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Small underground raves were just starting out and expanding beyond SF to include the east bay, the south bay area including San Jose, Santa Clara, and Santa Cruz beaches where the notorious 'full moon raves' took place at Bonny Dune beach every month. In late raves started to explode across northern California, and cities like Sacramento, Oakland, Silicon Valley Palo Alto, San Jose 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. Raves were exploding at an enormous rate, and now there were thousands of ravers living for every weekend. The second generation of raves were just starting to be realized.

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Over 8, 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. The massive parties were taking place every weekend now from such disparate locations as outdoor fields to airplane hangars and hilltops that surround the valley.

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. 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.

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Thus, in the late 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 Some old locations appeared again brand new, such as the concourse that saw thousands of ravers in , now saw the same amount in late The galleria that once held a 'concert' in 92 with artists such as Moby, Aphex twin, Prodigy, 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 s saw a general loss of the first generation of ravers, causing the scene to take a short dive. Venues and parties such as Stompy, Harmony, CloudFactory, Cyborganic lounge, 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. It came to be that many genres of electronic dance music could be enjoyed by anyone willing to go out to any of these parties. Raves could be found in many different kinds of venues, as opposed to just basements and warehouses. Promoters started to take notice and put together the massives of the late s with many music forms under one roof for 12 hour events. San Francisco became a notorious destination for raves in the United States, and to a lesser extent, the world at large.

DJs from all corners of the globe began performing in San Francisco. The year saw the demise 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. Two of the 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 drove into the coffin of the SF rave scene, the Homebase warehouse that held parties from burned down to the ground in a spectacular six alarm fire in Smaller, intimate venues continued just like they had from the start and underground raves became the norm in the years after the tech boom of the s. 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. Through the mid s and into the 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. Candy 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, Candy Raver, and massive rave popularity , it was common to meet groups of ravers, promoters, and Djs who frequently travelled between Seattle and San Francisco, which spread the overall sense of West Coast rave culture and the phenomenon of West Coast "massives".

Rave parties began in Australia as early as the s and continued well into the late s. They were mobilised versions of the 'warehouse parties' already established in Chicago, Detroit and across Britain. Similar to the United States and Britain, raves in Australia were unlicensed and held in spaces normally used for industrial and manufacturing purposes, such as warehouses, factories and carpet showrooms.

In addition, suburban locations were also used: basketball gymnasiums, train stations and even circus tents were all common venues.

In Sydney, common areas used for outdoor events included Sydney Park, reclaimed garbage dumps in the inner south west of the city, Cataract Park and various other natural, unused locations and bush lands. The raves placed a heavy emphasis on the connection between humans and the natural environment, thus many raves in Sydney were held outdoors, notably the Field of Dreams July 17, , Happy Valley rave December , and Sundaze The tradition continued in Melbourne, with 'Earthcore' parties staged in the cities hinterland. The mid-late s saw a slight decline in rave attendance, attributed to the death of Anna Wood at an inner-city Sydney nightclub, which was hosting a rave party known as "Apache".

Wood had taken ecstasy and died in hospital a few days later, leading to extensive media exposure on the correlation of drug culture and its links to the rave scene. Nonetheless, the rave scene in Australia experienced a brief resurgence in the early s. By , a German party scene, started by Tauseef Alam, based on the Chicago House sound was well established. The following year saw acid house making as significant an impact on popular consciousness in Germany and Central Europe as it had in England. Motte established the Ufo Club, an illegal party venue, and co-founded the Love Parade.

On 9 November the Berlin Wall fell, free underground Techno parties mushroomed in East Berlin, and a rave scene comparable to that in the UK was established. 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.

In 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. 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.

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The annual Love Parade festivals in Berlin in the Metropolitan Ruhr area onwards attracted more than one million party-goers between and 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.

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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. Prior to the commercialization of the rave scene, where large legal venues became the norm for these events, the location of the rave was kept secret until the night of the event, usually being communicated through mobile messaging, secret flyers, and websites.

This level of secrecy was necessary for avoiding any interference by the police, on account of the illicit drug use, enabled the ravers a location they can stay for 10 hours at a time, and it also promoted the sense of deviance and removal from social control. Some raves make use of pagan symbolism. Modern raving venues attempt to immerse the raver in a fantasy-like world.

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Indigenous imagery and spirituality can be characteristic in the Raving ethos. In both the New Moon and Gateway collectives " pagan altars are set up, sacred images from primitive cultures decorate the walls and rituals of cleansing are performed over the turntables and the dance floor" This type of spatial strategy is an integral part of the raving experience because it sets the initial "vibe" in which the ravers will immerse themselves. This said "vibe" is a concept in the raver ethos that represents the allure and receptiveness of an environments portrayed and or innate energy.

The geographical landscape is an integral feature in the composition of rave, much like it is in pagan rituals. For example, The Numic Ghost Dancers ritual's, would be held on specific geographical landscapes considered to hold powerful natural flows of energy. These sites were later represented in the rhythmic dances, in order to achieve a greater level of connectivity. A sense of participation is among the chief appeals of Rave music and dance is its immediate outlet.

Raving in itself is a syllabus free dance, whereby the movements are not predefined and the dance is performed randomly, dancers take immediate inspiration from the music and their mood.

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Tools For Your Shamanic Journey. Indigenous imagery and spirituality can be characteristic in the Raving ethos. Things to do , Quirky events. During the s and early s 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 album Aladdin Sane which includes the line "It's a crash course for the ravers. The games are free to join and perfect for gamers of all levels. Either way, make sure to notify us via email before the event starts, as we cannot offer any refunds or transfers after the event has started. Other notable events included Vision at Pophams airfield in August , with 40, in attendance and Universe's Tribal Gathering in

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.

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Sometimes club-oriented dances would be danced to rave music, too, for example, tecktonik is sometimes danced to fast-paced electro house. 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, Melbourne Shuffle and Industrial dance may be sometimes highly dependent on pre-planned choreography for performances at raves, therefore such dance styles may be practised professionally.

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Relaxation - Mindfulness Practice. Centering In Uncertainty. Mindfulness Meditation: The C. Anxiety Exercise. You also receive a playing card for our IceBreaker game. You'll have until the ceremony begins to play the game. Anyone that hasn't checked in before this time will not be able to participate. You'll want to look good, yet also be comfortable enough to stand, move, and sit cross-legged. There isn't a tremendous amount of movement; we've had folks show up after work in suits and they've managed okay, but you want to be comfortable to move.

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