Editing Rave (section)

==History==

===Origin (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="outofsight">{{cite web
| url = http://hehe.org.free.fr/hehe/texte/rave/#hist
| title = OUT OF SIGHT, OUT OF MIND: An Analysis of Rave culture
| access-date =25 October 2007 | first=Helen
| last=Evans
| 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|url=https://www.theguardian.com/news/2007/jan/04/guardianobituaries.artsobituaries1|title=Obituary: Mick Mulligan|last=Fordham|first=John|date=4 January 2007|work=The Guardian|access-date=27 November 2017|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|url=http://www.visualthesaurus.com/cm/wordroutes/1687/|title=Buddy Holly, Wordsmith|author=Thinkmap, Inc.|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}}</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.}}</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="outofsight"/>

===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.