Editing Rave (section)

==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}}</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}}</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.