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Rave

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

For other uses, see Rave (disambiguation).

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

History[edit]

Origin (1950s–1970s)[edit]

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

: 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.[31] House music uses a constant bass drum on every beat, electronic drum machine hi-hats and synth basslines. 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 or 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.

House music

: 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 (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 (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).

Drum and bass

: 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).

Trance music

: 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.

Breakbeat

: Electro and techno are two genres which largely featured 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 and acid techno. Miami bass and crunk is sometimes included as "electro".

Electro

: 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.

Hardcore techno

: Industrial is a goth/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 rivetheads and do not tend to call themselves ravers.

Industrial dance

: This style of electronic music started in the early 1990s and was mostly played in illegal parties hosted by 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.

Free tekno

History by country[edit]

Belgium[edit]

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


Originally created by DJs slowing down gay Hi-NRG 45rpm records to 33rpm to create a trance-dance groove, New Beat evolved into a native form of hardcore techno in the 1990s with the introduction of techno records played at their original speeds or even slightly accelerated.[70] This brutal new hardcore style spread throughout the European rave circuit and penetrated the pop charts.[71]


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.[72][73]

Canada[edit]

Exodus Productions was arguably the first production company in Canada to throw regular rave style events at the warehouse space known as 23 Hop, located at 318 Richmond Street West in Toronto's Entertainment District.[74] The first party was held on 31 August 1991. Multiple production companies would quickly follow suit, and the rave scene would soon explode into a massive scene, with 23 Hop as the initial launching pad, until its closure in 1995. A documentary film entitled The Legend of 23 Hop highlighted the early stages of Exodus and similarly modelled production companies.[75] 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.[76]


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.[77]

– DJ Icey, Mike & Charlie, Brad Smith, Afco-Skynet, Agent K & Deuce, Sharaz, Dave London, Baby Anne, Faline, Rob E, Mondo, Chase & Status, Huda Hudia.

Breakbeat

a.k.a. "Oldskool Rave" – Acen, Altern-8, Keoki, The Brainstorm Crew,[107] Bobs and Sounds, The Chemical Brothers, Little Big, The Prodigy, Shades of Rhythm, Shut Up and Dance, Crystal Method, uberzone.

Breakbeat hardcore

Excision, Dirtyphonics, Figure, Knife Party, Kill The Noise, Fonik, Phrenik, Au5, Fractal, Tristam, locknar, Subvibe, DotEXE

Drumstep

– Crystal Distortion, 69db, Fky, Gotek

Free tekno

Future rave – , Morten, Shapov

David Guetta

a.k.a "Rave Techno" – Channel X, Digital Orgasm, L.A. Style, Messiah, Praga Khan, Quadrophonia, T99, U96.

Belgian hardcore techno

Modern styles – Happy hardcore, Acidcore, Hardcore house, Gabber, Frenchcore – Punish Yourself, Angerfist, Evil Activities, Dune, Outblast, Scooter, UltraSonic, Scot Majestik, Luke Slater, Anthony Acid, Dave Clarke, Darren Styles, Neophyte, Endymion, Tommyknocker, Hellfish & Vagabond, Pastis & Buenri

Hardcore techno

and DubstyleTechnoboy, Showtek, Headhunterz, Wildstylez, Brennan Heart, Frontliner, Code Black, Activator, DHHD, DJ Neo, Southstylers, Pavo, Zany, Donkey Rollers, Luna, DJ Lady Dana, DJ Isaac, Blutonium Boy, Phuture Noize, Endymion, In-Phase, Da Tweekaz

Hardstyle

Netsky, High Contrast, Fred V & Grafix, Fox Stevenson, MaxNRG, 2DB, Brookes Brothers, Rudimental, Mediks

Liquid funk

– Dave Nada, Knife Party, Dillon Francis, Munchi, Diplo, Bro Safari, ETC!ETC!, Valentino Khan, Sazon Booya

Moombahton

and BasslinePlatnum, DJXP, T2, Double 99

Speed garage

Defunkt

DiY Sound System

Insomniac Events

Spiral Tribe

The following is an incomplete list of notable sound systems:

ArtRave: The Artpop Ball

New Rave

Outline of entertainment

– An American law targeting raves.

RAVE Act

– 1991 board game based on the UK Rave scene

Rave Board Game

Responsible drug use § On festivals

Zippies

organiser of raves in Ukraine

Cxema

Collin, Matthew. Altered State: The Story of Ecstasy and Acid House. London: 1997 : Serpent's Tail – How rave dances began in , England in the Summer of 1988 (the Second Summer of Love) and the aftermath. ISBN 1-85242-604-7.

Manchester

Griffin, Tom. Playgrounds: a portrait of rave culture. 2005.  0-646-45135-9. Official Website [1] Archived 5 April 2019 at the Wayback Machine WALLAWALLA

ISBN

Evans, Helen. "". Wimbledon School of Art, London. 1992. Includes bibliography through 1994.

Out of Sight, Out of Mind: An Analysis of Rave Culture

. FBI.

Tips for Parents: The Truth About Club Drugs

Kotarba, Joseph. 1993. Archived 4 March 2016 at the Wayback Machine. Austin: Texas Commission on Alcohol and Drug Abuse.

The Rave Scene in Houston, Texas: An Ethnographic Analysis

Ott, Brian L. and Herman, Bill D. Archived 23 September 2011 at the Wayback Machine. 2003.

Excerpt from Mixed Messages: Resistance and Reappropriation in Rave Culture

. Generation Ecstasy: Into the world of Techno and Rave culture. New York: Little, Brown and Company, 1998. ISBN 0-316-74111-6.

Reynolds, Simon

St John, Graham (ed.) 2004. Archived 19 December 2018 at the Wayback Machine. New York: Routledge. ISBN 0-415-31449-6.

Rave Culture and Religion

St John, Graham 2009. Archived 19 December 2018 at the Wayback Machine. London: Equinox. ISBN 978-1-84553-626-8.

Technomad: Global Raving Countercultures

Thomas, Majeedah (2013). Archived 5 April 2019 at the Wayback Machine. ISBN 978-1630005788.

Together: Friday Nights at the Roxy

at Curlie

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