Baltimore club
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| Baltimore club | |
| Stylistic origins | |
|---|---|
| Cultural origins |
1990s Baltimore nightclubs
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| Typical instruments | |
| Mainstream popularity | 1990s in Baltimore and Newark, NJ, 2000s in other parts of the United States and worldwide[1] |
| Derivative forms | Brick City club |
Baltimore club, also called Baltimore breaks, Baltimore house, Baltimore bass, BMore, knucklehead, thump and Dew Doo beat, is a genre of house and dance music. A blend of hip hop and house, it was created in Baltimore, Maryland in the early 1990s by Scottie B., Frank Ski, Big Tony, and DJ Spen and has since been performed by artists such as DJ BOOMAN, Rod Lee, KW Griff, Say-Wut, Rod Braxton, Karizma, D.J. Technics, D.J. Phinesse, Diamond K, DJ Patrick, and DJ Kenny B.[2]
Baltimore club is based on an 8/4 beat structure, and includes tempos around 130 beats per minute.[3][4] It combines repetitive, looped vocal snippets similar to ghetto house with vocal samples from television shows like Sanford and Son and SpongeBob SquarePants,[4] and also includes heavy breakbeats and call and response stanzas similar to those found in the go-go music of Washington, D.C.. More often than not, the breakbeats are pulled from two records: "Sing Sing" by Gaz, and "Think (About It)" by Lyn Collins.[1] Much like the rave-era sub-genre of techno music known as breakbeat hardcore, Baltimore club sounds as if the music was purposely produced in a hurried manner, as each song is made with a limited palette of sounds and is based on similar frameworks.
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[edit] Development
Baltimore club was born in nightclubs such as Club Fantasy, the Paradox, and Club Choices.[2] The original musicians of the genre were influenced by Michael Jackson, and it was later combined with elements of Miami bass, [3] but influence from hip-house is the cornerstone of the style. Club Paradox also hosted one of the most popular rave-themed club nights on the East Coast, "Fever", and helped to spread the popularity of Baltimore club with a wider audience. The Paradox Friday night club DJs, KW Griff and Rod Braxton, took some inspiration for their sets and production from the British breakbeat hardcore records[3] they heard at Fever and on V103 mix shows. The Blapps! Records (UK) label released several records from 1989–1992 that are considered classics in the Baltimore area, as well as in the British rave scene. "Don't Hold Back", "Too Much Energy" and "Let the Freak" were sampled and played heavily by DJs and producers that would define the Baltimore club sound.
In the late 1990s, Baltimore club music developed a cult following in the North Jersey club scene, particularly in the Brick City club genre of Newark, New Jersey. This spread stems from the distribution of mix tapes from traveling Baltimore deejays. There were also a number of Boston area radio mix shows in the mid-nineties that played Baltimore club music.
Recently the genre has gained popularity in Baltimore's rock underground, due to Baltimore club nights at the Talking Head Club and others. There was also a feature on Baltimore club in Spin Magazine in January 2006.
[edit] A new genre
In recent years Baltimore club has moved away from clubs like the Paradox and into the studio with rap artists. This combination of club music and rap has created a new subgenre in hip hop music to rival other regional scenes. The club movement has gained momentum; in January 2007, DJ Booman produced a B-more remix for Diddy on Bad Boy Records. DJ Excel produced a B-more remix of Hangar 18's "Baking Soda" for the independent underground hip-hop label Definitive Jux as well. DJ Say-Wut has now taking a strong European audience, getting play by other DJs such as Sinden.
Notable artists include DJ Technics, Say-Wut, Debonair Samir, DJ Lil' Jay, Storm & D'Vo, Johnny Blaze, Scottie B, Dj Class, Rod Lee, DJ Excel, DJ Koolbreez.
[edit] Dance
Baltimore club dances are usually hip hop dance, but some dancehall influences are also incorporated. Due to the fast pace of some of the songs, the dances are performed at a faster speed. The most popular dance, the Wu-tang is a dance originating out of Philadelphia, Pennsylvania. The dance involves a jerking of the arms in an up-and-down/side-to-side and outward motion as if one was reaching toward or away from someone. Each individual person adds their own spin to the dance, be it fancy footwork or mimicking gunshots. The dance has become very popular around the Tri-State Region and is comparable to the Chicken Noodle Soup dance of Harlem, the Bay Area's hyphy, Atlanta's crunk, Baltimore's rockin' off, and Compton's krumping. This dance is not associated with the Wu-Tang Clan or any of its members.
Another more recent dance is called the "SpongeBob". The dance landing one's right foot out to the right while the left foot is slightly kicked out and elevated, then bringing the right foot in (by hopping) and kicking the left leg behind the back and repeated by switching. It starts slow and then progresses. This dance is reminiscent of the classic hip hop dance move called gliding (or sliding) as the movement of the feet seem to glide back and forth (if the dancer performing it correctly).
The newest dance performed to Baltimore club music, but mainly done to the official song by DJ LILMAN, is called "Swingin It" or "Swing Dat Shit". The dance originated in the west side of Newark, New Jersey.
There is currently an Internet beef between Philadelphia, Baltimore and Newark. Newark and Baltimore are beefing about which invented the SpongeBob first—Newark claims that the city invented the dance in 2001 and called it "Crazy Legs". Philadelphia and Baltimore are beefing about which region's dance is better and more popular, and Philadelphia and Newark are beefing about which city does the Wu-tang better.
These dances can be viewed on the popular site YouTube.
[edit] References
- ^ a b Shipley, Al. "The Best Of Both Worlds", Baltimore City Paper, 2006-01-19. Retrieved on 2008-01-19.
- ^ a b Deveraux, Andrew (December 2007). "What Chew Know About Down the Hill?": Baltimore Club Music, Subgenre Crossover, and the New Subcultural Capital of Race and Space". Journal of Popular Music Studies 19 (4): 311–341. doi:.
- ^ a b c Reid, Shaheem; Paco, Matt (2007). Young Leek & the Baltimore Scene. MTV Networks. Retrieved on 2008-01-19.
- ^ a b Bernard, Patrick (2006-07-03). Scottie B and Baltimore Club. The Wire. Retrieved on 2008-01-19.
[edit] Further reading
- Janis, Stephen; Lee, Rod; & Young, Omar Akbar. "Labtekwon & Rod Lee Interview" (PDF). Link 9: 56–64.
[edit] External links
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