in the United States during 2008]] Rave, rave dance or rave party is a term with first documented use April 4, 1970 to describe RAVE Dances and later in 1980 for Acid House Parties with fast-paced electronic music and light shows. with the accompaniment of laser light shows, projected images and artificial fog.

History

The late 1950s in London saw the term "Raves" used to describe the "wild bohemian parties" of the Soho beatnik set. In 1958 Buddy Holly recorded the hit "Rave On," citing the madness and frenzy of a feeling and the desire for it to never end. The word "rave" was later used in the burgeoning mod youth culture of the early 1960s as the way to describe any wild party in general. People who were gregarious party animals were described as "ravers". Pop musicians such as Steve Marriott of The Small Faces and Clare Willans were self-described "ravers".

Presaging the word's subsequent 1980s association with electronic music, the word "rave" was a common term used regarding the music of mid-60s garage rock and psychedelia bands (notably The Yardbirds). Along with being an alternative term for partying at such garage events in general, the "rave-up" referred to a specific crescendo moment near the end of a song where the music was played faster, heavier and with intense soloing or elements of controlled feedback. It was later part of the title of an electronic music performance event held on 28 January 1967 at London's Roundhouse titled the "Million Volt Light and Sound Rave". The event featured the only known public airing of an experimental sound collage created for the occasion by Paul McCartney of The Beatles - the legendary Carnival of Light recording.

With the rapid change of British pop culture from the mod era of 1963–1966 to the hippie era of 1967 and beyond, the term fell out of popular usage. During the 1970s and early 1980s until its resurrection, the term was not in vogue, one notable exception being in the lyrics of the song "Drive-In Saturday" by David Bowie (from his 1973 album Aladdin Sane) which includes the line "It's a crash course for the ravers." Its use during that era would have been perceived as a quaint or ironic use of bygone slang: part of the dated 1960s lexicon along with words such as "groovy". The perception of the word changed again in the late 1980s when the term was revived and adopted by a new youth culture, possibly inspired by the use of the term in Jamaica.

In the late 1980s, the word "rave" was adopted to describe the subculture that grew out of the acid house movement. Activities were related to the party atmosphere of Ibiza, a Mediterranean island in Spain, frequented by British, Italians, and German youth on vacation. The fear that a certain number of rave party attendees used "club drugs" such as MDMA, cocaine, amphetamines and, more recently, ketamine, was taken by authorities as a pretext to ban those parties altogether.

British politicians responded with hostility to the emerging rave party trend. Politicians spoke out against raves and began to fine anyone who held illegal parties. Police crackdowns on these often-illegal parties drove the scene into the countryside. The word "rave" somehow caught on in the UK to describe common semi-spontaneous weekend parties occurring at various locations linked by the brand new M25 London Orbital motorway that ringed London and the Home Counties. (It was this that gave the band Orbital their name.) These ranged from former warehouses and industrial sites, in London, to fields and country clubs in the countryside.

United Kingdom

From the Acid House scene of the late 1980s, the scene transformed from predominantly a London-based phenomenon to a UK-wide underground youth movement. By 1991, organisations such as Fantazia, Universe, Raindance and Amnesia House were holding massive legal raves in fields and warehouses around the country. One Fantazia party, called One Step Beyond, was an open-air, all-night affair that attracted 30,000 people. Other notable events included Vision at Pophams airfield in August 1992, with 40,000 in attendance and Universe's Tribal Gathering in 1993.

In the early 1990s, 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 licenses. This meant that the days of legal one-off parties were numbered. By the mid-90s, the scene had fragmented into many different styles of dance music, making large parties more expensive to set up and more difficult to promote. The happy old skool style was replaced by the darker jungle and the faster happy hardcore. Although many ravers left the scene due to the split, promoters such as ESP Dreamscape and Helter Skelter still enjoyed widespread popularity and capacity attendances with multi-arena events catering to the various genres. Particularly notable events of this period included ESP's Dreamscape 20 on 9 September 1995 at Brafield aerodrome fields, Northants and Helter Skelter's Energy 97 event on 9 Aug 1997 at Turweston Aerodrome, Northants.

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. In May 1992, the government acted. Under the Criminal Justice and Public Order Act 1994, the definition of music played at a rave was given as:

–Criminal Justice and Public Order Act 1994}}

Sections 63, 64 & 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, it has also been claimed that it was introduced to kill a popular youth movement that was taking many drinkers out of town centres, where they would drink taxable alcohol, and into fields to take untaxed recreational drugs.

After 1993, the main outlet for raves in the UK were a number of licensed venues, amongst them Helter Skelter, Life at Bowlers (Trafford Park, Manchester), The Edge (formerly the Eclipse [Coventry]), The Sanctuary (Milton Keynes) and Club Kinetic.. In London, itself, there were a few large clubs that staged raves on a regular basis, most notably "The Laser Dome", "The Fridge", "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. At capacity "The Laser Dome" held in excess of 6,000 people. Events proved to be one of the main forces in rave, holding legendary events across the north-east and Scotland. Initially playing Techno, Breakbeat, Rave and drum and bass, it later embraced hardcore techno including happy hardcore and bouncy techno. Judgement Day, History of Dance, and now REGENeration continued the Rezerection legacy. Scotland's clubs, such as the FUBAR in Stirling, Hangar 13 in Ayr, and Nosebleed in Rosyth played important roles in the development of these dance music styles.

These were nearly all pay-to-enter events; however, it could be argued that rave organisers saw the writing on the wall and moved towards more organised and "legitimate" venues, enabling a continuation of large-scale indoor raves well into the mid-nineties. One might remember that the earliest house and acid house clubs were themselves effectively "nightclubs". Public perception of raves was also overshadowed in the press by the 1995 death of Leah Betts, a teenager who died after taking ecstasy; journalists and billboard campaigns focussed on drug use, despite Betts cause of death being water intoxication in her home, not an ecstasy overdose at a rave.

Genuine illegal raves have continued throughout the UK to this day and unlicensed parties have been organised in venues including disused quarries, warehouses, and condemned night clubs. The rise of the Internet has both helped and hindered the cause, with much wider and more accessible communication resulting in bigger parties, but consequently increasing the risk of police involvement.

The 2006 M.I.A. song "XR2" is an ode to the rave scene of early 1990s London.

There are also types of Rave clothes, like , 'pumps', 'Three button Shirts', 'Fluorescent Yellow Jackets','White Gloves' and White belts this is known as 'Rave gear'.

As well as clothing there were a range of accessories carried by many ravers including: Vicks Vapour Inhalers and Rub, which heightened the sensations when using Ecstasy, Pacifiers (babies dummies) to satisfy the need to chew caused by taking Ecstasy and glow sticks which were used whilst dancing to entertain other drug users. This led some clubs and event organisers to search participants on entry and confiscate such items due to it being evidence of drug use inside the venue.

Continental Europe

(August 2009)]] By 1987, a German party scene based on the Chicago House sound was well established. The following year (1988) saw acid house making as significant an impact on popular consciousness in Germany as it had in England. In 1989 German DJs Westbam and Dr. Motte established ‘UFO’, an illegal party venue, and co-founded the Love Parade. On the 9th of November 1989 the Berlin Wall fell, free underground Techno parties mushroomed in East Berlin, and a rave scene comparable to that in the UK was established.

In 1991 a number of party venues closed, including UFO, and the Berlin Techno scene centred itself around three locations close to the foundations of the Berlin Wall: the ‘E-Werk’, ‘Der Bunker' and the now legendary ‘Tresor’. In the same period German DJs began intensifying the speed and abrasiveness of the sound, as an acid infused techno began transmuting into hardcore. This emerging sound was influenced by Dutch gabber and Belgium hardcore. Other influences on the development of this style were European Electronic Body Music groups of the mid 1980s such as DAF, Front 242, and Nitzer Ebb. In Germany, fans referred to this sound as "Tekkno" (or "Bretter"). 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

Coordinates	°′″N°′″N
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

Coordinates	°′″N°′″N
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." His works and innovations inspired and influenced contemporary and later musicians, notably The Beatles, The Rolling Stones, and Bob Dylan, and exerted a profound influence on popular music. Holly was among the first group of inductees to the Rock and Roll Hall of Fame in 1986. In 2004, Rolling Stone ranked Holly #13 among "The Fifty Greatest Artists of All Time".

Biography

Early life

Charles Hardin Holley was born on September 7, 1936, in Lubbock, Texas, U.S.A. to Lawrence Odell and Ella Pauline (Drake) Holley. Holly was always called "Buddy" by his family. Older brothers Travis and Larry taught their sibling to play a variety of instruments including the guitar, 4-string banjo and lap steel guitar. At the age of five, his young voice and exuberance won him a talent contest singing a then-popular song, "Have You Ever Gone Sailing (Down the River of Memories)." In 1949, still retaining his soprano, he recorded a bluesy solo rendering of Hank Snow's "My Two Timin' Woman" on a wire recorder borrowed by a friend who worked in a music shop.

In 1952, he met Bob Montgomery at Hutchinson Junior High School. They shared an interest in music and teamed up as "Buddy and Bob". Initially influenced by bluegrass music, they sang harmony duets at local clubs and high school talent shows. The duo performed on a local radio station KDAV Sunday broadcast that made them a top local act. Hutchinson Junior High School now has a mural honoring Holly, and Lubbock High School, where he sang in the school choir, also honors the late musician.

The Crickets

Holly saw Elvis Presley sing in Lubbock in 1955 and began to incorporate a rockabilly style, similar to that of Chuck Berry, which had a strong rhythm acoustic and slap bass. Holly's transition to rock continued when he opened for Bill Haley & His Comets at a local show organized by Eddie Crandall, the manager for Marty Robbins. However, he chafed under a restrictive atmosphere that allowed him little input. (This initial version of the song played more slowly and about half an octave higher than the later hit version.) Decca released two singles, "Blue Days, Black Nights" and "Modern Don Juan", that failed to make an impression. On January 22, 1957, Decca informed Holly that his contract would not be renewed,

, New Mexico]] Holly then hired Norman Petty as manager, and the band began recording at Petty's studios in Clovis, New Mexico. Petty contacted music publishers and labels, and Brunswick Records, a subsidiary of Decca, signed the Crickets on March 19, 1957. Holly signed as a solo artist with another Decca subsidiary, Coral Records. This put him in the unusual position of having two recording contracts at the same time.

On May 27, 1957, "That'll Be The Day" was released as a single, credited to the Crickets to try to bypass Decca's claimed legal rights. When the song became a hit Decca decided not to press its claim. "That'll Be the Day" topped the US "Best Sellers in Stores" chart on September 23 and was the UK Singles Chart for three weeks in November. The Crickets performed "That'll Be the Day" and "Peggy Sue" on The Ed Sullivan Show on December 1. The kinescopes of these programs are the only record of their 1957 television appearances.

Holly helped win over an all-black audience to rock and roll/rockabilly when the Crickets were booked at New York's Apollo Theater for August 16–22, 1957. His singles "Peggy Sue" and "Oh Boy!" reached the top ten of United States and United Kingdom charts. Buddy Holly and the Crickets toured Australia in January 1958 and the UK in March. Their third and final album, That'll Be the Day, was put together from early recordings and was released in April.

Marriage

In June 1958, he met Maria Elena Santiago, who worked as a receptionist for Murray Deutch, an executive for New York publisher Peer-Southern Music. Holly managed to have Santiago invited to a luncheon at Howard Johnson's, thanks to Deutch's secretary, Jo Harper. He asked her to have dinner with him that night at P. J. Clarke's. Holly proposed marriage to her on their very first date. "While we were having dinner, he got up and came back with his hands behind his back. He brought out a red rose and said, 'This is for you. Would you marry me?'" He went to her guardian's house the next morning to get her approval. Santiago at first thought he was kidding, but they married in Lubbock on August 15, 1958, less than two months later. The newlyweds honeymooned in Acapulco.

The Hollys frequented many of New York's music venues, including The Village Gate, Blue Note, Village Vanguard, and Johnny Johnson's. Maria Elena reported that Buddy was keen to learn finger-style flamenco guitar and would often visit her aunt's home to play the piano there. He wanted to develop collaborations between soul singers and rock 'n' roll, hoping to make an album with Ray Charles and gospel legend Mahalia Jackson. He also had ambitions to work in film, like Elvis Presley and Eddie Cochran, and registered for acting classes with Lee Strasburg's Actors' Studio, where the likes of Marlon Brando and James Dean had trained. Bandmate Waylon Jennings gave up his seat on the plane, causing Holly to jokingly tell Jennings, "I hope your ol' bus freezes up!" Jennings shot back facetiously, "Well, I hope your ol' plane crashes!" It was a statement that would haunt Jennings for decades. Don McLean referred to it as "The Day the Music Died" in his song "American Pie".

Holly's funeral was held on February 7, 1959, at the Tabernacle Baptist Church in Lubbock. The service was officiated by Ben D. Johnson, who had presided at the Hollys' wedding just months earlier. The pallbearers were Jerry Allison, Joe B. Mauldin, Niki Sullivan, Bob Montgomery, Sonny Curtis and Phil Everly. Waylon Jennings was unable to attend due to his commitment to the still touring Winter Dance Party. The body was interred in the City of Lubbock Cemetery in the eastern part of the city. Holly's headstone carries the correct spelling of his surname (Holley) and a carving of his Fender Stratocaster guitar.

Holly's pregnant wife, a widow after barely six months of marriage, miscarried soon after, ending that part of the Holly family tree. María Elena Holly did not attend the funeral and has never visited the grave site. She later told the Avalanche-Journal:

In a way, I blame myself. I was not feeling well when he left. I was two weeks pregnant, and I wanted Buddy to stay with me, but he had scheduled that tour. It was the only time I wasn't with him. And I blame myself because I know that, if only I had gone along, Buddy never would have gotten into that airplane. Lennon and McCartney later cited Holly as a primary influence. (Their band's name, The Beatles, was chosen partly in homage to Holly's Crickets.)

A 17-year-old Bob Dylan attended the January 31, 1959, show, two nights before Holly's death. Dylan referred to this in his 1998 Grammy acceptance speech for his Time out of Mind being named Album of the Year:

}}

Keith Richards attended one of Holly's performances, where he heard "Not Fade Away" for the first time. The Rolling Stones had an early hit covering the song.

Holly influenced many other singers during and after a career that lasted barely two years. Keith Richards once said that Holly had "an influence on everybody." In an August 24, 1978 Rolling Stone interview, Bruce Springsteen told Dave Marsh, "I play Buddy Holly every night before I go on; that keeps me honest."

The Grateful Dead performed "Not Fade Away" 530 times over the course of their career, making it their seventh most-performed song. The song also appears on eight of their official live recording releases.

Various rock and roll histories have asserted that the singing group The Hollies were named in homage to Buddy Holly. According to the band's website, although the group admired Holly (and years later produced an album covering some of his songs), their name was inspired primarily by the sprigs of holly in evidence around Christmas of 1962.

Don McLean's popular 1971 ballad "American Pie" is inspired by Holly and the day of the plane crash. The American Pie album is dedicated to Holly.

Discography

Buddy Holly released only three albums in his lifetime. Nonetheless, he recorded so prolifically that Coral Records was able to release brand-new albums and singles for 10 years after his death, although the technical quality was very mixed, some being studio quality and others home recordings.

Buddy Holly continued to be promoted and sold as an "active" artist, and his records had a loyal following, especially in Europe. The demand for unissued Holly material was so great that Norman Petty resorted to overdubbing whatever he could find: alternate takes of studio recordings, originally rejected masters, "Crying, Waiting, Hoping" and the other five 1959 tracks (adding new surf-guitar arrangements), and even Holly's amateur demos from 1954 (where the low-fidelity vocals are often muffled behind the new orchestrations). The last new Buddy Holly album was Giant (featuring the single "Love Is Strange"), issued in 1969. Between the 1959–60 Jack Hansen overdubs, the 1960s Norman Petty overdubs, various alternate takes, and Holly's undubbed originals, collectors can often choose from multiple versions of the same song. There are also many different versions of Holly's "Greatest Hits".

The Picks' overdubs

In February 1984, MCA sent what are known as safety copies of several Buddy Holly master recordings to John Pickering of The Picks who took them to Sound Masters studios in Houston, Texas. There, the reunited group overdubbed their new vocal parts onto at least 60 recordings, and sent them back. The general consensus seems to be that MCA would have issued these "new" recordings as an album,

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

Coordinates	°′″N°′″N
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