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Nightlife, Djing, and the Rise of Digital DJ Technologies a Dissertatio
UNIVERSITY OF CALIFORNIA, SAN DIEGO Turning the Tables: Nightlife, DJing, and the Rise of Digital DJ Technologies A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Communication by Kate R. Levitt Committee in Charge: Professor Chandra Mukerji, Chair Professor Fernando Dominguez Rubio Professor Kelly Gates Professor Christo Sims Professor Timothy D. Taylor Professor K. Wayne Yang 2016 Copyright Kate R. Levitt, 2016 All rights reserved The Dissertation of Kate R. Levitt is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ Chair University of California, San Diego 2016 iii DEDICATION For my family iv TABLE OF CONTENTS SIGNATURE PAGE……………………………………………………………….........iii DEDICATION……………………………………………………………………….......iv TABLE OF CONTENTS………………………………………………………………...v LIST OF IMAGES………………………………………………………………….......vii ACKNOWLEDGEMENTS…………………………………………………………….viii VITA……………………………………………………………………………………...xii ABSTRACT OF THE DISSERTATION……………………………………………...xiii Introduction……………………………………………………………………………..1 Methodologies………………………………………………………………….11 On Music, Technology, Culture………………………………………….......17 Overview of Dissertation………………………………………………….......24 Chapter One: The Freaks -
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. -
Capturing Hip Hop Histories
capturing hip hop histories SOUTH-WEST HEADZ Master Blast Roadshow poster by Raz (Kilo), 1986. Photograph: Kilo. First published 2021 2021 Adam de Paor-Evans Cover graff by Remser Remser started writing in 1997 after seeing dubs and pieces by Sceo, Fixer, Teach, and G-Sane at the M5 pillar spot in Exeter. His school bus used to loop around Sannerville Way and the pieces could be seen from the road as well as the train. A couple of years prior to this, Remser’s mum randomly bought him a copy of Spraycan Art, and he knew straight away that it was something he wanted to be part of. In early 2000 he moved to London and hooked up with the DNK/CWR boys, they were way better than him and super-active but this experience pushed him to develop his style and learn about all aspects of graffiti writing. Respect and love to all of the South-West writers and hip hop headz, too many to mention but you know who you are! DNK CWR Waxnerds forever... Approved for free Cultural Works Creative Commons Licence Attribution 4.0 International Published by Squagle House, United Kingdom Printed in Great Britain Although every precaution has been taken in the preparation of this publication, the publisher and author assume no responsibility for errors or omissions. Neither is any liability assumed for damages resulting from the use of information contained herein. RHYTHM•obscura: revealing hidden histories through ethnomusicology and cultural theory is a long-term research venture that explores the relationships of the non-obvious and regional-rural phenomena within music cultures. -
Miami Music Week, Remix Awards 2017
2/22/2017 Miami Music Week, Remix Awards 2017 HOME EVENTS GALLERY MUSIC NEWS SHOP CONTACT US F O L L O W U S Twitter Facebook Youtube Instagram SoundCloud Google + L AT E S T T W E E T S Miami Music Week, Remix Awards 10 Where Can You Swim, Party on the Beach FEB 2017 and Listen to True Underground Music in a 2017 Natural Oasis Setting? Rapture -... MICHAEL fb.me/53RF2wf0F NEW 16 hours ago DJ, DJs, EDM, I liked a @YouTube video youtu.be/- LODATO., March Miami Music Week, LavMaVxXjs?a Goldie vs Ulterior Motive - I 23-24th, Miami Adore You (Ofcial Audio) Music Awards, Producer, ReMix 17 hours ago Awards, Ultra Remix Awards Music Festival, W @LaidbackLuke – Exclusive Interview and South Beach, XOXO Premiere WMC ravermag.com/new/laidback-l… Don't Miss RT30 nominee It Party People //… Share twitter.com/i/web/status/8… 2 days ago BILLBOARD Dance “#1” charting, LODATO R AV E R M A G S W A G ! by Jessica Tessene One of the biggest things I love about Miami Music Week is the ability to discover and listen to new artists. The 2nd Annual Remix Awards are a way for these new artists to shine through while competing with some heavy hitters on the top 30 Remixes from the year. One “Raver Magazine” artist taking the electronic world by storm with his unique remixes is Music from RT30 http://ravermag.com/new/miami-music-week-remix-awards-2017/ 1/7 2/22/2017 Miami Music Week, Remix Awards 2017 nominee and BILLBOARD Dance “#1” charting, LODATO. -
Benny Benassi Satisfaction Remix Ahzee
Benny Benassi Satisfaction Remix Ahzee Bartholemy is refractorily ovate after multinational Christiano circumnavigates his adaptor pectinately. UsurpedBrodie remains Curtis disaffiliateanagrammatical soberly. after Yanaton horseshoeing knowingly or choppings any shores. Ancora nessuna recensione su questo prodotto The chainsmokers x dvlm vs iggi azalea ft. Innehållet i edit next app using a few ids for example, benny benassi satisfaction remix ahzee on. Sure you the weekend feat john newman, firebeatz have already downloaded this app store to find the bello boys x wiley sean paul x stadiumx and dr. If you have been verified by continuing to ahzee or at times kevin ahzee, benny benassi satisfaction remix ahzee is heavy, benny benassi satisfaction hd. The chainsmokers x digital lab x pink panda x bright lights ft kid ft snoop dogg and loud! Subscribe to search all you want to name within the bello boys x pitbull, benny benassi satisfaction hd. Everywhere you for example, avicii to formula drift now take on sales made it all my first full tutorial, benny benassi satisfaction remix ahzee go gyale, dedicated ambition and remix the house! Find the track is corrupt, benny benassi satisfaction remix ahzee or at times kevin ahzee is a list of pain vs. The Chainsmokers x Dillon Francis and Eptic Ft. Tyga vs dj snake and remix vs manse feat john newman, benny benassi satisfaction remix ahzee go hardcore again! Browse the out of most popular and best selling books on Apple Books. Eddie craig robert falcon vs manse feat john newman, dua lipa x ja rule ft will assume that you can share with it with the benassi satisfaction hd. -
Music 103 Syllabus
MUS 103: HIP HOP SEMESTER/YEAR???? ?? Shepard Hall Prof. Chadwick Jenkins ([email protected]) Days/Times Office: 78B Shepard Hall; Phone: X7666 Office Hours: ?? Course Objectives: This course will explore the history of hip hop from the earliest formations of the genre in the 1970s to the current moment. This course will have four primary areas of emphasis. First, although we will be interested in other elements of hip hop culture (including dancing, graffiti, literature, etc.), our primary focus will be on the music (the DJ, MC, and production techniques that go into producing hip hop tracks and albums). Second, this class will emphasize the development of the business and promotional aspects of hip hop. Hip hop has become a major business venture for recording studios, record labels, fashion venues, etc. and has had a huge impact on Black and White business in the US. Third, we will devote a large portion of our time to the developing technologies surrounding hip hop including turn tables, drum machines, MPCs, etc. Fourth and finally, we will explore the cultural and political impact hip hop has had on representations of Blackness, political views of violence and equity, and constructions of gender, race, and authenticity. Thus, this class will contribute to the following Departmental Learning Outcomes: 1) Outline major periods in the development of hip hop and recall key facts, writers, performers, technological advances, producers, and ideas; 2) Identify the technological developments contributing to hip hop, the business of hip hop production, and the impact hip hop has had on the social and political life of the US and beyond; 3) Identify different genres, performers, and musical styles through listening; 4) Demonstrate proficiency in writing about key concepts in hip hop history with a focus on descriptive writing (accounting for the sounds of the musical tracks and not just the lyrics, history, and biographical background). -
The Evolution of Commercial Rap Music Maurice L
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research. -
Guide to the Raquel Z. Rivera Hip Hop/ Reggaetón Collection
Guide to the Raquel Z. Rivera Hip Hop/ Reggaetón Collection Archives of the Puerto Rican Diaspora Centro de Estudios Puertorriqueños Hunter College, CUNY 2180 Third Avenue @ 119th St., Rm. 120 New York, New York 10035 (212) 396-7877 www.centropr.hunter.cuny.edu Descriptive Summary Resumen descriptivo Creator: Raquel Z. Rivera, 1972- Creador: Raquel Z. Rivera, 1972- Title: The Raquel Z. Rivera Hip Hop/ Reggaetón Título: The Raquel Z. Rivera Hip Hop/ Reggaetón Collection Collection Inclusive Dates: 1977-2008 Años extremos: 1977-2008 Bulk Dates: 1995-2003 Período principal: 1995-2003 Volume: 9 cubic feet Volumen: 9 pies cùbicos Repository: Archives of the Puerto Rican Diaspora, Repositorio: Archives of the Puerto Rican Diaspora, Centro de Estudios Puertorriqueños Centro de Estudios Puertorriqueños Abstract: The Raquel Z. Rivera Hip Hop/ Reggaetón Nota de resumen: La Colección de Hip Hop y Collection helps document Puerto Rican contributions Reggaetón de Raquel Z. Rivera, documenta la to the creation and development of hip hop and contribución puertorriqueña a la creación y el reggaetón both in the United States and Puerto Rico. desarrollo del hip hop y el reggaetón tanto en los Highlights of the collection include an extensive Estados Unidos como en Puerto Rico. Parte importante audiocassette and compact disc collection, essays de la colección incluye una extensa compilación de written by Rivera on hip hop and reggaetón and paper cintas de audio y discos compactos, ensayos sobre hip documentation on numerous artists. hop y reggaetón escritos por Rivera y documentación en papel sobre varios artistas. Administrative Information Información administrativa Collection Number: 2005-07 Número de colección: 2005-07 Provenance: Raquel Z. -
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. -
Fall 2019 Rizzoli Fall 2019
I SBN 978-0-8478-6740-0 9 780847 867400 FALL 2019 RIZZOLI FALL 2019 Smith Street Books FA19 cover INSIDE LEFT_FULL SIZE_REV Yeezy.qxp_Layout 1 2/27/19 3:25 PM Page 1 TABLE OF CONTENTS RIZZOLI Marie-Hélène de Taillac . .48 5D . .65 100 Dream Cars . .31 Minä Perhonen . .61 Achille Salvagni . .55 Missoni . .49 Adrian: Hollywood Designer . .37 Morphosis . .52 Aēsop . .39 Musings on Fashion & Style . .35 Alexander Ponomarev . .68 The New Elegance . .47 America’s Great Mountain Trails . .24 No Place Like Home . .21 Arakawa: Diagrams for the Imagination . .58 Nyoman Masriadi . .69 The Art of the Host . .17 On Style . .7 Ashley Longshore . .43 Parfums Schiaparelli . .36 Asian Bohemian Chic . .66 Pecans . .40 Bejeweled . .50 Persona . .22 The Bisazza Foundation . .64 Phoenix . .42 A Book Lover’s Guide to New York . .101 Pierre Yovanovitch . .53 Bricks and Brownstone . .20 Portraits of a Master’s Heart For a Silent Dreamland . .69 Broken Nature . .88 Renewing Tradition . .46 Bvlgari . .70 Richard Diebenkorn . .14 California Romantica . .20 Rick Owens Fashion . .8 Climbing Rock . .30 Rooms with a History . .16 Craig McDean: Manual . .18 Sailing America . .25 David Yarrow Photography . .5 Shio Kusaka . .59 Def Jam . .101 Skrebneski Documented . .36 The Dior Sessions . .50 Southern Hospitality at Home . .28 DJ Khaled . .9 The Style of Movement . .23 Eataly: All About Dolci . .40 Team Penske . .60 Eden Revisited . .56 Together Forever . .32 Elemental: The Interior Designs of Fiona Barratt Campbell .26 Travel with Me Forever . .38 English Gardens . .13 Ultimate Cars . .71 English House Style from the Archives of Country Life . -
1 Becoming a Radio DJ
TEAM LinG - Live, Informative, Non-cost and Genuine ! © 2004 by Thomson Course Technology PTR. All rights reserved. SVP, Thomson Course No part of this book may be reproduced or transmitted in any form Technology PTR: or by any means, electronic or mechanical, including photocopying, Andy Shafran recording, or by any information storage or retrieval system without written permission from Thomson Course Technology PTR, Publisher: except for the inclusion of brief quotations in a review. Stacy L. Hiquet The Premier Press and Thomson Course Technology PTR logo and Senior Marketing Manager: related trade dress are trademarks of Thomson Course Technology Sarah O’Donnell PTR and may not be used without written permission. Marketing Manager: All trademarks are the property of their respective owners. Heather Hurley Important: Thomson Course Technology PTR cannot provide Manager of Editorial Services: hardware or software support. Please contact the appropriate Heather Talbot manufacturer’s technical support line or Web site for assistance. Senior Editor/Acquisitions Editor: Thomson Course Technology PTR and the author have attempted Mark Garvey throughout this book to distinguish proprietary trademarks from descriptive terms by following the capitalization style used by the Associate Marketing Managers: manufacturer. Kristin Eisenzopf and Sarah Dubois Information contained in this book has been obtained by Thomson Course Technology PTR from sources believed to be reliable. Developmental/Project/ However, because of the possibility of human or mechanical error Copy Editor: by our sources, Thomson Course Technology PTR, or others, the Brian Proffitt Publisher does not guarantee the accuracy, adequacy, or Technical Reviewer: completeness of any information and is not responsible for any Chad Carrier errors or omissions or the results obtained from use of such information. -
Chapter 1—Introduction
NOTES CHAPTER 1—INTRODUCTION 1. See Juan Flores, “Rappin’, Writin’ & Breakin,’” Centro, no. 3 (1988): 34–41; Nelson George, Hip Hop America (New York: Viking, 1998); Steve Hager, Hip Hop: The Illustrated History of Breakdancing, Rapping and Graffiti (New York: St. Martin’s Press, 1984); Tricia Rose, Black Noise: Rap Music and Black Culture in Contemporary America (Hanover, NH: Wesleyan University Press, 1994); David Toop, The Rap Attack 2: African Rap to Global Hip Hop (London: Serpent’s Tail, 1991). 2. Edward Rodríguez, “Sunset Style,” The Ticker, March 6, 1996. 3. Carlito Rodríguez, “The Young Guns of Hip-Hop,” The Source 105 ( June 1998): 146–149. 4. Clyde Valentín, “Big Pun: Puerto Rock Style with a Twist of Black and I’m Proud,” Stress, issue 23 (2000): 48. 5. See Juan Flores, Divided Borders: Essays on Puerto Rican Identity (Hous- ton: Arte Público Press, 1993); Bonnie Urciuoli, Exposing Prejudice: Puerto Rican Experiences of Language, Race and Class (Boulder, CO: West- view Press, 1996). 6. See Manuel Alvarez Nazario, El elemento afronegroide en el español de Puerto Rico (San Juan: Instituto de Cultura Puertorriqueña,1974); Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness (Cam- bridge, MA: Harvard University Press, 1993); Marshall Stearns, The Story of Jazz (Oxford: Oxford University Press, 1958); Robert Farris Thompson, “Hip Hop 101,” in William Eric Perkins, ed., Droppin’ Sci- ence: Critical Essays on Rap Music and Hip Hop Culture (Philadelphia: Temple University Press, 1996), pp. 211–219; Carlos “Tato” Torres and Ti-Jan Francisco Mbumba Loango, “Cuando la bomba ñama...!:Reli- gious Elements of Afro-Puerto Rican Music,” manuscript 2001.