!REAL LIFE CHANNEL: http://bit.ly/2q57N1sFree Download: http://bit.ly/2p8kvQj► Support» Donate: https://www.tipeeestream.com/ekki/donation» Merch Store: http://ekki-shop.com» Instagram: http://bit.ly/2stIU3W» Facebook: http://bit.ly/2raGpQ9» Snapchat: http://bit.ly/2rS00HI► Equipment*Mixer: http://amzn.to/2xSwz8uCD-Player: http://amzn.to/2xWb07HHeadphones: http://amzn.to/2eWAZXYUSB-Sticks: http://amzn.to/2eN9sVa*Amazon Affiliate Links : beat solo, bouncy with beat, hi-hat added, riff solo, riff with beat, hi-hat added, etc. PNC is Kango Slimm and Mista Meana, two 17th Ward vets who might be the most prolific bounce group in New Orleans history.

[28] Both were the first such musical chart entries in Germany and the Netherlands respectively. Together with Ms. Tee, Shorty was one of the first female signees to Cash Money.

Whilst breakbeat hardcore itself was not popular in Scotland, its synthesiser sounds were found in bouncy techno's range of stab melodies.

Records releases at raves;[19][20] and DJ Tom Wilson's award winning Steppin' Out dance music radio show that captured 82% of the available listening audience during Saturday evenings on Forth FM. [47] Unlike other rave music from this period, the Scottish scene was performance driven where bands often headlined raves rather than DJs. He has single-handedly changed the sound of hardcore and now people everywhere are copying his sound. Equal parts reality rap and humor, this party track sums up how hundreds of thousands of displaced people felt for the months and years following that colossal, man-made disaster. Big Freedia, “Gin in My System” (2003) And it wasn’t just big for Juvie; a teenage Lil Wayne devoured the scenery in the video and used his verse as a springboard into the biggest career a New Orleans rapper has ever had. [26], The new bouncy techno influenced happy breakbeat from Southern England was heavily pushed in Scotland as the next big thing but with little success. This track trades the typical Triggaman sample for The Soul Searchers’ “Ashley’s Roachclip” sample, which has been ubiquitous in hip-hop for years. DJ Jubilee, “Get Ready, Ready” (1997) DJ Jimi featuring Juvenile, “Bounce (For the Juvenile)” (1993) Tracks can be instrumental, or use a short repeated sample at certain points.

Scotland instead favoured techno and vocal/piano music at raves. Local artists and DJs soon appeared in Western Europe, Australia and Japan;[16] Q-Tex (Brown) and Ultra-Sonic played at the Mayday music festivals in Germany of 1994. [43] In the early 2000s, labels that included Quosh Records and Higher Order Recordings would release music with a bouncy techno influence.

7. [3] This is attributed to regional music,[4] cultural and racial differences across the UK; with breakbeat regarded in Scotland as a "black English thing" and an "alien musical culture". “Where Dey At?” actually exists in two versions — the 1992 DJ Jimi cut and its near identical predecessor, MC T Tucker & DJ Irv’s 1991 version of “Where Dey At?” The first lyrics of this earlier version sum it all up: “Shake that ass like a salt shaker.” And later lyrics like, “Fuck David Duke! Singing is uncommon.

And it’s the first appearance of the Big Easy ambassador of bounce to the world, Juvenile, who was 18 at the time.

In Netherlands, hardcore fans became tired of funcore and felt betrayed by Elstak's subsequent chart forays. There’s a whole camp of journalists who tried to round up these artists under the umbrella of “sissy bounce,” but that’s not a tag anyone within the community actually acknowledges. (That is, besides those who cite “Drag Rap,” a 1985 record by New York’s The Showboys, as the first bounce record because it has been sampled on basically every bounce track ever since.)
[35] These labels would quickly become redundant as happy breakbeat itself developed in a similar light. [8] These sets would prove popular and earned him Best Rave DJ and Best UK DJ by Clubscene readers for 1993. New Orleans bounce music has been part of the mainstream for years now, most recently making an appearance in Beyoncé’s NOLA-centric “Formation” video. Can You Have A Psychedelic Experience On Cannabis? But bounce and twerking have been a Gulf Coast cottage industry for more than two decades, and the various wards and projects of Southeast Louisiana are their epicenter (and, often, their subject matter). Juvenile (born Terius Grey) is New Orleans’ ambassador of bounce to the world. : happy gabber) and funcore [nb 2].

DJ Jimi – “Where Dey At?” (1992) One of the most consistent dudes in the game, Jubilee is the bounce DJ who can work a crowd from 8 to 88.
5th Ward Weebie, “Fuck Katrina” (2005) [37] This was however short lived. 1. Old-school veterans like DJ Jubilee established the quintessential bounce style, which — much like early hip-hop itself — was less concerned with conventionally narrative lyrics in favor of a simpler and more direct style of calling out different projects and different localized dance routines. Records from Happy Vibes Recordings in late 1995. As an alternative to the now formulaic music from Southern England, Brown launched the Bouncy Techno label in 1998.

Described as an accessible gabber-like form, it was popularised by Scott Brown under numerous aliases.

Givens was murdered in 1994, but Cheeky Blakk — in addition to being a full-time nurse by day — still performs. [36], With the influence now found across several different markets, a single pan European hardcore was formed. [13] The runner-up Best Scottish Dance Record for 1993[9] set the trend in Scotland; followed-up by his Dance Overdose remix in a similar fashion. [49][50][51] The performances of Ultra-Sonic filtered through to the like Scooter on a wider level.[26][27]. Funcore was a Dutch term to classify what was essentially bouncy techno. [26] Elstak meanwhile enlisted people in the eurodance field to produce a chart hit for him. The music of Brown also changed the Southern England happy breakbeat style away from its breakbeat foundation and into a bouncy derivative. “Gin” is a declaration of war, a warning against fucking with Freedia after she’s had a few. DJ Kid told the crowd to "fuck off" on the mic before he stormed off stage when ravers turned hostile towards him playing such a set. These rhythmic combinations and arrangements were described by Simon Reynolds as being reminiscent of klezmer music, fairground-like melodies and oom-pah offbeat notes.

[33] Artists in this field started to add bouncy techno characteristics to their compositions,[34] which created a new type of happy breakbeat music. [8], Rezerection closed its doors in 1997 as interest dwindled. 9. Cheeky Blakk, “Twerk Something” (1995)

Throwback events had also appeared in the 2000s such as Back to the Future and Fantazia in Scotland, and Happy Hardcore in Netherlands. 10. Concurrently, the Scottish duo Ultra-Sonic unconventionally combined the slower piano approach with the faster Brown-type beat; "Annihilating Rhythm" won Best Scottish Dance Record for 1993. Best of 90s Techno Mix | Hands Up Music Remix 2016 | Best Old School Techno Hands Up Mix New Hands Up Mixtape!!!

The breakbeat hardcore style that dominated raves across England was generally not popular in Scotland.

The sound became prominent in the northern United Kingdom rave scene before it broke into the hardcore homeland of the Netherlands through Paul Elstak, where it became known there as happy hardcore [nb 1] (i.e.

Scooter is basically like an Ultra-Sonic rip off. Bounce music is a style of New Orleans hip hop music which is said to have originated as early as the late 1980s in the city's housing projects. [13] Other local acts replicated this popular winning formula. Freddie “Big Freedia” Ross helped bounce get national recognition in a post-Katrina world, though she’d been well known locally since the ’90s. 5. [6] A divide in the United Kingdom rave scene occurred as a result with separate musical paths of development.[3][7].

Plagued by distribution problems, the imprint revealed a new uplifting trance approach to his work. 4. After three chart hit records in the UK Singles Chart Top 40 across 1993, which peaked with "Real Love" at number eight, their commercial success in part resulted in a backlash against the band. Acts were expected to have costumes, dancers and the best stage performance. Drum kicks are slightly distorted, like gabber. 2,” “N.O. [23] He found a new direction with Bass Reaction "Technophobia" (1993); another production from Brown. Popular bounce artists have included DJ Jubilee, Partners-N-Crime, Magnolia Shorty and Big Freedia Structure. Several happy breakbeat labels created offshoots dedicated to bouncy techno, such as Bounce!

Babyboom Records defined itself as "The Funcore Label"; Scottish artists released music on the same Dutch record label. He’s probably played every high school in New Orleans at some point or another in his long career, and this is one of his biggest hits, of which he has plenty. : happy gabber). N-Joi's "Live In Manchester" (1992) feast provided further general inspiration.

[12] Dutch producers reverted to gabber after a final few parting shots with releases like Chico Chipolata "No More Happy Hardcore" (1996), Buzz Fuzz "Fuck Happy" (1997); whilst Bodylotion "Happy Is Voor Hobos" (1996) alternated between droll bouncy and no-nonsense gabber parts to get their message across. Block Party,” U.N.L.V., Kane & Abel. Kutski dedicated several sets to bouncy techno on his BBC Radio 1 show, like the Rezerection Free Range Mix in 2011.[46]. These parts would be pieced together with short fills and rolls. [29], These successes created a path for further mainstream music to be exploited. [8][41] Bass Generator singled it out as having "killed the music scene up north" as it was an advanced form of breakbeat so was never going to work. Brown uses a regimented structure with components occurring for a fixed length. [25], Dutch labels dedicated to the "new rage" appeared such as Babyboom, Pengo, Waxweazle and Elstak's own Forze Records. Scenes from the All Black Lives Matter March, Councilman Herb Wesson on What Replacing LAPD in Non-Emergencies Would Mean, LAUSD Board Votes Against Defunding School Police, Beaches Closed, Firework Shows Banned for Independence Day, L.A. Public Health Explains Why Bars had to be Closed. Call-and-response — a style employed by many other New Orleans subcultures, like the Mardi Gras Indians — is a defining quality of the first decade of bounce. Scooter achieved much commercial chart success around western Europe;[27] Ultra-Sonic claimed that Scooter were "ripping us off".

A couple years before, DJ Jubilee recorded the first recognized usage of “twerk,” and Cheeky's track helped popularize the term as well, though the concept of twerking wasn't new — just the most recent iteration of dance rituals that trace back to West Africa. [42] Bass Generator's own Judgement Day looked to fill their void with a traditional Hogmanay rave to specifically kick-start a bouncy techno revival for 1998.[8].

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The Time Frequency (TTF) led the charge of local bands. The funcore term was found on other labels but to a lesser extent. A lot of people [in Germany] have tried to copy this style and make it cheap. Bass Generator introduced the gabber style to northern ravers. [44][45] These would be subsumed into what became generically known as UK hardcore. Brown and his sound was propelled to the forefront of the hardcore scene in Scotland and abroad.