A disc jockey, also known as DJ, is a person who selects and plays recorded music for an audience. Originally, disk referred to phonograph records, while disc referred to the Compact Disc, and has become the more common spelling. Today, the term includes all forms of music playback, no matter the medium.

There are several types of disc jockeys. Radio DJs or radio personalities introduce and play music that is broadcast on AM, FM, shortwave, digital, or internet radio stations. Club DJs select and play music in bars, nightclubs, discothèques, at raves, or even in a stadium. Hip hop disc jockeys select and play music using multiple turntables, often to back up one or more MCs, and they may also do turntable scratching to create percussive sounds. In reggae, the DJ (deejay) is a vocalist who raps, "toasts", or chats over pre-recorded rhythm tracks while the individual choosing and playing them is referred to as a selector. Mobile DJs travel with portable sound systems and play recorded music at a variety of events.

Equipment and techniques

DJ equipment may consist of:

Sound recordings in a DJ's preferred medium (for example, vinyl records, Compact Discs, computer media files, etc.);

A combination of two devices (or only one, if playback is digital) to play sound recordings, for alternating back and forth to create a continuous playback of music (for example, record players, Compact Disc players, computer media players such as an MP3 player, etc.);

A multiple Sequencer which can mix MIDI tracks with Digital Audio;

A sound system for amplification or broadcasting of the recordings (for example, portable audio system, PA system) or a radio broadcasting system;

A DJ mixer, which is an electronic (usually 2- or 4-channel) audio mixer usually equipped with a crossfader used to smoothly go from one song to another, using two or more playback devices;

Headphones, used to listen to one recording while the other recording is being played to the audience, or to listen to both recordings simultaneously; and

Optionally, a microphone, so that the DJ can introduce songs and speak to the audiences.

Other equipment could or can be added to the basic DJ setup (above), providing unique sound manipulations. Such devices include, but are not limited to:

Electronic effects units (delay, reverb, octave, equalizer, chorus, etc.). Some club DJs use a sub-harmonic synthesizer effect which either doubles low frequencies with energy added an octave lower or synthesizes harmonics such that the impression of a very low bass sound is added to the mix.

A computerised performance system, which can be used with vinyl emulation software to manipulate digital files on the computer in real time.

Multi-stylus headshells, which allow a DJ to play different grooves of the same record at the same time.

Special DJ digital controller hardware can manipulate digital files on a PC or laptop;

Samplers, sequencers, electronic musical keyboards (synthesizers), or drum machines.

Several techniques are used by DJs as a means to better mix and blend recorded music. These techniques primarily include the cueing, equalization, and audio mixing of two or more sound sources. The complexity and frequency of special techniques depends largely on the setting in which a DJ is working. Radio DJs are less likely to focus on music-mixing procedures than club DJs, who rely on a smooth transition between songs using a range of techniques.

Club DJ turntable techniques include beatmatching, phrasing, and slip-cueing to preserve energy on a dancefloor. Turntablism embodies the art of cutting, beat juggling, scratching, needle drops, phase shifting, back spinning, and more to perform the transitions and overdubs of samples in a more creative manner (although turntablism is often considered a use of the turntable as a musical instrument rather than a tool for blending recorded music). Professional DJs may use harmonic mixing to choose songs that are in compatible musical keys.

History

19th century to 1920s

In 1857, Leon Scott invented the phonoautograph in France, the first device to record sound but with no method of playback. In 1877, Charles Cros invented a phonograph in France that was patented before Thomas Alva Edison's invention but never built. Edison invented the phonograph cylinder, the first device to play back recorded sound, in the United States. In 1892, Emile Berliner began commercial production of his gramophone records, the first disc records to be offered to the public. In 1906, Reginald Fessenden transmitted the first audio radio broadcast in history also playing the first record, that of a contralto singing Handel's ''Largo'' from ''Xerxes''.

The world's first radio disc jockey was Ray Newby, of Stockton, California. In 1909, at 16 years of age, Newby began regularly playing records on a small spark transmitter while a student at Herrold College of Engineering and Wireless, located in San Jose, California, under the authority of radio pioneer Charles "Doc" Herrold. Though it was really called Disco Jockey, it has been changed through the years to Disc Jockey but it can be referred as DISCO or DISC Jockey.

By 1910, regular radio broadcasting had started to use "live" as well as prerecorded sound. In the early radio age, content typically included comedy, drama, news, music, and sports reporting. The on-air announcers and programmers would later be known as disc jockeys. In the 1920s, juke joints became popular as places for dancing and drinking to recorded jukebox music. In 1927, Christopher Stone became the first radio announcer and programmer in the United Kingdom, on the BBC radio station. In 1929, Thomas Edison ceased phonograph cylinder manufacture, ending the disc and cylinder rivalry.

1930s–1950s

In 1935, American commentator Walter Winchell coined the term "disc jockey" (the combination of ''disc'', referring to the disc records, and ''jockey'', which is an operator of a machine) as a description of radio announcer Martin Block, the first announcer to become a star. While his audience was awaiting developments in the Lindbergh kidnapping, Block played records and created the illusion that he was broadcasting from a ballroom, with the nation’s top dance bands performing live. The show, which he called ''Make Believe Ballroom'', was an instant hit. The term "disc jockey" appeared in print in ''Variety'' in 1941.

Prior to this, most music heard on radio was live; most radio stations had an orchestra or band on the payroll. The Federal Communications Commission also clearly favored live music, providing accelerated license approval to stations promising not to use any recordings for their first three years on the air. Many noted recording artists tried to keep their recorded works off the air by having their records labeled as not being legal for airplay. It took a Federal court ruling in 1940 to establish that a recording artist had no legal right to control the use of a record after it was sold.

In 1943, Jimmy Savile launched the world's first DJ dance party by playing jazz records in the upstairs function room of the Loyal Order of Ancient Shepherds in Otley, England. In 1947, he claims to have become the first DJ to use twin turntables for continuous play. Also in 1947, the Whiskey à Go-Go nightclub opened in Paris, France, considered to be the world's first commercial discothèque, or disco (deriving its name from the French word meaning a nightclub where the featured entertainment is recorded music rather than an on-stage band). Regine began playing on twin turntables there in 1953. Discos began appearing across Europe and the United States. From the late 1940s to early 1950s, the introduction of television eroded the popularity of radio's early format, causing it to take on the general form it has today, with a strong focus on music, news, and sports.

The postwar period coincided with the rise of the radio disc jockey as a celebrity separate from the radio station, also known as a "radio personality". In the days before station-controlled playlists, the DJ often followed their personal tastes in music selection. DJs also played a role in exposing rock and roll artists to large, national audiences. While at WERE in Cleveland, Ohio, DJ Bill Randle was one of the first to introduce Elvis Presley to radio audiences in the northeastern US.

In the 1950s, American radio DJs would appear live at "sock hops" and "platter parties" and assume the role of a human jukebox. They would usually play 45-rpm records, featuring hit singles on one turntable while talking between songs. In some cases, a live drummer was hired to play beats between songs to maintain the dance floor. In 1955, Bob Casey, a well-known "sock hop" DJ, brought the two-turntable system to the U.S. Throughout the 1950s, payola payments by record companies to DJs in return for airplay were an ongoing problem. Part of the fallout from the payola scandal was tighter control of the music by station management. The Top 40 format emerged, where popular songs are played repeatedly.

In the late 1950s, sound systems, a new form of public entertainment, were developed in the ghettos of Kingston, Jamaica. Promoters, who called themselves DJs, would throw large parties in the streets that centered on the disc jockey, called the "selector," who played dance music from large, loud PA systems and bantered over the music with a boastful, rhythmic chanting style called "toasting". These parties quickly became profitable for the promoters, who would sell admission, food, and alcohol, leading to fierce competition between DJs for the biggest sound systems and newest records.

1960s and 1970s

In the mid-1960s, nightclubs and discothèques continued to grow in Europe and the United States. Specialized DJ equipment, such as Rudy Bozak's classic CMA-10-2DL mixer, began to appear on the market. In 1969, American club DJ Francis Grasso popularized beatmatching at New York's Sanctuary nightclub. Beatmatching is the technique of creating seamless transitions between records with ''matching'' ''beats'', or tempos. Grasso also developed slip-cuing, the technique of holding a record still while the turntable is revolving underneath, releasing it at the desired moment to create a sudden transition from the previous record.

By 1968, the number of dance clubs started to decline; most American clubs either closed or were transformed into clubs featuring live bands. Neighborhood block parties that were modelled after Jamaican sound systems gained popularity in Europe and in the boroughs of New York City.

In 1973, Jamaican-born DJ Kool Herc, widely regarded as the "father of hip-hop culture," performed at block parties in his Bronx neighborhood and developed a technique of mixing back and forth between two identical records to extend the rhythmic instrumental segment, or ''break''. Turntablism, the art of using turntables not only to play music but to manipulate sound and create original music, began to develop.

In 1974, Technics released the first SL-1200 turntable, which evolved into the SL-1200 MK2 in 1979—which, as of the early-2010s, remains the industry standard for DJing. In 1974, German electronic music band Kraftwerk released the 22-minute song "Autobahn," which takes up the entire first side of that LP. Years later, Kraftwerk would become a significant influence on hip-hop artists such as Afrika Bambaataa and house music pioneer Frankie Knuckles. During the mid-1970s, Hip-hop music and culture began to emerge, originating among urban African Americans and Latinos in New York City. The four main elements of Hip Hop culture are graffiti, DJing, breakdancing, and MCing (rapping).

In the mid-1970s, the soul-funk blend of dance pop known as disco took off in the mainstream pop charts in the United States and Europe, causing discothèques to experience a rebirth. Unlike many late-1960s clubs, which featured live bands, discothèques used the DJ's selection and mixing of records as the entertainment. In 1975, record pools began, providing disc jockeys access to newer music from the industry in an efficient method.

In 1975, hip-hop DJ Grand Wizard Theodore invented the scratching technique by accident. In 1976, American DJ, editor, and producer Walter Gibbons remixed "Ten Percent" by Double Exposure, one of the earliest commercially released 12″ singles (aka "maxi-single"). In 1979, the Sugar Hill Gang released "Rapper's Delight", the first hip-hop record to become a hit. It was also the first real breakthrough for sampling, as the bassline of Chic's "Good Times" laid the foundation for the song.

In 1977, Saratoga Springs, NY disc jockey Tom L. Lewis introduced the Disco Bible (later renamed Disco Beats), which published hit disco songs listed by beats per minute (tempo), as well as by either artist or song title. Billboard ran an article on the new publication, and it went national relatively quickly. The list made it easier for beginning DJs to learn how to create seamless transitions between songs without dancers having to change their rhythm on the dance floor. Today, DJs can find the beats per minute of songs in the BPM List.

1980s

In 1981, the cable television network MTV was launched, originally devoted to music videos, especially popular rock music. The term "video jockey", or VJ, was used to describe the fresh-faced youth who introduced the music videos. In 1982, the demise of disco in the mainstream by the summer of 1982 forced many nightclubs to either close or change entertainment styles, such as by providing MTV-style video dancing or live bands. Released in 1982, the song "Planet Rock" by DJ Afrika Bambaataa was the first hip-hop song to feature synthesizers. The song melded electro hip-hop beats influenced by Yellow Magic Orchestra with the melody from Kraftwerk's "Trans-Europe Express." In 1982, the Compact Disc reached the public market in Asia, and early the following year in other markets. This event is often seen as the "Big Bang" of the digital audio revolution.

In the early 1980s, NYC disco DJ Larry Levan, known for his eclectic mixes, gained a cult following, and the Paradise Garage, the nightclub at which he spun, became the prototype for the modern dance club where the music and the DJ were showcased. Around the same time, the disco-influenced electronic style of dance music called house music emerged in Chicago. The name was derived from the Warehouse Club in Chicago, where resident DJ Frankie Knuckles mixed old disco classics and Eurosynth pop. House music is essentially disco music with electronic drum machine beats. The common element of most house music is a 4/4 beat generated by a drum machine or other electronic means (such as a sampler), together with a solid (usually also electronically generated) synth bassline. In 1983, Jesse Saunders released what some consider the first house music track, "On & On." The mid-1980s also saw the emergence of New York Garage, a house music hybrid that was inspired by Levan's style and sometimes eschewed the accentuated high-hats of the Chicago house sound.

During the mid-1980s, techno music emerged from the Detroit club scene. Being geographically located between Chicago and New York, Detroit techno artists combined elements of Chicago house and New York garage along with European imports. Techno distanced itself from disco's roots by becoming almost purely electronic with synthesized beats. In 1985, the Winter Music Conference started in Fort Lauderdale Florida and became the premier electronic music conference for dance music disc jockeys.

In 1985, TRAX Dance Music Guide was launched by American Record Pool in Beverly Hills. It was the first national DJ-published music magazine, created on the Macintosh computer using extensive music market research and early desktop publishing tools. In 1986, "Walk This Way", a rap/rock collaboration by Run DMC and Aerosmith, became the first hip-hop song to reach the Top 10 on the Billboard Hot 100. This song was the first exposure of hip-hop music, as well as the concept of the disc jockey as band member and artist, to many mainstream audiences. In 1988, ''DJ Times'' magazine was first published. It was the first US-based magazine specifically geared toward the professional mobile and club DJ.

Starting in the mid-1980s, the wedding and banquet business changed dramatically with the introduction of DJ music, replacing the bands that had been the norm. Bandleaders, like Jerry Perell and others, started DJ companies, such as NY Rhythm DJ Entertainers. Using their knowledge of audience participation, MC charisma, and "crowd-pleasing" repertory selection, the wedding music industry became almost all DJ while combining the class and elegance of the traditional band presentation. New DJs as well as bandleaders with years of experience and professionalism transformed the entire industry.

1990s

During the early 1990s, the rave scene built on the acid house scene. The rave scene changed dance music, the image of DJs, and the nature of promoting. The innovative marketing surrounding the rave scene created the first superstar DJs who established marketable "brands" around their names and sound. Some of these celebrity DJs toured around the world and were able to branch out into other music-related activities. During the early 1990s, the Compact Disc surpassed the gramophone record in popularity, but gramophone records continued to be made (although in very limited quantities) into the 21st century—particularly for club DJs and for local acts recording on small regional labels. During the mid-1990s, trance music, having run rampant in the German underground for several years, emerged as a major force in dance music throughout Europe and the UK. It became one of the world's most dominant forms of dance music by the end of the 1990s, thanks to a trend away from its repetitive, hypnotic roots, and towards commercialized song structure.

In 1991, ''Mobile Beat'' magazine, geared specifically toward mobile DJs, began publishing. In 1992, MPEG which stands for the Moving Picture Experts Group, released The MPEG-1 standard, designed to produce reasonable sound at low bit rates. The lossy compression scheme MPEG-1 Layer-3, popularly known as MP3, later revolutionized the digital music domain. In 1993, the first internet "radio station", Internet Talk Radio, was developed by Carl Malamud. Because the audio was relayed over the internet, it was possible to access internet radio stations from anywhere in the world. This made it a popular service for both amateur and professional disc jockeys operating from a personal computer.

In 1995, the first full-time, internet-only radio station, Radio HK, began broadcasting the music of independent bands. In 1996, Mobile Beat had its first national mobile DJ convention in Las Vegas. During the late 1990s, nu metal bands, such as Korn, Limp Bizkit, and Linkin Park, reached the height of their popularity. This new subgenre of alternative rock bore some influence from hip-hop because rhythmic innovation and syncopation are primary, often featuring DJs as band members. As well, during the late 1990s, various DJ and VJ software programs were developed, allowing personal computer users to DJ or VJ using his or her personal music or video files.

In 1998, the first MP3 digital audio player was released, the Eiger Labs MPMan F10. Final Scratch debuted at the BE Developer Conference, marking the first digital DJ system to allow DJs control of MP3 files through special time-coded vinyl records or CDs. While it would take sometime for this novel concept to catch on with the "die hard Vinyl DJs", This would soon become the first step in the new Digital DJ revolution. Manufacturers joined with computer DJing pioneers to offer professional endorsements, the first being Professor Jam (aka William P. Rader), who went on to develop the industry's first dedicated computer DJ convention and learning program, the "CPS (Computerized Performance System) DJ Summit", to help spread the word about the advantages of this emerging technology.

In 1999, Shawn Fanning released Napster, the first of the massively popular peer-to-peer file sharing systems. During this period, the AVLA (Audio Video Licensing Agency) of Canada announced an MP3 DJing license, administered by the Canadian Recording Industry Association. This meant that DJs could apply for a license giving them the right to perform publicly using music stored on a hard drive, instead of having to cart their whole CD collections around to their gigs.

See also

Computer DJ

Digital DJ licensing

Disc or disk (spelling)

Live PA

Mixset

Record collecting

Seoul World DJ Festival

Notes

References

Assef, Claudia (2000). ''Todo DJ Já Sambou: A História do Disc-Jóquei no Brasil''. São Paulo: Conrad Editora do Brasil. ISBN 85-87193-94-5.

Brewster, Bill, and Frank Broughton (2000). ''Last Night a DJ Saved My Life: The History of the Disc Jockey''. New York: Grove Press. ISBN 0-8021-3688-5 (North American edition). London: Headline. ISBN 0-7472-6230-6 (UK edition).

Broughton, Frank, and Bill Brewster. ''How to DJ Right: The Art and Science of Playing Records''. New York: Grove Press, 2003.

Graudins, Charles A. ''How to Be a DJ''. Boston: Course Technology PTR, 2004.

Lawrence, Tim (2004). ''Love Saves the Day: A History of American Dance Music Culture, 1970–1979 ''. Duke University Press. ISBN 0-8223-3198-5.

Miller, Paul D. aka DJ Spooky, ''Sound Unbound: Writings on DJ Culture and Electronic Music'', MIT Press 2008. ISBN 0-262-63363-9 ISBN 978-0-262-63363-5.

Poschardt, Ulf (1998). ''DJ Culture''. London: Quartet Books. ISBN 0-7043-8098-6.

Zemon, Stacy. ''The Mobile DJ Handbook: How to Start & Run a Profitable Mobile Disc Jockey Service'', Second Edition. St. Louis: Focal Press, 2002.

External links

Category:Broadcasting occupations Category:Media occupations Category:Occupations in music Category:Disco

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Jordan Roseman (aka DJ Earworm) is a San Francisco/London-based mashup artist who has achieved recognition for his technically sophisticated, songwriting oriented music and video mashups. His annual “United State of Pop” mashups, short mixes featuring the top 25 songs of the year according to Billboard magazine, have reached the Top 100 for national radio play.

Biography

Roseman was born into a big family of musicians and raised in eastern Iowa and Evanston, Illinois. In his early life, he played piano and produced original electronic music on a computer, later majoring in music theory and computer science at the University of Illinois. He began making mashups recreationally in 2003 using ACID. After encouragement from DJ Adrian at Club Bootie, Roseman created the moniker DJ Earworm ("earworm" referencing a song that repeats uncontrollably in one's mind) and began releasing mashups via a website.

DJ Earworm has a unique mashup style that consists of a compositional, songwriting approach. He gradually layers samples on top of one another, matching keys and subtly altering melodies. His mashups often convey an entirely new meaning than the original material, such as a political message in “No More Gas”. He has been contrasted with mashup artist Girl Talk, who has a more DJ-oriented style.

He is the author of ''Audio Mashup Construction Kit'' (Wiley, 2006), a how-to manual for creating mashups.

At the 2008 IDEA conference, he revealed that he has made mashups using Ableton Live₨, and now DJs live with the same software.

"United State of Pop" series

2007

Earworm's 2007 mashup, "United State of Pop” consisted of the top 25 songs of 2007 according to ''Billboard''. The song crossed beyond the online download market, reaching the Top 100 for national radio play in February 2008. Earworm is the first mashup artist to have a bootleg mashup enter Billboard’s charts. As of August 12, 2011, the song has surpassed 4.5 million views on YouTube, and it has peaked at number 71 on the CHR/Top 40 Mediabase radio chart.

Mix Includes:

"Irreplaceable"- Beyonce

" Umbrella"- Rihanna ft. Jay-z

"The Sweet Escape"- Gwen Stefani ft. Akon

"Big Girls Don't Cry"- Fergie

"Buy U a Drank (Shawty Snappin')"- T-Pain ft. Young Joc

"Before He Cheats"- Carrie Underwood

"Hey There Delilah"- Plain White T's

" I Wanna Love You"- Akon ft. Snoop Dogg

"Say It Right"- Nelly Furtado

" Glamorous"- Fergie ft. Ludacris

"Don't Matter"- Akon

" Girlfriend"- Avril Lavigne

"Makes Me Wonder"- Maroon 5

"Party Like a Rockstar"- Shop Boyz

"Smack That"- Akon ft. Eminem

"This Is Why I'm Hot"- Mims

" It's Not Over"- Daughtry

"The Way I Are"- Timbaland ft. Keri Hilson

"Fergalicious"- Fergie

"Crank That (Soulja Boy)*- Soulja Boy Tell 'Em

" Give It to Me"- Timbaland with Justin Timberlake and Nelly Furtado

"What Goes Around... Comes Around"- Justin Timberlake

"Cupid's Chokehold"- Gym Class Heroes ft. Patrick Stump

" How to Save a Life"- The Fray

" Home"- Daughtry

2008

On December 25, 2008 he released another mashup called "United State of Pop 2008 (Viva la Pop)", prominently featuring Coldplay's song "Viva la Vida" as the backing track, and an intro by Natasha Bedingfield's Pocketful of Sunshine beat. The official YouTube video of the song had 200,000 views within the first two weeks of release. The mashup peaked at number 58 on ''Billboard'''s Pop Airplay chart, and entered the Pop 100 chart. As of August 12, 2011, the video has received over 9.2 million views on YouTube, and it has peaked at number 81 on the CHR/Top 40 Mediabase radio chart.

Mix Includes:

" Low"- Flo Rida ft. T-Pain

"Bleeding Love"- Leona Lewis

" No One"- Alicia Keys

" Lollipop"- Lil Wayne ft. Static Major

" Apologize"- One Republic ft. Timbaland

"No Air"- Jordin Sparks & Chris Brown

" Love Song"- Sara Bareilles

"Love in This Club"- Usher ft.Young Jeezy

" With You"- Chris Brown

" Forever"- Chris Brown

"Sexy Can I"- Ray J ft. Young Berg

" Take a Bow"- Rihanna

"Viva La Vida"- Coldplay

"I Kissed a Girl"- Katy Perry

" Whatever You Like"-T.I.

"Disturbia"- Rihanna

" Don't Stop the Music"- Rihanna

" Pocketful of Sunshine"- Natasha Bedingfield

" Kiss Kiss"- Chris Brown ft. T-pain

" Closer"- Ne-Yo

"Bubbly"- Colbie Caillat

"Touch My Body"- Mariah Carey

" 4 Minutes "- Madonna ft. Justin Timberlake

" So What"- Pink

"Paralyzer"- Finger Eleven

2009

On December 27, 2009 he released a third year-end mashup, "United State of Pop 2009 (Blame it on the Pop)". The music video has reached over 38.5 million views as of August 17, 2011.

Mix Includes:

"Boom Boom Pow"- The Black Eyed Peas

" Poker Face"- Lady Gaga

"Just Dance"- Lady Gaga ft.Colby O'Donis

"I Gotta Feeling"- Black Eyed Peas

" Love Story"- Taylor Swift

"Right Round"- Flo Rida ft. Kesha

" I'm Yours"- Jason Mraz

"Single Ladies (Put a Ring on it)"- Beyonce

" Heartless"- Kanye West

"Gives You Hell"- All-American Rejects

"You Belong with Me"- Taylor Swift

"Dead and Gone"- T.I ft. Justin Timberlake

"You Found Me"- The Fray

"Use Somebody"- Kings of Leon

"Knock You Down"- Keri Hilson ft. Kanye West & Ne-Yo

"Blame It"- Jamie Foxx ft. T-Pain

"I Know You Want Me (Calle Ocho)"- Pitbull

"Live Your Life"- T.I ft. Rihanna

"Kiss Me Thru the Phone"- Soulja Boy Tell 'Em ft. Sammie

" Down"- Jay Sean ft. Lil Wayne

"The Climb"- Miley Cyrus

" Best I Ever Had"- Drake

"My Life Would Suck Without You"- Kelly Clarkson

" Halo"- Beyonce

"Hot n Cold"- Katy Perry

2010

On December 28, 2010 he released the fourth year-end mashup, "United State of Pop 2010 (Don't Stop the Pop) includes the top 25 singles of 2010. The music video has reached over 12.7 million views as of August 17, 2011.

Mix Includes:

"Tik Tok"- Kesha

"Need You Now"- Lady Antebellum

"Hey, Soul Sister"- Train

"California Gurls"- Katy Perry ft. Snoop Dogg

" OMG"-Usher ft. Will.I.Am

"Airplanes"-B.o.B ft. Hayley Williams

"Love the Way You Lie"- Eminem ft. Rihanna

"Bad Romance"-Lady Gaga

" Dynamite"- Taio Cruz

"Break Your Heart"- Taio Cruz ft. Ludacris

"Nothin' on You"- B.o.B ft. Bruno Mars

" I Like It"- Enrique Iglesias ft. Pitbull

"BedRock"-Young Money Entertainment ft. Lloyd

" In My Head"- Jason Derülo

"Rude Boy"- Rihanna

" Telephone"- Lady Gaga ft. Beyonce

"Teenage Dream"- Katy Perry

"Just The Way You Are"- Bruno Mars

"Cooler Than Me"- Mike Posner

"Imma Be"- The Black Eyed Peas

"Empire State of Mind"- Jay-Z ft. Alicia Keys

"DJ Got Us Fallin' in Love"- Usher ft. Pitbull

"Billionaire"- Travie McCoy ft. Bruno Mars

"Not Afraid"-Eminem

"Replay"- Iyaz

2011

The fifth year-end mashup is set to be released in December 2011.*The Billboard Hot 100 Chart contacted DJ Earworm early, due to his mashups coming out so late. They gave him the official top 25 songs of 2011:

" Rolling In The Deep"- Adele "Firework"- Katy Perry "Party Rock Anthem"- LMFAO ft. Lauren Bennett & GoodRock "Grenade"- Bruno Mars "E.T"-Katy Perry ft. Kanye West "Give Me Everything"-Pitbull ft. Ne-Yo & Nayer "Born This Way"- Lady Gaga "F**k You"-Cee Lo Green "F**king Perfect"- P!nk "S&M;"- Rihanna "Raise Your Glass"- P!nk "Tonight(I'm Lovin'You)"- Enrique Iglesias ft. Ludacris "The Edge Of Glory"-Lady Gaga "Lighters"- Bad Meets Evil ft. Bruno Mars "What's My Name"- Rihanna ft. Drake "Just Can't Get Enough"- The Black Eyed Peas "Till The World Ends"- Britney Spears "Last Friday Night(T.G.I.F)"- Katy Perry "On The Floor"- Jennifer Lopez ft. Pitbull "Black & Yellow"- Wiz Khalifa "Super Bass"- Nicki Minaj "The Lazy Song"- Bruno Mars "We R Who We R"- Kesha "How To Love"- Lil Wayne "Only Girl(In The World)"- Rihanna

Official Mashups

While most mashup artists must rely on bootleg samples and public releases to make mashups, Earworm has been contacted by prominent musicians to make mashups from their source material. DJ Earworm was given multitracks by Annie Lennox to create a unique mashup piece called "Backwards/Forwards," which contains nine of her songs.

On September 12, 2009, Earworm released an official Sean Kingston mashup called "A Beautiful Mashup."

Like OMG, Baby

"Like OMG, Baby", released in the summer of 2010, was shown as part of a concert at Wembley Stadium in London for Capital FM's Summertime Ball, where all fifteen of the featured artists performed. The mashup is Earworm's fourth song to chart on the CHR/Top 40 ''Mediabase'' radio chart, where it peaked at number 83. As of August 8, 2011, the video has received 10.2 million views and counting on YouTube, making it by far his most popular non-United State of Pop mashup and surpassing the 2008 year-end video. In 2011 the song was honored with two Sony Radio Academy Awards. Here is the list of songs used: #Alexandra Burke - All Night Long #Cheryl Cole - Fight For This Love #Chipmunk feat. Esmee Denters - Until You Were Gone #Dizzee Rascal - Bonkers #Ellie Goulding - Starry Eyed #Jason Derulo - In My Head #JLS - One Shot #Justin Bieber - Baby #Ke$ha - Tik Tok #Pixie Lott - Mama Do (Uh Oh, Uh Oh) #Rihanna - Rude Boy #Scouting For Girls - This Ain't a Love Song #Tinie Tempah - Pass Out #Usher feat. Will.I.Am - OMG #The Wanted - All Time Low

Free At Night

On December 10, 2010, Earworm released a Nelly Furtado mashup titled "Free At Night", composed of 13 songs from Furtado's recent greatest hits album, The Best of Nelly Furtado. The music video has over 541,000 views as of August 8, 2011. Here is the list of songs used: #I'm Like a Bird #Turn Off the Light #Powerless (Say What You Want) #Try #Força #Promiscuous #Maneater #Say It Right #All Good Things (Come To An End) #Girlfriend in This City #Night Is Young #Stars #Manos al Aire

The Only Time is Tonight

To promote YouTube's Android app, Earworm released a mashup called "The Only Time is Tonight". The mashup heavily used Enrique Iglesias's "Tonight (I'm Lovin' You)" instrumental and vocals. It was released on May 31, 2011 on YouTube's official account. As of August 22, 2011, the video has reached over 1.5 million views. Here is the list of songs used: #Avril Lavigne - What the Hell #Black Eyed Peas - The Time (Dirty Bit) #Chris Brown - Yeah 3x #Enrique Iglesias - Tonight (I'm Lovin' You) #Kesha - We R Who We R #Rihanna - Only Girl (In the World) #Willow Smith - Whip My Hair

Party on the Floor

After 2010's "Like OMG, Baby", Earworm released the 2011 version. He released it on June 12, 2011. It is entitled, "Party On The Floor". As of August 23, 2011, the music video has reached over 3 million views. This mash up was used at the start of the Capital FM summertime ball 2011 at Wembley Stadium. Here are the songs used: #Jennifer Lopez feat. Pitbull - On the Floor #Jessie J - Do It Like A Dude #Jessie J feat. B.o.B.- Price Tag #LMFAO feat. Lauren Barrett & GoonRock - Party Rock Anthem #Nicole Scherzinger - Don't Hold Your Breath #Example - Changed the Way You Kiss Me #Mike Posner - Cooler Than Me #Ne-Yo - Beautiful Monster #The Wanted - Glad You Came #Far East Movement feat. The Cataracs & Dev - Like A G6 #JLS feat. Tinie Tempah - Eyes Wide Shut #JLS - Love You More #Katy B - Katy on a Mission #Katy B feat. Ms. Dynamite - Lights On #Cee-Lo Green - Forget You #Cee-Lo Green feat. Wiz Khalifa - Bright Lights, Bigger City #Enrique Iglesias feat. Pitbull - I Like It #Wretch 32 - Traktor #Mann - Buzzin'

References

External links

DJ Earworm Homepage

Category:American DJs Category:Living people

pt:DJ Earworm

Coordinates	34°03′″N118°15′″N
name	DJ Fresh
background	non_vocal_instrumentalist
birth name	Daniel Stein
alias	DJ Fresh, Fresh, Mosquito, Absolute Zero
birth date	April 11, 1977
origin	England
genre	Drum and bass
occupation	songwriter, musician, audio mixing, record producer, DJ
years active	1996–present
label	Breakbeat Kaos, Data Records, Ram Records, V Records, Valve Recordings
associated acts	Bad Company UK, Pendulum, Tenor Fly, $pyda, Adam F, Andy C, Deekline & Wizard, Ivory, Soundweapon, Stamina MC, Koko, Ce'cile, Sigma, DJ Shadow, DJ Hype, Darrison, Mary Byker, Baron, Swift, Valkyrie, Sian Evans, Dj Shadow. }}

DJ Fresh (real name Daniel Stein) is an English DJ, and one of the principal members of Bad Company.

Career

Early success and Escape from Planet Monday (1993-2008)

Along with the three other members of Bad Company, Fresh founded the record label BC Recordings, as well as the website Dogs On Acid.

Resuming his solo career in 2002, Fresh founded Breakbeat Punk, which merged with Adam F's Kaos Recordings to become Breakbeat Kaos in 2003. In 2004 ''Dogs on Acid'' was given its own imprint.

Fresh has worked with artists ranging from Pet Shop Boys, DJ Shadow, Apollo 440 to Andy C and Grooverider, and has also held a working relationship with the drum and bass trio Pendulum, until 2007 when Pendulum decided to leave his imprint.

Fresh has had his own tracks included on a number of remix CDs, including the 2006 release ''Jungle Sound: The Bassline Strikes Back!'', Andy C's ''Nightlife'' series, DJ Hype's ''Drum and Bass Warfare'', and Goldie's ''Drum and Bass Classics''.

In 2006, Fresh released his first studio album, ''Escape from Planet Monday'', featuring "The Immortal", "X Project", "Nervous" and "All that Jazz" on Breakbeat Kaos.

Kryptonite and Mainstream Success (2009-Present)

In 2009 Fresh released a 12" of "Heavyweight" (with Fantasia on the B side) on the Digital Soundboy label. "Heavyweight" had a different style from Fresh's usual output, and gained positive reviews and a general positive response through the underground scene and within various radio stations. Fresh subsequently released "Hypercaine" (including a remix from Nero) in September 2009, and made BBC Radio 1's daytime playlist.

On the 1 August 2010, he re-released his song Gold Dust Featuring vocals from Ce'cile, Where it peaked 24 in the UK and 39 in Ireland, it marked his first Top 40 hit in both countries. Drum & Bass producer Finka remixed Gold Dust in early 2011. On 16 August, he released his second studio album, "Kryptonite" where it peaked 4 on the UK Dance Chart.

He then released his follow-up single, called "Lassitude" with Sigma and Vocals from Koko. It managed to peak 98 on the UK Singles Chart and 11 on the UK Dance Chart.

Third Album and Commercial Breakthrough (2011 - Present)

The first single from his Third Album, "Louder" was released on July 3, 2011. The song is being used as part of a Lucozade Lite advertising campaign the UK and Ireland. The song features vocals from Welsh singer Sian Evans from the band Kosheen, It peaked number 4 on the Irish Singles Chart and Number 1 on the UK Singles Chart. It marked his first top five hit in both countries and first to reach number 1. It is also the first ever song of the dubstep genre to reach number 1 in the UK Singles Chart.

In 2011, Fresh will be appearing at a number of Festivals during the UK Festival Season aswell as appearing at shows and clubs in the U.S, Such as Bar 525 in San Francisco, Republic Live in Austin, Texas.

Discography

Albums

{|class="wikitable plainrowheaders" style="text-align:center;" border="1" |- ! scope="col" rowspan="2"| Title ! scope="col" rowspan="2"| Album details ! scope="col" colspan="2"| Positions |- ! scope="col" style="width:3em;font-size:85%"| UK ! scope="col" style="width:3em;font-size:85%"| UK Dance |- ! scope="row"| ''Escape from Planet Monday'' |

Released: 22 May 2006

Label: Breakbeat Kaos (BBK003)

Format: 12" LP, CD, download

| — || — |- ! scope="row"| ''Kryptonite'' |

Released: 16 August 2010

Label: Breakbeat Kaos (BBK006)

Format: 12" LP, CD, download

| 167 || 4 |}

Compilation albums

{|class="wikitable plainrowheaders" style="text-align:center;" border="1" |- ! scope="col"| Title ! scope="col"| Album details |- ! scope="row"| ''Breakbeat Kaos'' |

Released: 18 August 2003

Label: Ministry of Sound (MOSCD 74)

Format: 12" LP, CD

|- ! scope="row"| ''Jungle Sound: The Bassline Strikes Back!'' |

Released: 4 October 2004

Label: Breakbeat Kaos (BBK #001CD)

Formats: 12" LP, CD

|- ! scope="row"| ''Bass Invaderz'' |

Released: February 2005

Label: Human Imprint Recordings (HUMA8014-2)

Formats: 12" LP, CD

|- ! scope="row"| ''Jungle Sound: Gold'' |

Released: 13 November 2006

Label: Breakbeat Kaos (BBK #001CD)

Formats: CD, Digital Download

|- |}

Singles

— — — — — 6 11 1

rowspan="2"	Year	Song	Chart positions							Album
!style="width:4em;font-size:85%;"				!style="width:4em;font-size:85%;"			!style="width:4em;font-size:85%;"				!style="width:4em;font-size:85%;"			!style="width:4em;font-size:85%;"			!style="width:4em;font-size:85%;"					!style="width:4em;font-size:85%;"
2003		60	—	|	—	—	—	—	rowspan="1"	''Non-album single''
		73	|	—	—	—	—	—	rowspan="1"	''Escape from Planet Monday''
	68	|	—	—	—	—	—	''Non-album single''
		—	|	—	—	—	—	—	rowspan="1"	''Escape from Planet Monday''
		—	|	—	—	—	—	—	rowspan="3"	''Kryptonite''
	align="left"	24	|	2	—	—	39	32
align="left"	"Lassitude" (with Sigma and Koko)	98	|	8	—	—	—	—
rowspan="1"	2011	align="left"	1	|	1	96	22	4	1

Other Singles/EPs

Singles/EPs

Morning Glory / Thunder and Rain

Innocence (with Fierce) / Rehab (Ed Rush & Optical)

Dead Man Walking / Formula One

Signal / Big Love

The Original Junglesound (with Adam F)

Dalicks / Temple of Doom*

Colossus / Hooded

Submarines

Twister / Capture the Flag

Cactus Funk '02

All That Jazz (ft. Darrison)

Funk Academy

Supernature (Baron vs. Fresh) / Farenheit (Baron)

Supernature (Baron vs. Fresh) / The Shakedown (Baron)

Nervous (ft. Mary Byker from Apollo 440) / Matador

The Immortal

Exhale

Balloons (Thinking In Reverse)

Steam (Rock Out)

Clap / Exhale (Inhale remix)

All That Jazz (Mosquito Remix) / Windrush (Heist Remix)

Blow (with MC Ivory vs Deekline & Wizard)

Heavyweight / Fantasia

Hypercaine (ft. Stamina MC & Koko)

Off World / Direct Order (DJ Fresh / The Funktion)''

Remixes

Year	Song	Original Artist	Album
	Here Comes Trouble		''Here Comes Trouble - A Decade of Drum and Bass''
Twist 'Em Out	''Twist 'Em Out / Kids Stuff''
Mo' Fire	Andy C	''Nightlife''
	Cuban Links	DJ Clipz	''Cuban Links (Fresh Remix) / Tripods''
Thugged Out Bitch	Dillinja	''Spectrum'' (with Lemon D)
	Enuff	DJ Shadow	''Enuff / This Time''
	I Want You	Paul Harris vs Eurythmics	''I Want You'' (White label release)
Cross My Heart (Raw and Club Mixes)	Skepta (ft. Preeya Kalidas)
	Together		''Together''
Broken Record	Katy B	''Broken Record''
Right Beside You	Jakwob (ft. Smiler)	''Right Beside You''

Duets/As a Featured Artist

Year	Song	Album
	Mutated (Version X)
Sandstorm (Sunrise)
U-Boat
Chain of Thought
	Sausage Dog	''3rd Planet'' (EP)
Switch	''21st Century Drum and Bass 3''
Warehouse Lick (with Trace)	''Spy Technologies 2: Battlefield''
Living Daylights
	Floodlight
Play Me (with Swift) (Swift & Blame Remix)
	Living Daylights II	''The Immortal''
Ease Down
Trick of the Light
2008	All That Jazz (VIP mix)	''Bryan G & MC Skibadee Live @ Movement Bar, Rumba''
	X-Project (VIP mix)	''Heist's Mystery FM''
Spaceface
Lazer Squad

Music videos

Year	Song	Albums	Director
	''Nervous''	''Escape from Planet Monday''
	''Hypercaine''	rowspan="3"
	''Gold Dust''
''Lassitude''
	''Louder''	''Non-album single''	Ben Newman

See also

Breakbeat Kaos

Drum and bass

Dogs On Acid

Dubstep

Jungle

Pendulum

References

External links

Category:Living people Category:1977 births Category:English drum and bass musicians Category:English DJs

be-x-old:Fresh de:DJ Fresh it:DJ Fresh ru:DJ Fresh

Coordinates	34°03′″N118°15′″N
name	Flux Pavilion
background	non_vocal_instrumentalist
birth name	Joshua Steele
alias	Bubbles
death date
genre	Dubstep
occupation	Producer, DJ
years active	2008-Present
label	Circus Records
associated acts	Doctor P
website
notable instruments	}}

Joshua Steele, known professionally as Flux Pavilion, is an English dubstep producer and DJ. He is the co-founder of Circus Records, along with Doctor P and DJ Swan-E. He is best known for his 2011 single "Bass Cannon", which peaked at number 56 on the UK Singles Chart, and was placed on the Radio 1 A-List. Along with Doctor P, Flux Pavilion presented the 2011 compilation album ''Circus One'', to which he contributed four tracks. In August 2011 his track "I Can't Stop" was sampled by producer Shama “Sak Pase” Joseph for hip-hop album, ''Watch the Throne'' by Jay-Z and Kanye West.

== Discography ==

Singles and EPs

Cheap Crisps / How Dare You (Junction 11 Digital, 2008) Boom EP (with Excision and Datsik)(Rottun Recordings, 2009) Fucking Noise / Kontroller (XS Dubz, 2009) Family Fortunes (With Trolley snatcha)(Dubmented Beats, 2009) Lines in Wax EP (Circus Records, 2010) Voscillate / Night Goes On (Circus Records, 2010)

Excuse Me (Circus Records, 2010)

Meathead (Circus Records 2010)

Stinkfinger (with Doctor P)(XS Dubz, 2010) How Rude 12" (with The Widdler)(Shift Recordings, 2010)

Cracks-Freestylers (Flux Pavilion remix)

Gold Dust-DJ Fresh (Flux Pavilion remix)

Bass Cannon (Circus Records, 2011)

Louder (Flux Pavillon & Doctor P remix, 2011)

Compilations

Doctor P and Flux Pavilion - Circus One

References

External links

Category:Living people Category:English record producers Category:English DJs Category:Dubstep musicians

hu:Flux Pavilion

Coordinates	34°03′″N118°15′″N
name	Sian Evans
background	solo_singer
birth date	October 09, 1973
origin	Welsh / British
genre	Trip hop, Drum and bass, Rock, Synthpop
years active	1999–present
associated acts	Kosheen, DJ Fresh
notable instruments	}}

Sian Evans is a Welsh singer/songwriter from Caerphilly, United Kingdom, born October 9, 1973. She is also a member of the drum and bass band Kosheen where she has found major success across Europe.

Career

Sian was invited to sing on songs written by Markee Substance and Darren Decoder in 1998 and Kosheen was formed. She has also done other work with Simon Kingman and played live at Glastonbury 2008.

In 2011, she featured on DJ Fresh's song, "Louder", which was used as part of a Lucozade Lite advertising campaign in the UK and Ireland. The song was released on the July 3, 2011. It debuted at number one on the UK Singles Chart, Download Chart, UK Dance Chart, UK Indie Chart and the Scottish Charts with first week sales of 140,000 copies. It also peaked number four on the Irish Singles Chart based on UK success.

Evans also appears on several tracks on Roger Shah's artist album Openminded!?. A new version of "Hide U" along with two other original tracks "In The Light" and "Shine" all appear on the album.

Discography

With Kosheen

As a featured artist

— 1

rowspan="2"

Year

Song

Chart positions

Album

!style="width:4em;font-size:85%;"

!style="width:4em;font-size:85%;"

!style="width:4em;font-size:85%;"

!style="width:4em;font-size:85%;"

!style="width:4em;font-size:85%;"

!style="width:4em;font-size:85%;"

rowspan="1"

2010

—

—

|

—

—

—

rowspan="2"

''Non-album single''

align="left"

1

|

1

22

4

1

References

External links

Interview with Sian

Category:1973 births Category:Living people

de:Sian Evans