Question: How much money did the Ending Chronic Homelessness through Employment and Housing offer?

Answer: $10 million from HUD and $3.5 million from DOL

There are several policies dealing with homelessness. In 1980 the government decided to start sending funding to the homeless, but it was not until 1984 that shelters were built to accommodate and feed them. As it was shown though seventy percent required the homeless to attend a religious ceremony and spend only a couple of nights there. In the 1987 McKinney Act the problem with homelessness became known as a huge social problem. Later on, the No Child Left Behind Act of 2001 (P.L. 107-110) amended the program explicitly to prohibit states that receive McKinney-Vento funds from segregating homeless students from non-homeless students, except for short periods of time for health and safety emergencies or to provide temporary, special, supplementary services. The Chronic Homelessness Initiative. The Bush Administration established a national goal of ending chronic homelessness in ten years, by 2012. The idea of a 10-year plan to end chronic homelessness began as a part of a 10-year plan to end homelessness in general adopted by the National Alliance to End Homelessness (NAEH) in 2000. The following year, then-Secretary Martinez announced HUD's commitment to ending chronic homelessness at the NAEH annual conference. In 2002, as a part of his FY2003 budget, President Bush made "ending chronic homelessness in the next decade a top objective." The bi-partisan, congressionally mandated, Millennial Housing Commission, in its Report to Congress in 2002, included ending chronic homelessness in 10 years among its principal recommendations. By 2003, the Interagency Council on Homelessness had been re-engaged and charged with pursuing the President's 10-year plan. The Administration has recently undertaken some collaborative efforts to reach its goal of ending chronic homelessness in 10 years. On October 1, 2003, the Administration announced the award of over $48 million in grants aimed at serving the needs of the chronically homeless through two initiatives. The "Ending Chronic Homelessness through Employment and Housing" initiative was a collaborative grant offered jointly by HUD and the Department of Labor (DOL). <hl> The initiative offered $10 million from HUD and $3.5 million from DOL to help the chronically homeless in five communities gain access to employment and permanent housing. <hl> Section 8 is the core housing program that helps extremely low-income families accommodate the gap between their incomes below 30 percent of the median income for each community. The government assists homeless families by awarding grants and vouchers. Vouchers are available to the families who are most needy and they are used to pay for housing found in the private market. Currently there are policy changes in who receives vouchers and there will be a reduction in the amount of vouchers granted to the homeless population.

There are several policies dealing with homelessness. In 1980 the government decided to start sending funding to the homeless, but it was not until 1984 that shelters were built to accommodate and feed them. As it was shown though seventy percent required the homeless to attend a religious ceremony and spend only a couple of nights there. In the 1987 McKinney Act the problem with homelessness became known as a huge social problem. Later on, the No Child Left Behind Act of 2001 (P.L. 107-110) amended the program explicitly to prohibit states that receive McKinney-Vento funds from segregating homeless students from non-homeless students, except for short periods of time for health and safety emergencies or to provide temporary, special, supplementary services. The Chronic Homelessness Initiative. The Bush Administration established a national goal of ending chronic homelessness in ten years, by 2012. The idea of a 10-year plan to end chronic homelessness began as a part of a 10-year plan to end homelessness in general adopted by the National Alliance to End Homelessness (NAEH) in 2000. The following year, then-Secretary Martinez announced HUD's commitment to ending chronic homelessness at the NAEH annual conference. In 2002, as a part of his FY2003 budget, President Bush made "ending chronic homelessness in the next decade a top objective." The bi-partisan, congressionally mandated, Millennial Housing Commission, in its Report to Congress in 2002, included ending chronic homelessness in 10 years among its principal recommendations. By 2003, the Interagency Council on Homelessness had been re-engaged and charged with pursuing the President's 10-year plan. The Administration has recently undertaken some collaborative efforts to reach its goal of ending chronic homelessness in 10 years. On October 1, 2003, the Administration announced the award of over $48 million in grants aimed at serving the needs of the chronically homeless through two initiatives. The "Ending Chronic Homelessness through Employment and Housing" initiative was a collaborative grant offered jointly by HUD and the Department of Labor (DOL). The initiative offered <hl> $10 million from HUD and $3.5 million from DOL <hl> to help the chronically homeless in five communities gain access to employment and permanent housing. Section 8 is the core housing program that helps extremely low-income families accommodate the gap between their incomes below 30 percent of the median income for each community. The government assists homeless families by awarding grants and vouchers. Vouchers are available to the families who are most needy and they are used to pay for housing found in the private market. Currently there are policy changes in who receives vouchers and there will be a reduction in the amount of vouchers granted to the homeless population.


Question: When did Obama sign the HEARTH Act?

On May 20, 2009, President Barack Obama signed the Homeless Emergency Assistance and Rapid Transition to Housing (HEARTH) Act of 2009. The HEARTH Act amends and reauthorizes the McKinney-Vento Homeless Assistance Act with substantial changes. The HEARTH Act of 2009 consolidated HUD's competitive grant programs, created a Rural Housing Stability Program, changed HUD's definition of homelessness and chronic homelessness, supplied a simplified match requirement, increased prevention resources and increased in the emphasis on performance. The primary purpose of the legislation was to define homelessness terms: "homeless," "homeless individual," "homeless person," and "homeless individual with a disability."

Answer: May 20, 2009

<hl> On May 20, 2009 , President Barack Obama signed the Homeless Emergency Assistance and Rapid Transition to Housing (HEARTH) Act of 2009. <hl> The HEARTH Act amends and reauthorizes the McKinney-Vento Homeless Assistance Act with substantial changes. The HEARTH Act of 2009 consolidated HUD's competitive grant programs, created a Rural Housing Stability Program, changed HUD's definition of homelessness and chronic homelessness, supplied a simplified match requirement, increased prevention resources and increased in the emphasis on performance. The primary purpose of the legislation was to define homelessness terms: "homeless," "homeless individual," "homeless person," and "homeless individual with a disability."

On <hl> May 20, 2009 <hl>, President Barack Obama signed the Homeless Emergency Assistance and Rapid Transition to Housing (HEARTH) Act of 2009. The HEARTH Act amends and reauthorizes the McKinney-Vento Homeless Assistance Act with substantial changes. The HEARTH Act of 2009 consolidated HUD's competitive grant programs, created a Rural Housing Stability Program, changed HUD's definition of homelessness and chronic homelessness, supplied a simplified match requirement, increased prevention resources and increased in the emphasis on performance. The primary purpose of the legislation was to define homelessness terms: "homeless," "homeless individual," "homeless person," and "homeless individual with a disability."

On <hl> May 20, 2009 <hl> , President Barack Obama signed the Homeless Emergency Assistance and Rapid Transition to Housing (HEARTH) Act of 2009.


Question: What does HEARTH stand for?

Answer: Homeless Emergency Assistance and Rapid Transition to Housing

<hl> On May 20, 2009, President Barack Obama signed the Homeless Emergency Assistance and Rapid Transition to Housing (HEARTH) Act of 2009. <hl> The HEARTH Act amends and reauthorizes the McKinney-Vento Homeless Assistance Act with substantial changes. The HEARTH Act of 2009 consolidated HUD's competitive grant programs, created a Rural Housing Stability Program, changed HUD's definition of homelessness and chronic homelessness, supplied a simplified match requirement, increased prevention resources and increased in the emphasis on performance. The primary purpose of the legislation was to define homelessness terms: "homeless," "homeless individual," "homeless person," and "homeless individual with a disability."

On May 20, 2009, President Barack Obama signed the <hl> Homeless Emergency Assistance and Rapid Transition to Housing <hl> (HEARTH) Act of 2009. The HEARTH Act amends and reauthorizes the McKinney-Vento Homeless Assistance Act with substantial changes. The HEARTH Act of 2009 consolidated HUD's competitive grant programs, created a Rural Housing Stability Program, changed HUD's definition of homelessness and chronic homelessness, supplied a simplified match requirement, increased prevention resources and increased in the emphasis on performance. The primary purpose of the legislation was to define homelessness terms: "homeless," "homeless individual," "homeless person," and "homeless individual with a disability."


Question: The HEARTH Act created what program?

Answer: Rural Housing Stability Program

On May 20, 2009, President Barack Obama signed the Homeless Emergency Assistance and Rapid Transition to Housing (HEARTH) Act of 2009. The HEARTH Act amends and reauthorizes the McKinney-Vento Homeless Assistance Act with substantial changes. <hl> The HEARTH Act of 2009 consolidated HUD's competitive grant programs, created a Rural Housing Stability Program , changed HUD's definition of homelessness and chronic homelessness, supplied a simplified match requirement, increased prevention resources and increased in the emphasis on performance. <hl> The primary purpose of the legislation was to define homelessness terms: "homeless," "homeless individual," "homeless person," and "homeless individual with a disability."

On May 20, 2009, President Barack Obama signed the Homeless Emergency Assistance and Rapid Transition to Housing (HEARTH) Act of 2009. The HEARTH Act amends and reauthorizes the McKinney-Vento Homeless Assistance Act with substantial changes. The HEARTH Act of 2009 consolidated HUD's competitive grant programs, created a <hl> Rural Housing Stability Program <hl>, changed HUD's definition of homelessness and chronic homelessness, supplied a simplified match requirement, increased prevention resources and increased in the emphasis on performance. The primary purpose of the legislation was to define homelessness terms: "homeless," "homeless individual," "homeless person," and "homeless individual with a disability."

The HEARTH Act of 2009 consolidated HUD's competitive grant programs, created a <hl> Rural Housing Stability Program <hl> , changed HUD's definition of homelessness and chronic homelessness, supplied a simplified match requirement, increased prevention resources and increased in the emphasis on performance.


Question: What is the purpose of the HEARTH Act?

Answer: amends and reauthorizes the McKinney-Vento Homeless Assistance Act

On May 20, 2009, President Barack Obama signed the Homeless Emergency Assistance and Rapid Transition to Housing (HEARTH) Act of 2009. <hl> The HEARTH Act amends and reauthorizes the McKinney-Vento Homeless Assistance Act with substantial changes. <hl> The HEARTH Act of 2009 consolidated HUD's competitive grant programs, created a Rural Housing Stability Program, changed HUD's definition of homelessness and chronic homelessness, supplied a simplified match requirement, increased prevention resources and increased in the emphasis on performance. The primary purpose of the legislation was to define homelessness terms: "homeless," "homeless individual," "homeless person," and "homeless individual with a disability."

On May 20, 2009, President Barack Obama signed the Homeless Emergency Assistance and Rapid Transition to Housing (HEARTH) Act of 2009. The HEARTH Act <hl> amends and reauthorizes the McKinney-Vento Homeless Assistance Act <hl> with substantial changes. The HEARTH Act of 2009 consolidated HUD's competitive grant programs, created a Rural Housing Stability Program, changed HUD's definition of homelessness and chronic homelessness, supplied a simplified match requirement, increased prevention resources and increased in the emphasis on performance. The primary purpose of the legislation was to define homelessness terms: "homeless," "homeless individual," "homeless person," and "homeless individual with a disability."


Question: What year was Housing First created?

Housing First has met with success since its initial implementations in 2009 by providing relatively no strings-attached housing to homeless people with substance abuse problems or mental health issues. Housing First allows homeless men and women to be taken directly off the street into private community-based apartments, without requiring treatment first. This allows the homeless to return to some sense of normalcy, from which it is believed that they are better-poised to tackle their addictions or sicknesses. The relapse rate through these types of programs is lower than that of conventional homeless programs.

Answer: 2009

<hl> Housing First has met with success since its initial implementations in 2009 by providing relatively no strings-attached housing to homeless people with substance abuse problems or mental health issues. <hl> Housing First allows homeless men and women to be taken directly off the street into private community-based apartments, without requiring treatment first. This allows the homeless to return to some sense of normalcy, from which it is believed that they are better-poised to tackle their addictions or sicknesses. The relapse rate through these types of programs is lower than that of conventional homeless programs.

Housing First has met with success since its initial implementations in <hl> 2009 <hl> by providing relatively no strings-attached housing to homeless people with substance abuse problems or mental health issues. Housing First allows homeless men and women to be taken directly off the street into private community-based apartments, without requiring treatment first. This allows the homeless to return to some sense of normalcy, from which it is believed that they are better-poised to tackle their addictions or sicknesses. The relapse rate through these types of programs is lower than that of conventional homeless programs.


Question: What did Housing First provide?

Answer: housing to homeless people

<hl> Housing First has met with success since its initial implementations in 2009 by providing relatively no strings-attached housing to homeless people with substance abuse problems or mental health issues. <hl> Housing First allows homeless men and women to be taken directly off the street into private community-based apartments, without requiring treatment first. This allows the homeless to return to some sense of normalcy, from which it is believed that they are better-poised to tackle their addictions or sicknesses. The relapse rate through these types of programs is lower than that of conventional homeless programs.

Housing First has met with success since its initial implementations in 2009 by providing relatively no strings-attached <hl> housing to homeless people <hl> with substance abuse problems or mental health issues. Housing First allows homeless men and women to be taken directly off the street into private community-based apartments, without requiring treatment first. This allows the homeless to return to some sense of normalcy, from which it is believed that they are better-poised to tackle their addictions or sicknesses. The relapse rate through these types of programs is lower than that of conventional homeless programs.


Question: What type of housing did Housing First provide?

Answer: private community-based apartments

Housing First has met with success since its initial implementations in 2009 by providing relatively no strings-attached housing to homeless people with substance abuse problems or mental health issues. <hl> Housing First allows homeless men and women to be taken directly off the street into private community-based apartments , without requiring treatment first. <hl> This allows the homeless to return to some sense of normalcy, from which it is believed that they are better-poised to tackle their addictions or sicknesses. The relapse rate through these types of programs is lower than that of conventional homeless programs.

Housing First has met with success since its initial implementations in 2009 by providing relatively no strings-attached housing to homeless people with substance abuse problems or mental health issues. Housing First allows homeless men and women to be taken directly off the street into <hl> private community-based apartments <hl>, without requiring treatment first. This allows the homeless to return to some sense of normalcy, from which it is believed that they are better-poised to tackle their addictions or sicknesses. The relapse rate through these types of programs is lower than that of conventional homeless programs.

Housing First allows homeless men and women to be taken directly off the street into <hl> private community-based apartments <hl> , without requiring treatment first.


Question: What demographic did Housing First target?

Answer: people with substance abuse problems or mental health issues

<hl> Housing First has met with success since its initial implementations in 2009 by providing relatively no strings-attached housing to homeless people with substance abuse problems or mental health issues . <hl> Housing First allows homeless men and women to be taken directly off the street into private community-based apartments, without requiring treatment first. This allows the homeless to return to some sense of normalcy, from which it is believed that they are better-poised to tackle their addictions or sicknesses. The relapse rate through these types of programs is lower than that of conventional homeless programs.

Housing First has met with success since its initial implementations in 2009 by providing relatively no strings-attached housing to homeless <hl> people with substance abuse problems or mental health issues <hl>. Housing First allows homeless men and women to be taken directly off the street into private community-based apartments, without requiring treatment first. This allows the homeless to return to some sense of normalcy, from which it is believed that they are better-poised to tackle their addictions or sicknesses. The relapse rate through these types of programs is lower than that of conventional homeless programs.

Housing First has met with success since its initial implementations in 2009 by providing relatively no strings-attached housing to homeless <hl> people with substance abuse problems or mental health issues <hl> .


Question: What does NAEH stand for?

A significant shift has occurred in homeless services over the past five years[needs update] which has changed the emphasis from "managing the problem of homelessness" with emergency shelters, soup kitchens and health clinic to ending homelessness by housing individuals who are experiencing homelessness. In 2000, the National Alliance to End Homelessness released "A Plan, Not a Dream: How to End Homelessness in Ten Years" which encouraged communities to develop and implement 10-year plans to end homelessness in their communities.

Answer: National Alliance to End Homelessness

A significant shift has occurred in homeless services over the past five years[needs update] which has changed the emphasis from "managing the problem of homelessness" with emergency shelters, soup kitchens and health clinic to ending homelessness by housing individuals who are experiencing homelessness. <hl> In 2000, the National Alliance to End Homelessness released "A Plan, Not a Dream: How to End Homelessness in Ten Years" which encouraged communities to develop and implement 10-year plans to end homelessness in their communities. <hl>

A significant shift has occurred in homeless services over the past five years[needs update] which has changed the emphasis from "managing the problem of homelessness" with emergency shelters, soup kitchens and health clinic to ending homelessness by housing individuals who are experiencing homelessness. In 2000, the <hl> National Alliance to End Homelessness <hl> released "A Plan, Not a Dream: How to End Homelessness in Ten Years" which encouraged communities to develop and implement 10-year plans to end homelessness in their communities.


Question: What initiative the NAEH create?

Answer: A Plan, Not a Dream: How to End Homelessness in Ten Years

A significant shift has occurred in homeless services over the past five years[needs update] which has changed the emphasis from "managing the problem of homelessness" with emergency shelters, soup kitchens and health clinic to ending homelessness by housing individuals who are experiencing homelessness. <hl> In 2000, the National Alliance to End Homelessness released " A Plan, Not a Dream: How to End Homelessness in Ten Years " which encouraged communities to develop and implement 10-year plans to end homelessness in their communities. <hl>

A significant shift has occurred in homeless services over the past five years[needs update] which has changed the emphasis from "managing the problem of homelessness" with emergency shelters, soup kitchens and health clinic to ending homelessness by housing individuals who are experiencing homelessness. In 2000, the National Alliance to End Homelessness released "<hl> A Plan, Not a Dream: How to End Homelessness in Ten Years <hl>" which encouraged communities to develop and implement 10-year plans to end homelessness in their communities.

In 2000, the National Alliance to End Homelessness released " <hl> A Plan, Not a Dream: How to End Homelessness in Ten Years <hl> " which encouraged communities to develop and implement 10-year plans to end homelessness in their communities.


Question: How long were the plans to end homelessness?

Answer: 10-year plans

A significant shift has occurred in homeless services over the past five years[needs update] which has changed the emphasis from "managing the problem of homelessness" with emergency shelters, soup kitchens and health clinic to ending homelessness by housing individuals who are experiencing homelessness. <hl> In 2000, the National Alliance to End Homelessness released "A Plan, Not a Dream: How to End Homelessness in Ten Years" which encouraged communities to develop and implement 10-year plans to end homelessness in their communities. <hl>

A significant shift has occurred in homeless services over the past five years[needs update] which has changed the emphasis from "managing the problem of homelessness" with emergency shelters, soup kitchens and health clinic to ending homelessness by housing individuals who are experiencing homelessness. In 2000, the National Alliance to End Homelessness released "A Plan, Not a Dream: How to End Homelessness in Ten Years" which encouraged communities to develop and implement <hl> 10-year plans <hl> to end homelessness in their communities.


Question: How do you manage homelessness?

Answer: emergency shelters, soup kitchens and health clinic

<hl> A significant shift has occurred in homeless services over the past five years[needs update] which has changed the emphasis from "managing the problem of homelessness" with emergency shelters, soup kitchens and health clinic to ending homelessness by housing individuals who are experiencing homelessness. <hl> In 2000, the National Alliance to End Homelessness released "A Plan, Not a Dream: How to End Homelessness in Ten Years" which encouraged communities to develop and implement 10-year plans to end homelessness in their communities.

A significant shift has occurred in homeless services over the past five years[needs update] which has changed the emphasis from "managing the problem of homelessness" with <hl> emergency shelters, soup kitchens and health clinic <hl> to ending homelessness by housing individuals who are experiencing homelessness. In 2000, the National Alliance to End Homelessness released "A Plan, Not a Dream: How to End Homelessness in Ten Years" which encouraged communities to develop and implement 10-year plans to end homelessness in their communities.


Question: When was the Annual Homeless Assessment Report first released?

Perhaps the most accurate, comprehensive, and current data on homelessness in the United States is reported annually by the Department of Housing and Urban Development (HUD) in the Annual Homeless Assessment Report to Congress (AHAR), released in June of every year since 2007. The AHAR report relies on data from two sources: single-night, point-in-time counts of both sheltered and unsheltered homeless populations reported on the Continuum of Care applications to HUD; and counts of the sheltered homeless population over a full year provided by a sample of communities based on data in their Management Information Systems (HMIS).

Answer: June of every year since 2007

<hl> Perhaps the most accurate, comprehensive, and current data on homelessness in the United States is reported annually by the Department of Housing and Urban Development (HUD) in the Annual Homeless Assessment Report to Congress (AHAR), released in June of every year since 2007 . <hl> The AHAR report relies on data from two sources: single-night, point-in-time counts of both sheltered and unsheltered homeless populations reported on the Continuum of Care applications to HUD; and counts of the sheltered homeless population over a full year provided by a sample of communities based on data in their Management Information Systems (HMIS).

Perhaps the most accurate, comprehensive, and current data on homelessness in the United States is reported annually by the Department of Housing and Urban Development (HUD) in the Annual Homeless Assessment Report to Congress (AHAR), released in <hl> June of every year since 2007 <hl>. The AHAR report relies on data from two sources: single-night, point-in-time counts of both sheltered and unsheltered homeless populations reported on the Continuum of Care applications to HUD; and counts of the sheltered homeless population over a full year provided by a sample of communities based on data in their Management Information Systems (HMIS).

Perhaps the most accurate, comprehensive, and current data on homelessness in the United States is reported annually by the Department of Housing and Urban Development (HUD) in the Annual Homeless Assessment Report to Congress (AHAR), released in <hl> June of every year since 2007 <hl> .


Question: What does AHAR stand for?

Answer: Annual Homeless Assessment Report

<hl> Perhaps the most accurate, comprehensive, and current data on homelessness in the United States is reported annually by the Department of Housing and Urban Development (HUD) in the Annual Homeless Assessment Report to Congress (AHAR), released in June of every year since 2007. <hl> The AHAR report relies on data from two sources: single-night, point-in-time counts of both sheltered and unsheltered homeless populations reported on the Continuum of Care applications to HUD; and counts of the sheltered homeless population over a full year provided by a sample of communities based on data in their Management Information Systems (HMIS).

Perhaps the most accurate, comprehensive, and current data on homelessness in the United States is reported annually by the Department of Housing and Urban Development (HUD) in the <hl> Annual Homeless Assessment Report <hl> to Congress (AHAR), released in June of every year since 2007. The AHAR report relies on data from two sources: single-night, point-in-time counts of both sheltered and unsheltered homeless populations reported on the Continuum of Care applications to HUD; and counts of the sheltered homeless population over a full year provided by a sample of communities based on data in their Management Information Systems (HMIS).


Question: Who created the AHAR?

Answer: Department of Housing and Urban Development (HUD)

<hl> Perhaps the most accurate, comprehensive, and current data on homelessness in the United States is reported annually by the Department of Housing and Urban Development (HUD) in the Annual Homeless Assessment Report to Congress (AHAR), released in June of every year since 2007. <hl> The AHAR report relies on data from two sources: single-night, point-in-time counts of both sheltered and unsheltered homeless populations reported on the Continuum of Care applications to HUD; and counts of the sheltered homeless population over a full year provided by a sample of communities based on data in their Management Information Systems (HMIS).

Perhaps the most accurate, comprehensive, and current data on homelessness in the United States is reported annually by the <hl> Department of Housing and Urban Development (HUD) <hl> in the Annual Homeless Assessment Report to Congress (AHAR), released in June of every year since 2007. The AHAR report relies on data from two sources: single-night, point-in-time counts of both sheltered and unsheltered homeless populations reported on the Continuum of Care applications to HUD; and counts of the sheltered homeless population over a full year provided by a sample of communities based on data in their Management Information Systems (HMIS).


Question: What sources does the AHAR rely on?

Answer: single-night, point-in-time counts of both sheltered and unsheltered homeless populations

Perhaps the most accurate, comprehensive, and current data on homelessness in the United States is reported annually by the Department of Housing and Urban Development (HUD) in the Annual Homeless Assessment Report to Congress (AHAR), released in June of every year since 2007. <hl> The AHAR report relies on data from two sources: single-night, point-in-time counts of both sheltered and unsheltered homeless populations reported on the Continuum of Care applications to HUD; and counts of the sheltered homeless population over a full year provided by a sample of communities based on data in their Management Information Systems (HMIS). <hl>

Perhaps the most accurate, comprehensive, and current data on homelessness in the United States is reported annually by the Department of Housing and Urban Development (HUD) in the Annual Homeless Assessment Report to Congress (AHAR), released in June of every year since 2007. The AHAR report relies on data from two sources: <hl> single-night, point-in-time counts of both sheltered and unsheltered homeless populations <hl> reported on the Continuum of Care applications to HUD; and counts of the sheltered homeless population over a full year provided by a sample of communities based on data in their Management Information Systems (HMIS).


Question: What was the main starting influence for Drum and Bass?

The Amen Break was the main starting influence for Drum and Bass.  Jungle threw in more whistles and bells and MC's.  Jungle has a distinct African flow which is dirty.  Drum and Bass for mainstream UK was clean and formal.  A very obvious and strong influence on jungle and drum and bass, thanks to the British African-Caribbean sound system scene, is the original Jamaican dub and reggae sound, with pioneers like King Tubby, Peter Tosh, Sly & Robbie, Bill Laswell, Lee Perry, Mad Professor, Roots Radics, Bob Marley and Buju Banton heavily influencing the music. This influence has lessened with time but is still evident with many tracks containing ragga vocals.

Answer: The Amen Break

<hl> The Amen Break was the main starting influence for Drum and Bass. <hl> Jungle threw in more whistles and bells and MC's. Jungle has a distinct African flow which is dirty. Drum and Bass for mainstream UK was clean and formal. A very obvious and strong influence on jungle and drum and bass, thanks to the British African-Caribbean sound system scene, is the original Jamaican dub and reggae sound, with pioneers like King Tubby, Peter Tosh, Sly & Robbie, Bill Laswell, Lee Perry, Mad Professor, Roots Radics, Bob Marley and Buju Banton heavily influencing the music. This influence has lessened with time but is still evident with many tracks containing ragga vocals.

<hl> The Amen Break <hl> was the main starting influence for Drum and Bass. Jungle threw in more whistles and bells and MC's. Jungle has a distinct African flow which is dirty. Drum and Bass for mainstream UK was clean and formal. A very obvious and strong influence on jungle and drum and bass, thanks to the British African-Caribbean sound system scene, is the original Jamaican dub and reggae sound, with pioneers like King Tubby, Peter Tosh, Sly & Robbie, Bill Laswell, Lee Perry, Mad Professor, Roots Radics, Bob Marley and Buju Banton heavily influencing the music. This influence has lessened with time but is still evident with many tracks containing ragga vocals.


Question: What was the type of Bass and Drum known in mainstream UK?

Answer: clean and formal

The Amen Break was the main starting influence for Drum and Bass. Jungle threw in more whistles and bells and MC's. Jungle has a distinct African flow which is dirty. <hl> Drum and Bass for mainstream UK was clean and formal . <hl> A very obvious and strong influence on jungle and drum and bass, thanks to the British African-Caribbean sound system scene, is the original Jamaican dub and reggae sound, with pioneers like King Tubby, Peter Tosh, Sly & Robbie, Bill Laswell, Lee Perry, Mad Professor, Roots Radics, Bob Marley and Buju Banton heavily influencing the music. This influence has lessened with time but is still evident with many tracks containing ragga vocals.

The Amen Break was the main starting influence for Drum and Bass. Jungle threw in more whistles and bells and MC's. Jungle has a distinct African flow which is dirty. Drum and Bass for mainstream UK was <hl> clean and formal <hl>. A very obvious and strong influence on jungle and drum and bass, thanks to the British African-Caribbean sound system scene, is the original Jamaican dub and reggae sound, with pioneers like King Tubby, Peter Tosh, Sly & Robbie, Bill Laswell, Lee Perry, Mad Professor, Roots Radics, Bob Marley and Buju Banton heavily influencing the music. This influence has lessened with time but is still evident with many tracks containing ragga vocals.

Drum and Bass for mainstream UK was <hl> clean and formal <hl> .


Question: What are some of the pioneers of Jamaican dub and Reggae sound?

Answer: King Tubby, Peter Tosh, Sly & Robbie, Bill Laswell, Lee Perry, Mad Professor, Roots Radics, Bob Marley and Buju Banton

The Amen Break was the main starting influence for Drum and Bass. Jungle threw in more whistles and bells and MC's. Jungle has a distinct African flow which is dirty. Drum and Bass for mainstream UK was clean and formal. <hl> A very obvious and strong influence on jungle and drum and bass, thanks to the British African-Caribbean sound system scene, is the original Jamaican dub and reggae sound, with pioneers like King Tubby, Peter Tosh, Sly & Robbie, Bill Laswell, Lee Perry, Mad Professor, Roots Radics, Bob Marley and Buju Banton heavily influencing the music. <hl> This influence has lessened with time but is still evident with many tracks containing ragga vocals.

The Amen Break was the main starting influence for Drum and Bass. Jungle threw in more whistles and bells and MC's. Jungle has a distinct African flow which is dirty. Drum and Bass for mainstream UK was clean and formal. A very obvious and strong influence on jungle and drum and bass, thanks to the British African-Caribbean sound system scene, is the original Jamaican dub and reggae sound, with pioneers like <hl> King Tubby, Peter Tosh, Sly & Robbie, Bill Laswell, Lee Perry, Mad Professor, Roots Radics, Bob Marley and Buju Banton <hl> heavily influencing the music. This influence has lessened with time but is still evident with many tracks containing ragga vocals.


Question: What kind of African flow does Jungle have?

Answer: dirty

The Amen Break was the main starting influence for Drum and Bass. Jungle threw in more whistles and bells and MC's. <hl> Jungle has a distinct African flow which is dirty . <hl> Drum and Bass for mainstream UK was clean and formal. A very obvious and strong influence on jungle and drum and bass, thanks to the British African-Caribbean sound system scene, is the original Jamaican dub and reggae sound, with pioneers like King Tubby, Peter Tosh, Sly & Robbie, Bill Laswell, Lee Perry, Mad Professor, Roots Radics, Bob Marley and Buju Banton heavily influencing the music. This influence has lessened with time but is still evident with many tracks containing ragga vocals.

The Amen Break was the main starting influence for Drum and Bass. Jungle threw in more whistles and bells and MC's. Jungle has a distinct African flow which is <hl> dirty <hl>. Drum and Bass for mainstream UK was clean and formal. A very obvious and strong influence on jungle and drum and bass, thanks to the British African-Caribbean sound system scene, is the original Jamaican dub and reggae sound, with pioneers like King Tubby, Peter Tosh, Sly & Robbie, Bill Laswell, Lee Perry, Mad Professor, Roots Radics, Bob Marley and Buju Banton heavily influencing the music. This influence has lessened with time but is still evident with many tracks containing ragga vocals.

Jungle has a distinct African flow which is <hl> dirty <hl> .


Question: Who are a few of the performers whose music is built around funk or syncopated rock?

As a musical style built around funk or syncopated rock and roll breaks, James Brown, Al Green, Marvin Gaye, Ella Fitzgerald, Gladys Knight & the Pips, Billie Holiday, Aretha Franklin, Otis Redding, the Supremes, the Commodores, Jerry Lee Lewis and even Michael Jackson, are funky influences on the music. Jazz pioneer Miles Davis has been named as a possible influence. Blues artists like Lead Belly, Robert Johnson, Charlie Patton, Muddy Waters and B.B King have also been cited by producers as inspirations. Even modern avant-garde composers such as Henryk Gorecki have received mention. One of the most influential tracks in drum and bass history was "Amen Brother" by The Winstons which contains a drum solo that has since become known as the "Amen break", which after being extensively used in early hip hop music, went on to become the basis for the rhythms used in drum and bass.

Answer: James Brown, Al Green, Marvin Gaye, Ella Fitzgerald, Gladys Knight & the Pips, Billie Holiday, Aretha Franklin, Otis Redding, the Supremes, the Commodores

<hl> As a musical style built around funk or syncopated rock and roll breaks, James Brown, Al Green, Marvin Gaye, Ella Fitzgerald, Gladys Knight & the Pips, Billie Holiday, Aretha Franklin, Otis Redding, the Supremes, the Commodores , Jerry Lee Lewis and even Michael Jackson, are funky influences on the music. <hl> Jazz pioneer Miles Davis has been named as a possible influence. Blues artists like Lead Belly, Robert Johnson, Charlie Patton, Muddy Waters and B.B King have also been cited by producers as inspirations. Even modern avant-garde composers such as Henryk Gorecki have received mention. One of the most influential tracks in drum and bass history was "Amen Brother" by The Winstons which contains a drum solo that has since become known as the "Amen break", which after being extensively used in early hip hop music, went on to become the basis for the rhythms used in drum and bass.

As a musical style built around funk or syncopated rock and roll breaks, <hl> James Brown, Al Green, Marvin Gaye, Ella Fitzgerald, Gladys Knight & the Pips, Billie Holiday, Aretha Franklin, Otis Redding, the Supremes, the Commodores <hl>, Jerry Lee Lewis and even Michael Jackson, are funky influences on the music. Jazz pioneer Miles Davis has been named as a possible influence. Blues artists like Lead Belly, Robert Johnson, Charlie Patton, Muddy Waters and B.B King have also been cited by producers as inspirations. Even modern avant-garde composers such as Henryk Gorecki have received mention. One of the most influential tracks in drum and bass history was "Amen Brother" by The Winstons which contains a drum solo that has since become known as the "Amen break", which after being extensively used in early hip hop music, went on to become the basis for the rhythms used in drum and bass.

As a musical style built around funk or syncopated rock and roll breaks, <hl> James Brown, Al Green, Marvin Gaye, Ella Fitzgerald, Gladys Knight & the Pips, Billie Holiday, Aretha Franklin, Otis Redding, the Supremes, the Commodores <hl> , Jerry Lee Lewis and even Michael Jackson, are funky influences on the music.


Question: Who is the jazz pioneer named as a possible influence?

Answer: Miles Davis

As a musical style built around funk or syncopated rock and roll breaks, James Brown, Al Green, Marvin Gaye, Ella Fitzgerald, Gladys Knight & the Pips, Billie Holiday, Aretha Franklin, Otis Redding, the Supremes, the Commodores, Jerry Lee Lewis and even Michael Jackson, are funky influences on the music. <hl> Jazz pioneer Miles Davis has been named as a possible influence. <hl> Blues artists like Lead Belly, Robert Johnson, Charlie Patton, Muddy Waters and B.B King have also been cited by producers as inspirations. Even modern avant-garde composers such as Henryk Gorecki have received mention. One of the most influential tracks in drum and bass history was "Amen Brother" by The Winstons which contains a drum solo that has since become known as the "Amen break", which after being extensively used in early hip hop music, went on to become the basis for the rhythms used in drum and bass.

As a musical style built around funk or syncopated rock and roll breaks, James Brown, Al Green, Marvin Gaye, Ella Fitzgerald, Gladys Knight & the Pips, Billie Holiday, Aretha Franklin, Otis Redding, the Supremes, the Commodores, Jerry Lee Lewis and even Michael Jackson, are funky influences on the music. Jazz pioneer <hl> Miles Davis <hl> has been named as a possible influence. Blues artists like Lead Belly, Robert Johnson, Charlie Patton, Muddy Waters and B.B King have also been cited by producers as inspirations. Even modern avant-garde composers such as Henryk Gorecki have received mention. One of the most influential tracks in drum and bass history was "Amen Brother" by The Winstons which contains a drum solo that has since become known as the "Amen break", which after being extensively used in early hip hop music, went on to become the basis for the rhythms used in drum and bass.


Question: Who are the blues artists cited by producers as inspirations?

Answer: Lead Belly, Robert Johnson, Charlie Patton, Muddy Waters and B.B King

As a musical style built around funk or syncopated rock and roll breaks, James Brown, Al Green, Marvin Gaye, Ella Fitzgerald, Gladys Knight & the Pips, Billie Holiday, Aretha Franklin, Otis Redding, the Supremes, the Commodores, Jerry Lee Lewis and even Michael Jackson, are funky influences on the music. Jazz pioneer Miles Davis has been named as a possible influence. <hl> Blues artists like Lead Belly, Robert Johnson, Charlie Patton, Muddy Waters and B.B King have also been cited by producers as inspirations. <hl> Even modern avant-garde composers such as Henryk Gorecki have received mention. One of the most influential tracks in drum and bass history was "Amen Brother" by The Winstons which contains a drum solo that has since become known as the "Amen break", which after being extensively used in early hip hop music, went on to become the basis for the rhythms used in drum and bass.

As a musical style built around funk or syncopated rock and roll breaks, James Brown, Al Green, Marvin Gaye, Ella Fitzgerald, Gladys Knight & the Pips, Billie Holiday, Aretha Franklin, Otis Redding, the Supremes, the Commodores, Jerry Lee Lewis and even Michael Jackson, are funky influences on the music. Jazz pioneer Miles Davis has been named as a possible influence. Blues artists like <hl> Lead Belly, Robert Johnson, Charlie Patton, Muddy Waters and B.B King <hl> have also been cited by producers as inspirations. Even modern avant-garde composers such as Henryk Gorecki have received mention. One of the most influential tracks in drum and bass history was "Amen Brother" by The Winstons which contains a drum solo that has since become known as the "Amen break", which after being extensively used in early hip hop music, went on to become the basis for the rhythms used in drum and bass.


Question: Who is the artist who made the influential track "Amen Brother"?

Answer: The Winstons

As a musical style built around funk or syncopated rock and roll breaks, James Brown, Al Green, Marvin Gaye, Ella Fitzgerald, Gladys Knight & the Pips, Billie Holiday, Aretha Franklin, Otis Redding, the Supremes, the Commodores, Jerry Lee Lewis and even Michael Jackson, are funky influences on the music. Jazz pioneer Miles Davis has been named as a possible influence. Blues artists like Lead Belly, Robert Johnson, Charlie Patton, Muddy Waters and B.B King have also been cited by producers as inspirations. Even modern avant-garde composers such as Henryk Gorecki have received mention. <hl> One of the most influential tracks in drum and bass history was "Amen Brother" by The Winstons which contains a drum solo that has since become known as the "Amen break", which after being extensively used in early hip hop music, went on to become the basis for the rhythms used in drum and bass. <hl>

As a musical style built around funk or syncopated rock and roll breaks, James Brown, Al Green, Marvin Gaye, Ella Fitzgerald, Gladys Knight & the Pips, Billie Holiday, Aretha Franklin, Otis Redding, the Supremes, the Commodores, Jerry Lee Lewis and even Michael Jackson, are funky influences on the music. Jazz pioneer Miles Davis has been named as a possible influence. Blues artists like Lead Belly, Robert Johnson, Charlie Patton, Muddy Waters and B.B King have also been cited by producers as inspirations. Even modern avant-garde composers such as Henryk Gorecki have received mention. One of the most influential tracks in drum and bass history was "Amen Brother" by <hl> The Winstons <hl> which contains a drum solo that has since become known as the "Amen break", which after being extensively used in early hip hop music, went on to become the basis for the rhythms used in drum and bass.


Question: What is the name of the drum solo which became the basis for rhythms used in drums and bass?

Answer: "Amen break"

As a musical style built around funk or syncopated rock and roll breaks, James Brown, Al Green, Marvin Gaye, Ella Fitzgerald, Gladys Knight & the Pips, Billie Holiday, Aretha Franklin, Otis Redding, the Supremes, the Commodores, Jerry Lee Lewis and even Michael Jackson, are funky influences on the music. Jazz pioneer Miles Davis has been named as a possible influence. Blues artists like Lead Belly, Robert Johnson, Charlie Patton, Muddy Waters and B.B King have also been cited by producers as inspirations. Even modern avant-garde composers such as Henryk Gorecki have received mention. <hl> One of the most influential tracks in drum and bass history was "Amen Brother" by The Winstons which contains a drum solo that has since become known as the "Amen break" , which after being extensively used in early hip hop music, went on to become the basis for the rhythms used in drum and bass. <hl>

As a musical style built around funk or syncopated rock and roll breaks, James Brown, Al Green, Marvin Gaye, Ella Fitzgerald, Gladys Knight & the Pips, Billie Holiday, Aretha Franklin, Otis Redding, the Supremes, the Commodores, Jerry Lee Lewis and even Michael Jackson, are funky influences on the music. Jazz pioneer Miles Davis has been named as a possible influence. Blues artists like Lead Belly, Robert Johnson, Charlie Patton, Muddy Waters and B.B King have also been cited by producers as inspirations. Even modern avant-garde composers such as Henryk Gorecki have received mention. One of the most influential tracks in drum and bass history was "Amen Brother" by The Winstons which contains a drum solo that has since become known as the <hl> "Amen break" <hl>, which after being extensively used in early hip hop music, went on to become the basis for the rhythms used in drum and bass.

One of the most influential tracks in drum and bass history was "Amen Brother" by The Winstons which contains a drum solo that has since become known as the <hl> "Amen break" <hl> , which after being extensively used in early hip hop music, went on to become the basis for the rhythms used in drum and bass.


Question: What year was "Just another chance" released?

Kevin Saunderson released a series of bass-heavy, minimal techno cuts as Reese/The Reese Project in the late '80s which were hugely influential in drum and bass terms. One of his more famous basslines (Reese – "Just Want Another Chance", Incognito Records, 1988) was indeed sampled on Renegade's Terrorist and countless others since, being known simply as the 'Reese' bassline. He followed these up with equally influential (and bassline-heavy) tracks in the UK hardcore style as Tronik House in 1991–1992. Another Detroit artist who was important for the scene is Carl Craig. The sampled-up jazz break on Carl Craig's Bug in the Bassbin was also influential on the newly emerging sound, DJs at the Rage club used to play it pitched up (increased speed) as far as their Technics record decks would go.

Answer: 1988

Kevin Saunderson released a series of bass-heavy, minimal techno cuts as Reese/The Reese Project in the late '80s which were hugely influential in drum and bass terms. <hl> One of his more famous basslines (Reese – "Just Want Another Chance", Incognito Records, 1988 ) was indeed sampled on Renegade's Terrorist and countless others since, being known simply as the 'Reese' bassline. <hl> He followed these up with equally influential (and bassline-heavy) tracks in the UK hardcore style as Tronik House in 1991–1992. Another Detroit artist who was important for the scene is Carl Craig. The sampled-up jazz break on Carl Craig's Bug in the Bassbin was also influential on the newly emerging sound, DJs at the Rage club used to play it pitched up (increased speed) as far as their Technics record decks would go.

Kevin Saunderson released a series of bass-heavy, minimal techno cuts as Reese/The Reese Project in the late '80s which were hugely influential in drum and bass terms. One of his more famous basslines (Reese – "Just Want Another Chance", Incognito Records, <hl> 1988 <hl>) was indeed sampled on Renegade's Terrorist and countless others since, being known simply as the 'Reese' bassline. He followed these up with equally influential (and bassline-heavy) tracks in the UK hardcore style as Tronik House in 1991–1992. Another Detroit artist who was important for the scene is Carl Craig. The sampled-up jazz break on Carl Craig's Bug in the Bassbin was also influential on the newly emerging sound, DJs at the Rage club used to play it pitched up (increased speed) as far as their Technics record decks would go.

One of his more famous basslines (Reese – "Just Want Another Chance", Incognito Records, <hl> 1988 <hl> ) was indeed sampled on Renegade's Terrorist and countless others since, being known simply as the 'Reese' bassline.


Question: What was Kevin Saunders series of bass-heavy cuts known by?

Answer: Reese/The Reese Project

<hl> Kevin Saunderson released a series of bass-heavy, minimal techno cuts as Reese/The Reese Project in the late '80s which were hugely influential in drum and bass terms. <hl> One of his more famous basslines (Reese – "Just Want Another Chance", Incognito Records, 1988) was indeed sampled on Renegade's Terrorist and countless others since, being known simply as the 'Reese' bassline. He followed these up with equally influential (and bassline-heavy) tracks in the UK hardcore style as Tronik House in 1991–1992. Another Detroit artist who was important for the scene is Carl Craig. The sampled-up jazz break on Carl Craig's Bug in the Bassbin was also influential on the newly emerging sound, DJs at the Rage club used to play it pitched up (increased speed) as far as their Technics record decks would go.

Kevin Saunderson released a series of bass-heavy, minimal techno cuts as <hl> Reese/The Reese Project <hl> in the late '80s which were hugely influential in drum and bass terms. One of his more famous basslines (Reese – "Just Want Another Chance", Incognito Records, 1988) was indeed sampled on Renegade's Terrorist and countless others since, being known simply as the 'Reese' bassline. He followed these up with equally influential (and bassline-heavy) tracks in the UK hardcore style as Tronik House in 1991–1992. Another Detroit artist who was important for the scene is Carl Craig. The sampled-up jazz break on Carl Craig's Bug in the Bassbin was also influential on the newly emerging sound, DJs at the Rage club used to play it pitched up (increased speed) as far as their Technics record decks would go.


Question: In 1991-1992 what was the name of the UK hardcore style released by Kevin?

Answer: Tronik House

Kevin Saunderson released a series of bass-heavy, minimal techno cuts as Reese/The Reese Project in the late '80s which were hugely influential in drum and bass terms. One of his more famous basslines (Reese – "Just Want Another Chance", Incognito Records, 1988) was indeed sampled on Renegade's Terrorist and countless others since, being known simply as the 'Reese' bassline. <hl> He followed these up with equally influential (and bassline-heavy) tracks in the UK hardcore style as Tronik House in 1991–1992. <hl> Another Detroit artist who was important for the scene is Carl Craig. The sampled-up jazz break on Carl Craig's Bug in the Bassbin was also influential on the newly emerging sound, DJs at the Rage club used to play it pitched up (increased speed) as far as their Technics record decks would go.

Kevin Saunderson released a series of bass-heavy, minimal techno cuts as Reese/The Reese Project in the late '80s which were hugely influential in drum and bass terms. One of his more famous basslines (Reese – "Just Want Another Chance", Incognito Records, 1988) was indeed sampled on Renegade's Terrorist and countless others since, being known simply as the 'Reese' bassline. He followed these up with equally influential (and bassline-heavy) tracks in the UK hardcore style as <hl> Tronik House <hl> in 1991–1992. Another Detroit artist who was important for the scene is Carl Craig. The sampled-up jazz break on Carl Craig's Bug in the Bassbin was also influential on the newly emerging sound, DJs at the Rage club used to play it pitched up (increased speed) as far as their Technics record decks would go.


Question: What does it mean when a DJ plays something pitched up?

Answer: increased speed

Kevin Saunderson released a series of bass-heavy, minimal techno cuts as Reese/The Reese Project in the late '80s which were hugely influential in drum and bass terms. One of his more famous basslines (Reese – "Just Want Another Chance", Incognito Records, 1988) was indeed sampled on Renegade's Terrorist and countless others since, being known simply as the 'Reese' bassline. He followed these up with equally influential (and bassline-heavy) tracks in the UK hardcore style as Tronik House in 1991–1992. Another Detroit artist who was important for the scene is Carl Craig. <hl> The sampled-up jazz break on Carl Craig's Bug in the Bassbin was also influential on the newly emerging sound, DJs at the Rage club used to play it pitched up ( increased speed ) as far as their Technics record decks would go. <hl>

Kevin Saunderson released a series of bass-heavy, minimal techno cuts as Reese/The Reese Project in the late '80s which were hugely influential in drum and bass terms. One of his more famous basslines (Reese – "Just Want Another Chance", Incognito Records, 1988) was indeed sampled on Renegade's Terrorist and countless others since, being known simply as the 'Reese' bassline. He followed these up with equally influential (and bassline-heavy) tracks in the UK hardcore style as Tronik House in 1991–1992. Another Detroit artist who was important for the scene is Carl Craig. The sampled-up jazz break on Carl Craig's Bug in the Bassbin was also influential on the newly emerging sound, DJs at the Rage club used to play it pitched up (<hl> increased speed <hl>) as far as their Technics record decks would go.

The sampled-up jazz break on Carl Craig's Bug in the Bassbin was also influential on the newly emerging sound, DJs at the Rage club used to play it pitched up ( <hl> increased speed <hl> ) as far as their Technics record decks would go.


Question: What is now missing from drum and bass characteristics with hip=hop?

By the late 1980s and early 1990s the tradition of breakbeat use in hip hop production had influenced the sound of breakbeat hardcore, which in turn led to the emergence of jungle, drum and bass, and other genres that shared the same use of broken beats.  Drum and bass shares many musical characteristics with hip-hop, though it is nowadays mostly stripped of lyrics. Grandmaster Flash, Roger Troutman, Afrika Bambaata, Run DMC, Mac Dre, Public Enemy, Schooly D, N.W.A, Kid Frost, Wu-Tang Clan, Dr. Dre, Mos Def, Beastie Boys and the Pharcyde are very often directly sampled, regardless of their general influence.

Answer: lyrics

By the late 1980s and early 1990s the tradition of breakbeat use in hip hop production had influenced the sound of breakbeat hardcore, which in turn led to the emergence of jungle, drum and bass, and other genres that shared the same use of broken beats. <hl> Drum and bass shares many musical characteristics with hip-hop, though it is nowadays mostly stripped of lyrics . <hl> Grandmaster Flash, Roger Troutman, Afrika Bambaata, Run DMC, Mac Dre, Public Enemy, Schooly D, N.W.A, Kid Frost, Wu-Tang Clan, Dr. Dre, Mos Def, Beastie Boys and the Pharcyde are very often directly sampled, regardless of their general influence.

By the late 1980s and early 1990s the tradition of breakbeat use in hip hop production had influenced the sound of breakbeat hardcore, which in turn led to the emergence of jungle, drum and bass, and other genres that shared the same use of broken beats. Drum and bass shares many musical characteristics with hip-hop, though it is nowadays mostly stripped of <hl> lyrics <hl>. Grandmaster Flash, Roger Troutman, Afrika Bambaata, Run DMC, Mac Dre, Public Enemy, Schooly D, N.W.A, Kid Frost, Wu-Tang Clan, Dr. Dre, Mos Def, Beastie Boys and the Pharcyde are very often directly sampled, regardless of their general influence.

Drum and bass shares many musical characteristics with hip-hop, though it is nowadays mostly stripped of <hl> lyrics <hl> .


Question: Who are some of the artists sampled regardless of their general influence?

Answer: Grandmaster Flash, Roger Troutman, Afrika Bambaata, Run DMC, Mac Dre, Public Enemy, Schooly D, N.W.A

By the late 1980s and early 1990s the tradition of breakbeat use in hip hop production had influenced the sound of breakbeat hardcore, which in turn led to the emergence of jungle, drum and bass, and other genres that shared the same use of broken beats. Drum and bass shares many musical characteristics with hip-hop, though it is nowadays mostly stripped of lyrics. <hl> Grandmaster Flash, Roger Troutman, Afrika Bambaata, Run DMC, Mac Dre, Public Enemy, Schooly D, N.W.A , Kid Frost, Wu-Tang Clan, Dr. Dre, Mos Def, Beastie Boys and the Pharcyde are very often directly sampled, regardless of their general influence. <hl>

By the late 1980s and early 1990s the tradition of breakbeat use in hip hop production had influenced the sound of breakbeat hardcore, which in turn led to the emergence of jungle, drum and bass, and other genres that shared the same use of broken beats. Drum and bass shares many musical characteristics with hip-hop, though it is nowadays mostly stripped of lyrics. <hl> Grandmaster Flash, Roger Troutman, Afrika Bambaata, Run DMC, Mac Dre, Public Enemy, Schooly D, N.W.A <hl>, Kid Frost, Wu-Tang Clan, Dr. Dre, Mos Def, Beastie Boys and the Pharcyde are very often directly sampled, regardless of their general influence.

<hl> Grandmaster Flash, Roger Troutman, Afrika Bambaata, Run DMC, Mac Dre, Public Enemy, Schooly D, N.W.A <hl> , Kid Frost, Wu-Tang Clan, Dr. Dre, Mos Def, Beastie Boys and the Pharcyde are very often directly sampled, regardless of their general influence.


Question: What years were the tradition of breakbeat used in hip hop production?

Answer: 1980s and early 1990s

<hl> By the late 1980s and early 1990s the tradition of breakbeat use in hip hop production had influenced the sound of breakbeat hardcore, which in turn led to the emergence of jungle, drum and bass, and other genres that shared the same use of broken beats. <hl> Drum and bass shares many musical characteristics with hip-hop, though it is nowadays mostly stripped of lyrics. Grandmaster Flash, Roger Troutman, Afrika Bambaata, Run DMC, Mac Dre, Public Enemy, Schooly D, N.W.A, Kid Frost, Wu-Tang Clan, Dr. Dre, Mos Def, Beastie Boys and the Pharcyde are very often directly sampled, regardless of their general influence.

By the late <hl> 1980s and early 1990s <hl> the tradition of breakbeat use in hip hop production had influenced the sound of breakbeat hardcore, which in turn led to the emergence of jungle, drum and bass, and other genres that shared the same use of broken beats. Drum and bass shares many musical characteristics with hip-hop, though it is nowadays mostly stripped of lyrics. Grandmaster Flash, Roger Troutman, Afrika Bambaata, Run DMC, Mac Dre, Public Enemy, Schooly D, N.W.A, Kid Frost, Wu-Tang Clan, Dr. Dre, Mos Def, Beastie Boys and the Pharcyde are very often directly sampled, regardless of their general influence.


Question: Drum and bass share many characteristics with that genre of music?

Answer: hip-hop

By the late 1980s and early 1990s the tradition of breakbeat use in hip hop production had influenced the sound of breakbeat hardcore, which in turn led to the emergence of jungle, drum and bass, and other genres that shared the same use of broken beats. <hl> Drum and bass shares many musical characteristics with hip-hop , though it is nowadays mostly stripped of lyrics. <hl> Grandmaster Flash, Roger Troutman, Afrika Bambaata, Run DMC, Mac Dre, Public Enemy, Schooly D, N.W.A, Kid Frost, Wu-Tang Clan, Dr. Dre, Mos Def, Beastie Boys and the Pharcyde are very often directly sampled, regardless of their general influence.

By the late 1980s and early 1990s the tradition of breakbeat use in hip hop production had influenced the sound of breakbeat hardcore, which in turn led to the emergence of jungle, drum and bass, and other genres that shared the same use of broken beats. Drum and bass shares many musical characteristics with <hl> hip-hop <hl>, though it is nowadays mostly stripped of lyrics. Grandmaster Flash, Roger Troutman, Afrika Bambaata, Run DMC, Mac Dre, Public Enemy, Schooly D, N.W.A, Kid Frost, Wu-Tang Clan, Dr. Dre, Mos Def, Beastie Boys and the Pharcyde are very often directly sampled, regardless of their general influence.

Drum and bass shares many musical characteristics with <hl> hip-hop <hl> , though it is nowadays mostly stripped of lyrics.


Question: What is "bass line"?

The genre places great importance on the "bass line", a deep sub-bass musical pattern which can be felt physically through powerful sound systems due to the low-range frequencies favoured. There has been considerable exploration of different timbres in the bass line region, particularly within techstep. The bass lines most notably originate from sampled sources or synthesizers. Bass lines performed with a bass instrument, whether it is electric, acoustic or a double bass, are less common but examples can be found in the work of bands such as Shapeshifter, Squarepusher, Roni Size and STS9.

Answer: deep sub-bass musical pattern which can be felt physically through powerful sound systems due to the low-range frequencies favoured.

<hl> The genre places great importance on the "bass line", a deep sub-bass musical pattern which can be felt physically through powerful sound systems due to the low-range frequencies favoured. There has been considerable exploration of different timbres in the bass line region, particularly within techstep. <hl> The bass lines most notably originate from sampled sources or synthesizers. Bass lines performed with a bass instrument, whether it is electric, acoustic or a double bass, are less common but examples can be found in the work of bands such as Shapeshifter, Squarepusher, Roni Size and STS9.

The genre places great importance on the "bass line", a <hl> deep sub-bass musical pattern which can be felt physically through powerful sound systems due to the low-range frequencies favoured. <hl> There has been considerable exploration of different timbres in the bass line region, particularly within techstep. The bass lines most notably originate from sampled sources or synthesizers. Bass lines performed with a bass instrument, whether it is electric, acoustic or a double bass, are less common but examples can be found in the work of bands such as Shapeshifter, Squarepusher, Roni Size and STS9.


Question: What are examples of bass lines performed with a bass instrument?

Answer: There has been considerable exploration of different timbres in the bass line region

The genre places great importance on the "bass line", a deep sub-bass musical pattern which can be felt physically through powerful sound systems due to the low-range frequencies favoured. <hl> There has been considerable exploration of different timbres in the bass line region , particularly within techstep. <hl> The bass lines most notably originate from sampled sources or synthesizers. Bass lines performed with a bass instrument, whether it is electric, acoustic or a double bass, are less common but examples can be found in the work of bands such as Shapeshifter, Squarepusher, Roni Size and STS9.

The genre places great importance on the "bass line", a deep sub-bass musical pattern which can be felt physically through powerful sound systems due to the low-range frequencies favoured. <hl> There has been considerable exploration of different timbres in the bass line region <hl>, particularly within techstep. The bass lines most notably originate from sampled sources or synthesizers. Bass lines performed with a bass instrument, whether it is electric, acoustic or a double bass, are less common but examples can be found in the work of bands such as Shapeshifter, Squarepusher, Roni Size and STS9.

<hl> There has been considerable exploration of different timbres in the bass line region <hl> , particularly within techstep.


Question: Where do bass lines most notably originate from?

Answer: sampled sources or synthesizers

The genre places great importance on the "bass line", a deep sub-bass musical pattern which can be felt physically through powerful sound systems due to the low-range frequencies favoured. There has been considerable exploration of different timbres in the bass line region, particularly within techstep. <hl> The bass lines most notably originate from sampled sources or synthesizers . <hl> Bass lines performed with a bass instrument, whether it is electric, acoustic or a double bass, are less common but examples can be found in the work of bands such as Shapeshifter, Squarepusher, Roni Size and STS9.

The genre places great importance on the "bass line", a deep sub-bass musical pattern which can be felt physically through powerful sound systems due to the low-range frequencies favoured. There has been considerable exploration of different timbres in the bass line region, particularly within techstep. The bass lines most notably originate from <hl> sampled sources or synthesizers <hl>. Bass lines performed with a bass instrument, whether it is electric, acoustic or a double bass, are less common but examples can be found in the work of bands such as Shapeshifter, Squarepusher, Roni Size and STS9.

The bass lines most notably originate from <hl> sampled sources or synthesizers <hl> .


Question: What has there been considerable exploration of in the bass line region?

Answer: different timbres

The genre places great importance on the "bass line", a deep sub-bass musical pattern which can be felt physically through powerful sound systems due to the low-range frequencies favoured. <hl> There has been considerable exploration of different timbres in the bass line region, particularly within techstep. <hl> The bass lines most notably originate from sampled sources or synthesizers. Bass lines performed with a bass instrument, whether it is electric, acoustic or a double bass, are less common but examples can be found in the work of bands such as Shapeshifter, Squarepusher, Roni Size and STS9.

The genre places great importance on the "bass line", a deep sub-bass musical pattern which can be felt physically through powerful sound systems due to the low-range frequencies favoured. There has been considerable exploration of <hl> different timbres <hl> in the bass line region, particularly within techstep. The bass lines most notably originate from sampled sources or synthesizers. Bass lines performed with a bass instrument, whether it is electric, acoustic or a double bass, are less common but examples can be found in the work of bands such as Shapeshifter, Squarepusher, Roni Size and STS9.


Question: What beat per minute interval is drum and bass usually between?

Drum and bass is usually between 160–180 BPM, in contrast to other breakbeat-based dance styles such as nu skool breaks, which maintain a slower pace at around 130–140 BPM. A general upward trend in tempo has been observed during the evolution of drum and bass. The earliest forms of drum and bass clocked in at around 130 bpm in 1990/1991, speeding up to around 155–165 BPM by 1993. Since around 1996, drum and bass tempos have predominantly stayed in the 170–180 range. Recently some producers have started to once again produce tracks with slower tempos (that is, in the 150s and 160s), but the mid-170 tempo is still the hallmark of the drum and bass sound.

Answer: 160–180 BPM

<hl> Drum and bass is usually between 160–180 BPM , in contrast to other breakbeat-based dance styles such as nu skool breaks, which maintain a slower pace at around 130–140 BPM. <hl> A general upward trend in tempo has been observed during the evolution of drum and bass. The earliest forms of drum and bass clocked in at around 130 bpm in 1990/1991, speeding up to around 155–165 BPM by 1993. Since around 1996, drum and bass tempos have predominantly stayed in the 170–180 range. Recently some producers have started to once again produce tracks with slower tempos (that is, in the 150s and 160s), but the mid-170 tempo is still the hallmark of the drum and bass sound.

Drum and bass is usually between <hl> 160–180 BPM <hl>, in contrast to other breakbeat-based dance styles such as nu skool breaks, which maintain a slower pace at around 130–140 BPM. A general upward trend in tempo has been observed during the evolution of drum and bass. The earliest forms of drum and bass clocked in at around 130 bpm in 1990/1991, speeding up to around 155–165 BPM by 1993. Since around 1996, drum and bass tempos have predominantly stayed in the 170–180 range. Recently some producers have started to once again produce tracks with slower tempos (that is, in the 150s and 160s), but the mid-170 tempo is still the hallmark of the drum and bass sound.

Drum and bass is usually between <hl> 160–180 BPM <hl> , in contrast to other breakbeat-based dance styles such as nu skool breaks, which maintain a slower pace at around 130–140 BPM.


Question: What dance style is nu skool breaks apart of?

Answer: breakbeat-based

<hl> Drum and bass is usually between 160–180 BPM, in contrast to other breakbeat-based dance styles such as nu skool breaks, which maintain a slower pace at around 130–140 BPM. <hl> A general upward trend in tempo has been observed during the evolution of drum and bass. The earliest forms of drum and bass clocked in at around 130 bpm in 1990/1991, speeding up to around 155–165 BPM by 1993. Since around 1996, drum and bass tempos have predominantly stayed in the 170–180 range. Recently some producers have started to once again produce tracks with slower tempos (that is, in the 150s and 160s), but the mid-170 tempo is still the hallmark of the drum and bass sound.

Drum and bass is usually between 160–180 BPM, in contrast to other <hl> breakbeat-based <hl> dance styles such as nu skool breaks, which maintain a slower pace at around 130–140 BPM. A general upward trend in tempo has been observed during the evolution of drum and bass. The earliest forms of drum and bass clocked in at around 130 bpm in 1990/1991, speeding up to around 155–165 BPM by 1993. Since around 1996, drum and bass tempos have predominantly stayed in the 170–180 range. Recently some producers have started to once again produce tracks with slower tempos (that is, in the 150s and 160s), but the mid-170 tempo is still the hallmark of the drum and bass sound.


Question: What is the beat per minute interval of breakbeat-based dance style music?

Answer: around 130–140 BPM

<hl> Drum and bass is usually between 160–180 BPM, in contrast to other breakbeat-based dance styles such as nu skool breaks, which maintain a slower pace at around 130–140 BPM . <hl> A general upward trend in tempo has been observed during the evolution of drum and bass. The earliest forms of drum and bass clocked in at around 130 bpm in 1990/1991, speeding up to around 155–165 BPM by 1993. Since around 1996, drum and bass tempos have predominantly stayed in the 170–180 range. Recently some producers have started to once again produce tracks with slower tempos (that is, in the 150s and 160s), but the mid-170 tempo is still the hallmark of the drum and bass sound.

Drum and bass is usually between 160–180 BPM, in contrast to other breakbeat-based dance styles such as nu skool breaks, which maintain a slower pace at <hl> around 130–140 BPM <hl>. A general upward trend in tempo has been observed during the evolution of drum and bass. The earliest forms of drum and bass clocked in at around 130 bpm in 1990/1991, speeding up to around 155–165 BPM by 1993. Since around 1996, drum and bass tempos have predominantly stayed in the 170–180 range. Recently some producers have started to once again produce tracks with slower tempos (that is, in the 150s and 160s), but the mid-170 tempo is still the hallmark of the drum and bass sound.

Drum and bass is usually between 160–180 BPM, in contrast to other breakbeat-based dance styles such as nu skool breaks, which maintain a slower pace at <hl> around 130–140 BPM <hl> .


Question: What is the beat per minute interval of the earliest forms of drum and bass?

Answer: 130 bpm

Drum and bass is usually between 160–180 BPM, in contrast to other breakbeat-based dance styles such as nu skool breaks, which maintain a slower pace at around 130–140 BPM. A general upward trend in tempo has been observed during the evolution of drum and bass. <hl> The earliest forms of drum and bass clocked in at around 130 bpm in 1990/1991, speeding up to around 155–165 BPM by 1993. <hl> Since around 1996, drum and bass tempos have predominantly stayed in the 170–180 range. Recently some producers have started to once again produce tracks with slower tempos (that is, in the 150s and 160s), but the mid-170 tempo is still the hallmark of the drum and bass sound.

Drum and bass is usually between 160–180 BPM, in contrast to other breakbeat-based dance styles such as nu skool breaks, which maintain a slower pace at around 130–140 BPM. A general upward trend in tempo has been observed during the evolution of drum and bass. The earliest forms of drum and bass clocked in at around <hl> 130 bpm <hl> in 1990/1991, speeding up to around 155–165 BPM by 1993. Since around 1996, drum and bass tempos have predominantly stayed in the 170–180 range. Recently some producers have started to once again produce tracks with slower tempos (that is, in the 150s and 160s), but the mid-170 tempo is still the hallmark of the drum and bass sound.


Question: Drum and bass tempos have stayed in what range since around 1996?

Answer: 170–180 range

Drum and bass is usually between 160–180 BPM, in contrast to other breakbeat-based dance styles such as nu skool breaks, which maintain a slower pace at around 130–140 BPM. A general upward trend in tempo has been observed during the evolution of drum and bass. The earliest forms of drum and bass clocked in at around 130 bpm in 1990/1991, speeding up to around 155–165 BPM by 1993. <hl> Since around 1996, drum and bass tempos have predominantly stayed in the 170–180 range . <hl> Recently some producers have started to once again produce tracks with slower tempos (that is, in the 150s and 160s), but the mid-170 tempo is still the hallmark of the drum and bass sound.

Drum and bass is usually between 160–180 BPM, in contrast to other breakbeat-based dance styles such as nu skool breaks, which maintain a slower pace at around 130–140 BPM. A general upward trend in tempo has been observed during the evolution of drum and bass. The earliest forms of drum and bass clocked in at around 130 bpm in 1990/1991, speeding up to around 155–165 BPM by 1993. Since around 1996, drum and bass tempos have predominantly stayed in the <hl> 170–180 range <hl>. Recently some producers have started to once again produce tracks with slower tempos (that is, in the 150s and 160s), but the mid-170 tempo is still the hallmark of the drum and bass sound.

Since around 1996, drum and bass tempos have predominantly stayed in the <hl> 170–180 range <hl> .


Question: What is the section in a song where a switch of rhythm occurs and sometimes follows a build section and/or breakdown?

Many mixing points begin or end with the "drop". The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognizable build section and "breakdown". Sometimes the drop is used to switch between tracks, layering components of different tracks, though as the two records may be simply ambient breakdowns at this point, though some DJs prefer to combine breakbeats, a more difficult exercise. Some drops are so popular that the DJ will "rewind" or "reload" or "lift up" by spinning the record back and restarting it at the build. "The drop" is often a key point from the point of view of the dance floor, since the drumbreaks often fade out to leave an ambient intro playing. When the beats re-commence they are often more complex and accompanied by a heavier bassline, encouraging the crowd to dance.

Answer: drop

<hl> Many mixing points begin or end with the " drop ". <hl> The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognizable build section and "breakdown". Sometimes the drop is used to switch between tracks, layering components of different tracks, though as the two records may be simply ambient breakdowns at this point, though some DJs prefer to combine breakbeats, a more difficult exercise. Some drops are so popular that the DJ will "rewind" or "reload" or "lift up" by spinning the record back and restarting it at the build. "The drop" is often a key point from the point of view of the dance floor, since the drumbreaks often fade out to leave an ambient intro playing. When the beats re-commence they are often more complex and accompanied by a heavier bassline, encouraging the crowd to dance.

Many mixing points begin or end with the "<hl> drop <hl>". The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognizable build section and "breakdown". Sometimes the drop is used to switch between tracks, layering components of different tracks, though as the two records may be simply ambient breakdowns at this point, though some DJs prefer to combine breakbeats, a more difficult exercise. Some drops are so popular that the DJ will "rewind" or "reload" or "lift up" by spinning the record back and restarting it at the build. "The drop" is often a key point from the point of view of the dance floor, since the drumbreaks often fade out to leave an ambient intro playing. When the beats re-commence they are often more complex and accompanied by a heavier bassline, encouraging the crowd to dance.

Many mixing points begin or end with the " <hl> drop <hl> ".


Question: What type of points are began or ended with a drop?

Answer: mixing points

<hl> Many mixing points begin or end with the "drop". <hl> The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognizable build section and "breakdown". Sometimes the drop is used to switch between tracks, layering components of different tracks, though as the two records may be simply ambient breakdowns at this point, though some DJs prefer to combine breakbeats, a more difficult exercise. Some drops are so popular that the DJ will "rewind" or "reload" or "lift up" by spinning the record back and restarting it at the build. "The drop" is often a key point from the point of view of the dance floor, since the drumbreaks often fade out to leave an ambient intro playing. When the beats re-commence they are often more complex and accompanied by a heavier bassline, encouraging the crowd to dance.

Many <hl> mixing points <hl> begin or end with the "drop". The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognizable build section and "breakdown". Sometimes the drop is used to switch between tracks, layering components of different tracks, though as the two records may be simply ambient breakdowns at this point, though some DJs prefer to combine breakbeats, a more difficult exercise. Some drops are so popular that the DJ will "rewind" or "reload" or "lift up" by spinning the record back and restarting it at the build. "The drop" is often a key point from the point of view of the dance floor, since the drumbreaks often fade out to leave an ambient intro playing. When the beats re-commence they are often more complex and accompanied by a heavier bassline, encouraging the crowd to dance.


Question: What is used in between tracks to switch from one track to another track?

Answer: the drop

Many mixing points begin or end with the "drop". The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognizable build section and "breakdown". <hl> Sometimes the drop is used to switch between tracks, layering components of different tracks, though as the two records may be simply ambient breakdowns at this point, though some DJs prefer to combine breakbeats, a more difficult exercise. <hl> Some drops are so popular that the DJ will "rewind" or "reload" or "lift up" by spinning the record back and restarting it at the build. "The drop" is often a key point from the point of view of the dance floor, since the drumbreaks often fade out to leave an ambient intro playing. When the beats re-commence they are often more complex and accompanied by a heavier bassline, encouraging the crowd to dance.

Many mixing points begin or end with the "drop". The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognizable build section and "breakdown". Sometimes <hl> the drop <hl> is used to switch between tracks, layering components of different tracks, though as the two records may be simply ambient breakdowns at this point, though some DJs prefer to combine breakbeats, a more difficult exercise. Some drops are so popular that the DJ will "rewind" or "reload" or "lift up" by spinning the record back and restarting it at the build. "The drop" is often a key point from the point of view of the dance floor, since the drumbreaks often fade out to leave an ambient intro playing. When the beats re-commence they are often more complex and accompanied by a heavier bassline, encouraging the crowd to dance.


Question: The combination of breakbeats is generally perceived of by DJs as what?

Answer: a more difficult exercise

Many mixing points begin or end with the "drop". The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognizable build section and "breakdown". <hl> Sometimes the drop is used to switch between tracks, layering components of different tracks, though as the two records may be simply ambient breakdowns at this point, though some DJs prefer to combine breakbeats, a more difficult exercise . <hl> Some drops are so popular that the DJ will "rewind" or "reload" or "lift up" by spinning the record back and restarting it at the build. "The drop" is often a key point from the point of view of the dance floor, since the drumbreaks often fade out to leave an ambient intro playing. When the beats re-commence they are often more complex and accompanied by a heavier bassline, encouraging the crowd to dance.

Many mixing points begin or end with the "drop". The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognizable build section and "breakdown". Sometimes the drop is used to switch between tracks, layering components of different tracks, though as the two records may be simply ambient breakdowns at this point, though some DJs prefer to combine breakbeats, <hl> a more difficult exercise <hl>. Some drops are so popular that the DJ will "rewind" or "reload" or "lift up" by spinning the record back and restarting it at the build. "The drop" is often a key point from the point of view of the dance floor, since the drumbreaks often fade out to leave an ambient intro playing. When the beats re-commence they are often more complex and accompanied by a heavier bassline, encouraging the crowd to dance.

Sometimes the drop is used to switch between tracks, layering components of different tracks, though as the two records may be simply ambient breakdowns at this point, though some DJs prefer to combine breakbeats, <hl> a more difficult exercise <hl> .


Question: What is it called when a DJ spins a record back and restarts the record at the build?

Answer: "rewind" or "reload" or "lift up"

Many mixing points begin or end with the "drop". The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognizable build section and "breakdown". Sometimes the drop is used to switch between tracks, layering components of different tracks, though as the two records may be simply ambient breakdowns at this point, though some DJs prefer to combine breakbeats, a more difficult exercise. <hl> Some drops are so popular that the DJ will "rewind" or "reload" or "lift up" by spinning the record back and restarting it at the build. <hl> "The drop" is often a key point from the point of view of the dance floor, since the drumbreaks often fade out to leave an ambient intro playing. When the beats re-commence they are often more complex and accompanied by a heavier bassline, encouraging the crowd to dance.

Many mixing points begin or end with the "drop". The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognizable build section and "breakdown". Sometimes the drop is used to switch between tracks, layering components of different tracks, though as the two records may be simply ambient breakdowns at this point, though some DJs prefer to combine breakbeats, a more difficult exercise. Some drops are so popular that the DJ will <hl> "rewind" or "reload" or "lift up" <hl> by spinning the record back and restarting it at the build. "The drop" is often a key point from the point of view of the dance floor, since the drumbreaks often fade out to leave an ambient intro playing. When the beats re-commence they are often more complex and accompanied by a heavier bassline, encouraging the crowd to dance.


Question: What place is considered the home of drum and bass?

Despite its roots in the UK, which can still be treated as the "home" of drum and bass, the style has firmly established itself around the world. There are strong scenes in other English-speaking countries including Australia, Canada, South Africa, the United States and, New Zealand. It is popular throughout continental Europe, and in South America. São Paulo is sometimes called the drum and bass Ibiza.[citation needed] Brazilian drum and bass is sometimes referred to as "sambass", with its specific style and sound. In Venezuela and Mexico, artists have created their own forms of drum and bass combining it with experimental musical forms. In Colombia there is a large underground scene, The RE.set Label and Bogotá Project are two collectives that put on DnB events in the city, as well as a twice yearly event called Radikal Styles, that brings together local talent and international big names.

Answer: the UK

<hl> Despite its roots in the UK , which can still be treated as the "home" of drum and bass, the style has firmly established itself around the world. <hl> There are strong scenes in other English-speaking countries including Australia, Canada, South Africa, the United States and, New Zealand. It is popular throughout continental Europe, and in South America. São Paulo is sometimes called the drum and bass Ibiza.[citation needed] Brazilian drum and bass is sometimes referred to as "sambass", with its specific style and sound. In Venezuela and Mexico, artists have created their own forms of drum and bass combining it with experimental musical forms. In Colombia there is a large underground scene, The RE.set Label and Bogotá Project are two collectives that put on DnB events in the city, as well as a twice yearly event called Radikal Styles, that brings together local talent and international big names.

Despite its roots in <hl> the UK <hl>, which can still be treated as the "home" of drum and bass, the style has firmly established itself around the world. There are strong scenes in other English-speaking countries including Australia, Canada, South Africa, the United States and, New Zealand. It is popular throughout continental Europe, and in South America. São Paulo is sometimes called the drum and bass Ibiza.[citation needed] Brazilian drum and bass is sometimes referred to as "sambass", with its specific style and sound. In Venezuela and Mexico, artists have created their own forms of drum and bass combining it with experimental musical forms. In Colombia there is a large underground scene, The RE.set Label and Bogotá Project are two collectives that put on DnB events in the city, as well as a twice yearly event called Radikal Styles, that brings together local talent and international big names.

Despite its roots in <hl> the UK <hl> , which can still be treated as the "home" of drum and bass, the style has firmly established itself around the world.


Question: What is Sao Paulo called in relation to drum and bass?

Answer: the drum and bass Ibiza

Despite its roots in the UK, which can still be treated as the "home" of drum and bass, the style has firmly established itself around the world. There are strong scenes in other English-speaking countries including Australia, Canada, South Africa, the United States and, New Zealand. It is popular throughout continental Europe, and in South America. <hl> São Paulo is sometimes called the drum and bass Ibiza .[citation needed] Brazilian drum and bass is sometimes referred to as "sambass", with its specific style and sound. <hl> In Venezuela and Mexico, artists have created their own forms of drum and bass combining it with experimental musical forms. In Colombia there is a large underground scene, The RE.set Label and Bogotá Project are two collectives that put on DnB events in the city, as well as a twice yearly event called Radikal Styles, that brings together local talent and international big names.

Despite its roots in the UK, which can still be treated as the "home" of drum and bass, the style has firmly established itself around the world. There are strong scenes in other English-speaking countries including Australia, Canada, South Africa, the United States and, New Zealand. It is popular throughout continental Europe, and in South America. São Paulo is sometimes called <hl> the drum and bass Ibiza <hl>.[citation needed] Brazilian drum and bass is sometimes referred to as "sambass", with its specific style and sound. In Venezuela and Mexico, artists have created their own forms of drum and bass combining it with experimental musical forms. In Colombia there is a large underground scene, The RE.set Label and Bogotá Project are two collectives that put on DnB events in the city, as well as a twice yearly event called Radikal Styles, that brings together local talent and international big names.

São Paulo is sometimes called <hl> the drum and bass Ibiza <hl> .[citation needed] Brazilian drum and bass is sometimes referred to as "sambass", with its specific style and sound.


Question: What is "sambass"?

Answer: Brazilian drum and bass

Despite its roots in the UK, which can still be treated as the "home" of drum and bass, the style has firmly established itself around the world. There are strong scenes in other English-speaking countries including Australia, Canada, South Africa, the United States and, New Zealand. It is popular throughout continental Europe, and in South America. <hl> São Paulo is sometimes called the drum and bass Ibiza.[citation needed] Brazilian drum and bass is sometimes referred to as "sambass", with its specific style and sound. <hl> In Venezuela and Mexico, artists have created their own forms of drum and bass combining it with experimental musical forms. In Colombia there is a large underground scene, The RE.set Label and Bogotá Project are two collectives that put on DnB events in the city, as well as a twice yearly event called Radikal Styles, that brings together local talent and international big names.

Despite its roots in the UK, which can still be treated as the "home" of drum and bass, the style has firmly established itself around the world. There are strong scenes in other English-speaking countries including Australia, Canada, South Africa, the United States and, New Zealand. It is popular throughout continental Europe, and in South America. São Paulo is sometimes called the drum and bass Ibiza.[citation needed] <hl> Brazilian drum and bass <hl> is sometimes referred to as "sambass", with its specific style and sound. In Venezuela and Mexico, artists have created their own forms of drum and bass combining it with experimental musical forms. In Colombia there is a large underground scene, The RE.set Label and Bogotá Project are two collectives that put on DnB events in the city, as well as a twice yearly event called Radikal Styles, that brings together local talent and international big names.


Question: Where do the RE.set Label and Bogota Project put on events?

Answer: Colombia

Despite its roots in the UK, which can still be treated as the "home" of drum and bass, the style has firmly established itself around the world. There are strong scenes in other English-speaking countries including Australia, Canada, South Africa, the United States and, New Zealand. It is popular throughout continental Europe, and in South America. São Paulo is sometimes called the drum and bass Ibiza.[citation needed] Brazilian drum and bass is sometimes referred to as "sambass", with its specific style and sound. In Venezuela and Mexico, artists have created their own forms of drum and bass combining it with experimental musical forms. <hl> In Colombia there is a large underground scene, The RE.set Label and Bogotá Project are two collectives that put on DnB events in the city, as well as a twice yearly event called Radikal Styles, that brings together local talent and international big names. <hl>

Despite its roots in the UK, which can still be treated as the "home" of drum and bass, the style has firmly established itself around the world. There are strong scenes in other English-speaking countries including Australia, Canada, South Africa, the United States and, New Zealand. It is popular throughout continental Europe, and in South America. São Paulo is sometimes called the drum and bass Ibiza.[citation needed] Brazilian drum and bass is sometimes referred to as "sambass", with its specific style and sound. In Venezuela and Mexico, artists have created their own forms of drum and bass combining it with experimental musical forms. In <hl> Colombia <hl> there is a large underground scene, The RE.set Label and Bogotá Project are two collectives that put on DnB events in the city, as well as a twice yearly event called Radikal Styles, that brings together local talent and international big names.