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All the skating people knew all the Dance Mania people. You see, skating still plays a tremendous part in groove sessions. Of course, there were more high energy or down tempo grooves, but this was in the pocket, and a lot of music made at the time was right there. This was supposed to be a chord progression for a future bass song but i'm not working on it anymore so here's the loop. The music was born from dancing, specifically from battling each other.

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The royalty free electronic loops, samples and sounds listed here have been kindly uploaded by other users and are free to use in your project. And, maybe even more importantly, this was a real club on wheels. And then slowly but surely it started changing with the music getting faster. But Larry also came to Roxy a lot, and he in particular was really impressive on skates. See, Dance Mania was also sampling a lot of the music from the late seventies and early eighties that had a groove to it, monument valley game for pc which you could say was skating music.

Especially when I would cut up the intro to make it extra long. You would see a lot of producers and promoters coming to the roller rinks, because if I was playing a new song and it was a hit in the rink, they knew it was going to stick. To me it seemed like there was an entire hip-hop scene around picking the skate grooves. See, I was in House-O-Matic dance crew. But unlike the then newly implemented integration of the labor force and the U.

You see James Brown is footwork. Empire Roller Rink in Brooklyn is often credited as the nucleus of the funkier, bass-driven skate styles. Historically, Atlanta, Memphis, St. Rock Steady Crew member Mr. Everybody did skating first for real, that was a traditional thing.

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The bounce feels that skaters did led the way to how we added more bounce to our moves. That was an important part of the development. The owner felt vindicated. They played dance-hop and stuff but mainly just house music. In short, skating has been vital to both the evolution of popular American dance and dance music for decades.

You had to do it all, and I used to work the skate counter, like rent skates out to people, and I worked the concession selling pop and chips. It was not rhythm, and certainly nothing with a beat.

And all the house people knew each other. To me, the rhythm and the bass control the skate style. Disco had gotten very strong towards the end of the seventies, but the music also seemed to get a bit whiter and more about the beat than the groove.

It was as if everyone had headphones on skating to a different beat! Then, going on that, I made a track. No doubt, a lot of people were going to the roller skating rink to pick things.

Everything after that became skating to the downbeat, and the rest is history. An interview with civil rights protester Ledger Smith recorded in at the March on Washington. It all started off skating, and then when you got old enough to go to the disco you could go there on the Saturday night and dance. There were people celebrating birthdays and parties going on so we had to take the mic and stuff like that.

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It felt like one big turn. Then I landed in Brooklyn in and changed the whole concept of roller skating by introducing Count Basie.

When I played the roller skating gig, it was suddenly much more groove oriented, much more what I was actually into. At Laces, there were a lot of hip-hop artists looking for the grooves for their records. And not as many people could fit onto the floor or it would be too chaotic. Nor is the emphasis here on the act of skating or the vibrant scene itself. And of course early rap records were sampling it a lot too.

Even though my style was more soulful and funky and perfect for roller skating, it had me kind of not in the disco trend. It was just an activity like any other. All the major footwork competitions in the beginning were held in rinks. And yet within the broader pop cultural narrative, roller skating, like disco, still receives short shrift as a fad that went out of style with pet rocks. Every hub had the music it liked, and this was really the case with the black community.

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ShaProStyle A s most style skaters would agree, one of the most celebrated scenes in America developed in the house, blues and funk hotbed of Chicago. Just something made just to post. But this started to change in the seventies in New York, which is also when certain rinks started to play entirely different music than before. As a club, the Garage seemed pretty big, but for skating it actually felt quite small, especially compared to Roxy. It was a very different scene than club music, but the roller skating groove seemed very natural to me and grounded me musically.

That is, predominantly for white communities. Meanwhile further south, rinks in Miami in the early eighties were slowly but surely becoming hotbeds of emerging bass and freestyle productions. Suddenly I could control how I moved, even dance on skates. Around the same time I got my first more serious pair of three-hundred-dollar skates. The dancers and the skaters were both having a nice time in the back.

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Instead, this is about the historical foundations of influential dance music sub-cultures. Louis and Boston also all had active hip-hop scenes that developed in rinks during the eighties. At first I was wary, but when I got there it was completely packed. But before all that, it was a roller skating anthem. And music-wise we had a program.