Editing Breakbeat (section)

==History==
===1970s—1980s: Classic breaks and hip hop production===
Beginning in 1973 and continuing through the late 1970s and early 1980s, [[Hip hop music|hip hop]] [[Turntablism|turntablists]] such as [[DJ Kool Herc]] began using several [[funk]] [[Break (music)#Breakbeat (element of music)|breaks]] in a row, using [[drum break]]s from [[jazz-funk]] tracks such as [[James Brown]]'s "[[Funky Drummer]]" and [[The Winstons]]' "[[Amen break|Amen, Brother]]", to form the rhythmic base for hip 

{{listen
| filename     = 
| title        = The Amen break
| description  = A clip of [[Amen Break]], one of 2 major breaks most commonly used in Breakbeat and its corresponding subgenres. Originally appears on "Amen, Brother" by [[the Winstons]]
| format       = Ogg
}}

hop songs. DJ Kool Herc's breaks style involved playing the same record on two turntables and playing the break repeatedly, alternating between the two records. [[Grandmaster Flash]] perfected this idea with what he called the "quick-mix theory": he would mark the points on the record where the break began and ended with a crayon, so that he could easily replay the break by spinning the record and not touching the tone arm.<ref>{{Citation|last=Necroguttural|title=Hip-Hop Evolution - "Grandmaster Flash" The Origin of Scratching on Vinyl|date=2016-12-07|url=https://www.youtube.com/watch?v=oA-OpvH4CIQ| archive-url=https://ghostarchive.org/varchive/youtube/20211117/oA-OpvH4CIQ| archive-date=2021-11-17 | url-status=live|access-date=2017-12-09}}{{cbignore}}</ref> This style was copied and improved upon by early hip hop DJs [[Afrika Bambaataa]] and [[Grand Wizard Theodore]].<ref name="Modulations">Modulations: A History of Electronic Music, Peter Shapiro, ed. New York: Caipirnha Productions Inc., 2000, p. 152</ref>{{dubious|date=September 2011}} This style was extremely popular in clubs and dancehalls because the extended breaks compositions provided [[Breakdancing|breakers]] with more opportunities to showcase their skills.

In the late 1970s, breakbeats had attained a large presence in hip hop. In the 1980s, the evolution of technology began to make sampling breaks easier and more affordable for DJs and producers, which helped nurture the commercialization of hip hop. Through early techniques such as pausing tapes and then recording the break, by the 1980s, technology allowed anybody with a tape recorder to find the breakbeat.<ref>{{Cite book|title=History in Making Beats: The Art of Sample-Based Hip-Hop|last=Schloss|first=Joseph|publisher=Wesleyan University|year=2004|location=Middletown, CT|pages=40}}</ref>

=== 1990s: Evolution as electronic dance genre ===
In the late-1980s, breakbeat became an essential feature of many genres of breaks music which became popular within the global dance music scene, including [[acid breaks]], [[Electro (music)|electro-funk]], and [[Miami bass]], and a decade later [[big beat]] and [[nu skool breaks]].

In the early 1990s, [[acid house]] artists and producers started using breakbeat [[Sampling (music)|samples]] in their music to create [[breakbeat hardcore]].<ref>{{cite web|last=Thomas|first=Gideon|title=Breakbeat Hardcore - Your Ultimate Guide|url=http://www.coremagonline.com/features/breakbeat-hardcore-your-ultimate-guide.html|archive-url=https://web.archive.org/web/20140316135548/http://www.coremagonline.com/features/breakbeat-hardcore-your-ultimate-guide.html|url-status=usurped|archive-date=16 March 2014|publisher=Core Magazine|access-date=12 April 2014}}</ref> The hardcore scene then diverged into subgenres like [[Jungle music|jungle]] and [[drum and bass]], which generally was faster and focused more on complex sampled drum patterns. An example of this is [[Goldie]]'s album ''[[Timeless (Goldie album)|Timeless]]''. Josh Lawford of Ravescene prophesied that breakbeat was "the death-knell of rave"<ref>Generation Ecstasy, Simon Reynolds, New York: Routledge, 1999, p. 253</ref> because the ever-changing drumbeat patterns of breakbeat music didn't allow for the same zoned out, trance-like state that the standard, steady 4/4 beats of [[house music|house]] enabled.

Incorporating many components of those genres, the [[Florida breaks]] subgenre followed during the early-to-mid 1990s and had a unique sound that was soon internationally popular among producers, DJs, and club-goers.

In 1994, the influential [[techno]] act [[Autechre]] released the ''[[Anti EP]]'' in response to the [[Criminal Justice and Public Order Act 1994]], deliberately using advanced [[Algorithmic composition|algorithmic]] programming to generate non-repetitive breakbeats for the full duration of the tracks, in order to subvert the legal definitions within that legislation which specified in the section creating police powers to remove ravers from raves that "'music' includes sounds wholly or predominantly characterised by the emission of a succession of repetitive beats".

In the late 1990s, another style of breakbeat emerged, ''funky breaks'', a style that was incorporating elements of [[Trance music|trance]], [[Hip hop music|hip hop]] and [[Jungle music|jungle]]. It was pioneered by [[the Chemical Brothers]] and [[James Lavelle]]'s [[Mo'Wax Records]] imprint. The genre had commercial peak in 1997, when such music was topping in pop charts and often featured in commercials. The most notable artists of the sound were [[The Prodigy]], [[Death in Vegas]], [[The Crystal Method]], and [[Propellerheads]].<ref>{{cite book|author1=Vladimir Bogdanov|url=https://archive.org/details/allmusicguidetoe00vlad/page/634|title=All music guide to electronica: the definitive guide to electronic music|author2=Jason Ankeny|publisher=Backbeat Books|year=2001|isbn=0-87930-628-9|edition=4th|page=11|url-access=registration}}</ref>