Baltimore club’s influence also moved Diplo and M.I.A. In the early ‘90s, New Jersey producer DJ Tamiel was inspired to create the slightly faster Jersey club, and then in the early ‘00s, Philadelphia producers DJ Dwizz and DJ Sega pinballed off it to develop the manic-paced Philly club. That universal language of healing is also what helped Baltimore club take root outside its borders.
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Some of its most iconic songs speak to the pain that often comes hand-in-hand with inner city life and, at times, how to mend those wounds: Rod Lee’s “Dance My Pain Away” (2005), Miss Tony’s “Living In The Alley” (2001), and Big Ria’s “Hey You Knuckleheads” (1996) for example. The music, however, lives on-in part because, like rap, Baltimore club has a therapeutic appeal. With a staggering shortage of venues and little air time, Baltimore club as a scene has been fading fast in recent years. Since the closure announcement, Facebook has been abuzz with sentimental recollections of locals’ favorite nights at The Dox but, unfortunately, a venue closing in 2015’s urban America is hardly a surprise, especially one that hasn’t been vibrant since the mid-to-late ‘00s, when K-Swift and co were a staple on local radio and at high school events across the city. The genre’s most consistent platform in the city, The Dox has played host to everyone involved in its scene over the years, including late DJ and radio host K-Swift, Baltimore club pioneer Scottie B, and genre-bending artist Blaqstarr. Open since 1991, The Dox, as it was locally known, was a sanctuary for Baltimore club music, sometimes referred to as “Bmore club.” A face-paced evolution of Chicago house that grew out of the Baltimore scene in the late ‘80s, Bmore club draws on breakbeats, claps, and vocal samples of vulgar outbursts. Last month, news surfaced online that Baltimore’s legendary nightclub, The Paradox, will be closing in mid-2016.
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Originally edited and published by The Fader.