Djing since 1989 and being in every genre of club and radio format, Criss Cross has continued to cater to the masses. Knowing and mastering a variety of music styles is a must in most every sucessful dj's career at one point or another. Criss Cross has been blazing the beats on some of the country's biggest dancefloors, concert stages, radio and basements across the USA, currently at his home in Kansas City, MOCriss Cross has graced the city's of St. Louis, Las Vegas, LA and Chicago.
Being a master of the scratch on two turntables and mixing perfectly smooth transitions Criss Cross know the times have changed over the years and has always stayed ahead of the typical club dj when it comes to the technical equipment and dj tricks, using pioneer cd players when they first appeared on the scene in 1991 and today using the latest laptop software in combination with the oldskool turntables, Criss Cross will always be in demand. Mixing every genre of music and mastering the mix skills has led Criss Cross to continue his special style of music whether that be edm, mainstream club, hip hop, trance, house or the current mash-up vibe taking the clubs by storm.
You need more? Well lets break the styles down for you folks.

ELECTRO/HOUSE is a fusion genre of house music with several other electronic dance music subgenres that came into prominence in the 2000 decade. Stylistically, it combines the minimal-processed four to the floor beats commonly found in tribal house with harmonically rich analogue or digital basslines derived from tech house (notably electrotech). The tempo is predominant of house music, meaning that it usually ranges from 125 to 140 BPM, while the song structure greatly varies from 1980-s influenced pop and new wave themes to trance-like progression to simplistic, almost elusive bassline structure.

While some electro house compositions do feature basses, leads or pitches akin to the original electro music of the early 1980, both styles share very little in common: there is scarce "funky" athmosphere in electro house, while electro mainly relied on lyrics rather than melody. As such, electro house might even be more closely related to hi-NRG instead.

Pertaining to the original electro movement, electro hop fuses hip hop vocal performance and instrumental techniques (i.e. beat skipping and R&B vocal samples) into electro house or electrofunk music. The electro house fusion first appeared as part of reg house, the subgenre quickly split into its own by 2008, with the most notable compositions being "Day & Nite" by Kid Cudi and the Benny Benassi remix of Public Enemy's "Bring the Noise".

The first DJ to have directly experimented with the fusion of both styles was Benny Benassi. His single "Satisfaction" successfully incorporates sounds found in electroclash into a melodic 4-to-4 beat featuring tech house irregularity. In 2003, another sound was created by Benassi's "Illusion" and influenced directly German and Austrian electrotech (a term coined by them) producers such as the Royal Gigolos and Global Deejays, who established it as a mainstream genre. By 200405, electrotech mixed with heavy elements of tribal house, to eventually settle into a more serious atmosphere. Early examples of such sound include "I Want You" by Paris Avenue and "This World" by Slam.

In late 2005, Matt Schwartz and Dave McCullen from the UK have defined the genre as "electro house" for the first time by incorporating high-pitched abrasive leads with it and borrowing a somewhat steadier beat from the then fading progressive house. The influence resulted was large enough as to become worldwide by 2006: Bodyrox's single "Yeah Yeah" featuring Luciana was labelled by several BBC Radio 1 DJs "the biggest tune of the summer of 2006", and the remix by D.Ramirez gained worldwide popularity, particularly in the Ibiza clubbing scene.[4][5] Later that same year, several emerging worldwide producers like Dirty South and The Egg shaped the initial sound into emulated disk scratching, all while borrowing deep house beats. Examples include Cicada's "Things You Say", The Egg's "Walking Away" and Guetta's "Love Don't Let Me Go" remixes.

Considerable international mainstream popularity of this genre came by late 2000s, when notorious leaders of the Africanism All Stars project Bob Sinclar and Yves Larock inserted samples of Caribbean music into their house compositions, creating ground for instrumental riffs and vocalizations harmonically shaping rough electronic leads. This in turn influenced an enormous variety of other mainstream genres  particularly rap, R&B and hip-hop  to be fused into house music, allowing practically any kind of genre remixes. In 2008-09, major hit songs that incorporated electro house with aforementioned styles included "Day & Night (Crookers Remix)" by Kid Cudi, "Shooting Star" by David Rush, "Sexy Bitch" by David Guetta, and many more.

HIP HOP music is a musical genre that developed as part of hip hop culture, and is defined by four key stylistic elements: rapping, DJing/scratching, sampling (or synthesis), and beatboxing. Hip hop began in the South Bronx of New York City in the 1970s. The term rap is often used synonymously with hip hop, but hip hop also denotes the practices of an entire subculture.[1]

Rapping, also referred to as MCing or emceeing, is a vocal style in which the artist speaks lyrically, in rhyme and verse, generally to an instrumental or synthesized beat. Beats, almost always in 4/4 time signature, can be created by sampling and/or sequencing portions of other songs by a producer.[2] They also incorporate synthesizers, drum machines, and live bands. Rappers may write, memorize, or improvise their lyrics and perform their works a cappella or to a beat.

MASH UP-Though the term "bastard pop" first became popular in 2001, the practice of assembling new songs from purloined elements of other tracks stretches back to the beginnings of recorded music. If one extends the definition beyond the realm of pop, precursors can be found in Musique concrète, as well as the classical practice of (re-)arranging traditional folk material and the jazz tradition of reinterpreting standards. In addition, many elements of bastard pop culture have antecedents in hip hop and the DIY ethic of punk.



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