The popularity of Chicago House music soon catapulted it to international attention, with records topping the charts and scenes cropping up in New York City and London. This rich layering of sound texture wasn’t “a break with the black music of the past, but an extreme re-invention of the dance music of yesterday.” Sometimes Knuckles was even known to sample bites from Martin Luther King speeches. This new high-energy sound was also a blend of disco classics, Eurobeat pop, soul, relentless synthesizer, and drum machine. One of the hallmarks of House was its driving bass rhythm (aka “four-on-the-floor”), making it close to impossible not to move your body with the beat. To that mystifying music they call the key.” The clock tick tocks and the place gets hot. Night after night, crowds of House devotees from all corners of the city came out to dance and lose themselves inside the almighty beat. Pioneered by resident DJ Frankie Knuckles, the dance party continued at such local nightclubs as The Warehouse on South Jefferson Street. The death of disco in 1979 ushered in a new style of regional dance music – Chicago House.
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