Roni was never Trip-Hip, he was always Jungle/D&B
They still inhabited the same arenas.
Massive attack fit inbetween jungle and drum and bass and were drum and bass before triphop was coined as an actual genre title.
They all come from the same tree and all came up in the rave scene domestically in the states and internationally.
If you were at a rave they played all these artist and they used to all cohabit the same space.
Before more lengthy genre titles that were catchy.
or, more consumer friendly and descriptive were coined specifically for them.
To also, squelch the stigma of the homosexual nature of disco/advanced rnb/house.
This shyt was never played in hip hop clubs and inhabited more house circles.
Which later on when we could say house became a bit more euro-sophisticated.
All rinsed each others hand and were all in the same venue.
As house soon morphed into what they like to call edm and now atmospheric.
Before that all of this type of music had no genre specific name and all were under the same banner and ideal creatively.
Breh, I was in these venues.
As a kid as early as 1985, as a underage rink participant and summer country club house party goer at nine to eleven.
When Chicago was exclusively a house construct and region.
Although having several previous fascination with hiphop globally as a city.
In the all city breaker contest phase days.
were Chicago actually won the national breaker titles in like 85. To the Roxanne wars, and then the segueway of the transition of the new school way of thought from the old school way of thought.
Chicago did not have what would become a real grassroots hip hop specific culture or collective movement till the all city meetings in 88.
Which is when you could say hip hop as a culture.
In a house dominated and monopolized town like chicago would gain its own identity as a real cemented cultural entity and thing.
It would be close to a year and half to two years.
before Chicago had a solid strengthened all city movement of bboys.
all under the same premise as a real construct in like 89-91.
From the rise of orko, and all city functions and meetings for bboys, in multiple pillars but graf eccentric in nature.
Remember in any hip hop movement graf is always the first pillar to gain prominence and establish a draw.
As the artistic function of graf would draw art aficionado's and sophisticated venues and outside patrons.
as a byproduct from art and graf as a pillar.
That by 92, the culture of hip hop in Chicago a formerly house dominant town.
Had to actually allow room for another black dominated party collective, culture, and social draw.
That also, had a nice mix of different races, cultures and styles.
Where the side of the city would explain what race you more than likely were as well.
Especially in the formation of chi-rock from the allcity meetings.
The golden years of Chicago hip hop as a focused cultural aesthetic could be listed from 88-96.
in mid to late 94, what you would call euro based house.
or now what would you would call edm/atmospheric.
Which came from db/jungle/triphop.
When, this type of music had more sophistication than just ghetto house or deep house.
That lead to alternative based venues, feel and sound.
That is all house music or called atmospheric to edm.
None of this shyt was played in hip hop, at all.
Nor was it played in, nor was it featured.
In, or what would be considered true house, deep house or ghetto house circles.
It was its own thing and had a different race differential, as far as sophistication and draw, as well.
I know so, cause I moved the equipment for all these types of parties back then.
From different venues to different dj's.
A faq deep house dj like Rodney carrol would be spinning deep house or gay house and it would be an amalgamation of house staples from the wherehouse days.
Which was different than a ghetto house party that someone like DJ chip or sluggo entertain that was heterosexual based strictly.
With no actual obscene over the top public drug use.
The scene db and triphop inhabitated stateside.
was more white people and whitewashed black upper crust well traveled fans.
Who partook in obvious blatant studio 54 type party experiences and leaned more.
on the post wherehouse days of house in outlawed venues.
Those patrons had been abroad and experienced house music overseas.
Or, had the same sophistication as that scene.
Or what would be deemed safe for white people to participate in.
As, originally house music, or real house music or the evolved remnants of disco and dance based rnb after disco was dead as a draw.
Was, a completely black dominated party aesthetic that was taken from Chicago's the wherehouse.
Hence the term house music, and in that scene originally.
It was a hetero movement that soon was compromised from no actual cultural construct as disco/rnb/edm/triphop/atmospheric.
As house had no culture.
soon, the where house was compromised as a strictly heterosexual base.
Into a gay and heterosexual mix venue over time.
Where house music was splintered in the grassroots of Chicago.
Which is where house, and deep house were coined.
As deep house was thought to be.
where gays from disco days inhabited club ideals partied at places like the gay generator club.
Or, to the Ferrari club, the old wherehouse. Which was in close vicinity within one another
Which occurred in deeper north side based venues in chicago's most segregated in the world landscape.
As the footprint extended from the west downtown loop location of the wherehouse.
Or in strictly lesbian venues where I setup the actual equipment. from the amp to speakers to tables, etc for different venues every week for Simmons equipment.
Back then, there were no gays at a ghetto house party.
like what's poppin or a YMCA chip/sluggo party.
That would occur on the Southside or in the south loop, as a cutoff point in region and draw.
Or anywhere near house dance groups like the house o'matics and u phi u.
[which is where footwork and the regular perculator would get its legs along with the Westside house scene. That also created the Westside perculator, and soon later and now would give way to bop]
Which had a base on 63rd street.
Which is also where ironically, i went to high school.
Eurocentric style house music that would be given an assortment of genre names later.
Would become what we consider:
Edm
Db
Triphop
Atmospheric
Originally all these sub genres were all inhabited by different types of house and different types of patrons as well.
That soon splintered and are now all considered the same.
now in the box records became the rage.
Which is what is called edm, or atmospheric.
Yet, all this type of music is essentially house, tho.
It just depended on what your crowd was and at the time.
Raves were actually a new mainstream construct.
Based around old wherehouse style abandoned venues.
With euro flair styling as far as patron and location.
When the wherehouse was active.
there was no rap or hip hop cultural elements in house.
There was no rap music played in general at all, ever, either.
As bboys in Chicago fought for our independence in the scene.
Plus, there was no outlet for rap/hiphop at all.
after the Roxanne wars destroyed chicago's original budding hip hop grassroots draw in Chicago.
Plus, Leroy from fame being gay.
also damaged the draw for breaking.
Which damaged the permeation and acceptance of hip hop and violated its cultural mores.
Which helped hiphop gain independence from the disco and beaugoise scene in the old school way of thought era.
Triphop/db/jungle were the first submissions and crowd that had hip hop elements.
as a sole basis with higher or lower bpm's.
Yet mirrored the Eurocentric style of house derived from house music being an international export from Chicago to overseas.
Art Barr
i discovered dj krush and it was the end of how i viewed hip hop forever in 1997. 