Chicago house refers to house music produced during the mid to late 1980s within Chicago . The term is generally used to refer to the original house music DJs and producers from the area, such as Ron Hardy and Phuture .
83-800: Following Chicago's Disco Demolition Night in mid-1979, disco music's mainstream popularity fell into decline. In the early 1980s, fewer and fewer disco records were being released, but the genre remained popular in some Chicago nightclubs and on at least one radio station, WBMX-FM . In this era, Chicago radio jocks The Hot Mix 5 , and club DJs Ron Hardy and Frankie Knuckles played various styles of dance music, including older disco records, newer Italo disco , electro , EBM tracks, B-boy hip hop music by Man Parrish , Jellybean Benitez , Arthur Baker and John Robie as well as electronic pop music by Kraftwerk , Telex and Yellow Magic Orchestra . Some of these DJs also made and played their own edits of their favorite songs on reel-to-reel tape, focusing on
166-591: A Roland TB-303 bass synthesizer . In a 2010 interview, Saunders claimed the song sought to capture the essence of the style of disco that other local DJs were playing at the time, a style he says was already known locally as "house". Saunders' success with the relatively unpolished "On & On" inspired other Chicago DJs to try their hand at producing and releasing original songs in a similar style, using electronic instrumentation. Early such recordings included Jamie Principle 's and Frankie Knuckles' " Your Love " (1986); and Chip E. 's "Jack Trax" record (1985), featuring
249-558: A parody of Rod Stewart 's disco-oriented hit " Da Ya Think I'm Sexy? ". The song characterized discotheques as populated by effeminate men and frigid women. The protagonist, named Tony after Travolta's character in Saturday Night Fever , is unable to attract a woman until he abandons the disco scene, selling his white three-piece suit at a garage sale and melting down his gold chains for a Led Zeppelin belt buckle. A number of anti-disco incidents took place elsewhere in
332-535: A "diabolical thump-and-shriek". Others hated it for the associated scene, with its emphasis on personal appearance and style of dress. The media emphasized its roots in gay culture. According to historian Gillian Frank, "by the time of the Disco Demolition in Comiskey Park, the media ... cultivated a widespread perception that disco was taking over". Performers who cultivated a gay image, such as
415-475: A 2004 interview that by 1979 disco was "probably on its way out. But I think Disco Demolition Night hastened its demise." According to Frank, "the Disco Demolition triggered a nationwide expression of anger against disco that caused disco to recede quickly from the American cultural landscape". Episode 3 of the 2024 PBS series Disco: Soundtrack of a Revolution notes that disco's popularity had already entered
498-528: A DJ Saved My Life also looked at the rise of the house scene in Chicago. Through showing Frankie Knuckles club, it gave a look at the club scene that was taking place and the energetic, sweaty, drug-fueled parties that house embodied. "House was a feeling, a rebellious musical taste, a way of declaring yourself in the know," (Broughton 242). At least three styles of dancing are associated with house music: Jacking , Footwork , and Lofting. These styles include
581-525: A WDAI promotional van at a shopping mall where a teen disco had been built. The Cohos chased the van and driver and cornered them in a park, though the situation ended without violence. On July 1, a near-riot occurred in Hanover Park, Illinois , when hundreds of Cohos could not enter a sold-out promotional event, and fights broke out. Some 50 police officers were needed to control the situation. When disco star Van McCoy died suddenly on July 6, Dahl marked
664-463: A bat from the dugout. As Bill Veeck stood with a microphone near where home plate had been, begging people to return to the stands, a bonfire raged in center field. Years later, Lorelei remembered that she had been waving to the crowd when she was grabbed by two of the bodyguards who had accompanied the Jeep, who placed her back in the vehicle. The party was unable to return to home plate because of
747-484: A capacity of 44,492. The White Sox were not having a good year, and were 40–46 going into the July ;12 doubleheader. The White Sox and WLUP hoped for a crowd of 20,000, and Mike Veeck hired enough security for 35,000. Owner Bill Veeck was concerned the promotion might become a disaster and checked himself out of the hospital, where he had been undergoing tests. His fears were substantiated when he saw
830-590: A collaboration with Steve "Silk" Hurley , the classic "You're All I Waited For" on the Smash Records label, or with CeCe Peniston 's song " I'm Not Over You " (#2 in US Dance , #10 in US R&;B ) that he would co-write. Principle's 1984 song " Your Love " is recognised as one of the first house songs. Its lyrics come from a poem that Principle wrote for his girlfriend at the time, Lisa Harris. Jamie added
913-400: A crowd of 20,000, about 5,000 more than usual. Instead, at least 50,000—including tens of thousands of Dahl's listeners—packed the stadium, and thousands more continued to sneak in after capacity was reached and gates were closed. Many of the records were not collected by staff and were thrown like flying discs from the stands. After Dahl blew up the collected records, thousands of fans stormed
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#1732782393242996-606: A dance album titled The Midnite Hour . In 2004, Principle hit #1 on the US Dance Chart with "Back N Da Day", an acknowledged collaboration with Knuckles. Principle was featured on "Sex Murder Party" from Gorillaz ' 2017 album Humanz . He also features alongside Snoop Dogg on the Gorillaz song "Hollywood" on 2018's The Now Now . Principle is featured in Episode 3 of the 2024 PBS series Disco: Soundtrack of
1079-410: A general decline due in part to the public's negative perception of the scene's elitism and excesses, with many radio stations in the process of changing back from a Disco to a Rock format. Rolling Stone critic Dave Marsh described Disco Demolition Night as "your most paranoid fantasy about where the ethnic cleansing of the rock radio could ultimately lead". Marsh was one who, at the time, deemed
1162-420: A larger venue. The matter had also been brought up early in the 1979 season when Schwartz told Mike Veeck of Dahl and his plans to blow up a crate of disco records while live on the air from a shopping mall. Dahl was asked if he would be interested in blowing up records at Comiskey Park on July 12. Since the radio frequency of WLUP was 97.9, the promotion for July 12, "Disco Demolition Night" (in addition to
1245-525: A major hit overseas is " Love Can't Turn Around " by Farley "Jackmaster" Funk and Jesse Saunders featuring Darryl Pandy , which peaked at #10 in the UK Singles Chart in 1986. At the same time as house was becoming big in Chicago , other related genres were forming in other major U.S. cities. Simon Reynolds ' A Tale of Three Cities (the first chapter of his book Energy Flash ) looked at
1328-454: A mock organization, the "Insane Coho Lips", an anti-disco army consisting of his listeners. According to Andy Behrens of ESPN , Dahl and his broadcast partner Garry Meier "organized the Cohos around a simple and surprisingly powerful idea: Disco Sucks". According to Dahl, in 1979, the Cohos were locked in a war "dedicated to the eradication of the dreaded musical disease known as DISCO". In
1411-412: A pastiche of loops from several electronic disco records, particularly the bassline from Player One's " Space Invaders " (1979), had been Saunders' "signature" tune as a DJ; it was one that other DJs in the city did not play. Saunders and Lawrence added hypnotic lyrics and electronic instruments, utilizing a Roland TR-808 drum machine as electronic percussion as well as a Korg Poly-61 synthesizer and
1494-407: A variety of techniques and sub-styles, including skating, stomping, and shuffle steps (also see Melbourne Shuffle ). House music dancing styles can include movements from many other forms of dance, such as and slamdancing , waacking , voguing , African, Latin, Brazilian (including Capoeira ), jazz dance , Lindy Hop , tap dance , modern dance . House dancing is concerned with the sensuality of
1577-428: Is largely derived from house. It has influenced, in some capacity, Garage house , Jungle music , Eurodance , Electropop , Dubstep , and even certain elements of Alternative rock and Hip hop . More direct offshoots of house (e.g. Acid house ) are also notable for their own offshoots that extend the Chicago variant's family tree. House also partakes in aspects of the musical traditions of other sounds. Most notable
1660-473: Is the influence it takes from disco—genre progenitor Frankie Knuckles was himself a relocated New York Disco DJ. In many senses, house was a low-budget re-creation of disco, using synthesizers, sequencers, and samplers in the stead of orchestras and live performers. Disco also participated, to a less notable extent, in the soundsystem culture of typically Caribbean forms of dance music. General: Disco Demolition Night Disco Demolition Night
1743-648: The Village People (described by Rolling Stone as "the face of disco"), did nothing to efface these perceptions, and fears that rock music would die out increased after disco albums dominated the 21st Grammy Awards in February 1979. In 1978 WKTU (now WINS-FM ) in New York, a low-rated rock station, switched to disco and became the most popular station in the country; this led other stations to try to emulate its success. In Chicago, 24-year-old Steve Dahl
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#17327823932421826-418: The torso forward and backward in a rippling motion matching to the beat of the music, as if a wave were passing through it. All footwork in house dancing is said to initiate from the way the jack moves the center of gravity through space. House, perhaps more than any other form of Black music, has birthed many offshoots and spread its sound far and wide. The prevalence of four on the floor beats in dance music
1909-483: The 1940s, Chicago White Sox owner Bill Veeck had been noted for using promotions to increase fan interest; he stated "you can draw more people with a losing team plus bread and circuses than with a losing team and a long, still silence". His son, Mike Veeck , was the promotions director for the White Sox in 1979. Mike wrote in a letter to a fan before the season that team management intended to make sure that whether
1992-520: The Sunshine Band , did not believe Disco Demolition Night was discriminatory and felt that Dahl was simply an "idiot". University of East London professor Tim Lawrence wrote that the event was the culmination of the overproduction of disco, the investment by major record companies in music their heterosexual white executives did not like, and the "disco sucks" campaign, which he argued was homophobic, sexist and racist. Dahl denies that prejudice
2075-529: The TB-303 in the house music context. 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. The track also utilized a Roland TR-707 drum machine. Chicago house music was being licensed to UK Labels by DJ International, Trax, KMS and
2158-582: The Transmat record labels, and with that the music began to expand throughout Europe. Especially the "Jack Trax" compilations, starting in 1987, helped to make rare house records from the U.S. available cheaply in Europe. Several house tracks became #1 hits on the UK Singles Chart , starting with Chicago musician Steve "Silk" Hurley 's "Jack Your Body" (1987). The first house record considered to be
2241-450: The UK do, but others don’t. Part of it is that Chicago was never an industry town, and New York always likes to claim they did it first." In 1984, Saunders' label released, on 12-inch single, a song called "On and On". Saunders composed the track with Vince Lawrence to replace a record that had been stolen from Saunders' collection, the "On & On" bootleg disco megamix by Mach. That megamix,
2324-413: The White Sox had failed to provide acceptable playing conditions. The day after the event, Dahl began his regular morning broadcast by reading the indignant headlines in the local papers. He mocked the coverage, saying: "I think for the most part everything was wonderful. Some maniac Cohos got wild, went down on the field. Which you shouldn't have done. Bad little Cohos." Tigers manager Anderson said of
2407-402: The White Sox won or lost, the fans would have fun. Early in the 1979 season , a game between the White Sox and the visiting Tigers scheduled for Wednesday, May 2, was rained out. Officials rescheduled it as part of a twi-night doubleheader on Thursday, July 12. Already scheduled for the evening of July 12 was a promotion aimed at teenagers, who could purchase tickets at half
2490-459: The White Sox, seeking to fill seats at Comiskey Park during a lackluster season, engaged Chicago shock jock and anti-disco campaigner Steve Dahl for the promotion at the July 12 doubleheader. Dahl's sponsoring radio station was WLUP (97.9 FM, now WCKL ), so admission was discounted to 98 cents for attendees who turned in a disco record; between games, Dahl was to destroy the collected vinyl in an explosion. White Sox officials had hoped for
2573-436: The age of 15, described the fear that white neighborhoods would be taken over by blacks and the anxiety around shifting pop culture trends. He wrote: The chance to yell "disco sucks" meant more than simply a musical style choice. It was a chance to push back on a whole set of social dynamics that lay just beneath the surface of a minor battle between a DJ and a radio station that decided to change formats. More importantly, it
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2656-504: The attendees, "This is the Woodstock they never had." The odor permeated the press box, which Caray and his broadcast partner, Jimmy Piersall , commented on over the air. The crowds outside the stadium also threw records, or gathered them and burned them in bonfires. Detroit won the first game, 4–1. At 8:40, Dahl, dressed in army fatigues and a helmet, emerged onto the playing surface together with Meier and Lorelei. They circled
2739-519: The body and setting oneself free in ecstasy — without the worry of outside barriers. One of the primary elements in house dancing is "the jack" or " jacking " — a style created in the early days of Chicago house that left its trace in numerous record titles such as "Time to Jack" by Chip E. from the "Jack Trax" EP (1985), "Jack’n the House" (1985) by Farley "Jackmaster" Funk (1985) or " Jack Your Body " by Steve "Silk" Hurley (1986). It involves moving
2822-435: The conservative Republican nominee Ronald Reagan in the general election, both times opposing President Jimmy Carter . Zeitz argued: "Viewed in this light, Disco Demolition Night supports an altogether different interpretation of the 1970s as a decade that saw ordinary Americans gravitate to radical grassroots alternatives, both left and right, out of frustration with the political center." The unplayed second game remains
2905-418: The disco records you brought tonight, we got 'em in a giant box, and we're gonna blow 'em up reeeeeeal goooood . Dahl set off the explosives, destroying the records and tearing a large hole in the outfield grass. With most of the security personnel still watching the gates per Mike Veeck 's orders, there was almost no one guarding the playing surface. Soon, the first of 5,000 to 7,000 attendees rushed onto
2988-402: The disco-era band Chic , likened the event to Nazi book burning . Gloria Gaynor , who had a huge disco hit with " I Will Survive ", stated, "I've always believed it was an economic decision—an idea created by someone whose economic bottom line was being adversely affected by the popularity of disco music. So they got a mob mentality going." Harry Wayne Casey , singer for the disco act KC and
3071-600: The emergence of techno in Detroit, house in Chicago, and garage in New York City and the reasons why the cultures took off like they did. Detroit was a unique urban area where industrial jobs had placed blacks and whites in the same economic situations, and this led to the Europhilia of these black youths and popularity of techno music. It was an attempt "to distance themselves from the kids that were coming up in
3154-428: The entirety of his work. Jamie's eclectic style reflects a fusion of influences, showcasing his ability to transcend traditional genre boundaries. Jamie Principle was a pioneer of house music when the genre began in born in Chicago in the early 1980s. "Jamie Principle got us all into the music," Marshall Jefferson told i-D in 1986. "He was the first one to record house and get played by Frankie Knuckles , but by
3237-493: The event an expression of bigotry , writing in a year-end 1979 feature that "white males, eighteen to thirty-four are the most likely to see disco as the product of homosexuals, blacks, and Latins, and therefore they're the most likely to respond to appeals to wipe out such threats to their security. It goes almost without saying that such appeals are racist and sexist, but broadcasting has never been an especially civil-libertarian medium." Nile Rodgers , producer and guitarist for
3320-495: The event range from none to over thirty. Veeck wanted the teams to play the second game once order was restored. However, the field was so badly torn up that umpiring crew chief Dave Phillips felt that it was still not playable, even after White Sox groundskeepers spent an hour clearing away debris. Tigers manager Sparky Anderson refused to allow his players to take the field in any event due to safety concerns. Phillips called American League president Lee MacPhail , who postponed
3403-573: The events: "Beer and baseball go together, they have for years. But I think those kids were doing things other than beer." Columnist David Israel of the Chicago Tribune said on July 12 that he was not surprised by the events, writing: "It would have happened any place 50,000 teenagers got together on a sultry summer night with beer and reefer." White Sox pitcher Rich Wortham , a Texan, said: "This wouldn't have happened if they had country and western night." Although Bill Veeck took much of
Chicago house - Misplaced Pages Continue
3486-576: The field after the detonation. The playing field was so damaged by the explosion and by the rioters that the White Sox were required to forfeit the second game to the Tigers. In the late 1970s, dance-oriented disco was the most popular music genre in the United States, particularly after being featured in hit films such as Saturday Night Fever (1977). However, disco sparked a major backlash from rock music fans—an opposition prominent enough that
3569-443: The field , causing Kravec to flee the mound and join his teammates in a barricaded clubhouse. Some climbed the foul poles, while others set records on fire or ripped up the grass. The batting cage was destroyed, and the bases were pulled up and stolen. Among those taking to the field was 21-year-old aspiring actor Michael Clarke Duncan ; during the melee, Duncan slid into third base, had a silver belt buckle stolen, and went home with
3652-465: The field and remained there until dispersed by riot police. The second game was initially postponed, but was forfeited to the Tigers the next day by order of American League president Lee MacPhail . Disco Demolition Night preceded, and may have helped precipitate, the decline of disco in late 1979; some scholars and disco artists have debated whether the event was expressive of racism and homophobia . Disco Demolition Night remains well known as one of
3735-418: The field in a Jeep , showered (according to Dahl, lovingly) by his troops with firecrackers and beer, then proceeded to center field where the box containing the records awaited, rigged with explosives. Dahl and Meier warmed up the crowd, leading attendees in a chant of "disco sucks." Lorelei recalled that the view from center field was surreal. On the mound , White Sox pitcher Ken Kravec , scheduled to start
3818-491: The field unattended, and fans began throwing the uncollected disco LPs and singles from the stands. Tigers designated hitter Rusty Staub remembered that the records would slice through the air, and land sticking out of the ground. He urged teammates to wear batting helmets when playing their positions, "It wasn't just one, it was many. Oh, God almighty, I've never seen anything so dangerous in my life." Attendees also threw firecrackers, empty liquor bottles, and lighters onto
3901-417: The field. The game was stopped several times because of the rain of foreign objects. Dozens of hand-painted banners with such slogans as "Disco sucks" were hung from the ballpark's seating decks. White Sox broadcaster Harry Caray saw groups of music fans wandering the stands. Others sat intently in their seats, awaiting the explosion. Mike Veeck recalled an odor of marijuana in the grandstand and said of
3984-462: The first half of 1979, showing that "the Disco Demolition was not an isolated incident or an aberration." In Seattle , hundreds of rock fans attacked a mobile dance floor, while in Portland, Oregon , a disc jockey destroyed a stack of disco records with a chainsaw as thousands cheered. In New York, a rock DJ played Donna Summer 's disco hit " Hot Stuff " and received protests from listeners. Since
4067-491: The hit movie Saturday Night Fever in 1977, whose star ( John Travolta ) and musical performers (the Bee Gees ) presented a heterosexual image, helped popularize disco in the United States. As Al Coury , president of RSO Records (which had released the bestselling soundtrack album for the film) put it, Saturday Night Fever "took disco out of the closet ". Some felt disco was too mechanical; Time magazine deemed it
4150-599: The labels DJ International Records and Trax Records , both of which had distribution outside of Chicago, leading to house's popularity in other cities, including New York and London. Trends in house music soon became subgenres, such as the lush, slower-tempo deep house , and the stark, especially hypnotic acid house . Deep house's origins can be traced to Chicago producer Mr Fingers 's jazzy, soulful recordings " Mystery of Love " (1985) and " Can You Feel It? " (1986), which, according to author Richie Unterberger, moved house music away from its " posthuman tendencies back towards
4233-562: The last American League game to be forfeited. The last National League game to be forfeited was on August 10, 1995, when a baseball giveaway promotion at Dodger Stadium went awry, forcing the Los Angeles Dodgers to concede the game to the St. Louis Cardinals . According to baseball analyst Jeremiah Graves, "To this day Disco Demolition Night stands in infamy as one of the most ill-advised promotions of all time, but arguably one of
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#17327823932424316-413: The lush" soulful sound of early disco music. Acid house arose from Chicago artists' experiments with the squelchy Roland TB-303 bass synthesizer , and the style's earliest release 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
4399-410: The major record distributors. In Chicago, only record stores such as Importes Etc., State Street Records, JR's Music shop and Gramaphone Records were the primary suppliers of this music. Despite the music's limited commercial availability, house records sold in the tens of thousands, and the music was further popularized via radio station 102.7 WBMX-FM , where Program Director Lee Michaels gave airtime to
4482-554: The most extreme promotions in MLB history. Disco evolved in the late 1960s in inner-city New York City nightclubs , where disc jockeys played imported dance music . Although its roots were in African-American and Latin American music, and in gay culture , it eventually became mainstream; even white artists better known for more sedate music had disco-influenced hits, such as Barry Manilow 's " Copacabana ". The release of
4565-445: The most successful as 30 years later we're all still talking about it." Game 2 forfeited to Detroit, 9–0. Jamie Principle Jamie Principle (born July 5, 1960) is a versatile music artist and producer born in Chicago , Illinois , with a diverse range of genres, including new wave, post-punk, electronica, and R&B. While house music house music is one facet of his artistic repertoire, it does not encompass
4648-472: The most, as the template for house music. Precursors include electro songs " Planet Rock ," " Let the Music Play ," Italo-disco (e.g. Klein + M.B.O. ), on one hand; EBM ( Liaisons Dangereuses ; Deutsch Amerikanische Freundschaft on acid house ) on another. What we did was gather all the right ingredients. — Jesse Saunders On the history, Farley "Jackmaster" Funk says " Jesse Saunders
4731-413: The music and recorded the song at home on his four-track recorder. A friend, Jose Gomez, recorded the song on tape and gave a copy to DJ Frankie Knuckles . Knuckles liked the song and played it regularly at the Chicago dance club The Power Plant. It was a sensation in the city's underground clubs for over a year before being released on Persona Records as a 12" single. Its success before an official release
4814-418: The occasion by destroying one of his records, " The Hustle ", on the air. Do ya think I'm disco Cuz I spend so much time Blow drying out my hair? Do ya think I'm disco Cuz I know the dance steps Learned them all at Fred Astaire ? —Steve Dahl, "Do You Think I'm Disco?" (1979) Dahl and Meier regularly mocked disco records on the radio. Dahl also recorded his own song, "Do Ya Think I'm Disco?",
4897-494: The offer for teenagers) was that anyone who brought a disco record to the ballpark would be admitted for 98 cents. Dahl was to blow up the collected records between games of the doubleheader. In the weeks before the event, Dahl invited his listeners to bring records they wanted to see destroyed to Comiskey Park. He feared that the promotion would fail to draw people to the ballpark and that he would be humiliated. The previous night's attendance had been 15,520, and Comiskey Park had
4980-668: The outfield wall, I knew my life was over!" Mike Veeck has since become the owner of minor league baseball teams. In July 2014, the Charleston RiverDogs , of whom Veeck is president, held a promotion involving the destruction of Justin Bieber and Miley Cyrus merchandise. Dahl is still a radio personality in Chicago and also releases podcasts . The popularity of disco declined significantly in late 1979 and 1980. Many disco artists carried on, but record companies began labeling their recordings as dance music. Dahl stated in
5063-500: The park—easily the largest crowd of his second stint as White Sox owner. The Chicago Police Department closed off-ramps from the Dan Ryan Expressway near the stadium. Attendees were supposed to deposit their records into a large box, some 4 by 6 by 5 feet (1.2 by 1.8 by 1.5 m) tall; once the box was overflowing, many people brought their discs to their seats. The first game was to begin at 6:00 pm CDT , with
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#17327823932425146-543: The past disco culture in New York City. Both genres originated catering to very specific subcultures and when the popularity grew it changed the whole scene. The posting of 'no jits' signs was "to make them feel unwanted. And that was when the scene started to self-destruct." However, even though there are definitely parallels between house and disco clubs, this seemed more like a reversal of roles. The more elitist house listeners did not want to dilute their clubs and culture. Pages 230-248 of Brewster & Broughton's Last Night
5229-403: The people walking towards the ballpark that afternoon; many carried signs that described disco in profane terms. The doubleheader sold out, leaving at least 20,000 people outside the ballpark. Some leapt turnstiles , climbed fences, and entered through open windows. The attendance was officially reported as 47,795, though Bill Veeck estimated that there were anywhere from 50,000 to 55,000 in
5312-541: The portions of songs which worked well on the dancefloor. Some even mixed in effects, drum machines , and other rhythmic electronic instrumentation in an effort to give songs more appeal. These edits and remixes were rarely released to the public, and even then were available only on privately pressed vinyl records or on mixtapes . The early house music sound was a "dialogue" between Hispanic , and Black American post-disco and European post-punk electronic music and their traditions with Italo-disco picked or, emulated
5395-409: The projects, in the ghetto." (Reynolds, p. 5) Chicago house aesthetic shared its look with other outsider hip hop and punk subcultures; however, the "indisputable sign of house-ness" came to be a "Ralph Lauren preppie meets English country gentleman style, with cardigans, woolen jodhpurs and riding boots." When these house clubs and parties started to appeal to a wider audience, it was similar to
5478-543: The public criticism for the fiasco, his son Mike Veeck suffered repercussions as the front-office promoter. Mike remained with the White Sox until late 1980 when he resigned; his father sold the team to Jerry Reinsdorf soon afterward. He was unable to find another job in baseball for some time and claimed that he had been blackballed . For several years, he worked for a jai-alai fronton in Florida, battling alcoholism. As Mike said: "The second that first guy shimmied down
5561-461: The regular price. The White Sox had a "Disco Night" at Comiskey Park in 1977 ; At a WLUP Promotion Meeting, Schwartz mentioned that the White Sox were looking to do a promotion with the station. The station had already done two successful events at local Chicago-area nightclubs with overflow crowds. When Schwartz mentioned the White Sox were looking for a promotion, Promotion Director Dave Logan suggested it might be time to take Steve Dahl's event to
5644-459: The rowdy fans, so the Jeep was driven out of the stadium and through the surrounding streets, to the delight of the many Cohos outside the stadium, who recognized the occupants. They were driven to the front of the stadium, ushered back inside, and taken up to the press room where they had spent most of the first game. Caray unsuccessfully attempted to restore order via the public address system. The scoreboard, flashing "PLEASE RETURN TO YOUR SEATS",
5727-451: The second game to Sunday after hearing a report on conditions. Anderson, however, demanded that the game be forfeited to the Tigers. He argued that under baseball's rules, a game can only be postponed due to an act of God , and that, as the home team, the White Sox were responsible for field conditions. The next day, MacPhail forfeited the second game to the Tigers 9–0. In a ruling that largely upheld Anderson's arguments, MacPhail stated that
5810-423: The second game to follow. Lorelei, a model who did public appearances for WLUP and who was popular in Chicago that summer for her sexually provocative poses in the station's advertisements, threw out the first pitch . As the first game began, Mike Veeck received word that thousands of people were trying to get into the park without tickets and sent his security personnel to the stadium gates to stop them. This left
5893-430: The second game, began to warm up. Other White Sox, in the dugout and wearing batting helmets , looked out upon the scene. Fans who felt events were getting out of control and who wished to leave the ballpark had difficulty doing so; in an effort to deny the intruders entry, security had padlocked all but one gate. Dahl told the crowd: This is now officially the world's largest anti-disco rally! Now listen—we took all
5976-659: The songs "It's House" and "Time to Jack", each of which used complex rhythms, simple bassline, sampling technology, and sparse vocals. These producers were aided in their efforts by the availability of affordable, mass-produced electronic music instruments, especially those from the Japanese Roland Corporation , including the TR-909 , TR-808 and TR-707 drum machines, TR-727 Latin percussion machine, Juno synthesizers, TB-303 bass module, and compact sequencers. Although there are conflicting accounts of
6059-497: The station's resident DJ team, the Hot Mix 5 ( Ralphi Rosario , Mickey "Mixin" Oliver, Scott "Smokin" Silz, Kenny "Jammin" Jason, and Farley "Jackmaster" Funk). The Hot Mix 5 shows started with the station's launch in 1981, and was widely listened to by DJs and dance music fans in Chicago as well as visiting DJs and producers from Detroit. Many of the songs that defined the Chicago house music sound were released primarily on vinyl by
6142-406: The term's etymology , by 1985, "house music" was synonymous with these homegrown dance music productions. As with other dance music, DJs and local club-goers were the primary audience for this relatively noncommercial music, which was more conceptual and longer than the music usually played on commercial radio. Mainstream record stores often did not carry it, as the records were not available through
6225-492: The time he got a record out (over three years ago) everyone had ripped off all his ideas and were tired of his songs. People have got national recognition copying his songs note-for-note, but he hasn't got a deal, and no one has heard of him." Principle began having entries on the Billboard Hot Dance Music/Club Play chart in the early 1990s, including " Cold World ", a #22 dance hit that is
6308-557: The weeks leading up to Disco Demolition Night, Dahl promoted a number of anti-disco public events, several of which became unruly. When a discotheque in Lynwood, Illinois , switched from disco to rock in June, Dahl arrived, as did several thousand Cohos, and the police were called. Later that month, Dahl and several thousand Cohos occupied a teen disco in the Chicago suburbs. At the end of June, Dahl urged his listeners to throw marshmallows at
6391-538: Was a Major League Baseball (MLB) promotion on Thursday, July 12, 1979, at Comiskey Park in Chicago, Illinois , that ended in a riot. At the climax of the event, a crate filled with disco records was blown up on the field between games of the twi-night doubleheader between the Chicago White Sox and the Detroit Tigers . Many had come to see the explosion rather than the games and rushed onto
6474-459: Was a chance for a whole lot of people to say they didn't like the way the world was changing around them, or who they saw as the potential victors in a cultural and demographic war. Historian Joshua M. Zeitz noted that the demographic group attending the riots swung wildly in the 1980 presidential primaries and election , first supporting liberal Ted Kennedy in the Democratic primary, then
6557-423: Was entirely due to the song being played in Chicago house clubs, then copied onto tape by fans, and circulating throughout the underground scene. Principle's music continued to be released throughout the 1980s but often credited Knuckles as the artist. These releases included " Baby Wants to Ride ", " Cold World ", "Bad Boy", "Rebels", "Waiting on My Angel" and "I'm Gonna Make You Scream". In 1992, Principle released
6640-467: Was first[.] He put out records before anyone conceived of doing it, got all the girls, and all the fame. Jesse wanted to be the next Motown." Screamin' Rachael , co-founder of Trax Records , describes the music the following way "[w]hat Trax did was really a combination of punk and industrial with a really great 4x4 dance beat. Today they want to call it EDM, but Chicago house is the mother of them all. A lot of people don’t want to recognize—I think people in
6723-566: Was his motivation for the event: "The worst thing is people calling Disco Demolition homophobic or racist. It just wasn't ... We weren't thinking like that." In a 2014 op-ed for Crain's Chicago Business , Dahl defended the event as "a romp, not of major cultural significance". He wrote that it had been "reframed" as prejudiced by a 1996 VH1 documentary about the 1970s, in a move he described as "a cheap shot made without exploration". In response to Dahl's op-ed, WMAQ-TV political journalist Mark W. Anderson, who attended Disco Demolition at
6806-541: Was ignored, as was the playing of " Take Me Out to the Ball Game ". Some attendees danced in circles around the burning vinyl shards. Dahl offered his help to get the rowdy fans to leave, but it was declined. At 9:08 pm, Chicago police in riot gear arrived, to the applause of the baseball fans remaining in the stands. Those on the field hastily dispersed upon seeing the police. Thirty-nine people were arrested for disorderly conduct; estimates of injuries to those at
6889-404: Was working as a disc jockey for ABC -owned radio station WDAI (now WLS-FM ) when he was fired on Christmas Eve 1978 as part of the station's switch from rock to disco. He was hired by rival album-rock station WLUP. Sensing an incipient anti-disco backlash and playing off the publicity surrounding his firing (he frequently mocked WDAI's "Disco DAI" slogan on the air as "Disco DIE"), Dahl created
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