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Turntablist Performance Practice Turntablist Performance Practice Commentary in support of portfolio of recorded performances William James Baldry January 2016 Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Music i The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2016 The University of Leeds and William James Baldry ii Acknowledgements There are a number of people without whose support, help and inspiration this work could never have been completed. Thanks are due to my supervisors, Ewan Stefani and Alinka Greasley, for all of their guidance. I am also grateful for the unfailing support of both Cherith Baldry and Adam Baldry in realising this project. To all of my collaborators: I would not be the performer and composer I am today without all of your creativity and inspiration. First and foremost, my sonic brother DJ Pseudonym: Civil Unrest next Tuesday mate. Also Jim Birchall, Lauren Redhead, Alistair Zaldua and Celt Islam: I am honoured to have had the opportunity to work with you all. To all the DJs – far too many to list, unfortunately – you are not only insightful and revolutionary musicians, but one of the most welcoming and supportive communities I have ever been involved with. Special thanks to those I have been lucky enough to meet along the way: Keef, Alex, BStorm, DJ Chile, DJ Rasp, Johnny One Move, DJ Sinical, DJ Switch, DJ Koncept, DJ Shiftee, Cutmaster Swift, Loop Skywalker, DJ Q- Bert, Jon 1st, Special Guest, Matt Black, Jimmy Penguin, Furious P, DJ Jeppa, P-Nuts, Furio, Asian Hawk, DJ Endo, DJ Disect, JFB, Mr. Eclipse, DJ Downlow, Gizmo and everyone from the Skratchlounge, Crystal Distortion, Ixindamix, 69DB, Les Enfants Sages, Rinse, Empatysm, Yarkouy, Noiak, Dr Mark, Stebbisteel, RanDom, Tandy Ramraid, James Dewey, Sole One, Etch-a-Sqratch, Eddie Skratch, D.C., Kernel Panik and Ritchie Rufftone, to name but a few. To the man who started me on my musical journey more than three decades ago, Peter Baldry: you remain the greatest influence on my life and work. I like to think that you would be proud of the body of work I have presented here. Thanks to Aileen for putting up with my obsessions, and to Chin & Mick for your friendship and support throughout this project. Finally, to the young lady who has been both the biggest inspiration and the biggest hindrance throughout this project – Roberta Annabel Baldry – I would much rather spend time playing with you than work on my cuts but, as you always tell me: ‘Daddy is a DJ’. You make me a better person: thank you Roberta. iii Abstract The work here presented is a reaction to a number of issues within contemporary turntablism. Firstly, the perceived disparity between the turntable traditions of hip-hop and the avant-garde has been analysed, and a number of new works created in order to explore the possibilities for greater hybridity between these two playing styles. Secondly, the rapidly changing landscape of turntable technology has been addressed, and conclusions drawn concerning both the new technical and sonic opportunities afforded by the new technology and the influence of these changes on existing playing styles and techniques. Finally, one of the defining characteristics of the instrument – the need to choose source material before playing – has been explored, in order to make judgements concerning the interplay between technique, style and the chosen sonic materials. These different strands of practice-led research all feed into an overarching discussion of idiomatic playing, and the findings of these projects help to define what that phrase might mean for contemporary turntablists. iv Contents Acknowledgements ............................................................................................................................. ii Abstract .............................................................................................................................................. iii List of tables and figures ..................................................................................................................... 1 Chapter overview ................................................................................................................................ 2 Section A: Contextual Evaluation ........................................................................................................... 5 Chapter 1: Introduction ....................................................................................................................... 5 Chapter 2: Research themes ................................................................................................................ 9 The evaluation of source material and its effect on technique ........................................................ 9 The investigation of the application of hip-hop instrumental technique within other contexts ...... 9 The investigation of the new sonic possibilities afforded by DVS technology ............................ 10 Chapter 3: Review of literature and other sources ............................................................................ 12 Chapter 4: Analyses of previous works by other practitioners ......................................................... 19 4.1: Analytical methodology ......................................................................................................... 19 4.2: Analysis of Maria Chavez: Live @ Texas Firehouse ............................................................. 22 4.3: Analysis of DJ Sniff: Live at STEIM (extract) ....................................................................... 25 4.4: Analysis of Christian Marclay: Live on Night Music ............................................................. 31 4.5: Analysis of Tron Lennon: Live @ Blue Rinse ....................................................................... 34 4.6: Analysis of Plus One: DMC Routine 2001 ............................................................................ 38 4.7: Analysis of DJ Unkut: Beware of Ze Average Man ............................................................... 42 4.8: Overview of Current and Historic Performance Practice ...................................................... 46 Section B: The Portfolio ....................................................................................................................... 56 Introduction ....................................................................................................................................... 56 Portfolio contents .............................................................................................................................. 58 Chapter 5: ctrl+alt+dvs .................................................................................................................... 60 Introduction ................................................................................................................................... 60 5.1 ctrl+alt+dvs part one (full analysis) ....................................................................................... 60 5.2 ctrl+alt+dvs part two (full analysis) ....................................................................................... 62 5.3 ctrl+alt+dvs part three ........................................................................................................... 66 5.4 ctrl+alt+dvs DJ set ................................................................................................................. 67 Chapter 6: Collaborations with Jim Birchall ..................................................................................... 68 6.1: Rough Fields .......................................................................................................................... 68 6.2 Adult Mags .............................................................................................................................. 69 Chapter 7: lines that have been drawn on photographs of sculpture and tables:nuemes ................. 75 v 7.1 lines that have been drawn on photographs of sculpture (wind band version: full analysis) . 75 7.2 lines that have been drawn on photographs of sculpture (keyboard version) ........................ 80 7.3 tables:nuemes (full analysis) ................................................................................................... 81 Chapter 8: Assorted solo works ........................................................................................................ 85 8.1 Scratch Poetry (full analysis) .................................................................................................. 85 8.2 Control Signal ......................................................................................................................... 88 8.3 Black Mist (full analysis) ........................................................................................................ 89 8.4 DMC routine 2011 .................................................................................................................. 92 8.5 Dr Weevil battle archive ......................................................................................................... 92 Chapter 9: Technical examples ........................................................................................................
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