House music

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House music is a genre of electronic dance music created by

club DJs and music producers in Chicago in the early
1980s.[15] Early house music was generally characterized by
repetitive 4/4 beats, rhythms provided by drum machines,[15]
off-beat hi-hat cymbals, and synthesized basslines. While
house displayed several characteristics similar to disco
music, which preceded and influenced it, as both were DJ and
record producer-created dance music, house was more
electronic and minimalistic.[15] The mechanical, repetitive
rhythm of house was one of its main components. Many
house compositions were instrumental, with no vocals; some
had singing throughout the song with lyrics; and some had
singing but no actual words.

House music developed in Chicago's underground dance club

culture in the early 1980s, as DJs from the subculture began
altering the pop-like disco dance tracks to give them a more
mechanical beat and deeper basslines. As well, these DJs
began to mix synth pop, rap, Latin, and
House music
even jazz into their tracks. Latin music,
Stylistic Disco[1] ·
particularly salsa clave rhythm,[16]
origins electronic mu
became a dominating riff of house
·
music. It was pioneered by Chicago
synth-pop[1] ·
DJs such as Chip E., and Steve Hurley.
post-disco[2][3
It was influenced by Chicago DJ and
Hi-NRG[5][6][7][8
record producer Frankie Knuckles,[17]
boogie[3][9] ·
the Chicago acid-house electronic
funk[2] · soul[2
music group Phuture, and the
jazz-funk[10] ·
Tennessee DJ/producer Mr. Fingers.
post-punk[11][1
The genre was originally associated
with the Black American LGBT
subculture but has since spread to the Cultural Early
origins 1980s,
mainstream.[18][19][20] From its
Chicago,
beginnings in the Chicago club and
United
local radio scene, the genre spread States
internationally to London, then to
Typical Drum mac
American cities such as New York City instruments (Roland T
and Detroit, and eventually globally.[21] Roland TR
bass synt
Chicago house music acts from the (Roland T
early to mid-1980s found success on vocals •sa
the US dance charts on various sequence
Chicago independent record labels that digital aud
were more open to sign local house personal c

music artists. These same acts also laptop •sy

experienced some success in the Derivative Electroclash

forms Eurobeat •
United Kingdom, garnering hits in that
country. Due to this success, by the late techno •

1980s, Chicago house music acts UK garage •

suddenly found themselves being speed garag

offered major label deals. House music trance •

proved to be a commercially successful dance-pop •

genre and a more mainstream pop- 2-step garag

based variation grew increasingly Detroit tech

popular. Since the early to mid-1990s,

Subgenres
house music has been infused into
Acid house •
mainstream pop and dance music
deep house •
worldwide. In the 2010s, the genre,
diva house •
while keeping several of its core
electro swing •
elements, notably the prominent kick
funky house •
drum on most beats, varies widely in
hardbag •
style and influence, ranging from
microhouse •
soulful and atmospheric to the more
outsider house •
minimalistic microhouse. House music
tribal house •
has also fused with several other
tropical house
genres creating fusion subgenres,[15]
such as euro house, tech house, electro
(complete list)
house and jump house. One subgenre,
acid house, was based around the Fusion genres
Alternative dance •
squelchy, deep electronic tones created
ambient house •
by Roland's TB-303 bass synthesizer.
Baltimore club •

Major acts such as Madonna,[15] Janet electro house •

Jackson,[22] Paula Abdul, Martha Wash, Eurodance •

CeCe Peniston, Bananarama, Robin S., French house •

Steps, Kylie Minogue, Björk, and C+C future garage •

Music Factory[15] to name a few, were ghetto house •

all influenced by House Music in the hip house •

1990s and beyond. After enjoying jump house •Kuduro •

significant success which started in the Latin house •

late 1980s, house music grew even moombahton •

larger during the second wave of neo soul •nu-disco •

progressive house (1999–2001). The progressive house •

genre has remained popular and fused tech house •

into other popular subgenres, notably witch house

ghetto house, deep house, future house

and tech house. As of today, house Regional scenes

music remains popular on radio and in Cancún •Chicago •

clubs while retaining a foothold on the France •Ibiza •Italy •

underground scenes across the globe. New Jersey •

New York •

Characteristics South Africa •

United Kingdom
House music is created by DJs, record Other topics
List of house artists
producers, and music artists, often with
contributions from other performers on
synthesizer and other electronic instruments. The structure of
house music songs typically involves an intro, a chorus,
various verse sections, a midsection and an outro. Some
songs do not have a verse, taking a vocal part from the
chorus and repeating the same cycle. The drum beat is one of
the more important elements within the genre and is almost
always provided by an electronic drum machine, usually
Roland's TR-808 or TR-909,[14] rather than by a live drummer.
The drum beats of house are "four on the floor", with bass
drums played on every beat and they usually feature off-beat
drum machine hi-hat sounds. House music is often based on
bass-heavy loops or basslines produced by a synthesizer
and/or from samples of disco or funk songs. One subgenre,
acid house, was based around the squelchy, deep electronic
tones created by Roland's TB-303 bass synthesizer. The
tempo of most house songs is between 115 BPM and 132
BPM (beats per minute).

Influences and precursors

Various disco songs incorporated sounds produced with
synthesizers and electronic drum machines, and some
compositions were entirely electronic; examples include
Italian composer Giorgio Moroder's late 1970s productions
such as Donna Summer's hit single "I Feel Love" from 1977,
Cerrone's "Supernature" (1977),[23] Yellow Magic Orchestra's
synth-disco-pop productions from Yellow Magic Orchestra
(1978), Solid State Survivor (1979),[24][25] and several early
1980s productions by the Hi-NRG groups Lime and Trans-X.

Soul music and disco influenced house music. As well, the

audio mixing and editing techniques earlier explored by disco,
garage music and post-disco DJs, record producers, and
audio engineers such as Walter Gibbons, Tom Moulton, Jim
Burgess, Larry Levan, Ron Hardy, M & M, and others was
important. These artists produced longer, more repetitive, and
percussive arrangements of existing disco recordings. Early
house producers such as Frankie Knuckles created similar
compositions from scratch, using samplers, synthesizers,
sequencers, and drum machines.

The electronic instrumentation and minimal arrangement of

Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat
(1982), an album of Indian ragas performed in a disco style,
anticipated the sounds of acid house music, but it is not
known to have had any influence on the genre prior to the
album's rediscovery in the 21st century.[26][27][28]
Rachel Cain, co-founder of influential dance label Trax
Records, was previously involved in the burgeoning punk
scene. Cain cites industrial (another genre of music pioneered
in Chicago) and post-punk record store Wax Trax! Records
(later a record label) as an important connection between the
ever-changing underground sounds of Chicago. As most
proto-house DJs were primarily stuck to playing their
conventional ensemble and playlist of dance records, Frankie
Knuckles and Ron Hardy, two influential pioneers of house
music, were known for their unusual and non-mainstream
playlists and mixing. The former, credited as "the Godfather of
House", worked primarily with early disco music with a hint of
new and different music (whether it was post-punk or post-
disco)[29] but still enjoying a variety of music, while the latter
produced unconventional DIY mixtapes which he later played
straight-on in the music club Music Box, boiling with raw
energy. Marshall Jefferson, who would later appear with the
Chicago house classic "Move Your Body (The House-Music
Anthem)", (originally released on Chicago-based Trax
Records) got involved in house music after hearing Ron
Hardy's music in Music Box.

"I wasn't even into dance music before I went to

the Music Box," he laughs. "I was into rock and
 roll. We would get drunk and listen to rock and
roll. We didn't give a fuck, we were like 'Disco
Sucks!' and all that. I hated dance music 'cos I
couldn't dance. I thought dance music was kind
of wimpy, until I heard it at like Music Box
volume."

— Marshal Jefferson[30]

Origins (1980s)
Chicago house

An honorary street name sign in Chicago for house music and the seminal DJ
Frankie Knuckles.

In the early 1980s, Chicago radio jocks The Hot Mix 5, and
club DJs Ron Hardy and Frankie Knuckles played a range of
styles of dance music, including older disco records (mostly
Philly disco and Salsoul[31] tracks), electro funk tracks by
artists such as Afrika Bambaataa,[10] newer Italo disco, Arthur
Baker, and John Robie, and electronic pop. Some DJs made
and played their own edits of their favorite songs on reel-to-
reel tape, and sometimes mixed in electronic effects, drum
machines, synthesizers and other rhythmic electronic
instrumentation. In the 2017 film What We Started, legendary
DJ and Producer Carl Cox says the first House record was
"Time to Jack" by Chip E.. The 1985 "Jack Trax" EP by Chip E.
was the first record to use the words "Jack" and "House".
Besides "Time to Jack" the EP includes "It's House" and
several other songs with House in their titles and lyrics. The
minimalist songs, using repetitive lyrics by way of new
sampling technology, created the blueprint for future House
music.

The hypnotic electronic dance song "On and On", produced in

1984 by Chicago DJ Jesse Saunders and co-written by Vince
Lawrence, had elements of the early house sound, such as the
Roland TB-303 bass synthesizer and minimal vocals as well
as a Roland (specifically TR-808) drum machine and Korg
(specifically Poly-61) synthesizer. It also utilized the bassline
from Player One's disco record "Space Invaders" (1979).[32]
"On and On" is sometimes cited as the 'first house
record',[33][34] even though it was a remake of a Disco Bootleg
"On and On" by Florida producer Mach, and other examples
from around that time, such as J.M. Silk's "Music is the Key"
(1985), have also been cited.[35][36]

Starting in the mid-1980s, some Chicago DJs began

producing and releasing original compositions. These
compositions used newly affordable electronic instruments
and enhanced styles of disco and other dance music they
already favored. These homegrown productions were played
on Chicago radio stations and in local clubs catering mainly to
Black, Hispanic, and gay audiences.[37][20][18][19][38][39] By 1985,
house music encompassed these locally produced
recordings. Subgenres of house, including deep house and
acid house, quickly emerged and gained traction.

Deep house's origins can be traced to Chicago producer Mr

Fingers's relatively jazzy, soulful recordings "Mystery of Love"
(1985) and "Can You Feel It?" (1986).[40] According to author
Richie Unterberger, it moved house music away from its
"posthuman tendencies back towards the lush" soulful sound
of early disco music.[41]

Acid house arose from Chicago artists' experiments with the

squelchy Roland TB-303 bass synthesizer, and the style's
origins on vinyl is generally cited as Phuture's "Acid Tracks"
(1987). Phuture, a group founded by Nathan "DJ Pierre"
Jones, Earl "Spanky" Smith Jr., and Herbert "Herb J" Jackson,
is credited with having been the first to use the TB-303 in the
house music context.[42] The group's 12-minute "Acid Tracks"
was recorded to tape and was played by DJ Ron Hardy at the
Music Box, where Hardy was resident DJ. Hardy once played
it four times over the course of an evening until the crowd
responded favorably.[43] The track also utilized a Roland TR-
707 drum machine.

Club play of house tracks by pioneering Chicago DJs such as

Hardy and Lil Louis, local dance music record shops such as
Importes Etc., State Street Records, Loop Records,
Gramaphone Records and the popular Hot Mix 5 shows on
radio station WBMX-FM helped popularize house music in
Chicago. Later, visiting DJs and producers from Detroit fell
into the genre. Trax Records and DJ International Records,
Chicago labels with wider distribution, helped popularize
house music inside and outside of Chicago. One 1986 house
tune called "Move Your Body" by Marshall Jefferson, taken
from the appropriately titled "The House Music Anthem" EP,
became a big hit in Chicago and eventually worldwide. By
1986, UK labels were releasing house music by Chicago acts,
and by 1987 house tracks by Chicago DJs and producers
were appearing on and topping the UK music chart. By this
time, house music released by Chicago-based labels was
considered a must-play in clubs.
Origins of the term

House music pioneers Alan King, Robert Williams and Derrick Carter.

One 2009 book states the name house music originated from
a Chicago club called The Warehouse, which existed from
1977 to 1983.[44] Clubbers to The Warehouse were primarily
black,[45] who came to dance to music played by the club's
resident DJ Frankie Knuckles, who fans refer to as the
"godfather of house". Frankie began the trend of splicing
together different records when he found that the records he
had weren't long enough to satisfy his audience of dancers.[46]
After the Warehouse closed in 1983, the crowds went to
Knuckles' new club, The Power Plant.[44]

In the Channel 4 documentary Pump Up The Volume, Knuckles

remarks that the first time he heard the term "house music"
was upon seeing "we play house music" on a sign in the
window of a bar on Chicago's South Side. One of the people in
the car with him joked, "you know that's the kind of music you
play down at the Warehouse!".[47] South-Side Chicago DJ
Leonard "Remix" Roy, in self-published statements, claims he
put such a sign in a tavern window because it was where he
played music that one might find in one's home; in his case, it
referred to his mother's soul and disco records, which he
worked into his sets.[48] The documentary also explored the
how house music was something that anyone could pick and
do. Mostly the documentary looks at some of the DJs from
that genre, and how they stumbled into the music.

Farley Jackmaster Funk was quoted as saying "In 1982, I was

DJing at a club called The Playground and there was this kid
named Leonard 'Remix' Roy who was a DJ at a rival club
called The Rink. He came over to my club one night, and into
the DJ booth and said to me, 'I've got the gimmick that's
gonna take all the people out of your club and into mine – it's
called House music.' Now, where he got that name from or
what made him think of it I don't know, so the answer lies with
him."[49]

Chip E.'s 1985 recording "It's House" may also have helped to
define this new form of electronic music.[50] However, Chip E.
himself lends credence to the Knuckles association, claiming
the name came from methods of labeling records at the
Importes Etc. record store, where he worked in the early
1980s: bins of music that DJ Knuckles played at the
Warehouse nightclub were labelled in the store "As Heard At
The Warehouse", which was shortened to simply "House".
Patrons later asked for new music for the bins, which Chip E.
implies was a demand the shop tried to meet by stocking
newer local club hits.[51] In a 1986 interview, when Rocky
Jones, the club DJ who ran the D.J. International record label,
was asked about the "house" moniker, he did not mention
Importes Etc., Frankie Knuckles, or the Warehouse by name.
However, he agreed that "house" was a regional catch-all term
for dance music, and that it was once synonymous with older
disco music, before it became a way to refer to "new" dance
music.[52]

Larry Heard, a.k.a. "Mr. Fingers", claims that the term "house"
became popular due to many of the early DJs creating music
in their own home studios using synthesizers and drum
machines, such as the Roland TR-808 programmable drum
machine, TR-909,[53] and the TB 303 bassline synth.[54] These
synthesizers were used to create a house subgenre called
acid house.[55] Juan Atkins, an originator of Detroit techno
music, claims the term "house" reflected the exclusive
association of particular tracks with particular clubs and DJs;
those records helped differentiate the clubs and DJs, and thus
were considered to be their "house" records.[56] In an effort to
maintain such exclusives, the DJs were inspired to create
their own "house" records.[56]
Lyrical themes

House lyrics contained positive, uplifting messages for all

people, from every different walk of life but spoke especially
to those who were considered to be outcasts, especially
African-Americans, Latinos, and the gay subculture. As well,
house music lyrics encouraged unity and called for people of
all ethnic groups and backgrounds to come together. The
house music dance scene was one of the most integrated
and progressive spaces in the 1980s; gays, blacks, and other
minority groups were able to dance together in a positive
environment. Frankie Knuckles once said that the Warehouse
club in Chicago was like "church for people who have fallen
from grace". House record producer Marshall Jefferson
compared it to "old-time religion in the way that people just
get happy and screamin'".[57] Deep house lyrics also contained
messages calling for equality for the black community.
However, not all house music songs had vocals, and in some
cases, the vocals were wordless, as the most important
element in house was the beat and rhythm. This contrasts
sharply with pop music, which forefronts the vocal melody
and the song lyrics.

Regional scenes (1980s–1990s)

Detroit sound: 1986–1989

Detroit techno is an offshoot of Chicago house music[58]

which developed in the early and mid-1980s. One of the
earliest hits was "Big Fun" by Inner City. Detroit techno
developed as the DJ The Electrifying Mojo did his radio
program, which fused eclectic sounds into the signature
Detroit techno sound. This sound, also influenced by
European electronica (Kraftwerk, Art of Noise), Japanese
synthpop (Yellow Magic Orchestra), early B-boy
(breakdancing) Hip-Hop (Man Parrish, Soul Sonic Force) and
Italo disco (Doctor's Cat, Ris, Klein M.B.O.), was further
pioneered by Juan Atkins, Derrick May, and Kevin Saunderson,
known as the Belleville Three.

Derrick May a.k.a. "MAYDAY" and Thomas Barnett released

"Nude Photo" in 1987 on May's label "Transmat Records",
which helped start the Detroit techno music scene. This
record was played on Chicago's Hot Mix 5 Radio DJ mix show
and in Chicago clubs. A year later, Transmat released "Strings
of Life". Transmat Records also released such as 1988's
"Wiggin". As well, Derrick May had releases on Kool Kat
Records and many remixes for underground and mainstream
recording artists. Kevin Saunderson's company KMS Records
contributed many releases that were as much house music as
they were techno. These tracks were well received in Chicago
and played on Chicago radio and in clubs.

Blake Baxter's 1986 recording, "When we Used to Play / Work

your Body", 1987's "Bounce Your Body to the Box" and "Force
Field", "The Sound / How to Play our Music" and "the Groove
that Won't Stop" and a remix of "Grooving Without a Doubt". In
1988, as house music became more popular among general
audiences, Kevin Saunderson's group Inner City with Paris
Gray released the 1988 hits "Big Fun" and "Good Life", which
eventually were picked up by Virgin Records. Each EP /
12 inch single sported remixes by Mike "Hitman" Wilson and
Steve "Silk" Hurley of Chicago and Derrick "Mayday" May and
Juan Atkins of Detroit. In 1989, KMS had another hit release
of "Rock to the Beat" which was a theme in Chicago dance
clubs.

The Detroit Techno scene was also met with some conflict.
Reynold's "A Tale of Three Cities" discussed the acceptance
and inclusion of marginalized groups within each genre of
Techno, House, and Garage. Detroit turned out to be where
wealthier black youth tried to discourage ghetto youth from
enjoying Techno. Comparing that to the religious sanctuary
that House provided, Chicago became a true "house" to the
black, Hispanic, and gay communities in Chicago.
UK: 1986–early 1990s

With house music already important in the 1980s dance club

scene, eventually house penetrated the UK pop charts.
London DJ "Evil" Eddie Richards spun at dance parties as
resident at the Clink Street club. Richards' approach to house
focuses on the deep basslines. Nicknamed the UK's
"Godfather of House", he and Clink co-residents Kid Batchelor
and Mr. C played a key role in early UK house. House first
charted in the UK in Wolverhampton following on from the
success of the Northern Soul scene. The record generally
credited as the first house hit in the UK was Farley
"Jackmaster" Funk's "Love Can't Turn Around", which reached
#10 in the UK singles chart in September 1986.

In January 1987, Chicago DJ/artist Steve "Silk" Hurley's "Jack

Your Body" reached number one in the UK, showing it was
possible for house music to achieve crossover success in the
pop charts. The same month also saw Raze enter the top 20
with "Jack the Groove", and several further house hits reached
the top ten that year. Stock Aitken Waterman (SAW)
expensively-produced productions for Mel and Kim, including
the number-one hit "Respectable", added elements of house
to their previous Europop sound. SAW session group Mirage
scored top-ten hits with "Jack Mix II" and "Jack Mix IV",
medleys of previous electro and Europop hits rearranged in a
house music style. Key labels in the rise of house music in the
UK included:

Jack Trax, which specialized in licensing US club hits for

the British market (and released an influential series of
compilation albums)
Rhythm King, which was set up as a hip hop label but also
issued house records
Jive Records' Club Records imprint

In March 1987, the UK tour of influential US DJs such as

Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis, on the
DJ International Tour boosted house's popularity in the UK.
Following the number-one success of MARRS' "Pump Up The
Volume" in October, in 1987 to 1989, UK acts such as The
Beatmasters, Krush, Coldcut, Yazz, Bomb The Bass, S-
Express, and Italy's Black Box opened the doors to house
music success on the UK charts. Early British house music
quickly set itself apart from the original Chicago house sound.
Many of the early hits were based on sample montage, and
unlike the US soulful vocals, in UK house, rap was often used
for vocals (far more than in the US), and humor and wit was
an important element.

The second best-selling British single of 1988 was an acid

house record, the Coldcut-produced "The Only Way Is Up" by
Yazz.[59][60] One of the early club anthems, "Promised Land" by
Joe Smooth, was covered and charted within a week by UK
band The Style Council. Europeans embraced house, and
began booking important American house DJs to play at the
big clubs, such as Ministry of Sound, whose resident, Justin
Berkmann brought in US pioneer Larry Levan.

The house music club scene in cities such as Birmingham,

Leeds, Sheffield, Wolverhampton and London were provided
with dance tracks by many underground Pirate Radio stations.
Club DJs also brought in new house styles, which helped
bolster this music genre. The earliest UK house and techno
record labels such as Warp Records and Network Records
(otherwise known as Kool Kat records) helped introduce
American and later Italian dance music to Britain. These
labels also promoted UK dance music acts. By the end of the
1980s, UK DJs Jenö, Thomas, Markie and Garth moved to San
Francisco, and called their group the Wicked Crew. The
Wicked Crew's dance sound transmitted UK styles to the US,
which helped to trigger the birth of the US west coast's rave
scene.

House was also being developed by DJs and record

producers in the booming dance club scene in Ibiza. While no
house artists or labels came from this tiny island at the time,
mixing experiments and innovations done by Ibiza DJs helped
to influence the house style. By the mid-1980s a distinct
Balearic mix of house was discernible. Several influential
clubs in Ibiza, such as Amnesia, with DJ Alfredo at the decks,
were playing a mix of rock, pop, disco and house. These
clubs, fuelled by their distinctive sound and copious
consumption of the club drug Ecstasy (MDMA), began to
influence the British scene. By late 1987, DJs such as Trevor
Fung, Paul Oakenfold and Danny Rampling were bringing the
Ibiza sound to key UK clubs such as the Haçienda in
Manchester. Ibiza influences also spread to DJs working
London clubs such as Shoom in Southwark, Heaven, Future
and Spectrum.

In the U.S., house music developed into more sophisticated

sound, moving beyond the rudimentary drum machine loops
and short samples that had characterized early US house. In
Chicago, Marshall Jefferson formed the house group Ten City
with Byron Burke, Byron Stingily and Herb Lawson (from
"Intensity"). New York City–based performers such as Mateo
& Matos and Blaze had slickly produced disco-infused house
tracks. In Detroit a proto-techno music sound began to
emerge with the DJ recordings and mixes of Juan Atkins,
Derrick May and Kevin Saunderson.
Atkins, a former member of Cybotron, released "No UFOs" as
Model 500 in 1985, which became a regional hit. Atkins follow
this by dozens of tracks on Transmat, Metroplex and Fragile.
One of the most unusual songs was "Strings of Life" by
Derrick May (under the name Rhythm Is Rhythm), a darker,
more intellectual strain of house. "Techno-Scratch" was
released by the Knights Of The Turntable in 1984 which had a
similar techno sound to Cybotron. The manager of the Factory
nightclub and co-owner of the Haçienda, Tony Wilson, also
promoted acid house culture on his weekly TV show. The UK
midlands also embraced the late 1980s house scene with
illegal parties and raves and more legal dance clubs such as
The Hummingbird.

US: late 1980s–early 1990s

Building in New York City where the Paradise Garage nightclub was located
Back in America the scene had still not progressed beyond a
small number of clubs in Chicago, Detroit, Newark and New
York City. Newark-area DJ Tony Humphries was influenced
the sounds of disco pioneer David Mancuso, the host of the
disco-era's underground gay subculture loft parties.
Humphries played his mixes in Newark NJ's Club Zanzibar,
where he developed his signature "Jersey Sound", which
mixed a soulful element with a rawer edge.

The Jersey Sound

DJ Tony Humphries began his residency at the Club Zanzibar

in Newark, New Jersey in 1982 and, along with others, helped
"spawn the sometimes raw but always soulful, gospel-infused
subgenre" of deep house music known as the Jersey
Sound.[61][62] The club scene also gave rise to the ball culture
scene in Newark hotels and nightclubs.[63] "Queen of House"
Crystal Waters and other house luminaries performed on the
Newark scene.

Abigail Adams's house-music record label and store, Movin'

Records in Newark's neighbor East Orange, New Jersey, was
another contributor to the Jersey Sound.[64][65][66]

Other regional scenes

Many independent Chicago-based record labels were also
getting their artists on the dance charts. Detroit DJ Terrence
Parker uses his advanced turntablism skills and his focus on
precision to blend hip hop music DJing styles, such as
rhythmic scratching, in his house mixes. Fellow Detroit
spinner DJ Minx is a notable woman house DJ. Her records
on her Women on Wax label blend Parker-influenced
turntablism precision with a funky style.

In the UK, any house song released by a Chicago-based label

was routinely considered a "must-play" at UK house music
clubs. Paradise Garage in New York City was still a top club in
the house era, just as it had been during the disco age. The
emergence of Todd Terry, a pioneer of the genre,
demonstrated the continuum from the underground disco
approach which moved to a new house sound. Terry's cover
of Class Action's "Weekend" (mixed by Larry Levan) shows
how Terry drew on newer hip-hop influences, such as the
quicker sampling and the more rugged basslines.

In the late 1980s, Nu Groove Records launched and nurtured

the careers of Rheji Burrell and Rhano Burrell, collectively
known as Burrell (after a brief stay on Virgin America via
Timmy Regisford and Frank Mendez). Nu Groove also had a
stable of other NYC underground scene DJs. The Burrell's
created the "New York Underground" sound of house, and they
did 30+ releases on this label featuring this sound. In the
2010s, Nu Groove Record releases like the Burrells' enjoy a
cult status among "crate diggers" and DJs. Mint-condition
vinyl records by the Burrells from the 1980s can fetch high
prices.

By the late 1980s, house DJing and production had moved to

the US's west coast, particularly to San Francisco, Oakland,
Los Angeles, Fresno, San Diego and Seattle. Los Angeles saw
am explosion of underground raves, where DJs mixed dance
tracks. L.A. DJs Marques Wyatt and Billy Long spun at Jewel's
Catch One. In 1989, the L.A.-based, former EBN-OZN
singer/rapper Robert Ozn started indie house label One Voice
Records. Ozn released the Mike "Hitman" Wilson remix of
Dada Nada's "Haunted House", which garnered club and mix
show radio play in Chicago, Detroit and New York as well as in
the U.K. and France. The record went up to number five on the
Billboard Club Chart, marking it as the first house record by a
white (Caucasian) artist to chart in the U.S. Dada Nada, the
moniker for Ozn's solo act, did his first releases in 1990, using
a jazz-based Deep House style. The Frankie Knuckles and
David Morales remix of Dada Nada's "Deep Love" (One Voice
Records in the US, Polydor in the UK), featuring Ozn's lush,
crooning vocals and jazzy improvisational solos by muted
trumpet, underscored Deep House's progression into a genre
that integrated jazz and pop songwriting and song forms
(unlike acid house and techno).

In 1989 and going into the early 1990s, house music became
more popular in the US. The group Technotronic scored an
international hit with the song "Pump Up the Jam."[67]

Pop singer Madonna's 1990 house song "Vogue" became an

international hit as well and topped the US charts.[68] The
single is credited as helping to bring house music to the US
mainstream.[68] The gospel/R&B-influenced "Time Passes On"
in 1993 (Strictly Rhythm), then later, "Follow Me" received
radio airplay and club plays Another U.S. hit which received
radio play was the single "Time for the Perculator" by Cajmere,
which became the prototype for the emerging ghetto house
subgenre. Cajmere started the Cajual and Relief labels
(amongst others). By the early 1990s, artists of note included
Cajmere (under that name as well as Green Velvet and as
producer for Dajae), DJ Sneak, and Glenn Underground. The
1990s saw new Chicago house artists emerge, such as DJ
Funk, who operates a Chicago house record label called
Dance Mania. Ghetto house and acid house were other house
music styles that started in Chicago.

Late 1980s–1990s
In Britain, further experiments in the genre boosted its appeal.
House and rave clubs such as Lakota and Cream emerged
across Britain, hosting house and dance scene events. The
'chilling out' concept developed in Britain with ambient house
albums such as The KLF's Chill Out and Analogue Bubblebath
by Aphex Twin. The Godskitchen superclub brand also began
in the midst of the early 90's rave scene. After initially hosting
small nights in Cambridge and Northampton, the associated
events scaled up in Milton Keynes, Birmingham and Leeds. A
new indie dance scene also emerged in the 90's. In New York,
bands such as Deee-Lite furthered house's international
influence. Two distinctive tracks from this era were the Orb's
"Little Fluffy Clouds" (with a distinctive vocal sample from
Rickie Lee Jones) and the Happy Mondays' "Wrote for Luck"
("WFL") which was transformed into a dance hit by Vince
Clarke. The late Robert Miles also produced house tracks
such as "One and One" with Maria Nayler, "Fable" and his
biggest hit, "Children".

In England, one of the few licensed venues was The Eclipse,

which attracted people from up and down the country as it
was open until the early hours. Due to the lack of licensed,
legal dance event venues, house music promoters began
organising illegal events in unused warehouses, aeroplane
hangars and in the countryside. The Criminal Justice and
Public Order Act 1994 was a government attempt to ban large
rave dance events featuring music with "repetitive beats", due
to law enforcement allegations that these events were
associated with illegal club drugs. There were a number of
"Kill the Bill" demonstrations by rave and electronic dance
music fans. The Spiral Tribe dance event at Castle Morten
was the last of these illegal raves, as the bill, which became
law, in November 1994, made unauthorised house music
dance events illegal in the UK. Despite the new law, the music
continued to grow and change, as typified by Leftfield with
"Release the Pressure", which introduced dub and reggae into
the house sound. Leftfield's prior releases, such as "Not
Forgotten" released in 1990 on Sheffield's Outer Rhythm
records used a more typical sound.

A new generation of clubs such as Liverpool's Cream and the

Ministry of Sound were opened to provide a venue for more
commercial house sounds. Major record companies began to
open "superclubs" promoting their own groups and acts.
These superclubs entered into sponsorship deals initially with
fast food, soft drink, and clothing companies. Flyers in clubs
in Ibiza often sported many corporate logos from sponsors. A
new subgenre, Chicago hard house, was developed by DJs
such as Bad Boy Bill, DJ Lynnwood, and DJ Irene, Richard
"Humpty" Vission, mixing elements of Chicago house, funky
house and hard house. Additionally, producers such as
George Centeno, Darren Ramirez, and Martin O. Cairo
developed the Los Angeles Hard House sound. Similar to
gabber or hardcore techno from the Netherlands, this was
associated with the "rebel", underground club subculture of
the time. These three producers introduced new production
approaches and sounds in late 20th century became more
prominent and widely used during first decade of the 21st
century.

Towards the end of the 1990s and into the 2000s, French
DJ/producers such as Daft Punk, Bob Sinclar, Stardust,
Cassius, St. Germain and DJ Falcon began producing a new
sound in Paris' club scene. Together, they laid the groundwork
for what would be known as the French house movement.
They combined the harder-edged-yet-soulful philosophy of
Chicago house with the melodies of obscure funk records. As
well, by using state-of-the-art digital production techniques
blended with the retro sound of old-school analog
synthesizers, they created a new sound and style which
influenced house music around the world.

21st century
2000s
Chicago Mayor Richard M. Daley proclaimed August 10, 2005
to be "House Unity Day" in Chicago, in celebration of the "21st
anniversary of house music" (actually the 21st anniversary of
the founding of Trax Records, an independent Chicago-based
house label). The proclamation recognized Chicago as the
original home of house music and that the music's original
creators "were inspired by the love of their city, with the dream
that someday their music would spread a message of peace
and unity throughout the world". DJs such as Frankie
Knuckles, Marshall Jefferson, Paul Johnson and Mickey Oliver
celebrated the proclamation at the Summer Dance Series, an
event organized by Chicago's Department of Cultural
Affairs.[69]

It was during this decade that vocal house became firmly

established, both in the underground and as part of the pop
market, and labels such as Defected Records, Roulé and Om
were at the forefront of championing the emerging sound. In
the mid-2000s, fusion genres such as electro house and
fidget house emerged. This fusion is apparent in the
crossover of musical styles by artists such as Dennis Ferrer
and Booka Shade, with the former's production style having
evolved from the New York soulful house scene and the
latter's roots in techno. Numerous live performance events
dedicated to house music were founded during the course of
the decade, including Shambhala Music Festival and major
industry sponsored events like Miami's Winter Music
Conference. The genre even gained popularity through events
like Creamfields. In the late 2000s, house style witnessed
renewed chart success thanks to acts such as Daft Punk,
Deadmau5, Fedde Le Grand, David Guetta, and Calvin Harris.

2010s

This section does not cite any sources.

Learn more

Swedish House Mafia and Italian DJ Benny Benassi performing in 2011.

During the 2010s multiple new sounds in house music were

developed by DJs, producers and artists. Sweden had
"Swedish progressive house" with the emergence of
Sebastian Ingrosso, Axwell, and Steve Angello. While all three
artists had solo careers, when they formed a trio called
Swedish House Mafia, it showed that house could still
produce chart-topping hits, such as their 2013 single "Don't
You Worry Child", which cracked the Billboard top 10. Avicii
was a Swedish DJ/artist known for his hits such as "Hey
Brother", "Addicted to You", "The Days", "The Nights", "Levels",
"Waiting for Love", and "Without You". Fellow Swedish
DJ/artist Alesso collaborated with Calvin Harris, Usher, and
David Guetta.[70] In France, Justice blended garage and
alternative rock influences into their pop-infused house tracks,
creating a big and funky sound. Skrillex, a former alternative
rock singer, mixed dubstep and pop into his UK house music.

During the 2010s, in the UK and in the USA, many records

labels stayed true to the original house music sound from the
1980s. It includes labels like Dynamic Music, Defected
Records, Dirtybird, Fuse London, Exploited, Pampa, Cajual
Records, Hot Creations, Get Physical, and Pets Recordings.[71]

Netherlands brought together a concept of "Dirty Dutch", an

electro house subgenre characterized by abrasive lead synths
and darker arpeggios, with prominent DJs being Chuckie,
Hardwell, Laidback Luke, Afrojack, R3hab, Bingo Players,
Quintino, Alvaro, Cedric Gervais and 2G. Elsewhere, fusion
genres derivative of 2000s progressive house returned,
especially with the help of DJs/artists Calvin Harris, Eric
Prydz, Mat Zo, Above & Beyond and Fonzerelli in Europe.

Diplo, a DJ/producer from Tupelo, Mississippi, was able to

blend underground sounds with mainstream styles. As he
came from the Southern US, Diplo fused house music with rap
and dance/pop, while also integrating more obscure Southern
US genres. Other North Americans playing house music
include the Canadian Deadmau5 (known for his unusual mask
and unique musical style), Kaskade, Steve Aoki, Porter
Robinson and Wolfgang Gartner. The growing popularity of
such artists led to the emergence of electro house and
progressive house sounds in popular music, such as singles
like David Guetta" feat. Avicii "Sunshine" [72] and Axwell's
remix of "In The Air"[73][74]

Big room house was increasingly popular since 2010, through

international dance music festivals such as Tomorrowland,
Ultra Music Festival, and Electric Daisy Carnival. In addition to
these popular examples of house, there has also been a
reunification of contemporary house and its roots. Many hip
hop and R&B artists also turned to house music to add a
mass appeal and dance floor energy to the music they
produce. Tropical house went onto the top 40 on the UK
Singles Chart in 2015 with artists such as Kygo and Jonas
Blue. In the mid-2010s, the influences of house began to also
be seen in Korean K-pop music, examples of this being f(x)'s
single "4 Walls" and SHINee's title track "View."

Events
Chosen Few is an annual event in Chicago that celebrates
house music in its birthplace. Started in 1990, it was a
gathering of house music artists and their friends and
families. In the 2010s, it is an annual event with live
performances by DJs and artists from around the world.[75]

See also
House dance
List of electronic music genres
List of house music artists
Styles of house music

Notes
1. "House Music Genre Overview - AllMusic" . Retrieved
5 September 2016.
2. Gerstner, David A. (2012). Routledge International
Encyclopedia of Queer Culture . Routledge. p. 154.
ISBN 9781136761812.
3. Walters, Barry (2014): Burning Down the House: Read SPIN's
1986 Feature on Chicago's Club Scene—New York has rap.
Washington has go go. Chicago's got house, the boldest dance
music on the planet. Put a little tickle on the jones' head, and
jack yo' body. SPIN magazine. Spin Media. "Farley claims he
invented house music. House music is HARD disco. It goes
BOOM BOOM BOOM BOOM with little variation, subtlety,
melody, instrumentation — or music for that matter. House, by
definition, ain't crossover. It's in the house, and it won't come
out. ... Like Levan, Knuckles mixed dubbed-up inspirational
electronic funk cult jams by the Peech Boys and D Train with
'70s black disco classics by Loleatta Holloway and South Shore
Commission. ... They called this sound Warehouse music. For
short, house music." 2014-04-01 (re-issue of a November 1987
article). Retrieved 2014-04-25.
4. Price, III, Emmett G.; Kernodle, Tammy; Maxille, Horace
(2010). Encyclopedia of African American Music. ABC-CLIO.
p. 405. ISBN 9780313341991.
5. Fritz, Jimi (2000). Rave Culture: An Insider's Overview.
SmallFry Press'. p. 94. ISBN 9780968572108.
6. "Explore music ... Genre: Hi-NRG" . Allmusic. Retrieved
2009-07-20.
7. Gilbert, Jeremy; Pearson, Ewan (2002). Discographies: Dance,
Music, Culture and the Politics of Sound. Routledge. p. ??.
ISBN 9781134698929.
8. Langford, Simon (2014). The Remix Manual: The Art and
Science of Dance Music Remixing with Logic. CRC Press. p. 99.
ISBN 9781136114625.
9. Malnig, Julie (2009). Ballroom, Boogie, Shimmy Sham, Shake:
A Social and Popular Dance Reader. , University of Illinois Press.
p. 213. ISBN 9780252075650.
10. Vincent, Rickey (4 November 2014). "Funk: The Music, The
People, and The Rhythm of The One" . St. Martin's Griffin.
Retrieved 5 September 2016 – via Google Books.
11. Ray, Michael (2012). Alternative, Country, Hip-Hop, Rap, and
More: Music from the 1980s to Today. Britannica Educational
Publishing. Encyclopædia Britannica, Inc. pp. ??. ISBN 978-1-
6153-0910-8.
12. Reynolds, Simon (2009). Rip it Up and Start Again: Postpunk
1978–1984. Faber & Faber. p. ??. ISBN 9780571252275.
13. "The Punk Rocker Who Made Chicago House Happen" .
VICE Media. Archived from the original on 2014-07-14.
Retrieved 2014-06-01.
14. Rick Snoman, Dance Music Manual: Tools, Toys, and
Techniques, page 267 , CRC Press
15. "House : Significant Albums, Artists and Songs, Most
Viewed" . AllMusic. Retrieved 2012-10-12.
16. Acland, Charles R. (2007). Residual Media . Minnesota
Press. ISBN 9780816644728. Quote: "The legacy of musical
adventures with Latin dance music can still be heard in, for
example, the dominance of salsa clave rhythms in the riffs of
house music."
17. Gerstner, David A. (2012). Routledge International
Encyclopedia of Queer Culture . Routledge. p. 154.
ISBN 9781136761812.
18. Melville, Caspar (July–August 2000). "Mapping the
meanings of dance music" (PDF). UNESCO Courier. UNESCO:
40. "house music was born in the black-latino urban gay clubs
of the U.S."
19. Fikentscher, Kai (July–August 2000). "The club DJ: a brief
history of a cultural icon" (PDF). UNESCO Courier. UNESCO: 46.
"Another New York DJ, Frankie Knuckles, moved to Chicago,
following an invitation to become the resident DJ at the
Warehouse, a gay black club."
20. Fikentscher, Kai (July–August 2000). "Youth's sonic forces:
The club DJ: a brief history of a cultural icon" (PDF). UNESCO
Courier. UNESCO: 28. "House music, in particular, is often held
up as a kind of banner of cultural diversity owing to its origins in
black and Latino discos, where it first found its audience. One
could point to the 1980s, when African American producers /
DJs, like Frankie Knuckles, Marshall Jefferson or DJ Pierre,
began refining the all night dance floor workouts at
underground gay and mixed clubs like the legendary Warehouse
club in Chicago from which house music derives its name. Or
there is DJ Larry Levan, whose residence at New York's
Paradise Garage not only defined a distinct subgenre of its own
("garage" is slower and more gospel oriented than "house") but
set the tone for today's raves—no alcohol, heavy drug use, a
mixed, "up for it crowd" and loud, pulsating music for 15-hour
stretches without a break."
21. Fikentscher, Kai (July–August 2000). "The club DJ: a brief
history of a cultural icon" (PDF). UNESCO Courier. UNESCO: 47.
"Around 1986/7, after the initial explosion of house music in
Chicago, it became clear that the major recording companies
and media institutions were reluctant to market this genre of
music, associated with gay African Americans, on a
mainstream level. House artists turned to Europe, chiefly
London but also cities such as Amsterdam, Berlin, Manchester,
Milan, Zurich, and Tel Aviv. ... A third axis leads to Japan where,
since the late 1980s, New York club DJs have had the
opportunity to play guest-spots."
22. "Janet Jackson: janet. | Music Review" . Slant Magazine.
2008-02-17. Retrieved 2012-08-14.
23. "Cerrone Bio" . Beatport. Archived from the original on
2012-06-04. Retrieved 2012-08-27.
24. Yellow Magic Orchestra at AllMusic
25. Solid State Survivor at AllMusic
26. Pattison, Louis (2010-04-10). "Charanjit Singh, acid house
pioneer" . The Guardian.
27. Aitken, Stuart (2011-05-10). "Charanjit Singh on how he
invented acid house ... by mistake" . The Guardian.
28. William Rauscher (2010-05-12). "Charanjit Singh –
Synthesizing: Ten Ragas to a Disco Beat" . Resident Advisor.
Retrieved 2011-06-03.
29. RBMA (2011). Frankie Knuckles: A journey to the roots of
house music. Red Bull Music Academy. Retrieved 2014-06-01.
30. Brewster, Bill (2014). "Ron Hardy, Chicago Legend—If
Frankie Knuckles is the Godfather of House, Ron Hardy was its
Baron Frankenstein", Djhistory.com, 2014-06-01. "Archived
copy" . Archived from the original on 2014-02-23. Retrieved
2014-05-17.
31. Roy, Ron; Borthwick, Stuart (2004). Popular Music Genres:
An Introduction. Edinburgh University Press. p. 255.
ISBN 9780748617456.
32. Church, Terry (2010-02-09). "Black History Month: Jesse
Saunders and house music" . BeatPortal. Archived from the
original on 2015-04-24. Retrieved 2010-04-10.
33. Mitchell, Euan. Interviews: Marshall Jefferson
www.4clubbers.net
34. "Finding Jesse – The Discovery of Jesse Saunders As the
Founder of House" . Fly Global Music Culture. 2004-10-25.
Archived from the original on 2012-03-22. Retrieved
2012-08-14.
35. Paoletta, Michael (1989-12-16). "Back To Basics". Dance
Music Report: 12.
36. Graves, Richard (2015-04-23). "History of House: What Was
The First HOUSE MUSIC SONG Released in Chicago?" . The
History of House. Retrieved 2016-05-25.
37. "house" . Encyclopædia Britannica. Encyclopædia Britannica
Inc. Retrieved 2012-06-05.
38. George, Nelson (1986-06-21). "House Music: Will It Join Rap
And Go-Go?" . Billboard. 99 (25): 27. Retrieved 2011-04-14. "The
initial audience started out black and gay in Chicago, but the
genre has since attracted Hispanics and whites as well."
39. Creekmur, Corey; Doty, Alexander (1995). Out in Culture.
Duke University Press. pp. 440–442. ISBN 978-0-8223-1541-4.
40. Iqbal, Mohson (2008-01-31). "Larry Heard: Soul survivor" .
Resident Advisor. Retrieved 2012-07-23.
41. Unterberger, Richie (1999). Music USA: The Rough Guide .
London: Rough Guides. p. 265. ISBN 1-85828-421-X. Retrieved
2012-07-23.
42. Shapiro, Peter (2000). Modulations: A History of Electronic
Music. Caipirinha Productions Inc. p. 32. ISBN 0-8195-6498-2.
43. Cheeseman, Phil. "The History Of House ".
44. Snoman, Rick (2009). The Dance Music Manual: Tools, Toys,
and Techniques — Second Edition. Oxford, UK: Elsevier Press.
p.233
45. "House" . Encyclopædia Britannica. Retrieved 2007-05-01.
46. Rule, Greg (August 1997). "The Father of Chicago House".
Keyboard. 23 (8): 65.
47. Frankie Knuckles (featured subject); Hindmarch, Carl
(director) (2001). Pump Up The Volume (Television production).
Channel Four.
48. Arnold, Jacob (2010-01-07). "Leonard "Remix" Roy,
Chicago's Unsung House DJ" . gridface. Retrieved 2011-01-12.
49. Fleming, Jonathan (1995). What Kind Of House Party Is
This. London: MIY Publishing Ltd. ISBN 0-9523932-1-2.
50. Bidder, Sean (2001). Pump Up the Volume: A History of
House. London: Channel 4. ISBN 978-0-7522-1986-8.
51. Chip E. (interviewee); Hindmarch, Carl (director) (2001).
Pump Up The Volume (Television production). Channel Four. "If
you were a DJ in Chicago, if you wanted to have 'the' records,
there was only one place to go and that was Importes. This is
where Importes was. People come in, they're looking for
'Warehouse music', and we would put, you know, 'As heard at
the Warehouse' or 'As played at the Warehouse', and then
eventually we just shortened that down to – because people
also just in the vernacular, they started saying 'yeah, what's up
with that 'House music' – now at this time they were talkin'
about the old, old classics, the Salsoul, the Philly classics and
such – so we put on the labels for the bins, we'd say 'House
music'. And people would start comin' in eventually and just
start askin', 'yeah, where's the new House music?'"
52. George, Nelson (1986-06-21). "House Music: Will It Join Rap
And Go-Go?" . Billboard. 99 (25): 27. Retrieved 2011-04-14. "The
term 'house music' has become a generic phrase for modern
dance-oriented music," says Jones. "At one time the phrase 'old
house music' was used to refer to old disco music. Now 'house'
is used to describe the new music."
53. "larry heard equipment from 1992" .
www.oldschooldaw.com. Retrieved 2016-10-08.
54. Bainbridge, Luke (2014-02-22). "Acid house and the dawn of
a rave new world" . The Guardian. ISSN 0261-3077 . Retrieved
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55. Cowen, Andrew (1999-10-30). "Sounds Amazing!; Music
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offers great new ideas for musicians of all styles and all
levels" . The Birmingham Post (UK). Retrieved 2007-08-11.
56. Trask, Simon (December 1988). "Future Shock (Juan Atkins
Interview)" . Music Technology Magazine. Archived from the
original on 2008-03-15. Retrieved 2008-04-05. "The word
'house' comes from a record that you only hear in a certain club.
The DJs would search out an import that was as obscure as
possible, and that would be a house record. You'd hear a certain
record only at the Powerplant, and that was Frankie Knuckles'
house record. "But you couldn't really be guaranteed an
exclusive on an import, 'cos even if there were only 10 or 15
copies in the country, another DJ would track one down. So the
DJs came up with the concept of making their own house
records. It was like 'hey, I know I've got an exclusive because I
made the record."
57. Simon Reynolds (2013-06-19). Generation Ecstasy: Into the
World of Techno and Rave Culture . Routledge. pp. 30–.
ISBN 978-1-136-78317-3.
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61. http://newestamericans.com/newark-sound/
62. https://www.residentadvisor.net/features/2268
63. https://queer.newark.rutgers.edu/history-queer-club-spaces-
newark
64. https://thevinylfactory.com/features/abigail-adams-movin-
records/
65. "The New Jersey music scene was always a gospel-based
thing. When you were a kid you had to go to church." Interview
with Kerri Chandler
https://www.attackmagazine.com/features/interview/kerri-
chandler/ via @attackmag1
66. http://housemusicchannel.blogspot.co.uk/2010/05/hmc-
rewind-abigail-adams-moving-records.html?m=1
67. Owen, Frank (March 1990). "Belgium in the House" . Spin.
Vol. 5 no. 12. Spin Media. p. 21. ISSN 0886-3032 .
68. Bush, John. "Rockin' Robin – Bobby Day : Listen,
Appearances, Song Review Secret (Some Bizarre Single
Mix)Remix – Bizarre Inc released the house single 1994" .
AllMusic. Retrieved 2012-08-14.
69. "Chicago Mayor Declares 'House Unity Day' " . Remix.
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71. "13 OF THE MOST INFLUENTIAL HOUSE LABELS OF THE
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72. "David Guetta, Deadmau5 Get EDM Some Grammy Shine" .
MTV. 2 October 2012. Retrieved 21 October 2017.
73. "Dirty South Teams Up With Axwell, Rudy For 'Dreams' " .
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74. "Axwell's Iconic Remix Of "In The Air" Turns 8 Years Old" .
We Rave You. 29 June 2017. Retrieved 21 October 2017.
75. "ABOUT - Chosen Few™ DJs Ltd" . Retrieved 5 September
2016.

Further reading
Bidder, Sean (2002). Pump Up the Volume: A History of
House Music, MacMillan. ISBN 0-7522-1986-3
Bidder, Sean (1999). The Rough Guide to House Music,
Rough Guides. ISBN 1-85828-432-5
Brewster, Bill, and Frank Broughton 2000 Last Night a DJ
Saved My Life: The History of the Disc Jockey, Grove Press.
ISBN 0-8021-3688-5 and in UK: 1999 / 2006, Headline.
Kai Fikentscher 2000 "'You Better Work!' Underground
Dance Music in New York City". Middletown, Connecticut:
Wesleyan University Press. ISBN 0-8195-6404-4
Hewitt, Michael. Music Theory for Computer Musicians. 1st
Ed. U.S. Cengage Learning, 2008. ISBN 978-1-59863-503-4
Kempster, Chris (Ed) (1996). History of House, Castle
Communications. ISBN 1-86074-134-7 (A reprinting of
magazine articles from the 1980s and 90s)
 Mireille, Silcott (1999). Rave America: New School
Dancescapes, ECW Press. ISBN 1-55022-383-6
Reynolds, Simon (1998). Energy Flash: a Journey Through
Rave Music and Dance Culture, (UK title, Pan Macmillan.
ISBN 0-330-35056-0), also released in U.S. as Generation
Ecstasy : Into the World of Techno and Rave Culture (U.S.
title, Routledge, 1999, ISBN 0-415-92373-5)
Rizza Corrado, Trani Marco, "I love the nightlife"' Wax
Production (Roma), 2010
Shapiro, P., (2000), Modulations: A History of Electronic
Music: Throbbing Words on Sound, ISBN 1-891024-06-X.
Snoman, Rick (2009). The Dance Music Manual: Tools, Toys,
and Techniques — Second Edition: Chapter 11: House.
Oxford, UK: Elsevier Press. p. 231–249.
Rietveld, Hillegonda C. (1998). This is our House: House
Music, Cultural Spaces and Technologies, Ashgate. ISBN 1-
85742-242-2

External links
House music at Curlie
The History of House (2004) HouseKeeping: Funky House
DJs from the UK
Excerpt taken From the book, What Kind Of House Party Is
This?
 History of House History of House music and legal MP3
DJ mixes.

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