This is version 3.0 (1 Dec 1995) of what used to be called 'The Official
alt.rave FAQ'. If at a later date the FAQ needs to be moved, it will still be available
somewhere at Hyperreal. This FAQ may be occasionally posted to the alt.rave, uk.rave, and alt.music.techno
newsgroups in several smaller sections for effective propagation. The author of this version is Mike J. Brown (mike@hyperreal.org).
Do not email the author with additions or corrections; this is a one-time rewrite and it will not be maintained on a regular
or even irre gular basis. The original FAQ was written by Brian Behlendorf (brian@hyperreal.org).
The most recent maintainer was Chris Hilker (cspot@hyperreal.org). This rewrite has been done with both Brian's
and Chri s's blessings. Portions of this document are extracted from the original FAQ. Authors of individual sections
are credited where known, and sincere thanks go out to all who contributed.
This document is not going to satisfy everybody. I have written it from
as objective of a perspective as I can, phrasing things in such a way that people entirely unfamiliar with the
scene can hopefully understand, while not insulting the intelligence of those who already know a lot about raves. In writing this I have had to deal with some serious conflicts of interest.
One is the unfortunate situation of there not being a word better than "rave" to use throughout this
document. I don't know anyone who throws around the word "rave"
as frequ ently as it appears here. My friends and I use the word
"party" most of the time, but that's only because we already know what that word means in the context
of our lives. To use the word "party" in this document instead of "rave" would be vague and
misleading, especially in light of the fact that this is directed in large part at people who don't already have
an understanding of what it is all about. "Party" is not a code word for "rave," per se, because, as you will
read, this is about a c ultural phenomenon that was borne out of something that used to be called "rave", but that has since changed, grown and diversified
in many ways since its inception nearly a decade ago. Another conflict of interest is the issue of recreational drugs with
respect to the "rave" scene. It is important that the relationship between drugs and raves be made as
clear as possible. But how can one honestly report on this subject without drawing undue attention to it from sensationalist
media hounds, concerned parents/citizens and law enforcement? One can't just ignore it; as evidenced by posts on
alt.rave and the regional mailing lists, there are so many risks and misconceptions surrounding th is topic that
it is dangerous not
to discuss it. I've tried to anticipate conservative reactions to the points raised, filling out paragraphs with
what effectively amounts to damage control. Nevertheless, I expect that people who want to legitimi ze their support
of these parties won't be pleased to see the topic of drugs brought up at all, and some brain-dead reactionaries
might even use this as "documented proof" that raves are a Bad Thing(tm). This FAQ is written first and foremost to be informative and to help
dispel myths and misunderstandings that are beginning to develop. Although I am biased in support of raves in general,
I'm trying to take an academic tone. If you're a teenager looking for something to hand to Mom & Dad to convince
them that raves are as wholesome as a mother-daughter church banquet, you might want to look for some less impartial
testimonials in the Spirit
of Raving Arch ives at Hyperreal. In spite of its flaws, I hope
you find this document to be educational and thought-provoking. Permission is granted to reproduce any part of it via electronic or print
media, but you must clearly indicate or reference the source of the material as being the document "Frequently Asked Questions About Raves And Techno Music," version 3.0
(1 Dec 1 995), by Mike Brown with Brian Behlendorf, available on the Internet at http://www.hyperreal.org/". Be courteous and let us know where you are publishing the material.
Besides reading this FAQ, here are some good places on the WWW to start looking for information
about raves: If you do not have a WWW browser or do not know what the WWW is, read
the World
Wide Web FAQ which is periodically posted to the Usenet newsgroup
news.answers.
A rave is a subjective experience.
It is possible that a dance party which fits the above criteria may not be considered a rave by those who participated
in it or by experienced ravers
(people who sometimes attend raves) who hear about the event before or after it takes place. Some ravers feel that
only raves which they enjoyed were actually raves. Some even feel that only raves which were held without permission
from the venue owner were 'real.' Ravers also tend to use their own criteri a for determining if a dance party
that is billed and/or promoted as a rave is actually deserving of the name. These criteria are usually based on
expectations formed from previous experiences at raves, so what has happened over time is that raves have c ome
to be comprised of similar elements in order to appeal to people's expectations, as well as being a by-product
of those expectations. There is also the issue of the word "rave" itself. For various
reasons there are negative connotations associated with the word, so many ravers choose not to say it. They may
say "party" or "event," or they may refer to the rave by the name given by its promoters. Whether
or not the kinds of parties that happen today are "raves" is open for debate. For purposes of discussion
here, we'll say that they are in fact "raves."
A typical raver is male or female. The predominant age range varies by
locality; for example, in the Midwest most ravers are 18 to 22 years old, while in the San Francisco Bay Area they
are 17 to 30. Ravers are generally people who are into alternative aspects of culture. They may or may not be heterosexual.
Many are college students. Some ravers may be as young as 13 or as old as 50. Most ravers do not listen to techno
music all the time. Many use raves as escapes -- weekend excursions -- from the ir otherwise stressful or mundane
school and home lives. People have all kinds of reasons for participating in raves, and for most there is a combination of alluring factors,
not just one. At the very least, it can be said that people who have a good time at raves will keep coming back. In the United States, racial diversity at raves tends to reflect the
diversity of the general population. That is to say, raves and ravers do not discriminate across a color line,
on the whole. Everyone looks the same in the dark. On the other hand, wh ile raves are very much sanctuaries from
the repulsive sides of society, people other than heterosexual young white males unfortunately must still sometimes
deal with closed minds and uncomfortable glances in the rave environment. Ravers should let go of these societal
trappings. It is a cliche, but let the music set you free. Then let the music join you together in peace and joy. It really works. Ravers may or may not enjoy traditional dance clubs. Dance clubs sell
liquor and are typically places where people go to get a date. Raves are not meat markets, and alcohol sales, if
they happen at all, are usually pretty light. There are exceptions, b ut in general people don't go to raves to
find sex partners. Ravers are not necessarily non-drinkers, nor can it be assumed that they don't frequent singles
bars. Ravers have diverse tastes in music, political viewpoints, personal histories, and attitud es toward the
consumption of food and drugs. Assume nothing about ravers except
that they intend to have a good time at the rave.
Raves are usually put on by several individuals referred to as promoters. They may call themselves
something like "Drop Bass Productions" or "The Hindenburg Co." or some other ambiguous title.
The pseudonyms may change from rave to rave, but smar t promoters will keep the same name if they want to build
a reputation for throwing good parties. Promoters are usually not incorporated; they are just an informal association
of individuals who coordinate their efforts in the organization of a rave. Th ere are of course exceptions: short-lived
commercial promoters looking to exploit the scene often come into existence. Typically, after one or two successful,
oversized, overhyped parties, they fall flat on their faces when ravers figure out what is goin g on and head for
the smaller, less slick, more underground parties. Promoters are usually ravers themselves, or former ravers. They tend
to be males slightly older than the average raver. Women are severely underrepresented behind the scenes. It doesn't
have to be this way. Information about a mailing list to discuss Women
In Rave is available from Sloane Burwell (sloane@goodnet.com). The WIR
list is open only to women. Promoters are only responsible for the success or failure of the rave
up to a point. They do their best to ensure that things run smoothly at the event and that DJs and hired help are
paid off. They have flyers printed and distributed, they update voice mail lines, provide directions to the party,
contract with sound & lighting crews, DJs and performing artists, and generally run around like chickens with
their heads cut off trying to pull it all together. But when all is said and done, it is the ra vers who are in
control of the party, and in their bodies and minds is contained the energy which makes The Vibe come alive. Promoters are partially responsible for the safety of ravers. A safe and secure venue must be provided.
The venue should conform to fire codes and a contingency plan should exist for emergencies. Large raves often have
an emergency medical techn ician on duty. Access to electrical boxes & cords and dangerous areas of the venue
should be restricted. Free drinking water and public restrooms should be available. If you go to a rave that doesn't
provide for your safety in these ways, confront the promoters. The promoters are not responsible, however, for things you do at your own risk, like breaking the law,
doing cartwheels on the roof, overdosing on drugs, having a seizure under the strobe lights, wrecking your car
on the way out, running with scissors, or asking the DJ to play "O Fortuna" or "Rough Sex." The quality of promoters varies greatly. A few are immature, compromise
people's safety, and put their parties at great risk of being busted by encouraging or even profiteering from drug
use among the participants. Most, though, go to great lengths to p ut on safe, quality events. Many don't mind
losing money on their parties as long as people had a good time. Some even actively seek out drug sellers and eject
them from the party. Ravers: Get to
know the names of promoters or promotion groups who put on safe raves which aren't in danger of being busted. Get
on an Internet mailing list which discusses the rave scene in your region. Talk with experienced ravers who know
which parties to avoid. Keep in mind, though, that if the police want to shut down a rave, they WILL do it, no
matter what lengths the promoters went to to keep it legal. Rave at your own risk! Parents, cops, and legislators:
Learn who the trustworthy, honest, promoters in your area are. Most promoters are willing to work with the communities
and authorities to ensure the safety of the participants and to keep the peace in the neighb orhood. Don't let
one bad apple ruin the fun for everybody. Anti-rave laws are unjust and ineffective, and potentially dangerous
as people are forced to commute to parties located outside of the jurisdiction of the laws.
"The cops are catching up and shutting us down and the media
is constantly going on about sex-and-drugs orgies," says Sheri of Minneapolis techno store Cynesthesia. She
was arrested at Love Generator in St. Louis for "taking a picture of a cop busting the party", manhandled,
charged with 'interfering with an officer doing his duty' and thrown in jail. The first raves
are said to have been impromptu, clandestine parties in warehouses around the English countryside, in the outskirts
of London, and the Manchester area, all with no permits, happening around 1987-88. Things have chang ed and grown
a lot since then. Raves and rave-like parties are now occurring in nearly every country in the world. The majority of raves today are organized responsibly and legally, usually with
local permits and adequate, though not always ideal, sa fety precautions. Exceptions rather than the rule, a number of raves do occur without the
blessing of the authorities. In many communities laws have been established which prohibit rave-like gatherings.
Although raves almost without exception are held without any serious disturbances, they tend to fall into the categories
defined by these laws. In most instances these "nuisance laws" were written during periods of public
concern about drunkenness and rioting, such as during the Prohibition era in the United States, and they are intended
to keep assemblages of people the public perceives to be riff-raff from getting drunk and rowdy and going on a
rampage through the neighborhoods. Enforcement of these laws varies from place to place. More commonly, police
just don't li ke the idea of a bunch of young people getting together in the middle of the night to have a party,
so they use other minor infractions as their excuse to shut down raves. There are a few places where raving is significantly more risky. In England
a national law was passed in November 1994 which effectively outlaws raves and similar gatherings in that country.
Information about the Criminal
Justice Act and the campaigns against it are available online.
In the city of Milwaukee, a vigorously enforced anti-rave ordinance has been on the books ever since the Grave
fiasco of 1992, whe n 950 ravers were arrested without caus e. D rug Enforcement Agency investigations are said
to have played a role in several busted parties in the eastern half of the U.S. in 1994-95. Chicago police in particular
have been responsible for a number of harsh shutdowns. There is an "anti-rave task fo rce" in the Baltimore
& Washington D.C. area. These reports are indicative of a disturbing trend. Top ten reasons why a rave might be shut down by the local authorities:
One of the major reasons why the general public believes that nighttime
parties are bad is the perceived potential for violence and other criminal behavior. But one would have a hard
time getting a group of ravers to riot or fight. Raves are among the m ost peaceful popular music oriented gatherings
worldwide, in part because of the relative absence of alcohol, and because the mostly message-less music doesn't
attract an anti-social crowd. Ravers are not inclined toward other kinds of criminal mischief, either. Yet in spite
of this, police and lawmakers are engaged in a disturbing trend to "crack down" on raves, ignoring their
own hypocrisy as they turn a blind eye to sporting events & stadium rock concerts where violence, drunken revelry
and intoxicat ed driving occur with far greater frequency and severity than at any techno dance party. Snow. Rain. Ice. Mud. Wisconsin. And then... Cars. Vans. Trucks. People. Lots of people. Tents. Fires. Music --
sweet techno music. Dancing. Grooving. Endless movement. The best DJs in the universe. Drums. Foood. Hugs. Friends.
Strangers. No sleep. No time. And then, Saturday night... Forty degrees. Sweating. Ecstatic. Naked. On top of the speakers.
In front of 2000 people. Next, the unexpected... Cop. Cop car. Go for a drive. Threats: "You punks from Chicago and Milwaukee don't come up
here and fuck with my county. This is my county. I work an eight-hour shift. That's how long I work. Because of
you assholes, I've been working 14 hour shifts. I should be home watching TV, but because of you punks, I'm out
here. I could arrest you, I could throw you in jail and you'd have to wait until Tuesday for the judge to let you
out. You might get hurt in jail. Now you go back up there and turn the music off or I'm coming in there to turn
it off myself. And if I have to do that, I'm going to find you..." --David Prince, from "Holy Shit -- What Have We Done?", in
Trance Atlantic 2
Raves are advertised via flyers, word of mouth, voicemail lines, and
Internet mailing lists & web pages. The best place to find flyers for upcoming raves in your area is actually
at a rave. Vendors, ravers and promoters travel from rave to rave, dis tributing flyers at the raves and at raver
hangouts along the way. Raver hangouts where flyers can be found include independent record stores, alternative
or vintage clothing stores, coffee houses, dance clubs and other dives near universities. Voicemai l lines change
frequently but are usually listed on flyers. Flyers usually have the name of the rave on them but do not have the word "rave" on them due to
the negative connotations applied by people unfamiliar with the scene. Regional rave-related mailing lists
on the Internet collect and consolidate information from flyers and periodically post calendars showing all the
upcoming raves. Believe it or not, raves do not just happen in major cities. They quite
often take place in small cities, small towns, rural areas, deep in the woods, out in the desert, on rooftops,
under bridges, in parking garages, in caves, on the beach --anywhere wh ere people want to dance their butts off.
Don't assume that just because you aren't in a cultural hotspot that there are no raves in your area. Likewise,
don't think that just because you live in a place with a good scene that your raves are better than anyone else's.
A type of electronic dance music commonly called techno is the short answer.
Techno is often used as a catch-all term; in actuality a wide variety of music is played at raves. Part II (Techno
Music) of this FAQ contains more detailed descriptions and comparisons of techno & related musical styles.
Someone entirely unfamiliar with techno can be told that the music played at raves is essentially a derivative
of disco, incorp orating many other influences, from Kraftwerk to hip-hop and reggae. In 1987-88, when raves began, techno was still a fairly new word being
used to describe the Kraftwerk and Parliament/Funkadelic-influenced music produced by a handful of African Americans
in Detroit's club circuit. The style was warmer and more soulful t han most techno we hear today, but colder and
more electronic than the rhythm & blues sounds that were popular in the mainstream at the time. While early
techno was probably in some DJs' playlists, the music of raves in 1987-88, according to dance music magazine articles
from 1991-92, was primarily a mixture of psychedelic dance rock (the Sound of Manchester: The Happy Mondays, The
Stone Roses) and Acid House (the club sound of Chicago at that time, which for some reason was very popular in
England). Th e indie dance rock sound went out the door rather quickly. More and more styles of electronic dance
music succeeded acid house, evolving for better or worse into the myriad of styles commonly referred to as "techno." Be aware that the techno music played at raves is very rarely anything
like the kind of "techno," "techno-rave," "techno-industrial," "techno-dance,"
or "Eurodance" music played on mainstream or even alternative radio stations. The people making and pro
moting that kind of music are using techno and rave as buzzwords --a marketing tool-- and they are about as authentic
as Taco Bell. Some commercially successful tunes do begin life as popular hits at raves, but by the time they hit
the radio they have be en played out, killed off, buried, dug up, killed and buried again by the rave community.
People who go to raves generally don't expect to hear anything that they would hear on a mainstream radio broadcast.
When pop songs with techno influences emerge, ravers and musicians quickly distance themselves from it and underground
techno that sounds like it, so in its own way, mainstream "techno" helps speed the development of "real"
techno. In general, the purpose of the music played at raves is to make people
dance. But it is more than that: the music has to take people to another place, it has to lull the conscious mind
while at the same time stimulating the subconsious as well as the bo dy. Most, but not all, music played at raves
is intended to lose yourself in. Techno played at raves is a faceless, nameless organism, free of the chains of
pop song structure and major label hype. It may have a hook, but no chorus. It may have a voic e, but no lyric.
Time stops when the mind's clock of frequent distractions is disconnected by the surreal, hypnotic syncopated rhythms
being woven around your head by the DJ on the decks. Time stops and the Vibe begins. Techno is not the only kind of music played at raves. Secondary dance areas often feature acid jazz, trip-hop (another
catch-all term not worth trying to define here), hip-hop, or funk. "Chill Out" areas where ravers rest
often feature a mixture of the above, along with ambient music, dub, or even classical.
"At a rave, the DJ is a shaman, a priest, a channeller of energy
- they control the psychic voyages of the dancers through his choice in hard-to-find music and their skill in manipulating
that music, sometimes working with just a set of beats and samples, into a tapestry of mindbending music. A large
part of the concept of raves is built upon sensory overload - a barrage of audio and very often visual stimuli
are brought together to elevate people into an altered state of physical or psychological existence." There are three things at every good rave: music,
dancing, and The Vibe. But what is meant by "The Vibe"?
Here, too, we are unable to provide a solid answer. The same subjectivity that makes it difficult to define "rave"
or to measure the quality of a rave also prevents putting into words the meaning of vibe. When ravers use the word vibe to describe something they felt or sensed
at a rave, they are essentially using the word in the same way that people would use it in reference to any other
social gathering. The causes and effects of the rave vibe may not be entirely the same as those of the vibe at
different types of social events, though. Many ravers, including those new to the scene and those who have been
in it since the beginning, are so stimulated by the vibe and its effects at raves that they become obsessed with
it -- they see it as much more than the temporary rush of a good party; it is to them a form of telepathic energy,
a mysterious and powerful life force, or some other pseudo-religious experience that has many profound effects
on their lives. "The actual concept of raves is not new - it is as old as time
itself. As the base level, raves are very comparable to American Indian religious ceremonies, i.e. pow-wows, and
also to the concept of the Shaman in Eskimo and Siberian society - where music is the key towards pulling oneself
into a unique emotional and psychological state, a state in which one experiences washes of sensations and visions,
not delusions, but visions. Sounds very hokey in print, but I'm sure MANY of you out there know what I'm talking
about. The hypnotizing effect of techno music coupled with the seamless transitions and thematic progressions of
rave DJs as the night progresses can be QUITE intoxicating, resulting in what could be closely compared to a religious
experience. Music in general has always been able to sweep people off their feet, but what distinguishes raves
are the concept of the _shared_ experience; a feeling of unity often arises, and people are open and friendly to
one another. There is a loss of that "attitude" that is omnipresent in normal clubs and even in life
in general. People are celebrated for who they are, not what they aren't. There are many better ways to explain
the above, and more than a few can be found at Hyperreal." Vibe is typically assessed in vague terms. Part
of the vibe of a party is a sense of how others around you are feeling. Another part of the vibe is how you feel,
which can in turn affect how you perceive the emotions of others around you.
A person who has a lot of fun at a rave may feel there was a "good" or "strong" vibe. If they
also sensed that the people around them were having fun, too, they may say the vibe was especially strong. A person
who had some fun but didn't sense much warmth or happiness in the people around them may say there was a "weak"
vibe or no vibe at all. People who feel that their peers are not living up to their expectations of what ravers
should be like tend to feel there is a lack of vibe. A person who felt the people were rude or posing may say there
was no vibe, or a "bad" vibe. Vibe is generally thought of as a positive thing, though, so rather than
describe it in negative terms, it is more common to relate its absence, thus reserving "bad vibe" for
use as a description of only the most extremely disappointing situations. Statistically speaking, if the vibe is a quantifiable entity, then it
could be argued that a reasonably accurate measure of the strength or quality of an event's vibe is the average
of the vibe "reports" given by the event's particpants, discarding any gross anomolies. The vibe of a rave can change over time. The DJs have a lot of control
over the vibe; a good DJ is not just skilled at mixing records -- she is also good at manipulating the vibe. Vibe
can be affected both positively and negatively by the use and presence of recreational drugs. Seeing the sun rise
can also have varying effects on the vibe. Cops shutting down a rave without exception destroy the vibe, no matter
how good it was. As any experienced raver will tell you, there is no correlation between
the number of people at a rave and the vibe at that rave. In reference to a speech made by DJ Frankie Bones at the first Storm
Rave in New York City, the word PLUR, an acronym for Peace, Love, Unity and Respect, was coined by ravers on the NE-Raves mailing
list to describe the tenets of the ideal rave vibe. [oops - not quite correct - see note] That's not actually where it got coined. Peace/Love/Unity was being used
by Frankie all the time, but one night Brian and I were talking at a very small renegade thrown in Washington DC,
and Brian came up with the 'R' Part. From that I published an Essay explaining these as the "four pillars
of the house community" (a term I'd seen from Geoff White, in posts on sfraves), and from there ne-ravers
-- specifically Rishad Quazi -- started using it as an acronym, "PLUR." It's spread like crazy since
then, but the credit really goes to Geoff White (4 pillars), Brian (don't forget the 'R' for respect), me (for
the essay), and Rishad (for being among the very first to use it as an acronym). --Laura
La Gassa (laura@hyperreal.org)
PLUR is both the product of and the precursor to a successful rave. New
ravers tend to get caught up in the Unity aspect as they are overwhelmed by the sense of solidarity among the many
different people with whom they find themselves dancing. They find it quite distressing when they discover that
all ravers do not think the same or share the same beliefs --in fact, ravers are some of the most diverse people
you will ever meet! Do not confuse Unity with Homegenity, and you will learn true Respect. When people argue too
much on the net about PLUR, someone invariably points out that the arguments themselves are not very PLUR-like
and that we should all get along because we're so unified, to which the standard response is "PLURF",
which means "Peace, Love, Unity, Respect, Fuck off!" Some ravers are so committed to PLUR and the rave scene that they believe
raves are instruments of social change. They believe the positive effects of raving are spreading into the lives
of all involved, and in turn the people who come into contact with ravers are also affected in a positive manner.
The extent to which raves affect people's lives and society at large is a difficult thing to measure, but it certainly
deserves more exploration. Lee Fogel has devoted an entire section at Hyperreal to The Spirit Of Raving. The Vibe,
PLUR, psychosocial impacts of raves, and related concepts are explored therein.
"The subject of drugs at raves is very controversial. One wonders
whether the rave scene would have been more easily accepted by the public had the presence of drugs not been so
high. Of course, many others wonder how raves could have ever come about without them." Please read this section carefully and thoroughly. It was written
to encourage responsibility. Read all sections carefully and form your own opinions only after investigating OTHER
sources for information about drugs. The authors are not responsi ble for any harm caused by misuse of this information. There is an undeniable connection between recreational drugs and raves. There are many reasons for this situation. Some of these reasons may include
but are not limited to:
These factors together make for a sometimes overwhelming pressure on
ravers to indulge in recreational drugs. There are, however, significant risks which are often ignored by the raving community at large. For example,
a small percentage of the p opulation is prone to allergic reactions to Ecstasy (MDMA), and ravers have died suddenly
after taking low dosages of the drug. An empassioned open letter from the father of a young man who died from MDMA
was circulated among various rave and drug relate d mailing lists in late September 1995. Please take the time
to read it at this URL:
Also, a raver who had a near-death experience tells her side of story
in the article at this URL:
For every raver who chooses to enhance their experience with drugs, there
is a raver who chooses not to. Even in scenes with closely-knit social circles it is impossible to predict whether
none, some, many, or all of the people at a rave will be under th e influence of some kind of illegal drug. Ravers
who have been to more than a few parties can say they have seen both extremes and everything in between. Drugs are a part of many music & party scenes, not just the rave
scene. Drugs have been a part of the world of popular music since
the dawn of time. They are a part of the culture of youth. Their presence wherever young people gather is not at
all uncommon. Rock concerts have long been used as safe places to indulge in recreational drugs. Cocaine and MDMA
have been a part of the dance scene for 20-odd years. People smoke marijuana everywhere. It is not appropriate
to think of the rave sc ene as being unique for its connections with illegal drugs. The drugs associated with the rave scene are generally not "hard"
drugs. Although there are localized exceptions, the drugs that
are most common in the rave scene are those which enhance the rave experience and which are not physically addictive.
These include, in descending order of prevalence: One of many starting points for more information: http://hyperreal.org/drugs/marijuana/ One of many starting points for more information: http://hyperreal.org/drugs/mdma/ One of many starting points for more information: http://hyperreal.org/drugs/psychedelics/FAQ-LSD "Drugs, like anything else in the world, are dangerous when used
improperly. Please use caution if you do decide to use mind-altering substances, both legal and illegal. You owe
it to yourself to gather info before making a choice regarding drugs. You have access to an incredible amount of
information on the networks here. USE IT! Please, if you decide to dose, please read up on and know exactly what
you are taking and what the expected effects are."
Besides minimizing risks with drugs, ravers must also be aware of and
take precautions against the following rave-related risks:
1,000: One to screw in the light bulb, and 999 to whine about how much
better the old bulb was. More rave related humor can be found at Hyperreal.
Its home location is http://www.hyperreal.org/~mike/pub/altraveFAQ.html.
Preface and Copyright
Copyright:
Section I: Raves
Rave Related Resources On The Internet
What Is A Rave?
rav.er
When Is A Rave Not A Rave?
Who attends raves?
Who organizes / puts together raves?
Aren't raves illegal?
--from an uncredited newspaper article, reproduced in the book that accompanies the Trance
Atlantic 2 American techno music compilation.
How Do I Find Out Where The Raves Are?
What kind of music is played at raves?
PLUR And The Vibe
--Brian Behlendorf
--Brian Behlendorf
Drugs At Raves
--Brian Behlendorf
--Brian Behlendorf
More Rave Safety
(insert story of the lexington kids)
I Want To Put On My Own Rave
How many ravers does it take to screw in a light
bulb?
(this is as far as I got)