Author Michael Veal considers dub music, a Jamaican music stemming from roots reggae and sound system culture that flourished between 1968 and 1985, to be one of the important precursors to contemporary electronic dance music. Dub productions were remixed reggae tracks that emphasized rhythm, fragmented lyrical and melodic elements, and reverberant textures. The music was pioneered by studio engineers, such as Sylvan Morris, King Tubby, Errol Thompson, Lee “Scratch” Perry, and Scientist. 跳舞學校 included forms of tape editing and sound processing that Veal considers comparable to techniques used in musique concrète.

Kapadia’s parents, too, had their experiences of postcolonial trauma, as Muslims who had initially remained in India at the time of its partition in 1947 along religious lines. They eventually settled in Hackney, east London, where Kapadia’s father would work as a postman and his mother as a machinist. “It was painful and they didn’t really want to go back to India and didn’t really want to talk about it,” he says.

On July 9, 2020, New York City Mayor Bill de Blasio decided that all sizeable events will be suspended through September 30. As a result, Electric Zoo 2020, which takes place on Randall’s Island in New York City during Labor Day Weekend, fully canceled their 2020 event. In the mid 1980s house music thrived on the small Balearic Island of Ibiza, Spain. The Balearic sound was the spirit of the music emerging from the island at that time; the combination of old vinyl rock, pop, reggae, and disco records paired with an “anything goes” attitude made Ibiza a hub of drug-induced musical experimentation. A club called Amnesia, whose resident DJ, Alfredo Fiorito, pioneered Balearic house, was the center of the scene.

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Some made and played their own edits of their favorite songs on reel-to-reel tape, and sometimes mixed in effects, drum machines, and other rhythmic electronic instrumentation. Writing in The Guardian, journalist Simon Reynolds noted that the American music industry’s adoption of the term EDM in the late 2000s was an attempt to re-brand US “rave culture” and differentiate it from the 1990s rave scene. What is widely perceived to be “club music” has changed over time; it now includes different genres and may not always encompass EDM. Similarly, “electronic dance music” can mean different things to different people. Both “club music” and “EDM” seem vague, but the terms are sometimes used to refer to distinct and unrelated genres . Though Billboard debuted a “dance” chart in 1974, the larger US music industry did not create music charts until the late 1990s.

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A dancer practices in a dance studio, the primary setting for training in classical dance and many other styles. Dances like “Odra Magadhi”, which after decades-long debate, has been traced to present day Mithila, Odisha region’s dance form of Odissi , indicate influence of dances in cultural interactions between different regions. Traditional dances impart cultural morals, including religious traditions and sexual standards; give vent to repressed emotions, such as grief; motivate community members to cooperate, whether fighting wars or grinding grain; enact spiritual rituals; and contribute to social cohesiveness. Japanese classical dance-theatre styles such as Kabuki and Noh, like Indian dance-drama, distinguish between narrative and abstract dance productions.

Acts like Donna Summer, Chic, Earth, Wind, and Fire, Heatwave, and the Village People helped define the late 1970s disco sound. Giorgio Moroder and Pete Bellotte produced “I Feel Love” for Donna Summer in 1977. It became the first well-known disco hit to have a completely synthesized backing track. Other disco producers, most famously American producer Tom Moulton, grabbed ideas and techniques from dub music to provide alternatives to the four-on-the-floor style that dominated. During the early 1980s, the popularity of disco music sharply declined in the United States, abandoned by major US record labels and producers. Despite the limited electronic equipment available to dub pioneers such as King Tubby and Lee “Scratch” Perry, their experiments in remix culture were musically cutting-edge.