DOCSLIB.ORG

Playing the Turntable: an Introduction to Scratching

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Playing the Turntable: an Introduction to Scratching Dept. for Speech, Music and Hearing Quarterly Progress and Status Report Playing the turntable: An introduction to scratching Falkenberg Hansen, K. journal: TMH-QPSR volume: 42 number: 1 year: 2001 pages: 069-079 http://www.speech.kth.se/qpsr ?<@BADC+EGFHJIFGK4ADLMA4NPORQSILTUADL VXWYBZ¢[%\¤]4Z ^8_`GacbdUeG`Gf4gGhjihDb<gGackl`+eG_meG_honp¢n¤qgGb<drbs<itdUbdPh4g uvaPe+qi`+hDimbdPeDwp dPxyp wzxSb<s` n¤qgGb<eG`Gs{|b `Gs u~gdUhDfpdPiudP_ueG_x`+fDbg+g ui<dPb{{<`Gs{b<sin¤q<aP_<`Gs{ `GeGXfp xSxzp s<g ugGbh4gGg+h4i } UaPfDdPb<eGfD_<`Gs{Uc`GeG_|aPq¢w+wB`+fD`Gh4sen¤dPb<fDe+`GaPh4¤bmS`+aPfj~p fD4h¥u S¥RfDbsm_b hj{<dPhDb<efp s<eGd8pg } p hDdeG_hRap qsi<absizeGdPh4be¤e+_h eGq<dPseGb<gGhRbabszhD¥ndPhDaUaP` h xSqaU`GfDb<gJ`Gs<aPe+dPqxShDse+ h4s } } } eG_¤p q{_RbRi`+{`+eGbg+baUhDiRxzp i<hDgp waPf4dPbe+fD_`+s{RxS`G{_eaUhDhDxvn¤dPh+wBh4dPbg+hepleG_<h qgGs<hDdPb<g+h } `Gs u~gdUhDfp dUi%e+_hrb<fp qaUeG`+fDbghD_b `p q<dp wreG_<hraPf4dPb<eGfD__<baos¤peh4hDswp dPxSbg+g uaPe+qi`+h4i } } qseG`+gJsp kl^pc{b<`Gsz`Gsw%p dPxSb<eG`p sp w eG_<`GahD_b `p q<dbRklbabaUDhDizepn¤hDd w%p dPx ap xh } e uDn`GfDb<g¡aPfDdUbeGf4_`Gs{¢n¤be+eGh4dPsaP^8_h4aPh£fp xSxzp s¤ng+b u`Gs{¥eGhDf4_s`G¦<qhDa§bs<i¨e+_h fp dPdPh4a©np si<`Gs{|ap qs<iaS_b hjhDh4smbs<bg u~aPhDiª`+sfDheG_<hJw%p f4qap wjeG_hbdUeG`+fDgGh`+ap s|e+_h } baP`Gf4amp w_¤p k eG_<hz`GsaUeGdPqxSh4se«kRp dPDaP¬bsp hDd `GhDk­p staPeGbsi<bdPi<`G®PhDi¯hD¦<q` n¤xSh4se«bs<i } } bgGe+hDdPsb<eG` hhD¦<q` n¤xSh4se~`Ga«{<` hDs } } °±z²³«´cµz¶z·«²¸´c± foremost, John Cage and Pierre Schaeffer, did the first experiments with use of phonograph to To scratch means to drag a vinyl record back create music. None of the first five made any and forth against the needle on an ordinary noticeable impact, and Cage and Schaeffer are turntable along the grooves, not across, remembered mainly for their approach to though it might sound like it. This way of sounds, not the turntable. Pierre Schaeffer’s producing sounds has during the last two (and Pierre Henry’s) concept of ÍSÎÏUÐGÑÎ<ÒtÓÔ ÕÖ decades made the turntable become a ÓD×PÒDØ+Ò is as much a result from tape-manipu- popular instrument for both solo and lation as vinyl-manipulation, and his practices ensemble playing in different musical styles, would probably have been commenced even though mostly hip-hop. However, all without the phonograph technology (Griffiths, musical forms seem to keenly adopt the 1995; Khazam, 1997). turntables into its instrumental scenery, Instrumentalists must learn to employ a traditions like rock, metal, pop, disco, jazz, variety of techniques and methods for mani- experimental music, film music, contempo- pulation. It is unproblematic to state that a rary music and numerous others. Experi- fundamental ground has now been established mental Disk Jockeys (DJs) and most hip-hop with an almost compulsory assortment of DJs now frequently call themselves ¹Gº<»P¼½ techniques. All new ways of playing and ¹G¾¿À+ÁGÂU¹G , and the music style of “cutting scratching are persistently explained and vinyl” with all its scratching and extensive debated on, especially on Internet discussion ÃGÄ<ÅPÆÃ+ÇÈÉ+Ê+ËPÌ mixing is called . These terms, forums on sites devoted to ÙGÚÛPÜ<ÙGÝÞ<ßGà+áPâ (see derived from “turntable”, are now generally “List of Links” in the References section). accepted. There are moreover numerous techniques today In the early eighties, scratching DJs – that more or less resemble and originate from and the entire hip-hop community – got the the ones that will be described and analysed in attention of the record-buying generation, the following. Many ways to scratch do not fit inescapably spreading their sounds to the into the general scheme, and are not widely rest of the musical world (see “List of key used. They are, however, all explained on recordings” in the References section). It is turntablism Internet sites as soon as they yet more than seventy years ago that Paul surface. This overview will not deal with the Hindemith, Ernest Toch, Percy Grainger, more unconventional scratches. Edgar Varèse, Darius Milhaud, and first and ¢¡¤£¥£¥¦¥§¢¨ © ¢ ¦ £¥ ¨ ¤¨ ¦¥!¥§ " #¨ $%£¥ £¥ &'()+*,- ./¤01 2435 687 9 );:¢9¢/<5= => 69 ãSäåæPçDåèélê ë¬ê¢ìí¬îGäïðGå<ñRòGó<çò+ôõPåòGä<öîGç Turntablism includes both ÷PøDùPúû+øDüý+þÿ , from the professionals, even though this new using one turntable and an audio mixer, and equipment could aspire to development of new ¦¨§¢©¢© © ¢¡¤£¢¥ , using two turntables and a techniques. mixer. Scratching is a typical solo-playing A list grasping over most of the major style, comparable to that of electric guitar. manufacturers include Technics and Vestax, The musician expresses in intricate rhyth- that make DJ turntables, Vestax, Numark, mical patterns and in tonal structures. Ecler, Stanton and Rane that all make specially Beatjuggling sometimes has a rhythmical designed mixers, and Shure, Stanton and backing function to ¢¢ , but is often Ortofon that make cartridges (pick-ups) for played in expressive solo-acts. An overview scratching (see Manufacturers in List of Links of the practice of using turntables as paragraph). Low budget equipment from instruments and a short history of turn- countless less-known manufacturers fail to tablism is reported in a previous paper by convince users. The standard line-up for many Hansen (Hansen, 2000). turntablists is two Technics SL-1200/1210 Mk2 Research in this field has lately led to turntables with Shure M44-7 pick-ups, and a improved “scratchable” CD-players and scratch mixer without unnecessary controllers. software like Flash-based applications and Normally this equipment is organized with one turntable simulators. Still they seem insuffi- turntable placed on either side of the mixer, and cient as replacement for the present equip- to avoid uncontrolled contact with the sensitive ment as the turntablism-society unfailingly tone-arm the turntables are even flipped 90 sticks to vinyl. The apparent unwillingness degrees with the tone-arms away from the to make use of these innovations has a body. counter-side in a desire to be spared the hassle of skipping needles and replacing wrecked records. Some actual examples of such hardware and software will later be discussed shortly in the paragraph “Scratch- equipment based on digital technology”. "!$#&%' Any turntable might be used for scratching, but the standard is a direct-driven machine 9¢;L< with the platter mounted on the motor. (*) +¢,¢-.0/1*23.54¤6¢7¢)4¤8:9¢;=<>/?A@ @CBED¤?GF , -7¢F H I¢J .0K Scratching also utilizes a mixer that mostly /?A@¢@:)8&+¢-H MNH¢7¢OP9¢;=<>/?A/ @:)8&I¢J H 4¤DRQ1 is used for controlling the onsets and offsets of each tone. So the turntable as a musical The quartz direct-driven turntable (Figure 1) instrument includes the turntable with pick- has advantages to the belt-driven in terms of up, stylus and slip-mat, an audio mixer and a pick-up speed and motor strength (the starting vinyl record. Relatively few manufacturers torque of a Technics is 1.5 kg/cm). When have succeeded to enter the market with pushing the start-button, a mere third of a purposeful equipment, compared to the revolution (0.7 seconds) is needed to reach full massive popularity and prospective of good 1 speed at 33 3 RPM (revolutions per minute), sales. Why this is so and which conse- and stopping the record goes even faster quences this inflict on the evolution of the (Online 1200 in List of Links). scene is an extensive discussion, but in brief With a felt slipmat lying between the platter there seems to be a general unwillingness and the record, moving the record in both among the turntablists to adept to radical directions with the motor on and the platter still innovations, especially those that over- going is fairly easy. In rougher moves and simplify and trivialize playing. One example when maintaining a heavier touch, the platter is the production of a mixer that with the might follow the record back and forth, but push of a button imitates one of the hardest because of the pick-up speed, that is not a techniques to acquire. This mixer, Vestax problem. Samurai, never got much positive attention 70 S3TEUWV>XZY*[¢\^]*_ `ba¢c decAf¢f¢g with a special ¢W¤ -switch. Several varieties in how the crossfader operates are fabricated, the newest development being Rane’s A ¦¥ C¡W ¢¢¢¢£5 ¤ ¢§¢£5¨© ¢ . “Fader” might, how- ever, be a misguiding term as the fading curve on the crossfader normally is adjusted to be very steep, making it act as an on-off switch. h*i j¢k¢lmCn¢o¢p¢q¢k lmCrEs¢s t>u:v¤w lxli y¢j¢m5o The zA{|¤}¤~z mechanism (Figure 2) is specially designed for scratching to prevent b the ¢ ¢ (needle) from skipping from one groove to another, and even the stylus is designed to make scratching easier. Normal high fidelity styli are often elliptical at the end while scratch styli are spherical and made stronger as the force on the needle get so high that both the reels and the needle are in hazard of being damaged. An M44-7 can handle three times the tracking force (from the needles tip to the groove) of the hi-fi cartridge Shure V15 VxMR – up to 3.0 grams on the M44-7 compared to 1.00 gram on the V15. Output voltage from the scratch cartridges is 3-4 times higher (9.5 mV) than the hi-fi cartridge. The hi-fi cartridge has of course better frequency response, from 10 to 25.000 Hz, compared to M44-7’s 20 to 17.000 Hz.
Load more

Recommended publications
  • HARD REPORT' November 21, 1986 Issue # 6 (609) 654-7272 FRONTRUNNERS ERIC CLAPTON BOB GELDOF "AUGUST" "DEEP in the HEART E.C
    THE HARD REPORT' November 21, 1986 Issue # 6 (609) 654-7272 FRONTRUNNERS ERIC CLAPTON BOB GELDOF "AUGUST" "DEEP IN THE HEART E.C. DELIVERS BIG ON OF NOWHERE" HIS MOST HIGHLY ANTICIPATED ALBUM OF IN TERMS OF WRITING AND ROCKING, WE'D THE EIGHTIES! CALL THIS A WORLD CLASS SURPRISE! ATLANTIC THE KINKS KATE BUSH NINNS . "THINK VISUAL" "EXPERIMENT IV" THINK THE 12" IS A BIT THE HIGH PRIESTESS ROUGH? YOU'LL FLIP OF MIND MUSIC RATES OVER "FACTORY" AND AN "A" FOR THIS "LOST AND FOUND" CEREBRAL CONCOCTION! MCA EMI JN OE HWN PE UD SD Fs RD OA My PLUS! ETTRACKS EDDIE MONEY & TIMBUK3 CHARTSTARS * HEADLINES MOST ADDED HOWARD and the FCC 1 The Kinks "Rock & Roll Cities" (MCA) 61 2 Ann Wilson "Best Man in The World" (CAP) 53 3 Bruce Hornsby "Western Skyline..." (RCA) 40 4 Peter Gabriel "Big Time" (GEFFEN) 35 McNUTT To McWKDF HOT NUMBERS ALBUMS Billy Joel "The Bridge" 46-39 (COL) YATES Back in L.A. World Party "Private. 44-38 (CHRY.) Jason/Scorchers"Still..." 37-33 (EMI) Ben Orr "The Lace" 18-14 (E/A) DEBUTS WNEW's McEWEN Stevie Ray Vaughan "Live Alive" #23(EPIC) tubes out Robert Cray "Strong Persuader" #26 (POLY) TRACKS KBC Band "America" 92-71 JOBNAPPERS Van Halen "Rock & Roll Live" 83-63 Europe "The Final Countdown" 89-78 TEXTBOOK: Smithereens "Behind the Wall..." 57-47 GREG GILLISPIE RECORD OF THE WEEK THE STEVE MILLER BAND --FOR HIS FIRST # 1 SINCE 82's "ABRACADABRA"! INSIDE... %tea' &Mai& &Mal& EtiZiraZ CiairlZif:.-.ZaW. CfMCOLZ &L -Z Cad CcIZ Cad' Ca& &Yet Cif& Ca& Ca& Cge.
    [Show full text]
  • Music & Film Memorabilia
    MUSIC & FILM MEMORABILIA Friday 11th September at 4pm On View Thursday 10th September 10am-7pm and from 9am on the morning of the sale Catalogue web site: WWW.LSK.CO.Uk Results available online approximately one hour following the sale Buyer’s Premium charged on all lots at 20% plus VAT Live bidding available through our website (3% plus VAT surcharge applies) Your contact at the saleroom is: Glenn Pearl [email protected] 01284 748 625 Image this page: 673 Chartered Surveyors Glenn Pearl – Music & Film Memorabilia specialist 01284 748 625 Land & Estate Agents Tel: Email: [email protected] 150 YEARS est. 1869 Auctioneers & Valuers www.lsk.co.uk C The first 91 lots of the auction are from the 506 collection of Jonathan Ruffle, a British Del Amitri, a presentation gold disc for the album writer, director and producer, who has Waking Hours, with photograph of the band and made TV and radio programmes for the plaque below “Presented to Jonathan Ruffle to BBC, ITV, and Channel 4. During his time as recognise sales in the United Kingdom of more a producer of the Radio 1 show from the than 100,000 copies of the A & M album mid-1980s-90s he collected the majority of “Waking Hours” 1990”, framed and glazed, 52 x 42cm. the lots on offer here. These include rare £50-80 vinyl, acetates, and Factory Records promotional items. The majority of the 507 vinyl lots being offered for sale in Mint or Aerosmith, a presentation CD for the album Get Near-Mint condition – with some having a Grip with plaque below “Presented to Jonathan never been played.
    [Show full text]
  • Turntablism and Audio Art Study 2009
    TURNTABLISM AND AUDIO ART STUDY 2009 May 2009 Radio Policy Broadcasting Directorate CRTC Catalogue No. BC92-71/2009E-PDF ISBN # 978-1-100-13186-3 Contents SUMMARY 1 HISTORY 1.1-Defintion: Turntablism 1.2-A Brief History of DJ Mixing 1.3-Evolution to Turntablism 1.4-Definition: Audio Art 1.5-Continuum: Overlapping definitions for DJs, Turntablists, and Audio Artists 1.6-Popularity of Turntablism and Audio Art 2 BACKGROUND: Campus Radio Policy Reviews, 1999-2000 3 SURVEY 2008 3.1-Method 3.2-Results: Patterns/Trends 3.3-Examples: Pre-recorded music 3.4-Examples: Live performance 4 SCOPE OF THE PROBLEM 4.1-Difficulty with using MAPL System to determine Canadian status 4.2- Canadian Content Regulations and turntablism/audio art CONCLUSION SUMMARY Turntablism and audio art are becoming more common forms of expression on community and campus stations. Turntablism refers to the use of turntables as musical instruments, essentially to alter and manipulate the sound of recorded music. Audio art refers to the arrangement of excerpts of musical selections, fragments of recorded speech, and ‘found sounds’ in unusual and original ways. The following paper outlines past and current difficulties in regulating these newer genres of music. It reports on an examination of programs from 22 community and campus stations across Canada. Given the abstract, experimental, and diverse nature of these programs, it may be difficult to incorporate them into the CRTC’s current music categories and the current MAPL system for Canadian Content. Nonetheless, turntablism and audio art reflect the diversity of Canada’s artistic community.
    [Show full text]
  • Cue Point Aesthetics: the Performing Disc Jockey In
    CUE POINT AESTHETICS: THE PERFORMING DISC JOCKEY IN POSTMODERN DJ CULTURE By Benjamin De Ocampo Andres A Thesis Presented to The Faculty of Humboldt State University In Partial Fulfillment of the Requirements for the Degree Master of Arts in Sociology Committee Membership Dr. Jennifer Eichstedt, Committee Chair Dr. Renee Byrd, Committee Member Dr. Meredith Williams, Committee Member Dr. Meredith Williams, Graduate Coordinator May 2016 ABSTRACT CUE POINT AESTHETICS: THE PERFORMING DISC JOCKEY IN POSTMODERN DJ CULTURE Benjamin De Ocampo Andres This qualitative research explores how social relations and intersections of popular culture, technology, and gender present in performance DJing. The methods used were interviews with performing disc jockeys, observations at various bars, and live music venues. Interviews include both women and men from varying ages and racial/ethnic groups. Cultural studies/popular culture approaches are utilized as the theoretical framework, with the aid of concepts including resistance, hegemony, power, and subcultures. Results show difference of DJ preference between analog and digital formats. Gender differences are evident in performing DJ's experiences on and off the field due to patriarchy in the DJ scene. ii ACKNOWLEDGEMENTS First and Foremost, I would like to thank my parents and immediate family for their unconditional support and love. You guys have always come through in a jam and given up a lot for me, big up. To "the fams" in Humboldt, you know who you are, thank you so much for holding me down when the time came to move to Arcata, and for being brothers from other mothers. A shout out to Burke Zen for all the jokes cracked, and cigarettes smoked, at "Chinatown." You help get me through this and I would have lost it along time ago.
    [Show full text]
  • A G Lim P S E Thrzough T
    A G l i m p s e T h r z o u g h T 2A Thursday, February 20,1988 Daily Nexus Join us Thursdays at 5:30 PM for : paI o o o o o o o o ooooooooooooooo G 9 Id $ 5 No Golden Ponies Here Who on earth are The Golden Palominos? The core of bites. the band is drummer and producer Anton Fier and bass Apart from these three songs, the rest of Visions of guitarist Bill Laswell. Visions o f Excess also boasts a Excess shows little promise. “ B oy(G o)” has a full, lengthy list of guest appearances, including Richard heavy sound — a wall of percussion. If it contained more Thompson, John Lydon (a.k.a. Johnny Rotten), Benue melody, it would sound more like R.E.M. Stipe’s voice is Worrel of Talking Heads fame and R.E.M.’s Michael unmistakable but this stuff is just not of the same Stipe. I have never heard of Syd Straw before but she has caliber. The different vocal levels may prevent a sense a unique voice — a lot like Chrissie Hynde, Exene of complete repetitiveness but the song is overly in- 2/20 The New Male-Female Cervenka and Stevie Nicks all in one. cantatory in places. “ Clustering Train” is similar, with Relationship Despite the impressive name-dropping, the album is, too much guitar accompanying Stipe’s drawn-out whine Janice and John Baldwin, Ph.D. as a whole, a bit mediocre. A few songs, however, to be true R.E.M.
    [Show full text]
  • Controllers As Musical Instruments, Controllerism As Musical Practice
    Controllers as Musical Instruments, Controllerism as Musical Practice – Practices of a new 21st Century musical culture – Guillermo de Llera Blanes Dissertação em Ciências Musicais na especialidade de EtnomusicoloGia , A , CAL CULTURE PRACTICES OF 2017 Guillermo de Llera Blanes CONTROLLERS AS MUSICAL 21ST CENTURY ,MUSI INSTRUMENTS, CONTROLLERISM AS MUSICAL PRACITCE, Setembro, 2017 1 Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências Musicais, especialidade de Etnomusicologia, realizada sob a orientação científica do Professor Doutor João Soeiro de Carvalho. 2 Dedicated to my promised one and to the little Controllerists at home. Acknowledgements It is with the utmost gratitude that I thank my brother, the anthropologist Ruy Blanes for his unwavering support, sympathetic guidance and most of all, his humor. His knowledge was a lifeline, for I could always count on his informed opinion, but his greatest aid was in letting me make my own mistakes, and then hinting at various ways to resolve them. It showed me that he was convinced that I was capable of finding my way out of the dead ends, and would overcome the trials and tribulations of writing a thesis. Thank you for believing in me, my brother. To my dear advisor, professor João Soeiro de Carvalho, I have nothing but words of gratitude. You showed unbridled gusto in my research and helped me trod along with unending patience, aware of my limitations in time, experience and knowledge. It was with great delight that I experienced our joint (ad)venture, and I am indebted to you for your kindness, your wisdom and your empathy.
    [Show full text]
  • Karen Mantler by Karen Mantler
    Karen Mantler by Karen Mantler I was conceived by Carla Bley and Michael Mantler at the Newport Jazz Festival in 1965. Born in 1966, I was immediately swept into the musician's life on the road. After having checked me at the coatroom of the Berlin Jazz Festival, to the horror of the press, my parents realized that I was going to have to learn to play an instrument in order to be useful. But since I was still just a baby and they couldn't leave me alone, they had to bring me on stage with them and keep me under the piano. This is probably why I feel most at home on the stage. In 1971, when I was four, my mother let me have a part in Escalator Over The Hill and the next year I sang on another of her records, Tropic Appetites. By 1977 I had learned to play the glockenspiel, and I joined the Carla Bley Band. I toured Europe and the States with her several times and played on her Musique Mecanique album. After playing at Carnegie Hall in 1980, where I tried to steal the show by pretending to be Carla Bley, my mother fired me, telling me "get your own band". I realized that I was going to have to learn a more complicated instrument. After trying drums, bass, and flute, which I always lost interest in, I settled on the clarinet. I joined my elementary school band and quickly rose to the head of the clarinet section. The band director let me take the first improvised solo in the history of the Phoenicia (a small town near Woodstock, NY) elementary school.
    [Show full text]
  • Models and Algorithms for Control of Sounding Objects
    SOb - the Sounding Object IST Project no. IST-2000-25287 Models and Algorithms for Control of Sounding Objects Report Version: 2.0 Report Preparation Date: January 10, 2003 Classification: Pub. Deliverable N. 8 Contract Start Date: 1 Jan. 2001 Duration: 2 years Project Co-ordinator: University of Verona (UNIVR) Partners: University of Udine (UNIUD), University of Limerick (UL), Royal Institute of Technology (KTH) - Stockholm Project funded by the European Community under the ‘Information Society Technologies’ Programme (1998-2002) Contents 1 Introduction 3 2 Toward a new model for sound control 5 2.1 Introduction . 5 2.2 Control models . 5 2.3 Walking and running . 6 2.3.1 Sounds . 6 2.3.2 Tempo . 7 2.4 Controlling the sounds of walking and running . 9 2.5 Pilot experiment: listening to walking and running sounds . 11 2.5.1 Stimuli . 11 2.5.2 Subjects and procedure . 11 2.5.3 Results and discussion . 11 2.6 Conclusions . 12 2.7 Links . 13 3 Scratching: from analysis to modelling 14 3.1 Introduction . 14 3.2 Common set-up for experiments . 14 3.2.1 Method . 15 3.2.2 Material . 15 3.2.3 Instrument line-up . 15 3.3 Experiment 1 - Playing the turntable . 16 3.3.1 Introduction . 16 3.3.2 Equipment . 17 3.3.3 Material . 19 3.3.4 Techniques . 20 3.4 Experiment 2 - Analysis of a genuine performance . 29 3.4.1 Analysis . 29 3.4.2 Method . 29 3.4.3 Equipment . 29 3.4.4 Calibrations . 30 3.4.5 Measurements outline .
    [Show full text]
  • Delusion by Laurie Anderson
    CAL PERFORMANCES PRESENTS PROGRAM NOTES Friday, May 7, 2010, 8pm Saturday, May 8, 2010, 8pm Zellerbach Hall Delusion by Laurie Anderson with Special Guest Musicians Colin Stetson & Doug Wieselman Production Credits Laurie Anderson Music Text & Visual Design Colin Stetson Special Guest Musician Doug Wieselman Special Guest Musician Amy Khoshbin Video Design & Live Mix Rus Snelling Production & Lighting Dave Cook Front-of-House Audio Anderson Laurie Maryse Alberti Video Director of Photography Toshiaki Ozawa Additional Video ELUSION is a meditation on life and language. Bob Currie Story Team DConceived as a series of short mystery plays, Rande Brown Story Team Delusion jump-cuts between the everyday and the mythic. Combining violin, electronic puppetry, Shane Koss Audio Rig Design music and visuals, Delusion tells its story in the col- Konrad Kaczmarek Audio Software Design orful and poetic language that has become Laurie Ned Steinberger Violin Design Anderson’s trademark. Brad Hampton Tour Management “The electronically altered voice I have used for many years, the one that turns my voice into a World Premiere February 17, 2010, Cultural Olympiad, male voice, has been gradually evolving from a stock Vancouver, British Columbia voice of authority into a more nuanced one,” says Ms. Anderson. “I have written Delusion as a conver- sation between that voice and my own.” Delusion was commissioned by Vancouver 2010 Cultural Olympiad, Vancouver, and barbicanbite10, London. The stories inDelusion come from ma ny worlds — technical, scientific, personal and mythic—and from Additional support provided by BAM for the 2010 Next Wave Festival; Cal Performances; various states of consciousness, dream and medita- Stanford Lively Arts; and the generosity of Sarah Ratchye and Ed Frank.
    [Show full text]
  • Imagine, Observe, Remember
    Information from U Uniformbooks Imagine, Observe, Remember ............................................................................................................................................................ “First I sat on the bed and gazed at the little table with the walnut XII. …what great feats of imagination even the most unimaginative Peter Blegvad stain, then I looked around at the number of other things in my person achieves in recognising them, not only as solid bodies with room… Suddenly I felt a clear space inside my mind, where a “And if Albertina has become for me, now, such a woman as only physical things inside… sort of airplane was floating. I’ll assume my eyes were looking memory and imagination could devise, well, such is always at outward as well as inward and that, being round, when they least partially the case with the beloved. I see her as a series of moved looking inward they also moved looking outward, which marvellous shapes formed at random in the kaleidoscope of desire.” explains why I was—if only vaguely—aware of the objects in the —Angela Carter, The Infernal Desire Machines of Doctor Hoffman, 1972 room. But I was focusing my attention on the airplane floating in the clear space inside me. Then it happened that the part of my eyes absently looking As an illustrator, I was naturally interested in looking at looking, but outward came—as the most commonplace lover’s eyes might have I wanted to look at imagining, too. Observation involves memory, but, come—on a picture of her which stood on the little table with the in the words of Joanna Field, author of On Not Being Able to Paint,29 “When one looks into the darkness there is always something there.” walnut stain, and at that point I shifted my attention from the “Even the perception of a chair or a carrot [is] an imaginary act, one airplane inside me to the picture outside.
    [Show full text]
  • Nicky Skopelitis Ekstasis Mp3, Flac, Wma
    Nicky Skopelitis Ekstasis mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Rock Album: Ekstasis Country: US Released: 1993 Style: Fusion, Acid Rock MP3 version RAR size: 1346 mb FLAC version RAR size: 1553 mb WMA version RAR size: 1913 mb Rating: 4.2 Votes: 505 Other Formats: DMF MP4 MP2 TTA AIFF AC3 DTS Tracklist Hide Credits Tarab Bass Guitar – Jah WobbleDrums [Loop] – Joseph "Zigaboo" Modeliste*Electric Guitar, A1 7:19 Twelve-String Guitar – Nicky SkopelitisHarp [Doussongoni] – Foday Musa SusoTabla – Zakir HussainViolin – Simon ShaheenWritten-By – Laswell*, Wobble* Meet Your Maker Bass Guitar – Bill LaswellCuica, Whistle, Other [Little Hammer] – Guilherme FrancoDrums A2 5:57 – Jaki LiebezeitElectric Guitar, Twelve-String Guitar – Nicky SkopelitisFlute – Bachir AttarOrgan [Hammond B-3] – Amina Claudine MyersOud, Violin [Intro] – Simon Shaheen Ghost Of A Chance Baglama, Electric Guitar, Twelve-String Guitar – Nicky SkopelitisBass Guitar – Bill A3 5:06 LaswellBerimbau [Electric], Cuica, Cowbell – Guilherme FrancoDrums – Joseph "Zigaboo" Modeliste*Organ [Hammond B-3] – Amina Claudine MyersPerformer [Chatan] – Aiyb Dieng Proud Flesh Bass Guitar – Jah WobbleDrums – Jaki LiebezeitElectric Guitar, Twelve-String Guitar – A4 4:48 Nicky SkopelitisKora – Foday Musa SusoTambourine – Guilherme FrancoViolin – Simon Shaheen Sanctuary Bass Guitar – Jah WobbleDrums – Jaki LiebezeitElectric Guitar, Twelve-String Guitar – A5 5:57 Nicky SkopelitisOboe [Ghaita] – Bachir AttarOrgan [Hammond B-3] – Amina Claudine MyersTalking Drum – Aiyb DiengWritten-By
    [Show full text]
  • 2016 ... We Are Devo! at Least Over 90 ‘We Are Devo’ Related Items in Planner Project 2016!
    1 PLANNER PROJECT (PP) 2016 ... WE ARE DEVO! AT LEAST OVER 90 ‘WE ARE DEVO’ RELATED ITEMS IN PLANNER PROJECT 2016! 1/1 After rocking to the ‘Eric Carmen Band’ at the Agora on the 30th (with 5 encores); ‘Pere Ubu’ & ‘Frankenstein’ bring in the new year at the Viking Saloon, 2005 Chester, 1976 1/14 “I’ll open somewhere,” manager Dick Korn tells the Plain Dealer, after fire on January 7th causes $25,000 damage to the Viking Saloon rock house at 2005 Chester, 1976 1/20 As 43-year-old John F. Kennedy is sworn in as President, stating, “Ask not what your country can do for you - ask what you can do for your country;” hot singles include: The Miracles’ ‘Shop Around;’ Neil Sedaka’s ‘Calendar Girl;’ Elvis Presley’s ‘Are You Lonesome Tonight;’ The Drifters’ ‘I Count the Tears’ & ‘Ruby’ by Ray Charles, 1961 1/11 “Once we played that (‘Ziggy Stardust’), it was over. People fell in love with David Bowie in Cleveland,” notes former WMMS-FM disc jockey and program director Billy Bass, remembering the rock superstar upon his passing today at age 69, 2016 1/21 “We put pride back into Cleveland,’ states WMMS-FM’s Kid Leo after Cleveland tops the USA Today Rock Hall site poll with 110,315 votes-103,047 over Memphis, 1986 1/26 While downstairs, Jimmy Ley & his Coosa River Band rock the Mistake both nights, making her first trip here, Patti Smith opens the first of two soldout nights with Tom Rapp at the Agora on E.
    [Show full text]