Why didnt House Music develop the South?

[Indiglow Meta (R$G)]

house originated in Chicago. Detroit Newark New York were influenced by that


nobody outside dc embarced gogo lmao

gogo made it down to northern nc and bands were getting shows in various areas. "the butt" and a gang of those ny gogo rap songs were popular. It just didn't stay. The South had no modern musical spread infrastructure...until laface.

 

[Dead End]

FOH

THE CHICAGO HOUSE MUSIC SCENE
(THE ORIGINAL HOUSE MUSIC SCENE)
HAD NOTHING TO DO WITH GAYS
NOR THE GAY COMMUNITY.

ONCE GAYS CAUGHT ON TO HOUSE,
BLACKS GOT OFF THAT WAVE
AND CACS CO OPTED.

THE OLDER HEADS STILL HAVE A GIGANTIC HOUSE MUSIC PARTY
OFF LAKE SHORE DRIVE EVERY YEAR IN CHICAGO.

NON GAY shyt.



​

Yeah, I was about to say. House music in Chicago came from blacks and to a lesser extent, Latinos, right after the collapse of disco. I think later the gay dance scene got into it, but I think that was later. I don't think its even true today that its mostly a gay audience for traditional Chicago house. From what I see, it's older hetero blacks and Latinos. There's all sorts of black and Latino sports bars in the neighborhoods that have house nights.

It's not true that blacks got off that wave. House starts in Chicago in '79-80 and you could say that footwork and juke, which is still a thing now, is a form of house.

EDIT: Just seen the above posts, I stand corrected. Didn't know gays were that much a part of the scene that they were formative artists. Shoulda checked my history before opening my mouth.

 

[Poitier]

And to answer the question of the thread, I think you're looking at it wrong.

Electronic dance music took over at around the same time in different parts of this country and all had their own regional takes on it. House in Chicago, Techno in Detroit, the garage sound in New York, the electro stylings of The Egyptian Lover in LA, Miami Bass in Florida. All these regions started dancing to synthesized club beats but just did it a different way in the early 80's

Pretty much....
All of this stuff was contemporaneous with the arrival of drum machines. Not Chicago creating a sound then everyone following.
Like @Indiglow Meta (R$G) said, Atlanta was a backwater to really have any music scene in the 70s/80s but NOLA, Miami, and Memphis all developed local "electro" scenes.

 

[truth2you]

They partied in the south but the setting was different. They were more like blues clubs, juke joints and jazz ballrooms/halls



rather than the Discos of the North

No doubt!

The south is where Coxson Dodd got his idea to get paid from music back in Jamaica using Sound systems. He saw how people were getting paid to party with outside parties.

I was just saying it was no where near NYC. I was young and new about all the nightclubs just in Manhattan that catered to black crowds who liked r&b, and rap. Even to the 90's. I would go along the east coast, and I never seen anywhere with all the clublife like NYC back then, especially when talking about hip hop, let alone house, but back then you would have clubs play house on one side, and hip hop music on the other.

 

[truth2you]

house originated in Chicago. Detroit Newark New York were influenced by that


nobody outside dc embarced gogo lmao

That's sort of true. It didn't blow up, but "da butt" was big, and rap producers did incorporate it in their production in the late 80's, especially herbie luv bug with his production with kid'n'play and salt'n'pepa. A lot of that came from NYC people going to Howard, and the homecomings.

 

[truth2you]

electro was invented in NY and Cali.
Frank Ski brought proto-bass to Miami, and the south already embraced a NEW YORK BREAKBEAT/RHYTHM called "Drag Rap".
Oh, and brown beats for BOUNCE. New Orleans gayer than Chicago AND detroit.
The South had a VERY slow club culture development, and DooDoo Brown is a Bmore club song...national hood hit...they were bumping that in the south, too. It didn't hit because spin-offs did. Frank Ski was also a Bmore club pioneer.

Step y'all music history game up.

I didn't know that about Frank Ski. I know Baltimore loved him, but I didn't know he was hitting in Miami. He had to been there in the mid 80's, because doo doo brown came out in the early 90's.

What did he do specifically?

I always saw "planet rock" as the origins of booty music since it has the same drum rhythm, and basically the same sound.

I forgot to mention Baltimore. Before a lot of young nikkas wanted to rap, it was all about club music in the 90's for Baltimore(at a party), even though that isn't technically house music, it gives the same vibe at a party, save the "weird" people.

 

[315]

Good thread

 

[Indiglow Meta (R$G)]

I didn't know that about Frank Ski. I know Baltimore loved him, but I didn't know he was hitting in Miami. He had to been there in the mid 80's, because doo doo brown came out in the early 90's.

What did he do specifically?

I always saw "planet rock" as the origins of booty music since it has the same drum rhythm, and basically the same sound.

I forgot to mention Baltimore. Before a lot of young nikkas wanted to rap, it was all about club music in the 90's for Baltimore(at a party), even though that isn't technically house music, it gives the same vibe at a party, save the "weird" people.

Frank Ski produced doo doo brown and did remixes with/for Luke Records.
I wish my Miami breh was on this board to elaborate, he's more familiar with the continuation of the electro-bass history and miami hip hop history in general.

 

[How Sway?]

FOH

THE CHICAGO HOUSE MUSIC SCENE
(THE ORIGINAL HOUSE MUSIC SCENE)
HAD NOTHING TO DO WITH GAYS
NOR THE GAY COMMUNITY.

ONCE GAYS CAUGHT ON TO HOUSE,
BLACKS GOT OFF THAT WAVE
AND CACS CO OPTED.

THE OLDER HEADS STILL HAVE A GIGANTIC HOUSE MUSIC PARTY
OFF LAKE SHORE DRIVE EVERY YEAR IN CHICAGO.

NON GAY shyt.



​

breh, Most of the old school house djs were sweet af.

 

[IllmaticDelta]

FOH

THE CHICAGO HOUSE MUSIC SCENE
(THE ORIGINAL HOUSE MUSIC SCENE)
HAD NOTHING TO DO WITH GAYS
NOR THE GAY COMMUNITY.

ONCE GAYS CAUGHT ON TO HOUSE,
BLACKS GOT OFF THAT WAVE
AND CACS CO OPTED.

THE OLDER HEADS STILL HAVE A GIGANTIC HOUSE MUSIC PARTY
OFF LAKE SHORE DRIVE EVERY YEAR IN CHICAGO.

NON GAY shyt.



​

@ 5:31

straight from owners mouth, "the warehouse was a private gay club...people in chicago never saw a club like this before with that kind of sound system"

The Warehouse was a nightclub established in Chicago, Illinois in 1977 under the direction of Robert Williams. It is today most famous for being what many consider to be the birthplace of house music and the genre's center in the United States while under its first musical director, DJ Frankie Knuckles.

"ron hardy along with frankie knuckles were the early tastemakers of house music"

Ron Hardy’s radical Music Box mixes and edits defined a new sound in dance music

When the universally appointed “Godfather of House” Frankie Knuckles left Chicago’s Warehouse club in 1983 to start a residency at the Power Plant, Warehouse founder Robert Williams turned to a veteran of the city’s underground disco scene to pick up the reins. Although Knuckles’ time at the Warehouse in the late ’70s and early ’80s certainly laid the foundations and inspired his crowd to give the scene a name, it could be argued that the real architect of Chicago house music was in fact a wild and pioneering DJ by the name of Ron Hardy.

Between 1983 and 1987, the innovations and openness of this radical spirit at the renamed Music Box—both in terms of the records Hardy played and the way he played them—created a liberating and electrified environment for house music to grow. But although the name of the late Ron Hardy has achieved cult status thanks to live recordings posted on websites like Deep House Page, his full impact as a DJ and producer has not been fully recognized, and he remains an enigmatic figure.

Moving to Chicago in 1975, Robert Williams found a low-key party scene with no after-hours club culture. He immediately searched for a venue to house a party to match those he had attended in New York. Located at 116 South Clifton, U.S. Studios took its name from the not-for-profit organization set up by Williams. With a great space but no DJ, Robert turned to his two friends in New York for help. Larry Levan had his sights set on a new venture that would become the Paradise Garage, but after much persuasion, Frankie Knuckles eventually agreed to begin a residency at what would become known by regulars simply as the Warehouse.

Despite the story of the Warehouse inevitably getting wrapped up in the birth of house, in the early days it was part of a close-knit gay disco scene that included clubs like Carol’s Speakeasy and Den One. It was at Den One that Ron Hardy learned his art, creating mixes to compare with those of the more celebrated DJs in the clubs of New York. However, in 1977, just as the scene was bursting out of the underground, Ron Hardy moved to Los Angeles.

With Hardy on the West Coast, Frankie Knuckles brought a new aesthetic to Chicago nightlife. “Places like Den One, they were just bars really that ran through until around two,” explains Robert Williams. “The Warehouse, on the other hand, was a real after-hours club, so it was completely different.” With its newly installed Richard Long (RLA) sound system and devoted crowd of gay dancers, it wasn’t long before the club mirrored the New York rooms that had inspired Williams.

While the Warehouse was providing a sanctuary for many gay Black Chicagoans, disco’s infiltration of the mainstream gave fuel to the fire to those at the opposite end of Chicago’s music scene. In July 1979, during a baseball game between the Chicago White Sox and the Detroit Tigers at Comiskey Park, local disc jockey Steve Dahl led the “Disco Demolition,” which saw the ceremonial detonation of hundreds of disco records. It remains one of the better quotes through dance music’s history when Frankie Knuckles later remarked that “house music is disco’s revenge.”

The out-of-control atmosphere in the Music Box was augmented by the many edits Hardy incorporated into his sets. Taking old disco classics and rarities, the sound scientist would reconstruct them often beyond recognition—a raw yet soulful new music was born. Whereas Frankie Knuckles’ edits were primarily intended to extend the dance-floor euphoria through soulful fluidity, Ron Hardy used the tape machine and EQ to jolt his crowd with a manic dark energy that teetered on the edge between beauty and chaos. “Ronnie was doing a lot of his own edits as well, and a lot of his edits were very repetitious. Very high energy and very repetitious,” said Knuckles to Bill Brewster in Faith magazine. “He would take a song, and he’d run that for ten minutes, before the song even played. And then he’d go into the song or go back to another ten minutes and just played one particular part.” But it was these very sound manipulations that created the wild intensity of early house as dancers screamed for mercy. Listen to Hardy’s prescient edits of the Dells’ “No Way Back,” Nightlife Unlimited’s “Peaches & Prunes,” or Blue Magic’s “Welcome to the Club,” and it’s not just the repetition that creates the dynamics, but the way he builds tension and release. And to the ears of his more youthful crowd, this was the sound of the future, and music they could truly call their own, inspiring many more to become bedroom producers. For Robert Williams, it was Ron and not Frankie who most inspired the new generation to become house music’s pioneers. “It was at the Music Box that the music changed,” he states. “People like Marshall Jefferson and Steve ‘Silk’ Hurley would come through and they would hear his edits and beat tracks. He was more influential to them than Frankie was. Ron definitely changed the sound.”

While Frankie’s club may have given a name to this new music, he wasn’t exactly receptive to the rawer, homemade music he had helped spawn, as disco historian Tim Lawrence explained in his liner notes for the Soul Jazz compilation Acid: Can You Jack? “Knuckles was relatively inaccessible, not just physically with regard to the foreboding design of his new booth, but also psychologically, with regard to his intimidating superstar status.” Robert Williams concurs with this view: “These kids were part of Ron’s school of learning. They were mainly heterosexual, and they jelled with Ron, because he would play their music and Frankie wouldn’t.” Unlike his predecessor, Ron Hardy became a supporter of these raw productions, regularly accepting and playing the untried tapes being passed to him. By 1985, the Music Box had become a breeding ground for young talent and a testing ground for the homemade music of the city’s youth, the best of which would be snapped up by Larry Sherman’s and Rocky Jones’s infamous labels, Trax and DJ International.

Adonis, whose “No Way Back” became an anthem of the scene, recalled to Tim Lawrence how important Ron Hardy was to the creative flow in the city: “I mean, you could bring him a record, he didn’t care who the hell you were. He didn’t have to be your best friend or anything. If the shyt sounded good, he was going to play it. So Ron Hardy actually made people’s careers, because he had that kind of authority and power.” Chicago DJ and producer Gene Hunt—who played at another of Chicago’s important house clubs, Medusa’s—would go on to work with Ron Hardy on the track “Throwback 87,” one of Ron Hardy’s many unreleased tracks of the period. “I got doctored by a musical surgeon,” he explains. “You’d give Ron a track, and he’d take it and put other things on top of it; he’d redesign it and manifest it on everybody

Ron Hardy’s radical Music Box mixes and edits defined a new sound in dance music - Wax Poetics

we already know lerry levan, who stayed in NY, was gay



knuckles who went to chicago was also gay





to sum it up

the early house godfathering dj's in chicago were gay....the younger kids who would later go on to produce the first actual house records were mainly straight but w/ alot of gays in the mix



@ 4:03 to be exact

jesse saunders "we took house music of the warehouse where frankie knuckles had a gay crowd and brought it to the south side of chicago, where the straight people were at"

 

[IllmaticDelta]

Pretty much....
All of this stuff was contemporaneous with the arrival of drum machines. Not Chicago creating a sound then everyone following.
Like @Indiglow Meta (R$G) said, Atlanta was a backwater to really have any music scene in the 70s/80s but NOLA, Miami, and Memphis all developed local "electro" scenes.

yes and no

see, most of these other places with electro music were coming from the hiphop side. Chicago House music, NY garage and Detroit techno were from the Disco side. Ig you notice, in the 1980s, prior to HipHop spreading, most of South were not up on drum machines yet.

 

[tuckgod]

You know damn well why that shyt never touched the South

 

[360dagod]

Bounce music has house music elements all within it..

Especially the shyt mannie fresh was doing

 

[Poitier]

yes and no

see, most of these other places with electro music were coming from the hiphop side. Chicago House music, NY garage and Detroit techno were from the Disco side. Ig you notice, in the 1980s, prior to HipHop spreading, most of South were not up on drum machines yet.

I agree with the disco/hip hop dichotomy.
Miami Bass seems to be just as old as House/Techno/Garage, no?
Bass obviously being the predecessor to Crunk which heavily influenced Bounce and Trap.
Industrial cities always got stuff first but the drum machine was making its way into music regardless of what was going on in Chicago...
The drum machine was adopted in pop/rnb before house for example...

 

[IllmaticDelta]

I agree with the disco/hip hop dichotomy.
Miami Bass seems to be just as old as House/Techno/Garage, no?

yup...it is

Bass obviously being the predecessor to Crunk which heavily influenced Bounce and Trap.

yup

Industrial cities always got stuff first

yup

but the drum machine was making its way into music regardless of what was going on in Chicago...[/quoe]

true


[quote[The drum machine was adopted in pop/rnb before house for example...

facts