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National women's magazine explores influence of Bmore Club music

M.I.S.S. feature "Funky Expedition," which explores the creation and development of region-specific genres of music, takes a look at Baltimore Club Music. While it sings its praises, it questions -- hopefully -- whether Bmore Club will "ever have lasting potential outside of the DMV (D.C., Maryland, and Virginia)."

An excerpt from the article reads:

It always stings a little bit when you are on top of something � whether it be a new artist, new designer, or new style � and then a year or two later, everybody's on the jock of that artist, designer, or style. You just look like a major tool mentioning that you were into it "ages ago," but then you are also a bit angry because your friends didn't like it when you told them about it. Once it was on TV, they liked it. Sound familiar?

Besides the fact that you might just be a trendsetter, or a daring human being, (or a M.I.S.S. girl), it's frustrating any which way you look at it. Such might be the case for fans of Baltimore Club AKA Bmore Club AKA Gutter music AKA the sound of Bodymore, Murderland (Baltimore, Maryland). It has only been gaining national attention in the past few years, but it has been around -- in Baltimore -- starting from as early as 1989 or 1990.

The sound of Gutter music is best described by a blend of hip-hop, house, and dance music. Some even call it hip-house. The songs are often dark, but contain an infectious, hyper energy that explodes with each short song. Unlike typical house songs, Bmore club songs alternately build and drop intensity as they play, with bridges and sections of fast-paced, loud crashes that mimic fluttering heartbeats. The songs are like the sprint of the music race: the cuts are specifically crafted by DJs for the club environment, based on a 8/4 beat structure, and include tempos as high as 130 beat per minute.

Read the entire article here:

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