Rave

Last updated

Rave
Sven Vath playing at Amnesia.JPG
DJ Sven Väth mixes tracks for a crowd of dancers at Amnesia, an Ibiza nightclub, in 2013.
General Information
LocationWorldwide
Types of street rave dance
Events
Topics
Origin
History

A rave (from the verb: to rave ) is a dance party at a warehouse, club, or other public or private venue, typically featuring performances by DJs playing electronic dance music. The style is most associated with the early 1990s dance music scene when DJs played at illegal events in musical styles dominated by electronic dance music from a wide range of sub-genres, including drum and bass, dubstep, trap, break, happy hardcore, trance, techno, [1] hardcore, house, [1] and alternative dance. Occasionally live musicians have been known to perform at raves, in addition to other types of performance artists such as go-go dancers and fire dancers. The music is amplified with a large, powerful sound reinforcement system, typically with large subwoofers to produce a deep bass sound. The music is often accompanied by laser light shows, projected coloured images, visual effects and fog machines.

Contents

While some raves may be small parties held at nightclubs or private homes, some raves have grown to immense size, such as the large festivals and events featuring multiple DJs and dance areas (e.g., the Castlemorton Common Festival in 1992). Some electronic dance music festivals have features of raves, but on a larger, often commercial scale. Raves may last for a long time, with some events continuing for twenty-four hours, and lasting all through the night. Law enforcement raids and anti-rave laws have presented a challenge to the rave scene in many countries. [2] This is due to the association of rave culture with illegal drugs such as MDMA [3] [4] (often referred to as a "club drug" or "party drug" along with MDA [5] ), amphetamine, LSD, [3] [4] GHB, [3] [4] ketamine, [3] [4] [6] methamphetamine, [3] [4] cocaine, [4] and cannabis. [7] In addition to drugs, raves often make use of non-authorized, secret venues, such as squat parties at unoccupied homes, [8] unused warehouses, [9] or aircraft hangars. [10] [11] These concerns are often attributed to a type of moral panic surrounding rave culture. [12]

History

Origin (1950s–1970s)

In the late 1950s in London, England, the term "rave" was used to describe the "wild bohemian parties" of the Soho beatnik set. [13] Jazz musician Mick Mulligan, known for indulging in such excesses, had the nickname "king of the ravers". [14] In 1958, Buddy Holly recorded the hit "Rave On", citing the madness and frenzy of a feeling and the desire for it never to end. [15] The word "rave" was later used in the burgeoning mod youth culture of the early 1960s as the way to describe any wild party in general. People who were gregarious party animals were described as "ravers". Pop musicians such as Steve Marriott of Small Faces and Keith Moon of the Who were self-described "ravers". [16]

A huge bank of speakers and subwoofers from a rave sound reinforcement system Mur Ultim Atom&Biobanas.jpg
A huge bank of speakers and subwoofers from a rave sound reinforcement system

Presaging the word's subsequent 1980s association with electronic music, the word "rave" was a common term used regarding the music of mid-1960s garage rock and psychedelia bands (most notably the Yardbirds, who released an album in the United States called Having a Rave Up ). Along with being an alternative term for partying at such garage events in general, the "rave-up" referred to a specific crescendo moment near the end of a song where the music was played faster, more heavily and with intense soloing or elements of controlled feedback. It was later part of the title of an electronic music performance event held on 28 January 1967 at London's Roundhouse titled the "Million Volt Light and Sound Rave". The event featured the only known public airing of an experimental sound collage created for the occasion by Paul McCartney of the Beatles – the legendary "Carnival of Light" recording. [17]

With the rapid change of British pop culture from the mod era of 1963–1966 to the hippie era of 1967 and beyond, the term fell out of popular usage. The Northern soul movement is cited by many as being a significant step towards the creation of contemporary club culture and of the superstar DJ culture of the 2000s. [18] As in contemporary club culture, Northern soul DJs built up a following based on satisfying the crowd's desires for music that they could not hear anywhere else. Many argue that Northern soul was instrumental in creating a network of clubs, DJs, record collectors and dealers in the UK, and was the first music scene to provide the British charts with records that sold entirely on the strength of club play. [19] A technique employed by northern soul DJs in common with their later counterparts was the sequencing of records to create euphoric highs and lows for the crowd; DJ Laurence 'Larry' Proxton was known for using this method. DJ personalities and their followers involved in the original Northern soul movement went on to become important figures in the house and dance music scenes. [20] During the 1970s and early 1980s until its resurrection, the term was not in vogue, one notable exception being in the lyrics of the song "Drive-In Saturday" by David Bowie (from his 1973 album Aladdin Sane ) which includes the line, "It's a crash course for the ravers." Its use during that era would have been perceived as a quaint or ironic use of bygone slang: part of the dated 1960s lexicon along with words such as "groovy".

The perception of the word "rave" changed again in the late 1980s when the term was revived and adopted by a new youth culture, possibly inspired by the use of the term in Jamaica. [13]

Acid house (1980s)

Rave - Juiz de Fora - MG, featuring bright psychedelic theming common at many raves Rave - Juiz de Fora - MG.jpg
Rave – Juiz de Fora – MG, featuring bright psychedelic theming common at many raves

In the mid to late 1980s, a wave of psychedelic and other electronic dance music, most notably acid house music, emerged from acid house music parties in the mid-to-late 1980s in the Chicago area in the United States. [21] After Chicago acid house artists began experiencing overseas success, acid house quickly spread and caught on in the United Kingdom [22] [23] within clubs, warehouses and free-parties, first in Manchester in the mid-1980s and then later in London. In the late 1980s, the word "rave" was adopted to describe the subculture that grew out of the acid house movement. [24] Activities were related to the party atmosphere of Ibiza, a Mediterranean island in Spain, frequented by British, Italian, Greek, Irish and German youth on vacation, who would hold raves and dance parties. [25]

Growth (1990s–present)

Dancing at a rave in 2007

By the 1990s, genres such as acid, breakbeat hardcore, hardcore, happy hardcore, gabber, drum and bass, post-industrial and electronica were all being featured at raves, both large and small. There were mainstream events which attracted thousands of people (up to 25,000 [26] instead of the 4,000 that came to earlier warehouse parties). Acid house music parties were first re-branded "rave parties" in the media, during the summer of 1989 by Genesis P-Orridge during a television interview; however, the ambience of the rave was not fully formed until the early 1990s. In 1990, raves were held "underground" in several cities, such as Berlin, Milan and Patras, in basements, warehouses and forests. [27]

British politicians responded with hostility to the emerging rave party trend. Politicians spoke out against raves and began to fine promoters who held unauthorised parties. Police crackdowns on these often unauthorised parties drove the rave scene into the countryside. The word "rave" somehow caught on in the UK to describe common semi-spontaneous weekend parties occurring at various locations linked by the brand new M25 London orbital motorway that ringed London and the Home Counties; it was this that gave the band Orbital their name. These ranged from former warehouses and industrial sites in London, to fields and country clubs in the countryside.

Characteristics

Music

The Roland TB-303 is a synthesizer featured in acid house music. Roland TB-303 Panel.jpg
The Roland TB-303 is a synthesizer featured in acid house music.
The TR-909 is a drum machine used in techno, house and many other genres. Roland TR-909 (large).png
The TR-909 is a drum machine used in techno, house and many other genres.
Rave music is usually presented in a DJ set, using a mixer and turntables or CDJs. Volxvergnuegen Party Munich 6.jpg
Rave music is usually presented in a DJ set, using a mixer and turntables or CDJs.

Rave music may either refer to the late 1980s/early 1990s genres of house, new beat, breakbeat, acid house, techno and hardcore techno, which were the first genres of music to be played at rave parties, or to any other genre of electronic dance music (EDM) that may be played at a rave.

The genre "rave", also known as hardcore (not to be confused with hardcore punk) by early ravers, first appeared amongst the UK "acid" movement during the late 1980s at warehouse parties and other underground venues, as well as on UK pirate radio stations. [28] Another genre called "rave" during the early 1990s, was the Belgian hardcore techno music that emerged from new beat, when techno became the main style in the Belgian EDM scene. [29]

The "rave" genre would develop into oldschool hardcore, which lead onto newer forms of rave music such as drum and bass, 2-step and happy hardcore as well as other hardcore techno genres, such as gabber and hardstyle. [30]

Rave music is usually presented in a DJ mix set, although live performances are not uncommon.

Styles of music include:

Downtempo and less dance-oriented styles which are sometimes called chill-out music, that might be heard in a rave "chill-out" room or at a rave that plays slower electronic music includes:

Location

Rave in Hungary in 2010, showing the fantastical thematic elements at such events OZORA Festival.jpg
Rave in Hungary in 2010, showing the fantastical thematic elements at such events

Raves have historically referred to grassroots organised, anti-establishment and unlicensed all‐night dance parties. [34] Prior to the commercialisation of the rave scene, when large legal venues became the norm for these events, the location of the rave was kept secret until the night of the event, usually being communicated through answering machine messages, [35] mobile messaging, secret flyers, and websites. This level of secrecy, necessary for avoiding any interference by the police, also on account of the illicit drug use, enabled the ravers to use locations they could stay in for ten hours at a time. It promoted the sense of deviance and removal from social control. [36] In the 2000s, this level of secrecy still exists in the underground rave scene. However "after-hours" clubs, as well as large outdoor events, create a similar type of alternate atmosphere, but focus much more on vibrant visual effects, such as props and décor. In more recent years,[ when? ] large commercial events are held at the same locations year after year with similar reoccurring themes every year. Events like Electric Daisy Carnival and Tomorrowland are typically held at the same venue that holds mass numbers of people.

Some raves make use of pagan symbolism. Modern raving venues attempt to immerse the raver in a fantasy-like world. Indigenous imagery and spirituality can be characteristic in the Raving ethos. In both the New Moon and Gateway collectives, "pagan altars are set up, sacred images from primitive cultures decorate the walls, and rituals of cleansing are performed over the turntables and the dance floor" [37] This type of spatial strategy is an integral part of the raving experience because it sets the initial "vibe" in which the ravers will immerse themselves. This said "vibe" is a concept in the raver ethos that represents the allure and receptiveness of an environment's portrayed and or innate energy. The landscape is an integral feature in the composition of rave, much like it is in pagan rituals. For example, The Numic Ghost Dancers rituals were held on specific geographical sites, considered to hold powerful natural flows of energy. These sites were later represented in the rhythmic dances, to achieve a greater level of connectivity. [38]

The Falls festival in Byron Bay features a rave party hidden behind a washing machine in a laundromat. [39]

Notable venues

The following is an incomplete list of venues associated with the rave subculture:

Europe
Middle East
North America
Oceania

Dancing

T-step of the Melbourne Shuffle T-Step.gif
T-step of the Melbourne Shuffle

A sense of participation in a group event is among the chief appeals of rave music and dancing to pulsating beats is its immediate outlet. [46] [47] Raving in itself is a syllabus-free dance, whereby the movements are not predefined and the dance is performed randomly, dancers take immediate inspiration from the music, their mood and watching other people dancing. Thus, the electronic, rave and club dances, also known as Post-Internet Dances [48] refer to the street dance styles that evolved alongside electronic music culture.

A common feature shared by all these dances, along with being originated at clubs, raves and music festivals around the world and in different years, is that when YouTube and other social media started to become popular (around 2006), these dances began to be popularised by videos of raves. [49]

Attire

Union Move Munich 1998 15.jpg
Raver with feather boa in Germany (1998)
Fairy fashion girls - Festival fashion photo @ TomorrowWorld (edm rave club event) (10290749064).jpg
Fairy fashion rave wear (2013)
2008-03-13 Rave glowsticking 2.jpg
Glowsticking in the United States (2008)
Candy To Trade.jpg
A collection of handmade bracelets known as Kandi bracelets

Since the late 1980s, rave fashion has undergone constant evolution with each new generation of ravers. Many of the rave fashion trends have appeared internationally, but there were also individual developments from region to region and from scene to scene. [50]

At early rave parties, often costume-like clothes and garments with signal color look such as protective suits, safety vests, dust and gas masks were worn and combined with accessories such as vacuum cleaners or cyberpunk inspired goggles. Clothing with slogans such as "Peace, Love, Unity" and smiley-face T-shirts first appeared with the acid house movement of the 1980s. Further popular themes of the early rave scene were plastic aesthetics, various fetish styles, DIY, 1970s, second-hand optics, retro sportswear (such as Adidas tracksuits), sex (showing much skin and nudity, e.g. wearing transparent or crop tops), war (e.g. in the form of combat boots or camouflage trousers), and science fiction. [51]

Common fashion styles of the 1990s include tight-fitting nylon shirts, tight nylon quilted vests, bell-bottoms, neoprene jackets, studded belts, platform shoes, jackets, scarves and bags made of flokati fur, fluffy boots and phat pants, often in bright and neon colours. Also gaudy coloured hair, dreadlocks, tattoos and piercings came into fashion with ravers. Widespread accessories included wristbands and collars, whistles, pacifiers, white gloves, glow sticks, feather boas, oversized sunglasses, and record bags made of truck tarpaulins. [52] [53] In the early 1990s the first commercial rave fashion trends developed from this, which were quickly taken up by the fashion industry and marketed under the term clubwear. [51] Different dress codes also evolved in the various sub-scenes of the rave culture. For example, the typical gabber or psytrance raver dressed significantly different from "normal" ravers, but common basic features remained recognisable.

Since the 2000s, the clothing style of the rave culture remains heterogeneous, as do its followers. Particularly in North America, rave fashion continues to be characterised by colourful clothing and accessories, most notably the "kandi" jewellery that fluoresces under ultraviolet light.[ citation needed ] They contain words or phrases that are unique to the raver and that they can choose to trade with each other using "PLUR" (Peace, Love, Unity, Respect). This style of attire was again taken up by the fashion industry and marketed as "rave fashion" or "festival fashion", now includling all kinds of accessories to create unique looks depending on event. [54] In contrast to this and starting at Berlin techno clubs like Berghain in the 2000s, a strictly black style, partly borrowed from the dark scene, has established itself within parts of the techno scene. [55] Certain rave events such as Sensation also have a strict minimalistic dress policy, either all white or black attire.

Light shows

Yaga gathering.jpg
Laser lighting show at a trance festival.
Aphex Twin ilosaarirock 2011.jpg
The light show for the electronic musician Aphex Twin in 2011.

Some ravers participate in one of four light-oriented dances, called glowsticking, glowstringing, gloving, and lightshows. Of the four types of light-orientated dances, gloving in particular has evolved far beyond the rave culture. Other types of light-related dancing include LED lights, flash-lights and blinking strobe lights. LEDs come in various colours with different settings. Gloving has evolved into a separate dance form that has grown exponentially in the last couple of years early 2010. [56] Glovers use their fingers and hands to move with the beat of the music. And they use the color to create patterns and have different speed settings for the lights on their gloves. [57] These components give the glove artist different ways to fascinate spectators of their light shows. The use of lights can improve the way people react during the songs or throughout the concert itself. [57] Since then the culture has extended to all ages, ranging from kids in their early teens to college students and more. The traditional Rave lights are limited now, but many stores have developed newer, brighter, and more advanced version of lights with a plethora of colours and modes—modes include solid, stribbon, strobe, dops, hyper flash, and other variations.

Drug use

Bzptablet.jpg
This impure tablet sold as MDMA in the U.S. contained no MDMA, but instead BZP, caffeine and methamphetamine.
Ecstasy monogram.jpg
A selection of MDMA tablets, better known as "ecstasy".
HOpoppers.jpg
A selection of poppers, a volatile drug inhaled for the "rush" it can provide.

Among the various elements of 1970s disco subculture that ravers drew on, in addition to basing their scene around dance music mixed by DJs, ravers also inherited the positive attitude towards using club drugs to "enhanc[e]...the sensory experience" of dancing to loud music. [58] [59] The state of mind referred to as "ecstasy" (not to be confused with the slang term for MDMA) sought by ravers has been described as "a result of when various factors harmonise the ego with the other elements such as place and music and [one] enter[s] a "one state" where [they] cannot distinguish what is material or not, where things enter into syntony and constitute a unique moment, precisely the kind sought in medi[t]ation". [60]

However, disco dancers and ravers preferred different drugs. Whereas 1970s disco scene members preferred cocaine and the depressant/sedative Quaaludes, ravers preferred MDMA, 2C-B, amphetamine, and other pills. According to the FBI, raves are one of the most popular venues where club drugs are distributed, and as such feature a prominent drug subculture. [61] [62] Club drugs include MDMA (more commonly known as "ecstasy", "E" or "molly"), 2C-B (more commonly known as "nexus"), amphetamine (commonly referred to as "speed"), GHB (commonly referred to as "fantasy" or "liquid E"), cocaine (commonly referred to as "coke"), DMT, and LSD (commonly referred to as "lucy" or "acid"). [63] [64] [65] [66] [67]

"Poppers" is the street name for alkyl nitrites (the most well-known being amyl nitrite), which are inhaled for their intoxicating effects, notably the "rush" or "high" they can provide. Nitrites originally came as small glass capsules that were popped open, which led to the nickname "poppers." The drug became popular in the US first on the disco/club scene of the 1970s and then at dance and rave venues in the 1980s and 1990s. In the 2000s, synthetic phenethylamines such as 2C-I, 2C-B and DOB have been referred to as club drugs due to their stimulating and psychedelic nature (and their chemical relationship with MDMA). [68] By late 2012, derivates of the psychedelic 2C-X drugs, the NBOMes and especially 25I-NBOMe, had become common at raves in Europe. In the U.S., some law enforcement agencies have branded the subculture as a drug-centric culture, as rave attendees have been known to use drugs such as cannabis, 2C-B, and DMT.[ citation needed ]

Since the early 2000s, medical professionals have acknowledged and addressed the problem of the increasing consumption of alcoholic drinks and club drugs (such as MDMA, cocaine, rohypnol, GHB, ketamine, PCP, LSD, and methamphetamine) associated with rave culture among adolescents and young adults in the Western world. [63] [64] [65] [66] [67] Studies have shown that adolescents are more likely than young adults to use multiple drugs, [69] and the consumption of club drugs is highly associated with the presence of criminal behaviors and recent alcohol abuse or dependence. [70] In May 2007, Antonio Maria Costa, executive director of the United Nations Office on Drugs and Crime, advocated drug testing on highways as a countermeasure against drug use at raves. [71] Much of the controversy, moral panic, and law enforcement attention directed at rave culture and its association with drug use may be due to reports of drug overdoses (particularly MDMA) at raves, concerts, and festivals. [72]

History by country

Belgium

The Belgian rave scene and sound have their roots in the late 1980s Belgian EBM and New Beat scenes.

Originally created by DJs slowing down gay Hi-NRG 45rpm records to 33rpm to create a trance-dance groove, New Beat evolved into a native form of hardcore techno in the 1990s with the introduction of techno records played at their original speeds or even slightly accelerated. [73] This brutal new hardcore style spread throughout the European rave circuit and penetrated the pop charts. [74]

The musical contribution of Brooklyn's DJ-producer Joey Beltram to R&S Records, run by Renaat Vandepapeliere, was instrumental in the development of iconic Belgian techno sounds and anthems. [75] [76]

Canada

Exodus Productions was arguably the first production company in Canada to throw regular rave style events at the warehouse space known as 23 Hop, located at 318 Richmond Street West in Toronto's Entertainment District. [77] The first party was held on 31 August 1991. Multiple production companies would quickly follow suit, and the rave scene would soon explode into a massive scene, with 23 Hop as the initial launching pad, until its closure in 1995. A documentary film entitled The Legend of 23 Hop highlighted the early stages of Exodus and similarly modelled production companies. [78] Notable DJs that performed at 23 Hop included Moby, Mark Oliver, Dino & Terry, Sean L., Dr. No, Malik X, DJ Ruffneck, Jungle PhD, Kenny Glasgow, Matt C, John E, Danny Henry and David Crooke. [79]

In 2001 Calgary, Alberta became the first major municipality in Canada to pass a bylaw with respect to raves. The intent of the bylaw was to ensure that raves would be safe for participants, and also not unduly disruptive to adjacent neighbourhoods. The bylaw was created in consultation with representatives from the municipality, the province of Alberta, and the rave community. [80]

Germany

KW - Das Heizkraftwerk Nightclub Munich 3.jpg
Ravers in a German techno club (KW in Munich) in the 1990s
Franconia-Love-Truck 1995.jpg
Love Parade 1995 in Berlin

In West Germany and West Berlin, a substantial acid house scene had established itself in the late 1980s. [81] In the West Berlin club Ufo, an illegal party venue located in the basement of an old apartment building, the first acid house parties took place in 1988. [82] [83] In Munich at this time, the Negerhalle (1983–1989) and the ETA-Halle established themselves as the first acid house clubs in temporarily used, dilapidated industrial halls, marking the beginning of the so-called hall culture in Germany. [84] [85] In July 1989, the first Love Parade took place in West Berlin. [83] [86]

Immediately after the Berlin Wall fell on 9 November 1989, free underground techno parties mushroomed in East Berlin. [82] According to East German DJ Paul van Dyk the techno-based rave scene was a major force in re-establishing social connections between East and West Germany during the unification period. [87] Soon the first techno clubs emerged in East Berlin such as the Tresor (est. 1991), the Planet (1991–1993), and the Bunker (1992–1996). [88] In Frankfurt, the Omen opened in 1988, which under its operator Sven Väth became the center of the scene in the Rhein-Main area in the following years. In 1990, the Babalu Club opened in Munich, introducing the concept of afterhours in Germany. [89]

In the late 1990s, the venues Tresor and E-Werk (1993–1997) in Berlin, Omen (1988–1998) and Dorian Gray (1978–2000) in Frankfurt, Ultraschall (1994–2003), KW – Das Heizkraftwerk (1996–2003) and Natraj Temple (1996–2008) in Munich, as well as Stammheim (1994–2002) in Kassel, had established themselves as the most renowned techno clubs in Germany. [90]

Parallel to the established club scene, illegal raves remained an integral part of the German rave scene throughout the 1990s. In urbanised Germany illegal raves and techno parties often preferred industrial sceneries such as decommissioned power stations, factories, the canalisation or former military properties of the cold war. [91]

In the course of the 1990s, rave culture became part of a new youth movement in Germany and Europe. DJs and electronic-music producers such as WestBam proclaimed the existence of a "raving society" and promoted electronic music as legitimate competition for rock and roll. Indeed, electronic dance music and rave subculture became mass movements. Since the mid-1990s, raves had tens of thousands of attendees, youth magazines featured styling tips, and television networks launched music magazines on house and techno music. [52] [86] The annual Love Parade festivals in Berlin and later the Metropolitan Ruhr area repeatedly attracted more than one million party-goers between 1997 and 2010. Dozens of other annual technoparades took place in Germany and Central Europe in the 1990s and early 2000s, the largest ones being Union Move, Generation Move, Reincarnation and Vision Parade as well as Street Parade and Lake Parade in Switzerland. Large commercial raves since the nineties include Mayday, Nature One, Time Warp, SonneMondSterne and Melt!. [86]

Since the late 2000s, Berlin is still called the capital of techno and rave, and techno clubs such as Berghain, Tresor, KitKatClub or Watergate and the way to party in barely renovated venues, ruins or wooden shacks such as, among many others, Club der Visionaere, Wilde Renate, or Bar 25, attracted international media attention. [92] One movie that portraits the scene of the 2000s is Berlin Calling starring Paul Kalkbrenner. In the 2010s, there continued to be a vivid rave and techno scene throughout the country, including numerous festivals and world-class techno clubs also outside of Berlin, such as for example MMA Club and Blitz Club in Munich, Institut für Zukunft in Leipzig or Robert Johnson in Offenbach. [93]

United Kingdom

Birth of UK rave scene (1980s–1990s)

The UK was finally recognised for its rave culture in the late 1980s and early 1990s. By 1991, organisations such as Fantazia and Raindance were holding massive legal raves in fields and warehouses around the country. The Fantazia party at Castle Donington, July 1992 was an open-air, all-night event. The Vision at Pophams airfield in August 1992 and Universe's Tribal Gathering in 1993 had a more festival feel.

By the middle of 1992, the scene was slowly changing, with local councils passing by-laws and increasing fees in an effort to prevent or discourage rave organisations from acquiring necessary licences.[ citation needed ] This meant that the days of the large one-off parties were numbered. By the mid-1990s, the scene had also fragmented into many different styles of dance music, making large parties more expensive to set up and more difficult to promote. The sound driving the big raves of the early 1990s had by the end of 1993 split into two distinct and polarising styles, the darker jungle and the faster happy hardcore. Although many ravers left the scene due to the split, promoters such as ESP Dreamscape and Helter Skelter still enjoyed widespread popularity and capacity attendances with multi-arena events catering to the various genres. Notable events of this period included ESP's outdoor Dreamscape 20 event on 9 September 1995 at Brafield aerodrome fields, Northants and Helter Skelter's Energy 97 outdoor event on 9 August 1997 at Turweston Aerodrome, Northants.

Free parties and outlawing of raves (1992–1994)

The illegal free party scene also reached its zenith for that time after a particularly large festival, when many individual sound systems such as Bedlam, Circus Warp, DIY, and Spiral Tribe set up near Castlemorton Common. The government acted. Under the Criminal Justice and Public Order Act 1994 , the definition of music played at a rave was given as:

"Music" includes sounds wholly or predominantly characterised by the emission of a succession of repetitive beats.

— Criminal Justice and Public Order Act 1994 [94]

Sections 63, 64 and 65 of the Act targeted electronic dance music played at raves. The Criminal Justice and Public Order Act empowered police to stop a rave in the open air when a hundred or more people are attending, or where two or more are making preparations for a rave. Section 65 allows any uniformed constable who believes a person is on their way to a rave within a five-mile radius to stop them and direct them away from the area; non-compliant citizens may be subject to a maximum fine not exceeding level 3 on the standard scale (£1000). The Act was officially introduced because of the noise and disruption caused by all night parties to nearby residents, and to protect the countryside. However, some participants in the scene claimed it was an attempt to lure youth culture away from MDMA and back to taxable alcohol. [95] In November 1994, the Zippies staged an act of electronic civil disobedience to protest against the CJB (i.e., Criminal Justice Bill).

After 1993, the main outlet for raves in the UK were a number of licensed parties, amongst them Helter Skelter, Life at Bowlers (Trafford Park, Manchester), The Edge (formerly the Eclipse [Coventry]), The Sanctuary (Milton Keynes) and Club Kinetic. [96] In London, itself, there were a few large clubs that staged raves on a regular basis, most notably "The Laser Dome", "The Fridge", "The Hippodrome", "Club U.K.", and "Trade." "The Laser Dome" featured two separate dance areas, "Hardcore" and "Garage", as well as over 20 video game machines, a silent-movie screening lounge, replicas of the "Statue of Liberty", "San Francisco Bridge", and a large glass maze. In Scotland, event promoters Rezerection held large-scale events across the country. [97]

By 1997, the popularity of weekly Superclub nights had taken over from the old Rave format, with a raft of new club-based genres sweeping in (e.g. Trance, Hard House, Speed and UK garage) alongside the more traditional House sound that had regained popularity. Clubs like Gatecrasher and Cream rose to prominence with dress codes and door policies that were the polar opposite of their rave counterparts; stories of refused entry due to not wearing the right clothing were commonplace, but seemingly did nothing to deter Superclub attendance.[ citation needed ]

Illegal lockdown gatherings

In August 2020, following a proliferation of illegal gatherings, the British government introduced additional legislation allowing police to issue organisers of illegal gatherings with fines of £10,000. [98]

United States

Origins in disco and psychedelia (1970s)

The American electronic dance music scene is one of the earliest, and rave culture has its roots in the "circuit parties" and disco clubs of the late 1970s. These were scattered in cities large and small throughout the United States, from Buffalo to Cleveland to Aspen, Colorado. Cities like Chicago, Detroit, Miami, and New York City soon saw the rise of electronic music genres foundational to rave culture, such as house music, techno, and breakbeat. American ravers, like their UK and European counterparts, have been compared to the hippies of the 1960s due to their shared interest in non-violence and psychedelia. [99] Rave culture incorporated disco culture's same love of dance music spun by DJs, drug exploration, sexual promiscuity, and hedonism. Although disco culture had thrived in the mainstream, the rave culture would make an effort to stay underground to avoid the animosity that was still surrounding disco and dance music. The key motive for remaining underground in many parts of the US had to do with curfew and the standard 2:00 am closing of clubs. It was a desire to keep the party going past legal hours that created the underground direction. Because of the legality, they had to be secretive about time and place.

Growth in Chicago (1980s)

Within the early 1980s Chicago created "House music" and quickly grew with the city. This music scene has been one of the earliest and most influential scenes in dance music history. Frankie Knuckles also known as "Godfather of House Music" [100] who was a dj-producer that was considered to have invented "Chicago House Music". He would mix a range of disco classics, indie-label soul tunes, European synth-disco that is now considered to be "House Music". Frankie played his house beats at The Warehouse (1977–1982) that was a club for members only, that attracted many black gay men but his music gained a wider crowd which then attracted straighter, whiter crowds. Leading its owner of the club, Robert Williams, to get rid of memberships entirely. Frankie left to create his own club called, "Power Plant" (1983–1985) [101] which gained the attention of an entirely diverse crowd. He created his House music by using his own edits and extending the grooves within the tunes to keep the dance floor filled all-night. Ultimately, this phenomenon spread exponentially throughout Chicago during 1986–1987. Chicago house influenced music which is what created "House Music" in England during 1986 [102] this is what grew into Electronic Dance Music today.

New York Raves and Party Promoters (1980s)

In the late 1980s, rave culture began to filter through into North America from English expatriates and from US DJs who would visit Europe. However, rave culture's major expansion in North America is often credited to Frankie Bones, who after spinning a party in an aircraft hangar in England, helped organise some of the earliest American raves in the 1990s in New York City called "Storm Raves". Storm Raves had a consistent core audience, fostered by zines by fellow Storm DJ (and co-founder, with Adam X and Frankie Bones, of the US techno record store, Groove Records). Heather Heart held Under One Sky. Simultaneously in NYC, events were introducing electronic dance music to this city's dance scene. Between 1992 and 1994, promotional groups sprung up across the east coast.

Southern California and Latin America (1990s)

In the 1990s, San Diego held large raves with audiences of thousands. These festivals were held on Indian reservations and ski resorts during the summer months and were headlined by DJs such as Doc Martin, Daniel Moontribe, Dimitri of Deee-lite, Afrika Islam and the Hardkiss brothers from San Francisco. They helped to create the Right to Dance movement—a non-violent protest held in San Diego and later in Los Angeles.

Featuring local San Diego DJs Jon Bishop, Steve Pagan, Alien Tom, Jeff Skot, Jon-e Thin, Paolo, Merlyn, Gmaxim, Tony Fiore, Damon and Mark E. Quark performed at these events. The events used large props and themes. The fairy and pixie craze, with ravers getting fairy tattoos and wearing fairy wings to parties was associated with the region. The percussive group Crash Worship was active here.

In 1993 out of the Los Angeles underground rave movement came Moontribe the original Southern California Full Moon Gathering and featured Dj's Daniel Moontribe (aka Daniel Chavez aka Dcomplex aka Dcomplexity) and more.

Growth in California

In the late 1980s and early 1990s, there was a boom in rave culture in the San Francisco Bay Area. At first, small underground parties sprung up all over the SOMA district in vacant warehouses, loft spaces, and clubs. The no alcohol rule fuelled the ecstasy-driven parties. Small underground raves were just starting out and expanding beyond SF to include the East Bay, the South Bay area including San Jose, Santa Clara, and Santa Cruz beaches.

In late 1991, raves started to expand across northern California, and cities like Sacramento, Oakland, Silicon Valley (Palo Alto, San Jose). The massive parties were taking place in outdoor fields, aeroplane hangars and hilltops that surround the valley. San Francisco's early promoters and DJs were from the UK and Europe. Raves took place in some of the SOMA art museum event such as, 'Where the wild things are' in the museum on top of the Sony Metreon, and in the Maritime hall (1998–2002).

By the end of 1994, a new generation of ravers were attracted by the new sounds. EDM began to become popular. Raves could be found in many different kinds of venues, as opposed to just basements and warehouses. Promoters started to take notice and put together the massives of the late 1990s with many music forms under one roof for 12-hour events. Until 2003, the raves scene continued to grow slow and stay stable until there was increasingly awareness and publicity about illicit drug usage at raves, particularly ecstasy. Parallel to the rave scene growth, was an increase in anti drug policies, which were directly aimed and indirectly influenced rave organizational management and event. On 30 April 2003, the US Congress passed the Illicit Drug Anti-Proliferation Act, which has origins from a similarly purposed, but not passed, 2002 bill. That bill is notably named The RAVE Act. Consequentially, by mid 2000s and late 2000s larger raves appeared more sporadically. [103] Nevertheless, and parallel to new city ordinances regarding curfews and drug enforcement, rave event promoter companies like Go ventures and Insomniac persisted and continued annual scheduled rave events like Monster Massive, Together as One, and Electric Daisy Carnival. From this base of routine and consistency scheduled events, the rave scene reemerged with in 2010 with even more attendance and dance locations. The overwhelming attendance, including from lack of underage attendance restrictions, reached a changing point with the 185,000 estimated in attendance 2010 Electric Daisy Carnival (EDC). That 2010 event gained widespread attention because of the death and overdose of a 15-year-old girl, Sasha Rodriguez. [103] [104] The death prompted an investigation of EDC's Insomniac's founder Pasquale Rotella. That investigation resulted in him being charged with bribery of public employee Todd DeStefano. At the time, DeStefano was the LA Coliseum event manager, which was the location of 2010's EDC. [105] This in turn lead to a reorganisation of Insomniac rave events. For EDC in particular, while free on bail, Pasquale Rotella moved 2011's EDC from Los Angeles to Las Vegas from then on as well as increased the EDC scheduled locations. Rotella later reached a plea bargain and avoided jail time. [105]

Seattle

Through the mid-1990s and into the 2000s the city of Seattle also shared in the tradition of West Coast rave culture. Though a smaller scene compared to San Francisco, Seattle also had many different rave crews, promoters, DJs, and fans. Candy Raver style, friendship and culture became popular in the West Coast rave scene, both in Seattle and San Francisco. At the peak of West Coast rave, Candy Raver, and massive rave popularity (1996–1999,) it was common to meet groups of ravers, promoters, and DJs who frequently travelled between Seattle and San Francisco, as well as Bellingham, Vancouver, Canada and Portland, Oregon. This spread the overall sense of West Coast rave culture and the phenomenon of West Coast "massives".

Recent Years (2000s)

By 2010, raves were becoming the equivalent of large-scale rock music festivals, but many times even bigger and more profitable. The Electric Daisy Carnival in Las Vegas drew more than 300,000 fans over three days in the summer of 2012, making it the largest EDM music festival in North America. Ultra Music Festival in Miami drew 150,000 fans over three days in 2012 while other raves like Electric Zoo in New York, Beyond Wonderland in LA, Movement in Detroit, Electric Forest in Michigan, Spring Awakening Music Festival in Chicago, and dozens more now attract hundreds of thousands of "ravers" every year. These new EDM-based rave events (now simply referred generically to as "music festivals") sell out. Festival attendance at the Electric Daisy Carnival (EDC) increased by 39.1%, or 90,000 attendees from 2011 to 2012. In 2013, EDC had attendance of approximately 345,000 people, a record for the festival. The average ticket for EDC cost over $300 and the event contributed $278 million to the Clark County economy in 2013. [106] This festival takes place at a 1,000-acre complex featuring a half dozen custom built stages, enormous interactive art installations, and hundreds of EDM artists. Insomniac, a US EDM event promoter, holds yearly EDC and other EDM events.

A Rave in Seoul, South Korea in 2001 A Rave in Seoul, South Korea in 2001.jpg
A Rave in Seoul, South Korea in 2001

Australia

1980s and 1990s: outdoor raves and the Sydney scene

Rave parties began in Australia as early as the 1980s and continued well into the late 1990s. They were mobilised versions of the 'warehouse parties', across Britain. Similar to the United States and Britain, raves in Australia were unlicensed and held in spaces normally used for industrial and manufacturing purposes, such as warehouses, factories and carpet showrooms. In addition, suburban locations were also used: basketball gymnasiums, train stations and even circus tents were all common venues. In Sydney, common areas used for outdoor events included Sydney Park, a reclaimed garbage dump in the inner south west of the city, Cataract Park and various other natural, unused locations and bush lands. The raves placed a heavy emphasis on the connection between humans and the natural environment, thus many raves in Sydney were held outdoors, notably the 'Happy Valley' parties (1991–1994), 'Ecology' (1992) and 'Field of Dreams 4' (6 July 1996). [107] [108] The mid-late 1990s saw a slight decline in rave attendance, attributed to the death of Anna Wood at a licensed inner-city Sydney venue, which was hosting a rave party known as "Apache". Wood had taken ecstasy and died in hospital a few days later, leading to extensive media exposure on the correlation of drug culture and its links to the rave scene in Australia.

2000s–present

The tradition continued in Melbourne, with 'Earthcore' parties. Raves also became less underground as they were in the 1990s, and many were held at licensed venues well into the 2000s. Despite this, rave parties of 1990s size became less common. Nonetheless, the rave scene in Australia experienced a resurgence during the 2010s. During this period the resurfacing of the "Melbourne Shuffle", a Melbourne club/rave dance style, became a YouTube trend and videos were uploaded. The rave subculture in Melbourne was strengthened with the opening of clubs such as Bass Station and Hard Candy and the rise of free party groups such as Melbourne Underground. In Melbourne, warehouse squat party and outdoor raves were frequently held throughout the 2010s, with attendance occasionally entering the thousands.

Notable events

The following is an incomplete list of notable raves.

Artists

Notable soundsystems

Audio technicians set up massive speaker enclosures for a Jamaican sound system party. Sound System.jpg
Audio technicians set up massive speaker enclosures for a Jamaican sound system party.

The following is an incomplete list of notable sound systems:

See also

Related Research Articles

House is a genre of electronic dance music characterized by a repetitive four-on-the-floor beat and a typical tempo of 115–130 beats per minute. It was created by DJs and music producers from Chicago's Black gay underground club culture and evolved slowly in the early/mid 1980s as DJs began altering disco songs to give them a more mechanical beat. By early 1988, House became mainstream and supplanted the typical 80s music beat.

Trance is a genre of electronic dance music that emerged from EBM in Frankfurt, Germany, in the late 1980s and early 1990s, and quickly spread throughout Europe.

Breakbeat hardcore is a music genre that spawned from the UK rave scene during the early 1990s. It combines four-on-the-floor rhythms with breakbeats usually sampled from hip hop. In addition to the inclusion of breakbeats, the genre also features shuffled drum machine patterns, hoover, and other noises originating from new beat and Belgian techno, sounds from acid house and bleep techno, and often upbeat house piano riffs and vocals.

<span class="mw-page-title-main">Freetekno</span> Cultural movement formed around loose collectives

Freetekno is a cultural movement that is present in Europe, Australia and North America. Freetekno sound systems or tribes form in loose collectives, frequently with anarchist philosophies. These sound systems join to hold parties wherever a viable space can be found – typical locations include warehouses, fields, abandoned buildings or forests. Because freetekno parties are usually held illegally this sometimes leads to clashes with the police, as was the case at both the 2004 and 2005 Czechtek festivals and many other, smaller parties around the world at different times.

Breakbeat is a broad type of electronic music that tends to use drum breaks sampled from early recordings of funk, jazz, and R&B. Breakbeats have been used in styles such as Florida breaks, hip hop, jungle, drum and bass, big beat, breakbeat hardcore, and UK garage styles.

Jungle is a genre of electronic music that developed out of the UK rave scene and Jamaican sound system culture in the 1990s. Emerging from breakbeat hardcore, the style is characterised by rapid breakbeats, heavily syncopated percussive loops, samples, and synthesised effects, combined with the deep basslines, melodies, and vocal samples found in dub, reggae and dancehall, as well as hip hop and funk. Many producers frequently sampled the "Amen break" or other breakbeats from funk and jazz recordings. Jungle was a direct precursor to the drum and bass genre which emerged in the mid-1990s.

<span class="mw-page-title-main">Free party</span> Party "free" from the restrictions of the legal club scene

A free party is a party "free" from the restrictions of the legal club scene, similar to the free festival movement. It typically involves a sound system playing electronic dance music from late at night until the time when the organisers decide to go home. A free party can be composed of just one system or of many and if the party becomes a festival, it becomes a teknival. The word free in this context is used both to describe the entry fee and the lack of restrictions and law enforcement.

Hardcore is a genre of electronic dance music that originated in the Netherlands, Belgium, and Germany in the early 1990s. It is distinguished by faster tempos and a distorted sawtooth kick, the intensity of the kicks and the synthesized bass, the rhythm and the atmosphere of the themes, the usage of saturation and experimentation close to that of industrial dance music. It would spawn subgenres such as gabber.

Progressive house is a subgenre of house music. The progressive house style emerged in the early 1990s. It initially developed in the United Kingdom as a natural progression of North American and European house music of the late 1980s.

Bouncy techno is a hardcore dance music rave style that developed in the early 1990s from Scotland and Northern England. Described as an accessible gabber-like form, it was popularised by Scottish DJ and music producer Scott Brown under numerous aliases.

Genesis'88 was a party promotion crew who threw some of the first acid house parties also known as raves in the United Kingdom from 1988 to 1992.

<span class="mw-page-title-main">Second Summer of Love</span> 1980s British social phenomenon

The Second Summer of Love was a late-1980s social phenomenon in the United Kingdom which saw the rise of acid house music and unlicensed rave parties. Although primarily referring to the summer of 1988, it lasted into the summer of 1989, when electronic dance music and the prevalence of the drug MDMA fuelled an explosion in youth culture culminating in mass free parties and the era of the rave. The music of this era fused dance beats with a psychedelic, 1960s flavour, and the dance culture drew parallels with the hedonism and freedom of the 1967 Summer of Love in San Francisco. The smiley logo is synonymous with this period in the UK.

Florida breaks, which may also be referred to as The Orlando Sound, Orlando breaks, or The Breaks, is a genre of breakbeat dance music that originated in the central region of Florida, United States. Florida Breaks draws on hip-hop, Miami bass and electro. It often includes samples of early jazz or funk beats from rare groove or popular film. It often features vocal elements. Compared to the hip-hop on which it is based, the style is faster, more syncopated, and has a heavier and unrelenting bassline. The beat frequently slows and breaks down complex beat patterns and then rebuilds. The genre has been described as being easy to dance to while creating an uplifting, happy, or positive mood in the listener.

Hard trance is a subgenre of trance music that originated in Belgium, Germany and the Netherlands in the early 1990s as the Breakbeat hardcore production community began to diversify into new and different styles of electronic music, all influenced by Hard house, New beat, Happy hardcore and Jungle music. The popularity of hard trance peaked during the late 1990s and has since then faded in scope of newer forms of trance.

Electronic dance music (EDM), also referred to as club music, is a broad range of percussive electronic music genres originally made for nightclubs, raves, and festivals. It is generally produced for playback by DJs who create seamless selections of tracks, called a DJ mix, by segueing from one recording to another. EDM producers also perform their music live in a concert or festival setting in what is sometimes called a live PA. Since its inception EDM has expanded to include a wide range of subgenres.

<span class="mw-page-title-main">Acid house</span> Music subgenre

Acid house is a subgenre of house music developed around the mid-1980s by DJs from Chicago. The style is defined primarily by the squelching sounds and basslines of the Roland TB-303 electronic bass synthesizer-sequencer, an innovation attributed to Chicago artists Phuture and Sleezy D circa 1986.

Techno is a genre of electronic dance music which is generally produced for use in a continuous DJ set, with tempos being in the range from 120 to 150 beats per minute (BPM). The central rhythm is typically in common time (4/4) and often characterized by a repetitive four on the floor beat. Artists may use electronic instruments such as drum machines, sequencers, and synthesizers, as well as digital audio workstations. Drum machines from the 1980s such as Roland's TR-808 and TR-909 are highly prized, and software emulations of such retro instruments are popular.

<span class="mw-page-title-main">Clubbing (subculture)</span> Contemporary subculture

Clubbing is the activity of visiting and gathering socially at nightclubs and festivals. That includes socializing, listening to music, dancing, drinking alcohol and using other recreational drugs. It is often done to hear new music on larger, high-end audio systems than one would usually have in one's home, or for socializing and meeting new people. Clubbing and raves have historically referred to grass-roots organized, anti-establishment and unlicensed all night dance parties, typically featuring electronically produced dance music, such as techno, house, trance and drum and bass.

Gabber is a style of electronic dance music and a subgenre of hardcore techno, as well as the surrounding subculture. The music is more commonly referred to as hardcore, and is characterised by fast beats, distorted and heavy kickdrums, with dark themes and samples. This style was developed in Rotterdam and Amsterdam in the 1990s by producers like Marc Acardipane, Paul Elstak, DJ Rob, and The Prophet, forming record labels such as Rotterdam Records, Mokum Records, Pengo Records and Industrial Strength Records.

<span class="mw-page-title-main">Shoom</span> 1987–1990 dance music event

Shoom was a weekly all-nighter dance music event in London, England, between September 1987 and early 1990. It is widely credited with initiating the acid house movement in the UK. Shoom was founded by Danny Rampling, then an unknown DJ and record producer, and managed by his wife Jenni. The club began at a 300-capacity basement gym on Southwark Street in South London. By May 1988, its growing popularity necessitated a move to the larger Raw venue on Tottenham Court Road, Central London, and a switch from Saturday to Thursday nights. Later relocations were to The Park Nightclub, Kensington and Busby's venue on Charing Cross Road.

References

  1. 1 2 "How rave music conquered America". The Guardian. 2 August 2012.
  2. ↑ Shepherd, John (2003). Continuum Encyclopedia of Popular Music of the World: Performance and production. Volume II. A&C Black. pp. 334–335. ISBN   978-0826463210 . Retrieved 10 September 2016.
  3. 1 2 3 4 5 "Club Drugs". drugabuse.gov. North Bethesda, Maryland: National Institute on Drug Abuse. 2021. Retrieved 17 August 2021.
  4. 1 2 3 4 5 6 Palamar, J. J.; Griffin-Tomas, M.; Ompad, D. C. (2015). "Illicit Drug Use among Rave Attendees in a Nationally Representative Sample of US High School Seniors". Drug and Alcohol Dependence. 152: 24–31. doi:10.1016/j.drugalcdep.2015.05.002. PMC   4458153 . PMID   26005041.
  5. ↑ "Cocaine, ethanol and party drug MDA found in Scott Weiland's body". 18 December 2015.
  6. ↑ "Ketamine, better known as the rave drug Special-K, could be our next anti-depressant". 12 May 2016.
  7. ↑ "Marijuana in the Rave Culture of the 90's". 6 February 2018. Archived from the original on 15 March 2019. Retrieved 8 June 2018.
  8. ↑ "Rave & Squat Party Revival". 1 October 2017.
  9. ↑ Rosca, Matei (1 April 2014). "Illegal raves: Social media messages bring in a new generation of partygoers". The Guardian.
  10. ↑ "Illegal raves: How the underground scene has never really gone away". 9 May 2018.
  11. ↑ "The ravers' return: How underground parties are making a comeback". The Independent . 1 May 2016.
  12. ↑ "Italy's right-wing government to criminalise raves". 1 November 2022. Retrieved 8 January 2024.
  13. 1 2 Evans, Helen. "OUT OF SIGHT, OUT OF MIND: An Analysis of Rave culture" . Retrieved 25 October 2007. The term rave first came into use in late 50s Britain as a name for the wild bohemian parties of the time.
  14. ↑ Fordham, John (4 January 2007). "Obituary: Mick Mulligan". The Guardian. ISSN   0261-3077 . Retrieved 27 November 2017.
  15. ↑ Thinkmap, Inc. "Buddy Holly, Wordsmith". visualthesaurus.com.
  16. ↑ "The History of Rave". Jungle Drum and Bass. 30 August 2020. Retrieved 25 July 2022.
  17. ↑ "Unit Delta Plus". Delia Derbyshire. Retrieved 25 October 2007. Perhaps the most famous event that Unit Delta Plus participated in was the 1967 Million Volt Light and Sound Rave at London's Roundhouse, organised by designers Binder, Edwards and Vaughan (who had previously been hired by Paul McCartney to decorate a piano). The event took place over two nights (28 January and 4 February 1967) and included a performance of tape music by Unit Delta Plus, as well as a playback of the legendary Carnival of Light, a fourteen-minute sound collage assembled by McCartney around the time of the Beatles' Penny Lane sessions.
  18. ↑ Bill Brewster and Frank Broughton. Last Night a DJ Saved My Life, Chapter 4, "Northern Soul: The First Rave Culture", page 85
  19. ↑ "From "The in Crowd" to the "Happy People" | Uppers Culture Lifestyle". Uppers.org. Archived from the original on 19 October 2015. Retrieved 3 June 2015.
  20. ↑ Bill Brewster and Frank Broughton. Last Night a DJ Saved My Life, Chapter 4, "From Northern Soul to Nu-NRG", page 113
  21. ↑ Cheeseman-fu, Phil. "The History of House". DJ Magazine . Retrieved 13 August 2013.
  22. ↑ "Acid House Music – The Timeline (The History of House – "Garage, Techno, Jungle. It's all House")". Fantazia.org. Retrieved 13 August 2013.
  23. ↑ Altered State – The Story of Ecstasy Culture and Acid House, Matthew Collin (contributions by John Godfrey), Serpent's Tail, 1997 ( ISBN   1852423773)
  24. ↑ Parkin, Simon (May 1999). "Visual Energy".
  25. ↑ Scott, Michael S. (2002). "Rave Parties". Center for Problem Oriented Policing.
  26. ↑ "Are.na". are.na. 5 February 2020. Retrieved 25 July 2022.
  27. ↑ Timeline and numbers Reynolds, Simon (1998). Generation Ecstasy: into the world of Techno and Rave culture. Picador. ISBN   978-0-330-35056-3.
  28. ↑ "Rave Music Genre Overview". AllMusic.
  29. ↑ "The Sound of Belgium Documentary". Archived from the original on 11 April 2016.
  30. ↑ "Ishkur's Guide to Electronic Music". Ishkur.com.
  31. ↑ Collin, Matthew (11 January 2018). Rave On: Global Adventures in Electronic Dance Music. Serpent's Tail. ISBN   978-1-78283-145-7.
  32. ↑ Radio, N. T. S. "Gqom Oh! - Taxi Kick Explosion 2nd May 2020". NTS Radio. Retrieved 1 August 2024.
  33. ↑ "House | music". Encyclopædia Britannica. 15 March 2024.
  34. ↑ Anderson, Tammy L.; Kavanaugh, Philip R. (2007). "A 'Rave' Review: Conceptual Interests and Analytical Shifts in Research on Rave Culture". Sociology Compass. 1 (2): 499–519. doi:10.1111/j.1751-9020.2007.00034.x. ISSN   1751-9020.
  35. ↑ Chester, Jerry (2 May 2017). "The rave that changed the law". BBC News. Retrieved 27 November 2017.
  36. ↑ Anderson, Tammy L. (2009). "Understanding the Alteration and Decline of a Music Scene: Observations from Rave Culture". Sociological Forum. 24 (2): 309–311. doi:10.1111/j.1573-7861.2009.01101.x. JSTOR   40210403.
  37. ↑ Hutson, Scott R. (2000). "The Rave: Spiritual Healing in Modern Western Subcultures". Anthropological Quarterly. 73 (1): 40–41. JSTOR   3317473.
  38. ↑ Carroll, Alex K.; Zedeno, M. Nieves; Stoffle, Richard W. (2004). "Landscape of the Ghost Dance: A Cartography of Numic Ritual". Journal of Archaeological Method and Theory. 11 (2): 141–143. doi:10.1023/b:jarm.0000038064.42041.aa. JSTOR   20164812. S2CID   55428611.
  39. ↑ "In Case You Missed it, Falls Festival was MAJOR". Edition | THE ICONIC. 17 January 2019.
  40. ↑ Matos, Michaelangelo. "Shoom: An Oral History of the London Club That Kicked Off Rave Culture". Rolling Stone , 12 December 2017. Retrieved 29 November 2020.
  41. ↑ Arlidge, John (2 May 1995). "The day the music died, Hanger 13, Scotland's top rave venue, has been closed after three Ecstasy-related deaths". independent.co.uk/. The Independent Newspaper UK. Retrieved 5 October 2015.
  42. ↑ Benson, Denise (21 September 2014). "Then & Now: Industry". Denise Benson. Retrieved 10 February 2021.
  43. ↑ Benson, Denise (24 September 2014). "Then & Now: System Soundbar". Denise Benson. Retrieved 28 January 2021.
  44. ↑ Boles, Benjamin (25 May 2017). "Leaving The Comfort Zone; Looking Back on Toronto's After-Hours Institution That Closes This Weekend". Buzz Connected Media Inc. Retrieved 10 February 2021.
  45. ↑ Benson, Denise (24 October 2014). "Then & Now: Turbo". Denise Benson. Retrieved 4 February 2021.
  46. ↑ Everit, Anthony. Joining In: An investigation in participatory music (PDF). Archived from the original (PDF) on 31 July 2013. A rave or a rock concert is not simply a presentation which audiences attend, but a communal event (like a secular church service) in which everyone has an active part.
  47. ↑ Turino, Thomas. Music as Social Life: The Politics of Participation. Chicago: University of Chicago Press.
  48. ↑ Büschel, Justine (21 January 2019). "POST-INTERNET-DANCE From virtual space to reality and back again, #1 – 2019". hellerau. Retrieved 26 May 2024.
  49. ↑ Heller, David Francis (May 2014). I-Rave : digiphrenia's transformation of a culture (MA thesis). University of Hawaii at Manoa. hdl: 10125/100325 .
  50. ↑ Bouteba, Miriam (13 November 2017). "A guide to 25 years of European rave fashion". Red Bull . Retrieved 5 February 2020.
  51. 1 2 Sack, Adriano (21 February 2019). "RAVE: Before Streetwear There Was Clubwear". 032c . Retrieved 5 February 2020.
  52. 1 2 "Jung ist die Nacht: CLUB-TIPS" [Young is the night: club tips]. Spiegel Special (in German). 1 August 1998. Archived from the original on 11 November 2017. Retrieved 20 June 2019.
  53. ↑ Muri, Gabriela (1999). Aufbruch ins Wunderland?: Ethnographische Recherchen in Zürcher Technoszenen 1988–1998[Departure into wonderland?: Ethnographic research in Zurich techno scenes 1988–1998] (in German). Chronos Verlag. ISBN   9783034011785.
  54. ↑ Mary Grace Cerni (3 January 2014). "The Evolution of Rave Fashion". L.A. Weekly.
  55. ↑ "Berliner Techno Szene: Black is a happy Color!" [Berlin's techno scene: black is a happy color!]. RTT magazine. 7 September 2016. Retrieved 4 February 2020.
  56. ↑ "Everything You Need to Know About Gloving | Insomniac" . Retrieved 5 August 2022.
  57. 1 2 "Learn About The Gloving Movement | Rave Culture Blog". NuLights. Retrieved 5 August 2022.
  58. ↑ Gahlinger, Paul M. (1 June 2004). "Club Drugs: MDMA, Gamma-Hydroxybutyrate (GHB), Rohypnol, and Ketamine". American Family Physician. 69 (11): 2619–26. PMID   15202696.
  59. ↑ Robinson, Roxy (2016). Music Festivals and the Politics of Participation. Routledge. p. 33. ISBN   978-1317091998 . Retrieved 10 September 2016.
  60. ↑ Coutinho, Tiago. "From religious ecstasy to ecstasy pills: A symbolic and performative analysis of electronic music festivals". Religião & Sociedade. 2 (SE).
  61. ↑ "Scams & Safety | Tips for Parents: The Truth About Club Drugs". Archived from the original on 29 March 2016. Retrieved 27 April 2016.
  62. ↑ Adlaf, Edward M.; Smart, Reginald G. (1997). "Party Subculture or Dens of Doom? An Epidemiological Study of Rave Attendance and Drug Use Patterns Among Adolescent Students". Journal of Psychoactive Drugs. 29 (2): 193–198. CiteSeerX   10.1.1.563.3586 . doi:10.1080/02791072.1997.10400187. ISSN   0279-1072. PMID   9250946.
  63. 1 2 Weir, Erica (June 2000). "Raves: a review of the culture, the drugs and the prevention of harm" (PDF). CMAJ . 162 (13). Canadian Medical Association: 1843–1848. eISSN   1488-2329. ISSN   0820-3946. LCCN   87039047. PMC   1231377 . PMID   10906922. S2CID   10853457. Archived (PDF) from the original on 28 June 2019. Retrieved 17 August 2021.
  64. 1 2 Larive, Lisa L.; Romanelli, Frank; Smith, Kelly M. (June 2002). "Club drugs: methylenedioxymethamphetamine, flunitrazepam, ketamine hydrochloride, and gamma-hydroxybutyrate". American Journal of Health-System Pharmacy . 59 (11). American Society of Health-System Pharmacists: 1067–1076. doi: 10.1093/ajhp/59.11.1067 . eISSN   1535-2900. ISSN   1079-2082. OCLC   41233599. PMID   12063892. S2CID   44680086.
  65. 1 2 Klein, Mary; Kramer, Frances (February 2004). "Rave drugs: pharmacological considerations" (PDF). AANA Journal. 72 (1). American Association of Nurse Anesthetists: 61–67. ISSN   0094-6354. PMID   15098519. S2CID   41926572. Archived (PDF) from the original on 17 August 2021. Retrieved 17 August 2021.
  66. 1 2 Degenhardt, Louisa; Copeland, Jan; Dillon, Paul (2005). "Recent trends in the use of "club drugs": an Australian review". Substance Use & Misuse . 40 (9–10). Taylor & Francis: 1241–1256. doi:10.1081/JA-200066777. eISSN   1532-2491. ISSN   1082-6084. LCCN   2006268261. PMID   16048815. S2CID   25509945.
  67. 1 2 Avrahami, Beni; Bentur, Yedidia; Halpern, Pinchas; Moskovich, Jenny; Peleg, Kobi; Soffer, Dror (April 2011). "Morbidity associated with MDMA (ecstasy) abuse: a survey of emergency department admissions". Human & Experimental Toxicology . 30 (4). SAGE Publications: 259–266. Bibcode:2011HETox..30..259H. doi:10.1177/0960327110370984. eISSN   1477-0903. ISSN   0960-3271. LCCN   90031138. PMID   20488845. S2CID   30994214.
  68. ↑ "2C-I". Advice. BBC. Archived from the original on 12 November 2012.
  69. ↑ Palamar JJ, Acosta P, Le A, Cleland CM, Nelson LS (November 2019). "Adverse drug-related effects among electronic dance music party attendees". International Journal of Drug Policy. 73. Elsevier: 81–87. doi:10.1016/j.drugpo.2019.07.005. ISSN   1873-4758. PMC   6899195 . PMID   31349134. S2CID   198932918.
  70. ↑ Wu, Li-Tzy; Schlenger, William E.; Galvin, Deborah M. (September 2006). "Concurrent Use of Methamphetamine, MDMA, LSD, Ketamine, GHB, and Flunitrazepam among American Youths". Drug and Alcohol Dependence. 84 (1). Elsevier: 102–113. doi:10.1016/j.drugalcdep.2006.01.002. ISSN   0376-8716. PMC   1609189 . PMID   16483730. S2CID   24699584.
  71. ↑ "UN drugs chief calls for introduction of drug testing to help curb substance abuse". unodc.org. Istanbul: United Nations Office on Drugs and Crime. 10 May 2007. Archived from the original on 17 December 2007. Retrieved 17 August 2021.
  72. ↑ Armenian, Mamantov, Tsutaoka, Gerona, Silman, Wu, Olson (2012). "Multiple MDMA (Ecstasy) Overdoses at a Rave Event-A Case Series". Journal of Intensive Care Medicine. 28 (4): 252–258. CiteSeerX   10.1.1.668.2071 . doi:10.1177/0885066612445982. PMID   22640978. S2CID   26074659.{{cite journal}}: CS1 maint: multiple names: authors list (link)
  73. ↑ Reynolds, Simon (1998). Energy Flash: A Journey Through Rave Music and Dance Culture. Picador. New Beat began when DJs started to spin gay Hi-NRG records at 33 r.p.m. rather than the correct 45 r.p.m., creating an eerie, viscous, trance-dance groove. At the height of the craze, Renaat recalled, the Ghent club Boccaccio 'was like a temple. Everyone was dressed in black and white, dancing this weird, robotic dance.' [...] As the nineties progressed, the b.p.m. returned to normal, then accelerated, as DJs started playing techno with their turntables set to +8. A native hardcore was born, with labels like Hithouse, Big Time International, Who's That Beat, Beat Box and Music Man, and groups like Set Up System, Cubic 22, T99, 80 Aum, Incubus, Holy Noise and Meng Syndicate.
  74. ↑ Reynolds, Simon (1998). Energy Flash: A Journey Through Rave Music and Dance Culture. Picador. As Belgian hardcore swamped Europe, dominating the underground rave circuit and penetrating the pop charts, the techno cognoscenti blanched in horror at the new style's brutalism.
  75. ↑ Reynolds, Simon (1998). Energy Flash: A Journey Through Rave Music and Dance Culture. Picador. The seeds of the new sound, however, germinated somewhere between Belgium and Brooklyn, New York, where DJ–producers like Lenny Dee, Mundo Muzique and Joey Beltram were pushing rave music in a harder and faster direction.
  76. ↑ "The Untold Story of Joey Beltram, the Techno Titan Behind the 90s' Most Iconic Rave Anthems". Vice. 11 March 2016.
  77. ↑ "23 Hop | Rave, Warehouse and Afterhours Venue". 24 August 2009. Retrieved 12 February 2021.
  78. ↑ "The Legend of 23 Hop: A Documentary on the Murky Origins of Toronto's Rave Scene". 31 August 2019. Retrieved 12 February 2021.
  79. ↑ "Then & Now: 23 Hop". Then and Now: Toronto Nightlife History. 17 September 2014. Retrieved 12 February 2021.
  80. ↑ Hunter, Sylvia (2002). "Raves reviewed: An extended dance event bylaw". Plan Canada. 42 (1): 27–28. doi:10.25316/ir-158. ISSN   0032-0544.
  81. ↑ Short excerpt from special on German "Tele 5" from Dec.8, 1988. The show is called "Tanzhouse" hosted by a young Fred Kogel. It includes footage from Hamburg's "Front" with Boris Dlugosch, Kemal Kurum's "Opera House" and the "Prinzenbar".
  82. 1 2 Robb, D. (2002), Techno in Germany: Its Musical Origins and Cultural Relevance, German as a Foreign Language Journal, No.2, 2002, (p. 134).
  83. 1 2 "The pioneering days of techno". Der Spiegel (in German). 31 July 2008. Retrieved 25 February 2017.
  84. ↑ Ertl, Christian (2010). Macht's den Krach leiser! Popkultur in München von 1945 bis heute[Turn down the noise! Pop culture in Munich from 1945 to today] (in German). Allitera Verlag. ISBN   978-3-86906-100-9.
  85. ↑ Hecktor, Mirko; von Uslar, Moritz; Smith, Patti; Neumeister, Andreas (1 November 2008). Mjunik Disco – from 1949 to now (in German). Blumenbar. pp. 212, 225. ISBN   978-3936738476.
  86. 1 2 3 "Corpus Techno: The music of the future will soon be history". MUNICHfound.com. July 1997. Retrieved 25 February 2017.
  87. ↑ Messmer, S. (1998), Eierkuchensozialismus, die Tageszeitung, 10 July 1998, (p. 26).
  88. ↑ Henkel, O.; Wolff, K. (1996) Berlin Underground: Techno und Hiphop; Zwischen Mythos und Ausverkauf, Berlin: FAB Verlag, (pp. 81–83).
  89. ↑ Fischer, Marc; von Uslar, Moritz; Kracht, Christian; Roshani, Anuschka; Hüetlin, Thomas; Jardine, Anja (14 July 1996). "Der pure Sex. Nur besser" [The pure sex. Only better.]. Der Spiegel (in German). Retrieved 21 May 2022.
  90. ↑ Hitzler, Ronald; Pfadenhauer, Michaela; Hillebrandt, Frank; Kneer, Georg; Kraemer, Klaus (1998). "A posttraditional society: Integration and distinction within the techno scene". Loss of safety? Lifestyles between multi-optionality and scarcity (in German). p. 85. doi:10.1007/978-3-322-83316-7. ISBN   978-3-531-13228-0.
  91. ↑ "Youth: Love and Cabbage". Der Spiegel (in German). 26 August 1996. Retrieved 25 February 2017.
  92. ↑ "In Berlin, Still Partying in the Ruins". The New York Times. 21 November 2014. Retrieved 25 February 2017.
  93. ↑ "The 10 best clubs in Germany that aren't in Berlin". Electronic Beats. 30 January 2017. Retrieved 31 August 2017.
  94. ↑ "Public Order: Collective Trespass or Nuisance on Land – Powers to remove trespassers on land – Powers to remove persons attending or preparing for a rave". Criminal Justice and Public Order Act 1994. Her Majesty's Stationery Office. 1994. Retrieved 9 June 2008.
  95. ↑ Simon Reynolds, Energy Flash: A Journey through Rave Music and Dance Culture, Pan Macmillan, (p. 149) ( ISBN   0330350560)
  96. ↑ "REZERECTION – THE OFFICIAL WEBSITE (z)". Archived from the original on 28 September 2007. Retrieved 25 October 2007.
  97. ↑ "History". Rezerection. Archived from the original on 1 July 2014. Retrieved 12 April 2021.
  98. ↑ "Coronavirus: Illegal rave organisers face new £10,000 fines". BBC News . 23 August 2020. Archived from the original on 20 November 2020. Retrieved 8 February 2021.
  99. ↑ Energy Flash, Simon Reynolds, (p276 & 290), 1998, Macmillan Publishers ( ISBN   0330350560)
  100. ↑ "How Frankie Knuckles Became The Godfather Of House Music". NPR. Retrieved 2 August 2022.
  101. ↑ Matos, Michaelangelo (1 April 2014). "House DJ Frankie Knuckles Dead at 59". Rolling Stone. Retrieved 2 August 2022.
  102. ↑ "house | music | Britannica". Encyclopædia Britannica. Retrieved 2 August 2022.
  103. 1 2 Benson, Thor (7 November 2015). "A Brief History of Raves in the U.S." attn. Retrieved 3 September 2019.
  104. ↑ Lin II, Rong-Gong; Ardalani, Sarah (30 June 2010). "Girl, 15, dies after weekend rave at L.A. Coliseum ". Los Angeles Times. Retrieved 3 September 2019.
  105. 1 2 Rodriguez, Krystal (5 August 2016). "Insomniac's Pasquale Rotella Avoids Jail Time in Los Angeles Coliseum Court Case". Vice. Retrieved 3 September 2019.
  106. ↑ "EDC Las Vegas 2013 Economic Impact". Archived from the original on 21 January 2015. Retrieved 21 January 2015.
  107. ↑ Pagan, Chris. "Rave culture in Sydney, Australia: mapping youth spaces in media discourse" (PDF). University of Sydney. Archived (PDF) from the original on 10 October 2022. Retrieved 8 January 2014.
  108. ↑ "Timeline of Sydney Raves from the website – Sydney Rave History". Archived from the original on 13 January 2019. Retrieved 14 September 2014.
  109. ↑ wender, Dan (13 May 2015). "How Frankie Bones' Storm Rave Birthed the "PLUR" Movement". Vice (magazine). Thump/Vice Webzine, Paragraph 8, 13 May 2015. Retrieved 31 July 2016.
  110. ↑ "Ajja, le vétéran de la psytrance livre 1H de set galopant inspiré par son enfance à Goa". 20 February 2018.

Further reading

Music further reading

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.