in the United States during 2008]] Rave, rave dance or rave party is a term with first documented use April 4, 1970 At these parties people dance to dance music played by DJs and occasionally live performers. The genres of electronic dance music played include House, Trance, Electro, Hardstyle, Drum and bass, Dubstep, Drum Step, Breakbeat, and Jungle ,

In the mid to late 1980s a wave of psychedelic and other electronic dance music, most notably acid house and Techno, emerged and caught on in the clubs, warehouses, and free-parties around Manchester and later London. These early raves were called Acid House Parties. They were mainstream events that attracted thousands of people (up to 25,000 instead of the 4,000 that came to earlier warehouse parties). Acid House parties were first re-branded "rave parties" in the media, during the summer of 1989 by Neil Andrew Megson during a television interview. In the UK, in 1988-89, raves were similar to football matches in that they provided a setting for working-class unification, in a time with a union movement in decline and few jobs, and many of the attendees of raves were die-hard football fans. East German DJ Paul van Dyk has remarked that the Techno based rave scene was a major force in re-establishing social connections between East and West Germany during the unification period.

Across Europe, rave culture was becoming part of a new youth movement. 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. Raves had tens of thousands of attendees, youth magazines featured styling tips, and television networks launched music magazines on House and Techno music. The annual Love Parade festivals in Berlin (in the Metropolitan Ruhr area onwards) attracted more than one million party-goers between 1997 and 2000. Meanwhile, the more commercial sound of happy hardcore topped the music charts across Europe. Nowadays there are only a few popular raving acts on the case in Germany, but many underground acts in Berlin and Frankfurt (Main). That is why Berlin (especially the east side) is still called the capital city of electro music and rave. Although electro composer Paul Kalkbrenner from Friedrichshain, Berlin made "Berlin Techno" world popular again, he is touring on his Berlin Calling (named after the movie he acted the main character and the soundtrack he produced for) tour through Europe and America.

Regional expansion

United States

The upsurge in popularity of rave culture in the United States at a certain period in time often lends it characteristics common to a 'movement' or subculture. As the Disco era came to a close in the late '70s, Rave culture began to see significant growth. Rave culture incorporated Disco culture's same love of dance music, and hedonism. Although disco culture had thrived in the mainsteam, the rave culture would make an effort to stay underground to avoid the animosity that was still surrounding disco and dance music.

In the late 80s, rave culture began to filter through from English ex-pats and 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 organize some of the earliest known American raves in New York City that maintained a consistent core audience. After this, hundreds of smaller promotional groups sprung up across the east coast, and later the west coast, causing a true "scene" to develop.

Raves were also represented in mainstream culture, even this early in their existence. The film Party Monster (2003) shared aspects of the rave scene via anachronism, since it was set during the "Club Kid" era of the late 1980s and early 1990s.

American underground rave DJs from that time who would go onto international celebrity include artists like Moby, Josh Wink, DJ Keoki, DJ Carlos Soul Slinger, Cinnabun, DJ Special K , Frankie Bones, Doc Martin, DJ Kool-Aid, Jon Bishop , Mark E. Quark, Steve Pagan and others. During this time publications such as Milwaukee's "Massive Magazine", Chicago's "Reactor" and "A Thousand Words", Los Angeles' "Urb", and San Francisco's "XLR8R" magazines helped spread the scene from coast to coast and abroad. One of the first rave websites with event listings, music info and chemical information was Hyperreal. The popularity of rave music within the mainstream started in early to mid 1990s with such artists as Rozalla, Praga Khan, The Prodigy and The Shamen among others. Because the movement and music both embrace and incorporate so many different elements, a common thread can be hard to find.

Some cultural tenets associated with rave culture are:

"Peace"

"Love"

"Unity"

"Respect"

The word "Responsibility" was added to the acronym PLUR during the mid to late 90s to promote awareness of increased drug overdoses at raves. Groups that have addressed drug use at raves include the Electronic Music Defense and Education Fund (EMDEF), DanceSafe , and the Toronto Raver Info Project , all of which advocate harm reduction approaches to enjoying a rave.

American ravers, following their early UK & European counterparts, have been compared to both the hippies of the 1960s and the new wavers of the 1980s, due to their interest in non-violence, appreciation for music and non-traditional art forms, and progressive ideals. In contrast to many other "youth cultures," older people are often active members of the U.S. scene and are well represented at events. Certain facets of dance music culture in the UK, Europe and globally, are also welcoming to the older generation (especially the free party/squat party/gay scenes). However, rave and club culture remains on the whole very much a youth-driven movement in terms of its core fan base. Although rave parties are commonly associated with illegal activities (e.g. drug use) so much that their trying to ban them as of DEC 23 2010 , raves themselves are (often) legal gatherings.

East Coast scene

Both an innovator and promoter with Frankie Bones, the team of DJ's DB,and Soulslinger began N.A.S.A (Nocturnal Audio Sensory Awakening) at the club Shelter in New York City,. Fashion trends emerged from N.A.S.A, specifically due to the raver centered store Liquid Sky which attracted SoHo fashionistas and elite club kids of the time (the members of Deee-Lite were N.A.S.A regular as was Rupaul and Michael Alig).

Bones was instrumental in bringing the rave scene to New York. DJs Adam X, DJ Heather Heart, and Frankie Bones worked together to produce a series of large, multi-thousand person parties throughout Manhattan and Queens, known as Storm Rave during 1992-1994. Guest DJs frequently included Joey Beltram and other R&S; Records artists, bringing a harder, European sound to the NYC area.

Heather Heart also produced the raver 'zine Under One Sky which chronicled the Brooklyn scene during the early '90s.

West Coast scene

Hippies of a New Era

American ravers, following their early UK & European counterparts, have been compared to both the hippies of the 1960s and the new wavers of the 1980s, due to their interest in non-violence and music. In the 1990s, one of the most influential Rave organizers / promoters in America was San Diego's G.U.N. ,Global Underworld Network known as Nicholas Luckinbill and Branden Powers. They were made famous for organising and throwing the internationally known OPIUM and NARNIA raves that reached in size of 60,000 plus people in attendance, a feat unheard of at that time. Narnia which would become famous for a morning hand holding circle of unity was featured on Mtv and twice in LIFE magazine being honored with Event of the Year in 1995. Narnia quickly became known as the "Woodstock of Generation X". These festivals were mostly held on Indian Reservations and Ski Resorts during the Summer months and were headlined by well known DJs such as Doc Martin,Dimitri of Dee-lite,Afrika Islam and the Hardkiss brothers from San Francisco. They also featured exceptional local San Diego DJ's Jon Bishop, Steve Pagan, Alien Tom, Jeff Skot and Mark E. Quark. Global Underworld's events were the first prop heavy , themed parties in America. Global Underworld Network were also the first production company to throw Raves within Mexico, thus launching the entire rave culture movement within South America as well. The iconic fairy and pixie craze with ravers getting fairy tattoos and wearing wings to parties all started from an image of a winged fairy on the first Narnia flyer. The Crystal Method played their first out of town show for Global Underworld's Universary event. Fearing reprisals from the police Global Underworld Network advertised the event as "A thousand Points of Light" referring to the power of healing crystals and not the obvious drug reference of the Crystal Methods name. A fact that tickled the upcoming artist so much they would refer to it years later in their biography. The Chemical Brothers were also in awe of Nicholas and Branden's Global Underworld headquarters in downtown San Diego. A multi story building of the arts, much like Warhol's factory. There Global Underworld fed starving artists and provided space for all the arts. The Chemical Brothers played an intimate show at Global's offices in front of a few hundred lucky fans on the eve of a Global event that was shut down by the authorities. In an interview with Virgin Airways The Chemical Brothers referred to Global Underworld as a cult with cult like followers, a fact that wasn't too far from the truth. Nicholas Luckinbill step grandson of the late Lucille Ball and Branden Powers were the Tim Leary and Ken Keaseys of the Rave Generation, and were instrumental in creating their political movement called RTD or RIGHT TO DANCE. RTD was a non violent protest held in San Diego and later in Los Angeles on the steps of the Cities administrators proving that Rave was about community , peace, love and not a dirty word. These protest by Global Underworld helped lay the foundation for future growth within the rave scene.

San Francisco

The west coast rave scene, while today being the most active and diverse scene in America, was one of the later scenes to get started. At first, small underground parties sprung up all over the SOMA district of San Francisco in vacant warehouses, loft spaces, and clubs like DV8 (on Howard st between 3rd and 4th) and 1015 Folsom (on Folsom St. between 6th and 7th), and the basement of Jessie Street that had permits to run to 6am as long as no alcohol was served. The zero alcohol rule fueled the ecstasy-driven parties to a much larger crowd, and soon followed were the first large-scale raves.

Rave promotion crews began achieving notoriety not only for their choices in musical entertainment, but for the entire experience as a whole (sometimes referred to colloquially as "the vibe"). Unlike concert promotion, rave promotion adds another dimension of creativity: the decorations, visualizations, theme and demographics of a party. This extra requirement that must be satisfied had small underground raves were just starting out and expanding beyond SF to include the East Bay, the South Bay Area including San Jose and Santa Clara, and Santa Cruz beaches (where the notorious 'full moon raves' took place at Bonny Doon beach every month).

One of the first regular rave nights in San Francisco was DJ Pete Avila's Osmosis. Held on Thursday nights on the top floor of the DV8 club, this event got started with a bang in the Fall of 1989. The original regular DJs included Pete Avila, Markie Mark (Wicked), Neon Leon, and DJ Ghost, now of Renegade Productions. When Markie went back to the U.K in 1990, another U.K. DJ took over as a regular, Jëno (Wicked). DJ Doc Martin was a frequent guest, and many other notable DJs of the day played there, including DJ Dimitri (Dee-lite) and Keoki (Limelight).

Another notable early San Francisco rave dance was the Smartie Party, which took place on March 23, 1991 at 1052 Geary near Van Ness. Admission was $5 and the featured DJ was Markie Mark of London, UK. Several hundred people attended this event. In late 1991 raves started to explode across Northern California into cities like Sacramento, and other parts of the San Francisco Bay Area besides San Francisco such as Oakland and Silicon Valley were taking off every weekend. This proved to be the turning point in Northern California's rave history. No longer were raves a secret, where one had to know the right people to gain access to map points. Now rave flyers were to be found up and down Haight Street at stores like "Anubis Warpus", "Amoeba" clothes, "Behind The Post Office", and newly opened "Housewares". Raves were exploding at an enormous rate and no longer were hundreds of revellers heading out, now there were thousands of ravers living for every weekend. The second generation of raves were just starting to be realized.

The Toontown Club New Year's Eve of 1991 rave which took place in the basement of the Fashion Center in SF was the first 'true' massive in the bay area. Over 8,000 people helped welcome in the new year and at the same time put SF as a must visit city for the burgeoning world wide rave scene. This was the first of many subsequent "Toontown Club" rave dances over the next few years (all organized by rave dance promoters Dianna Jacobs, Mark Heley, and Lawrence Sutten, along with a host of dedicated partners and volunteers). The Toontown Club was notable for having the best light shows—five different light shows, each of a different type, the most beautiful and largest psychedelic black light murals, and the best go-go dancers (both female and male). The superb excellence of the production standards of the Toontown Club became a touchstone for all future promoters to follow. Similarly, a year later, The Gathering held New Year's Eve of 1992 in Vallejo had over 12,000 people in attendance. The massive parties were taking place every weekend now from such disparate locations as outdoor fields to the aeroplane hangars and hilltops that surround the San Francisco Bay.

San Francisco has long been a Mecca for ravers from all over the world and true to form a lot of the early promoters and DJs were from the UK and Europe. For almost ten years after the initial raves took place, one could find up to 2 to 4 parties happening a weekend and sometimes on the same night. There was no curfew in place, which allowed the SF scene to explode by the late 90's when venues would have up to 20,000 people every weekend; Homebase, and the 85th & Baldwin Warehouse (both in Oakland near the Oakland Airport) were the largest venues to be used in the Bay Area. Many amazing venues were used by crews that held clout or members that were tied to the city or knew the appropriate ways to navigate the permit maze. Thus, in the late 90's some of the most memorable raves took place in locations such as the SOMA art museum, 'Where the wild things are' museum on top of the Sony Metreon, and in the venerable Maritime hall that was used for many parties from 1998 to 2002. Some old locations appeared again brand new, such as the Concourse that saw thousands of ravers in 92, now saw the same amount in late 99. The Galleria that once held a 'concert' in 92 with artists such as Moby, Aphex Twin, The Prodigy, and Space Time Continuum was now used for a few one-off events that utilized all 5 floors of the building with a different music style on each floor.

The mid part of the 90's saw a general loss of the first generation of ravers, causing the scene to take a short dive. In this time, however, and into the late 90s, a new West coast sound was formed and developed by DJs such as Jeno, Tony, Spun, Galen, Solar, Harry Who?, and Rick Preston to name but a few. Venues and parties such as Stompy, Harmony, CloudFactory, the Cyborganic lounge, Mr. Floppy's Flophouse (in Oakland), the Acme warehouse among many others started to fuse the Breakbeat sound from hardcore trax with the more melodic pace of house. West coast funky break-beat was born from this and stormed the dance scene. By the end of '94 all the people that had left a gap in the rave scene in '93 were long forgotten as twice as many people now found the new sounds completely and utterly funky.

This time period saw the rise of the many facets of EDM. Now all jungle raves, or cybertrance, or Breakbeat, or just good house could be enjoyed by anyone willing to go out to any of these parties. Gone were the days of a basement, and red light and a feeling. Now one could pick an upscale club, or a warehouse, or illegal outdoors as many crews sprung forward and blossomed. Promoters started to take notice and put together the massive rave dances of the late 90's with many music forms under one roof for huge 12 hour events (There was greatly increased prosperity in late 1990s due to the tech boom.). It was not unheard of for as many as 20,000 people to pack Homebase, or 85th/Baldwin for a night of eternal dancing at massive raves. The two major massive rave dance production companies in the San Francisco Bay Area in the late 1990s were Cool World Productions, which produced the Cyberfest and Planet New Year massive rave dances (sometimes with DJ Keoki as a guest DJ), and Clockwork Eventz productions, which produced the Metropolis and Atlantis massive rave dances (featuring DJs such as Ron Reeser [aka DJ Rktech], Jeno, Garth, and many others). SF was now a fabled and much talked about destination around the United States, if not the world. DJs from all corners of the globe played in San Francisco.

The year 2000 saw the beginning of the decline of massive raves as curfews were placed on permits handed out to promoters throwing parties. Instead of all night and into the next day, parties now had to end at 2 a.m. Another problem was that the Oakland fire marshal began doing meticulous fire inspections of the two massive rave dance warehouses near the Oakland Airport. These two largest venues closed down soon after, and there wasn't enough momentum to sustain parties that catered to tens of thousands of people. As if a nail was driven into the coffin of the SF rave scene, the Homebase warehouse that held massive parties from 1996 to 2000 burned down to the ground in a spectacular 6-alarm fire in 2004. Another factor is that in 2003, musical styles changed and many younger people started to listen and dance to electro and electropop music played in small clubs that served alcohol instead of going to large rave dances that played house music with no alcohol. Rave dances also changed back to the new smaller, intimate venues, which continued just like they had from the start and underground raves became the norm in the years after the tech boom of the 1990s.

While San Francisco's crowd attendance and variety of DJs might have peaked, it still maintains a much smaller but dedicated cadre of various crews, DJs, promoters and producers. Every weekend, many events are still dedicated to the various forms of electronic music across the greater Bay Area.

In September 2004, the first LoveFest (Love Parade) was held in San Francisco, and it has been held every autumn(except 2010) since then, winding up with a celebration at the San Francisco Civic Center.

Los Angeles

Los Angeles had Raves early as 1988.

Although San Francisco was considered to be the epicenter of the West Coast rave scene for numerous years, this has begun to change during the past decade. Today, Los Angeles has convincingly overtaken San Francisco and arguably boasts the most thriving rave scene in the country, with numerous massives and music festivals such as Electric Daisy Carnival, Together As One, Monster Massive, and Nocturnal Wonderland all being annually held within the city and its surrounding areas. Events such as these consistently attract the world's top DJs and tens of thousands of ravers and electronic dance music enthusiasts.

In 2010 Insomniac's Electric Daisy Carnival boasted a two day attendance of 185,000 at Los Angeles' memorial Coliseum, making it the largest Rave in North America and well beating other concerts such as Coachella. Reports state that about 100 people were hospitalized during the event, and near over 200 required medical attention. While the event was advertised for ages 16+, lax security allowed some minors to attend. One minor who was able to attend was Sasha Rodriguez, 15, was believed to have died from an ecstasy overdose but it was soon announced she died of hyponatremia, an electrolyte disturbance in the body, by consuming too much water too fast. Her death, along with the death of 2 others at a rave a month earlier in northern California, caused city officials to place a temporary ban on Raves at the Los Angeles Memorial Coliseum due to increasing media attention. Thereafter, Los Angeles police began cracking down on future rave events that do not have an 18+ age requirement, such as shutting down early Uprise and forcing the cancellation of Abtraskt Desert 2.

Seattle

Through the mid 90's and into the 00's 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. Kandi Raver style, friendship and culture became particularly popular in the West Coast rave scene, both in Seattle and San Francisco. At the peak of West Coast rave, Kandi Raver, and massive rave popularity (1996–1999,) it was common to meet groups of ravers, promoters, and Djs who frequently traveled between Seattle and San Francisco, which spread the overall sense of West Coast rave culture and the phenomenon of West Coast "massives".

San Diego

The San Diego rave community, while still growing, has shown itself to be a major historical force in the larger California area. The rave scene is currently dominated by a trio of companies Sugar, Scream and Fete Boom in the face of opposition from the omnipresent San Diego Vice department.

Midwest scene

Grave Rave, on 11 October 1992 marked the first major party crack down in the mid-west, when 973 people were arrested for attending a party at a warehouse in Milwaukee's Third Ward. Following the crackdown, most raves were promoted via fliers and distributed a phone number with an informational voice message. On the day of the party, the message changed to give the location of the map point. Upon showing up at the map point, ravers were able to purchase a map and ticket to the party. Midwest parties were commonly held at barns, camp grounds, and warehouses. Detroit actually held Raves in abandoned businesses. Through the 80's & 90's, another common Detroit underground party was The Red Door. In 1995 the Detroit Police Department began sending the gang squad in to raid parties.

No longer considering itself as a "rave" scene, unless using the term "rave" in a sarcastic yet nostalgic way, Detroit has a very committed fan base for all-night Techno events, better known as "parties." Detroit is known for Techno music, as demonstrated in the opening of the club The Motor Lounge (later -The Motor) of Hamtramck (Detroit) in 1996. This allowed DJs to play at a legitimate place rather than underground Raves. The history of Techno music's origins and connotations still linger in Detroit and continue to inspire die-hard devotees who produce and progress the ideals of Techno and House gatherings in underground circumstances and production teams which are unique to Detroit. The Detroit Electronic Music Festival (DEMF) is an opportunity for visiting Techno tourists to experience the vibe of Detroit "parties," but the Detroit "party" scene continues year round for the locals who have, in many cases, been raised in the spirit and tradition of the Detroit Techno scene, usually for ten years or more.

Canada

Rave culture in Canada reached its peak in the 90's and early 2000s. Scenes were established within the major Canadian cities, but most notably Montreal, Toronto, and Vancouver and Edmonton. While the Toronto rave scene subsided about 2003, Montreal has thrived. It regularly holds large scale events with the biggest international headliners. Bal en Blanc being one of the best known single night parties in Canada. Toronto is now more known for its shift to the Club/Drum 'n' Bass scene. Two large pillars of the Toronto scene came to an end when the Hullabaloo production company held its final party on July 9, 2005, and on the weekend of July 18 - July 20 Destiny held the final Wemf, the largest outdoor event of its kind in Ontario. Outdoor raves are still a mainstay of the Vancouver scene. Edmonton continues to hold a following and is currently experiencing a small resurgence.

Canadian ravers listen and dance to a variety of electronic music such as Trance, Drum 'n' Bass, Techno, Hardcore, Happy hardcore, Psytrance, Goa, Deep House and (especially in the western provinces) Dubstep. A number of Canadian DJs and producers have emerged from the Canadian rave scene to reach international acclaim, including ill.Gates Richie Hawtin, Excision, Datsik, Downlink, Max Graham, Jay Tripwire, Mathew Jonson, Deadmau5, Jason LaFauci, Fred Everything,and Tiga, among others. There is a well established and ever changing rave scene on Vancouver Island spawning many DJ's, Producers and Performers. Commercial Raves in Canada are concentrated in Montreal, Toronto, Edmonton, Halifax, Saskatoon, Calgary, Ottawa, Vancouver and Winnipeg, with the exception of house raves which can be found in smaller cities.

Australia

Raves flourished in Australia in the 1980s where they were generally called Dance Parties due to the parties being promoted by the gay and straight/gay scenes, until the 1990s when they began being referred to as "raves" with more UK style promoters taking it on.

In Sydney from 1983 Rat Parties saw the opening up of Sydney's underground gay dance party scene to a broader community where it found an enormous appetite. By 1990 the standard setting Sydney Gay and Lesbian Mardi Gras party, its winter off-shoot Sleazeball and the regular Rat Parties which ran until 1992, were attracting huge crowds of gays and straights alike, while young entrepreneurs behind events like FUN, Sweatbox and Bacchanalia were booking inner city warehouses and tired old venues and transforming them into vibrant, packed party palaces. The DJ Peewee Ferris played at the first Sweatbox parties (Let them eat cake and Sign of the times) and RAT Parties from 1987. The biggest RAT Party was in 1999 with Grace Jones with 20,000 people at the Hordern Pavilion.

After the Hordern Pav lost its 24 hour license in 1990 (or thereabouts) the scene went quiet for a bit with attempts at doing similar parties in the newly constructed Darling Harbour Convention centre. These were fairly uncomparable in terms of vibe. UK magazine ID came thru on its 'ID world tour' and put on a OK party there but it took a few months before real underground parties emerged in Sydney. Flim Flam, Love and other promotion entities took over inner city venues and some less than legit impromptu spaces that had incredible vibe and aesthetics. The term Rave started to be used in Sydney due to this distinct connection to the scene in the UK.

In Melbourne, the underground dance style called the "Melbourne Shuffle" originated at these parties. Some early parties such as Every Picture Tells A Story were broadcast live on free-to-air television from the party's own TV station. The Melbourne raves tended to have a greater amount of artwork, video art, decor and performance as the underground arts community of Melbourne was heavily involved in producing the parties. Fashion was also a very important component, as many party goers were in the fashion industry which is very large in Melbourne, and they designed and made their own 'party' clothes and accessories. The parties became a fashion show for the designers and created strong retail sales for their works. Often outstanding dancers were sponsored to wear designers' ranges at parties.

are commonly held at the Olympic Stadium]] The Melbourne underground rave community was very large with its own street press, radio stations, TV shows, clothing shops, bars, cafes, theatres, performance venues, record labels, clothing labels, and free street raves such as the Brunswick Street festival (pictured) which regularly drew crowds of 100,000 people.

The first novel dedicated to the Australian rave and dance scene was set in Melbourne. Written by Tom Griffin and titled, , it was launched at a rave at Kryal Castle in 2005.

Driven by a need to be away from residential areas due to noise pollution complaints of residents, as well as in many cases a desire to evade the attention of the authorities, the Australian rave scene held their events in industrial areas. In Perth, Western Australia, parties were either held in warehouses in the outer eastern and southern suburbs, or on fields in semi-rural areas easily reachable from the city, such as Wanneroo and Serpentine. Large events included the Deja Vu rave in 1992, RUSH and Emotion in 1993, and Space Garden in 1994, as well as the infamous Sunrise held on newyears eve every year since its conception but has now ended with the last Sunrise rave in 2010. Though the Perth rave seen has seen a bit of turmoil recently due to several unsuccessful raves, but a string of recent underground events from unknown promoters seems to have appeased the scene.

For the Sydney rave scene the industrial areas of the Western suburbs were quite common in the late 1990s and early 2000s. Following the 2000 Sydney Olympics the Sydney Olympic Park at Homebush proved a popular venue as it had ample large warehouse space available and the advantage of no close by residential areas. The "Superdome" at Olympic Park has hosted a number of events due to the large capacity. Events at these venues often have ample room for amusement rides, open air "chill out" areas and food stalls. Several amusement parks have hosted dance party events (Wonderland Sydney and Luna Park Sydney). Public attention was brought upon rave culture in Australia following the death of Sydney teenager Anna Wood who died after consuming an ecstasy tablet at a rave on October 25, 1995. Similar to the death of Leah Betts, Woods had died from water intoxication secondary to the use of the drug, not the drug itself, because the drug had altered the way she consumed water, rendering her body unable to release it. The incident saw the closure of the club in which she purchased the drug and attended after consuming it and prompted moral panic and further drug awareness in Australia.

In Victoria, the dockland areas of Melbourne hosted numerous raves in the 90s. Bushland areas out side of Melbourne provided Doof venues, notably Mt Disappointment for Earthcore and Kryal Castle just outside of Ballarat.

The Newcastle Rave scene made use of unused warehouses in the Newcastle CBD and at licensed entertainment venues throughout the late 90s and early 2000s. Events such as "Vital beats" and under-age dance parties were held in these venues.

South Africa

The first mega-rave in South Africa was held in a warehouse on Cape Town's foreshore. Dubbed the World Peace Party, it featured a cross-over crowd of Cape Flats rappers, fashionistas and Clubbers dancing to rave music and progressive house. The first electronic South African Bands who performed live at the Raves were the Kraftreaktor and The Kiwi Experience. The first large Johannesburg rave was held at an old cinema in Yeoville in early 1992. Amongst the first Johannesburg rave organisers in the early 1990s were Fourth World Productions (responsible for the legendary 1993 nightclub 4th World) World's End Productions and Damn New Thing Productions. Other production companies achieved notariety during the 1990s and included ICE (Incubated Cyber Energy) and Mother Productions, with tours by Boy George, Northern Exposure and Carl Cox adding to the growing internationla recognition of South Africa as a premier RAVE destination. The most famous club at the time (and still going) is ESP in Doornfontein, renowned for its Sunday parties where the roof was thrown opne and ravers danced the day away.

Developments

In the early 2000s illegal parties still existed, albeit on smaller scales, and the number of sanctioned events seemed to be on the rise. The few constants in the scene include amplified electronic dance music, a vibrant social network built on the ethos of the acronym PLUR, "Peace, Love, Unity, Respect", percussive music and free-form dancing often accompanied by the use of drugs such as ecstasy, methamphetamine, speed and ketamine. However, increased cocaine usage, preponderance of adulterated ecstasy tablets and organised criminal activity has been detrimental to UK-based rave culture, although free parties are now on the rise again.

Party held in a disused bowling alley in London during April 2007.]] According to some long-time observers, rave music and its subculture began to stagnate by the end of the 1990s. The period of grass-roots innovation and explosive growth and evolution was over; the flurry of passionate activity and the sense of international community were fading.

By the early 2000s, the terms "rave" and "raver" had fallen out of favour among many people in the electronic dance music community, particularly in Europe. Many Europeans returned to identifying themselves as "Clubbers" rather than Ravers. It became unfashionable among many electronic dance music aficionados to describe a party as a "rave," perhaps because the term had become overused and corrupted. Some communities preferred the term "festival," while others simply referred to "parties." True raves, such as "Mayday," continued to occur for a time in Central Europe, with less constrictive laws allowing raves to continue in some countries long after the death of rave in the United Kingdom. Moreover, traditional rave paraphernalia, such as face-masks, pacifiers, and glow-sticks ceased to be popular. Underground sound systems started organising large free parties and called them Teknivals.

, which was raided after the Czech Prime Minister called the attendees "dangerous people" with "anarchist proclivities"]] Raves and ravers continued to be targeted by government authorities. For example, following a July 2005 violent raid by police on CzechTek, an annual Teknival, the Czech Republic's Prime Minister Jirí Paroubek said the festival's attendees were "no dancing children but dangerous people" and that many were "obsessed people with anarchist proclivities and international links," who "provoke massive violent demonstrations, fuelled by alcohol and drugs, against the peaceful society."

In Christchurch, New Zealand the mid 2000s saw the emergence of raves targeting the youth market. These raves are usually held at warehouse locations and are specifically aimed at people aged 15 years to 20 years old. National and International DJs perform at these events, which can attract up to 1000 young people not yet old enough to attend clubs and bars. Companies such as Nitrate productions and Audiodreams are pioneering alcohol and drug free raves with support from The White Elephant Trust, a non-profit organisation that provides First Aid stations, coat check areas and publication support. The emergence of these raves corresponded with an increased in private alcohol fueled youth parties, which put young people at risk. The 2007 city Youth Conference identified professionally run alcohol free raves as a means to provide young people a safe environment in which to party.

Rave magazines

During the 90's, the US Rave scene self-publication became a huge part in the way parties were advertised and known of. These publications ranged from a single sheet photocopied "zines" to expensive glossy covered magazines. Each magazine had its own reasons for being and having a dedicated audience that centered around the cities of publication of each magazine. The Midwest was known for its Milwaukee based "Massive Magazine" and Chicago based "Reactor" and "A Thousand Words" photo magazine. On the East Coast you had NYC DJ Heather Heart's "Under One Sky"(actually started in 1990 or 1991) and a few years later a little magazine called "Vice" that was in the works (Feel free to add here), and later, in 1996 & 1997, NYC had DROP Magazine that was a continuation of PROJECT X Magazine, On the West Coast you had LA based "URB" , San Diego's Hypno, BPM and Sin Magazines and San Francisco based Lotus and "XLR8R". Abroad you had Germany's "Frontpage" and "De:Bug" and the United Kingdom's "Mixmag", "Atmosphere" and "Knowledge" magazines. The latter two dedicated to the UK's Breakbeat and Drum n Bass markets.

Each publication was an essential part of the local Rave scene, and was greatly appreciated by many ravers. Each issue contained interviews with artists that weren't known in commercial publications. Most of these magazines started as free enterprises, usually surviving only on an advertising revenue based model. Later on, some magazines such as "Urb" and "Xlr8r" were able to legitimise and become proper publications that can now be found at local book stores. While others like "Massive Magazine" ended with a fire consuming their offices in the winter of 2004 destroying all the films and back issues making issues of "Massive Magazine" a piece of must have nostalgia fetching prices of up to 100 dollars for any early back issues on eBay.

Rave dance

Rave dance refers to the street dance styles that evolved alongside rave culture. Such dances are street dances since they evolved alongside the underground rave movements, thus without the intervention of dance studios. Sometimes club-oriented dances would be danced to rave music, too, for example, tecktonik is sometimes danced to fast-paced electro house. Depending on the rave, raver and the type of music played, specific dances that are danced by ravers to accompany the music may vary. For example the melbourne shuffle is often danced to hardstyle and hard trance and stepping often done to drum and bass Such dances are usually freestyle in nature, since they are very rarely choreographed in preparation for such events (although some ravers may create personal dance routines). Dances like Jumpstyle, Tecktonik, Liquid and digits and Shuffling may be sometimes highly dependent on pre-planned choreography for performances at raves, therefore such dance styles may be practiced professionally. Nonetheless, rave dance styles can be completely freeform due to their simple footwork and arm movements. Tutorials for such dances are available on popular video-hosting websites such as YouTube. At more popular raves, where there is not enough room for the ravers to dance, mosh-like dancing (though not usually aggressive) may occur, this is also a common side-effect in busy nightclubs. Sometimes these dances are also seen practiced outside of raves, despite the fact they evolved and/or are performed at them. In recent time, Jamming has become popular amongst rave dancers.

]]

Dances popular at raves:

Glowsticking

Candy Walk

Hardcore

* Jumpstyle

* Hakken

Kandi Stomping

Shuffle

* Hardstyle

X-Outing

Liquid and digits

Popping

* Waving

House dance

* Jacking

* Lofting

* Footwork

Tecktonik

Breakdance

Crip Walk

Punk dance

* Hardcore dancing

Tekstyle

Light shows

Some ravers participate in one of three light-oriented dances, called glowsticking, glowstringing, and lightshows. Other types of light-related dancing include LED lights, flash-lights and blinking strobe lights. LEDs come in various colours with different settings. The "low intensity" setting causes a strobe effect, leaving trails of dots, while "high intensity" leaves a solid line. The most common LED lights at parties are Inova micro lights or lights by LRI such as the Photon Freedom or Rav'n lights. There are many techniques used to make the lights "flow" with the music in order to create a visually pleasing and mesmerising combination of patterns. There are also a nearly infinite variety of other moves with varying levels of difficulty applied in their execution. These such moves are called a "figure eight" along with "finger rolls" all of these moves can be seen on videos and youtube.

Regardless, glowsticks and LEDs can be used at raves for interesting dance effects, because most raves (except some open air raves, e.g. technoparades) are held in dark or nearly dark rooms. Because rave parties are popular with people who wish to show off their dancing, glowsticks can be an ancillary material for creative freestyle dance. LED's and glowsticks now not only show up at most every rave event, but also are becoming more prominent at many electronic dance music (edm) clubs.

Drug use

In the U.S., the mainstream media and law enforcement agencies have branded the subculture as a purely drug-centric culture (in the case of raves, usually pills and ecstasy) similar to the hippie movement of the 1960s. As a result, ravers have been effectively run out of business in some areas. Although raves continue, most notably the growing Southern California scene, the Winter Music Conference in Florida, the Electric Zoo Festival in New York, and the Detroit Electronic Music Festival (DEMF), in some areas raves have been relegated to word-of-mouth-only underground parties and nightclub events.

Groups that have addressed drug use at raves include the Electronic Music Defense and Education Fund (EMDEF), The Toronto Raver Info Project, and DanceSafe, all of which advocate harm reduction approaches. Paradoxically, drug safety literature (such as those distributed by DanceSafe) is used as evidence of condoned drug use. Other groups, such as Drug Free America Foundation, Inc., characterize raves as being rife with gang activity, rape, robbery, and drug-related deaths.

In 2005, 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.

In recent times, as opposed to the past decades, Rave venues have taken to hiring local law enforcement to reduce drug use.

See also

Acid house party - Forerunner of raves typically staged in UK warehouses around 1987-89.

Circuit party

Doof

Free party - The modern, illegal version of raves.

Massive Magazine - The original US Rave magazine from Milwaukee, Wisconsin.

Melbourne Shuffle - A rave dance style culture that has evolved in Melbourne, Australia over the past 15 years.

Merry Pranksters - Their early escapades were best chronicled by Tom Wolfe in The Electric Kool-Aid Acid Test.

New Rave - A new genre of music mixing elements of rave culture, disco and rock.

Rat Parties - When Sydney's gay dance party scene opened up to the broader community in the 1980s.

RAVE Act - An American law targeting raves.

Rave Board Game - 1991 board game based on the UK Rave scene

Rave music - Music and music styles at raves

Technoshamanism - A technique employed by some ravers, often utilising electronic music and psychoactive drugs.

Tecktonik, a dance style based on rave music, developed in Paris, France and well known throughout Europe.

Zippies

Notes and references

Further reading

Del Pinal, Janelly. 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

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

Ott, Brian L. and Herman, Bill D. Excerpt from Mixed Messages: Resistance and Reappropriation in Rave Culture. 2003.

Evans, Helen. Out of Sight, Out of Mind: An Analysis of Rave culture. Wimbledon School of Art, London. 1992. Includes bibliography through 1994.

St John, Graham (ed). 2004. Rave Culture and Religion. New York: Routledge. ISBN 0-415-31449-6

St John, Graham. 2009. Technomad: Global Raving Countercultures. London: Equinox. ISBN 978-1-84553-626-8.

Griffin, Tom. . 2005. ISBN 0-646-45135-9. Official Website WALLAWALLA

Kotarba, Joseph. 1993. The Rave Scene in Houston, Texas: An Ethnographic Analysis. Austin: Texas Commission on Alcohol and Drug Abuse.

Video

Sunrise was one of the biggest raves to hit Europe during what some people called "the second summer of love". An estimated 20,000 people attended the event.

External links

Raveguide Eflyers Listings and more

Underave. Underground music, party pics, videos, art images and much more

Zines, flyers and mixtapes from 1990-1999

mixed tapes and rave culture in early 1990's Los Angeles

Rave Footage from 1988 - 1994

- History of the Northeast of England Rave Scene 1990+

Rave FAQ from 1995.

XLR8R Magazine

Chronicles the Toronto rave scene through flyers and music

Movies About Raves

Rave Diaries from 1992

Category:Parties Category:Electronic music Category:Dance culture Category:Electronic music festivals Category:Musical subcultures

Name	Paul Elstak
Background	non_vocal_instrumentalist
Birth name	Paul Roger Elstak
Alias	DJ Paul Elstak
Born	January 14, 1966
Origin	The Hague, South Holland, Netherlands
Genre	EurodanceHappy HardcoreTechnoHardcore
Occupation	Producer, DJ
Url	http://www.djpaulelstak.nl

DJ Paul Elstak (real name: Paul Roger Elstak; born The Hague 14 January 1966) is a Dutch hardcore and happy hardcore DJ and record producer. He used to use his full name to create happy hardcore and DJ Paul for hardcore gabber, but when he started Offensive Records in 2001, he started using both names for gabber.

Biography

In 1987, his career was launched when he was accepted as a DJ at Rotterdam Discothèque Bluetiek-Inn. Here, for the first time, he played with the Dutch House music pioneer Peter Slaghuis. Around this time he also hooked up with Rob Fabrie and Richard van Naamen to form Holy Noise, with whom he released a string of releases at the Hithouse record label (owned by Slaghuis). In 1991 Holy Noise had their biggest success with their release James Brown is Still Alive. This release was an "answer" to the popular house record James Brown is Dead by L.A. Style. In 1992 he created his own record label, Rotterdam Records (under the flag of Mid-Town records) to release hardcore and Rotterdam Tekno. The first release on this label was a Holy Noise release under the guise of De Euromasters, releasing Amsterdam Waar Lech Dat Dan? (Translated; Amsterdam where is that?). This record was an answer to the Dutch media always paying attention to Amsterdam but not to Rotterdam. After a lot of releases under different names in 1995 he released the first DJ Paul Elstak single, Life Is Like a Dance. It had great commercial success. After this record, a few commercial releases followed. Rainbow in the Sky is most likely the most successful of these. Several of his singles reached the Dutch Top 40 in the mid-1990s. After two years, Elstak decided to quit the commercial dance scene and devote his time releasing gabber. In 2001 he left midtown (and thus also Rotterdam Records) to start a new record label at Rige Entertainment, called Offensive Records. To this day Paul still releases hardcore on this imprint in his own typical (Rotterdam) style.

References

External links

Discogs page

Category:1966 births Category:Living people Category:Dutch dance musicians Category:Dutch DJs Category:Happy hardcore musicians Category:Hardcore musicians Category:People from The Hague

Name	Buddy Holly| Img = Buddy Holly.jpg
Background	solo_singer
Birth name	Charles Hardin Holley
Born	September 07, 1936Lubbock, Texas, U.S.
Died	February 03, 1959Grant Township, Cerro Gordo County, Iowa, U.S.
Instrument	Vocals, guitar, piano, fiddle, violin
Genre	Rock and roll, rockabilly
Occupation	Singer-songwriter, musician
Years active	1957–59
Label	Decca, Brunswick, Coral
Associated acts	The CricketsRitchie Valens
Notable instruments	Fender Stratocaster Fender Telecaster

'''Charles Hardin Holley (September 7, 1936 – February 3, 1959) known professionally as Buddy Holly, was an American singer-songwriter and a pioneer of rock and roll. Although his success lasted only a year and a half before his death in an airplane crash, Holly is described by critic Bruce Elder as "the single most influential creative force in early rock and roll." On October 15 he opened the bill for Presley in Lubbock, catching the eye of a Nashville talent scout.

Following this performance Decca Records signed him to a contract in February 1956, misspelling his name as "Holly". He thereafter adopted the misspelled name for his professional career. Holly formed his own band, later to be called The Crickets and consisting of Holly (lead guitar and vocalist), Niki Sullivan (guitar), Joe B. Mauldin (bass), and Jerry Allison (drums). They went to Nashville for three recording sessions with producer Owen Bradley. Among the tracks he recorded was an early version of "That'll Be The Day", which took its title from a line that John Wayne's character says repeatedly in the 1956 film, The Searchers. insisting however that he could not record the same songs for anyone else for five years. They also sang "Peggy Sue" on The Arthur Murray Party on December 29 and were given a polite introduction by Kathryn Murray. Unlike the immediate acceptance shown in the 1978 movie The Buddy Holly Story, it actually took several performances for the audience to warm to him. In August 1957, the Crickets were the only white performers on a national tour including black neighborhood theaters.

As Holly was signed both as a solo artist and a member of the Crickets two debut albums were released: The "Chirping" Crickets on November 27, 1957 and Buddy Holly on February 20, 1958. "I'd never had a boyfriend in my life. I'd never been on a date before. But when I saw Buddy, it was like magic. We had something special: love at first sight," she told the Lubbock Avalanche-Journal on what would have been their 50th wedding anniversary.

Maria Elena traveled on tours, doing everything from the laundry to equipment setup to ensuring the group got paid. Although Holly had already begun to become disillusioned with Norman Petty before meeting his bride, it was through Maria Elena and her aunt Provi, who was the head of Latin American music at Peer Southern, that he began to fully realize what was going on with his manager, who was paying the band's royalties into his own company's account.

Holly wrote the song "True Love Ways" about his relationship with his young wife. It was recorded in her presence on October 21, 1958 at Decca's Pythian Temple, with Dick Jacob, Coral-Brunswick's new head of Artists & Repertoire, serving as both producer and conductor of the eighteen-piece orchestra, which included members of the New York Symphony Orchestra, NBC Television's house orchestra and Abraham "Boomie" Richman, formerly of Benny Goodman's band.

It was not until Holly died that many fans became aware of his marriage.

Holly in New York

The ambitious Holly became increasingly interested in the New York music/recording/publishing scene, while his bandmates wanted to go back home to Lubbock. As a result, the group split up in late 1958. The Hollys settled in at Greenwich Village, New York, in the new Brevoort apartment block at 9th Street and Fifth Avenue. It was here that he recorded the series of acoustic songs, including "Crying, Waiting, Hoping" and "What to Do," known as the "Apartment Tapes," which were released after his death.

However, he was still having trouble getting his royalties from Petty, so he hired the noted lawyer Harold Orenstein at the recommendation of his friends, the Everly Brothers, who had engaged Orenstein following their own disputes with their manager Wesley Rose. Yet, with the money still being withheld by Petty and with rent due, Buddy was forced to go back on the road.

Death

Holly was offered a spot in the Winter Dance Party, a three-week tour across the Midwest opening on January 23, 1959, by the GAC agency, with other notable performers such as Dion and the Belmonts, Ritchie Valens, and J. P. "The Big Bopper" Richardson. He assembled a backing band consisting of Tommy Allsup (guitar), Waylon Jennings (bass) and Carl Bunch (drums) and billed as The Crickets.

The tour turned out to be a miserable ordeal for the performers, who were subjected to long overnight travel in a bus plagued with a faulty heating system in temperatures. The bus also broke down several times between stops.

Following a performance at the Surf Ballroom in Clear Lake, Iowa, on February 2, 1959, Holly chartered a small airplane to take him to the next stop on the tour. He, Valens, Richardson and the pilot were killed en route to Moorhead, Minnesota, when their plane crashed soon after taking off from nearby Mason City in the early morning hours of February 3.

Style

Holly's music was sophisticated for its day, including the use of instruments considered novel for rock and roll, such as the celesta (heard on "Everyday"). Holly was an influential lead and rhythm guitarist, notably on songs such as "Peggy Sue" and "Not Fade Away." While Holly could pump out boy-loves-girl songs with the best of his contemporaries, other songs featured more sophisticated lyrics and more complex harmonies and melodies than had previously appeared in the genre.

Many of his songs feature a unique vocal "hiccup" technique, a glottal stop, to emphasize certain words in any given song, especially the rockers. Other singers (such as Elvis and Mekilo Rushlow ) have used a similar technique, though less obviously and consistently. An example of this can be found at the start of the raucous "Rave On!": "uh-Weh-uh-eh-uh-ell, the little things you say and do, make me want to be with you-uh-ou...".

Buddy also tended to use a downward stroke picking pattern, rather than strumming up and down over the strings of his stratocaster. This can be seen on many of his preserved live performances, and adds to the aggressive tonal quality of some of his songs.

Influence

Holly set the template for the standard rock and roll band: two guitars, bass, and drums. He was also one of the first in the genre to write, produce, and perform his own songs.

Holly managed to bridge the racial divide that marked music in America. Along with Elvis and others, Holly made rock and roll, with its roots in rockabilly country music and blues inspired rhythm and blues music, more popular among a broad white audience. From listening to their recordings, one had difficulty determining if the Crickets were white or black singers. Holly indeed sometimes played with black musicians Little Richard and Chuck Berry. The Crickets were only the second white rock group to tour Great Britain. Holly's essential eyeglasses encouraged other musicians, such as John Lennon, also to wear their glasses during performances.

Contrary to popular belief, teenagers John Lennon and Paul McCartney did not attend a Holly concert, although they watched his television appearance on Sunday Night at the London Palladium; Tony Bramwell, a school friend of McCartney and George Harrison, did. Bramwell met Holly, and freely shared his records with all three. Ian Whitcomb said that "Buddy Holly and the Crickets had the most influence on the Beatles." The Beatles did a cover version of "Words of Love" that was a close reproduction of Holly's version, released on late 1964's Beatles for Sale (in the U.S., in June 1965 on Beatles VI). During the January 1969 sessions for the Let It Be album, the Beatles played a slow impromptu version of "Mailman, Bring Me No More Blues" — although not written by Holly, it was popularized by him — with Lennon mimicking Holly's vocal style; the recording was eventually released in the mid-1990s on Anthology 3. In addition, John Lennon recorded a cover version of "Peggy Sue" on his 1975 album Rock 'n' Roll. McCartney owns the publishing rights to Holly's song catalogue. perhaps to commemorate the 25th year since Holly's death. This however, was not to be.

With these plans having fallen through, Pickering decided to take matters into his own hands and release them himself.

These recordings slowly made their way to the public on privately pressed albums like The Original Chirping Sound and Buddy Holly Not Fade Away. In 1992, Pickering approached Viceroy Records to arrange a deal for major nationwide distribution of these overdubbed recordings, who hit a brick wall when MCA made it clear that Pickering did not have proper legal clearance to release such recordings. Andy McKaie, an MCA executive, has stated that Pickering has never bothered to ask for licensing on the songs. To this day, budget labels release these recordings.

Film and musical depictions

Holly's life story inspired a Hollywood biographical film, The Buddy Holly Story. Star Gary Busey received a nomination for Academy Award for Best Actor for his portrayal of Holly. The movie was widely criticized by the rock community and Holly's friends and family for its inaccuracies. This led Paul McCartney to produce and host his own tribute to Holly in 1985, titled The Real Buddy Holly Story. This video includes interviews with Keith Richards, Phil and Don Everly, Sonny Curtis, Jerry Allison, Holly's family, and McCartney himself, among others.

In 1987, Marshall Crenshaw portrayed Buddy Holly in the movie La Bamba. He is featured performing at the Surf Ballroom and boarding the doomed airplane with Ritchie Valens and The Big Bopper. Crenshaw's version of "Crying, Waiting, Hoping" is featured on the La Bamba original motion picture soundtrack.

The Buddy Holly Story, the Jukebox Musical depicting his life is credited as being the first of its' kind, spawning a breed of jukebox shows including the likes of 'Mamma Mia and 'We Will Rock You. "Buddy", as it is abbreviated to on occasion, is still running in the UK after 22 years, with a UK tour going out in February 2011.

Acceptance in Lubbock

Holly did not gain widespread acceptance in Lubbock until after his death. The historian Richard Driver of Texas Tech University notes that he did not enjoy his success or national popularity in Lubbock, despite being rooted in Lubbock as his career took off between 1956 and 1958. Holly moved to New York City after marrying Maria Elena Santiago in August 1958 and ending his career with the Crickets that fall. In Lubbock, recognition of musicians or their popularity was rare, even as numerous musicians and performers emerged from the city and surrounding region at the same time as Holly and in successive years. Nevertheless, Driver argues that Holly's connection with Lubbock garnered the city international recognition as his hometown, especially with the musicians of the British Invasion. Later acts such as The Clash also sought to visit his hometown just to view where he went to high school.

Downtown Lubbock has a "walk of fame" with plaques to various area artists such as Glenna Goodacre, Mac Davis, Maines Brothers Band, and Waylon Jennings, with a larger than life-size statue of Buddy Holly by sculptor Grant Speed (1980) playing his Fender guitar as its centerpiece. As of September 2010 the statue has been taken down for cleaning. The statue, along with the West Texas Walk of Fame, will be relocated to the Buddy & Maria Elena Holly Park directly west of the Buddy Holly Center at a later date. Downtown Lubbock also features Buddy Holly Avenue and the Buddy Holly Center, which is a museum dedicated to Texas art and music.

References

Further reading

Amburn, Ellis (1996). Buddy Holly: A Biography. St. Martin's Press. ISBN 978-0312145576.

Bustard, Anne (2005). Buddy: The Story of Buddy Holly. Simon & Schuster. ISBN 978-1422393024.

Dawson, Jim; Leigh, Spencer (1996). Memories of Buddy Holly. Big Nickel Publications. ISBN 978-0936433202.

Gerron, Peggy Sue (2008). Whatever Happened to Peggy Sue?. Togi Entertainment. ISBN 978-0980008500.

Goldrosen, John; Beecher, John (1996). Remembering Buddy: The Definitive Biography. New York: Da Capo Press. ISBN 0-306-80715-7.

Goldrosen, John (1975). Buddy Holly: His Life and Music. Popular Press. ISBN 0859470180

Gribbin, John (2009). Not Fade Away: The Life and Music of Buddy Holly. London: Icon Books. ISBN 978-1848310346

Dave Laing, Professor. Buddy Holly (Icons of Pop Music). Indiana University Press. ISBN 0-253-22168-4.

Lehmer, Larry (1997). The Day the Music Died: The Last Tour of Buddy Holly, the Big Bopper, and Ritchie Valens. Schirmer Trade Books. ISBN 0028647416 or 978-0028647418.

Mann, Alan (1996). The A-Z of Buddy Holly. Aurum Press (2nd edition). ISBN 1854104330 or 978-1854104335.

McFadden, Hugh (2005). Elegy for Charles Hardin Holley, in Elegies & Epiphanies. Belfast: Lagan Press.

Norman, Philip (1996). Rave On: The Biography of Buddy Holly. Simon & Schuster. ISBN 0684800829 or 978-0684800820.

Peer, Elizabeth and Ralph II (1972). Buddy Holly: A Biography in Words, Photographs and Music Australia: Peer International. ASIN B000W24DZO.

Peters, Richard (1990). The Legend That Is Buddy Holly. Barnes & Noble Books. ISBN 0285630059 or 978-0285630055.

Rabin, Stanton (2009). OH BOY! The Life and Music of Rock 'n' Roll Pioneer Buddy Holly. Van Winkle Publishing (Kindle). ASIN B0010QBLLG.

Tobler, John (1979). The Buddy Holly Story. Beaufort Books.

^ VH1's Behind the Music "The Day the Music Died" interview with Waylon Jennings

External links

Buddy Holly And The Crickets.com

Buddy Holly Lives.info

Buddy Holly at Find A Grave

peermusic presents Maria Elena: My Life with Buddy

Buddy Holly - sessions, tribute and cover songs

Telegraph article on the last songs written by Buddy Holly

Category:1936 births Category:1959 deaths Category:Accidental deaths in Iowa Category:American rock guitarists Category:American rock singers Category:Aviation accidents and incidents in 1959 Category:Baptists from the United States Category:American people of English descent Category:Grammy Lifetime Achievement Award winners Category:Lubbock High School alumni Category:Musicians from Texas Category:People from Lubbock, Texas Category:Rock and Roll Hall of Fame inductees Category:Rockabilly Hall of Fame inductees Category:Songwriters Hall of Fame inductees Category:The Crickets members Category:Victims of aviation accidents or incidents in the United States Category:Coral Records artists

Name	ATB
Background	non_vocal_instrumentalist
Birth name	André Tanneberger
Alias	Danny Lee, Naughty A.T.
Born	February 26, 1973
Origin	Freiberg, Saxony, Germany
Height	178 cm /5'8
Genre	Electronic dance music
Occupation	DJ, Producer, Remixer
Years active	1998 – present
Label	Kontor Records
Associated acts	see Co-production section of ATB discography.
Url	Official website

André Tanneberger, commonly called ATB, (born 26 February 1973, Freiberg, Saxony, Germany) is a German DJ, musician, and producer of Trance music. According to the official world DJ rankings governed by DJ Magazine, ATB was ranked #11 in 2009. He is also ranked as world number 4 according to "The DJ List."

Musical career

Tanneberger started his music career at the dance music group Sequential One. He was the brain of the group from 1993 to 2002. In 1998, Tanneberger also started a solo project named ATB. His first track under this name was "9pm (Till I Come)," included in the Movin' Melodies album, which topped the United Kingdom music charts in 1999 and is widely regarded as the UK's first trance number one. The track features a guitar riff that became hugely popular. This guitar sound, which he accidentally found while experimenting with a new producing deck, became the trademark of his early hits. ATB continues to evolve and change with every album. His current style involves more vocals and varied sounds, with frequent pianos.

Despite only releasing a few more singles in the UK, namely "Don't Stop!" and "Killer," he still regularly releases music in his native Germany and in other parts of Europe, where he has scored big hits such as "I Don't Wanna Stop" and his cover of Olive's 1996 hit "You're Not Alone."

Two Worlds (released in 2000) was his second studio album. It is a two-disc album based upon the concept of different types of music for different moods. The titles of the two CDs are: "The World of Movement" and "The Relaxing World." This album includes two songs featuring Heather Nova: "Love Will Find You" and "Feel You Like a River." Also the song "Let U Go" features on the "The World of Movement" disc featuring the vocals of Roberta Carter Harrison from the Canadian pop band Wild Strawberries.

His third album, Dedicated, was released in 2002. It includes two top hits: "Hold You" and "You're Not Alone." The title refers to the September 11 attacks. In 2003, ATB released Addicted To Music, which included hits such as "I Don't Wanna Stop" and "Long Way Home". The same year, ATB's first DVD was released, Addicted To Music DVD. It featured all his videos, a tour documentary and photographs.

ATB's hits "Ecstasy" and "Marrakech" came from the album No Silence (2004). "Marrakech" was also included on the soundtrack for the film Mindhunters.

In 2005, ATB released Seven Years, a compilation album of 20 songs, including all his singles. Additionally, Seven Years includes six new tracks, including the single "Humanity" and the 2005 rework of "Let U Go." Many of ATB's recent albums have featured vocals from Roberta Carter Harrison, singer for the Canadian band Wild Strawberries.

His next album, Trilogy, was released on 4 May 2007. The single "Justify" was released from The DJ 4 in the Mix compilation. The single "Renegade" was released on 12 April 2007, and features Heather Nova. The third single was "Feel Alive," released in July the same year.

In a Trance.nu interview on 11 May 2007, ATB considered "Don't Stop!" to be his worst production to date, and he no longer stands by it, due to it being similar to his first hit, "9pm (Till I Come)."

He is married to Anna Tanneberger, and dedicated the song "A Dream About You," from the album Trilogy to her.

His latest album, Future Memories, was released on 5 May 2009. The single, "What About Us," was already promoted and released.

As of September 23, ATB's most recent release, 'Could You Believe' has so far reached mainstream success on the US Billboard Dance/Club Play Songs chart reaching #7.

Discography

Albums

1999 : Movin' Melodies

2000 : Two Worlds

2002 : ''Dedicated

2003 : ''Addicted to Music

2004 : No Silence

2005 :

2007 : Trilogy

2009 : Future Memories

ATB The DJ - In The Mix

2003 The DJ in the Mix

2004 The DJ 2 in the Mix

2006 The DJ 3 in the Mix

2007 The DJ 4 in the Mix

2010 The DJ 5 in the Mix

2010 The DJ 6 in the Mix

Mixed compilations

1999 Fresh Volume 3 (Disc 2)

1999 Clubber's Guide To... Trance

1999 Kontor - Top Of The Clubs Volume 03 (Disc 1)

1999 Kontor - Top Of The Clubs Volume 04 (Disc 1)

2000 G.R.O.O.V.E.

2000 Trance Mix USA

2001 Trance Nation America Two (Disc 1)

2002 Kontor - Top Of The Clubs Volume 16 (Disc 1)

2010 Sunset Beach DJ Session.

References

External links

Official Site

The ATB Experience

TranceSound interview, September 2010

Russian main fans website

http://www.songfacts.com/detail.php?id=7788

Category:1973 births Category:Living people Category:People from Mittelsachsen Category:Club DJs Category:Eurodance musicians Category:German house musicians Category:German techno musicians Category:German DJs Category:German trance musicians Category:German dance musicians Category:Sony/ATV Music Publishing artists