Techno Music And Raves FAQ
Below is an interesting piece aimed at the American raves scene that ravers around the world will be interested in seeing. Not all the thing it says apply say in the UK, but it is still worth reading:
- What is a rave?
- When is a rave not a rave?
- Who attends raves?
- Who organises / puts together raves?
- Aren't raves illegal?
- How do I find out where the raves are?
- What kind of music is played at raves?
- PLUR and the Vibe
- Drugs at raves
- More rave safety
Dictionary definition of the word "rave"
rave \'ra-v\ vb [ME raven]
1a: to talk irrationally in or as if in delirium
1b: to declaim wildly
1c: to talk with extreme enthusiasm
2: to move or advance violently : STORM : to utter in madness or frenzy
rave n often attrib
1: an act or instance or raving
2: an extravagantly favourable criticism
Contemporary definition of "rave" as a social event
In simplest terms, a rave is a social event, a phenomenon of modern youth culture. In most cases a rave is a dance party in which the participants experience a sense of community and elevated consciousness through the hearing of music and the responding to music through (1) free physical motion or dance, (2) a positive change of mood, and (3) both spoken & unspoken interaction with other participants.
Although this is not an exhaustive list, it can generally be said that raves today tend to include the following dominant elements:
A venue which may be a warehouse, open field, dance club, or other exotic location
At least one large amplified stereo sound system
Skilled disc jockeys (DJs) who provide a continuous mix of dance oriented electronic music, usually "techno," "House," or "jungle" music
Colourful moving lights, lasers and/or strobes
Night time hours, usually from 10pm or 11pm until sunrise
Attendance of at least 50 people (varies widely from region to region around the world; some European cities routinely attract over 10,000. American raves average 500 to 1,500, with exceptions)
use of recreational drugs among a percentage of the participants (varies widely from rave to rave; some raves are substance-free)
Non-use of alcohol (varies from rave to rave)
Vending of non-alcoholic "smart drinks", t-shirts, and DJ mix tapes
Retro and "little kid" fashions
"Chill out" areas or rooms featuring ambient music
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 criteria 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 come 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 colour line, on the whole. Everyone looks the same in the dark. On the other hand, while 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 cliché, 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 attitudes 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 smart 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. There 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 going 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.
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 ravers 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 technician 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 put 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 neighbourhood. 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. --from an uncredited newspaper article, reproduced in the book that accompanies the Trance Atlantic 2 American techno music compilation.
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 changed 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, safety 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 neighbourhoods. Enforcement of these laws varies from place to place. More commonly, police just don't like 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, when 950 ravers were arrested without cause. 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.
Fire code violations (too many people, not enough exits)
Multiple noise complaints from nearby residences
Parking / traffic flow impeded on nearby roads
Violation of ordinances against late-night dancing or public assembly
Loitering or trespassing
Minors out past curfew
Alcohol on premises without liquor license and/or with minors present
Drugs or drug paraphernalia seen, smelled, or imagined
Venue owner changed their mind once they saw all those people with strange clothes and hair
Nearby doughnut shop was out of whipped-cream filled pastries
One of the major reasons why the general public believes that night time parties are bad is the perceived potential for violence and other criminal behaviour. But one would have a hard time getting a group of ravers to riot or fight. Raves are among the most 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 intoxicated 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. Food. 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, distributing 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. Voicemail 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 where 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, incorporating 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 than 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). The 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 promoting 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 subconscious as well as the body. 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 voice, 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." --Brian Behlendorf
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.
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 participants, discarding any gross anomalies.
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 raves), 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). --
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.
"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." --Brian Behlendorf
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 responsible 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:
the presence of drugs throughout youth culture
the sensory and empathetic enhancements drugs offer to the experiences of raving
the expectations of some ravers about what they are 'supposed' to be doing at raves
the energy provided by drugs to help people stay up all night dancing
the desires of some ravers to escape or to return for a night to a carefree, childlike existence
the way the music played at raves lends itself to drug-influenced listening and stimulation
the relatively safe, comfortable and stimulating environment provided by raves
the inexperience and immaturity of young adults, out on their own for the first time, who want to indulge in the forbidden fruit, so to speak
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.
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:
Cheap, predictable and plentiful, pot is one of the safest mood altering substances available. It is impossible to overdose on and is easy to obtain. Although good music always sounds better under its influence, it is not really considered a rave dr ug because it is usually just as much a part of the lives of its users regardless of whether or not they are at a rave. Hardly anyone says "let's go to a rave to get high." People under the influence of "pot" are generally mellow and non-violent, and have a heightened sense of creativity. On the negative side, their response time and they may have difficulty processing certain types of information, making driving under the influence dangerous.
MDMA, commonly known as Ecstasy, E or X, is the most popular drug at raves. Its primary effects last about as long as the rave does. Users feel a tremendous sense of love for those around them. Some visual and aural effects are similar to those of LSD. MDA, a related drug, is often sold as Ecstasy. Since it comes in pill or capsule form, it is easily adulterated and many unscrupulous dealers take advantage of that by mixing or replacing the MDMA with cheaper drugs or placebos. It is surrounded by many urban legends regarding its effects and its adulterants.
Commonly known as acid, LSD is a cheap psychedelic known for distorting and intensifying sensory input. Acid is not the drug of choice at raves because of the potential for things to "go wrong"; it requires that the user be in a comfortable environment --under its influence a rave can suddenly look more like a dark, noisy, warehouse packed full of strangers, and can be especially distressing if cops show up. Its effects also last longer than most raves. Nevertheless, its availability and mind-expan ding appeal make it a popular alternative to Ecstasy for some. Like Ecstasy, acid is surrounded by a host of groundless or unproven urban legends.
4. Ketamine HCl
Intense dissociative psychedelic, often adulterated with other drugs. Commonly known as K or Special K.
Effects similar to LSD, typically taken in conjunction with MDMA to enhance the effects. 2C-B is expensive and its availability varies with region.
"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." --Brian Behlendorf
Besides minimizing risks with drugs, ravers must also be aware of and take precautions against the following rave-related risks:
Dehydration and heat exhaustion
Falling asleep at the wheel on the way home
(insert story of the Lexington kids)
Strobes and seizures
I Want To Put On My Own Rave
How many ravers does it take to screw in a light bulb?
1,000: One to screw in the light bulb, and 999 to whine about how much better the old bulb was.
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