Turntable Legend DJ Qbert to Join the Distinguished Crew of Mixologists for DJ Hero® 2
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
ISP 13 INVISIBL SKRATCH PIKLZ the 13Th Floor LP
INVISIBL SKRATCH PIKLZ THE 13TH FLOOR Holy Crap…Who Goes There? Fresh Out of FVCKS Kenny G's Perm CATALOG: ISP13-LP Ultimate FORMAT: 2xLP STREET: 12/09/16 Black Hole vs. Brown Hole LABEL: THUD RUMBLE Reverse Cowgirl Polka Fist Pump The Freestyle Fanatic Booby Trap Universally acknowledged as some of the most skilled scratch DJs in the world, turntable legends the Invisibl Skratch Piklz are releasing their first ever full-length album: The 13th Floor. After nearly 16 years apart, original members Qbert, Shortkut, and D-Styles have come together again to record The 13th Floor. Composed with a heavy jazz sound in mind, the roughly 35-minute LP is an amazing homage to what true DJing is – and the perfect embodiment of the iconic Invisibl Skratch Piklz sound. Recorded using three DJ mixers and three turntables, the album showcases the trio’s deft skills and inspired talent, and displays how they have progressed and perfected their sound all while pushing the art of turntablism into brave new dimensions. The 13th Floor deftly blends the abstract artistry of scratching with undeniable musicality: lush synths, warm horns, solid basslines, and fat vibes. It’s easy to feel “Fresh Out of FVCKS” – a track that creeps up the keys and slowly shoves its way in. “Kenny G’s Perm” is surprisingly relaxed, a mellow and sludge-covered jam. From the aggressive roughness of “Polka Fist Pump” to the thick sound of “The Freestyle Fanatic,” the LP flips, knocks, twists, and finds truth on the turntables. Fusing elements of jazz, rock and hip hop, the album demonstrates true artistry, creative composition, and masterful turnta- blism. -
DJ Skills the Rise of the Hip-Hop DJ 3
The Rise of the Hip-Hop DJ 1 74 The Rise of The Hip-hop DJ DJs were Hip-hop’s original architects, and remain crucial to its contin- ued development. Hip-hop is more than a style of music; it’s a culture. As with any culture, there are various artistic expressions of Hip-hop, the four principal expressions being: • visual art (graffiti) • dance (breaking, rocking, locking, and popping, collectively known in the media as “break dancing”) • literature (rap lyrics and slam poetry) • music (DJing and turntablism) Unlike the European Renaissance or the Ming Dynasty, Hip-hop is a culture that is very much alive and still evolving. Some argue that Hip-hop is the most influential cultural movement in history, point- ing to the globalization of Hip-hop music, fashion, and other forms of expression. Style has always been at the forefront of Hip-hop. Improvisation is called free styling, whether in rap, turntablism, breaking, or graf- fiti writing. Since everyone is using the essentially same tools (spray paint for graffiti writers, microphones for rappers and beat boxers, their bodies for dancers, and two turntables with a mixer for DJs), it’s the artists’ personal styles that set them apart. It’s no coincidence that two of the most authentic movies about the genesis of the move- ment are titled Wild Style and Style Wars. There are also many styles of writing the word “Hip-hop.” The mainstream media most often oscillates between “hip-hop” and “hip hop.” The Hiphop Archive at Harvard writes “Hiphop” as one word, 2 DJ Skills The Rise of the Hip-Hop DJ 3 with a capital H, embracing KRS-ONE’s line of reasoning that “Hiphop Kool DJ Herc is a culture with its own foundation narrative, history, natives, and 7 In 1955 in Jamaica, a young woman from the parish of Saint Mary mission.” After a great deal of input from many people in the Hip-hop community, I’ve decided to capitalize the word but keep the hyphen, gave birth to a son who would become the father of Hip-hop. -
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. -
American Music Review the H
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLIII, Number 2 Spring 2014 DJ Kuttin Kandi: Performing Feminism Ellie M. Hisama, Columbia University As a turntablist, Pinay, poet, feminist, and activist, DJ Kuttin Kandi challenges the sexism manifested in hip hop and popular music by collaborating with other women in her performances, publishing open letters about male-dominated lineups, and speaking critically about controversies such as Day Above Ground’s 2013 song and video “Asian Girlz.”1 In his recent book Filipinos Represent, Anthonio Tiongson Jr. suggests that hip hop DJing provides a site for Filipina DJs to negotiate gender conventions, sexual norms, and familial expectations.2 Kuttin Kandi’s performances are a form of critical authorship that actively engages a politics of the feminist body and are grounded in feminist collaboration. A long-time member of the New York-based DJ crew 5th Platoon, Kandi was the first woman to place in the US finals of the prestigious DMC USA competition in 1998.3 She has toured throughout the US and internationally, performing with distinguished musicians including Afrika Bambaataa, Kool Herc, Black Eyed Peas, MC Lyte, the Roots, dead prez, Immortal Technique, and Le Tigre. Kandi has been deeply in- volved in cultural advocacy and grassroots political organiza- tions, having worked with Filipino American Human Services and Gabriela Network to fight the sexual exploitation of Filipi- nas, police brutality, and sweatshop labor. While living in New York, she taught the art of turntabling and DJing at the Scratch DJ Academy, and taught spoken word and poetry to high school students at El Puente Leadership Center in Brooklyn. -
Expressions of Resistance: Intersections of Filipino American
EXPRESSIONS OF RESISTANCE: INTERSECTIONS OF FILIPINO AMERICAN IDENTITY, HIP HOP CULTURE, AND SOCIAL JUSTICE By STEPHEN ALAN BISCHOFF A dissertation submitted in partial fulfillment of The requirements for the degree of DOCTOR OF PHILOSOPHY WASHINGTON STATE UNIVERSITY Program in American Studies APRIL 2012 © Copyright by STEPHEN ALAN BISCHOFF, 2012 All Rights Reserved © Copyright by STEPHEN ALAN BISCHOFF, 2012 All Rights Reserved ii To the Faculty of Washington State University: The members of the committee appointed to examine the dissertation of STEPHEN ALAN BISCHOFF find it satisfactory and recommend that it be accepted. _____________________________________ C. Richard King, Ph.D., Chair _____________________________________ David Leonard, Ph.D. _____________________________________ John Streamas, Ph.D. iii ACKNOWLEDGMENTS This project has been a labor of love. My partner, Rachel Silva-Bischoff, shares in this accomplishment as she gave me an immense amount of love, understanding, and support to finish this work. As I have told others throughout this project, it is our degree. Over the duration of my graduate program, we have been fortunate to have two beautiful sons in Isaiah and Zion. Seeing the three of them keeps me grounded in my priorities and in my drive for improving myself and the world around us. I am extremely grateful for the help, guidance, and support that my committee has given me. I would like to thank my committee chair, Richard King, in helping me stay on track with my writing and my timeline for this work. I would also like to thank the rest of my committee, David Leonard and John Streamas, for their insightful discussions in shaping my research. -
Nanorecparty.Pdf
The Party: Nano Records is promoting its productions with the label night which is brings on tour the entire Nano crew with a show that beside the dj sets of Spiller, Glitch, Rubini and Mawkish live, includes the IRDP visuals, the Cento Canesio performances and the live scratches from Color. The label’s nights can be configured according to the needs of the customer, festival, club, by including all or a part of the artists of Nano Rec. The label support is not limited to what concerns the music section but coordinates and organizes the event helping to create set ups, animations with projections and performances, the production of graphic material and promotional support through its Newsletter and MySpace bulletins. The Label: Nano Rec was founded in 2003 by the Venetian Dj and producer Cristiano Spiller, with the aim to publish and promote independently, house and electronic music. The label, born after the international success of Groovejet (If this ain’t love) in 2000, release the first single in 2004, Sola, by DJ Spiller, which in the UK was strongly supported by Pete Tong on BBC radio. The 12” of Jumbo, released in 2006, immediately reached the top of the Buzz Chart and the top 10 of Jay Culture and became an anthem in ibiza for that summer. A label open to experimentation, which is not scared to invest in a new talents as Glitch, a discovery of Spiller, that with Tiptoe (2004), Superwavin (2006) and Share It (2007) received positive feedbacks on prestigious publications such as DJ Magazine and imposed his unique and recognizible style. -
FOR IMMEDIATE RELEASE CONTACT Voleine Amilcar, ITVS 415
FOR IMMEDIATE RELEASE CONTACT Voleine Amilcar, ITVS 415-356-8383 x 244 [email protected] Mary Lugo 770-623-8190 [email protected] Cara White 843-881-1480 [email protected] For downloadable images, visit pbs.org/pressroom/ For the program companion website, visit pbs.org/independentlens/copyrightcriminals COPYRIGHT CRIMINALS, AN EXPLORATION OF THE CREATIVE AND LEGAL RAMIFICATIONS OF MUSIC SAMPLING IN HIP-HOP, PREMIERES TUESDAY, JANUARY 19 ON THE PBS DOCUMENTARY SERIES INDEPENDENT LENS As New Technologies Emerge, Enabling Everyone to Be a Music Producer, Can Anyone Really Own a Sound? (San Francisco, CA) — Computers, software and even cell phones have radically altered our relationship to mass culture and technology, providing consumers with the tools to become producers, or “remixers,” of their own media. But long before everyday people began posting their video mash-ups on the Web, hip-hop musi- cians perfected the art of audio montage through a sport they called “sampling.” COPYRIGHT CRIMINALS, a documentary produced by Benjamin Franzen and Kembrew McLeod, examines the creative and commer- cial value of musical sampling, including the ongoing debates about artistic expression, copyright law and (of course) money. The film will premiere nationally on the Emmy® Award–winning PBS documentary series Independent Lens, hosted by Maggie Gyllenhaal, on Tuesday, January 19 at 10 p.m. (check local listings). For more than 30 years, as hip-hop evolved from the urban streets of New York to its current status as a mul- tibillion-dollar industry, performers and producers have been reusing portions of previously recorded music in new, otherwise original compositions. -
Filipino Hip-Hop ×
This website would like to remind you: Your browser (Apple Safari 4) is out of date. Update your browser for more × security, comfort and the best experience on this site. Article Filipino Hip-Hop Contemporary culture has traditional roots For the complete article with media resources, visit: http://education.nationalgeographic.com/news/filipino-hip-hop/ BY MARY SCHONS Friday, October 29, 2010 May is Asian Pacific American Heritage Month. Filipino Americans are the second-largest group of people with Asian ancestry. (Chinese Americans have a larger population.) Ancestors of Filipino Americans come from the Philippines, a group of islands in the South Pacific Ocean. Filipino American identity has been connected to hip-hop culture for many years. Filipino hip-hop includes mobile DJs, turntablism, and Pilipino Culture Nights (PCNs). Musical History The Philippines was a colony of the United States from 1898 to 1946. American culture had a profound impact on that country, influencing government, social institutions, and musical tastes. Disco, funk, and Motown soul music, popular on American military bases, found their way onto local radio stations. Eventually, so did rap. During the 20th century, many Filipinos immigrated to the United States in search of better jobs. Filipinos and their families in the United States continued to share music. Filipinos and Filipino Americans would trade rap albums, tapes, and CDs back and forth across the Pacific Ocean, either in person or through the mail. (In recent years, the Internet has made this exchange happen much faster.) Filipino Americans were some of the first people to experiment with mobile DJ crews in the 1960s and 1970s. -
The Acoustics and Performance of DJ Scratching. Analysis and Modelling
The acoustics and performance of DJ scratching Analysis and modeling KJETIL FALKENBERG HANSEN Doctoral Thesis Stockholm, Sweden 2010 TRITA-CSC-A 2010:01 ISSN 1653-5723 KTH School of Computer Science and Communication ISRN KTH/CSC/A–10/01-SE SE-100 44 Stockholm ISBN 978-91-7415-541-9 SWEDEN Akademisk avhandling som med tillst˚andav Kungl Tekniska h¨ogskolan framl¨agges till offentlig granskning f¨or avl¨aggande av teknologie doktorsexamen i datalogi Fredagen den 12 februari 2010 klockan 10:00 i F2, Kungl Tekniska H¨ogskolan, Lindstedtsv¨agen 26, Stockholm. © Kjetil Falkenberg Hansen, February 2010 Tryck: Universitetsservice US AB iii Abstract This thesis focuses on the analysis and modeling of scratching, in other words, the DJ (disk jockey) practice of using the turntable as a musical instru- ment. There has been experimental use of turntables as musical instruments since their invention, but the use is now mainly ascribed to the musical genre hip-hop and the playing style known as scratching. Scratching has developed to become a skillful instrument-playing practice with complex musical output performed by DJs. The impact on popular music culture has been significant, and for many, the DJ set-up of turntables and a mixer is now a natural instru- ment choice for undertaking a creative music activity. Six papers are included in this thesis, where the first three approach the acoustics and performance of scratching, and the second three approach scratch modeling and the DJ interface. Additional studies included here expand on the scope of the papers. For the acoustics and performance studies, DJs were recorded playing both demonstrations of standard performance techniques, and expressive perfor- mances on sensor-equipped instruments. -
Instrument: Turntable, an Urban, Electric Friction Idiophone
ROOTS OF RHYTHM - CHAPTER 15: THE TURNTABLE FROM THE UNITED STATES Instrument: Turntable, an urban, electric friction idiophone Country: United States Flag: There are 13 equal horizontal stripes of red alternating with white and a blue rectangle in the upper left-hand corner with 50 white, five- pointed stars. The 50 stars represent the 50 states, and the 13 stripes represent the 13 original colonies. The flag's design and colors, known as Old Glory, have been the basis for a number of other flags, including Chile, Liberia, Malaysia, and Puerto Rico. This version of the flag was adopted July 4, 1960. Size and Population: The United States, including the 50 states and the District of Columbia, has an area of 3,618,770 square miles with 12,383 miles of coastline. It is about half the size of Russia, about three-tenths the size of Africa, and is slightly larger than Brazil. The U.S. is the world's third-largest country by size after Russia and Canada. Mt. McKinley in Alaska at 20,320 feet is the highest point in North America and Death Valley at 282 feet below sea level is the lowest point on the continent. It borders two nations Canada (including Alaska) and Mexico. As of July 2013, the estimated population of the United States is 316,668,567. It has the world's third largest population after China and India. Geography and Climate: Excluding Alaska and Hawaii, the United States borders the North Atlantic Ocean on the east and the North Pacific Ocean on the west, and has seven geographic regions. -
Wildfire This Article Appeared in Contagious Issue 42
WILDFIRE This article appeared in Contagious issue 42 Contagious is a resource for the global marketing community focusing on non-traditional media and emerging technologies. www.contagious.com For more information please contact the team on +44 (0) 203 206 9266 or [email protected] wildfire / contagious 30 / 31 Mercedes-Benz / F015 Luxury in Motion Mercedes is not the only brand experimenting with self-driving cars, but its F015 Luxury in Motion driverless Nico Sell / Wickr vehicle is definitely the most stylish. The Security-focused ephemeral messaging app Wickr is adding concept car, which debuted at CES, allows a purrrfect new tool. The Wickr Timed Feed – or WTF – passengers to face each other in a ‘living allows users to share time-limited pictures on the service space’ and control their ride with gesture- and via Facebook. The cat-ch? Only 151 friends can see the recognition technology. The vehicle can real picture and everyone else will be served a cute kitten also communicate with its surroundings, snap instead. using LED lights to give pedestrians a www.wickr.com heads-up when it’s safe to cross. tiny.cc/mercedesf015 University of Maryland Institute for Advanced Computer Studies / Robotic cooking Ever fancied having a robot poach your eggs? Researchers at the University of Maryland are using YouTube cooking tutorials to help robots teach themselves the complicated gestures required to become master chefs. By watching videos of cooks manipulating objects and performing tasks, a Innovation and inspiration: the robot can teach itself to do the same. The researchers believe that this type of machine learning will contribute to the new best in design, technology and industrial revolution in which robots and humans work side by side (maybe even in the kitchen). -
Mt-Djing: Multitouch Djing Table
Mt-Djing: Multitouch DJing Table Pedro Lopes Dissertation for the degree of Master in Information Systems and Computer Engineering J´uri Chairman: Professor Doutor Jos´eManuel Nunes Salvador Tribolet Adviser: Professor Doutor Jo~aoAnt´onioMadeiras Pereira Co-adviser: Professor Doutor Alfredo Manuel dos Santos Ferreira Junior Jury Member: Professor Doutor Nuno Manuel Robalo Correia October 2010 Acknowledgements As DJ history itself, this thesis has been a long journey, full of turning points and milestones. The astonishing number of people I would like to acknowledge shows how numerous were the dark alleys and obstacles I had to transpose during this last year. Firstly, to my father and mother for outstanding support, not only through this work but for the two decades before. To my advisor and co-advisor, Prof. Jo~aoMadeiras Pereira and Prof. Alfredo Ferreira Jr., for strong belief on Mt-Djing from square one. Moreover I kindly acknowledge the contribution of my colleague Diogo Mariano, whom I thank for all the support given, endless brainstorming sessions and late work nights. A word of appreciation to Ricardo Jota and Bruno de Ara´ujo,for the interest and support to this work, shown in the form of the many conversations exchanged upon this subject. Other colleagues have their place within this thank-you note, namely Tiago Ribeiro and Guilherme Fernandes, for their help in reviewing and discussing the contents. And at last, but (definitely) not least, to all DJs and accompanying group, that took the time and effort to contribute so much to this work - that ultimately is theirs more than it is mine - specially: Pedro Farinha, Pedro Sousa (aka Alfredo Carajillo), Jo~aoGomes (aka Mush Von Namek), Igor Sousa and Nuno Moita.