Christopher T. Conner is non-tenure track teaching assistant professor of sociology at the University of Missouri, Columbia.David R. Dickens was professor of sociology at the University of Nevada, Las Vegas for thirty-eight years.

This is a careful review of the rave scene and EDM culture as it has evolved over time. The authors should be commended for their astute sociological analysis, which should be helpful in college classrooms across the US.

• ContentsAcknowledgmentsIntroductionChapter 1. Phase I: Beginnings (1980s–1995)Chapter 2. Phase II: The Rise of the Rave Outlaw (1995–2009)Chapter 3. Phase III: EDM as Culture Industry (2010–2022)ConclusionAppendix: The Rave ActReferencesAbout the Authors

Christopher T. Conner is non-tenure track teaching assistant professor of sociology at the University of Missouri, Columbia.David R. Dickens was professor of sociology at the University of Nevada, Las Vegas for thirty-eight years.

This is a careful review of the rave scene and EDM culture as it has evolved over time. The authors should be commended for their astute sociological analysis, which should be helpful in college classrooms across the US.

• ContentsAcknowledgmentsIntroductionChapter 1. Phase I: Beginnings (1980s–1995)Chapter 2. Phase II: The Rise of the Rave Outlaw (1995–2009)Chapter 3. Phase III: EDM as Culture Industry (2010–2022)ConclusionAppendix: The Rave ActReferencesAbout the Authors

Christopher T. Conner is non-tenure track teaching assistant professor of sociology at the University of Missouri, Columbia.David R. Dickens was professor of sociology at the University of Nevada, Las Vegas for thirty-eight years.

This is a careful review of the rave scene and EDM culture as it has evolved over time. The authors should be commended for their astute sociological analysis, which should be helpful in college classrooms across the US.

• ContentsAcknowledgmentsIntroductionChapter 1. Phase I: Beginnings (1980s–1995)Chapter 2. Phase II: The Rise of the Rave Outlaw (1995–2009)Chapter 3. Phase III: EDM as Culture Industry (2010–2022)ConclusionAppendix: The Rave ActReferencesAbout the Authors