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The history of house music can be traced back to 1985 chicago

This new Chicago club called The Warehouse gave House music its name. Frankie Knuckles, who opened The Warehouse, mixed old disco classics and new Eurobeat pop.

It was at this legendary club where many of the experiments were tried. It was also where Acid House got its start. House was the first direct descendant of disco. In comparison with disco, House was "deeper", "rawer", and more designed to make people dance. Disco had already produced the first records to be aimed specifically at DJs with extended 12" versions that included long percussion breaks for mixing purposes.

The early 80s proved a vital turning point. House music did not have its origins just in American music. Before The Warehouse opened, there had been clubs strictly designed to segregate race. However, The Warehouse did not make any difference between Blacks, Hispanics, or Whites; the main interest was simply music.

And the music was as diverse as the clients. Indeed, he was more than a DJ; he was an architect of sound, who experimented with sounds and thus added a new dimension to the art of mixing. He played eight to ten hours a night, and the dancers came home exhausted.

Thanks to him The Warehouse was regarded as the most atmospheric place in Chicago. Frankie said, "When we first opened in 1977, I was playing a lot of the East Coast records, the Philly stuff, Salsoul. I had to re-construct the records to work for my dancefloor, to keep the dancefloor happy, as there was no dance music coming out! In fact, it was Larry who first suggested opening The Warehouse in Chicago.

Larry Levan and Frankie Knuckles were indeed two very important figures in the development of House music and the modern dance scene. Perhaps there would have been no fame for the two without the producer, DJ and devoted lover of dance and music, David Mancuso, and his dance parties for gays called Loft parties. Larry and Frankie attended the Loft parties regularly. It was not only a place of joy but also a place where they became acquainted for the first time the history of house music can be traced back to 1985 chicago the techniques of House music.

Mancuso taught them about creating a perfect House music: Ron Hardy was another DJ from the gay scene. DJ Pierre, on the other hand, contributed to the development of Acid House. As a result, a track called "Acid Trax" was produced. The creators of House music There have been various views of who is the inventor of House music. LRRoy was a remarkable and much respected DJ. He also claimed that he had invented the term "House music" in the spring of 1981.

A person who regarded himself as a creator of House music in March of 1985 was Chip E. His name is Farley "Jackmaster" Funk. In fact, this big House "cross-over" hit was written, produced and arranged by Jesse Saunders. Jesse, however, did not call himself the creator of House music, but rather used the term "originator", which did not mean that he had invented or created the genre of House music.

Generally speaking, one can say, that there was not just one creator or inventor; on the contrary, House music evolved through the means of collaborative efforts of a few people the history of house music can be traced back to 1985 chicago Frankie Knuckles, Vince Lawrence, Farley "Jackmaster" Funk, as well as the promoters and labels that made easy the distribution of early House.

The original disco-mixer Walter Gibbons, a white DJ, had a new and immediate impact on the development of Chicago House music. His independent 12" record called "Set It Off" immediately became an underground club anthem. The "Set It Off" sound was primitive House, haunting, repetitive beats ideal for mixing and extending. The roots of House music House music was created in and by the African American community.

Musically, House music evolved in Chicago and New York from African-American musical traditions like gospel, soul, jazz and funk as well as Latin salsa.

Spiritually and aesthetically, it developed in the U. From a different point of view, House music in the U. House was just perceived as "gay" music for blacks and thus scorned by whites, although its aim was to unify people of all races, backgrounds and sexual orientations.

According to Frankie Knuckles, many people could not and still cannot deal with the fact that House music started in gay clubs. Thus, narrow-mindedness, racism, and even corporate music politics played an important role in preventing House music from flourishing in the U.

The History Of House

House music had its origins in gospel, soul and funk rather than in commercial disco music. Furthermore, Chicago jazz, blues and soul had an immense influence on the creation of House music. There were significant Midwestern musical influences that led to the creation of the Chicago flavour of House music.

No doubt, the Midwest had its own tradition of African American music. Thus, blues and jazz presented a part of the mix. To sum up, the soul music produced in Chicago, Detroit and Memphis certainly had an impact on Chicago house.

A record which allowed more creativity, namely 12" dance mixes specifically intended for DJs, had not yet appeared on the market. DJs had to manage without basic equipment such as DJ mixers or headphones. It was impossible to vary the speed, so the turntable moved continuously. In practice, it could be described as follows: DJs started to play one record.

Then they took it off the turntable, prepared another record, put this one on and played it. In reality, "putting on and taking off" the record cannot be called mixing. As expected, DJs needed time to change the vinyl disc and thus dancers had to wait between the records. There was, however, one way that helped DJs overcome these technical problems. This method was called slip-cueing.

The main part of the trick consisted in a duplication of records. In other words, the record collection needed to be copied. DJs had two good turntables at their disposal. They rigged the two tables with a switch into the amplifier so they could move from one to the other.

Then they put the same recording on each turntable, to try to extend the mix somehow. The least DJs could do was play the same record twice in pretty rapid succession, which was better than making the dancer wait until they changed the record. Instead of playing the record twice, there was yet another possibility, namely to build the mix by isolating various instrumental, vocal and drum segments and extend them by jumping from record the history of house music can be traced back to 1985 chicago record.

This technique was probably invented - or at least given currency - by DJ Francis Grosso and widely used by radio station DJs. It required much practice with individual recordings, great agility, and nerves of steel. Great turntablists of the seventies like Kool Herc and Grandmaster Flash developed such techniques into an art form. The success of House in the U. House music first came to England in the late eighties via the the history of house music can be traced back to 1985 chicago island of Ibiza.

In the summer of 1986 three House records appeared in the top ten: It is said that House music was popularised by the British who invented Acid House and then brought this modified version of House back to the United States. Acid House was perceived differently and that was probably one of the reasons why it attracted the attention of the mainstream.

In this way, House music became acceptable dance music also for white folks. DJ Pierre and some friends pushed a button on their Roland 303 and found that that Acid sound was already in it. We had this Roland 303, which was a bassline machine, and we were trying to figure out how to use it. When we switched it on, that acid sound was already in it and we liked the sound of it so we decided to add some drums and make a track with it.

We gave it to Ron Hardy who started playing it straight away. In fact, the first time he played it, he played it four times in one night! I think we may have made it as early as 1985, but Ron was playing it for a long time before it came out. The most popular was that acid used to be put in the water at the Music Box.

Pierre though, emphasises that Phuture was always anti-drugs, and cites a track about a cocaine nightmare, "Your only friend" that was on the same EP as "Acid Trax". Take a look at the important dates and recordings that have defined music mixing. Here are mixology words that will help you get your "act" together. Simple pushing and pulling of the record back and forth under the needle in a rhythmic manner.

This scratch is the basis for all othe scratches. A basic beat juggling technique consisting of a manual slowdown of the beat by using the hand to rhythmically pause the record on every beat count. Pulling the record backwards with the crossfader on, turning it off at the end of the sound, and turning it back on as the forward stroke is initiated.

Popularised by DJ Q-Bert, this is a three-click flare scratch using a drumming motion of four fingers on the crossfader to create faster, syncopated sound. A slow, long pushing or pulling of the record. A basic beat juggling technique performed by playing one record and cutting in a sound element from the second, such as a snare or bass drum.

For example, the kick drum of the second record is used to double or triple the kick drum of the first record. A scratch consisting of turning the fader on, moving the record forward while turning the crossfader off and on in a quick rhythm, then moving the record back to the start of the sound in two stages while still moving the crossfader back and forth in a rhythm.

This complex scratch has many variations. The record is pushed forward with the crossfader on, playing a sound, then cut off with the crossfader, rewound to the beginning of the sound silently and played again. A scratch performed by pushing the record in any direction with one hand while applying counter pressure with a finger from the opposite hand.

The finger should bounce along the record surface, creating a "bubbly" sound.