View source for Rave

{{Short description|Dance party}}
{{Other uses}}
{{EngvarB|date=August 2020}}
{{Use dmy dates|date=August 2022}}
{{Infobox|name|bodystyle
| title            = Rave
| titlestyle       = 
| image            = [[File:Sven Vath playing at Amnesia.JPG|frameless]]
| imagestyle       = 
| caption          = DJ [[Sven Väth]] mixes tracks for a crowd of dancers at [[Amnesia (nightclub)|Amnesia]], an Ibiza nightclub, in 2013.
| captionstyle     = 
| headerstyle      = 
| labelstyle       = 
| datastyle        = 
| header1          = General Information
| label2           = Location
| data2            = Worldwide
| label3           = Types of street rave dance
| data3            = {{hlist|[[Hakken]]|[[Para Para]]|[[Rebolation]]|[[Melbourne Shuffle]]}}
| label4           = Events
| data4            = {{hlist|[[Music festival]]|||[[List of electronic dance music festivals|Electronic dance music festival]]|[[List of technoparades|technoparades]]|[[Acid house party]]|[[doof]]|Orchestra|[[Trance festival]]|[[Nature]]|House party|[[Trap music]]|[[Teknival]]|[[Algorave]]|[[Free festival]]|[[Free party]]|[[Circuit party]]|[[Concert tour]]}}
| label5           = Topics
| data5            = {{hlist|[[Electronic dance music]]|[[Nightclub]]|[[Smiley]]|[[Disc jockey]]|[[VJing]]||[[Light beam]]||[[Loudspeaker]]|[[Sound system (DJ)|Sound system]]|[[Club drug]]s|[[MDMA]]|[[2C-B]]}}
| label6           = Origin
| data6            = {{hlist|[[Acid house]]|[[Industrial dance]]|[[Techno]]|[[Breakbeat]]|[[Hardcore (electronic dance music genre)|Hardcore]]|[[Belgian techno]]}}
| label7           = History
| data7            = {{hlist|[[Second Summer of Love]] <small> (late 1980s)</small>|[[Madchester]] <small>(1990s)</small>|[[Criminal Justice and Public Order Act 1994|Criminal Justice Act]] <small>(1994)</small>}}
}}
{{Cyber anthropology|related}}
A '''rave''' (from the [[verb]]: ''[[wikt:rave#English|to rave]]'') is a [[dance party]] at a warehouse, club, or other public or private venue, typically featuring performances by [[Disc jockeys|DJ]]s 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 music|trap]], [[break (music)|break]], [[happy hardcore]], [[trance music|trance]], [[techno]],<ref name="Guardian">{{Cite web |url=http://www.theguardian.com/music/2012/aug/02/how-rave-music-conquered-america |title=How rave music conquered America |date=2 August 2012 |website=The Guardian}}</ref> [[hardcore (electronic dance music genre)|hardcore]], [[house music|house]],<ref name="Guardian"/> and [[alternative dance]]. Occasionally [[Live music|live]] musicians have been known to perform at raves, in addition to other types of performance artists such as [[go-go dancers]] and [[Fire performance|fire dancers]]. The music is amplified with a large, powerful [[sound reinforcement system]], typically with large [[subwoofer]]s to produce a deep bass sound. The music is often accompanied by [[Laser lighting display|laser light shows]], [[Image projector|projected coloured images]], [[visual effects]] and [[fog machines]].

Fuelled by the emerging dance scene, and spearheaded by acid house music and underground bands such as [[The Prodigy]], many of the "acid house" parties were held in squats during the late 1980s. Well known locations such as the "Dole House" ([[Peckham]]), the abandoned bus station and the squatted children's home in [[Camberwell]] known as Groove Park had crowds of over a thousand. Full Moon parties were organised at Groove Park by Pete Marland (who went on to start the dance scene in Western Ireland in the early 1990s) and multiple events went on for over a year as an Art Collective sanctioned by locals. [[The Times]]' first colour supplement carried an article about the dance scene at Groove Park, though some of the organisers did not want to be photographed. While some raves may be small parties held at nightclubs or private homes, some others 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 [[list of electronic music festivals|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.<ref name="coen">{{cite book |title=Continuum Encyclopedia of Popular Music of the World: Performance and production. Volume II |last=Shepherd |first=John |year=2003 |publisher=A&C Black |isbn=978-0826463210 |pages=334–335 |url=https://books.google.com/books?id=0tz5YpijuksC |access-date=10 September 2016}}</ref> This is due to the association of rave culture with illegal drugs such as [[MDMA]]<ref name="drugabuse">{{cite web |url=https://www.drugabuse.gov/drug-topics/club-drugs |title=Club Drugs |author=<!--Not stated--> |year=2021 |website=drugabuse.gov |location=North Bethesda, Maryland |publisher=[[National Institute on Drug Abuse]] |access-date=17 August 2021}}</ref><ref name="nih">{{Cite journal |pmc = 4458153|year = 2015|last1 = Palamar|first1 = J. J.|title = Illicit Drug Use among Rave Attendees in a Nationally Representative Sample of US High School Seniors|journal = Drug and Alcohol Dependence|volume = 152|pages = 24–31|last2 = Griffin-Tomas|first2 = M.|last3 = Ompad|first3 = D. C.|pmid = 26005041|doi = 10.1016/j.drugalcdep.2015.05.002}}</ref> (often referred to as a "[[club drug]]" or "party drug" along with [[3,4-Methylenedioxyamphetamine|MDA]]<ref>{{Cite web | url=http://www.thejournal.ie/scott-weiland-drugs-death-2511702-Dec2015/ | title=Cocaine, ethanol and party drug MDA found in Scott Weiland's body |website=www.thejournal.ie | date=18 December 2015}}</ref>), [[amphetamine]], [[LSD]],<ref name="drugabuse"/><ref name="nih"/> [[gamma-Hydroxybutyric acid|GHB]],<ref name="drugabuse"/><ref name="nih"/> [[ketamine]],<ref name="drugabuse"/><ref name="nih"/><ref>{{Cite web | url=https://qz.com/681175/ketamine-better-known-as-the-rave-drug-special-k-could-be-our-next-anti-depressant/ | title=Ketamine, better known as the rave drug Special-K, could be our next anti-depressant |website=qz.com | date=12 May 2016}}</ref> [[methamphetamine]],<ref name="drugabuse"/><ref name="nih"/> [[cocaine]],<ref name="nih"/> and [[cannabis (drug)|cannabis]].<ref>{{Cite web |url=http://www.ministryofcannabisblog.com/2018/02/06/marijuana-in-the-rave-culture-of-the-90s/ |title=Marijuana in the Rave Culture of the 90's |website=www.ministryofcannabisblog.com | date=6 February 2018| access-date=8 June 2018| archive-date=15 March 2019| archive-url=https://web.archive.org/web/20190315205128/http://www.ministryofcannabisblog.com/2018/02/06/marijuana-in-the-rave-culture-of-the-90s/| url-status=dead}}</ref> In addition to drugs, raves often make use of non-authorized, secret venues, such as [[squat parties]] at unoccupied homes,<ref>{{Cite web | url=http://www.propertyguardianprotection.com/blog/rave-squat-party-revival | title=Rave & Squat Party Revival |website=www.propertyguardianprotection.com | date=1 October 2017}}</ref> unused warehouses,<ref>{{Cite news | url=https://www.theguardian.com/music/2014/apr/16/illegal-raves-return-with-social-media-messages | title=Illegal raves: Social media messages bring in a new generation of partygoers| newspaper=The Guardian| date=1 April 2014| last1=Rosca| first1=Matei}}</ref> or aircraft hangars.<ref>{{Cite web | url=https://www.bbc.co.uk/bbcthree/article/66df895b-af1c-416f-b32a-bb3576dbcb82 | title=Illegal raves: How the underground scene has never really gone away| date=9 May 2018}}</ref><ref>{{Cite web | url=https://www.independent.co.uk/arts-entertainment/the-ravers-return-how-underground-parties-are-making-a-comeback-a7036131.html | title=The ravers' return: How underground parties are making a comeback| website=[[The Independent]]| date=1 May 2016}}</ref> These concerns are often attributed to a type of [[moral panic]] surrounding rave culture.<ref>{{Cite news |date=2022-11-01 |title=Italy's right-wing government to criminalise raves |url=https://www.bbc.com/news/world-europe-63468598 |access-date=2024-01-08 |language=en-GB}}</ref>
{{TOC limit|3}}

==History==

===Origins and Etymology (1950s–1970s)===
In the late 1950s in London, England, the term "rave" was used to describe the "wild [[Bohemianism|bohemian]] parties" of the [[Soho]] [[beatnik]] set.<ref name="outofsight2">{{cite web |last=Evans |first=Helen |title=OUT OF SIGHT, OUT OF MIND: An Analysis of Rave culture |url=http://hehe.org.free.fr/hehe/texte/rave/#hist |access-date=25 October 2007 |quote=The term rave first came into use in late 50s Britain as a name for the wild bohemian parties of the time.}}</ref> Jazz musician [[Mick Mulligan]], known for indulging in such excesses, had the nickname "king of the ravers".<ref>{{Cite news |last=Fordham |first=John |date=4 January 2007 |title=Obituary: Mick Mulligan |url=https://www.theguardian.com/news/2007/jan/04/guardianobituaries.artsobituaries1 |access-date=27 November 2017 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref> 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.<ref>{{cite web |author=Thinkmap, Inc. |title=Buddy Holly, Wordsmith |url=http://www.visualthesaurus.com/cm/wordroutes/1687/ |work=visualthesaurus.com}}</ref> The word "rave" was later used in the burgeoning [[Mod (subculture)|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".<ref>{{Cite web |date=30 August 2020 |title=The History of Rave |url=https://www.jungledrumandbass.co.uk/news/history-rave |access-date=2022-07-25 |website=Jungle Drum and Bass |archive-date=15 July 2023 |archive-url=https://web.archive.org/web/20230715012401/https://www.jungledrumandbass.co.uk/news/history-rave |url-status=dead }}</ref> In 1965, the [[Grateful Dead]] served as the backing band for the San Francisco [[Acid Tests]], which were LSD drug parties organized by [[Ken Kesey]]. Subsequently, visual artist [[Andy Warhol]] later organized the [[Exploding Plastic Inevitable]]<ref>{{Cite web |title=It Happened in 1966: Andy Warhol's Plastic Exploding Inevitable |url=https://msmokemusic.com/blogs/mind-smoke-blog/posts/6563673/1966-any-warhol-s-plastic-exploding-inevitable |access-date=2024-06-13 |website=msmokemusic.com}}</ref> in New York, a multimedia event backed with performances by [[the Velvet Underground]] and [[Nico]], the event was characterized by flashing lights, loud music, dancing and heavy drug use.<ref>{{Cite web |date=2023-11-08 |title=How Andy Warhol anticipated acid house rave culture! |url=https://www.diggitmagazine.com/papers/andy-warhol-rave-culture |access-date=2024-06-13 |website=Diggit Magazine |language=en}}</ref> During the [[Psychedelic music|psychedelic]] era, [[happening]]s became a common fixture of the counterculture. This later culminated in the massive social phenomenon known as the [[Summer of Love]].<ref>{{Cite web |date=2007-06-22 |title=Summer of Love changed music and culture |url=https://www.today.com/health/summer-love-changed-music-culture-wbna19192954 |access-date=2024-06-13 |website=TODAY.com |language=en}}</ref> The phrase "Summer of Love" was used once again during the advent of rave culture in the 1980s, referring to the "[[Second Summer of Love]]".<ref>{{Cite news |last=Walker |first=Sharon |date=2018-07-01 |title=Thirty years since the second summer of love |url=https://www.theguardian.com/music/2018/jul/01/thirty-years-since-the-second-summer-of-love-1988 |access-date=2025-10-27 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref>

[[File:Mur Ultim Atom&Biobanas.jpg|thumb|A huge bank of speakers and [[subwoofer]]s 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 (venue)|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.<ref>{{cite web
| url = http://www.delia-derbyshire.org/unitdeltaplus.php
| title = Unit Delta Plus
| access-date = 25 October 2007
| publisher = Delia Derbyshire
| quote = 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.
| archive-date = 19 April 2019
| archive-url = https://web.archive.org/web/20190419194353/http://www.delia-derbyshire.org/unitdeltaplus.php
| url-status = dead
}}</ref>

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 [[Notable Club DJs|superstar DJ]] culture of the 2000s.<ref>[[Bill Brewster (DJ)|Bill Brewster]] and Frank Broughton. ''Last Night a DJ Saved My Life'', Chapter 4, "Northern Soul: The First Rave Culture", page 85</ref> 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.<ref>{{cite web|url=http://www.uppers.org/showArticle.asp?article=383 |title=From "The in Crowd" to the "Happy People" &#124; Uppers Culture Lifestyle |publisher=Uppers.org |access-date=3 June 2015 |url-status=dead |archive-url=https://web.archive.org/web/20151019073257/http://www.uppers.org/showArticle.asp?article=383 |archive-date=19 October 2015}}</ref>

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 music|house]] and [[dance music]] scenes.<ref>[[Bill Brewster (DJ)|Bill Brewster]] and Frank Broughton. ''Last Night a DJ Saved My Life'', Chapter 4, "From Northern Soul to Nu-NRG", page 113</ref> 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.<ref name="outofsight2"/>

===Acid house (1980s)===
[[File:Rave - Juiz de Fora - MG.jpg|thumb|left|upright|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 party|acid house music parties]] in the mid-to-late 1980s in the Chicago area in the United States.<ref>{{cite magazine | url = http://music.hyperreal.org/library/history_of_house.html |title = The History of House |access-date = 13 August 2013 | first = Phil | last = Cheeseman-fu |magazine = [[DJ Magazine]]}}</ref> After Chicago acid house artists began experiencing overseas success, acid house quickly spread and caught on in the United Kingdom<ref>{{cite web|url= http://www.fantazia.org.uk/Scene/themusic.htm |title=Acid House Music – The Timeline (The History of House – "Garage, Techno, Jungle. It's all House") |publisher=Fantazia.org|access-date= 13 August 2013}}</ref><ref>''Altered State – The Story of Ecstasy Culture and Acid House'', Matthew Collin (contributions by John Godfrey), Serpent's Tail, 1997 ({{ISBN|1852423773}})</ref> 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.<ref name="Simon Parkin">{{cite web |url= http://hyperreal.org/raves/database/visuale/ve1.htm |title=Visual Energy |first=Simon|last=Parkin |website=|date=May 1999}}</ref> 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.<ref name="pop">{{cite web|title = Rave Parties |first= Michael S.|last= Scott|website= Center for Problem Oriented Policing|date =  2002|url = http://www.popcenter.org/problems/rave_parties/ }}</ref>

===Growth (1990s–present)===
[[File:MTAC Prime Rave dance.ogv|thumb|Dancing at a rave in 2007]]
{{See also|List of electronic dance music festivals|Doof}}
By the 1990s, genres such as [[Acid house|acid]], [[breakbeat hardcore]], [[hardcore (electronic dance music)|hardcore]], [[happy hardcore]], [[gabber]], [[drum and bass]], [[post-industrial music|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<ref>{{Cite web |title=Are.na |url=https://www.are.na/block/6087030 |access-date=2022-07-25 |website=are.na |date=5 February 2020 |language=en-US}}</ref> 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.<ref name="Generation Ecstasy">Timeline and numbers {{cite book
| last = Reynolds | first = Simon | year = 1998
| title = Generation Ecstasy: into the world of Techno and Rave culture
| publisher=Picador | isbn = 978-0-330-35056-3 }}</ref>

British politicians responded with hostility to the emerging rave party trend. Politicians spoke out against raves and began to [[fine (penalty)|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 motorway|M25 London orbital]] motorway that ringed London and the [[Home Counties]]; it was this that gave the band [[Orbital (band)|Orbital]] their name. These ranged from former warehouses and industrial sites in London, to fields and country clubs in the countryside.

==Characteristics==

===Music===
[[File:Roland TB-303 Panel.jpg|thumb|The [[Roland TB-303]] is a synthesizer featured in [[acid house]] music.]]
[[File:Roland TR-909 (large).png|thumb|The [[Roland TR-909|TR-909]] is a [[drum machine]] used in [[techno]], [[house music|house]] and many other genres.]]
[[File:Volxvergnuegen Party Munich 6.jpg|thumb|Rave music is usually presented in a [[DJ set]], using a [[DJ mixer|mixer]] and [[turntable]]s or [[CDJ]]s.]]
Rave music may either refer to the late 1980s/early 1990s genres of [[House music|house]], [[new beat]], [[breakbeat]], [[acid house]], [[techno]] and [[hardcore (electronic dance music genre)|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 other "hardcore" music genres) by early ravers, first appeared amongst the UK "acid" movement during the late 1980s at warehouse parties and other [[underground culture|underground]] venues, as well as on [[Pirate radio in the United Kingdom|UK pirate radio stations]].<ref>{{Cite web|url=https://www.allmusic.com/subgenre/rave-ma0000004480|title=Rave Music Genre Overview|publisher=AllMusic}}</ref> 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.<ref>{{Cite web |url=http://www.tsob.be/ |title=The Sound of Belgium Documentary |website=www.tsob.be |archive-url=https://web.archive.org/web/20160411121330/http://www.tsob.be/|archive-date=11 April 2016}}</ref>

The "rave" genre would develop into [[breakbeat hardcore|oldschool hardcore]], which lead onto newer forms of rave music such as [[drum and bass]], [[2-step garage|2-step]] and [[happy hardcore]] as well as other [[Hardcore (electronic dance music genre)|hardcore techno]] genres, such as [[gabber]] and [[hardstyle]].<ref>{{Cite web |url=https://music.ishkur.com/ |title=Ishkur's Guide to Electronic Music |website=Ishkur.com}}</ref>

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

Styles of music include:
*[[Breakbeat]]: Breakbeat music (or breaks for short) refers to any form of rave music with breakbeats, this may range from [[breakbeat hardcore]] to [[nu skool breaks]], including genres such as [[hardstep]] and [[breakcore]] cross over into the [[hardcore techno]] sound. Fusions of house and trance also exist but the drum 'n' bass still remains the most popular form of breakbeat played at rave parties.
*[[Drum and bass]]: Drum and bass music refers to a music genre with a very specific sound of four significant notes called breakbeat, that serves as a bassline for the song – that's why most drum and bass songs use 170 – 176 BPM, most frequently specifically 174 BPM. Drum and bass includes multiple large subgenres, those who are frequently played at raves include [[Liquid drum & bass|liquid]] (known for harmonic vocals, less aggressive bass drops and emotional atmosphere), classic dancefloor (energetic and overall positive party music, sometimes even drum and bass remixes of popular songs), [[Jump-up (drum and bass)|jump-up]] (a less complicated beat, sometimes using machine-like sounds, amplified for consumers of heavier music) and [[neurofunk]] (almost sci-fi like subgenre of a heavy and dark drum and bass, only rarely using well-known samples or even traditional music melodies).
*[[Electro (music)|Electro]]: Electro and [[techno]] are two genres which largely featured [[psychedelic music|psychedelic sounds]] and are largely considered the earliest forms of electronic dance music genres to use the term "rave music" in respect to its modern terminological use. Techno sometimes crosses boundaries with [[house music]], hence the genres [[trance music|trance]] and [[acid techno]]. [[Miami bass]] and [[crunk]] is sometimes included as "electro".
*[[Free tekno (music)|Free tekno]]: This style of electronic music started in the early 1990s and was mostly played in illegal parties hosted by [[Sound system (DJ)|sound systems]], such as Spiral Tribe, Desert Storm, Hekate, Heretik, in warehouse, dismissed buildings, or even illegal open-air festivals, called Teknivals. It takes inspiration from various other genres, and mainly focuses on quick beats, 170/200 bpm, acid bassline, mentals sounds, and often samples taken from movies, popular songs or many other different media sources.
*[[Gqom]]: Gqom music, heavily influenced by techno and [[broken beat]], features diverse rhythmic patterns,subgenres and styles. It incorporates [[Drone (sound)|drone sounds]] to create a hypnotic or trance-like effect. [[Gqom#Taxi kick|Taxi kick]] is occasionally tailored by some record producers particularly for illegal raves.<ref>{{Cite book |last=Collin |first=Matthew |url=https://books.google.com/books?id=03MuDwAAQBAJ&q=gqom+techno |title=Rave On: Global Adventures in Electronic Dance Music |date=2018-01-11 |publisher=Serpent's Tail |isbn=978-1-78283-145-7 |language=en}}</ref><ref>{{Cite web |last=Radio |first=N. T. S. |title=Gqom Oh! - Taxi Kick Explosion 2nd May 2020 |url=https://www.nts.live/shows/remote-utopias/episodes/gqom-oh-3rd-may-2020 |access-date=2024-08-01 |website=NTS Radio |language=en}}</ref>
*[[Hardcore techno]]: Any [[hard dance]] genre that was influenced by the rave genre, usually these genres have a distorted kick drum, and a 4/4 rhythm. [[Happy hardcore]] blended the Dutch hardcore sound with [[Eurodance]] and [[bubblegum pop]], the genre (also known as "[[happycore]]" for short) featured pitched-up vocals and a less distorted 4/4 beat. [[Trancecore]] also exists and is a less vocal fusion of happy hardcore with [[trance music]], however [[hardstyle]] is a more pure form of the trance/hardcore genre since it retains the hardcore sound.
*[[House music]]: House music, especially [[acid house]], is the first genre of music to be played at the earliest raves, during the [[Second Summer of Love]]. House is a genre of [[electronic dance music]] that originated out of the 1980s African-American and Latino [[disco]] scene in Chicago.<ref>{{Cite web |url=https://www.britannica.com/art/house-music|title=House &#124; music |website=Encyclopædia Britannica |date=15 March 2024 }}</ref> House music uses a constant [[bass drum]] on every beat, electronic [[drum machine]] hi-hats and synth [[bassline]]s. There are many subgenres of house music (found below). Since house was originally [[club music]], there are many forms of it, some more appropriate to be played at raves than others. In the UK, subgenres such as [[UK funky]], [[speed garage]] and [[dubstep]] emerged from [[garage house]]. Many "pop house" club music producers branded themselves as "[[house music]]", however, so in rave culture it is often disputed whether pop house should be considered as a subgenre of house. "Rave house" is a subgenre label of house music that originated from the styles of house that were typically played in the rave scene of the 1993–1999 period. It is a term used by the general population who do not follow the [[House music|house]] or [[Trance music|trance]] scene specifically, but identify certain house records as "rave music". It is a loose term that generally identifies [[progressive house]], [[hard house]] or trance house styles (often instrumental with no words) that one would imagine being played at a large rave.
*[[Electronic body music|Industrial dance]]: Industrial is a [[Gothic rock|goth]]/rock/[[Punk rock|punk]] related genre. While the genre is not usually considered rave music in itself, it is often fused with rave music genres. Industrial is the origin of many sounds found in rave music; it is one of the first genres that took the sounds that are now popular in rave music such as "acid" as its musical backdrop. Industrial music fans are usually considered [[rivethead]]s and do not tend to call themselves ravers.
*[[Trance music]]: Trance music in its most popular and modern form is an offshoot of house music that originated from the [[acid house]] movement and rave scene in the late 1980s. The history of [[trance music]] is complicated to refer to, as multiple generations of listeners and musicians have influenced the genre. The term "trance" was (and still to this day by many) used interchangeably with "[[progressive house]]" in the early rave years (1990–1994).
[[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:
* [[Ambient music|Ambient]], [[Minimalist music|minimalist]] and [[computer music]] – [[Brian Eno]], [[Mike Oldfield]], [[Harold Budd]], [[ATB (DJ)|ATB]], [[the Orb]], [[Biosphere (musician)|Biosphere]]
* [[Dubstep]] and [[breakstep]] – [[Magnetic Man]], [[Eskmo (producer)|Eskmo]], and [[Burial (musician)|Burial]]
* [[Electro (music)|Electro]], [[Glitch (music)|glitch]], [[Detroit techno|techno]], [[experimental hip hop]] and [[industrial hip hop]] – [[Flying Lotus]], [[Juan Atkins]], [[MARRS]], Dopplereffekt, [[Egyptian Lover]], [[Afrika Bambaataa]], [[Techno Animal]], [[Coldcut]], [[the Glitch Mob]] and [[Kraftwerk]]
* [[Gqom#Gqom tech|Gqom tech]], [[Gqom#Sgubhu|sgubhu]]  and [[Gqom#3-Step|3-step]] – [[DJ Tira]], and [[Mr Thela]]
* [[Intelligent dance music|IDM]] – [[Aphex Twin]], [[Autechre]] and [[Boards of Canada]]
* [[UK garage]] and [[Grime (music)|grime]] – [[Todd Edwards]], [[Grant Nelson (disc jockey)|Grant Nelson]], [[Sunship]], [[Wookie (musician)|Wookie]], [[So Solid Crew]], [[Roll Deep]], [[Dizzee Rascal]], [[Wiley (rapper)|Wiley]], [[Plastician]]

===Location===

[[File:OZORA Festival.jpg|thumb|right|300px|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.<ref>{{Cite journal|last1=Anderson|first1=Tammy L.|last2= Kavanaugh |first2=Philip R.|year=2007|title=A 'Rave' Review: Conceptual Interests and Analytical Shifts in Research on Rave Culture|journal=Sociology Compass|language=en|volume=1 |issue=2 |pages= 499–519|doi=10.1111/j.1751-9020.2007.00034.x|issn=1751-9020}}</ref> 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,<ref>{{Cite news|url=https://www.bbc.com/news/uk-england-hereford-worcester-39960232|title=The rave that changed the law|last=Chester |first=Jerry|date=2 May 2017|work=BBC News|access-date=27 November 2017|language=en-GB}}</ref> 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.<ref>{{cite journal|first=Tammy L.|last= Anderson|title = Understanding the Alteration and Decline of a Music Scene: Observations from Rave Culture |journal =Sociological Forum|volume=24 |number=2 |year =2009|pages= 309–311|doi= 10.1111/j.1573-7861.2009.01101.x|jstor=40210403}}</ref> 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|date=November 2017}} 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 (festival)|Tomorrowland]] are typically held at the same venue that holds mass numbers of people.

Some raves make use of [[paganism|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"<ref>{{cite journal | last1 = Hutson | first1 = Scott R. | year = 2000 | title = The Rave: Spiritual Healing in Modern Western Subcultures | journal = Anthropological Quarterly | volume = 73 | issue = 1| pages = 40–41 | jstor=3317473}}</ref> 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.<ref>{{cite journal | last1 = Carroll | first1 = Alex K. | last2 = Zedeno | first2 = M. Nieves | last3 = Stoffle | first3 = Richard W. | year = 2004 | title = Landscape of the Ghost Dance: A Cartography of Numic Ritual | journal = Journal of Archaeological Method and Theory | volume = 11 | issue = 2| pages = 141–143 | jstor=20164812 | doi=10.1023/b:jarm.0000038064.42041.aa| s2cid = 55428611 }}</ref>

The [[Falls festival]] in [[Byron Bay]] features a rave party hidden behind a [[washing machine]] in a laundromat.<ref>{{Cite web |url=https://www.theiconic.com.au/edition/in-case-you-missed-it-falls-festival-was-major-insider/ |title=In Case You Missed it, Falls Festival was MAJOR |date=17 January 2019 |website=Edition &#124; THE ICONIC}}</ref>

====Notable venues====
{{See also|Category:Electronic dance music venues}}

The following is an incomplete list of venues associated with the rave subculture:
{{Columns-list|colwidth=260px|rules=yes|
*Asia:
**[[AgeHa]], Japan
**[[Zouk (club)|Zouk]], Singapore and Kuala Lumpur
**[[Submerge (nightclub)|Submerge]], India
**[[Womb (nightclub)|Womb]], Japan

=====Europe=====
*Belgium:
**[[Boccaccio (nightclub)|Boccaccio]]
**[[Café d'Anvers (Club)|Café d'Anvers]]
**[[Kompass Klub]]
*Croatia:
**[[Papaya Club]]
**[[Boogaloo Club]]
*England: 
**[[Angels (nightclub)|Angels]] (1989–96)
**[[London Astoria|Astoria]]
**[[Bagleys]] (later Canvas) (1991–2007)
**[[Cream (nightclub)|Cream]] (1992–2015) 
**[[Epping Forest Country Club]]
**[[Fabric (club)|Fabric]] (1999–present)
**[[Camden Palace]] (1982–2004)
**[[Gatecrasher One]] (1996–2007)
**[[Godskitchen]] (1996)
**[[Heaven (nightclub)|Heaven]] (1979–present)
**[[Home (nightclub chain)|Home]] (1998–2001)
**[[Koko (venue)|Koko]] (2004–present)
**[[Konspiracy]] (1989–90)
**[[The Four Aces Club#Labrynth|Labrynth]] (1990–1998)
**[[Lakota (club)|Lakota]] (1990–present)
**[[Ministry of Sound]] (1991–present)
**[[Mint Club]] (1998–2019)
**[[Matter (venue)|Matter]]
**[[Megatripolis]] (1993–96)
**[[Popscene (club)|Popscene]]
**[[Quadrant Park]] (1988–91)
**[[Renaissance (club)|Renaissance]] (1992)
**[[Sanctuary Music Arena]] (1991–2004)
**[[Sankeys]] (1994–present)
**[[Shelley's Laserdome]] (1989–1995)
**[[Shoom]] (1987–1990)<ref name="mm">Matos, Michaelangelo. "[https://www.rollingstone.com/music/music-features/shoom-an-oral-history-of-the-london-club-that-kicked-off-rave-culture-195865/ Shoom: An Oral History of the London Club That Kicked Off Rave Culture]". ''[[Rolling Stone]]'', 12 December 2017. Retrieved 29 November 2020.</ref>
**[[Sterns Nightclub]] (1991–1998)
**[[Brixton Academy|The Academy]] (1990–2006)
**[[The Eclipse (venue)|The Eclipse]] (later Edge) (1990–1994)
**[[The End (club)|The End]] (1995–2009)
**[[The Emporium, Leicestershire (venue)|The Emporium]] (1995-Still open!(Oct 2025))
**[[The Fridge (nightclub)|The Fridge]] (1981–2010)
**[[The Haçienda]] (1982–1997)
**[[The Zap]] (1984–2005)
**[[Thunderdome (Manchester Nightclub)|Thunderdome]] (1989–90)
**[[Trade (nightclub)|Trade]] (1990–2008)
**[[Turnmills]] (1990–2008)
**[[Vague (club)]] (1993–1996)
*France:
**[[Le Palace]]
**[[Le Queen]]
**[https://fr.wikipedia.org/wiki/Rex%20Club Rex Club]
**[https://fr.wikipedia.org/wiki/Concrete%20(Paris) Concrete (club)] (2011–2019)
*Germany:
**[[Babalu Club]] (1990–1994)
**[[Berghain]] (2004–present)
**[[Bunker (Berlin)|Bunker]] (1992–1996)
**[[Dorian Gray (club)|Dorian Gray]] (1978–2000)
**[[E-Werk (Berlin)|E-Werk]] (1993–1997)
**[[KitKatClub]] (1994–present)
**[[KW – Das Heizkraftwerk]] (1996–2003)
**[[Natraj Temple]] (1996–2008)
**{{ill|lt=Omen|Omen (Frankfurt am Main)|de|vertical-align=sup}} (1988–1998)
**{{ill|lt=Palazzo|Palazzo (Bingen)|de|vertical-align=sup}} (1989–2003)
**{{ill|lt=Stammheim|Stammheim (Diskothek)|de|vertical-align=sup}} (1994–2002)
**[[Tresor (club)|Tresor]] (1991–present)
**{{ill|U60311|de|vertical-align=sup}} (1998–2012)
**[[Ufo (Club, Berlin)|Ufo]] (1988–1990)
**[[Ultraschall]] (1994–2003)
*Georgia:
**[[Bassiani]] (2014–present)
**[[KHIDI]]
**[[Mtkvarze]] (2012–present)
*Ireland:
**[[Sir Henry's]]
*The Netherlands:
**{{ill|iT|nl|IT (club)|vertical-align=sup}} (1989–2004)
**{{ill|RoXY|nl|vertical-align=sup}} (1987–1999)
**{{ill|Parkzicht|nl|vertical-align=sup}} (1990–1997)
*Poland:
**{{ill|Ekwador|pl|Ekwador (klub muzyczny)|vertical-align=sup}} (1998–2014, 2015–present)
*Romania:
**[https://www.clubguesthouse.ro/ Guesthouse] (1998–2014, 2015–present)
*Russia:
**[[Quadro Club (Ekaterinodar Krasnodar nightclub)|Quadro]] (1995–2004)
*Scotland:
**[[The Arches (Glasgow)|The Arches]] (1991–2015)
**[[Ayr Pavilion|Hangar 13]] (1993–95)<ref>{{cite web|last1=Arlidge|first1=John|title=The day the music died, Hanger 13, Scotland's top rave venue, has been closed after three Ecstasy-related deaths.|url=https://www.independent.co.uk/arts-entertainment/the-day-the-music-died-1617980.html|website=The Independent|access-date=5 October 2015|date=1995-05-02}}</ref>
**[[Sub Club]] (1987–present)
**[[The Tunnel (Glasgow nightclub)|The Tunnel]] (1990–2014)
*Slovakia:
**[[Subclub]]
*Slovenia:
**[[Ambasada Gavioli]]
*Spain:
**[[Amnesia (nightclub)|Amnesia]] (1976–present)
**[[Cream (nightclub)#Cream Ibiza|Cream Ibiza]]
**[[DC10 (nightclub)|DC10]]
**[[Pacha Group]] (1967–present)
**[[Privilege Ibiza]] (1978–present)
**[[Sankeys]]
**[[Space (Ibiza nightclub)|Space Ibiza]] (1986–2016)
**[[:es:Fabrik|Fabrik]] (2003–present)
*Sweden:
**[[Docklands (Stockholm nightclub)|Docklands]] (1995–2002)
*Greece:
**[[Cavo Paradiso Club Mykonos]] (1993–present)

=====Middle East=====
*Egypt:
**[[Space Sharm]]
*Israel:
**[[Haoman 17]]
*Lebanon:
**[[B 018]]

=====North America=====
*Canada:
**[[23 Hop]] (1990–1995)
**[[Industry nightclub]] (1996–2000)<ref>{{cite web|last1=Benson|first1=Denise|title=Then & Now: Industry|url=http://thenandnowtoronto.com/2014/09/then-now-industry//|publisher=Denise Benson|access-date=10 February 2021|date=21 September 2014}}</ref>
**[[Stereo nightclub]]
**[[System Soundbar]] (1999–2005)<ref>{{cite web|last1=Benson|first1=Denise|title=Then & Now: System Soundbar|url=http://thenandnowtoronto.com/2014/09/then-now-system-soundbar//|publisher=Denise Benson|access-date=28 January 2021|date=24 September 2014}}</ref>
**[[The Comfort Zone (nightclub)|The Comfort Zone]] (1996–2017)<ref>{{cite web|last1=Boles|first1=Benjamin|title=Leaving The Comfort Zone; Looking Back on Toronto's After-Hours Institution That Closes This Weekend|url=https://torontoist.com/2017/05/leaving-comfort-zone-looking-back-torontos-hours-institution-closes-weekend//|publisher=Buzz Connected Media Inc.|access-date=10 February 2021|date=25 May 2017}}</ref>
**[[The Guvernment]] (1996–2015)
**[[Turbo Niteclub]] (2000–2003)<ref>{{cite web|last1=Benson|first1=Denise|title=Then & Now: Turbo|url=http://thenandnowtoronto.com/2014/10/then-now-turbo//|publisher=Denise Benson|access-date=4 February 2021|date=24 October 2014}}</ref>
*Mexico:
**[[Magic Circus]]
*United States:
**[[Beacham Theatre|Aahz/Beacham Theater (1988–1994)]]
**[[Catacombs Nightclub Philadelphia]] (1978–1986)
**[[Club Glow]]
**[[Club Zanzibar]] (1979–1993)
**[[Masterdome]] (1996–2001)
**[[Paradise Garage]] (1977–1987)
**[[The Saint (club)|The Saint]] (1980–1988)
**[[Shulertown (Fayetteville, AR)]] (1994–2000)
**[[Tunnel (New York nightclub)|Tunnel]] (1986–2001)
**[[Warehouse (nightclub)|Warehouse]] (1977–1987)

=====Oceania=====
*Australia:
**[[Club Filter Melbourne]]
**[[Home (nightclub chain)]]
**[[Mansion nightclub]]
**[[HellFire nightclub]]
*New Zealand:
**[[The Palladium Niteclub]]
}}

===Dancing===
{{See also|Street dance}}
[[File:T-Step.gif|thumb|right|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.<ref>{{Cite book |last=Everit, Anthony |url=http://www.gulbenkian.org.uk/pdffiles/Joining-in-text-no-photos.pdf |title=Joining In: An investigation in participatory music |quote=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. |archive-url=https://web.archive.org/web/20130731195611/http://www.gulbenkian.org.uk/pdffiles/Joining-in-text-no-photos.pdf |archive-date=31 July 2013 |url-status=dead}}</ref><ref>{{Cite book |last=Turino |first=Thomas |title=Music as Social Life: The Politics of Participation |publisher=University of Chicago Press |location=Chicago}}</ref> Raving in itself is a syllabus-free dance, whereby the movements are [[Dance improvisation|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<ref>{{Cite web |last=Büschel |first=Justine |date=2019-01-21 |title=POST-INTERNET-DANCE From virtual space to reality and back again, #1 – 2019 |url=https://www.hellerau.org/en/post-internet-tanz-aus-dem-virtuellen-raum-in-die-realitaet-und-zurueck-1-2019/ |access-date=2024-05-26 |website=hellerau |language=en-US}}</ref> 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.<ref>{{Cite thesis |last=Heller |first=David Francis |title=I-Rave : digiphrenia's transformation of a culture |date=May 2014 |degree=MA |publisher=University of Hawaii at Manoa |hdl=10125/100325 |hdl-access=free}}</ref>

*[[Hakken]]
*[[Melbourne Shuffle]]  
*[[Gloving]]
*[[Glowsticking]]
*[[Jumpstyle]]
*[[Electro dance]]
*[[Rebolation]]

===Attire===
{{See also|Cybergoth|Rivethead|Phat pants|Fluffy (footwear)}}
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| caption1 = Raver with [[feather boa]] in Germany (1998)
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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.<ref name="redbull_rave_fashion">{{cite web|last=Bouteba |first=Miriam |url=https://www.redbull.com/ie-en/guide-to-european-rave-fashion |title=A guide to 25 years of European rave fashion |publisher=[[Red Bull]] | date=13 November 2017 |access-date=5 February 2020}}</ref>

At early rave parties, often costume-like clothes and garments with signal color look such as protective suits, [[High-visibility clothing|safety vests]], [[dust mask|dust]] and [[gas mask]]s were worn and combined with accessories such as vacuum cleaners or [[cyberpunk]] inspired [[goggles]]. Clothing with slogans such as "[[Peace Love Unity Respect|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.<ref name="rave_and_clubwear">{{cite web|last=Sack |first=Adriano |url=https://032c.com/rave-before-streetwear-there-was-clubwear |title=RAVE: Before Streetwear There Was Clubwear |publisher=[[032c]] | date=21 February 2019 |access-date=5 February 2020}}</ref>

Common fashion styles of the 1990s include tight-fitting nylon shirts, tight nylon quilted vests, [[bell-bottoms]], neoprene jackets, studded belts, [[platform shoe]]s, jackets, scarves and bags made of [[flokati]] fur, [[Fluffy (footwear)|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, [[whistle]]s, [[pacifier]]s, white gloves, [[glow stick]]s, [[feather boa]]s, oversized [[sunglasses]], and record bags made of truck tarpaulins.<ref name="spiegel_special">{{cite magazine |url=https://magazin.spiegel.de/EpubDelivery/spiegel/pdf/7441075 |title=Jung ist die Nacht: CLUB-TIPS |trans-title=Young is the night: club tips |magazine=[[Der Spiegel|Spiegel Special]] |date=1 August 1998 |language=de |access-date=20 June 2019 |archive-date=11 November 2017 |archive-url=https://web.archive.org/web/20171111164157/http://www.spiegel.de/spiegel/spiegelspecial/d-7441075.html }}</ref><ref name="Muri_1999">{{cite book |last1=Muri |first1=Gabriela |title=Aufbruch ins Wunderland?: Ethnographische Recherchen in Zürcher Technoszenen 1988–1998 |trans-title=Departure into wonderland?: Ethnographic research in Zurich techno scenes 1988–1998 | publisher=Chronos Verlag |date=1999 |isbn=9783034011785 |language=de}}</ref> 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''.<ref name="rave_and_clubwear"/> 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|date=February 2023}} 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.<ref>{{cite web|url=http://www.laweekly.com/music/the-evolution-of-rave-fashion-4391090|title=The Evolution of Rave Fashion|author=Mary Grace Cerni|work=L.A. Weekly|date=3 January 2014}}</ref> In contrast to this and starting at Berlin techno clubs like [[Berghain]] in the 2000s, a strictly black style, partly borrowed from the [[dark culture|dark scene]], has established itself within parts of the techno scene.<ref name="black_fashion">{{cite magazine |url=http://readthetrieb.com/index.php/2016/09/07/berliner-techno-szene-black-is-a-happy-color/|title=Berliner Techno Szene: Black is a happy Color! |trans-title=Berlin's techno scene: black is a happy color! |magazine=RTT magazine | date=7 September 2016 | access-date=4 February 2020}}</ref> Certain rave events such as [[Sensation (event)|Sensation]] also have a strict minimalistic dress policy, either all white or black attire.

===Light shows===
{{See also|Gloving|Glowsticking|Holographic show|Laser show}}
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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.<ref>{{Cite web |title=Everything You Need to Know About Gloving {{!}} Insomniac |url=https://www.insomniac.com/magazine/everything-you-need-to-know-about-gloving/ |access-date=2022-08-05 |website=www.insomniac.com |language=en-US}}</ref> 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.<ref name=":1">{{Cite web |title=Learn About The Gloving Movement {{!}} Rave Culture Blog |url=https://nulights.com/blogs/rave-party/learn-gloving |access-date=2022-08-05 |website=NuLights}}</ref> 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.<ref name=":1" /> 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 light|strobe]], dops, hyper flash, and other variations.

===Drug use===
{{See also|Club drug|Party pills}}
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| caption1          = This impure tablet sold as MDMA in the U.S. contained no MDMA, but instead [[Benzylpiperazine|BZP]], [[caffeine]] and [[methamphetamine]].
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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 drug]]s to "enhanc[e]...the sensory experience" of dancing to loud music.<ref>{{cite journal|url=http://www.aafp.org/afp/2004/0601/p2619.html|title=Club Drugs: MDMA, Gamma-Hydroxybutyrate (GHB), Rohypnol, and Ketamine|first=Paul M.|last=Gahlinger|date=1 June 2004|journal=American Family Physician|volume=69|issue=11|pages=2619–26|pmid=15202696}}</ref><ref name="mufe">{{cite book |title=Music Festivals and the Politics of Participation |last=Robinson |first=Roxy |year=2016 |publisher=Routledge |isbn=978-1317091998 |page=33 |url= https://books.google.com/books?id=dIQWDAAAQBAJ |access-date=10 September 2016}}</ref> 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".<ref name=Coutinho>{{Cite journal | url=http://socialsciences.scielo.org/scielo.php?pid=S0100-85872006000200004&script=sci_arttext&tlng=en | title=From religious ecstasy to ecstasy pills: A symbolic and performative analysis of electronic music festivals| journal=Religião & Sociedade| volume=2| issue=SE| last1=Coutinho| first1=Tiago}}</ref>

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.<ref>{{cite web |url=https://www.fbi.gov/scams-safety/clubdrugs |title=Scams & Safety {{!}} Tips for Parents: The Truth About Club Drugs |website=www.fbi.gov |access-date= 27 April 2016 |url-status=dead |archive-url=https://web.archive.org/web/20160329215407/https://www.fbi.gov/scams-safety/clubdrugs |archive-date=29 March 2016}}</ref><ref name="AdlafSmart1997">{{cite journal|last1=Adlaf|first1=Edward M.|last2= Smart|first2=Reginald G.|title=Party Subculture or Dens of Doom? An Epidemiological Study of Rave Attendance and Drug Use Patterns Among Adolescent Students|journal=Journal of Psychoactive Drugs|volume= 29|issue=2|year=1997|pages=193–198 |issn=0279-1072 |doi= 10.1080/02791072.1997.10400187|pmid=9250946|citeseerx=10.1.1.563.3586}}</ref> 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"), [[Gamma-Hydroxybutyric acid|GHB]] (commonly referred to as "fantasy" or "liquid E"), [[cocaine]] (commonly referred to as "coke"), [[N,N-Dimethyltryptamine|DMT]], and [[Lysergic acid diethylamide|LSD]] (commonly referred to as "lucy" or "acid").<ref name="CMAJ 2000">{{cite journal |last=Weir |first=Erica |date=June 2000 |title=Raves: a review of the culture, the drugs and the prevention of harm |url=https://www.cmaj.ca/content/cmaj/162/13/1843.full.pdf |url-status=live |journal=[[Canadian Medical Association Journal|CMAJ]] |publisher=[[Canadian Medical Association]] |volume=162 |issue=13 |pages=1843–1848 |eissn=1488-2329 |issn=0820-3946 |lccn=87039047 |pmc=1231377 |pmid=10906922 |s2cid=10853457 |archive-url=https://web.archive.org/web/20190628204824/https://www.cmaj.ca/content/cmaj/162/13/1843.full.pdf |archive-date=28 June 2019 |access-date=17 August 2021}}</ref><ref name="Am. J. Health-Syst. Pharm">{{cite journal |last1=Larive |first1=Lisa L. |last2=Romanelli |first2=Frank |last3=Smith |first3=Kelly M. |date=June 2002 |title=Club drugs: methylenedioxymethamphetamine, flunitrazepam, ketamine hydrochloride, and gamma-hydroxybutyrate |journal=[[American Journal of Health-System Pharmacy]] |publisher=[[American Society of Health-System Pharmacists]] |volume=59 |issue=11 |pages=1067–1076 |doi=10.1093/ajhp/59.11.1067 |eissn=1535-2900 |issn=1079-2082 |oclc=41233599 |pmid=12063892 |s2cid=44680086|doi-access=free }}</ref><ref name="AANA 2004">{{cite journal |last1=Klein |first1=Mary |last2=Kramer |first2=Frances |date=February 2004 |title=Rave drugs: pharmacological considerations |url=https://www.aana.com/docs/default-source/aana-journal-web-documents-1/61-67.pdf |url-status=live |journal=AANA Journal |publisher=[[American Association of Nurse Anesthetists]] |volume=72 |issue=1 |pages=61–67 |issn=0094-6354 |pmid=15098519 |s2cid=41926572 |archive-url=https://web.archive.org/web/20210817012105/https://www.aana.com/docs/default-source/aana-journal-web-documents-1/61-67.pdf |archive-date=17 August 2021 |access-date=17 August 2021}}</ref><ref name="Subst. Use Misuse">{{cite journal |last1=Degenhardt |first1=Louisa |last2=Copeland |first2=Jan |last3=Dillon |first3=Paul |year=2005 |title=Recent trends in the use of "club drugs": an Australian review |journal=[[Substance Use & Misuse]] |publisher=[[Taylor & Francis]] |volume=40 |issue=9–10 |pages=1241–1256 |doi=10.1081/JA-200066777 |eissn=1532-2491 |issn=1082-6084 |lccn=2006268261 |pmid=16048815 |s2cid=25509945}}</ref><ref name="Hum. Exp. Toxicol.">{{cite journal |last1=Avrahami |first1=Beni |last2=Bentur |first2=Yedidia |last3=Halpern |first3=Pinchas |last4=Moskovich |first4=Jenny |last5=Peleg |first5=Kobi |last6=Soffer |first6=Dror |date=April 2011 |title=Morbidity associated with MDMA (ecstasy) abuse: a survey of emergency department admissions |journal=[[Human & Experimental Toxicology]] |publisher=[[SAGE Publications]] |volume=30 |issue=4 |pages=259–266 |doi=10.1177/0960327110370984 |eissn=1477-0903 |issn=0960-3271 |lccn=90031138 |pmid=20488845 |bibcode=2011HETox..30..259H |s2cid=30994214}}</ref>

"[[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 [[2,5-Dimethoxy-4-bromoamphetamine|DOB]] have been referred to as club drugs due to their stimulating and psychedelic nature (and their chemical relationship with [[MDMA]]).<ref>{{cite web|url = http://www.bbc.co.uk/radio1/advice/factfile_az/2ci|work = Advice |publisher = BBC|title =2C-I|archive-url = https://web.archive.org/web/20121112214041/http://www.bbc.co.uk/radio1/advice/factfile_az/2ci |archive-date = 12 November 2012}}</ref> By late 2012, derivates of the [[psychedelic drug|psychedelic]] 2C-X drugs, the [[NBOMe]]s 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 [[Recreational drug use|drug-centric]] culture, as rave attendees have been known to use drugs such as [[Cannabis (drug)|cannabis]], [[2CB|2C-B]], and [[Dimethyltryptamine|DMT]].{{citation needed|date=December 2014}}

Since the early 2000s, [[medical professional]]s have acknowledged and addressed the problem of the increasing consumption of [[alcoholic drinks]] and club drugs (such as [[MDMA]], [[cocaine]], [[rohypnol]], [[Gamma-Hydroxybutyric acid|GHB]], [[ketamine]], [[Phencyclidine|PCP]], [[LSD]], and [[methamphetamine]]) associated with [[rave culture]] among adolescents and young adults in the Western world.<ref name="CMAJ 2000"/><ref name="Am. J. Health-Syst. Pharm"/><ref name="AANA 2004"/><ref name="Subst. Use Misuse"/><ref name="Hum. Exp. Toxicol."/> Studies have shown that adolescents are more likely than young adults to use multiple drugs,<ref>{{cite journal |vauthors= Palamar JJ, Acosta P, Le A, Cleland CM, Nelson LS |date=November 2019 |title=Adverse drug-related effects among electronic dance music party attendees |journal=International Journal of Drug Policy |publisher=[[Elsevier]] |volume=73 |pages=81–87 |doi=10.1016/j.drugpo.2019.07.005 |issn=1873-4758 |pmc=6899195 |pmid=31349134 |s2cid=198932918}}</ref> and the consumption of club drugs is highly associated with the presence of [[criminal behavior]]s and recent [[alcohol abuse]] or [[Alcohol dependence|dependence]].<ref>{{cite journal |last1=Wu |first1=Li-Tzy |last2=Schlenger |first2=William E. |last3=Galvin |first3=Deborah M. |date=September 2006 |title=Concurrent Use of Methamphetamine, MDMA, LSD, Ketamine, GHB, and Flunitrazepam among American Youths |journal=Drug and Alcohol Dependence |publisher=[[Elsevier]] |volume=84 |issue=1 |pages=102–113 |doi=10.1016/j.drugalcdep.2006.01.002 |issn=0376-8716 |pmc=1609189 |pmid=16483730 |s2cid=24699584}}</ref> 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.<ref>{{cite web |url=https://www.unodc.org/unodc/en/press/releases/2007-05-10_2.html |url-status=live |title=UN drugs chief calls for introduction of drug testing to help curb substance abuse |author=<!--Not stated--> |date=10 May 2007 |website=unodc.org |location=Istanbul |publisher=[[United Nations Office on Drugs and Crime]] |archive-url=https://web.archive.org/web/20071217224546/https://www.unodc.org/unodc/en/press/releases/2007-05-10_2.html |archive-date=17 December 2007 |access-date=17 August 2021}}</ref>
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.<ref>{{cite journal |author1=Armenian |author2=Mamantov |author3=Tsutaoka |author4= Gerona |author5=Silman |author6=Wu |author7=Olson |title=Multiple MDMA (Ecstasy) Overdoses at a Rave Event-A Case Series |journal=Journal of Intensive Care Medicine |volume=28 |issue=4 |pages=252–258 |year=2012 |doi=10.1177/0885066612445982|pmid=22640978 |citeseerx=10.1.1.668.2071 |s2cid=26074659 }}</ref>

==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 [[Belgian techno|native form of hardcore techno]] in the 1990s with the introduction of techno records played at their original speeds or even slightly accelerated.<ref>{{Cite book|last = Reynolds|first = Simon|title = Energy Flash: A Journey Through Rave Music and Dance Culture|year = 1998|publisher = Picador|quote = 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.}}</ref> This brutal new hardcore style spread throughout the European rave circuit and penetrated the pop charts.<ref>{{Cite book|last = Reynolds|first = Simon|title = Energy Flash: A Journey Through Rave Music and Dance Culture|year = 1998|publisher = Picador|quote = 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.}}</ref>

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.<ref>{{Cite book|last = Reynolds|first = Simon|title = Energy Flash: A Journey Through Rave Music and Dance Culture|year = 1998|publisher = Picador|quote = 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.}}</ref><ref>{{Cite web |url=https://www.vice.com/en/article/the-untold-story-of-joey-beltram-the-techno-titan-behind-the-90s-most-iconic-rave-anthems/ |title=The Untold Story of Joey Beltram, the Techno Titan Behind the 90s' Most Iconic Rave Anthems |website=Vice |date=11 March 2016 }}</ref>

=== 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 [[Toronto Entertainment District|Entertainment District]].<ref>{{Cite web |title=23 Hop {{!}} Rave, Warehouse and Afterhours Venue |date=24 August 2009 |url=http://www.thecommunic8r.com/2009/08/23-hop-318-richmond-street-west |website=www.thecommunic8r.com |access-date=2021-02-12}}</ref> 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. The documentary film ''The Legend of 23 Hop'' highlighted the early stages of Exodus and similarly modelled production companies.<ref>{{Cite web |date=31 August 2019 |title=The Legend of 23 Hop: A Documentary on the Murky Origins of Toronto's Rave Scene. |url=https://digitizedgraffiti.com/2019/08/31/the-legend-of-23-hop-a-documentary-on-the-murky-origins-of-torontos-rave-scene/ |website=digitizedgraffiti.com |access-date=2021-02-12 |language=en}}</ref> 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.<ref>{{Cite web|date=17 September 2014|title=Then & Now: 23 Hop|url=http://thenandnowtoronto.com/2014/09/then-now-23-hop/|access-date=2021-02-12|website=Then and Now: Toronto Nightlife History|language=en-US}}</ref>

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.<ref>{{Cite journal|last=Hunter|first=Sylvia|year=2002|title=Raves reviewed: An extended dance event bylaw|journal=Plan Canada|language=en|volume=42 | issue = 1 |pages=27–28|doi=10.25316/ir-158|issn=0032-0544}}</ref>

===Germany===
{{See also|Love Parade|Technoparade|Techno|Hardcore (electronic dance music)|Happy hardcore|Gabber|Electronic body music}}
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In West Germany and [[West Berlin]], a substantial acid house scene had established itself in the late 1980s.<ref>Short [https://www.youtube.com/watch?v=HpC0qlWKb_Q 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".</ref> In the West Berlin club [[Ufo (club, Berlin)|Ufo]], an illegal party venue located in the basement of an old apartment building, the first acid house parties took place in 1988.<ref name=ROBB>Robb, D. (2002), Techno in Germany: Its Musical Origins and Cultural Relevance, ''German as a Foreign Language Journal'', No.2, 2002, (p. 134).</ref><ref name="spiegel_20080731">{{cite news|title=The pioneering days of techno|url=http://www.spiegel.de/einestages/die-pioniertage-des-techno-a-949509.html|newspaper=Der Spiegel|date= 31 July 2008|access-date=25 February 2017| language=de}}</ref> 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.<ref name="ertl">{{cite book |last=Ertl |first=Christian |title=Macht's den Krach leiser! Popkultur in München von 1945 bis heute |trans-title=Turn down the noise! Pop culture in Munich from 1945 to today |publisher=Allitera Verlag |date=2010 |isbn=978-3-86906-100-9 |language=de}}</ref><ref name="mjunikdisco">{{cite book |last1=Hecktor |first1=Mirko |last2=von Uslar |first2=Moritz |last3=Smith |first3=Patti |last4=Neumeister |first4=Andreas |date=1 November 2008 |title=Mjunik Disco – from 1949 to now |publisher=[[Blumenbar]] |isbn=978-3936738476 |pages=212, 225 |language=de}}</ref> In July 1989, the first [[Love Parade]] took place in West Berlin.<ref name="spiegel_20080731"/><ref name="munichfoundcom">{{cite web|title=Corpus Techno: The music of the future will soon be history|url=http://www.munichfound.com/archives/id/27/article/496/|publisher=MUNICHfound.com|date=July 1997|access-date=25 February 2017|archive-date=6 February 2017|archive-url=https://web.archive.org/web/20170206184555/http://www.munichfound.com/archives/id/27/article/496/|url-status=dead}}</ref>

Immediately after the [[Berlin Wall]] fell on 9 November 1989, free underground techno parties mushroomed in [[East Berlin]].<ref name=ROBB/> 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.<ref>Messmer, S. (1998), ''Eierkuchensozialismus'', ''die Tageszeitung'', 10 July 1998, (p. 26).</ref> Soon the first techno clubs emerged in East Berlin such as the [[Tresor (club)|Tresor]] (est. 1991), the ''Planet'' (1991–1993), and the [[Bunker (Berlin)|Bunker]] (1992–1996).<ref>Henkel, O.; Wolff, K. (1996) ''Berlin Underground: Techno und Hiphop; Zwischen Mythos und Ausverkauf'', Berlin: FAB Verlag, (pp. 81–83).</ref> In [[Frankfurt]], the Omen opened in 1988, which under its operator [[Sven Väth]] became the center of the scene in the [[Frankfurt Rhine-Main|Rhein-Main]] area in the following years. In 1990, the [[Babalu Club]] opened in Munich, introducing the concept of [[afterhours club|afterhours]] in Germany.<ref name="spiegel_19960714">{{cite web |last1=Fischer |first1=Marc |last2=von Uslar |first2=Moritz |last3=Kracht |first3=Christian |last4=Roshani |first4=Anuschka |last5=Hüetlin |first5=Thomas |last6=Jardine |first6=Anja |url=https://www.spiegel.de/panorama/der-pure-sex-nur-besser-a-b27e6717-0002-0001-0000-000008947048 |title=Der pure Sex. Nur besser. |trans-title=The pure sex. Only better. |magazine=[[Der Spiegel]] |language=de |date=14 July 1996 |access-date=21 May 2022}}</ref>

In the late 1990s, the venues ''Tresor'' and [[E-Werk (Berlin)|E-Werk]] (1993–1997) in Berlin, ''Omen'' (1988–1998) and [[Dorian Gray (club)|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.<ref name="ronaldhitzler">{{cite book |last1=Hitzler |first1=Ronald |last2=Pfadenhauer |first2=Michaela |last3=Hillebrandt |first3=Frank |last4=Kneer |first4=Georg |last5=Kraemer |first5=Klaus |title=Loss of safety? Lifestyles between multi-optionality and scarcity. |chapter=A posttraditional society: Integration and distinction within the techno scene |date=1998 |isbn=978-3-531-13228-0 |doi=10.1007/978-3-322-83316-7 |page=85|language=de}}</ref>

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.<ref name="illegalraves">{{cite magazine|title=Youth: Love and Cabbage|url=http://magazin.spiegel.de/EpubDelivery/spiegel/pdf/9085950|magazine=[[Der Spiegel]]|date=26 August 1996|access-date=25 February 2017|language=de|archive-date=26 February 2017|archive-url=https://web.archive.org/web/20170226050058/http://magazin.spiegel.de/EpubDelivery/spiegel/pdf/9085950|url-status=dead}}</ref>

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.<ref name="spiegel_special"/><ref name="munichfoundcom"/> 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 [[technoparade]]s 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 (music festival)|Mayday]], [[Nature One]], [[Time Warp Festival|Time Warp]], [[SonneMondSterne]] and [[Melt! Festival|Melt!]].<ref name="munichfoundcom"/>

Since the late 2000s, Berlin is still called the capital of techno and rave, and techno clubs such as [[Berghain]], [[Tresor (club)|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.<ref name="nyt_berlin_23112014">{{cite news|title=In Berlin, Still Partying in the Ruins |url=https://www.nytimes.com/2014/11/23/travel/in-berlin-still-partying-in-the-ruins.html|newspaper=The New York Times|date=21 November 2014|access-date=25 February 2017}}</ref> 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.<ref name=" electronicbeats">{{cite web |url= http://www.electronicbeats.net/10-best-clubs-germany-arent-berlin/ |title= The 10 best clubs in Germany that aren't in Berlin | publisher=[[Electronic Beats]] |date=30 January 2017 |access-date=31 August 2017}}</ref>

===United Kingdom===

====Birth of UK rave scene (1980s–1990s)====
{{See also|Second Summer of Love|Acid house party}}
The UK was finally recognised for its rave culture in the late 1980s and early 1990s. By 1991, organisations such as [[Fantazia (dance)|Fantazia]] and [[Raindance (rave)|Raindance]] were holding massive legal raves in fields and warehouses around the country. The [[Fantazia (rave music promoter)|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|date=December 2011}} 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 [[oldschool jungle|jungle]] and the faster [[happy hardcore]]. Although many ravers left the scene due to the split, promoters such as ESP Dreamscape and [[Helter Skelter (rave music promoter)|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, [[Northamptonshire|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)====
{{See also|Free party}}
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 Festival|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:

{{Blockquote|"Music" includes sounds wholly or predominantly characterised by the emission of a succession of repetitive beats.|Criminal Justice and Public Order Act 1994<ref>{{cite web |url=http://www.opsi.gov.uk/acts/acts1994/ukpga_19940033_en_8#pt5-pb2 |title=Public Order: Collective Trespass or Nuisance on Land – Powers to remove trespassers on land – Powers to remove persons attending or preparing for a rave |work=Criminal Justice and Public Order Act 1994 |publisher=[[Her Majesty's Stationery Office]] |access-date=9 June 2008| year=1994}}</ref>}}

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 (drug)|alcohol]].<ref>Simon Reynolds, ''Energy Flash: A Journey through Rave Music and Dance Culture'', Pan Macmillan, (p. 149) ({{ISBN|0330350560}})</ref> In November 1994, the Zippies staged an act of [[Intervasion of the UK|electronic civil disobedience]] to protest against the CJB (i.e., [[Criminal Justice and Public Order Act 1994|Criminal Justice Bill]]).

====Legal and underground raves (1994–present)====
After 1993, the main outlet for raves in the UK were a number of licensed parties, amongst them [[Helter Skelter (rave music promoter)|Helter Skelter]], Life at Bowlers (Trafford Park, Manchester), The Edge (formerly the Eclipse [Coventry]), The Sanctuary (Milton Keynes) and Club Kinetic.<ref>{{cite web
| url = http://www.rezerection.net/main.html
| title = REZERECTION – THE OFFICIAL WEBSITE (z)
| access-date =25 October 2007 |archive-url = https://web.archive.org/web/20070928062044/http://www.rezerection.net/main.html <!-- Bot retrieved archive --> |archive-date = 28 September 2007}}</ref> In London, itself, there were a few large clubs that staged raves on a regular basis, most notably "[[The Laser Dome]]", "The Fridge", "[[Hippodrome, Aldershot|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.<ref>{{Cite web |title=History |url=https://www.rezerection.net/history/ |url-status=live |archive-url=https://web.archive.org/web/20140701134205/https://www.rezerection.net/history/ |archive-date=2014-07-01|access-date=2021-04-12 |website=Rezerection |language=en-GB}}</ref>

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 One|Gatecrasher]] and [[Cream (nightclub)|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|date=November 2017}}

====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.<ref>{{Cite web |url=https://www.bbc.com/news/uk-53877683|title=Coronavirus: Illegal rave organisers face new £10,000 fines|date=23 August 2020|access-date=2021-02-08 |website=[[BBC News]]|archive-url=https://web.archive.org/web/20201120034356/https://www.bbc.com/news/uk-53877683|archive-date=2020-11-20|url-status=live}}</ref>

===United States===
====Origins in disco and psychedelia (1970s)====
{{See also|Circuit party}}
The American electronic dance music scene is one of the earliest, and rave culture has its roots in the "[[circuit party|circuit parties]]" and disco clubs of the late 1970s. These were scattered in cities large and small throughout the United States, from [[Buffalo, New York|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.<ref>Energy Flash, Simon Reynolds, (p276 & 290), 1998, Macmillan Publishers ({{ISBN|0330350560}})</ref> 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&nbsp;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"<ref>{{Cite news |title=How Frankie Knuckles Became The Godfather Of House Music |language=en |publisher=NPR |url=https://www.npr.org/2014/04/02/298328965/how-frankie-knuckles-became-the-godfather-of-house-music |access-date=2022-08-02}}</ref> 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|House Music]]". Frankie played his house beats at [[Warehouse (nightclub)|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)<ref>{{Cite magazine |last1=Matos |first1=Michaelangelo |date=1 April 2014 |title=House DJ Frankie Knuckles Dead at 59 |url=https://www.rollingstone.com/music/music-news/frankie-knuckles-godfather-of-house-music-dead-at-59-243506/ |access-date=2022-08-02 |magazine=Rolling Stone |language=en-US}}</ref> 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<ref>{{Cite web |title=house {{!}} music {{!}} Britannica |url=https://www.britannica.com/art/house-music |access-date=2022-08-02 |website=Encyclopædia Britannica |language=en}}</ref> 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 [[South of Market, San Francisco|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 [[Reducing Americans' Vulnerability to Ecstasy Act|RAVE Act]]. Consequentially, by mid 2000s and late 2000s larger raves appeared more sporadically.<ref name="archive.attn.com">{{cite web |last1=Benson |first1=Thor |title=A Brief History of Raves in the U.S. |url=https://archive.attn.com/stories/3978/history-of-raves-united-states |website=attn |date=7 November 2015 |access-date=3 September 2019}}</ref> Nevertheless, and parallel to new city ordinances regarding curfews and drug enforcement, rave event promoter companies like Go ventures and [[Insomniac (promoter)|Insomniac]] persisted and continued annual scheduled rave events like [[Monster Massive]], [[Together as One (festival)|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.<ref name="archive.attn.com"/><ref>{{cite web |last1=Lin II|first1=Rong-Gong|last2=Ardalani | first2=Sarah|title= Girl, 15, dies after weekend rave at L.A. Coliseum. |url=https://www.latimes.com/local/la-me-rave-death-20100630-story.html |website=Los Angeles Times|date=30 June 2010|access-date=3 September 2019}}</ref> 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.<ref name="Rotella">{{cite web |last1=Rodriguez |first1=Krystal |title=Insomniac's Pasquale Rotella Avoids Jail Time in Los Angeles Coliseum Court Case |url=https://www.vice.com/en/article/insomniac-pasquale-rotella-court-case/ |website=Vice |date=5 August 2016 |access-date=3 September 2019}}</ref> 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.<ref name="Rotella" />

====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)====
{{See also|List of electronic dance music festivals}}
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, [[Detroit Electronic Music Festival|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&nbsp;million to the Clark County economy in 2013.<ref>{{cite web |url=http://w.insomniac.com/newsDetails.php?news=607 |title=EDC Las Vegas 2013 Economic Impact |website=w.insomniac.com |access-date=21 January 2015 |url-status=dead |archive-url=https://archive.today/20150121204609/http://w.insomniac.com/newsDetails.php?news=607 |archive-date=21 January 2015}}</ref> 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 Events|Insomniac]], a US EDM event promoter, holds yearly EDC and other EDM events.

[[File:A Rave in Seoul, South Korea in 2001.jpg|thumb|A Rave in Seoul, South Korea in 2001]]

===Australia===
{{See also|Doof}}

====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).<ref>{{Cite web |url=http://www.snarl.org/youth/chrispagan2.pdf |archive-url=https://ghostarchive.org/archive/20221010/http://www.snarl.org/youth/chrispagan2.pdf |archive-date=2022-10-10 |url-status=live|title=Rave culture in Sydney, Australia: mapping youth spaces in media discourse|first=Chris|last=Pagan|publisher=[[University of Sydney]]|access-date=8 January 2014}}</ref><ref>{{Cite web|url=http://www.sydneyravehistory.com/#!rave-timeline/c66t|title=Timeline of Sydney Raves from the website – Sydney Rave History |website=www.sydneyravehistory.com |access-date=14 September 2014|archive-date=13 January 2019|archive-url=https://web.archive.org/web/20190113062638/http://www.sydneyravehistory.com/#!rave-timeline/c66t|url-status=dead}}</ref> The mid-late 1990s saw a slight decline in rave attendance, attributed to the [[Anna Wood (born 1980)|death of Anna Wood]] at a licensed inner-city Sydney venue, which was hosting a rave party known as "Apache". Wood had taken [[MDMA|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.

=== China ===
Underground raves and rave subcultures exist within Chinese cities such as [[Shanghai]] and [[Shenzhen]], although the government has cracked down on clubs in the past as part of anti-drug campaigns.<ref>{{Cite news |last=Chen |first=Elsie |last2=Kang |first2=Dake |date=2024-11-13 |title=In China’s regimented society, youth find release at underground raves |url=https://apnews.com/article/china-raves-techno-changchun-youth-culture-2edde8f402a604e3671900c5109b6fcd |url-status=live |archive-url=https://web.archive.org/web/20250409024857/https://apnews.com/article/china-raves-techno-changchun-youth-culture-2edde8f402a604e3671900c5109b6fcd |archive-date=2025-04-09 |access-date=2025-10-28 |work=[[Associated Press]] |language=en}}</ref><ref>{{Cite journal |last=Chew |first=Matthew M. |date=2009 |title=Decline of the Rave Inspired Clubculture in China: State Suppression, Clubber Adaptations and Socio-cultural Transformations |url=https://dj.dancecult.net/index.php/dancecult/article/view/269/228 |journal=Dancecult: Journal of Electronic Dance Music Culture |volume=1}}</ref>

==Notable events==
{{Main|List of electronic music festivals}}
{{See also|List of technoparades}}
The following is an incomplete list of notable raves.
{{col-begin|width=auto}}
{{col-break}}
'''1980s'''
*[[Frankie Bones|Storm Raves]] (1991)<ref>{{cite web|last1=wender|first1=Dan|title=How Frankie Bones' Storm Rave Birthed the "PLUR" Movement|url=https://www.vice.com/en/article/how-frankie-bones-storm-rave-birthed-the-plur-movement/|website=Vice (magazine)|date=13 May 2015|publisher=Thump/Vice Webzine, Paragraph 8, 13 May 2015|access-date=31 July 2016}}</ref>
* [[Rat Parties]] (1983– 1992)
* [[Full Moon Party]] (1985–present)
* [[Winter Music Conference]] (1985–present)
* [[Genesis '88]] (1988–92)
*[[Raindance (rave)]] (1989–present)
*[[Sunrise/Back to the Future]] (1989–1995)
*[[Real Bad]] (1989–present)
*[[Helter Skelter (rave music promoter)|Helter Skelter]] (1989–2004)
*[[Love Parade]] (1989–2010)
{{col-break|gap=4em}}
'''1990s'''
*[[Mayday (music festival)]] (1991–present)
*[[Fantazia (dance)]] (1991–97)
*[[Earthcore]] (1992–present)
*[[Castlemorton Common Festival]] (one-time event, 1992)
*[[Energy (event)]] (1992–2013)
*[[Thunderdome (music festival)]] (1992–present)
*[[KaZantip]] (1992–present)
*[[Street Parade]] (1992–present)
*[[Tribal Gathering]] (1993–2006)
*[[CzechTek]] (1994–2006)
*[[Bal en Blanc]] (1995–present)
*[[Rainbow Serpent Festival]] (1997–present)
*Scattered (rave) (1998–present)
*[[Mysteryland]] (1993–present)
*[[Dance Valley]] (1995–present)
*[[Amsterdam Dance Event]] (1996–present)
{{col-break|gap=4em}}
'''2000s'''
*[[O.Z.O.R.A.]] (2004–present, originally started in 1999 under the name Solipse)
*[[Cxema]] (2014–present)
*[[Tomorrowland (festival)|Tomorrowland]] (2005–present)
{{col-end}}

==Artists==
{{List missing criteria|date=February 2021}}
<!---♦♦♦ Please keep the list in alphabetical order  ♦♦♦--->
* [[Acid house]] and [[Acid techno]] – [[808 State]], [[Guru Josh]], [[Brian Dougans]], [[the KLF]], [[Josh Wink]], [[Michele Sainte]], [[Phuture]], [[Luke Vibert]], [[Acidwolf]], [[Lone (musician)|Lone]]
* [[Breakbeat]] – [[Chase & Status]]
* [[Breakbeat hardcore]] a.k.a. "Oldskool Rave" – [[Acen]], [[Altern-8]], [[the Chemical Brothers]], [[Little Big (band)|Little Big]], [[the Prodigy]], [[Shades of Rhythm]], [[Shut Up and Dance (band)|Shut Up and Dance]]
* [[Brostep]] / [[Dubstep]] – [[Rusko (musician)|Rusko]], [[Skrillex]], [[Flux Pavilion]], [[Datsik (musician)|Datsik]], [[Chase & Status]], [[Doctor P]], [[Borgore]], [[TC (musician)|TC]], [[Modestep]], [[Jon Gooch|Feed Me]], [[Jake Stanczak|Kill the Noise]], [[Excision (musician)|Excision]]
* [[Drum and bass]] / [[Oldschool jungle|Jungle]] – [[Drumsound & Bassline Smith]], [[4Hero]], [[Logistics (artist)|Logistics]], [[Andy C]], [[Jon Gooch|Spor]], [[Goldie]], [[DJ Ron]], [[Dieselboy]], [[DJ Fresh]], [[Pendulum (drum and bass band)|Pendulum]], [[Freq Nasty]], [[Freaky Flow]], [[Shy FX]], [[Rebel MC]], [[Ragga Twins]] 
* [[Drumstep]] – [[Excision (musician)|Excision]], [[Dirtyphonics]], [[Figure (musician)|Figure]], [[Knife Party]], [[Kill The Noise]], [[Au5]]
* Future rave<!--Q101109587--> – [[David Guetta]], [[Morten]], [[Shapov]]
* [[Goa trance]] / [[Psychedelic trance]] – Ajja,<ref name="Ajja">{{Cite web|url=https://www.traxmag.com/ajja-le-veteran-de-la-psytrance-livre-1h-de-set-galopant-inspire-par-son-enfance-a-goa/|title=Ajja, le vétéran de la psytrance livre 1H de set galopant inspiré par son enfance à Goa|date=20 February 2018}}</ref> Burn in Noise, [[Alien Project (musician)|Alien Project]], [[Astral Projection (band)|Astral Projection]], [[Electric Universe]], [[Hallucinogen (musician)|Hallucinogen]], [[Infected Mushroom]] 
* [[Belgian hardcore techno]] a.k.a. "Rave Techno" – [[Channel X]], [[Digital Orgasm]], [[L.A. Style]], [[Messiah (UK band)|Messiah]], [[Praga Khan]], [[Quadrophonia]], [[T99]], [[U96]].
* Modern [[Hardcore techno]] styles – [[Happy hardcore]], Acidcore, [[Mainstream hardcore|Hardcore house]], [[Gabber]], Frenchcore – [[Punish Yourself]], [[Angerfist]], [[Dune (German band)|Dune]], Outblast, [[Scooter (band)|Scooter]], [[Anthony Acid]], [[Darren Styles]], [[Pastis & Buenri]]
* [[Hardstyle]] and [[Dubstyle]] – [[Technoboy]], [[Showtek]], [[Headhunterz]], [[Wildstylez]], [[Brennan Heart]], [[DJ Lady Dana]], [[Blutonium Boy]]
* [[Liquid funk]] – [[Netsky (musician)|Netsky]], [[High Contrast]], [[Fred V & Grafix]], [[Fox Stevenson]], [[Brookes Brothers]], [[Rudimental]]
* [[Moombahton]] – [[Knife Party]], [[Dillon Francis]], [[Munchi (DJ)|Munchi]], [[Diplo (DJ)|Diplo]], [[Evol Intent|Bro Safari]], 
* [[New rave]] – [[Klaxons]], [[Hadouken! (band)|Hadouken!]], [[Shitdisco]], [[Trash Fashion]], [[New Young Pony Club]]
* [[Speed garage]] and [[Bassline house|Bassline]] – [[Platnum]], DJXP, [[T2 (producer)|T2]]

==Notable soundsystems==
[[File:Sound System.jpg|thumb|Audio technicians set up massive [[speaker enclosure]]s for a Jamaican sound system party.]]
The following is an incomplete list of notable [[Sound system (DJ)|sound systems]]:
*[[Defunkt]]
*[[DiY Sound System]]
*[[Insomniac Events]]
*[[Spiral Tribe]]

==See also==
{{Portal|Society}}
* [[ArtRave: The Artpop Ball]]
* [[Computational musicology]]
* [[Electronic dance music]]
* [[Gospel music]]
* [[New Rave]]
* [[Outline of entertainment]]
* [[RAVE Act]] – An American law targeting raves.
* [[Rave Board Game|''Rave'' Board Game]] – 1991 board game based on the UK Rave scene
* [[Rock music]]
* {{section link|Responsible drug use|On festivals}}
* [[Zippies]]
* [[Cxema]], organiser of raves in Ukraine
* [[Soul music]]

==References==
{{Reflist}}

==Further reading==
* Collin, Matthew. ''Altered State: The Story of Ecstasy and Acid House''. London: 1997 : Serpent's Tail – How rave dances began in [[Manchester]], England in the Summer of 1988 (the [[Second Summer of Love]]) and the aftermath. {{ISBN|1-85242-604-7}}.
* Griffin, Tom. ''Playgrounds: a portrait of rave culture''. 2005. {{ISBN|0-646-45135-9}}. Official Website [http://www.whatisplaygrounds.com] {{Webarchive|url=https://web.archive.org/web/20190405075015/http://www.whatisplaygrounds.com/ |date=5 April 2019 }} WALLAWALLA
* Evans, Helen. "[http://hehe.org.free.fr/hehe/texte/rave/ Out of Sight, Out of Mind: An Analysis of Rave Culture]". Wimbledon School of Art, London. 1992. Includes bibliography through 1994.
* [https://web.archive.org/web/20160329215407/https://www.fbi.gov/scams-safety/clubdrugs Tips for Parents: The Truth About Club Drugs]. FBI.
* Kotarba, Joseph. 1993. [http://www.dshs.state.tx.us/sa/research/populations/houstonrave.pdf The Rave Scene in Houston, Texas: An Ethnographic Analysis] {{Webarchive|url=https://web.archive.org/web/20160304112954/http://www.dshs.state.tx.us/sa/research/populations/houstonrave.pdf |date=4 March 2016 }}. Austin: Texas Commission on Alcohol and Drug Abuse.
* Ott, Brian L. and Herman, Bill D. [https://www.questia.com/googleScholar.qst?docId=5002554420 Excerpt from ''Mixed Messages: Resistance and Reappropriation in Rave Culture''] {{Webarchive|url=https://web.archive.org/web/20110923202548/http://www.questia.com/googleScholar.qst?docId=5002554420 |date=23 September 2011 }}. 2003.
* [[Simon Reynolds|Reynolds, Simon]]. ''Generation Ecstasy: Into the world of Techno and Rave culture''. New York: Little, Brown and Company, 1998. {{ISBN|0-316-74111-6}}.
* St John, Graham (ed.) 2004. [http://www.edgecentral.net/rcr.htm ''Rave Culture and Religion''] {{Webarchive|url=https://web.archive.org/web/20181219211449/http://www.edgecentral.net/rcr.htm |date=19 December 2018 }}. New York: Routledge. {{ISBN|0-415-31449-6}}.
* St John, Graham 2009. [http://www.edgecentral.net/technomad.htm ''Technomad: Global Raving Countercultures''] {{Webarchive|url=https://web.archive.org/web/20181219211121/http://www.edgecentral.net/technomad.htm |date=19 December 2018 }}. London: Equinox. {{ISBN|978-1-84553-626-8}}.
* Thomas, Majeedah (2013). [http://togetherfridaynightsattheroxy.webs.com ''Together: Friday Nights at the Roxy''] {{Webarchive|url=https://web.archive.org/web/20190405075016/https://togetherfridaynightsattheroxy.webs.com/ |date=5 April 2019 }}. {{ISBN|978-1630005788}}.

===Music further reading===
* Bennett Andy, Peterson Richard A.:''Music Scenes: Local, Translocal and Virtual''. Nashville: Vanderbilt University Press, 2004
* Lang, Morgan: ''Futuresound: Techno Music and Mediation''. University of Washington, Seattle, 1996.
* Matos, Michaelangelo: ''The Underground Is Massive''. New York: HarperCollins Publishing, 2015.
* Reynolds, Simon: ''Generation Ecstasy: Into the World of Techno and Rave Culture''. New York: Routledge, 1999.

==External links==
{{Wiktionary|rave}}
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[[Category:Rave| ]]
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