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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".
Love film? Join BBC Culture Film Club on Facebook, a community for film fanatics all over the world. Robinson, Roxy (2016). Music Festivals and the Politics of Participation. Routledge. p. 33. ISBN 978-1317091998 . Retrieved 10 September 2016.Rosca, Matei (1 April 2014). "Illegal raves: Social media messages bring in a new generation of partygoers". The Guardian.
a b c d e "Club Drugs". drugabuse.gov. North Bethesda, Maryland: National Institute on Drug Abuse. 2021 . Retrieved 17 August 2021. Marijuana in the Rave Culture of the 90's". 6 February 2018. Archived from the original on 15 March 2019 . Retrieved 8 June 2018. Turino, Thomas. Music as Social Life: The Politics of Participation. Chicago: University of Chicago Press. a b c "Corpus Techno: The music of the future will soon be history". MUNICHfound.com. July 1997 . Retrieved 25 February 2017.
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a b Klein, Mary; Kramer, Frances (February 2004). "Rave drugs: pharmacological considerations" (PDF). AANA Journal. American Association of Nurse Anesthetists. 72 (1): 61–67. ISSN 0094-6354. PMID 15098519. S2CID 41926572. Archived (PDF) from the original on 17 August 2021 . Retrieved 17 August 2021.
While the 1990s are remembered, musically, as being dominated by Britpop, acid house and rave helped dissolve invisible markers of race and class. It united myriad, disparate groups through a passion for electronic music and dancing in open-minded, recreational spaces that weren’t dominated by alcohol and aggressive masculinity – rave is often credited as a key factor in the decline of football hooliganism. Pagan, Chris. "Rave culture in Sydney, Australia: mapping youth spaces in media discourse" (PDF). University of Sydney. Archived (PDF) from the original on 10 October 2022 . Retrieved 8 January 2014. Hardstyle, Hard trance, Hard House, Hard dance, Hands Up, Trance, Techno, Electro-House, Progressive house
Acid house and Acid techno – 808 State, Guru Josh, Brian Dougans, The KLF, Josh Wink, Michele Sainte, Phuture, Luke Vibert, Acidwolf, Lone Palamar JJ, Acosta P, Le A, Cleland CM, Nelson LS (November 2019). "Adverse drug-related effects among electronic dance music party attendees". International Journal of Drug Policy. Elsevier. 73: 81–87. doi: 10.1016/j.drugpo.2019.07.005. ISSN 1873-4758. PMC 6899195. PMID 31349134. S2CID 198932918.
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 (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). EDC Las Vegas 2013 Economic Impact". Archived from the original on 21 January 2015 . Retrieved 21 January 2015. UK garage& grime – Todd Edwards, Grant Nelson, Sunship, Wookie, So Solid Crew, Roll Deep, Dizzee Rascal, Wiley, Plastician Immediately after the Berlin Wall fell on 9 November 1989, free underground techno parties mushroomed in East Berlin. [78] 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. [83] Soon the first techno clubs emerged in East Berlin such as the Tresor (est. 1991), the Planet (1991–1993), and the Bunker (1992–1996). [84] In Frankfurt, the Omen opened in 1988, which under its operator Sven Väth became the center of the scene in the Rhein-Main area in the following years. In 1990, the Babalu Club opened in Munich, introducing the concept of afterhours in Germany. [85]Benson, Denise (21 September 2014). "Then & Now: Industry". Denise Benson . Retrieved 10 February 2021.
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