Well known locations such as the "Dole House" (Peckham), the abandoned bus station and the squatted children's home in Camberwell known as Groove Park had crowds of over a thousand.

Full Moon parties were organised at Groove Park by Pete Marland (who went on to start the dance scene in Western Ireland in the early 90s) and multiple events went on for over a year as an Art Collective sanctioned by locals.

[7] In addition to drugs, raves often make use of non-authorized, secret venues, such as squat parties at unoccupied homes,[8] unused warehouses,[9] or aircraft hangars.

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, more heavily and with intense soloing or elements of controlled feedback.

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.

[19] A technique employed by northern soul DJs in common with their later counterparts was the sequencing of records to create euphoric highs and lows for the crowd; DJ Laurence 'Larry' Proxton was known for using this method.

[20] 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."

This level of secrecy, necessary for avoiding any interference by the police, also on account of the illicit drug use, enabled the ravers to use locations they could stay in for ten hours at a time.

However "after-hours" clubs, as well as large outdoor events, create a similar type of alternate atmosphere, but focus much more on vibrant visual effects, such as props and décor.

[50] At early rave parties, often costume-like clothes and garments with signal color look such as protective suits, safety vests, dust and gas masks were worn and combined with accessories such as vacuum cleaners or cyberpunk inspired goggles.

Further popular themes of the early rave scene were plastic aesthetics, various fetish styles, DIY, 1970s, second-hand optics, retro sportswear (such as Adidas tracksuits), sex (showing much skin and nudity, e.g. wearing transparent or crop tops), war (e.g. in the form of combat boots or camouflage trousers), and science fiction.

Widespread accessories included wristbands and collars, whistles, pacifiers, white gloves, glow sticks, feather boas, oversized sunglasses, and record bags made of truck tarpaulins.

[citation needed] Since the early 2000s, medical professionals have acknowledged and addressed the problem of the increasing consumption of alcoholic drinks and club drugs (such as MDMA, cocaine, rohypnol, GHB, ketamine, PCP, LSD, and methamphetamine) associated with rave culture among adolescents and young adults in the Western world.

[74] The musical contribution of Brooklyn's DJ-producer Joey Beltram to R&S Records, run by Renaat Vandepapeliere, was instrumental in the development of iconic Belgian techno sounds and anthems.

[78] Notable DJs that performed at 23 Hop included Moby, Mark Oliver, Dino & Terry, Sean L., Dr. No, Malik X, DJ Ruffneck, Jungle PhD, Kenny Glasgow, Matt C, John E, Danny Henry and David Crooke.

[89] In the late 1990s, the venues Tresor and E-Werk (1993–1997) in Berlin, Omen (1988–1998) and Dorian Gray (1978–2000) in Frankfurt, Ultraschall (1994–2003), KW – Das Heizkraftwerk (1996–2003) and Natraj Temple (1996–2008) in Munich, as well as Stammheim (1994–2002) in Kassel, had established themselves as the most renowned techno clubs in Germany.

In urbanised Germany illegal raves and techno parties often preferred industrial sceneries such as decommissioned power stations, factories, the canalisation or former military properties of the cold war.

By the middle of 1992, the scene was slowly changing, with local councils passing by-laws and increasing fees in an effort to prevent or discourage rave organisations from acquiring necessary licences.

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.

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.

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).

After 1993, the main outlet for raves in the UK were a number of licensed parties, amongst them Helter Skelter, Life at Bowlers (Trafford Park, Manchester), The Edge (formerly the Eclipse [Coventry]), The Sanctuary (Milton Keynes) and Club Kinetic.

"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.

Clubs like Gatecrasher and Cream rose to prominence with dress codes and door policies that were the polar opposite of their rave counterparts; stories of refused entry due to not wearing the right clothing were commonplace, but seemingly did nothing to deter Superclub attendance.

These festivals were held on Indian reservations and ski resorts during the summer months and were headlined by DJs such as Doc Martin, Daniel Moontribe, Dimitri of Deee-lite, Afrika Islam and the Hardkiss brothers from San Francisco.

Featuring local San Diego DJs Jon Bishop, Steve Pagan, Alien Tom, Jeff Skot, Jon-e Thin, Paolo, Merlyn, Gmaxim, Tony Fiore, Damon and Mark E. Quark performed at these events.

The Electric Daisy Carnival in Las Vegas drew more than 300,000 fans over three days in the summer of 2012, making it the largest EDM music festival in North America.

[106] This festival takes place at a 1,000-acre complex featuring a half dozen custom built stages, enormous interactive art installations, and hundreds of EDM artists.

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.

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 in Australia.