of sorts. And what I meant by this was a place where I could dance to music not heard elsewhere, and truly be myself amongst others who felt the same way. It wasn’t until I ventured a little farther north of where System was located that I found the Comfort Zone (CZ). I know it definitely wasn’t even close to what Studio 54 was, it had no glitz or glamour but for me it was where I truly experienced the crevice of Toronto’s after-hours, and it was as close as I could get to a rave vibe. I ended up hosting special and long weekend events there from 2003 – 2008.

And I can’t forget Boa, Sonic and CiRCA Nightclub, for these venues have also left an imprint on Toronto’s EDMS.

From the rave days to present days there were many tastemakers, responsible for Toronto’s scene. During my time there was Deko-ze (PPM), Jenn Star, Eddy K, Pat Boogie, Erica Kelly, Garage 416, 99 Sudbury, Embryon, Dr. Trance, Matt C, Kenny Glasgow, makeitfunky.ca, Carey Britt, houseaddict…and this is to only name a few.

These ambassadors, their events, associations and “proper” attitude kept the true spirit alive of what this community and culture can mean to someone. And this I will always cherish. Everyone gets chances in their life to create Kodak moments; as I write this with reflection and broad strokes of history, I can’t help but have a smile across my face when I think of these people and their impact on my scene.

Toronto has a nebulous identity when it comes to dance music and I’m thankful I have experienced it. I wrote this not only to express myself, but to give something reflective back to the dance culture in-which helped build my career and who I am today.

This documentary GGN has been filming and is close to finishing is something that has brought memories to the surface for me. The videos and sneak peeks I’ve seen tells me we’re going to be delivered a great story. I look forward to the finished product and gaging the tone that’s being covered in the film it will reach a broader audience then just the loyal followers of dance music culture. Music is a universal language, and this tribal exploration of present day dance music is something I can’t help but endorse.

I give a personal thank-you to Toronto, its scene and my party peeps! Life is too short to not experience the EDMS. And when you do, enjoy it for what’s it’s suppose to be, fun!

See you on the dance floor!
Miss Raquel

© 2010 Scenester Magazine Inc.