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The most well-known disease that affects the immune system itself is AIDS, an immunodeficiency characterized by the suppression of CD4+ ("helper") T cells, dendritic cells and macrophages by the Human Immunodeficiency Virus (HIV). |
The body’s capability to react to antigen depends on a person's age, antigen type, maternal factors and the area where the antigen is presented. Neonates are said to be in a state of physiological immunodeficiency, because both their innate and adaptive immunological responses are greatly suppressed. Once born, a child... |
Maternal factors also play a role in the body’s immune response. At birth, most of the immunoglobulin present is maternal IgG. Because IgM, IgD, IgE and IgA don’t cross the placenta, they are almost undetectable at birth. Some IgA is provided by breast milk. These passively-acquired antibodies can protect the newborn f... |
During adolescence, the human body undergoes various physical, physiological and immunological changes triggered and mediated by hormones, of which the most significant in females is 17-β-oestradiol (an oestrogen) and, in males, is testosterone. Oestradiol usually begins to act around the age of 10 and testosterone som... |
Immunology is strongly experimental in everyday practice but is also characterized by an ongoing theoretical attitude. Many theories have been suggested in immunology from the end of the nineteenth century up to the present time. The end of the 19th century and the beginning of the 20th century saw a battle between "ce... |
In the mid-1950s, Frank Burnet, inspired by a suggestion made by Niels Jerne, formulated the clonal selection theory (CST) of immunity. On the basis of CST, Burnet developed a theory of how an immune response is triggered according to the self/nonself distinction: "self" constituents (constituents of the body) do not t... |
Bioscience is the overall major in which undergraduate students who are interested in general well-being take in college. Immunology is a branch of bioscience for undergraduate programs but the major gets specified as students move on for graduate program in immunology. The aim of immunology is to study the health of h... |
Most graduate immunology schools follow the AAI courses immunology which are offered throughout numerous schools in the United States. For example, in New York State, there are several universities that offer the AAI courses immunology: Albany Medical College, Cornell University, Icahn School of Medicine at Mount Sinai... |
In addition, this Introductory Course gives students more information to complement general biology or science training. It also has two different parts: Part I is an introduction to the basic principles of immunology and Part II is a clinically-oriented lecture series. On the other hand, the Advanced Course is another... |
MPEG-1 or MPEG-2 Audio Layer III, more commonly referred to as MP3, is an audio coding format for digital audio which uses a form of lossy data compression. It is a common audio format for consumer audio streaming or storage, as well as a de facto standard of digital audio compression for the transfer and playback of m... |
The use of lossy compression is designed to greatly reduce the amount of data required to represent the audio recording and still sound like a faithful reproduction of the original uncompressed audio for most listeners. An MP3 file that is created using the setting of 128 kbit/s will result in a file that is about 1/11... |
The compression works by reducing the accuracy of certain parts of a sound that are considered to be beyond the auditory resolution ability of most people. This method is commonly referred to as perceptual coding. It uses psychoacoustic models to discard or reduce precision of components less audible to human hearing, ... |
MP3 was designed by the Moving Picture Experts Group (MPEG) as part of its MPEG-1 standard and later extended in the MPEG-2 standard. The first subgroup for audio was formed by several teams of engineers at Fraunhofer IIS, University of Hannover, AT&T-Bell Labs, Thomson-Brandt, CCETT, and others. MPEG-1 Audio (MPEG-1 P... |
The MP3 lossy audio data compression algorithm takes advantage of a perceptual limitation of human hearing called auditory masking. In 1894, the American physicist Alfred M. Mayer reported that a tone could be rendered inaudible by another tone of lower frequency. In 1959, Richard Ehmer described a complete set of audi... |
The psychoacoustic masking codec was first proposed in 1979, apparently independently, by Manfred R. Schroeder, et al. from Bell Telephone Laboratories, Inc. in Murray Hill, NJ, and M. A. Krasner both in the United States. Krasner was the first to publish and to produce hardware for speech (not usable as music bit comp... |
The immediate predecessors of MP3 were "Optimum Coding in the Frequency Domain" (OCF), and Perceptual Transform Coding (PXFM). These two codecs, along with block-switching contributions from Thomson-Brandt, were merged into a codec called ASPEC, which was submitted to MPEG, and which won the quality competition, but th... |
As a doctoral student at Germany's University of Erlangen-Nuremberg, Karlheinz Brandenburg began working on digital music compression in the early 1980s, focusing on how people perceive music. He completed his doctoral work in 1989. MP3 is directly descended from OCF and PXFM, representing the outcome of the collaborat... |
The song "Tom's Diner" by Suzanne Vega was the first song used by Karlheinz Brandenburg to develop the MP3. Brandenburg adopted the song for testing purposes, listening to it again and again each time refining the scheme, making sure it did not adversely affect the subtlety of Vega's voice. |
In 1991, there were only two proposals available that could be completely assessed for an MPEG audio standard: Musicam (Masking pattern adapted Universal Subband Integrated Coding And Multiplexing) and ASPEC (Adaptive Spectral Perceptual Entropy Coding). The Musicam technique, as proposed by Philips (the Netherlands), ... |
Much of its technology and ideas were incorporated into the definition of ISO MPEG Audio Layer I and Layer II and the filter bank alone into Layer III (MP3) format as part of the computationally inefficient hybrid filter bank. Under the chairmanship of Professor Musmann (University of Hannover) the editing of the stand... |
ASPEC was the joint proposal of AT&T Bell Laboratories, Thomson Consumer Electronics, Fraunhofer Society and CNET. It provided the highest coding efficiency. |
A working group consisting of Leon van de Kerkhof (The Netherlands), Gerhard Stoll (Germany), Leonardo Chiariglione (Italy), Yves-François Dehery (France), Karlheinz Brandenburg (Germany) and James D. Johnston (USA) took ideas from ASPEC, integrated the filter bank from Layer 2, added some of their own ideas and create... |
All algorithms for MPEG-1 Audio Layer I, II and III were approved in 1991 and finalized in 1992 as part of MPEG-1, the first standard suite by MPEG, which resulted in the international standard ISO/IEC 11172-3 (a.k.a. MPEG-1 Audio or MPEG-1 Part 3), published in 1993. |
Further work on MPEG audio was finalized in 1994 as part of the second suite of MPEG standards, MPEG-2, more formally known as international standard ISO/IEC 13818-3 (a.k.a. MPEG-2 Part 3 or backwards compatible MPEG-2 Audio or MPEG-2 Audio BC), originally published in 1995. MPEG-2 Part 3 (ISO/IEC 13818-3) defined addi... |
An additional extension to MPEG-2 is named MPEG-2.5 audio, as MPEG-3 already had a different meaning. This extension was developed at Fraunhofer IIS, the registered MP3 patent holders. Like MPEG-2, MPEG-2.5 adds new sampling rates exactly half of that previously possible with MPEG-2. It thus widens the scope of MP3 to ... |
Compression efficiency of encoders is typically defined by the bit rate, because compression ratio depends on the bit depth and sampling rate of the input signal. Nevertheless, compression ratios are often published. They may use the Compact Disc (CD) parameters as references (44.1 kHz, 2 channels at 16 bits per channe... |
Karlheinz Brandenburg used a CD recording of Suzanne Vega's song "Tom's Diner" to assess and refine the MP3 compression algorithm. This song was chosen because of its nearly monophonic nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. Some refer to Suza... |
A reference simulation software implementation, written in the C language and later known as ISO 11172-5, was developed (in 1991–1996) by the members of the ISO MPEG Audio committee in order to produce bit compliant MPEG Audio files (Layer 1, Layer 2, Layer 3). It was approved as a committee draft of ISO/IEC technical ... |
On 7 July 1994, the Fraunhofer Society released the first software MP3 encoder called l3enc. The filename extension .mp3 was chosen by the Fraunhofer team on 14 July 1995 (previously, the files had been named .bit). With the first real-time software MP3 player WinPlay3 (released 9 September 1995) many people were able ... |
As sound scholar Jonathan Sterne notes, "An Australian hacker acquired l3enc using a stolen credit card. The hacker then reverse-engineered the software, wrote a new user interface, and redistributed it for free, naming it "thank you Fraunhofer"". |
In the second half of '90s, MP3 files began to spread on the Internet. The popularity of MP3s began to rise rapidly with the advent of Nullsoft's audio player Winamp, released in 1997. In 1998, the first portable solid state digital audio player MPMan, developed by SaeHan Information Systems which is headquartered in S... |
In November 1997, the website mp3.com was offering thousands of MP3s created by independent artists for free. The small size of MP3 files enabled widespread peer-to-peer file sharing of music ripped from CDs, which would have previously been nearly impossible. The first large peer-to-peer filesharing network, Napster, ... |
The ease of creating and sharing MP3s resulted in widespread copyright infringement. Major record companies argued that this free sharing of music reduced sales, and called it "music piracy". They reacted by pursuing lawsuits against Napster (which was eventually shut down and later sold) and against individual users w... |
Unauthorized MP3 file sharing continues on next-generation peer-to-peer networks. Some authorized services, such as Beatport, Bleep, Juno Records, eMusic, Zune Marketplace, Walmart.com, Rhapsody, the recording industry approved re-incarnation of Napster, and Amazon.com sell unrestricted music in the MP3 format. |
An MP3 file is made up of MP3 frames, which consist of a header and a data block. This sequence of frames is called an elementary stream. Due to the "byte reservoir", frames are not independent items and cannot usually be extracted on arbitrary frame boundaries. The MP3 Data blocks contain the (compressed) audio inform... |
The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. At present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise t... |
During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples.[clarification needed] If there is a transient, 192 samples are taken instead of 576. This is done to limit the temporal spread of quantization noise accompanying the transient. (See psychoacoustics.) |
Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. Additionally, the combining of the two filter banks' outputs creates aliasing problems that must be han... |
Decoding, on the other hand, is carefully defined in the standard. Most decoders are "bitstream compliant", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC high stand... |
Encoder / decoder overall delay is not defined, which means there is no official provision for gapless playback. However, some encoders such as LAME can attach additional metadata that will allow players that can handle it to deliver seamless playback. |
When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. The higher the bit rate, the larger ... |
With too low a bit rate, compression artifacts (i.e., sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A ... |
Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with ide... |
The simplest type of MP3 file uses one bit rate for the entire file: this is known as Constant Bit Rate (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) fil... |
Perceived quality can be influenced by listening environment (ambient noise), listener attention, and listener training and in most cases by listener audio equipment (such as sound cards, speakers and headphones). |
A test given to new students by Stanford University Music Professor Jonathan Berger showed that student preference for MP3-quality music has risen each year. Berger said the students seem to prefer the 'sizzle' sounds that MP3s bring to music. |
An in-depth study of MP3 audio quality, sound artist and composer Ryan Maguire's project "The Ghost in the MP3" isolates the sounds lost during MP3 compression. In 2015, he released the track "moDernisT" (an anagram of "Tom's Diner"), composed exclusively from the sounds deleted during MP3 compression of the song "Tom'... |
Several bit rates are specified in the MPEG-1 Audio Layer III standard: 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256 and 320 kbit/s, with available sampling frequencies of 32, 44.1 and 48 kHz. MPEG-2 Audio Layer III allows bit rates of 8, 16, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160 kbit/s with sa... |
A sample rate of 44.1 kHz is almost always used, because this is also used for CD audio, the main source used for creating MP3 files. A greater variety of bit rates are used on the Internet. The rate of 128 kbit/s is commonly used, at a compression ratio of 11:1, offering adequate audio quality in a relatively small sp... |
Uncompressed audio as stored on an audio-CD has a bit rate of 1,411.2 kbit/s, (16 bit/sample × 44100 samples/second × 2 channels / 1000 bits/kilobit), so the bitrates 128, 160 and 192 kbit/s represent compression ratios of approximately 11:1, 9:1 and 7:1 respectively. |
Non-standard bit rates up to 640 kbit/s can be achieved with the LAME encoder and the freeformat option, although few MP3 players can play those files. According to the ISO standard, decoders are only required to be able to decode streams up to 320 kbit/s. |
Early MPEG Layer III encoders used what is now called Constant Bit Rate (CBR). The software was only able to use a uniform bitrate on all frames in an MP3 file. Later more sophisticated MP3 encoders were able to use the bit reservoir to target an average bit rate selecting the encoding rate for each frame based on the ... |
A more sophisticated MP3 encoder can produce variable bitrate audio. MPEG audio may use bitrate switching on a per-frame basis, but only layer III decoders must support it. VBR is used when the goal is to achieve a fixed level of quality. The final file size of a VBR encoding is less predictable than with constant bitr... |
Layer III audio can also use a "bit reservoir", a partially full frame's ability to hold part of the next frame's audio data, allowing temporary changes in effective bitrate, even in a constant bitrate stream. Internal handling of the bit reservoir increases encoding delay.[citation needed] |
There is no scale factor band 21 (sfb21) for frequencies above approx 16 kHz, forcing the encoder to choose between less accurate representation in band 21 or less efficient storage in all bands below band 21, the latter resulting in wasted bitrate in VBR encoding. |
A "tag" in an audio file is a section of the file that contains metadata such as the title, artist, album, track number or other information about the file's contents. The MP3 standards do not define tag formats for MP3 files, nor is there a standard container format that would support metadata and obviate the need for... |
However, several de facto standards for tag formats exist. As of 2010, the most widespread are ID3v1 and ID3v2, and the more recently introduced APEv2. These tags are normally embedded at the beginning or end of MP3 files, separate from the actual MP3 frame data. MP3 decoders either extract information from the tags, o... |
ReplayGain is a standard for measuring and storing the loudness of an MP3 file (audio normalization) in its metadata tag, enabling a ReplayGain-compliant player to automatically adjust the overall playback volume for each file. MP3Gain may be used to reversibly modify files based on ReplayGain measurements so that adju... |
The basic MP3 decoding and encoding technology is patent-free in the European Union, all patents having expired there. In the United States, the technology will be substantially patent-free on 31 December 2017 (see below). The majority of MP3 patents expired in the US between 2007 and 2015. |
In the past, many organizations have claimed ownership of patents related to MP3 decoding or encoding. These claims led to a number of legal threats and actions from a variety of sources. As a result, uncertainty about which patents must be licensed in order to create MP3 products without committing patent infringement... |
The initial near-complete MPEG-1 standard (parts 1, 2 and 3) was publicly available on 6 December 1991 as ISO CD 11172. In most countries, patents cannot be filed after prior art has been made public, and patents expire 20 years after the initial filing date, which can be up to 12 months later for filings in other coun... |
An exception is the United States, where patents filed prior to 8 June 1995 expire 17 years after the publication date of the patent, but application extensions make it possible for a patent to issue much later than normally expected (see submarine patents). The various MP3-related patents expire on dates ranging from ... |
Technicolor (formerly called Thomson Consumer Electronics) claims to control MP3 licensing of the Layer 3 patents in many countries, including the United States, Japan, Canada and EU countries. Technicolor has been actively enforcing these patents. |
In September 1998, the Fraunhofer Institute sent a letter to several developers of MP3 software stating that a license was required to "distribute and/or sell decoders and/or encoders". The letter claimed that unlicensed products "infringe the patent rights of Fraunhofer and Thomson. To make, sell and/or distribute pro... |
Sisvel S.p.A. and its U.S. subsidiary Audio MPEG, Inc. previously sued Thomson for patent infringement on MP3 technology, but those disputes were resolved in November 2005 with Sisvel granting Thomson a license to their patents. Motorola followed soon after, and signed with Sisvel to license MP3-related patents in Dece... |
In September 2006, German officials seized MP3 players from SanDisk's booth at the IFA show in Berlin after an Italian patents firm won an injunction on behalf of Sisvel against SanDisk in a dispute over licensing rights. The injunction was later reversed by a Berlin judge, but that reversal was in turn blocked the sam... |
In February 2007, Texas MP3 Technologies sued Apple, Samsung Electronics and Sandisk in eastern Texas federal court, claiming infringement of a portable MP3 player patent that Texas MP3 said it had been assigned. Apple, Samsung, and Sandisk all settled the claims against them in January 2009. |
Alcatel-Lucent has asserted several MP3 coding and compression patents, allegedly inherited from AT&T-Bell Labs, in litigation of its own. In November 2006, before the companies' merger, Alcatel sued Microsoft for allegedly infringing seven patents. On 23 February 2007, a San Diego jury awarded Alcatel-Lucent US $1.52 ... |
Other lossy formats exist. Among these, mp3PRO, AAC, and MP2 are all members of the same technological family as MP3 and depend on roughly similar psychoacoustic models. The Fraunhofer Gesellschaft owns many of the basic patents underlying these formats as well, with others held by Dolby Labs, Sony, Thomson Consumer El... |
There are also open compression formats like Opus and Vorbis that are available free of charge and without any known patent restrictions. Some of the newer audio compression formats, such as AAC, WMA Pro and Vorbis, are free of some limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder. |
Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others. |
House music is a genre of electronic dance music that originated in Chicago in the early 1980s. It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s... |
Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm ... |
In the late 1980s, many local Chicago house music artists suddenly found themselves presented with major label deals. House music proved to be a commercially successful genre and a more mainstream pop-based variation grew increasingly popular. Artists and groups such as Madonna, Janet Jackson, Paula Abdul, Aretha Frank... |
Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-... |
Soul and disco influenced house music, plus mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, producers, and audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, and others who produced longer, more repetitive, and percussive arrangemen... |
The electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat (1982), an album of Indian ragas performed in a disco style, anticipated the sounds of acid house music, but it is not known to have had any influence on the genre prior to the album's rediscovery in the ... |
Rachel Cain, co-founder of an influential Trax Records, was previously involved in the burgeoning punk scene and cites industrial and post-punk record store Wax Trax! Records as an important connection between the ever-changing underground sounds of Chicago. As most proto-house DJs were primarily stuck to playing their... |
In the early 1980s, Chicago radio jocks The Hot Mix 5, and club DJs Ron Hardy and Frankie Knuckles played various styles of dance music, including older disco records (mostly Philly disco and Salsoul tracks), electro funk tracks by artists such as Afrika Bambaataa, newer Italo disco, B-Boy hip hop music by Man Parrish,... |
The hypnotic electronic dance song "On and On", produced in 1984 by Chicago DJ Jesse Saunders and co-written by Vince Lawrence, had elements that became staples of the early house sound, such as the Roland TB-303 bass synthesizer and minimal vocals as well as a Roland (specifically TR-808) drum machine and Korg (specif... |
Starting in 1984, some of these DJs, inspired by Jesse Saunders' success with "On and On", tried their hand at producing and releasing original compositions. These compositions used newly affordable electronic instruments to emulate not just Saunders' song, but the edited, enhanced styles of disco and other dance music... |
Deep house's origins can be traced to Chicago producer Mr Fingers's relatively jazzy, soulful recordings "Mystery of Love" (1985) and "Can You Feel It?" (1986). According to author Richie Unterberger, it moved house music away from its "posthuman tendencies back towards the lush" soulful sound of early disco music. |
Acid house arose from Chicago artists' experiments with the squelchy Roland TB-303 bass synthesizer, and the style's origins on vinyl is generally cited as Phuture's "Acid Tracks" (1987). Phuture, a group founded by Nathan "DJ Pierre" Jones, Earl "Spanky" Smith Jr., and Herbert "Herb J" Jackson, is credited with having... |
Club play from pioneering Chicago DJs such as Hardy and Lil Louis, local dance music record shops such as Importes, State Street Records, Loop Records, Gramaphone Records and the popular Hot Mix 5 shows on radio station WBMX-FM helped popularize house music in Chicago. Later, visiting DJs & producers from Detroit fell ... |
The term "house music" is said to have originated from a Chicago club called The Warehouse, which existed from 1977 to 1983. Clubbers to The Warehouse were primarily black and gay, who came to dance to music played by the club's resident DJ Frankie Knuckles, whom fans refer to as the "godfather of house". After the War... |
Chip E.'s 1985 recording "It's House" may also have helped to define this new form of electronic music. However, Chip E. himself lends credence to the Knuckles association, claiming the name came from methods of labeling records at the Importes Etc. record store, where he worked in the early 1980s: bins of music that D... |
In a 1986 interview, Rocky Jones, the former club DJ who ran the D.J. International record label, doesn't mention Importes Etc., Frankie Knuckles, or the Warehouse by name, but agrees that "house" was a regional catch-all term for dance music, and that it was once synonymous with older disco music. |
Larry Heard, a.k.a. "Mr. Fingers", claims that the term "house" became popular due to many of the early DJs creating music in their own homes using synthesizers and drum machines such as the Roland TR-808, TR-909, and the TB 303.[citation needed] These synthesizers were used to create a house subgenre called acid house... |
Juan Atkins, an originator of Detroit techno music, claims the term "house" reflected the exclusive association of particular tracks with particular clubs and DJs; those records helped differentiate the clubs and DJs, and thus were considered to be their "house" records. In an effort to maintain such exclusives, the DJ... |
House also had an influence of relaying political messages to people who were considered to be outcasts of society. The music appealed to those who didn't fit into mainstream American society and was especially celebrated by many black males. Frankie Knuckles once said that the Warehouse club in Chicago was like "churc... |
Detroit techno is an offshoot of Chicago house music. It was developed starting in the late 80s, one of the earliest hits being "Big Fun" by Inner City. Detroit techno developed as the legendary disc jockey The Electrifying Mojo conducted his own radio program at this time, influencing the fusion of eclectic sounds int... |
Derrick May a.k.a. "MAYDAY" and Thomas Barnett released "Nude Photo" in 1987 on May's label "Transmat Records", which helped kickstart the Detroit techno music scene and was put in heavy rotation on Chicago's Hot Mix 5 Radio DJ mix show and in many Chicago clubs.[citation needed] A year later, Transmat released what wa... |
Kevin Saunderson's company KMS Records contributed many releases that were as much house music as they were techno. These tracks were well received in Chicago and played on Chicago radio and in clubs.[citation needed] Blake Baxter's 1986 recording, "When we Used to Play / Work your Body", 1987's "Bounce Your Body to th... |
With house music already massive on the '80s dance-scene it was only a matter of time before it would penetrate the UK pop charts.[citation needed] The record generally credited as the first house hit in the UK was Farley "Jackmaster" Funk's "Love Can't Turn Around" which reached #10 in the UK singles chart in Septembe... |
In January 1987, Chicago artist Steve "Silk" Hurley's "Jack Your Body" reached number one in the UK, showing it was possible for house music to cross over. The same month also saw Raze enter the top 20 with "Jack the Groove", and several further house hits reached the top ten that year. Stock Aitken Waterman's producti... |
The tour in March 1987[citation needed] of Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis as the DJ International Tour boosted house in the UK. Following the number-one success of MARRS' "Pump Up The Volume" in October, the years 1987 to 1989 also saw UK acts such as The Beatmasters, Krush, Coldcut, Yazz, Bomb Th... |
One of the early anthemic tunes, "Promised Land" by Joe Smooth, was covered and charted within a week by the Style Council. Europeans embraced house, and began booking legendary American house DJs to play at the big clubs, such as Ministry of Sound, whose resident, Justin Berkmann brought in Larry Levan. |
The house scene in cities such as Birmingham, Leeds, Sheffield and London were also provided with many underground Pirate Radio stations and DJs alike which helped bolster an already contagious, but otherwise ignored by the mainstream, music genre. The earliest and influential UK house and techno record labels such as ... |
But house was also being developed on Ibiza,[citation needed] although no house artists or labels were coming from this tiny island at the time. By the mid-1980s a distinct Balearic mix of house was discernible.[citation needed] Several clubs such as Amnesia with DJ Alfredo were playing a mix of rock, pop, disco and ho... |
In the U.S., the music was being developed to create a more sophisticated sound,[citation needed] moving beyond just drum loops and short samples. In Chicago, Marshall Jefferson had formed the house group Ten City Byron Burke, Byron Stingily & Herb Lawson(from "intensity"). New York–based performers such as Mateo & Mat... |
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