Question: Being open formats means that Opus and Vorbis can be used without what?

Answer: any known patent restrictions

<hl> There are also open compression formats like Opus and Vorbis that are available free of charge and without any known patent restrictions . <hl> Some of the newer audio compression formats, such as AAC, WMA Pro and Vorbis, are free of some limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder.

There are also open compression formats like Opus and Vorbis that are available free of charge and without <hl> any known patent restrictions <hl>. Some of the newer audio compression formats, such as AAC, WMA Pro and Vorbis, are free of some limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder.

There are also open compression formats like Opus and Vorbis that are available free of charge and without <hl> any known patent restrictions <hl> .


Question: What are some benefits to some of the newer audio compression formats when compared to MP3?

There are also open compression formats like Opus and Vorbis that are available free of charge and without any known patent restrictions. Some of the newer audio compression formats, such as AAC, WMA Pro and Vorbis, are free of some limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder.

Answer: free of some limitations inherent to the MP3 format

There are also open compression formats like Opus and Vorbis that are available free of charge and without any known patent restrictions. <hl> Some of the newer audio compression formats, such as AAC, WMA Pro and Vorbis, are free of some limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder. <hl>

There are also open compression formats like Opus and Vorbis that are available free of charge and without any known patent restrictions. Some of the newer audio compression formats, such as AAC, WMA Pro and Vorbis, are <hl> free of some limitations inherent to the MP3 format <hl> that cannot be overcome by any MP3 encoder.


Question: How can one obtain an open compression format such as Opus or Vorbis?

Answer: available free of charge

<hl> There are also open compression formats like Opus and Vorbis that are available free of charge and without any known patent restrictions. <hl> Some of the newer audio compression formats, such as AAC, WMA Pro and Vorbis, are free of some limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder.

There are also open compression formats like Opus and Vorbis that are <hl> available free of charge <hl> and without any known patent restrictions. Some of the newer audio compression formats, such as AAC, WMA Pro and Vorbis, are free of some limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder.


Question: What is a significant alternative to MP3?

Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others.

Answer: lossless formats

<hl> Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. <hl> Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others.

Besides lossy compression methods, <hl> lossless formats <hl> are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others.


Question: What can lossless formats provide?

Answer: unaltered audio content

<hl> Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content , though with an increased file size compared to lossy compression. <hl> Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others.

Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide <hl> unaltered audio content <hl>, though with an increased file size compared to lossy compression. Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others.

Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide <hl> unaltered audio content <hl> , though with an increased file size compared to lossy compression.


Question: What is the downside of using a lossless format?

Answer: increased file size

<hl> Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. <hl> Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others.

Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an <hl> increased file size <hl> compared to lossy compression. Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others.


Question: What is another example of a lossless format other than Apple Lossless?

Answer: FLAC

Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. <hl> Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others. <hl>

Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. Lossless formats include <hl> FLAC <hl> (Free Lossless Audio Codec), Apple Lossless and many others.


Question: What does FLAC stand for?

Answer: Free Lossless Audio Codec

Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. <hl> Lossless formats include FLAC ( Free Lossless Audio Codec ), Apple Lossless and many others. <hl>

Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. Lossless formats include FLAC (<hl> Free Lossless Audio Codec <hl>), Apple Lossless and many others.

Lossless formats include FLAC ( <hl> Free Lossless Audio Codec <hl> ), Apple Lossless and many others.


Question: What city did House music originate from?

House music is a genre of electronic dance music that originated in Chicago in the early 1980s. It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.

Answer: Chicago

<hl> House music is a genre of electronic dance music that originated in Chicago in the early 1980s. <hl> It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.

House music is a genre of electronic dance music that originated in <hl> Chicago <hl> in the early 1980s. It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.


Question: What decade did House music first develop?

Answer: 1980s

<hl> House music is a genre of electronic dance music that originated in Chicago in the early 1980s . <hl> It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.

House music is a genre of electronic dance music that originated in Chicago in the early <hl> 1980s <hl>. It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.

House music is a genre of electronic dance music that originated in Chicago in the early <hl> 1980s <hl> .


Question: What year was House music first popularized?

Answer: 1984

House music is a genre of electronic dance music that originated in Chicago in the early 1980s. <hl> It was initially popularized in Chicago, circa 1984 . <hl> House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.

House music is a genre of electronic dance music that originated in Chicago in the early 1980s. It was initially popularized in Chicago, circa <hl> 1984 <hl>. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.

It was initially popularized in Chicago, circa <hl> 1984 <hl> .


Question: What genre does House music fall into?

Answer: electronic dance music

<hl> House music is a genre of electronic dance music that originated in Chicago in the early 1980s. <hl> It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.

House music is a genre of <hl> electronic dance music <hl> that originated in Chicago in the early 1980s. It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.


Question: What song by MARRS was an early House hit in 1987?

Answer: "Pump Up The Volume"

House music is a genre of electronic dance music that originated in Chicago in the early 1980s. It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. <hl> Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. <hl> Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.

House music is a genre of electronic dance music that originated in Chicago in the early 1980s. It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as <hl> "Pump Up The Volume" <hl> by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.


Question: House music is characterized by what type of beats?

Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house.

Answer: 4/4 beats

<hl> Early house music was generally dance-based music characterized by repetitive 4/4 beats , rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. <hl> While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house.

Early house music was generally dance-based music characterized by repetitive <hl> 4/4 beats <hl>, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house.

Early house music was generally dance-based music characterized by repetitive <hl> 4/4 beats <hl> , rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines.


Question: What are some subgenres of House music?

Answer: euro house, tech house, electro house and jump house

Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. <hl> House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house . <hl>

Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as <hl> euro house, tech house, electro house and jump house <hl>.

House music has also fused with several other genres creating fusion subgenres, such as <hl> euro house, tech house, electro house and jump house <hl> .


Question: What are rhythms provided by in House music?

Answer: drum machines

<hl> Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines , off-beat hi-hat cymbals, and synthesized basslines. <hl> While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house.

Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by <hl> drum machines <hl>, off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house.

Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by <hl> drum machines <hl> , off-beat hi-hat cymbals, and synthesized basslines.


Question: What are some differences between House and Disco music?

Answer: it was more electronic and minimalistic

Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. <hl> While house displayed several characteristics similar to disco music, it was more electronic and minimalistic , and the repetitive rhythm of house was more important than the song itself. <hl> House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house.

Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, <hl> it was more electronic and minimalistic <hl>, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house.

While house displayed several characteristics similar to disco music, <hl> it was more electronic and minimalistic <hl> , and the repetitive rhythm of house was more important than the song itself.


Question: What type of music is House based on?

Answer: dance-based music

<hl> Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. <hl> While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house.

Early house music was generally <hl> dance-based music <hl> characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house.


Question: When was the second wave of progressive house?

In the late 1980s, many local Chicago house music artists suddenly found themselves presented with major label deals. House music proved to be a commercially successful genre and a more mainstream pop-based variation grew increasingly popular. Artists and groups such as Madonna, Janet Jackson, Paula Abdul, Aretha Franklin, Bananarama, Diana Ross, Tina Turner, Whitney Houston, Steps, Kylie Minogue, Bjork, and C+C Music Factoryhave all incorporated the genre into some of their work. After enjoying significant success in the early to mid-90s, house music grew even larger during the second wave of progressive house (1999–2001). The genre has remained popular and fused into other popular subgenres, for example, G-house, Deep House, Tech House and Bass House. As of 2015, house music remains extremely popular in both clubs and in the mainstream pop scene while retaining a foothold on underground scenes across the globe.[citation needed]

Answer: 1999–2001

In the late 1980s, many local Chicago house music artists suddenly found themselves presented with major label deals. House music proved to be a commercially successful genre and a more mainstream pop-based variation grew increasingly popular. Artists and groups such as Madonna, Janet Jackson, Paula Abdul, Aretha Franklin, Bananarama, Diana Ross, Tina Turner, Whitney Houston, Steps, Kylie Minogue, Bjork, and C+C Music Factoryhave all incorporated the genre into some of their work. <hl> After enjoying significant success in the early to mid-90s, house music grew even larger during the second wave of progressive house ( 1999–2001 ) <hl> . The genre has remained popular and fused into other popular subgenres, for example, G-house, Deep House, Tech House and Bass House. As of 2015, house music remains extremely popular in both clubs and in the mainstream pop scene while retaining a foothold on underground scenes across the globe.[citation needed]

In the late 1980s, many local Chicago house music artists suddenly found themselves presented with major label deals. House music proved to be a commercially successful genre and a more mainstream pop-based variation grew increasingly popular. Artists and groups such as Madonna, Janet Jackson, Paula Abdul, Aretha Franklin, Bananarama, Diana Ross, Tina Turner, Whitney Houston, Steps, Kylie Minogue, Bjork, and C+C Music Factoryhave all incorporated the genre into some of their work. After enjoying significant success in the early to mid-90s, house music grew even larger during the second wave of progressive house (<hl> 1999–2001 <hl>). The genre has remained popular and fused into other popular subgenres, for example, G-house, Deep House, Tech House and Bass House. As of 2015, house music remains extremely popular in both clubs and in the mainstream pop scene while retaining a foothold on underground scenes across the globe.[citation needed]

After enjoying significant success in the early to mid-90s, house music grew even larger during the second wave of progressive house ( <hl> 1999–2001 <hl> )


Question: What are some popular subgenres of House?

Answer: G-house, Deep House, Tech House and Bass House

In the late 1980s, many local Chicago house music artists suddenly found themselves presented with major label deals. House music proved to be a commercially successful genre and a more mainstream pop-based variation grew increasingly popular. Artists and groups such as Madonna, Janet Jackson, Paula Abdul, Aretha Franklin, Bananarama, Diana Ross, Tina Turner, Whitney Houston, Steps, Kylie Minogue, Bjork, and C+C Music Factoryhave all incorporated the genre into some of their work. After enjoying significant success in the early to mid-90s, house music grew even larger during the second wave of progressive house (1999–2001). <hl> The genre has remained popular and fused into other popular subgenres, for example, G-house, Deep House, Tech House and Bass House . <hl> As of 2015, house music remains extremely popular in both clubs and in the mainstream pop scene while retaining a foothold on underground scenes across the globe.[citation needed]

In the late 1980s, many local Chicago house music artists suddenly found themselves presented with major label deals. House music proved to be a commercially successful genre and a more mainstream pop-based variation grew increasingly popular. Artists and groups such as Madonna, Janet Jackson, Paula Abdul, Aretha Franklin, Bananarama, Diana Ross, Tina Turner, Whitney Houston, Steps, Kylie Minogue, Bjork, and C+C Music Factoryhave all incorporated the genre into some of their work. After enjoying significant success in the early to mid-90s, house music grew even larger during the second wave of progressive house (1999–2001). The genre has remained popular and fused into other popular subgenres, for example, <hl> G-house, Deep House, Tech House and Bass House <hl>. As of 2015, house music remains extremely popular in both clubs and in the mainstream pop scene while retaining a foothold on underground scenes across the globe.[citation needed]

The genre has remained popular and fused into other popular subgenres, for example, <hl> G-house, Deep House, Tech House and Bass House <hl> .


Question: where is house music extremely popular?

Answer: both clubs and in the mainstream pop scene

In the late 1980s, many local Chicago house music artists suddenly found themselves presented with major label deals. House music proved to be a commercially successful genre and a more mainstream pop-based variation grew increasingly popular. Artists and groups such as Madonna, Janet Jackson, Paula Abdul, Aretha Franklin, Bananarama, Diana Ross, Tina Turner, Whitney Houston, Steps, Kylie Minogue, Bjork, and C+C Music Factoryhave all incorporated the genre into some of their work. After enjoying significant success in the early to mid-90s, house music grew even larger during the second wave of progressive house (1999–2001). The genre has remained popular and fused into other popular subgenres, for example, G-house, Deep House, Tech House and Bass House. <hl> As of 2015, house music remains extremely popular in both clubs and in the mainstream pop scene while retaining a foothold on underground scenes across the globe.[citation needed] <hl>

In the late 1980s, many local Chicago house music artists suddenly found themselves presented with major label deals. House music proved to be a commercially successful genre and a more mainstream pop-based variation grew increasingly popular. Artists and groups such as Madonna, Janet Jackson, Paula Abdul, Aretha Franklin, Bananarama, Diana Ross, Tina Turner, Whitney Houston, Steps, Kylie Minogue, Bjork, and C+C Music Factoryhave all incorporated the genre into some of their work. After enjoying significant success in the early to mid-90s, house music grew even larger during the second wave of progressive house (1999–2001). The genre has remained popular and fused into other popular subgenres, for example, G-house, Deep House, Tech House and Bass House. As of 2015, house music remains extremely popular in <hl> both clubs and in the mainstream pop scene <hl> while retaining a foothold on underground scenes across the globe.[citation needed]


Question: What variation of house music was produced by artists such as Madonna and Kylie Minogue?

Answer: a more mainstream pop-based variation

In the late 1980s, many local Chicago house music artists suddenly found themselves presented with major label deals. <hl> House music proved to be a commercially successful genre and a more mainstream pop-based variation grew increasingly popular. <hl> Artists and groups such as Madonna, Janet Jackson, Paula Abdul, Aretha Franklin, Bananarama, Diana Ross, Tina Turner, Whitney Houston, Steps, Kylie Minogue, Bjork, and C+C Music Factoryhave all incorporated the genre into some of their work. After enjoying significant success in the early to mid-90s, house music grew even larger during the second wave of progressive house (1999–2001). The genre has remained popular and fused into other popular subgenres, for example, G-house, Deep House, Tech House and Bass House. As of 2015, house music remains extremely popular in both clubs and in the mainstream pop scene while retaining a foothold on underground scenes across the globe.[citation needed]

In the late 1980s, many local Chicago house music artists suddenly found themselves presented with major label deals. House music proved to be a commercially successful genre and <hl> a more mainstream pop-based variation <hl> grew increasingly popular. Artists and groups such as Madonna, Janet Jackson, Paula Abdul, Aretha Franklin, Bananarama, Diana Ross, Tina Turner, Whitney Houston, Steps, Kylie Minogue, Bjork, and C+C Music Factoryhave all incorporated the genre into some of their work. After enjoying significant success in the early to mid-90s, house music grew even larger during the second wave of progressive house (1999–2001). The genre has remained popular and fused into other popular subgenres, for example, G-house, Deep House, Tech House and Bass House. As of 2015, house music remains extremely popular in both clubs and in the mainstream pop scene while retaining a foothold on underground scenes across the globe.[citation needed]


Question: What instruments did disco songs incorporate from house music?

Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime.

Answer: synthesizers and drum machines

<hl> Various disco songs incorporated sounds produced with synthesizers and drum machines , and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime. <hl>

Various disco songs incorporated sounds produced with <hl> synthesizers and drum machines <hl>, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime.

Various disco songs incorporated sounds produced with <hl> synthesizers and drum machines <hl> , and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime.


Question: who produced Donna Summer's hit single "I Feel Love"?

Answer: Giorgio Moroder

<hl> Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder 's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime. <hl>

Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include <hl> Giorgio Moroder <hl>'s late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime.

Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include <hl> Giorgio Moroder <hl> 's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime.


Question: what sort of music did Hi-NRG group Lime produce?

Answer: 1980s disco-pop

<hl> Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime. <hl>

Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early <hl> 1980s disco-pop <hl> productions by the Hi-NRG group Lime.


Question: What year did Cerrone's "Supernature" get released?

Answer: 1977

<hl> Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977 , Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime. <hl>

Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from <hl> 1977 <hl>, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime.

Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from <hl> 1977 <hl> , Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime.


Question: What year was solid state survivor released?

Answer: 1979

<hl> Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor ( 1979 ), and several early 1980s disco-pop productions by the Hi-NRG group Lime. <hl>

Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (<hl> 1979 <hl>), and several early 1980s disco-pop productions by the Hi-NRG group Lime.

Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor ( <hl> 1979 <hl> ), and several early 1980s disco-pop productions by the Hi-NRG group Lime.


Question: What influenced House music?

Soul and disco influenced house music, plus mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, producers, and audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, and others who produced longer, more repetitive, and percussive arrangements of existing disco recordings. Early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines.

Answer: Soul and disco

<hl> Soul and disco influenced house music, plus mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, producers, and audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, and others who produced longer, more repetitive, and percussive arrangements of existing disco recordings. <hl> Early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines.

<hl> Soul and disco <hl> influenced house music, plus mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, producers, and audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, and others who produced longer, more repetitive, and percussive arrangements of existing disco recordings. Early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines.


Question: What type of producer was Frankie Knuckles?

Answer: Early house producers

Soul and disco influenced house music, plus mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, producers, and audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, and others who produced longer, more repetitive, and percussive arrangements of existing disco recordings. <hl> Early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines. <hl>

Soul and disco influenced house music, plus mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, producers, and audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, and others who produced longer, more repetitive, and percussive arrangements of existing disco recordings. <hl> Early house producers <hl> such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines.


Question: what did Frankie Knuckles use to create his compositions?

Answer: samplers, synthesizers, sequencers, and drum machines

Soul and disco influenced house music, plus mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, producers, and audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, and others who produced longer, more repetitive, and percussive arrangements of existing disco recordings. <hl> Early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines . <hl>

Soul and disco influenced house music, plus mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, producers, and audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, and others who produced longer, more repetitive, and percussive arrangements of existing disco recordings. Early house producers such as Frankie Knuckles created similar compositions from scratch, using <hl> samplers, synthesizers, sequencers, and drum machines <hl>.

Early house producers such as Frankie Knuckles created similar compositions from scratch, using <hl> samplers, synthesizers, sequencers, and drum machines <hl> .


Question: What was the name of Charanjit Singh's 1982 album?

Answer: Synthesizing: Ten Ragas to a Disco Beat

<hl> The electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat (1982), an album of Indian ragas performed in a disco style, 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. <hl>

The electronic instrumentation and minimal arrangement of Charanjit Singh's <hl> Synthesizing: Ten Ragas to a Disco Beat <hl> (1982), an album of Indian ragas performed in a disco style, 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.


Question: What did Singh's album contain?

Answer: Indian ragas performed in a disco style

<hl> The electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat (1982), an album of Indian ragas performed in a disco style , 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. <hl>

The electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat (1982), an album of <hl> Indian ragas performed in a disco style <hl>, 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.

The electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat (1982), an album of <hl> Indian ragas performed in a disco style <hl> , 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.


Question: What year was synthesizing: ten ragas to a disco beat released?

Answer: 1982

<hl> The electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat ( 1982 ), an album of Indian ragas performed in a disco style, 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. <hl>

The electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat (<hl> 1982 <hl>), an album of Indian ragas performed in a disco style, 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.

The electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat ( <hl> 1982 <hl> ), an album of Indian ragas performed in a disco style, 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.


Question: What sort of arrangement did Charanjit Singh use on his 1982 album?

Answer: minimal arrangement

<hl> The electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat (1982), an album of Indian ragas performed in a disco style, 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. <hl>

The electronic instrumentation and <hl> minimal arrangement <hl> of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat (1982), an album of Indian ragas performed in a disco style, 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.


Question: Who is Rachel Cain?

Rachel Cain, co-founder of an influential Trax Records, was previously involved in the burgeoning punk scene and cites industrial and post-punk record store Wax Trax! Records as an important connection between the ever-changing underground sounds of Chicago. As most proto-house DJs were primarily stuck to playing their conventional ensemble of dance records, Frankie Knuckles and Ron Hardy, two influential pioneers of house music, were known for their out-of-bounds behavior. The former, credited as "the Godfather of House," worked primarily with early disco music with a hint of new and different music (whether it was post-punk or post-disco) but still enjoying a variety of music, while the latter produced unconventional DIY mixtapes which he later played straight-on in the music club Muzic Box, boiling with raw energy. Marshall Jefferson, who would later appear with the Chicago house classic "Move Your Body (The House-Music Anthem)," (originally released on Chicago-based Trax Records) got involved in house music after hearing Ron Hardy's music in Muzic Box.

Answer: co-founder of an influential Trax Records

<hl> Rachel Cain, co-founder of an influential Trax Records , was previously involved in the burgeoning punk scene and cites industrial and post-punk record store Wax Trax! <hl> Records as an important connection between the ever-changing underground sounds of Chicago. As most proto-house DJs were primarily stuck to playing their conventional ensemble of dance records, Frankie Knuckles and Ron Hardy, two influential pioneers of house music, were known for their out-of-bounds behavior. The former, credited as "the Godfather of House," worked primarily with early disco music with a hint of new and different music (whether it was post-punk or post-disco) but still enjoying a variety of music, while the latter produced unconventional DIY mixtapes which he later played straight-on in the music club Muzic Box, boiling with raw energy. Marshall Jefferson, who would later appear with the Chicago house classic "Move Your Body (The House-Music Anthem)," (originally released on Chicago-based Trax Records) got involved in house music after hearing Ron Hardy's music in Muzic Box.

Rachel Cain, <hl> co-founder of an influential Trax Records <hl>, was previously involved in the burgeoning punk scene and cites industrial and post-punk record store Wax Trax! Records as an important connection between the ever-changing underground sounds of Chicago. As most proto-house DJs were primarily stuck to playing their conventional ensemble of dance records, Frankie Knuckles and Ron Hardy, two influential pioneers of house music, were known for their out-of-bounds behavior. The former, credited as "the Godfather of House," worked primarily with early disco music with a hint of new and different music (whether it was post-punk or post-disco) but still enjoying a variety of music, while the latter produced unconventional DIY mixtapes which he later played straight-on in the music club Muzic Box, boiling with raw energy. Marshall Jefferson, who would later appear with the Chicago house classic "Move Your Body (The House-Music Anthem)," (originally released on Chicago-based Trax Records) got involved in house music after hearing Ron Hardy's music in Muzic Box.

Rachel Cain, <hl> co-founder of an influential Trax Records <hl> , was previously involved in the burgeoning punk scene and cites industrial and post-punk record store Wax Trax!


Question: Who were Frankie Knuckles and ron hardy?

Answer: two influential pioneers of house music

Rachel Cain, co-founder of an influential Trax Records, was previously involved in the burgeoning punk scene and cites industrial and post-punk record store Wax Trax! Records as an important connection between the ever-changing underground sounds of Chicago. <hl> As most proto-house DJs were primarily stuck to playing their conventional ensemble of dance records, Frankie Knuckles and Ron Hardy, two influential pioneers of house music , were known for their out-of-bounds behavior. <hl> The former, credited as "the Godfather of House," worked primarily with early disco music with a hint of new and different music (whether it was post-punk or post-disco) but still enjoying a variety of music, while the latter produced unconventional DIY mixtapes which he later played straight-on in the music club Muzic Box, boiling with raw energy. Marshall Jefferson, who would later appear with the Chicago house classic "Move Your Body (The House-Music Anthem)," (originally released on Chicago-based Trax Records) got involved in house music after hearing Ron Hardy's music in Muzic Box.

Rachel Cain, co-founder of an influential Trax Records, was previously involved in the burgeoning punk scene and cites industrial and post-punk record store Wax Trax! Records as an important connection between the ever-changing underground sounds of Chicago. As most proto-house DJs were primarily stuck to playing their conventional ensemble of dance records, Frankie Knuckles and Ron Hardy, <hl> two influential pioneers of house music <hl>, were known for their out-of-bounds behavior. The former, credited as "the Godfather of House," worked primarily with early disco music with a hint of new and different music (whether it was post-punk or post-disco) but still enjoying a variety of music, while the latter produced unconventional DIY mixtapes which he later played straight-on in the music club Muzic Box, boiling with raw energy. Marshall Jefferson, who would later appear with the Chicago house classic "Move Your Body (The House-Music Anthem)," (originally released on Chicago-based Trax Records) got involved in house music after hearing Ron Hardy's music in Muzic Box.

As most proto-house DJs were primarily stuck to playing their conventional ensemble of dance records, Frankie Knuckles and Ron Hardy, <hl> two influential pioneers of house music <hl> , were known for their out-of-bounds behavior.


Question: what was the nickname of frankie knuckles?

Answer: "the Godfather of House,"

Rachel Cain, co-founder of an influential Trax Records, was previously involved in the burgeoning punk scene and cites industrial and post-punk record store Wax Trax! Records as an important connection between the ever-changing underground sounds of Chicago. As most proto-house DJs were primarily stuck to playing their conventional ensemble of dance records, Frankie Knuckles and Ron Hardy, two influential pioneers of house music, were known for their out-of-bounds behavior. <hl> The former, credited as "the Godfather of House," worked primarily with early disco music with a hint of new and different music (whether it was post-punk or post-disco) but still enjoying a variety of music, while the latter produced unconventional DIY mixtapes which he later played straight-on in the music club Muzic Box, boiling with raw energy. <hl> Marshall Jefferson, who would later appear with the Chicago house classic "Move Your Body (The House-Music Anthem)," (originally released on Chicago-based Trax Records) got involved in house music after hearing Ron Hardy's music in Muzic Box.

Rachel Cain, co-founder of an influential Trax Records, was previously involved in the burgeoning punk scene and cites industrial and post-punk record store Wax Trax! Records as an important connection between the ever-changing underground sounds of Chicago. As most proto-house DJs were primarily stuck to playing their conventional ensemble of dance records, Frankie Knuckles and Ron Hardy, two influential pioneers of house music, were known for their out-of-bounds behavior. The former, credited as <hl> "the Godfather of House," <hl> worked primarily with early disco music with a hint of new and different music (whether it was post-punk or post-disco) but still enjoying a variety of music, while the latter produced unconventional DIY mixtapes which he later played straight-on in the music club Muzic Box, boiling with raw energy. Marshall Jefferson, who would later appear with the Chicago house classic "Move Your Body (The House-Music Anthem)," (originally released on Chicago-based Trax Records) got involved in house music after hearing Ron Hardy's music in Muzic Box.


Question: marshall jefferson got involved in house music after hearing whose music?

Answer: Ron Hardy's

Rachel Cain, co-founder of an influential Trax Records, was previously involved in the burgeoning punk scene and cites industrial and post-punk record store Wax Trax! Records as an important connection between the ever-changing underground sounds of Chicago. As most proto-house DJs were primarily stuck to playing their conventional ensemble of dance records, Frankie Knuckles and Ron Hardy, two influential pioneers of house music, were known for their out-of-bounds behavior. The former, credited as "the Godfather of House," worked primarily with early disco music with a hint of new and different music (whether it was post-punk or post-disco) but still enjoying a variety of music, while the latter produced unconventional DIY mixtapes which he later played straight-on in the music club Muzic Box, boiling with raw energy. <hl> Marshall Jefferson, who would later appear with the Chicago house classic "Move Your Body (The House-Music Anthem)," (originally released on Chicago-based Trax Records) got involved in house music after hearing Ron Hardy's music in Muzic Box. <hl>

Rachel Cain, co-founder of an influential Trax Records, was previously involved in the burgeoning punk scene and cites industrial and post-punk record store Wax Trax! Records as an important connection between the ever-changing underground sounds of Chicago. As most proto-house DJs were primarily stuck to playing their conventional ensemble of dance records, Frankie Knuckles and Ron Hardy, two influential pioneers of house music, were known for their out-of-bounds behavior. The former, credited as "the Godfather of House," worked primarily with early disco music with a hint of new and different music (whether it was post-punk or post-disco) but still enjoying a variety of music, while the latter produced unconventional DIY mixtapes which he later played straight-on in the music club Muzic Box, boiling with raw energy. Marshall Jefferson, who would later appear with the Chicago house classic "Move Your Body (The House-Music Anthem)," (originally released on Chicago-based Trax Records) got involved in house music after hearing <hl> Ron Hardy's <hl> music in Muzic Box.


Question: what was ron hardy's music released in?

Answer: Muzic Box

Rachel Cain, co-founder of an influential Trax Records, was previously involved in the burgeoning punk scene and cites industrial and post-punk record store Wax Trax! Records as an important connection between the ever-changing underground sounds of Chicago. As most proto-house DJs were primarily stuck to playing their conventional ensemble of dance records, Frankie Knuckles and Ron Hardy, two influential pioneers of house music, were known for their out-of-bounds behavior. <hl> The former, credited as "the Godfather of House," worked primarily with early disco music with a hint of new and different music (whether it was post-punk or post-disco) but still enjoying a variety of music, while the latter produced unconventional DIY mixtapes which he later played straight-on in the music club Muzic Box , boiling with raw energy. <hl> Marshall Jefferson, who would later appear with the Chicago house classic "Move Your Body (The House-Music Anthem)," (originally released on Chicago-based Trax Records) got involved in house music after hearing Ron Hardy's music in Muzic Box.

Rachel Cain, co-founder of an influential Trax Records, was previously involved in the burgeoning punk scene and cites industrial and post-punk record store Wax Trax! Records as an important connection between the ever-changing underground sounds of Chicago. As most proto-house DJs were primarily stuck to playing their conventional ensemble of dance records, Frankie Knuckles and Ron Hardy, two influential pioneers of house music, were known for their out-of-bounds behavior. The former, credited as "the Godfather of House," worked primarily with early disco music with a hint of new and different music (whether it was post-punk or post-disco) but still enjoying a variety of music, while the latter produced unconventional DIY mixtapes which he later played straight-on in the music club <hl> Muzic Box <hl>, boiling with raw energy. Marshall Jefferson, who would later appear with the Chicago house classic "Move Your Body (The House-Music Anthem)," (originally released on Chicago-based Trax Records) got involved in house music after hearing Ron Hardy's music in Muzic Box.

The former, credited as "the Godfather of House," worked primarily with early disco music with a hint of new and different music (whether it was post-punk or post-disco) but still enjoying a variety of music, while the latter produced unconventional DIY mixtapes which he later played straight-on in the music club <hl> Muzic Box <hl> , boiling with raw energy.


Question: who were the chicago radio jocks that played dance music in the early 1980s?

In the early 1980s, 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 (mostly Philly disco and Salsoul tracks), electro funk tracks by artists such as Afrika Bambaataa, newer Italo disco, B-Boy hip hop music by Man Parrish, Jellybean Benitez, Arthur Baker, and John Robie, and electronic pop music by Kraftwerk and Yellow Magic Orchestra. 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. In this era,

Answer: The Hot Mix 5

<hl> In the early 1980s, 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 (mostly Philly disco and Salsoul tracks), electro funk tracks by artists such as Afrika Bambaataa, newer Italo disco, B-Boy hip hop music by Man Parrish, Jellybean Benitez, Arthur Baker, and John Robie, and electronic pop music by Kraftwerk and Yellow Magic Orchestra. <hl> 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. In this era,

In the early 1980s, Chicago radio jocks <hl> The Hot Mix 5 <hl>, and club DJs Ron Hardy and Frankie Knuckles played various styles of dance music, including older disco records (mostly Philly disco and Salsoul tracks), electro funk tracks by artists such as Afrika Bambaataa, newer Italo disco, B-Boy hip hop music by Man Parrish, Jellybean Benitez, Arthur Baker, and John Robie, and electronic pop music by Kraftwerk and Yellow Magic Orchestra. 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. In this era,

In the early 1980s, Chicago radio jocks <hl> The Hot Mix 5 <hl> , and club DJs Ron Hardy and Frankie Knuckles played various styles of dance music, including older disco records (mostly Philly disco and Salsoul tracks), electro funk tracks by artists such as Afrika Bambaataa, newer Italo disco, B-Boy hip hop music by Man Parrish, Jellybean Benitez, Arthur Baker, and John Robie, and electronic pop music by Kraftwerk and Yellow Magic Orchestra.


Question: what style of music did man parrish play?

Answer: B-Boy hip hop music

<hl> In the early 1980s, 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 (mostly Philly disco and Salsoul tracks), electro funk tracks by artists such as Afrika Bambaataa, newer Italo disco, B-Boy hip hop music by Man Parrish, Jellybean Benitez, Arthur Baker, and John Robie, and electronic pop music by Kraftwerk and Yellow Magic Orchestra. <hl> 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. In this era,

In the early 1980s, 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 (mostly Philly disco and Salsoul tracks), electro funk tracks by artists such as Afrika Bambaataa, newer Italo disco, <hl> B-Boy hip hop music <hl> by Man Parrish, Jellybean Benitez, Arthur Baker, and John Robie, and electronic pop music by Kraftwerk and Yellow Magic Orchestra. 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. In this era,


Question: what style of music did afrika bambaataa play?

Answer: electro funk

<hl> In the early 1980s, 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 (mostly Philly disco and Salsoul tracks), electro funk tracks by artists such as Afrika Bambaataa, newer Italo disco, B-Boy hip hop music by Man Parrish, Jellybean Benitez, Arthur Baker, and John Robie, and electronic pop music by Kraftwerk and Yellow Magic Orchestra. <hl> 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. In this era,

In the early 1980s, 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 (mostly Philly disco and Salsoul tracks), <hl> electro funk <hl> tracks by artists such as Afrika Bambaataa, newer Italo disco, B-Boy hip hop music by Man Parrish, Jellybean Benitez, Arthur Baker, and John Robie, and electronic pop music by Kraftwerk and Yellow Magic Orchestra. 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. In this era,


Question: what style of music did kraftwerk play?

Answer: electronic pop music

<hl> In the early 1980s, 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 (mostly Philly disco and Salsoul tracks), electro funk tracks by artists such as Afrika Bambaataa, newer Italo disco, B-Boy hip hop music by Man Parrish, Jellybean Benitez, Arthur Baker, and John Robie, and electronic pop music by Kraftwerk and Yellow Magic Orchestra. <hl> 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. In this era,

In the early 1980s, 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 (mostly Philly disco and Salsoul tracks), electro funk tracks by artists such as Afrika Bambaataa, newer Italo disco, B-Boy hip hop music by Man Parrish, Jellybean Benitez, Arthur Baker, and John Robie, and <hl> electronic pop music <hl> by Kraftwerk and Yellow Magic Orchestra. 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. In this era,


Question: how did producers sometimes make edits of house music?

Answer: reel-to-reel tape

In the early 1980s, 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 (mostly Philly disco and Salsoul tracks), electro funk tracks by artists such as Afrika Bambaataa, newer Italo disco, B-Boy hip hop music by Man Parrish, Jellybean Benitez, Arthur Baker, and John Robie, and electronic pop music by Kraftwerk and Yellow Magic Orchestra. <hl> 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. <hl> In this era,

In the early 1980s, 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 (mostly Philly disco and Salsoul tracks), electro funk tracks by artists such as Afrika Bambaataa, newer Italo disco, B-Boy hip hop music by Man Parrish, Jellybean Benitez, Arthur Baker, and John Robie, and electronic pop music by Kraftwerk and Yellow Magic Orchestra. Some made and played their own edits of their favorite songs on <hl> reel-to-reel tape <hl>, and sometimes mixed in effects, drum machines, and other rhythmic electronic instrumentation. In this era,

Some made and played their own edits of their favorite songs on <hl> reel-to-reel tape <hl> , and sometimes mixed in effects, drum machines, and other rhythmic electronic instrumentation.


Question: who produced the song "on and on" in 1984?

The hypnotic electronic dance song "On and On", produced in 1984 by Chicago DJ Jesse Saunders and co-written by Vince Lawrence, had elements that became staples of the early house sound, such as the Roland TB-303 bass synthesizer and minimal vocals as well as a Roland (specifically TR-808) drum machine and Korg (specifically Poly-61) synthesizer. It also utilized the bassline from Player One's disco record "Space Invaders" (1979). "On and On" is sometimes cited as the 'first house record', though other examples from around that time, such as J.M. Silk's "Music is the Key" (1985), have also been cited.

Answer: Jesse Saunders

<hl> The hypnotic electronic dance song "On and On", produced in 1984 by Chicago DJ Jesse Saunders and co-written by Vince Lawrence, had elements that became staples of the early house sound, such as the Roland TB-303 bass synthesizer and minimal vocals as well as a Roland (specifically TR-808) drum machine and Korg (specifically Poly-61) synthesizer. <hl> It also utilized the bassline from Player One's disco record "Space Invaders" (1979). "On and On" is sometimes cited as the 'first house record', though other examples from around that time, such as J.M. Silk's "Music is the Key" (1985), have also been cited.

The hypnotic electronic dance song "On and On", produced in 1984 by Chicago DJ <hl> Jesse Saunders <hl> and co-written by Vince Lawrence, had elements that became staples of the early house sound, such as the Roland TB-303 bass synthesizer and minimal vocals as well as a Roland (specifically TR-808) drum machine and Korg (specifically Poly-61) synthesizer. It also utilized the bassline from Player One's disco record "Space Invaders" (1979). "On and On" is sometimes cited as the 'first house record', though other examples from around that time, such as J.M. Silk's "Music is the Key" (1985), have also been cited.


Question: where was jesse saunders from?

Answer: Chicago

<hl> The hypnotic electronic dance song "On and On", produced in 1984 by Chicago DJ Jesse Saunders and co-written by Vince Lawrence, had elements that became staples of the early house sound, such as the Roland TB-303 bass synthesizer and minimal vocals as well as a Roland (specifically TR-808) drum machine and Korg (specifically Poly-61) synthesizer. <hl> It also utilized the bassline from Player One's disco record "Space Invaders" (1979). "On and On" is sometimes cited as the 'first house record', though other examples from around that time, such as J.M. Silk's "Music is the Key" (1985), have also been cited.

The hypnotic electronic dance song "On and On", produced in 1984 by <hl> Chicago <hl> DJ Jesse Saunders and co-written by Vince Lawrence, had elements that became staples of the early house sound, such as the Roland TB-303 bass synthesizer and minimal vocals as well as a Roland (specifically TR-808) drum machine and Korg (specifically Poly-61) synthesizer. It also utilized the bassline from Player One's disco record "Space Invaders" (1979). "On and On" is sometimes cited as the 'first house record', though other examples from around that time, such as J.M. Silk's "Music is the Key" (1985), have also been cited.


Question: who co-wrote the hit song "on and on" in 1984?

Answer: Vince Lawrence

<hl> The hypnotic electronic dance song "On and On", produced in 1984 by Chicago DJ Jesse Saunders and co-written by Vince Lawrence , had elements that became staples of the early house sound, such as the Roland TB-303 bass synthesizer and minimal vocals as well as a Roland (specifically TR-808) drum machine and Korg (specifically Poly-61) synthesizer. <hl> It also utilized the bassline from Player One's disco record "Space Invaders" (1979). "On and On" is sometimes cited as the 'first house record', though other examples from around that time, such as J.M. Silk's "Music is the Key" (1985), have also been cited.

The hypnotic electronic dance song "On and On", produced in 1984 by Chicago DJ Jesse Saunders and co-written by <hl> Vince Lawrence <hl>, had elements that became staples of the early house sound, such as the Roland TB-303 bass synthesizer and minimal vocals as well as a Roland (specifically TR-808) drum machine and Korg (specifically Poly-61) synthesizer. It also utilized the bassline from Player One's disco record "Space Invaders" (1979). "On and On" is sometimes cited as the 'first house record', though other examples from around that time, such as J.M. Silk's "Music is the Key" (1985), have also been cited.

The hypnotic electronic dance song "On and On", produced in 1984 by Chicago DJ Jesse Saunders and co-written by <hl> Vince Lawrence <hl> , had elements that became staples of the early house sound, such as the Roland TB-303 bass synthesizer and minimal vocals as well as a Roland (specifically TR-808) drum machine and Korg (specifically Poly-61) synthesizer.


Question: what type of bass synthesizer was a staple of the early house sound?

Answer: Roland TB-303

<hl> The hypnotic electronic dance song "On and On", produced in 1984 by Chicago DJ Jesse Saunders and co-written by Vince Lawrence, had elements that became staples of the early house sound, such as the Roland TB-303 bass synthesizer and minimal vocals as well as a Roland (specifically TR-808) drum machine and Korg (specifically Poly-61) synthesizer. <hl> It also utilized the bassline from Player One's disco record "Space Invaders" (1979). "On and On" is sometimes cited as the 'first house record', though other examples from around that time, such as J.M. Silk's "Music is the Key" (1985), have also been cited.

The hypnotic electronic dance song "On and On", produced in 1984 by Chicago DJ Jesse Saunders and co-written by Vince Lawrence, had elements that became staples of the early house sound, such as the <hl> Roland TB-303 <hl> bass synthesizer and minimal vocals as well as a Roland (specifically TR-808) drum machine and Korg (specifically Poly-61) synthesizer. It also utilized the bassline from Player One's disco record "Space Invaders" (1979). "On and On" is sometimes cited as the 'first house record', though other examples from around that time, such as J.M. Silk's "Music is the Key" (1985), have also been cited.


Question: when was player one's "space invaders" released?

Answer: 1979

The hypnotic electronic dance song "On and On", produced in 1984 by Chicago DJ Jesse Saunders and co-written by Vince Lawrence, had elements that became staples of the early house sound, such as the Roland TB-303 bass synthesizer and minimal vocals as well as a Roland (specifically TR-808) drum machine and Korg (specifically Poly-61) synthesizer. <hl> It also utilized the bassline from Player One's disco record "Space Invaders" ( 1979 ) <hl> . "On and On" is sometimes cited as the 'first house record', though other examples from around that time, such as J.M. Silk's "Music is the Key" (1985), have also been cited.

The hypnotic electronic dance song "On and On", produced in 1984 by Chicago DJ Jesse Saunders and co-written by Vince Lawrence, had elements that became staples of the early house sound, such as the Roland TB-303 bass synthesizer and minimal vocals as well as a Roland (specifically TR-808) drum machine and Korg (specifically Poly-61) synthesizer. It also utilized the bassline from Player One's disco record "Space Invaders" (<hl> 1979 <hl>). "On and On" is sometimes cited as the 'first house record', though other examples from around that time, such as J.M. Silk's "Music is the Key" (1985), have also been cited.

It also utilized the bassline from Player One's disco record "Space Invaders" ( <hl> 1979 <hl> )


Question: when was jesse saunders' "on and on" a hit?

Starting in 1984, some of these DJs, inspired by Jesse Saunders' success with "On and On", tried their hand at producing and releasing original compositions. These compositions used newly affordable electronic instruments to emulate not just Saunders' song, but the edited, enhanced styles of disco and other dance music they already favored. These homegrown productions were played on Chicago-area radio and in local discothèques catering mainly to African-American and gay audiences. By 1985, although the exact origins of the term are debated, "house music" encompassed these locally produced recordings. Subgenres of house, including deep house and acid house, quickly emerged and gained traction.

Answer: 1984

<hl> Starting in 1984 , some of these DJs, inspired by Jesse Saunders' success with "On and On", tried their hand at producing and releasing original compositions. <hl> These compositions used newly affordable electronic instruments to emulate not just Saunders' song, but the edited, enhanced styles of disco and other dance music they already favored. These homegrown productions were played on Chicago-area radio and in local discothèques catering mainly to African-American and gay audiences. By 1985, although the exact origins of the term are debated, "house music" encompassed these locally produced recordings. Subgenres of house, including deep house and acid house, quickly emerged and gained traction.

Starting in <hl> 1984 <hl>, some of these DJs, inspired by Jesse Saunders' success with "On and On", tried their hand at producing and releasing original compositions. These compositions used newly affordable electronic instruments to emulate not just Saunders' song, but the edited, enhanced styles of disco and other dance music they already favored. These homegrown productions were played on Chicago-area radio and in local discothèques catering mainly to African-American and gay audiences. By 1985, although the exact origins of the term are debated, "house music" encompassed these locally produced recordings. Subgenres of house, including deep house and acid house, quickly emerged and gained traction.

Starting in <hl> 1984 <hl> , some of these DJs, inspired by Jesse Saunders' success with "On and On", tried their hand at producing and releasing original compositions.


Question: what type of audience was early disco and dance catered to?

Answer: African-American and gay audiences

Starting in 1984, some of these DJs, inspired by Jesse Saunders' success with "On and On", tried their hand at producing and releasing original compositions. These compositions used newly affordable electronic instruments to emulate not just Saunders' song, but the edited, enhanced styles of disco and other dance music they already favored. <hl> These homegrown productions were played on Chicago-area radio and in local discothèques catering mainly to African-American and gay audiences . <hl> By 1985, although the exact origins of the term are debated, "house music" encompassed these locally produced recordings. Subgenres of house, including deep house and acid house, quickly emerged and gained traction.

Starting in 1984, some of these DJs, inspired by Jesse Saunders' success with "On and On", tried their hand at producing and releasing original compositions. These compositions used newly affordable electronic instruments to emulate not just Saunders' song, but the edited, enhanced styles of disco and other dance music they already favored. These homegrown productions were played on Chicago-area radio and in local discothèques catering mainly to <hl> African-American and gay audiences <hl>. By 1985, although the exact origins of the term are debated, "house music" encompassed these locally produced recordings. Subgenres of house, including deep house and acid house, quickly emerged and gained traction.

These homegrown productions were played on Chicago-area radio and in local discothèques catering mainly to <hl> African-American and gay audiences <hl> .


Question: what year was house music first used as a genre?

Answer: 1985

Starting in 1984, some of these DJs, inspired by Jesse Saunders' success with "On and On", tried their hand at producing and releasing original compositions. These compositions used newly affordable electronic instruments to emulate not just Saunders' song, but the edited, enhanced styles of disco and other dance music they already favored. These homegrown productions were played on Chicago-area radio and in local discothèques catering mainly to African-American and gay audiences. <hl> By 1985 , although the exact origins of the term are debated, "house music" encompassed these locally produced recordings. <hl> Subgenres of house, including deep house and acid house, quickly emerged and gained traction.

Starting in 1984, some of these DJs, inspired by Jesse Saunders' success with "On and On", tried their hand at producing and releasing original compositions. These compositions used newly affordable electronic instruments to emulate not just Saunders' song, but the edited, enhanced styles of disco and other dance music they already favored. These homegrown productions were played on Chicago-area radio and in local discothèques catering mainly to African-American and gay audiences. By <hl> 1985 <hl>, although the exact origins of the term are debated, "house music" encompassed these locally produced recordings. Subgenres of house, including deep house and acid house, quickly emerged and gained traction.

By <hl> 1985 <hl> , although the exact origins of the term are debated, "house music" encompassed these locally produced recordings.


Question: what were two big subgenres of house music?

Answer: deep house and acid house

Starting in 1984, some of these DJs, inspired by Jesse Saunders' success with "On and On", tried their hand at producing and releasing original compositions. These compositions used newly affordable electronic instruments to emulate not just Saunders' song, but the edited, enhanced styles of disco and other dance music they already favored. These homegrown productions were played on Chicago-area radio and in local discothèques catering mainly to African-American and gay audiences. By 1985, although the exact origins of the term are debated, "house music" encompassed these locally produced recordings. <hl> Subgenres of house, including deep house and acid house , quickly emerged and gained traction. <hl>

Starting in 1984, some of these DJs, inspired by Jesse Saunders' success with "On and On", tried their hand at producing and releasing original compositions. These compositions used newly affordable electronic instruments to emulate not just Saunders' song, but the edited, enhanced styles of disco and other dance music they already favored. These homegrown productions were played on Chicago-area radio and in local discothèques catering mainly to African-American and gay audiences. By 1985, although the exact origins of the term are debated, "house music" encompassed these locally produced recordings. Subgenres of house, including <hl> deep house and acid house <hl>, quickly emerged and gained traction.

Subgenres of house, including <hl> deep house and acid house <hl> , quickly emerged and gained traction.


Question: what area radio was house music generally played on?

Answer: Chicago-area radio

Starting in 1984, some of these DJs, inspired by Jesse Saunders' success with "On and On", tried their hand at producing and releasing original compositions. These compositions used newly affordable electronic instruments to emulate not just Saunders' song, but the edited, enhanced styles of disco and other dance music they already favored. <hl> These homegrown productions were played on Chicago-area radio and in local discothèques catering mainly to African-American and gay audiences. <hl> By 1985, although the exact origins of the term are debated, "house music" encompassed these locally produced recordings. Subgenres of house, including deep house and acid house, quickly emerged and gained traction.

Starting in 1984, some of these DJs, inspired by Jesse Saunders' success with "On and On", tried their hand at producing and releasing original compositions. These compositions used newly affordable electronic instruments to emulate not just Saunders' song, but the edited, enhanced styles of disco and other dance music they already favored. These homegrown productions were played on <hl> Chicago-area radio <hl> and in local discothèques catering mainly to African-American and gay audiences. By 1985, although the exact origins of the term are debated, "house music" encompassed these locally produced recordings. Subgenres of house, including deep house and acid house, quickly emerged and gained traction.


Question: what producer was the first to produce deep house?

Deep house's origins can be traced to Chicago producer Mr Fingers's relatively jazzy, soulful recordings "Mystery of Love" (1985) and "Can You Feel It?" (1986). According to author Richie Unterberger, it moved house music away from its "posthuman tendencies back towards the lush" soulful sound of early disco music.

Answer: Mr Fingers

<hl> Deep house's origins can be traced to Chicago producer Mr Fingers 's relatively jazzy, soulful recordings "Mystery of Love" (1985) and "Can You Feel It?" (1986). <hl> According to author Richie Unterberger, it moved house music away from its "posthuman tendencies back towards the lush" soulful sound of early disco music.

Deep house's origins can be traced to Chicago producer <hl> Mr Fingers <hl>'s relatively jazzy, soulful recordings "Mystery of Love" (1985) and "Can You Feel It?" (1986). According to author Richie Unterberger, it moved house music away from its "posthuman tendencies back towards the lush" soulful sound of early disco music.

Deep house's origins can be traced to Chicago producer <hl> Mr Fingers <hl> 's relatively jazzy, soulful recordings "Mystery of Love" (1985) and "Can You Feel It?" (1986).


Question: where was producer mr. fingers' from?

Answer: Chicago

<hl> Deep house's origins can be traced to Chicago producer Mr Fingers's relatively jazzy, soulful recordings "Mystery of Love" (1985) and "Can You Feel It?" (1986). <hl> According to author Richie Unterberger, it moved house music away from its "posthuman tendencies back towards the lush" soulful sound of early disco music.

Deep house's origins can be traced to <hl> Chicago <hl> producer Mr Fingers's relatively jazzy, soulful recordings "Mystery of Love" (1985) and "Can You Feel It?" (1986). According to author Richie Unterberger, it moved house music away from its "posthuman tendencies back towards the lush" soulful sound of early disco music.


Question: when was mr. fingers' "mystery of love" released?

Answer: 1985

<hl> Deep house's origins can be traced to Chicago producer Mr Fingers's relatively jazzy, soulful recordings "Mystery of Love" ( 1985 ) and "Can You Feel It?" (1986). <hl> According to author Richie Unterberger, it moved house music away from its "posthuman tendencies back towards the lush" soulful sound of early disco music.

Deep house's origins can be traced to Chicago producer Mr Fingers's relatively jazzy, soulful recordings "Mystery of Love" (<hl> 1985 <hl>) and "Can You Feel It?" (1986). According to author Richie Unterberger, it moved house music away from its "posthuman tendencies back towards the lush" soulful sound of early disco music.

Deep house's origins can be traced to Chicago producer Mr Fingers's relatively jazzy, soulful recordings "Mystery of Love" ( <hl> 1985 <hl> ) and "Can You Feel It?" (1986).


Question: when was mr. fingers' "can you feel it?" released?

Answer: 1986

<hl> Deep house's origins can be traced to Chicago producer Mr Fingers's relatively jazzy, soulful recordings "Mystery of Love" (1985) and "Can You Feel It?" ( 1986 ) <hl> . According to author Richie Unterberger, it moved house music away from its "posthuman tendencies back towards the lush" soulful sound of early disco music.

Deep house's origins can be traced to Chicago producer Mr Fingers's relatively jazzy, soulful recordings "Mystery of Love" (1985) and "Can You Feel It?" (<hl> 1986 <hl>). According to author Richie Unterberger, it moved house music away from its "posthuman tendencies back towards the lush" soulful sound of early disco music.

Deep house's origins can be traced to Chicago producer Mr Fingers's relatively jazzy, soulful recordings "Mystery of Love" (1985) and "Can You Feel It?" ( <hl> 1986 <hl> )


Question: When was Phuture's "Acid Tracks" released?

Acid house arose from Chicago artists' experiments with the squelchy Roland TB-303 bass synthesizer, and the style's origins 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 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.

Answer: 1987

<hl> Acid house arose from Chicago artists' experiments with the squelchy Roland TB-303 bass synthesizer, and the style's origins on vinyl is generally cited as Phuture's "Acid Tracks" ( 1987 ) <hl> . 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. 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.

Acid house arose from Chicago artists' experiments with the squelchy Roland TB-303 bass synthesizer, and the style's origins on vinyl is generally cited as Phuture's "Acid Tracks" (<hl> 1987 <hl>). 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. 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.

Acid house arose from Chicago artists' experiments with the squelchy Roland TB-303 bass synthesizer, and the style's origins on vinyl is generally cited as Phuture's "Acid Tracks" ( <hl> 1987 <hl> )


Question: Who founded the group Phuture?

Answer: Nathan "DJ Pierre" Jones, Earl "Spanky" Smith Jr., and Herbert "Herb J" Jackson

Acid house arose from Chicago artists' experiments with the squelchy Roland TB-303 bass synthesizer, and the style's origins on vinyl is generally cited as Phuture's "Acid Tracks" (1987). <hl> 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. <hl> 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.

Acid house arose from Chicago artists' experiments with the squelchy Roland TB-303 bass synthesizer, and the style's origins on vinyl is generally cited as Phuture's "Acid Tracks" (1987). Phuture, a group founded by <hl> Nathan "DJ Pierre" Jones, Earl "Spanky" Smith Jr., and Herbert "Herb J" Jackson <hl>, is credited with having been the first to use 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.

Phuture, a group founded by <hl> Nathan "DJ Pierre" Jones, Earl "Spanky" Smith Jr., and Herbert "Herb J" Jackson <hl> , is credited with having been the first to use the TB-303 in the house music context.


Question: what instrument was Phuture the first to use in house music?

Answer: TB-303

<hl> Acid house arose from Chicago artists' experiments with the squelchy Roland TB-303 bass synthesizer, and the style's origins on vinyl is generally cited as Phuture's "Acid Tracks" (1987). <hl> 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. 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.

Acid house arose from Chicago artists' experiments with the squelchy Roland <hl> TB-303 <hl> bass synthesizer, and the style's origins 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 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.


Question: how long was phuture's "acid tracks"?

Answer: 12-minute

Acid house arose from Chicago artists' experiments with the squelchy Roland TB-303 bass synthesizer, and the style's origins 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 the TB-303 in the house music context. <hl> 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. <hl> 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.

Acid house arose from Chicago artists' experiments with the squelchy Roland TB-303 bass synthesizer, and the style's origins 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 the TB-303 in the house music context. The group's <hl> 12-minute <hl> "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.