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== History == === Influences and precursors === One of the main influences of house was disco, house music having been defined as a genre which "...picked up where disco left off in the late 1970's".<ref name="laist.com">{{cite web|last=(C)|date=4 October 2007|title=Understanding House Music|url=https://laist.com/2007/10/04/understanding_h.php|url-status=dead|archive-url=https://web.archive.org/web/20171106124433/http://laist.com/2007/10/04/understanding_h.php|archive-date=6 November 2017|access-date=7 January 2020|website=laist.com|publisher=LAist}}</ref><ref>{{cite web|url=https://www.vox.com/videos/2019/7/16/20694881/chicago-house-music-disco-demolition-earworm|title=How Chicago built house music from the ashes of disco|last=Caswell|first=Estelle|date=16 July 2019|website=Vox|language=en|access-date=12 January 2020|archive-date=7 December 2019|archive-url=https://web.archive.org/web/20191207081123/https://www.vox.com/videos/2019/7/16/20694881/chicago-house-music-disco-demolition-earworm|url-status=live}}</ref> Like disco DJs, house DJs used a "slow mix" to "lin[k] records together" into a mix.<ref name="rietveld" /> In the post-disco [[club culture]] during the early 1980s, DJs from the gay scene made their tracks "less pop-oriented", with a more mechanical, repetitive beat and deeper basslines, and many tracks were made without vocals, or with wordless melodies.<ref>{{cite web |url=https://www.allmusic.com/subgenre/house-ma0000002651 |title=House |author=<!--Not stated--> |website=www.allmusic.com |publisher=AllMusic |access-date=7 January 2020 |archive-date=6 October 2012 |archive-url=https://web.archive.org/web/20121006233620/http://www.allmusic.com/subgenre/house-ma0000002651 |url-status=live }}</ref> Disco became so popular by the late 1970s that record companies pushed even non-disco artists (R&B and soft rock acts, for example) to record disco songs. When the backlash against disco started, known as "[[Disco Demolition Night]]", held in [[Chicago]], ironically the city where house music would be created a few years later, dance music went from being produced by major labels to being created by DJs in the underground club scene. That is until several years later by 1988, when major labels would begin signing acts from this new dance genre.<ref name="rietveld" /> While disco was associated with lush orchestration, with [[string orchestra]], flutes and [[horn section]]s, various later disco songs incorporated sounds produced with synthesizers and electronic drum machines, and some compositions were entirely electronic: one of the earliest examples includes Italian composer [[Giorgio Moroder]]'s late 1970s productions such as [[Donna Summer]]'s hit single "[[I Feel Love]]" (1977), or albums like [[Cerrone]]'s ''[[Supernature (Cerrone III)|Supernature]]'' (1977),<ref>{{cite web |title=Cerrone Bio |url=http://www.beatport.com/artist/cerrone/42443 |website=Beatport |access-date=27 August 2012 |archive-url=https://web.archive.org/web/20120604234035/http://www.beatport.com/artist/cerrone/42443 |archive-date=4 June 2012}}</ref> [[Kraftwerk]]'s ''[[The Man-Machine]]'' (1978),<ref>{{cite news |first=Jude |last=Rogers |author-link=Jude Rogers |url=https://www.theguardian.com/music/2013/jan/27/kraftwerk-most-influential-electronic-band-tate |title=Why Kraftwerk are still the world's most influential band |newspaper=The Observer | access-date=30 June 2022}}</ref> [[Yellow Magic Orchestra]]'s [[Synth-pop|synth]]- and [[Styles of pop music#fusion genres|disco-pop]] productions from ''[[Yellow Magic Orchestra (album)|Yellow Magic Orchestra]]'' (1978) or ''[[Solid State Survivor]]'' (1979),<ref name="allmusic_ymo_album">{{AllMusic|album|r632985|Yellow Magic Orchestra}}</ref><ref>{{AllMusic|album|r181170|Solid State Survivor}}</ref> and several early 1980s productions by [[Hi-NRG]] groups like [[Lime (band)|Lime]], [[Trans-X]] and [[Bobby O]]. [[File:Frankie Knuckles @ ADE 2012.jpg|thumb|[[Frankie Knuckles]] (pictured in 2012) played an important role in developing house music in Chicago during the 1980s.]] Also important for the development of house were [[audio mixing]] and editing techniques earlier explored by disco, [[garage house]] and [[post-disco]] DJs, [[record producer]]s, and audio engineers such as [[Walter Gibbons]], [[Tom Moulton]], [[Jim Burgess (producer)|Jim Burgess]], [[Larry Levan]], [[Morales and Munzibai|M & M]], and others. While most post-disco disc jockeys primarily stuck to playing their conventional ensemble and playlist of dance records, Frankie Knuckles and Ron Hardy, two influential DJs of house music, were known for their unusual and non-mainstream playlists and mixing. Knuckles, often credited as "the Godfather of House" and resident DJ at the Warehouse club in Chicago from 1977 to 1982, worked primarily with early disco music with a hint of new and different [[post-punk]] or post-disco music.<ref>RBMA (2011): Frankie Knuckles: A journey to the roots of house music. ''[[Red Bull Music Academy]].'' Retrieved 1 June 2014.</ref> Knuckles started out as a disco DJ, but when he moved from New York City to Chicago, he changed from the typical disco mixing style of playing records one after another; instead, he mixed different songs together, including [[Philadelphia soul]] and [[Euro disco]].<ref name="Kernodle, Tammy Lynn 2011. p. 405"/> He also explored adding a drum machine and a [[reel-to-reel]] tape player so he could create new tracks, often with a boosted deep register and faster tempos. Knuckles said: "Kraftwerk were main components in the creation of house music in Chicago. Back in the early '80s, I mixed our '80s Philly sound with the electro beats of Kraftwerk and the [[Electronic body music]] bands of Europe."<ref name="Kernodle, Tammy Lynn 2011. p. 405"/><ref>{{cite web|url=https://www.80s80s.de/kraftwerk-hall-of-fame |title=House Roots|date=2021}}</ref> Ron Hardy produced unconventional [[Do it yourself|DIY]] [[mixtape]]s which he later played straight-on in the successor of the Warehouse, the Music Box (reopened and renamed in 1983 after Knuckles left). Like Frankie Knuckles, Hardy "combined certain sounds, remixing tracks with added synths and drum machines", all "refracted through the [[futurism|futurist]] lens of European music".<ref name="Warwick"/> [[Marshall Jefferson]], who would later appear with the 1986 house classic "[[Move Your Body (Marshall Jefferson song)|Move Your Body (The House Music Anthem)]]" (originally released on [[Trax Records]]), describes how he got involved in house music after hearing Ron Hardy's music in the Music Box: {{blockquote|"I wasn't even into dance music before I went to the Music Box [...]. 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."|author=Marshall Jefferson<ref>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. {{cite web |url=http://www.djhistory.com/features/ron-hardy-chicago-legend |title=Ron Hardy, Chicago Legend | DJhistory.com |access-date=2014-05-17 |url-status=dead |archive-url=https://web.archive.org/web/20140223184632/http://www.djhistory.com/features/ron-hardy-chicago-legend |archive-date=2014-02-23 }}</ref>}} A precursor to house music is the [[Colonel Abrams]]' hit song "[[Trapped (Colonel Abrams song)|Trapped]]", which was produced by [[Richard James Burgess]] in 1984<ref>{{cite web |url=http://www.housegroove.net/history-of-house-music/ |title=History of House Music |publisher=Housegroove.net |access-date=8 October 2011 |url-status=dead |archive-url=https://web.archive.org/web/20111007183508/http://www.housegroove.net/history-of-house-music/ |archive-date=7 October 2011}}</ref> and has been referred to as a [[wikt:proto-#Prefix|proto]]-house track and a precursor to "garage house music", a subgenre also called "garage music" that actually consisted of the New York City/New Jersey scene of the main genre.<ref>{{Cite book|url=https://books.google.com/books?id=qMKiAwAAQBAJ&pg=115|title=The History of Music Production|first=Richard James|last=Burgess|date=17 August 2014|publisher=Oxford University Press|isbn=9780199357178|via=Google Books|access-date=14 September 2020|archive-date=8 October 2020|archive-url=https://web.archive.org/web/20201008194555/https://books.google.com/books?id=qMKiAwAAQBAJ&pg=115|url-status=live}}</ref> The electronic instrumentation and minimal arrangement of [[Charanjit Singh (musician)|Charanjit Singh]]'s ''[[Synthesizing: Ten Ragas to a Disco Beat]]'' (1982), an album of Indian [[raga]]s performed in a disco style and 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.<ref name="guardian_2010">{{cite news |last=Pattison |first=Louis |date=10 April 2010 |title=Charanjit Singh, acid house pioneer |url=https://www.theguardian.com/music/2010/apr/10/charanjit-singh-acid-house |newspaper=[[The Guardian]] |access-date=14 December 2016 |archive-date=2 December 2016 |archive-url=https://web.archive.org/web/20161202015758/https://www.theguardian.com/music/2010/apr/10/charanjit-singh-acid-house |url-status=live }}</ref><ref name="guardian_2011">{{cite news |first=Stuart |last=Aitken |date=10 May 2011 |title=Charanjit Singh on how he invented acid house ... by mistake |url=https://www.theguardian.com/music/2011/may/10/charanjit-singh-acid-house-ten-ragas |newspaper=[[The Guardian]] |access-date=14 December 2016 |archive-date=2 December 2016 |archive-url=https://web.archive.org/web/20161202015759/https://www.theguardian.com/music/2011/may/10/charanjit-singh-acid-house-ten-ragas |url-status=live }}</ref><ref name="ra_raga">{{cite magazine|title=Charanjit Singh – Synthesizing: Ten Ragas to a Disco Beat|magazine=[[Resident Advisor]]|first=William|last=Rauscher|date=12 May 2010|url=http://www.residentadvisor.net/review-view.aspx?id=7445|access-date=3 June 2011|archive-date=12 January 2012|archive-url=https://web.archive.org/web/20120112035759/http://www.residentadvisor.net/review-view.aspx?id=7445|url-status=live}}</ref> According to Hillegonda C. Rietveld, "elements of [[Hip-hop|hip hop/rap]] music can be found in contemporary house tracks", with hip hop acting as an "accent or inflection" that is inserted into the house sound.<ref name="rietveld" /> The constant bass drum in house music may have arisen from DJs experimenting with adding drum machines to their live mixes at clubs, underneath the records they were playing.<ref>Manzo, V. J.; Kuhn, Will. ''Interactive Composition: Strategies Using Ableton Live and Max for Live''. Oxford University Press, 23 January 2014. p. 134.</ref> === 1980s: Chicago house, acid house and deep house === {{main|Chicago house|acid house|deep house}} <!--THIS IS A DELIBERATELY SHORT SUMMARY OF THE CHICAGO HOUSE ARTICLE. Any changes made here must reflect changes made there first, as per Wikipedia's Summary style rule. Thanks!--> [[File:Honorary Frankie Knuckles Way.jpg|thumb|right|upright=0.9|An honorary [[street name sign]] in [[Chicago]] for house music and the seminal DJ [[Frankie Knuckles]].]] In the early 1980s, Chicago radio jocks [[Hot Mix 5]] from [[WBMX (FM)|WBMX]] radio station (among them Farley "Jackmaster" Funk), and club DJs Ron Hardy and Frankie Knuckles played a range of styles of dance music, including older disco records (mostly [[Philly soul|Philly disco]] and [[Salsoul Records|Salsoul]]<ref name="Slslpop">{{Cite book|title=Popular Music Genres: An Introduction|last1=Roy|first1=Ron|last2=Borthwick|first2=Stuart|page=255|isbn=9780748617456|year=2004|publisher=Edinburgh University Press}}</ref> tracks), [[electro music|electro funk]] tracks by artists such as [[Afrika Bambaataa]],<ref name="Vincent" /> newer [[Italo disco]], [[Arthur Baker (musician)|Arthur Baker]], and [[John Robie]], and [[Electropop|electronic pop]].<ref name="allmusic.com"/> Some DJs made and played their own edits of their favorite songs on reel-to-reel tape, and sometimes mixed in [[effects unit|electronic effects]], drum machines, synthesizers and other rhythmic electronic instrumentation. The hypnotic electronic dance song "[[On & On (Jesse Saunders song)|On and On]]", produced in 1984 by Chicago DJ [[Jesse Saunders]] and co-written by [[Vince Lawrence]], had typical elements of the early house sound, such as the Roland TB-303 bass synthesizer and minimal vocals, as well as a Roland TR-808 drum machine and a [[Korg Poly-61]] synthesizer. It also utilized the bassline from Player One's disco record "[[Space Invaders (Player One song)|Space Invaders]]" (1979).<ref name="Saunders2010">{{cite web|url=https://news.beatport.com/black-history-jesse-saunders-and-house-music/ |archive-url=https://archive.today/20150424070647/https://news.beatport.com/black-history-jesse-saunders-and-house-music/ |url-status=dead |archive-date=24 April 2015 |title=Black History Month: Jesse Saunders and house music |last=Church |first=Terry |date=9 February 2010 |website=BeatPortal |access-date=10 April 2010 }}</ref> "On and On" is sometimes cited as the "first house record",<ref>Mitchell, Euan. [http://www.4clubbers.net/modules.php?name=News&file=article&sid=125 Interviews: Marshall Jefferson] www.4clubbers.net {{dead link|date=June 2016|bot=medic}}{{cbignore|bot=medic}}</ref><ref>{{cite web |url=http://www.flyglobalmusic.com/fly/archives/uscanada_features/finding_jesse_-.html |title=Finding Jesse – The Discovery of Jesse Saunders As the Founder of House |date=25 October 2004 |website=Fly Global Music Culture |archive-url=https://web.archive.org/web/20120322041641/http://www.flyglobalmusic.com/fly/archives/uscanada_features/finding_jesse_-.html |archive-date=22 March 2012 |access-date=14 August 2012}}</ref> even though it was a remake of a Disco Bootleg "On and On" by Florida producer Mach. Other examples from around that time, such as [[Steve "Silk" Hurley|J.M. Silk]]'s "[[Music Is the Key (Steve "Silk" Hurley song)|Music is the Key]]" (1985), have also been referred to as the first house tracks.<ref>{{cite journal|journal=Dance Music Report|date=16 December 1989|title=Back To Basics|last=Paoletta|first=Michael|page=12}}</ref><ref name="MusicIsTheKey2015">{{cite web |url=http://djblackadam.typepad.com/history_of_house/2015/04/what-.html |title=History of House: What Was The First HOUSE MUSIC SONG Released in Chicago? |last=Graves |first=Richard |date=23 April 2015 |website=The History of House |access-date=25 May 2016 |archive-date=4 August 2016 |archive-url=https://web.archive.org/web/20160804022948/http://djblackadam.typepad.com/history_of_house/2015/04/what-.html |url-status=live }}</ref> Starting in 1985 and 1986, more and more 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, [[Mexican American]], and gay audiences.<ref name="brittanica1">{{cite encyclopedia | url=https://www.britannica.com/EBchecked/topic/273088/house | title=house | encyclopedia=Encyclopædia Britannica | publisher=Encyclopædia Britannica Inc. | access-date=5 June 2012 | archive-date=19 March 2012 | archive-url=https://web.archive.org/web/20120319024632/https://www.britannica.com/EBchecked/topic/273088/house | url-status=live }}</ref><ref name="unesco_1">{{cite journal | url=http://unesdoc.unesco.org/images/0012/001201/120152e.pdf | title=Youth's sonic forces: The club DJ: a brief history of a cultural icon | publisher=[[UNESCO]] | date=July–August 2000 | last=Fikentscher | first=Kai | journal=[[UNESCO Courier]] | page=28 | quote=House music, in particular, is often held up as a kind of banner of cultural diversity owing to its origins in black and Latin 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 house|garage]]" is slower and more [[gospel music|gospel]] oriented than "house") but set the tone for today's [[rave]]s—no alcohol, heavy drug use, a mixed, "up for it crowd" and loud, pulsating music for 15-hour stretches without a break. | access-date=27 March 2012 | archive-date=3 March 2016 | archive-url=https://web.archive.org/web/20160303181437/http://unesdoc.unesco.org/images/0012/001201/120152e.pdf | url-status=dead }}</ref><ref name="unesco_2">{{cite journal | url=http://unesdoc.unesco.org/images/0012/001201/120152e.pdf | title=Mapping the meanings of dance music | publisher=UNESCO | date=July–August 2000 | last=Melville | first=Caspar | journal=UNESCO Courier | page=40 | quote=house music was born in the black-latino urban gay clubs of the U.S. | access-date=27 March 2012 | archive-date=3 March 2016 | archive-url=https://web.archive.org/web/20160303181437/http://unesdoc.unesco.org/images/0012/001201/120152e.pdf | url-status=dead }}</ref><ref name="unesco_3">{{cite journal | url=http://unesdoc.unesco.org/images/0012/001201/120152e.pdf | title=The club DJ: a brief history of a cultural icon | publisher=UNESCO | date=July–August 2000 | last=Fikentscher | first=Kai | journal=UNESCO Courier | page=46 | quote=Another New York DJ, Frankie Knuckles, moved to Chicago, following an invitation to become the resident DJ at the [[Warehouse (nightclub)|Warehouse]], a gay black club. | access-date=27 March 2012 | archive-date=3 March 2016 | archive-url=https://web.archive.org/web/20160303181437/http://unesdoc.unesco.org/images/0012/001201/120152e.pdf | url-status=dead }}</ref><ref name="Billboard_19860621_1">{{cite magazine | url=https://books.google.com/books?id=gyQEAAAAMBAJ&pg=PA27 | title=House Music: Will It Join Rap And Go-Go? | date=21 June 1986 | access-date=14 April 2011 | last=George | first=Nelson | magazine=Billboard | volume=99 | issue=25 | page=27 | quote=The initial audience started out black and gay in Chicago, but the genre has since attracted Mexicans and whites as well. | archive-date=28 December 2011 | archive-url=https://web.archive.org/web/20111228114555/http://books.google.com/books?id=gyQEAAAAMBAJ&lpg=PA27 | url-status=live }}</ref><ref name="Out_In_Culture">{{Cite book|title=Out in Culture|last1=Creekmur|first1=Corey|last2=Doty|first2=Alexander|pages=440–442|isbn=978-0-8223-1541-4|year=1995|publisher=Duke University Press}}</ref> Subgenres of house, including deep house and acid house, quickly emerged and gained traction.<ref name=":0">{{Cite book|url=https://www.bloomsburypopularmusic.com/encyclopedia?docid=b-9781501329203|title=Bloomsbury Encyclopedia of Popular Music of the World: Genres: North America|date=2012|publisher=The Continuum International Publishing Group|isbn=978-1-5013-2920-3|editor-last=Horn|editor-first=David|doi=10.5040/9781501329203-0014040}}</ref> [[Deep house]]'s origins can be traced to Chicago producer [[Larry Heard|Mr. Fingers]]'s relatively jazzy, soulful recordings "[[Mystery of Love (Larry Heard song)|Mystery of Love]]" (1985) and "Can You Feel It?" (1986).<ref>{{cite web|last=Iqbal|first=Mohson|title=Larry Heard: Soul survivor|url=http://www.residentadvisor.net/feature.aspx?875|work=[[Resident Advisor]]|access-date=23 July 2012|date=31 January 2008|archive-date=12 November 2012|archive-url=https://web.archive.org/web/20121112034954/http://www.residentadvisor.net/feature.aspx?875|url-status=live}}</ref> According to author Richie Unterberger, it moved house music away from its "[[posthuman]] tendencies back towards the lush" soulful sound of early disco music.<ref>{{cite book|last=Unterberger|first=Richie|title=Music USA: The Rough Guide|year=1999|publisher=Rough Guides|location=London|isbn=978-1-85828-421-7|url=https://books.google.com/books?id=uwtAx1xP9BMC&pg=PA265|access-date=23 July 2012|page=265|archive-date=1 January 2016|archive-url=https://web.archive.org/web/20160101031527/https://books.google.com/books?id=uwtAx1xP9BMC&pg=PA265|url-status=live}}</ref> [[Acid house]], a rougher and more abstract subgenre, arose from Chicago artists' experiments with the squelchy sounds of the Roland TB-303 bass synthesizer that define the genre. Its origin on vinyl is generally cited as [[Phuture]]'s "[[Acid Tracks]]" (Trax Records, 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.<ref>{{cite book |last=Shapiro |first =Peter |title =Modulations: A History of Electronic Music |url=https://archive.org/details/modulationshisto00shap |url-access=registration |publisher =Caipirinha Productions Inc. |date=2000 |page =[https://archive.org/details/modulationshisto00shap/page/32 32] | isbn= 978-0-8195-6498-6 }}</ref> The group's 12-minute "Acid Tracks" was recorded to tape and played by DJ Ron Hardy at the Music Box,<ref>[https://djmag.com/content/game-changers-phuture-acid-tracks Interview with Phuture's DJ Pierre] {{Webarchive|url=https://web.archive.org/web/20190829220042/https://djmag.com/content/game-changers-phuture-acid-tracks |date=29 August 2019 }} in DJ mag, 2014.</ref> supposedly already by 1985.<ref>[https://www.thefader.com/2014/08/04/back-to-the-phuture-dj-pierre-on-inventing-acid-and-why-edm-fans-need-to-learn-their-history Interview with DJ Pierre] {{Webarchive|url=https://web.archive.org/web/20191008070559/https://www.thefader.com/2014/08/04/back-to-the-phuture-dj-pierre-on-inventing-acid-and-why-edm-fans-need-to-learn-their-history |date=8 October 2019 }} in Fader Magazine, 4 August 2014.</ref> Hardy once played it four times over the course of an evening until the crowd responded favorably.<ref name="cheeseman">Cheeseman, Phil. "[http://music.hyperreal.org/library/history_of_house.html The History Of House] {{Webarchive|url=https://web.archive.org/web/20130906062503/http://music.hyperreal.org/library/history_of_house.html |date=2013-09-06 }}".</ref> Club play of house tracks by pioneering Chicago DJs such as Ron 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. The first major success of house music outside the U.S. is considered to be Farley "Jackmaster" Funk's "[[Love Can't Turn Around]]" (feat. Jesse Saunders and performed by [[Darryl Pandy]]), which peaked at #10 in the [[UK singles chart]] in 1986. Around that time, UK record labels started releasing house music by Chicago acts, but as the genre grew popular, the [[United Kingdom|UK]] itself became one of the new hot spots for house, acid house and [[techno]] music, experiencing the so-called [[second summer of love]] between 1988 and 1989.<ref name=":0" /> ==== Detroit and techno ==== {{main|Detroit techno|techno}} In [[Music of Detroit|Detroit]] during the early and mid-1980s, a new kind of electronic dance music began to emerge around Juan Atkins, [[Derrick May (musician)|Derrick May]] and [[Kevin Saunderson]], known as [[the Belleville Three]]. The artists fused eclectic, futuristic sounds into a signature Detroit dance sound that was a main influence for the later techno genre. Their music included strong influences from [[Chicago house]], although the term "house" played a less important role in Detroit than in Chicago, and the term "techno" was established instead.<ref>{{cite web |url = http://daily.redbullmusicacademy.com/2017/08/chicago-house-detroit-techno-feature |first = Jacob |last = Arnold |title = When Techno Was House: Jacob Arnold looks at Chicago's impact on the birth of techno |publisher = Red Bull Music Academy Daily |year = 2017 |access-date = 14 January 2019 |archive-date = 14 January 2019 |archive-url = https://web.archive.org/web/20190114150230/http://daily.redbullmusicacademy.com/2017/08/chicago-house-detroit-techno-feature |url-status = live }}</ref> One of their most successful hits was a vocal house track named "[[Big Fun (Inner City song)|Big Fun]]" by [[Inner City (band)|Inner City]], a group produced by Kevin Saunderson, in 1988. Another major and even earlier influence on the Detroit artists was electronic music in the tradition of Germany's Kraftwerk.<ref>[https://www.electronicbeats.net/juan-atkins-about-kraftwerk/ Juan Atkins on Kraftwerk] {{Webarchive|url=https://web.archive.org/web/20170630071959/http://www.electronicbeats.net/juan-atkins-about-kraftwerk/ |date=30 June 2017 }}, on Electronic Beats, 2012 (retrieved on 26 July 2020).</ref> Atkins had released [[electro (music)|electro]] music in that style with his group [[Cybotron (American band)|Cybotron]] as early as 1981. Cybotron's best known songs are "Cosmic Cars" (1982) and "Clear" (1983); a 1984 release was titled "Techno City". In 1988, Atkins produced the track "Techno Music", which was featured on an influential compilation that was initially planned to be named "The House Sound of Detroit", but was renamed into "[[Techno! The New Dance Sound of Detroit]]" after Atkins' song.<ref>{{cite web|url=http://www.afropop.org/multi/interview/ID/203/|title=Juan Atkins [interview for Afropop Worldwide]|date=14 June 2011|publisher=World Music Productions|last1=Bishop|first1=Marlon|last2=Glasspiegel|first2=Wills|access-date=17 June 2011|url-status=dead|archive-url=https://web.archive.org/web/20110623194409/http://www.afropop.org/multi/interview/ID/203/|archive-date=23 June 2011}} "Neil Rushton came up with the idea to do a compilation for Virgin and call it ''The House Sound of Detroit''. And my track that I put on this record was called 'Techno Music.' And they were like 'wait a minute, if he's deeming this record 'Techno Music' and all the rest of this stuff is similar sounding, let's call it ''Techno: The New Dance Sound of Detroit''.' And hence, that album was released and the name stuck."</ref> The 1987 song "[[Strings of Life]]" by Derrick May (under the name Rhythm Is Rhythm) represented a darker, more intellectual strain of early Detroit electronic dance music. It is considered a classic in both the house and techno genre and shows the connection<ref>On the influence of Chicago house on Derrick May, who says to have been musically "baptised by [[Ron Hardy]]", see {{cite web|title=Interview: Derrick May – The Secret of Techno (archived) |url=http://www.techno.de/mixmag/interviews/DerrickMay1.html |work=[[Mixmag]] |access-date=25 July 2012 |year=1997 |url-status=bot: unknown |archive-url=https://web.archive.org/web/20130430083215/http://www.techno.de/mixmag/interviews/DerrickMay1.html |archive-date=30 April 2013}} The connection was two-sided, as Chicago's house DJ [[Frankie Knuckles]] played the song in his club and even suggested its title (see also there).</ref> and the "boundary between house and techno."<ref>[https://www.attackmagazine.com/technique/deconstructed/rhythim-is-rhythim-strings-of-life-derrick-may/ Derrick May – Strings of Life] {{Webarchive|url=https://web.archive.org/web/20200726224846/https://www.attackmagazine.com/technique/deconstructed/rhythim-is-rhythim-strings-of-life-derrick-may/ |date=26 July 2020 }} on Attack Magazine, 2018 (retrieved on 26 July 2020).</ref> It made way to what was later known as "techno" in the internationally known sense of the word, referring to a harder, faster, colder, more machine-driven and minimal sound than house, as played by Detroit's [[Underground Resistance]] and [[Jeff Mills]]. ==== UK: Acid house, rave culture and the Second Summer of Love ==== {{see also|Second Summer of Love|rave}} [[File:Smiley_badge.jpg|thumb|150x150px|A badge bearing a [[smiley]], a symbol of the 1980s acid house scene in the UK<ref>{{cite web|last=Savage|first=Jon|date=21 February 2009|title=The history of the smiley face symbol|url=https://www.theguardian.com/artanddesign/2009/feb/21/smiley-face-design-history|access-date=28 June 2016|website=[[The Guardian]]}}</ref>]] With house music already important in the 1980s dance club scene, eventually house penetrated the UK singles chart. London DJ [[Eddie Richards|"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 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.<ref>{{cite web|title=love can't turn around {{!}} full Official Chart History {{!}} Official Charts Company|url=https://www.officialcharts.com/search/singles/love-can%27t-turn-around/|access-date=2 February 2021|website=www.officialcharts.com|language=en}}</ref> In January 1987, Chicago DJ/artist Steve "Silk" Hurley's "Jack Your Body" reached number one in the UK,<ref>{{Cite news |last=Vine |first=Richard |date=2011-06-21 |title=Steve 'Silk' Hurley's Jack Your Body is No 1 in the UK |url=https://www.theguardian.com/music/2011/jun/15/steve-hurley-jack-your-body |work=The Guardian}}</ref> showing it was possible for house music to achieve crossover success in the main singles chart. The same month also saw [[Raze (house music group)|Raze]] enter the top 20 with "Jack the Groove",<ref>{{Cite news |last=O'Brien |first=Jon |date=2024-05-02 |title=Top 20 80s house hits |url=https://www.classicpopmag.com/2024/05/top-20-house-hits/ |access-date=2025-03-09 |work=Classic Pop Magazine}}</ref> and several other 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 (medley 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:{{Citation needed|date=February 2020}} * Jack Trax, which specialized in licensing US club hits for the British market (and released an influential series of [[compilation album]]s) * [[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 success of [[MARRS]]' "[[Pump Up the Volume (song)|Pump Up The Volume]]" in October, from 1987 to 1989, UK acts such as The [[Beatmasters]], [[Krush]], [[Coldcut]], [[Yazz]], [[Bomb The Bass]], [[S-Express]], and Italy's [[Black Box (band)|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),{{citation needed|date=August 2024}}{{relevance inline|date=August 2024}} and [[humor]] and wit was an important element.{{Citation needed|date=February 2020}} The second best-selling British single of 1988 was an acid house record, the Coldcut-produced "[[The Only Way Is Up]]" by Yazz.<ref>{{cite web |url=http://www.pure80spop.co.uk/bestsellerssingles.htm |title=Best selling singles of the 80s |publisher=Pure80spop.co.uk |access-date=14 August 2012 |archive-date=20 December 2008 |archive-url=https://web.archive.org/web/20081220165129/http://www.pure80spop.co.uk/bestsellerssingles.htm |url-status=live }}</ref><ref>{{cite web|title=Chart Archive – 1980s Singles|url=http://www.everyhit.com/chart4.html|publisher=EveryHit.com|access-date=4 August 2012|archive-date=22 August 2012|archive-url=https://web.archive.org/web/20120822135801/http://www.everyhit.com/chart4.html|url-status=live}}</ref> One of the early club anthems, "[[Promised Land (Joe Smooth song)|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.<ref name=":1">{{Cite news|last=Matos|first=Michaelangelo|date=6 December 2011|title=Remembering Larry Levan, 'The Jimi Hendrix Of Dance Music'|work=NPR|url=https://www.npr.org/sections/therecord/2011/12/06/143205414/remembering-larry-levan-the-jimi-hendrix-of-dance-music|access-date=2 February 2021}}</ref> 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]] (formed out of 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.<ref>{{cite web|last=Magnetic|title=The Rave Pioneers: Catching Up With San Francisco's Wicked Sound System|url=https://www.magneticmag.com/2016/07/the-rave-pioneers-catching-up-with-san-frandiscos-wicked-sound-system/|access-date=2 February 2021|website=Magnetic Magazine|date=July 2016 |language=en-us}}</ref> The manager of Manchester's [[The Factory (music venue)|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.<ref>{{cite web|title=Clubbing and raving back in the day {{!}} The Voice Online|url=https://archive.voice-online.co.uk/article/clubbing-and-raving-back-day|access-date=2 February 2021|website=archive.voice-online.co.uk}}</ref> ==== Chicago's second wave: Hip house and ghetto house ==== {{main|Hip house|ghetto house}} While the acid house hype spawned in the UK and Europe, in Chicago it reached its peak around 1988 and then declined in popularity.{{citation needed|date=July 2020}} Instead, a crossover of house and hip-hop music, known as [[hip house]], became popular. [[Tyree Cooper]]'s single "Turn Up the Bass" featuring Kool Rock Steady from 1988 was an influential breakthrough for this subgenre, although the British trio the Beatmasters claimed having invented the genre with their 1986 release "[[Rok da House]]".{{Citation needed|date=December 2023}} Another notable figure in the hip house scene was [[Fast Eddie (producer)|Fast Eddie]] with "Hip House" and "Yo Yo Get Funky!" (both 1988). Even Farley "Jackmaster" Funk engaged in the genre, releasing "Free at Last", a song to free [[James Brown]] from jail that featured The Hip House Syndicate, in 1989, and producing a ''Real Hip House'' compilation on his label, House Records, in 1990. The early 1990s saw new Chicago house artists emerge, such as [[Armando (producer)|Armando Gallop]], who had released seminal acid house records since 1987, but became even more influential by co-founding the new Warehouse nightclub in Chicago (on 738 W. Randolph Street<ref>[https://5mag.net/audio/classic-house-mixes/armando-gallop-warehouse/ Armando Gallop: Live at the Warehouse DJ Mix] {{Webarchive|url=https://web.archive.org/web/20200726161310/https://5mag.net/audio/classic-house-mixes/armando-gallop-warehouse/ |date=26 July 2020 }} on 5mag.com.</ref>) in which he also was resident DJ from 1992 until 1994, and founding Warehouse Records in 1988.<ref>[https://www.allmusic.com/artist/armando-mn0000598095/biography Biography of Armando] {{Webarchive|url=https://web.archive.org/web/20200726161250/https://www.allmusic.com/artist/armando-mn0000598095/biography |date=26 July 2020 }} on [[AllMusic]], retrieved on 27 Juli 2020.</ref> Another important figure during the early to mid-1990s and until the 2000s was DJ and producer [[Paul Johnson (producer)|Paul Johnson]], who released the Warehouse-anthem "Welcome to the Warehouse" on Armando's label in 1994 in collaboration with Armando himself. He also had part in the development of an entirely new kind of Chicago house sound, "[[ghetto house]]", which was prominently released and popularized through the [[Dance Mania (record label)|Dance Mania]] record label. It was originally founded by Jesse Saunders in 1985 but passed on to Raymond Barney in 1988. It featured notable ghetto house artists like [[DJ Funk]], [[DJ Deeon]], DJ Milton, Paul Johnson and others. The label is regarded as hugely influential in the history of Chicago house music, and has been described as "ghetto house's [[Motown]]".<ref>{{cite web |url=https://www.residentadvisor.net/features/1806 |last=Arnold |first=Jacob |title=Dance Mania: Ghetto House's Motown |date=15 May 2013 |publisher=[[Resident Advisor]] |access-date=8 September 2018 |archive-date=9 September 2018 |archive-url=https://web.archive.org/web/20180909035427/https://www.residentadvisor.net/features/1806 |url-status=live }}</ref> One of the prototypes for Dance Mania's new ghetto house sound was the single "(It's Time for the) Percolator" by Cajmere, also known as [[Green Velvet]], from 1992.<ref>{{cite web|title=Cajmere "Percolator" {{!}} Insomniac|url=https://www.insomniac.com/music/cajmere-percolator/|access-date=4 June 2021|language=en-US}}</ref> Cajmere started the labels Cajual Records and Relief Records, the latter combining the sound of Chicago, acid, and ghetto house with the harder sound of techno. By the early 1990s, artists of note on those two labels included [[Dajae]], [[DJ Sneak]], [[Derrick Carter]], [[DJ Rush]], Paul Johnson, Joe Lewis, and Glenn Underground. ==== New York and New Jersey: Garage house and the "Jersey sound" ==== {{main|Garage house|New Jersey house}} [[File:Paradise garage.jpg|thumb|right|Building in New York City where the [[Paradise Garage]] nightclub was located]] While house became popular in UK and continental Europe, the scene in the US had still not progressed beyond a small number of clubs in Chicago, Detroit, New York City, and [[Newark, New Jersey|Newark]]. In New York and Newark, the terms "[[garage house]]", "garage music", or simply "garage", and "Jersey sound", or "[[New Jersey house]]", were coined for a deeper, more soulful, [[Contemporary R&B|R&B]]-derived subgenre of house that was developed in the Paradise Garage nightclub in New York City and [[Club Zanzibar]] in Newark, New Jersey, during the early-to-mid 1980s. It is argued that garage house predates the development of Chicago house, as it is relatively closer to disco than other dance styles.<ref name="allmusic">{{cite web|url=http://www.allmusic.com/subgenre/garage-ma0000012308|title=Garage|publisher=[[AllMusic]]|access-date=27 August 2011|archive-date=4 April 2015|archive-url=https://web.archive.org/web/20150404002422/http://www.allmusic.com/subgenre/garage-ma0000012308|url-status=live}}</ref> As Chicago house gained international popularity, New York and New Jersey's music scene was distinguished from the "house" umbrella.<ref name="allmusic" /><ref>{{Cite book|title=House Music: The Real Story|last=Saunders|first=Jesse|isbn=9781604740011|date=2007|publisher=Publish America Baltimore|page=118|quote=New York did not truly develop a recognized House music scene of its own until 1988 with the success of DJ Todd Terry—not until then did they understand what House music truly was all about. They did, though, have Garage.}}</ref> In comparison to other forms of house music, garage house, and Jersey sound include more [[gospel music|gospel]]-influenced piano riffs and female vocals.<ref name="techn">{{cite book| first= Tony| last= Verderosa| year= 2002| title= The techno primer: the essential reference for loop-based music styles| publisher= Hal Leonard Corporation, 2002| location= U.S.| isbn= 0634017888| page= 36}}</ref> The genre was popular in the 1980s in the United States and in the 1990s in the United Kingdom.<ref name="techn" /> DJs playing it include [[Tony Humphries (musician)|Tony Humphries]] at Club Zanzibar, Larry Levan, who was resident DJ at the Paradise Garage from 1977 to 1987, [[Todd Terry]], [[Kerri Chandler]], [[Masters at Work]], [[Junior Vasquez]], and others.<ref name="traces">{{cite book| first= Robin| last= Sylvan| year= 2002| title= Traces of the spirit: the religious dimensions of popular music| publisher= NYU Press| location= U.S.| isbn= 0814798098| page= 120}}</ref> 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 Burrells created the "New York Underground" sound of house, and they did more than 30 releases on this label featuring this sound. The emergence of New York's DJ and producer Todd Terry in 1988 demonstrated the continuum from the underground disco approach to a new and commercially successful 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.<ref>{{cite web|title=hip hop music: Hip-Hop Archives|url=http://www.hiphopmusic.com/hiphop/|access-date=21 May 2021|website=www.hiphopmusic.com}}</ref> ==== Ibiza ==== {{See also|Balearic beat}} House was also being developed by DJs and record producers in the booming dance club scene in [[Ibiza]], notably when [[Alfredo Fiorito|DJ Alfredo]], the father of [[Balearic beat|Balearic house]], began his residency at [[Amnesia (nightclub)|Amnesia]] in 1983. {{When|date=February 2022}} While no house artists or labels came from Ibiza at the time, mixing experiments and innovations done by Ibiza DJs helped to influence the house style. By the mid-1980s, a distinct [[Balearic beat|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 (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 (nightclub)|Heaven]], Future, and Spectrum.<ref>{{cite web|date=23 February 2014|title=Acid house and the dawn of a rave new world|url=http://www.theguardian.com/music/2014/feb/23/acid-house-dawn-rave-new-world|access-date=17 February 2022|website=the Guardian|language=en}}</ref> ==== Other regional scenes ==== [[File:Deep house dj.jpeg|thumb|right|200px|This photo of a deep house DJ shows the pair of turntables and the [[DJ mixer]] in between.]] 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 an explosion of underground raves, where DJs mixed dance tracks. Los Angeles DJs Marques Wyatt and Billy Long spun at [[Jewel's Catch One]]. In 1989, the Los-Angeles-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 UK and France. The record went up to number five on the ''Billboard'' Club Chart, marking it as the first house record by a white artist to chart in the US.{{citation needed|date=August 2024}}{{relevant|date=August 2024}} 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).{{Citation needed|date=February 2020}} The Twilight Zone (1980–89) located on Richmond Street in Toronto's [[Toronto Entertainment District|entertainment district]] was the first after hours club to regularly feature New York and Chicago DJs that first spun house music in Canada.<ref>{{cite web|date=6 September 2015|title=Phantom on The Dance Floor: A Brief History on Toronto's Twilight Zone Club & How It Transformed a City Forever.|url=https://digitizedgraffiti.com/2015/09/06/phantom-on-the-dance-floor-how-one-after-hours-club-transformed-a-city-forever/|access-date=12 February 2021|language=en}}</ref> The venue was the first international gig destination for both Frankie Knuckles and David Morales. One of the club's owners, Tony Assoon, would make regular trips to New York in order to purchase funk, underground disco and house records to play on his regular Saturday night slot.<ref>{{cite web|date=16 September 2014|title=Then & Now: Twilight Zone|url=http://thenandnowtoronto.com/2014/09/then-now-the-twilight-zone/|access-date=12 February 2021|website=Then and Now: Toronto Nightlife History|language=en-US}}</ref> ==== The Montreal Scene ==== Historically deeply influenced by musical trends coming from England, France, and the US, Montreal has developed a distinct house music scene. Shaped more specifically by the impact of UK's techno scene,<ref>{{Cite web |title=Montréal Rave: An Oral History |url=https://daily.redbullmusicacademy.com/2016/10/montreal-rave |access-date=22 February 2023 |website=daily.redbullmusicacademy.com |language=en}}</ref> France's [[French house|French Touch]] movement, and American DJs and club owners such as Angel Moraes,<ref>{{Cite web |title=Angel Moraes music download – Beatport |url=https://www.beatport.com/artist/angel-moraes/773 |access-date=22 February 2023 |website=www.beatport.com}}</ref> David Morales,<ref>{{Cite web |last=Wren |first=Dominic |date=8 June 2021 |title=David Morales – House Music, DJ Life, Montreal Connection |url=https://www.funktasy.com/funktasy-spotlight/david-morales/ |access-date=22 February 2023 |website=Funktasy |language=en-US}}</ref> and Danny Tenaglia,<ref>{{Cite web |date=9 April 2012 |title=18e Bal en blanc: 15 000 personnes dansent toute la nuit à Montréal |url=https://www.huffpost.com/archive/qc/entry/bal-en-blanc-2012-montreal_n_1412579 |access-date=22 February 2023 |website=HuffPost |language=en}}</ref> the city has evolved to become a distinct dance music hub.<ref>{{Cite magazine |author=Billboard Staff |date=12 November 2015 |title=The 15 Greatest Dance Music Cities of All Time |url=https://www.billboard.com/music/music-news/best-dance-music-cities-of-all-time-6760825/ |access-date=22 February 2023 |magazine=Billboard |language=en-US}}</ref> Ever since the middle of the 1990s and early 2000s, an ever-growing number of house music festivals take place in the city throughout the year, including [[Igloofest]], Nuit blanche, [[Piknic Électronik|Piknic Electronik]], [[MUTEK|Mutek]], [[ÎleSoniq Music Festival|Ile Soniq]], [[Fierté Montréal|Montréal Pride]], and the [[Black and Blue Festival|Black and Blue festival.]] ==== South Africa ==== {{See also|Afro house}} [[Kwaito]] was created during the 1980s,<ref>{{Cite journal |last=Steingo |first=Gavin |year=2008 |title=Historicizing Kwaito |url=https://www.jstor.org/stable/30250016 |journal=Rhodes University |language=English |publisher=International Library of African Music |volume=8 |issue=2 |pages=76–91 |jstor=30250016 }}</ref> in [[South Africa]] during the collapse or near-end of the [[Apartheid|apartheid regime]]. It was popularized by the likes of [[Trompies]], Mdu Masilela, [[Arthur Mafokate]], [[Boom Shaka]], [[Mandoza]], Brown Dash, [[Oskido]] and many others.<ref>{{Cite news |last=Diggs |first=Gregg |author-link=NPR |date=30 June 2010 |title=Five kicking songs from the kings of Kwaito |work=NPR(National Public Radio) |url=https://www.npr.org/2010/06/30/128014019/five-kicking-songs-from-the-kings-of-kwaito |url-status=live |access-date=14 December 2023 |archive-url=https://web.archive.org/web/20231208161916/https://www.npr.org/2010/06/30/128014019/five-kicking-songs-from-the-kings-of-kwaito |archive-date=8 December 2023}}</ref> [[Brenda Fassie]] released a song titled, "Le Kwaito" and Boom Shaka, [[Bongo Maffin]] as well as [[TKZee]] performed in [[London]].<ref>{{Cite news |last=Wright |first=Steve |author-link=CNN |date=9 June 1999 |title=Kwaito: South Africa's hip-hop? |work=CNN |url=http://edition.cnn.com/SHOWBIZ/Music/9906/09/kwaito.wb/ |url-status=dead |access-date=14 December 2023 |archive-url=https://web.archive.org/web/20110511033858/http://edition.cnn.com/SHOWBIZ/Music/9906/09/kwaito.wb/ |archive-date=11 May 2011}}</ref> === 1990s === {{See also|Eurodance|French House|ambient house|tech house}} In 1990, Italo house group Black Box's big hit "Everybody Everybody" reached US Billboard Hot 100.<ref>{{cite magazine|url=https://www.billboard.com/charts/year-end/1990/hot-100-songs|title=Hot 100 – Year-End 1990|magazine=Billboard| access-date=28 June 2022}}</ref> In Britain, further experiments in the genre boosted its appeal. House and rave clubs such as [[Lakota (club)|Lakota]] and [[Cream (nightclub)|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 (KLF album)|Chill Out]]'' and ''[[Analogue Bubblebath Vol I|Analogue Bubblebath]]'' by [[Aphex Twin]]. The [[Godskitchen]] superclub brand also began in the midst of the early 1990s rave scene. After initially hosting small nights in [[Cambridge]] and [[Northampton]], the associated events scaled up at the [[Sanctuary Music Arena]] in [[Milton Keynes]], in Birmingham, and in Leeds. A new indie dance scene also emerged in the 1990s. In New York, bands such as [[Deee-Lite]], with Bootsy Collins, furthered house's international influence. In England, one of the few licensed venues was [[The Eclipse (venue)|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. 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 "[[superclub]]s" 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]], [[DJ Irene]], and [[Richard "Humpty" Vission]], mixing elements of Chicago house, [[funky house]], and [[hard house]]. Additionally, producers such as George Centeno, Darren Ramirez, and Martin "Nemesis" 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. Towards the end of the 1990s and into the 2000s, French DJ/producers such as [[Daft Punk]], [[Bob Sinclar]], [[Stardust (band)|Stardust]], [[Cassius (band)|Cassius]], [[St. Germain (musician)|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. By using new digital production techniques blended with the retro sound of old-school analog synthesizers, they created a new sound and style that influenced house music around the world.<ref>{{Cite book|url=https://www.bloomsburypopularmusic.com/encyclopedia?docid=b-9781501326110|title=Bloomsbury Encyclopedia of Popular Music of the World: Genres: Europe|date=2017|publisher=Bloomsbury Publishing Plc|isbn=978-1-5013-2611-0|editor-last=Prato|editor-first=Paolo|doi=10.5040/9781501326110-0186|editor-last2=Horn|editor-first2=David}}</ref> [[Afro house]] (ostensibly or was also simply referred to as 'house' before being categorized or titled as an official sub-genre)<ref>{{Cite web |last=Haven |first=Simon |date=2024-10-11 |title=What is Afro House? Here's Everything You Need to Know (2025) |url=https://www.edmprod.com/what-is-afro-house/ |access-date=2025-03-10 |website=EDMProd |language=en-US}}</ref> was emerging in [[South Africa]], during or slightly before this period according to various natives especially due to seemingly the emergence simultaneously during or shortly after [[kwaito]] and was being popularized globally in various locations such as in the [[United States]].<ref name=":3">{{Cite web |last=Hewitt Guttridge |first=Martin |date=23 February 2023 |title=Gauteng style: a history of house music in South Africa |url=https://djmag.com/features/gauteng-style-history-house-music-south-africa |url-status=live |archive-url=https://web.archive.org/web/20230224175210/https://djmag.com/features/gauteng-style-history-house-music-south-africa |archive-date=24 February 2023 |access-date=14 December 2023 |website=DJ Mag}}</ref><ref>{{Cite news |last=Coetzee |first=Nikita |date=12 April 2023 |title=US DJ Louie Vega reflects on the evolution of SA house music and its influence on the world |work=News 24 |url=https://www.news24.com/life/arts-and-entertainment/music/us-dj-louie-vega-reflects-on-the-evolution-of-sa-house-music-and-its-influence-on-the-world-20230412 |url-status=live |access-date=14 December 2023 |archive-url=https://web.archive.org/web/20230412133349/https://www.news24.com/life/arts-and-entertainment/music/us-dj-louie-vega-reflects-on-the-evolution-of-sa-house-music-and-its-influence-on-the-world-20230412 |archive-date=12 April 2023}}</ref> Former, kwaito artists such as [[Oskido]] and [[DJ Tira]] are also associated with, the genre.<ref name=":3" /><ref>{{Cite web |last=Maneta |first=Rofhiwa |date=16 May 2018 |title=The oral history of Durban Kwaito Music |website=[[Red Bull]] |url=https://www.redbull.com/za-en/dj%20tira%20red%20bull%20culture%20clash%20preview |url-status=live |archive-url=https://web.archive.org/web/20211113075440/https://www.redbull.com/za-en/dj%20tira%20red%20bull%20culture%20clash%20preview |archive-date=13 November 2021 |access-date=14 December 2023}}</ref> ===2000s=== {{See also|Electroclash|electro house}} Chicago Mayor [[Richard M. Daley]] proclaimed 10 August 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.<ref>{{cite journal |date=3 August 2005 |title=Chicago Mayor Declares 'House Unity Day' |url=http://remixmag.com/transmissions/chicago-house-080405/ |journal=Remix |publisher=Penton Media, Inc. |archive-url=https://web.archive.org/web/20090917031408/http://remixmag.com/transmissions/chicago-house-080405/ |archive-date=17 September 2009}}</ref> 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 the emerging sound. In the mid-2000s, fusion genres such as [[electro house]] and [[fidget house]] emerged.{{Citation needed|date=December 2011}} 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]].{{Citation needed|date=February 2020}} [[Afro house]] increased in popularity in other regions such as [[London]] and the genre's solidified emergence accelerated, resulting in it becoming preeminent, it also appeared to have been attributed to "giving rise to" the [[UK funky]], scene.<ref name=":4">{{Cite web |last=Kidman |first=Jerome |author-link=Mixmag |date=28 February 2023 |title=Crossover and collectivity:Why London's house underground is evolving |url=https://mixmag.net/feature/london-afro-house-underground-movement-evolving-south-africa-amapiano-afro-tech-funky-interview |url-status=live |archive-url=https://web.archive.org/web/20230302232745/https://mixmag.net/feature/london-afro-house-underground-movement-evolving-south-africa-amapiano-afro-tech-funky-interview |archive-date=2 March 2023 |access-date=14 December 2023 |website=Mixmag}}</ref> ===2010s=== {{See also|Big room house|future house|Styles of house music#B|l3=bass house|tropical house}} [[File:Swedish House Mafia and Benny Benassi.jpg|thumb|[[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 pioneered the "Mainstage [[progressive house]]" genre 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 2012 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]]", "[[Wake Me Up (Avicii song)|Wake Me Up]]", "[[Addicted to You (Avicii song)|Addicted to You]]", "[[The Days (Avicii song)|The Days]]", "[[The Nights (Avicii song)|The Nights]]", "[[Levels (Avicii song)|Levels]]", "[[Waiting for Love (Avicii song)|Waiting for Love]]", [[Without You (Avicii song)|"Without You"]], and "[[I Could Be the One (Avicii and Nicky Romero song)|I Could Be the One]]" with [[Nicky Romero]]. Fellow Swedish DJ/artist [[Alesso]] collaborated with Calvin Harris, [[Usher (singer)|Usher]], and David Guetta.<ref name="HMV">{{cite news | title ="My album is coming in the first quarter of 2015..." – hmv.com talks to Alesso | publisher =[[HMV]] | date =18 November 2014 | url =http://www.hmv.com/music/-my-album-is-coming-in-the-first-quarter-hmv-com-talks-to-alesso | access-date =2 December 2014 | archive-date =24 November 2014 | archive-url =https://web.archive.org/web/20141124084108/http://www.hmv.com/music/-my-album-is-coming-in-the-first-quarter-hmv-com-talks-to-alesso | url-status =dead }}</ref> In France, [[Justice (band)|Justice]] blended garage and alternative rock influences into their pop-infused house tracks, creating a big and funky sound. During the 2010s, in the UK and in the US, 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.<ref>{{cite web|title=13 OF THE MOST INFLUENTIAL HOUSE LABELS OF THE LAST DECADE|url=https://mixmag.net/feature/most-influential-house-labels-of-the-last-decade/40/|publisher=mixmag|date=19 April 2017|access-date=11 January 2019|archive-date=16 January 2019|archive-url=https://web.archive.org/web/20190116200751/https://mixmag.net/feature/most-influential-house-labels-of-the-last-decade/40|url-status=live}}</ref> From the Netherlands coalesced the concept of "Dirty Dutch", an electro house subgenre characterized by abrasive lead synths and darker arpeggios, with prominent DJs being [[Chuckie (DJ)|Chuckie]], [[Hardwell]], [[Laidback Luke]], [[Afrojack]], [[R3hab]], [[Bingo Players]], [[Quintino (DJ)|Quintino]], and [[Alvaro (DJ)|Alvaro]]. Elsewhere, fusion genres derivative of 2000s progressive house returned, especially with the help of DJs/artists Calvin Harris, [[David Guetta]], [[Zedd]], [[Eric Prydz]], [[Mat Zo]], [[Above & Beyond (band)|Above & Beyond]], and [[Fonzerelli]] in Europe.<ref>{{Cite web |title=resources - Official Global DJ Rankings |url=https://djrankings.org/resources-216 |access-date=2024-12-22 |website=djrankings.org}}</ref> [[File:Avicii @ Inox Park Paris Chatou 2011 (cropped).jpg|thumb|200px|[[Avicii]] in 2011 in Paris]] [[Diplo]], a DJ/producer from [[Tupelo, Mississippi]], blended 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's "[[Sunshine (David Guetta and Avicii song)|Sunshine]]"<ref>{{cite web|title=David Guetta, Deadmau5 Get EDM Some Grammy Shine|url=http://www.mtv.com/news/1678979/david-guetta-deadmau5-grammy/|publisher=MTV|date=2 October 2012|access-date=21 October 2017|archive-date=21 October 2017|archive-url=https://web.archive.org/web/20171021005016/http://www.mtv.com/news/1678979/david-guetta-deadmau5-grammy/|url-status=dead}}</ref> and Axwell's remix of "[[In the Air (TV Rock song)|In The Air]]".<ref>{{cite web|title=Dirty South Teams Up With Axwell, Rudy For 'Dreams'|url=http://www.mtv.com/news/1660424/dirty-south-axwell-rudy-dreams/|publisher=MTV|date=22 March 2017|access-date=21 October 2017|archive-date=20 December 2017|archive-url=https://web.archive.org/web/20171220212915/http://www.mtv.com/news/1660424/dirty-south-axwell-rudy-dreams/|url-status=dead}}</ref><ref>{{cite web|title=Axwell's Iconic Remix Of "In The Air" Turns 8 Years Old|url=https://weraveyou.com/2017/06/axwell-in-the-air-8-years/|publisher=We Rave You|date=29 June 2017|access-date=21 October 2017|archive-date=21 October 2017|archive-url=https://web.archive.org/web/20171021164705/https://weraveyou.com/2017/06/axwell-in-the-air-8-years/|url-status=live}}</ref> [[Big room house]] became increasingly popular since 2010, through international dance music festivals such as [[Tomorrowland (festival)|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) (band)|f(x)]]'s single "[[4 Walls (song)|4 Walls]]" and [[SHINee]]'s title track, "[[Odd (Shinee album)|View]]". Later in the 2010s, a more traditional house sound came to the forefront of the mainstream in the UK, with Calvin Harris's singles "[[One Kiss (song)|One Kiss]]" and "[[Promises (Calvin Harris and Sam Smith song)|Promises]]", with the latter also incorporating elements of [[nu-disco]] and [[Italo house]]. These singles both went to No.1 in the UK.<ref>{{cite web|url=https://www.forbes.com/sites/hughmcintyre/2018/04/20/calvin-harris-and-dua-lipa-rocket-to-no-1-in-the-u-k-with-one-kiss/|title=Calvin Harris And Dua Lipa Rocket To No. 1 In The U.K. With 'One Kiss'|first=Hugh|last=McIntyre|website=Forbes|access-date=22 November 2019|archive-date=24 July 2019|archive-url=https://web.archive.org/web/20190724200454/https://www.forbes.com/sites/hughmcintyre/2018/04/20/calvin-harris-and-dua-lipa-rocket-to-no-1-in-the-u-k-with-one-kiss/|url-status=live}}</ref><ref>{{cite web|url=https://www.forbes.com/sites/hughmcintyre/2018/09/07/sam-smith-and-calvin-harris-grab-yet-another-no-1-hit-in-the-u-k-with-promises/|title=Sam Smith And Calvin Harris Grab Yet Another No. 1 Hit In The U.K. With 'Promises'|first=Hugh|last=McIntyre|website=Forbes|access-date=22 November 2019|archive-date=24 July 2019|archive-url=https://web.archive.org/web/20190724200500/https://www.forbes.com/sites/hughmcintyre/2018/09/07/sam-smith-and-calvin-harris-grab-yet-another-no-1-hit-in-the-u-k-with-promises/|url-status=live}}</ref> [[Gqom]] was developed from [[kwaito]] predominantly in [[Durban]], it was popularized globally as artists who popularized and pioneered the genre for instance [[Babes Wodumo]]<ref>{{Cite news |last=Live |first=Tshisa |date=5 October 2017 |title=Babes & Nasty C make MTV EMA's list |work=Times Live |url=https://www.timeslive.co.za/tshisa-live/tshisa-live/2017-10-05-babes-amp-nasty-c-make-mtv-emas-list/ |url-status=live |access-date=14 December 2023 |archive-url=https://web.archive.org/web/20171005110306/https://www.timeslive.co.za/tshisa-live/tshisa-live/2017-10-05-babes-amp-nasty-c-make-mtv-emas-list/ |archive-date=5 October 2017}}</ref> and [[Distruction Boyz]]<ref>{{Cite news |last=Zeeman |first=Kyle |date=5 October 2018 |title=Halala! Distruction Boyz & Shekhinah score nods at the MTV EMAs |work=Herald LIVE |url=https://www.heraldlive.co.za/lifestyle/leisure/2018-10-05-halala-distruction-boyz--shekhinah-score-nods-at-the-mtv-emas/ |url-status=live |access-date=14 December 2023 |archive-url=https://web.archive.org/web/20181006125008/https://www.heraldlive.co.za/lifestyle/leisure/2018-10-05-halala-distruction-boyz--shekhinah-score-nods-at-the-mtv-emas/ |archive-date=6 October 2018}}</ref> were nominated for the [[MTV Europe Music Award for Best African Act]], collaborated with [[Major Lazer]],<ref>{{Cite news |last=James |first=Justin Paul |author-link=East Coast Radio (South Africa) |date=20 October 2018 |title=Watch: Babes Wodumo features in hot new Major Lazer music video |work=East Coast Radio |url=https://www.ecr.co.za/shows/stacey-norman/watch-babes-wodumo-features-in-hot-new-major-lazer-music-video/ |url-status=live |access-date=14 December 2023 |archive-url=https://web.archive.org/web/20231207211433/https://www.ecr.co.za/shows/stacey-norman/watch-babes-wodumo-features-in-hot-new-major-lazer-music-video/ |archive-date=7 December 2023}}</ref> featured on the [[Black Panther (soundtrack)]]<ref>{{Cite news |last=Matangira |first=Lungelo |date=1 February 2018 |title=Babes Wodumo, Sjava featured on 'Black Panther' soundtrack album |work=EWN Eyewitness News |url=https://ewn.co.za/2018/02/01/babes-wodumo-sjava-featured-on-black-panther-soundtrack-album |url-status=live |access-date=14 December 2023 |archive-url=https://web.archive.org/web/20180202231101/https://ewn.co.za/2018/02/01/babes-wodumo-sjava-featured-on-black-panther-soundtrack-album |archive-date=2 February 2018}}</ref> and [[DJ Lag]] ,[[The Lion King: The Gift]], album.<ref>{{Cite news |last=Makhoba |first=Ntombizodwa |author-link=City Press (South Africa) |date=21 July 2019 |title=SA stars go big with Beyoncé |work=City Press |url=https://www.news24.com/citypress/trending/sa-stars-go-big-with-beyonce-20190721 |url-status=live |access-date=14 December 2023 |archive-url=https://web.archive.org/web/20231214071558/https://www.news24.com/citypress/trending/sa-stars-go-big-with-beyonce-20190721 |archive-date=14 December 2023}}</ref> [[Afro tech]]<ref name=":5">{{Cite web |last=Mohlomi |first=Setumo-Thebe |author-link=Mixmag |date=6 December 2023 |title=Journey music:South Africa's Afro Tech sound travels globally and transports spiritually |url=https://mixmag.net/feature/afrotech-afro-house-south-african-dance-music-amapiano-interview-scene-report |url-status=live |archive-url=https://web.archive.org/web/20231214001946/https://mixmag.net/feature/afrotech-afro-house-south-african-dance-music-amapiano-interview-scene-report |archive-date=14 December 2023 |access-date=14 December 2023 |website=Mixmag}}</ref> presumably began to initially emerge as artists like [[Black Coffee (DJ)|Black Coffee]] for example ostensibly started experimenting with what appeared to be a departed sound, similar to [[afro house]] however led by a more [[Techno|techno-like]] sound.<ref name=":6">{{Cite web |last=Rickinson |first=Steve |title=[Playlist] 5 defining Afro Tech summer sounds from Hï Ibiza |url=https://www.deephouseamsterdam.com/ibiza/5-afro-tech-sounds-hi-ibiza-playlist/ |url-status=live |archive-url=https://web.archive.org/web/20170923140810/https://www.deephouseamsterdam.com/ibiza/5-afro-tech-sounds-hi-ibiza-playlist/ |archive-date=23 September 2017 |access-date=14 December 2023 |website=DHA (Deep House Amsterdam)|date=20 September 2017 }}</ref> Moreover, seemingly definitely not conventional [[techno]] nor [[deep house]] such as demonstrated in the song "We Dance Again" featuring [[Nakhane]].<ref name=":6" /><ref>{{Cite web |last=Orlov |first=Piotr |author-link=NPR |date=2 September 2016 |title=Songs we love: Black Coffee, 'We Dance Again (feat. Nakhane Toure)' |url=https://www.npr.org/2016/09/02/492100974/songs-we-love-black-coffee-we-dance-again-feat-nakhane-toure |url-status=live |archive-url=https://web.archive.org/web/20160902190522/https://www.npr.org/2016/09/02/492100974/songs-we-love-black-coffee-we-dance-again-feat-nakhane-toure |archive-date=2 September 2016 |access-date=14 December 2023 |website=NPR (National Public Radio)}}</ref><ref>{{Cite web |last=Kriger |first=Themba |date=23 January 2018 |title=Explore Afro Tech with Punk Mbedzi in the mix |url=https://www.redbull.com/za-en/red-bull-studio-cape-town-guest-dj-mix-021-punk-mbedzi |url-status=live |archive-url=https://web.archive.org/web/20191205020444/https://www.redbull.com/za-en/red-bull-studio-cape-town-guest-dj-mix-021-punk-mbedzi |archive-date=5 December 2019 |access-date=14 December 2023 |website=Redbull}}</ref> The song won the Breakthrough of the Year award at the [[DJ Awards]].<ref>{{Cite news |last=Wire |first=RDM |date=30 September 2015 |title=DJ Black Coffee scores award in DJ capital of the world |work=Sowetan Live |url=https://www.sowetanlive.co.za/entertainment/2015-09-30-dj-black-coffee-scores-award-in-dj-capital-of-the-world/#google_vignette |url-status=live |access-date=14 December 2023 |archive-url=https://web.archive.org/web/20190214014410/https://www.sowetanlive.co.za/entertainment/2015-09-30-dj-black-coffee-scores-award-in-dj-capital-of-the-world/ |archive-date=14 February 2019}}</ref> The genre is both a sub-genre as well as fusion genre of afro house, there are also opinions that it is "still" [[afro house]].<ref name=":5" /><ref name=":4" /> ===2020s=== {{See also|Amapiano|Brazilian bass|slap house}} [[File:Drake_July_2016.jpg|thumb|right|160px|Drake (pictured in 2016) released a house album ''[[Honestly, Nevermind]]'' in 2022.]] In the late 2010s and early 2020s, exacerbated by the [[COVID-19 pandemic]],<ref>{{cite web | url=https://www.auxsons.com/en/focus/south-africa-amapiano-the-dance-soundtrack-to-covid/?doing_wp_cron=1656859951.4727449417114257812500 | title=South Africa: Amapiano, the dance soundtrack to Covid }}</ref><ref>{{cite web|last=Brown |first=Daryl |url=https://edition.cnn.com/2022/02/15/africa/amapiano-south-africa-music-genre-origins-spc-intl/index.html |title=Amapiano: How this South African sound has become one of the hottest new music genres|publisher=CNN |date=15 February 2022 |access-date=3 July 2022}}</ref> one of the South African offshoots of house music, called [[amapiano]], became popular first in [[South Africa]], and then later spread to London and elsewhere worldwide, largely due to online music distribution.<ref>{{cite web|url=https://www.zkhiphani.co.za/2019-the-year-of-the-yanos-how-amapiano-blow-up/|title=2019 The Year Of The Yanos, How Amapiano Blow up|last=Machaieie|first=Mario|date=21 October 2019|website=Online Youth Magazine {{!}} Zkhiphani.com|language=en-US|access-date=29 October 2019}}</ref> Amapiano draws heavily from earlier [[kwaito]] house music of South Africa and from jazz and [[chill-out]] music.<ref name="prspct1">{{cite web|url=https://www.prospect.zone/en/new-age-house-music-the-rise-of-amapiano/|title=New age house music: the rise of "amapiano"|last=Prspct|date=21 November 2018|language=en-US|access-date=29 October 2019|archive-date=4 March 2020|archive-url=https://web.archive.org/web/20200304172733/https://www.prospect.zone/en/new-age-house-music-the-rise-of-amapiano/|url-status=dead}}</ref> In 2022, the music portal Beatport added an "amapiano" genre to its catalogue.<ref>{{cite web | url=https://djmag.com/news/amapiano-added-genre-beatport#:~:text=Beatport%20has%20added%20amapiano%20to,own%20category%2C%20Beatport%20has%20announced. | title=Amapiano added as genre on Beatport | date=11 May 2022 }}</ref> During the late 2010s and early 2020s and partially due to [[YouTube]] music channels, closely related house subgenres [[Brazilian bass]] and [[slap house]] became popular worldwide, drawing from deep house and menacing basslines of [[tech house]].<ref>{{cite web|author=admin |url=https://www.melodicnation.co.uk/the-rise-of-slap-house/ |title=The rise of slap house |publisher=Melodicnation.co.uk |date= 8 July 2020|accessdate=3 July 2022}}</ref><ref>{{cite web | url=https://playbpm.com.br/colunas/play-bpm-ensina/entenda-slap-house/ | title=Como surgiu o Slap House? Entenda melhor a vertente }}</ref> [[Fred Again]], United Kingdom-born DJ, released a song in 2021 called [[Marea (We've Lost Dancing)]] about the pandemic. He wrote this song to express his sadness about losing the house music scene including clubs, music festivals, and being able to dance with one another. This is another example of how COVID-19 affected the house music scene.<ref>{{Cite web |title=Fred again.. samples The Blessed Madonna voicemail on track lamenting the loss of club culture |url=https://dmy.co/new-music/the-blessed-madonna-fred-again-marea-weve-lost-dancing |access-date=19 October 2023 |website=dmy.co |language=en-GB}}</ref> In 2019, the [[DJ Awards]] introduced an additional new Afro house category. [[Da Capo (record producer)|Da Capo]] won the award.<ref>{{Cite news |last=Moloto |first=Mpho |date=17 September 2019 |title=Da Capo voted the best Afro-house DJ |work=Citizen |url=https://www.citizen.co.za/rosebank-killarney-gazette/news-headlines/2019/09/17/da-capo-voted-best-afro-house-dj/ |url-status=live |access-date=14 December 2023 |archive-url=https://web.archive.org/web/20231214022504/https://www.citizen.co.za/rosebank-killarney-gazette/news-headlines/2019/09/17/da-capo-voted-best-afro-house-dj/ |archive-date=14 December 2023}}</ref> In 2020, American singer [[Lady Gaga]] released ''[[Chromatica]]'', which was her return to her dance roots towards deep house, French house, electro house, and [[Disco House|disco house]].<ref>{{Cite magazine |last=Spanos |first=Brittany |date=30 May 2020 |title=Welcome to 'Chromatica': Inside Lady Gaga's Triumphant Dance Floor Return |url=https://www.rollingstone.com/music/music-features/lady-gaga-chromatica-making-of-bloodpop-axwell-1007139/ |access-date=12 December 2022 |magazine=Rolling Stone |language=en-US}}</ref><ref>{{Cite web |last=Alessandra Armano |date=27 May 2020 |title=Was Lady Gaga Inspired by House Music on Her New Album 'Chromatica'? |url=https://www.houseoffrankie.com/was-lady-gaga-inspired-by-house-music-on-her-new-album-chromatica/ |access-date=12 December 2022 |website=HOUSE of Frankie |language=en-GB |archive-date=12 December 2022 |archive-url=https://web.archive.org/web/20221212110314/https://www.houseoffrankie.com/was-lady-gaga-inspired-by-house-music-on-her-new-album-chromatica/ |url-status=dead }}</ref> In 2022, Canadian rapper [[Drake (musician)|Drake]] released ''[[Honestly, Nevermind]]'', which was a departure from his signature hip hop, [[Rhythm and blues|R&B]], and [[trap music]] sound, and moved towards house music and its derivativates: [[Jersey club]],<ref>{{cite web|url=https://pitchfork.com/reviews/albums/drake-honestly-nevermind/ |title=Drake: Honestly, Nevermind Album Review |publisher=Pitchfork |date=22 June 2022 |accessdate=3 July 2022}}</ref><ref>{{cite web|last=Joshi|first=Tara|date=17 June 2022|title=Drake's Honestly, Nevermind: best served tepid|url=https://www.newstatesman.com/culture/music/2022/06/drake-honestly-nevermind-review-tepid-poolside-dance-tracks|website=New Statesman|access-date=17 June 2022|archive-date=17 June 2022|archive-url=https://web.archive.org/web/20220617160421/https://www.newstatesman.com/culture/music/2022/06/drake-honestly-nevermind-review-tepid-poolside-dance-tracks|url-status=live}}</ref> and [[Ball culture#Music|ballroom]].<ref name="TNYT Review">{{Cite news |last=Caramanica |first=Jon |author-link=Jon Caramanica |date=19 June 2022 |title=Drake Rebuilt Hip-Hop in His Image. Now He Wants You to Dance. |language=en-US |work=The New York Times |url=https://www.nytimes.com/2022/06/19/arts/music/drake-honestly-nevermind-review.html |access-date=20 June 2022 |issn=0362-4331 |archive-date=20 June 2022 |archive-url=https://web.archive.org/web/20220620002516/https://www.nytimes.com/2022/06/19/arts/music/drake-honestly-nevermind-review.html |url-status=live }}</ref> South African, artist [[Black Coffee (DJ)|Black Coffee]] and German music producers, collective [[Keinemusik|Keinemusik(Crue/Kloud)]] were amongst the list of co-producers on the album.<ref>{{Cite web |last=Coney |first=Brian |author-link=DJ Mag |date=17 June 2022 |title=Black Coffee and Gordo co-produce tracks on Drake's surprise new album, 'Honestly, Nevermind': Listen |url=https://djmag.com/news/black-coffee-and-gordo-co-produce-tracks-drakes-surprise-new-album-honestly-nevermind-listen |url-status=live |archive-url=https://web.archive.org/web/20220617154842/https://djmag.com/news/black-coffee-and-gordo-co-produce-tracks-drakes-surprise-new-album-honestly-nevermind-listen |archive-date=17 June 2022 |access-date=14 December 2023 |website=DJ Mag}}</ref> American singer [[Beyoncé]]'s album ''[[Renaissance (Beyoncé album)|Renaissance]]'', also released in 2022, incorporated ballroom house and gqom.<ref>{{Cite news |last=Joshi |first=Tara |date=28 July 2022 |title=Beyoncé: Renaissance review – joyous soundtrack to a hot girl summer |url=https://www.theguardian.com/music/2022/jul/29/beyonce-renaissance-review-joyous-soundtrack-to-a-hot-girl-summer |access-date=22 May 2024 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref>
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