In the late 1950s in London, England, the term "rave" was used to describe the "wild bohemian parties" of the Soho beatnik set.^[13] Jazz musician Mick Mulligan, known for indulging in such excesses, had the nickname "king of the ravers".^[14] In 1958, Buddy Holly recorded the hit "Rave On", citing the madness and frenzy of a feeling and the desire for it never to end.^[15] 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 Small Faces and Keith Moon of the Who were self-described "ravers".^[16] In 1965, the Grateful Dead served as the backing band for the San Francisco Acid Tests, which were LSD drug parties organized by Ken Kesey. Subsequently, visual artist Andy Warhol later organized the Exploding Plastic Inevitable^[17] in New York, a multimedia event backed with performances by the Velvet Underground and Nico, the event was characterized by flashing lights, loud music, dancing and heavy drug use.^[18] During the psychedelic era, happenings became a common fixture of the counterculture. This later culminated in the massive social phenomenon known as the Summer of Love.^[19] The phrase "Summer of Love" was used once again during the advent of rave culture in the 1980s, referring to the "Second Summer of Love".^[20]

Presaging the word's subsequent 1980s association with electronic music, the word "rave" was a common term used regarding the music of mid-1960s garage rock and psychedelia bands (most notably the Yardbirds, who released an album in the United States called Having a Rave Up). 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. 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.^[21]

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. The Northern soul movement is cited by many as being a significant step towards the creation of contemporary club culture and of the superstar DJ culture of the 2000s.^[22] As in contemporary club culture, Northern soul DJs built up a following based on satisfying the crowd's desires for music that they could not hear anywhere else. Many argue that Northern soul was instrumental in creating a network of clubs, DJs, record collectors and dealers in the UK, and was the first music scene to provide the British charts with records that sold entirely on the strength of club play.^[23]

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. DJ personalities and their followers involved in the original Northern soul movement went on to become important figures in the house and dance music scenes.^[24] 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 "rave" 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.^[13]

In the mid to late 1980s, a wave of psychedelic and other electronic dance music, most notably acid house music, emerged from acid house music parties in the mid-to-late 1980s in the Chicago area in the United States.^[25] After Chicago acid house artists began experiencing overseas success, acid house quickly spread and caught on in the United Kingdom^[26][27] within clubs, warehouses and free-parties, first in Manchester in the mid-1980s and then later in London. In the late 1980s, the word "rave" was adopted to describe the subculture that grew out of the acid house movement.^[28] Activities were related to the party atmosphere of Ibiza, a Mediterranean island in Spain, frequented by British, Italian, Greek, Irish and German youth on vacation, who would hold raves and dance parties.^[29]

By the 1990s, genres such as acid, breakbeat hardcore, hardcore, happy hardcore, gabber, drum and bass, post-industrial and electronica were all being featured at raves, both large and small. There were mainstream events which attracted thousands of people (up to 25,000^[30] instead of the 4,000 that came to earlier warehouse parties). Acid house music parties were first re-branded "rave parties" in the media, during the summer of 1989 by Genesis P-Orridge during a television interview; however, the ambience of the rave was not fully formed until the early 1990s. In 1990, raves were held "underground" in several cities, such as Berlin, Milan and Patras, in basements, warehouses and forests.^[31]

British politicians responded with hostility to the emerging rave party trend. Politicians spoke out against raves and began to fine promoters who held unauthorised parties. Police crackdowns on these often unauthorised parties drove the rave 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.

Rave music may either refer to the late 1980s/early 1990s genres of house, new beat, breakbeat, acid house, techno and hardcore techno, which were the first genres of music to be played at rave parties, or to any other genre of electronic dance music (EDM) that may be played at a rave.

The genre "rave", also known as hardcore (not to be confused with other "hardcore" music genres) by early ravers, first appeared amongst the UK "acid" movement during the late 1980s at warehouse parties and other underground venues, as well as on UK pirate radio stations.^[32] Another genre called "rave" during the early 1990s, was the Belgian hardcore techno music that emerged from new beat, when techno became the main style in the Belgian EDM scene.^[33]

The "rave" genre would develop into oldschool hardcore, which lead onto newer forms of rave music such as drum and bass, 2-step and happy hardcore as well as other hardcore techno genres, such as gabber and hardstyle.^[34]

Rave music is usually presented in a DJ mix set, although live performances are not uncommon.

Styles of music include:

• Breakbeat: Breakbeat music (or breaks for short) refers to any form of rave music with breakbeats, this may range from breakbeat hardcore to nu skool breaks, including genres such as hardstep and breakcore cross over into the hardcore techno sound. Fusions of house and trance also exist but the drum 'n' bass still remains the most popular form of breakbeat played at rave parties.
• Drum and bass: Drum and bass music refers to a music genre with a very specific sound of four significant notes called breakbeat, that serves as a bassline for the song – that's why most drum and bass songs use 170 – 176 BPM, most frequently specifically 174 BPM. Drum and bass includes multiple large subgenres, those who are frequently played at raves include liquid (known for harmonic vocals, less aggressive bass drops and emotional atmosphere), classic dancefloor (energetic and overall positive party music, sometimes even drum and bass remixes of popular songs), jump-up (a less complicated beat, sometimes using machine-like sounds, amplified for consumers of heavier music) and neurofunk (almost sci-fi like subgenre of a heavy and dark drum and bass, only rarely using well-known samples or even traditional music melodies).
• Electro: Electro and techno are two genres which largely featured psychedelic sounds and are largely considered the earliest forms of electronic dance music genres to use the term "rave music" in respect to its modern terminological use. Techno sometimes crosses boundaries with house music, hence the genres trance and acid techno. Miami bass and crunk is sometimes included as "electro".
• Free tekno: This style of electronic music started in the early 1990s and was mostly played in illegal parties hosted by sound systems, such as Spiral Tribe, Desert Storm, Hekate, Heretik, in warehouse, dismissed buildings, or even illegal open-air festivals, called Teknivals. It takes inspiration from various other genres, and mainly focuses on quick beats, 170/200 bpm, acid bassline, mentals sounds, and often samples taken from movies, popular songs or many other different media sources.
• Gqom: Gqom music, heavily influenced by techno and broken beat, features diverse rhythmic patterns, subgenres and styles. It incorporates drone sounds to create a hypnotic or trance-like effect. Taxi kick is occasionally tailored by some record producers particularly for illegal raves.^[35][36]
• Hardcore techno: Any hard dance genre that was influenced by the rave genre, usually these genres have a distorted kick drum and a 4/4 rhythm. Happy hardcore blended the Dutch hardcore sound with Eurodance and bubblegum pop, the genre (also known as "happycore" for short) featured pitched-up vocals and a less distorted 4/4 beat. Trancecore also exists and is a less vocal fusion of happy hardcore with trance music, however hardstyle is a more pure form of the trance/hardcore genre since it retains the hardcore sound.
• House music: House music, especially acid house, is the first genre of music to be played at the earliest raves, during the Second Summer of Love. House is a genre of electronic dance music that originated out of the 1980s African-American and Latino disco scene in Chicago.^[37] House music uses a constant bass drum on every beat, electronic drum machine hi-hats and synth basslines. There are many subgenres of house music (found below). Since house was originally club music, there are many forms of it, some more appropriate to be played at raves than others. In the UK, subgenres such as UK funky, speed garage and dubstep emerged from garage house. Many "pop house" club music producers branded themselves as "house music", however, so in rave culture it is often disputed whether pop house should be considered as a subgenre of house. "Rave house" is a subgenre label of house music that originated from the styles of house that were typically played in the rave scene of the 1993–1999 period. It is a term used by the general population who do not follow the house or trance scene specifically, but identify certain house records as "rave music". It is a loose term that generally identifies progressive house, hard house or trance house styles (often instrumental with no words) that one would imagine being played at a large rave.
• Industrial dance: Industrial is a goth/rock/punk related genre. While the genre is not usually considered rave music in and of itself, it is often fused with rave music genres. Industrial is the origin of many sounds found in rave music; it is one of the first genres that took the sounds that are now popular in rave music such as "acid" as its musical backdrop. Industrial music fans are usually considered rivetheads and do not tend to call themselves ravers.
• Trance music: Trance music in its most popular and modern form is an offshoot of house music that originated from the acid house movement and rave scene in the late 1980s. The history of trance music is complicated to refer to, as multiple generations of listeners and musicians have influenced the genre. The term "trance" was (and still to this day by many) used interchangeably with "progressive house" in the early rave years (1990–1994).

Downtempo and less dance-oriented styles which are sometimes called chill-out music, that might be heard in a rave "chill-out" room or at a rave that plays slower electronic music includes:

• Ambient, minimalist and computer music – Brian Eno, Mike Oldfield, Harold Budd, ATB, the Orb, Biosphere
• Dubstep and breakstep – Magnetic Man, Eskmo, and Burial
• Electro, glitch, techno, experimental hip hop and industrial hip hop – Flying Lotus, Juan Atkins, MARRS, Dopplereffekt, Egyptian Lover, Afrika Bambaataa, Techno Animal, Coldcut, the Glitch Mob and Kraftwerk
• Gqom tech, sgubhu and 3-step – DJ Tira, and Mr Thela
• IDM – Aphex Twin, Autechre and Boards of Canada
• UK garage and grime – Todd Edwards, Grant Nelson, Sunship, Wookie, So Solid Crew, Roll Deep, Dizzee Rascal, Wiley, Plastician

Raves have historically referred to grassroots organised, anti-establishment and unlicensed all‐night dance parties.^[38] Prior to the commercialisation of the rave scene, when 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 answering machine messages,^[39] mobile messaging, secret flyers, and websites. 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. It promoted the sense of deviance and removal from social control.^[40] In the 2000s, this level of secrecy still exists in the underground rave scene. 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. In more recent years,^[when?] large commercial events are held at the same locations year after year with similar reoccurring themes every year. Events like Electric Daisy Carnival and Tomorrowland are typically held at the same venue that holds mass numbers of people.

Some raves make use of pagan symbolism. Modern raving venues attempt to immerse the raver in a fantasy-like world. 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"^[41] 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 environment's portrayed and or innate energy. The landscape is an integral feature in the composition of rave, much like it is in pagan rituals. For example, The Numic Ghost Dancers rituals were held on specific geographical sites, considered to hold powerful natural flows of energy. These sites were later represented in the rhythmic dances, to achieve a greater level of connectivity.^[42]

The Falls festival in Byron Bay features a rave party hidden behind a washing machine in a laundromat.^[43]

A sense of participation in a group event is among the chief appeals of rave music and dancing to pulsating beats is its immediate outlet.^[50][51] 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, their mood and watching other people dancing. Thus, the electronic, rave and club dances, also known as Post-Internet Dances^[52] refer to the street dance styles that evolved alongside electronic music culture.

A common feature shared by all these dances, along with being originated at clubs, raves and music festivals around the world and in different years, is that when YouTube and other social media started to become popular (around 2006), these dances began to be popularised by videos of raves.^[53]

• Hakken
• Melbourne Shuffle
• Gloving
• Glowsticking
• Jumpstyle
• Electro dance
• Rebolation

Raver with feather boa in Germany (1998)

Fairy fashion rave wear (2013)

Glowsticking in the United States (2008)

A collection of handmade bracelets known as Kandi bracelets

Since the late 1980s, rave fashion has undergone constant evolution with each new generation of ravers. Many of the rave fashion trends have appeared internationally, but there were also individual developments from region to region and from scene to scene.^[54]

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. Clothing with slogans such as "Peace, Love, Unity" and smiley-face T-shirts first appeared with the acid house movement of the 1980s. 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.^[55]

Common fashion styles of the 1990s include tight-fitting nylon shirts, tight nylon quilted vests, bell-bottoms, neoprene jackets, studded belts, platform shoes, jackets, scarves and bags made of flokati fur, fluffy boots and phat pants, often in bright and neon colours. Also gaudy coloured hair, dreadlocks, tattoos and piercings came into fashion with ravers. Widespread accessories included wristbands and collars, whistles, pacifiers, white gloves, glow sticks, feather boas, oversized sunglasses, and record bags made of truck tarpaulins.^[56][57] In the early 1990s the first commercial rave fashion trends developed from this, which were quickly taken up by the fashion industry and marketed under the term clubwear.^[55] Different dress codes also evolved in the various sub-scenes of the rave culture. For example, the typical gabber or psytrance raver dressed significantly different from "normal" ravers, but common basic features remained recognisable.

Since the 2000s, the clothing style of the rave culture remains heterogeneous, as do its followers. Particularly in North America, rave fashion continues to be characterised by colourful clothing and accessories, most notably the "kandi" jewellery that fluoresces under ultraviolet light.^{[citation needed]} They contain words or phrases that are unique to the raver and that they can choose to trade with each other using "PLUR" (Peace, Love, Unity, Respect). This style of attire was again taken up by the fashion industry and marketed as "rave fashion" or "festival fashion", now includling all kinds of accessories to create unique looks depending on event.^[58] In contrast to this and starting at Berlin techno clubs like Berghain in the 2000s, a strictly black style, partly borrowed from the dark scene, has established itself within parts of the techno scene.^[59] Certain rave events such as Sensation also have a strict minimalistic dress policy, either all white or black attire.

Laser lighting show at a trance festival

The light show for the electronic musician Aphex Twin in 2011

Some ravers participate in one of four light-oriented dances, called glowsticking, glowstringing, gloving, and lightshows. Of the four types of light-orientated dances, gloving in particular has evolved far beyond the rave culture. Other types of light-related dancing include LED lights, flash-lights and blinking strobe lights. LEDs come in various colours with different settings. Gloving has evolved into a separate dance form that has grown rapidly in the last couple of years of early 2010.^[60] Glovers use their fingers and hands to move with the beat of the music. And they use the color to create patterns and have different speed settings for the lights on their gloves.^[61] These components give the glove artist different ways to fascinate spectators of their light shows. The use of lights can improve the way people react during the songs or throughout the concert itself.^[61] Since then the culture has extended to all ages, ranging from kids in their early teens to college students and more. The traditional Rave lights are limited now, but many stores have developed newer, brighter, and more advanced version of lights with a plethora of colours and modes—modes include solid, stribbon, strobe, dops, hyper flash, and other variations.

This impure tablet sold as MDMA in the U.S. contained no MDMA, but instead BZP, caffeine and methamphetamine.

A selection of MDMA tablets, better known as "ecstasy"

A selection of poppers, a volatile drug inhaled for the "rush" it can provide

Among the various elements of 1970s disco subculture that ravers drew on, in addition to basing their scene around dance music mixed by DJs, ravers also inherited the positive attitude towards using club drugs to "enhanc[e]...the sensory experience" of dancing to loud music.^[62][63] The state of mind referred to as "ecstasy" (not to be confused with the slang term for MDMA) sought by ravers has been described as "a result of when various factors harmonise the ego with the other elements such as place and music and [one] enter[s] a "one state" where [they] cannot distinguish what is material or not, where things enter into syntony and constitute a unique moment, precisely the kind sought in medi[t]ation".^[64]

However, disco dancers and ravers preferred different drugs. Whereas 1970s disco scene members preferred cocaine and the depressant/sedative Quaaludes, ravers preferred MDMA, 2C-B, amphetamine, and other pills. According to the FBI, raves are one of the most popular venues where club drugs are distributed, and as such feature a prominent drug subculture.^[65][66] Club drugs include MDMA (more commonly known as "ecstasy", "E" or "molly"), 2C-B (more commonly known as "nexus"), amphetamine (commonly referred to as "speed"), GHB (commonly referred to as "fantasy" or "liquid E"), cocaine (commonly referred to as "coke"), DMT, and LSD (commonly referred to as "lucy" or "acid").^{[67][68][69][70][71]}

"Poppers" is the street name for alkyl nitrites (the most well-known being amyl nitrite), which are inhaled for their intoxicating effects, notably the "rush" or "high" they can provide. Nitrites originally came as small glass capsules that were popped open, which led to the nickname "poppers." The drug became popular in the US first on the disco/club scene of the 1970s and then at dance and rave venues in the 1980s and 1990s. In the 2000s, synthetic phenethylamines such as 2C-I, 2C-B and DOB have been referred to as club drugs due to their stimulating and psychedelic nature (and their chemical relationship with MDMA).^[72] By late 2012, derivates of the psychedelic 2C-X drugs, the NBOMes and especially 25I-NBOMe, had become common at raves in Europe. In the U.S., some law enforcement agencies have branded the subculture as a drug-centric culture, as rave attendees have been known to use drugs such as cannabis, 2C-B, and DMT.^{[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.^{[67][68][69][70][71]} Studies have shown that adolescents are more likely than young adults to use multiple drugs,^[73] and the consumption of club drugs is highly associated with the presence of criminal behaviors and recent alcohol abuse or dependence.^[74] In May 2007, 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.^[75] Much of the controversy, moral panic, and law enforcement attention directed at rave culture and its association with drug use may be due to reports of drug overdoses (particularly MDMA) at raves, concerts, and festivals.^[76]

The Belgian rave scene and sound have their roots in the late 1980s Belgian EBM and New Beat scenes.

Originally created by DJs slowing down gay Hi-NRG 45 rpm records to 33 rpm to create a trance-dance groove, New Beat evolved into a native form of hardcore techno in the 1990s with the introduction of techno records played at their original speeds or even slightly accelerated.^[77] This brutal new hardcore style spread throughout the European rave circuit and penetrated the pop charts.^[78]

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.^[79][80]

Exodus Productions was arguably the first production company in Canada to throw regular rave style events at the warehouse space known as 23 Hop, located at 318 Richmond Street West in Toronto's Entertainment District.^[81] The first party was held on 31 August 1991. Multiple production companies would quickly follow suit, and the rave scene would soon explode into a massive scene, with 23 Hop as the initial launching pad, until its closure in 1995. The documentary film The Legend of 23 Hop highlighted the early stages of Exodus and similarly modelled production companies.^[82] 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.^[83]

In 2001 Calgary, Alberta became the first major municipality in Canada to pass a bylaw with respect to raves. The intent of the bylaw was to ensure that raves would be safe for participants, and also not unduly disruptive to adjacent neighbourhoods. The bylaw was created in consultation with representatives from the municipality, the province of Alberta, and the rave community.^[84]

Ravers in a German techno club (KW in Munich) in the 1990s

Love Parade 1995 in Berlin

In West Germany and West Berlin, a substantial acid house scene had established itself in the late 1980s.^[85] In the West Berlin club Ufo, an illegal party venue located in the basement of an old apartment building, the first acid house parties took place in 1988.^[86][87] In Munich at this time, the Negerhalle (1983–1989) and the ETA-Halle established themselves as the first acid house clubs in temporarily used, dilapidated industrial halls, marking the beginning of the so-called hall culture in Germany.^[88][89] In July 1989, the first Love Parade took place in West Berlin.^[87][90]

Immediately after the Berlin Wall fell on 9 November 1989, free underground techno parties mushroomed in East Berlin.^[86] According to East German DJ Paul van Dyk the techno-based rave scene was a major force in re-establishing social connections between East and West Germany during the unification period.^[91] Soon the first techno clubs emerged in East Berlin such as the Tresor (est. 1991), the Planet (1991–1993), and the Bunker (1992–1996).^[92] In Frankfurt, the Omen opened in 1988, which under its operator Sven Väth became the center of the scene in the Rhein-Main area in the following years. In 1990, the Babalu Club opened in Munich, introducing the concept of afterhours in Germany.^[93]

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.^[94]

Parallel to the established club scene, illegal raves remained an integral part of the German rave scene throughout the 1990s. 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.^[95]

In the course of the 1990s, rave culture became part of a new youth movement in Germany and Europe. 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. Since the mid-1990s, raves had tens of thousands of attendees, youth magazines featured styling tips, and television networks launched music magazines on house and techno music.^[56][90] The annual Love Parade festivals in Berlin and later the Metropolitan Ruhr area repeatedly attracted more than one million party-goers between 1997 and 2010. Dozens of other annual technoparades took place in Germany and Central Europe in the 1990s and early 2000s, the largest ones being Union Move, Generation Move, Reincarnation and Vision Parade as well as Street Parade and Lake Parade in Switzerland. Large commercial raves since the nineties include Mayday, Nature One, Time Warp, SonneMondSterne and Melt!.^[90]

Since the late 2000s, Berlin is still called the capital of techno and rave, and techno clubs such as Berghain, Tresor, KitKatClub or Watergate and the way to party in barely renovated venues, ruins or wooden shacks such as, among many others, Club der Visionaere, Wilde Renate, or Bar 25, attracted international media attention.^[96] One movie that portraits the scene of the 2000s is Berlin Calling starring Paul Kalkbrenner. In the 2010s, there continued to be a vivid rave and techno scene throughout the country, including numerous festivals and world-class techno clubs also outside of Berlin, such as for example MMA Club and Blitz Club in Munich, Institut für Zukunft in Leipzig or Robert Johnson in Offenbach.^[97]