
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- Duration: 10:00
- Updated: 09 Jan 2013
- published: 31 Jan 2007
- views: 8856302
- author: DjRavine
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(David Bowie/Brian Eno/Carlos Alomar)
I'm home, lost my job, and incurably ill
You think this is easy, realism
I've got a girl out there, I suppose
I think she's dancing
Feel like Dan Dare lies down
I think she's dancing, what do I know?
I am a D.J., I am what I play
Can't turn around no, can't turn around, no, oh, ooh
I am a D.J., I am what I play
Can't turn around no, can't turn around, no, oh no
I am a D.J., I am what I play
I got believers (kiss-kiss)
Believing me, oh
One more, weekend, of lights and evening faces
Fast food, living nostalgia
Humble pie or bitter fruit
I am a D.J., I am what I play
Can't turn around no, can't turn around no, ooh
I am a D.J., I am what I say
Can't turn around no, can't turn around, ooh
I am a D.J., I am what I play
I've got believers (kiss-kiss)
Believing me
I am a D.J., I am what I play
Can turn around no, can't turn around
I am a D.J., I am what I play
Can turn around no, can't turn around
I am a D.J., I am what I play
Can turn around no (kiss-kiss)
Time flies when you're having fun
Break his heart, break her heart
He used to be my boss and millions of puppet dancer
I am a D.J., and I've got believers
I've got believers
I've got believers
I've got believers in me
I've got believers
I am a D.J., I am what I play
I am a D.J.
All of the D.J.'s surely have taken a lesson
Start talking trash and I'll come with my Smith and Wesson
A little competition comes my wayBittybye but it always winds up the same
Ah but the stone that the builder refuse
Shall be the end corner stone
And there ain't nothin' wrong, ain't nothin' right
And still I sit and lie awake all night
Oooh all of the D.J.'s surely have taken a lesson
Try talking trash and I'll come with my Smith and Wesson
Enough D.J.'s come, enough, enough stylee
But when I bust my lyrics we all know it's wicked and wily
Ain't nothin' wrong, ain't nothin' right
And still I sit and lie awake all night
Oooh you finish that with your gat if you wanna walk with me
You bound to come down with the new stylee
Rock a rubadub known as reggae music
You gonna come down with the new lyrics
'Cause it just ain't no thing, oh, I said it's been a real long time
Ain't nothin' wrong, ain't nothin' right
And still I sit and lie awake all night
Ah Dreddy's got a job to do but he might fulfill his mission
To see his pain will be his greatest ambition
We will survive in this world of competition
Truly God set around the nation, bo bo bo ...
I won't wait so long, ooh
I said I won't wait so long for you, ooh, ooh
See now, ooh, woh
Stop your messing around
Better think of your future
Time you straighten right out
Or you'll wind up in jail
She's heading for the high street
They end up in a club instead
She wants to take a back seat
But the tunes get inside her head
He said it's just the music baby
Don't matter if we stay out late
Her eyes are so tired and heavy
She hears the last song of the night
Hear a sound turn around it's all in the breathing
And it's clear in the air like stars in the sky
Hear a sound turn around it's all in the breathing
Hold me tight, just hold me tight
Close your eyes to the DJ
Close your eyes and fade away
Making out to the DJ
Making out to the DJ
She wakes up in the morning
The tunes still inside her head
He said they'd go on Saturday
And take here to the club again
As she moves a little closer to kiss him
He only feels the cold night air
He's never going to keep his promise
She's never going to see him again
Hear a sound turn around it's all in the breathing
And it's clear in the air like stars in the sky
Hear a sound turn around it's all in the breathing
Hold me tight, just hold me tight
Close your eyes to the DJ
Close your eyes and fade away
Making out to the DJ
Making out to the DJ
Whenever she hears that sound she turns around, he's not around
The music she knows so well will save her now, save her now
Hear a sound turn around it's all in the breathing
And it's clear in the air like stars in the sky
Hear a sound turn around it's all in the breathing
Hold me tight, just hold me tight
Close your eyes to the DJ
Close your eyes and fade away
Making out to the DJ
I am the DJ
I never give up
And I like to meet you
dj! don't do this to me
I've been with someone else
I've been with someone we both need
dj! don't you dare to leave
I tried to figure out what others did
dj! am I pure and clean?
I tried to do my best
I tried to be the girl of your dreams
dj! don't you fuck with me
I tried to be the one
and now I'm on my knees
slow down!
oh baby! it will take years
it's not what it seemed to be
slow down!
oh baby! it will take years
pray hard to get to be here
dj! don't do this to me
I tried to do my best
I tried not to sing out of key
dj! don't you dare to leave
I tried to be the one
I drive all night till early morning light
And still can’t make it home
The hours seem long
I flip the radio on
And hear my favorite song
Won’t you play it play it play it Mr. D.J.
And please don’t take all night
Won’t you play it play it play it Mr. D.J.
And I hope you get it right
I’m under pressure my mind’s an all out war
I’m on a train take a backstreet
Just like Joey Strummer said
Big brother watching you like it’s 1984
No rebel truce no train in vain no Sandinista
I wanna hear some more
The ticking of the clock
The minutes never stop
It’s proof that time goes by
The hours seem long
I flip the radio on and hear that D.J. guy
Won’t you play it play it play it Mr. D.J.
And please don’t take all night
Won’t you play it play it play it Mr. D.J.
And I hope you get it right
I’m under pressure my mind’s an all out war
I’m on a train take a backstreet
Just like Joey Strummer said
Big brother watching you like it’s 1984
No rebel truce no train in vain no Sandinista
I wanna hear some more
London’s Calling no London’s Burning
And I’m listening to the clash
I’m lost in the supermarket
I can’t get no spending cash
I’m under pressure my mind’s an all out war
Всеки път си казвах: "Не е тя".
Всеки път си казвах, че греша.
Всеки път си казвах, че ще спра.
Срещнах я, това е любовта.
Всеки си ден се плашех,
ще мога ли да издържа?
Всеки ден на сляп се правех,
за грешките ти в любовта.
Ако можеше небето
с гръм един да ме срази.
Ако можеше луната
моите очи да ослепи.
Припев: (х2)
Всеки път си казвах: "Не е тя".
Всеки път си казвах, че греша.
Всеки път си казвах, че ще спра.
Срещнах я, това е любовта.
Де да можех да те укротя
и с вериги да те окова,
звяр във кожа на човек
но омайваш всички хора!
Хищник страшен и свиреп
ден да дойде ще ти сложа ножа
Припев: (х2)
Дай ми само аз отдолу
да те хвана пак на голо
ще забравиш що е ритъм!
Що е ритъм ах да те питам!
I need something I can dance to,
On and on, spin my world, like a record now
On and on, give me something I can dance to
Something I can count on, on and on,
Spin my world, like a record now,
On and on, I need something I can dance to
And every night I play, it let me,
Can you hear me now DJ,
Just let the music play, just let me
Just let the muic play, let the music play
I could be dancing,
I could be dancing all night,
If you'd play,
I would be dancing,
I would be doing alright,
If you'd play
I need something I can turn to,
Now and then, take me out, out now,
On and on, I need something I can turn to,
Something I can count in,
Day and night, on and on, like a record now,
Out now, I need something I can dance to
And every night I play, it let me,
Can you hear me now DJ,
Just let the music play, just let me
Just let the music play, let the music play
I could be dancing,
I could be dancing all night,
If you'd play,
I would be dancing,
I would be doing alright,
If you'd play
If you'd play,
If you'd play
I could be dancing,
I could be dancing all night,
If you'd play,
I would be dancing,
I would be doing alright (alright),
If you'd, you'd, you'd, you'd play
If you'd play (if you'd play)
I would be dancing,
I would be doing alright (alright),
If you'd play (DJ),
Just let the music play, let the music play,
Just let the music play, all night, alright,
Just let the music play, let the music play,
All night, let the music play,
All night, just let the music play,
Let the music play, alright,
You're gonna rock to this
You're gonna rock to this
10 o'clock
Weekend, bout to head out to the garden of eden
Got my shelltoes and my kangol
Before I hit the door I got to grab my cellphone
Bout to call my boys at see what's up?
Are you rolling with the chick or what?
Meet me at the spot
I'll be the one round the back in the drop top
Dj, Give me a beat i can rock to
I want a joint you can drop to
The ceiling is caving in
The speakers is rumbling
Turn it up, bump the base
'Cause we bout to tear the roof off this place
Shake ya ass
Cheak ya glass
Put your hands up, let the track blast
This beat's so ridiculous
I think the dancefloor's about to bust
Everybody on the wall
Better press it 'cause it's about to be the last call
We aint trying to leave the club
Now let me show you how to get a crunk
Hit the floor, lock the door
It's time to go
If you came to dance, clap your hands
Ladies grab your man and
Feel the base, go uhh-uhh
All in your face go uhh-uhh
Give me a beat i can
I want a joint you can rock to
Give me a beat i can
Summer storms in benidorm an essax jubilee
Vicious brits with kissing lips have made a saint of
Bubble gum means nothing now that punks no longer lean
Ill make do with queues and right-wing views and
Nothing in between
Ahnds full of real me you can feel that i don't mind
I...
Don't mind
You're all i need you're everything to me
Another friday night
And the weekend's just begun
Everyone is dressing up
'cause it's time to have some fun
Tonight live all your fantasies
Tonight play it on and on
Chorus
Dj show us what you got
Keep our bodies moving turn the music up
Dj don't you ever stop
You know what to play
To make this party rock tonight
Everyone's feeling good
Smiling faces everywhere
So if you're in the mood
Put your hands up in the air
Tonight live all your fantasies
Tonight play it on and on
Chorus (2x)
Keep my body movin' turn the music up
Keep my body movin' turn the music up
Turn it up
Keep my body movin' turn the music up
Keep my body movin' turn the music up
Tonight live all your fantasies
Tonight play it on and on
On and on and on
Chorus (2x)
Keep my body movin' turn the music up
Keep my body movin' turn the music up
Turn it up
Keep my body movin' turn the music up
The Beatles sang a song about a hard days night
Elvis used to sing about Mama it's alright
It's alright but you're breaking my heart
DJ know we've been working this hard
So come on...
So come on...
Have a listen to this song for a minute or three
Do you understand what we want it to be
Name your price no need to be low
Maybe one or two tickets to Mexico
So come on...
So come on...
Hi, everybody this is Sam your record man
With your favourite tunes all night every way you like
Hey, here's a real goodie for all you frustrated song
writers out there
How about a free trip to Mexico for the composer of the
best pop song
With a Latin American beat in our listen area
All you have to do is put it down on a paper and send
it in
And well announce the winner next week
Then it's off to south of the border for a fun week in
the sun for some lucky listener
Are you ready, then lets go
Do you like a rum cola
In a Mexican style
Do you like to meet a lady?
To go dancing tonight, dance to night
Lalalalalalalalala
What's it gonna be, say it to me
Anything special, special for me
What will you do when you got what you want
Gimme some time first play this song
So come on..
So come on...
Well it looks like we just might have a winner
But a, I think we'll have to have a little business
meeting
With our top three lovely finalists
We'll a keep you posted on the results ok?
And now it's coming up on 9:25
And the weather outside our studio looks
Too good to be true
So role down you car windows and don't you forget to
Stay tuned in all night every night
Est-ce qu'on est pr?t dans tes soir?es pour le set de mon DJ
Commence ? dire autour de toi qu'il est en forme sur le mix
Fait chauffer les "Technics" avant qu'il pose ses doigts dessus
Si dans la nuit tu veux qu'on cause vinyl et de quoi je suis tox
Quand je me brisais les reins sur les platines de Kheops
On refera l'histoire du Hip Hop et la valeur de leur place
Je d?die ce morceau ? ceux qui scratchent ? ma place
Hey DJ ! Sauve ma vie cette nuit
J'ai le coeur bris? comme "Indeep" sans ce maxi
Met-nous le son que je kiffe en ce moment, allez !
Il n'y a que toi qui sait comment le jouer
Fait leur comprendre qui est la base
Fait leur ?couter ce "bootleg" que les derniers jazeurs ?crasent
En phasing, en fondu, d?cale si tu veux
Mais fait honneur au nom rien que pour eux
Refrain
DJ donne plus de son
Fait moi boujer ce bordel pour de bon ici
Cut Killer enchaine les deux MK2 dans ce club, oui je veux
Rester, tiser, d?dier cette s?rie rien que pour eux
Faire honneur encore une fois
Comme un classique je suis l? pour maintenir le dancefloor
Il me faut une face B, un mic, un son putain de fort
Dans le sens du partage je f?te mes 15 ans d'antenne
Respect au DJ's sur la FM
Si tu mixe par amour je sais ce que tu ressent
Devant les bacs chez ton disquaire je sais ce que tu prend
Rien ? foutre des ventes, des classements ou de l'air-play
Voil? ma tuerie en double ? tester
Fait les danser encore jusqu'au bout de la nuit
Fait leur oublier leurs bl?mes, qu'ils respirent ton envie
Je passerai le mot, dirais aux nouveaux qui sont les murs ma?tres
Que leurs anciens ont fait du rap ce qu'ils essayent de conna?trent
? chaque remix continu l'histoire
Dans chaque "battles" je retrouve un peu la m?moire
Transforme, cut ou pass-pass, comme tu veux
Mais fait honneur au nom rien que pour eux
Refrain
Je pense au Double H, Turntable Dragunz, Don't Sleep,
Dj Sample, Desh, Fonky Maestro,
Double Face, Crazy B et Faster J
She took a cab uptown
And if you didn't talk to her
You know what, well, you deserve it
She was at your athletic center
She was looking really tan
No longer dating stan
And you say
"oh, girl, what do you mean
When you say you'll go clean?
You're the laughter of that little boy."
So many little pecks that's how she likes to kiss
Where's the music?
Where's the dj tonight?
Where's the dj tonight?
In this soho palace,
My golden bracelet gleams
I'm a policeman's dream
As he dozes off on prince street, yeah
She's cooking in a frying pan
Watching the shadows made by sycamores
And she says
That sometimes in my sleep
I hear the bugs on the wall
And sometimes they fall
And then they used to wake me
Just like angels...
And you say
"oh, girl, what do you mean
When you say you'll go clean?
You're the laughter of that little boy."
So many little pecks that's how she likes to kiss
Where's the music?
Where's the dj tonight?
DJ, play that song a little louder
I gotta, gotta get him outta my head
Gotta dance the pain away
Can’t go to sleep just yet
My baby, he left me high and dry
Can’t be the man for me
Said he can’t tell me why
He told me that he loves me
But he’s gotta be alone
He doesn’t need me anymore
Wants to do it on his own
He said he doesn’t wanna run
But we hold each other back
I love him so hard,
I would fall off track
DJ, play that song a little louder
I gotta, gotta get him outta my head
Gotta dance the pain away
Can’t go to sleep just yet
DJ, can’t you play a little harder?
I gotta, gotta get farther outta the zone
I need the beat for release
I can’t get it on my own
How could he say that
He loves me unconditionally,
But still put so many rules
And restrictions on me?
He told me, “No one’s gonna love you
As much as I do,
But I can’t be the man
That you need me to."
He just couldn’t hold my hand,
But he couldn’t let me go
Was afraid that I found someone
That loves me more
So he keeps me in his trap
While he walks out the gate
He knows he’s gonna come back,
He knows that it’s too late
Save me, save me,
This boy is trying to break me
I’m feeling it, I’m feeling it
I need someone to take me
DJ, play that song a little louder
I gotta, gotta get him out of my head
Gotta dance the pain away
Can’t go to sleep just yet
DJ, can’t you play a little harder?
I gotta, gotta get farther outta the zone
I need the beat for release
A disc jockey, also known as DJ, is a person who selects and plays recorded music for an audience. Originally, "disc" (sometimes spelled "disk", although this is now uncommon) referred to phonograph records, not the later Compact Discs. 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, or discothèques, or at parties or raves, or even in stadiums. 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.[1] Mobile DJs travel with portable sound systems and play recorded music at a variety of events.
Contents |
Club DJ equipment may consist of:
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:
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.
Parts of this section (those related to The history section of this article needs to be updated, starting with the end of 1999 to the start of 2011.) may no longer be up to date. Please update this section to reflect recent events or newly available information, and remove this template when finished. Please see the talk page for more information. (May 2012) |
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.[2]
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.[3][4]
We used popular records at that time, mainly Caruso records, because they were very good and loud; we needed a boost... we started on an experimental basis and then, because this is novel, we stayed on schedule continually without leaving the air at any time from that time on except for a very short time during World War I, when the government required us to remove the antenna... Most of our programming was records, I'll admit, but of course we gave out news as we could obtain it...[3]—Ray Newby, I've Got a Secret (1965)
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 1935, American radio 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.[5]
Prior to this, most music heard on radio was live; most radio stations had an orchestra or band on the payroll.[6][7] 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.[5] 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.[5]
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, and in 1958 became a radio DJ at Radio Luxembourg. 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.
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 (1300 AM) in Cleveland, Ohio, DJ Bill Randle was one of the first to introduce Elvis Presley to radio audiences in the northeastern US.[8]
Notable US radio disc jockeys of the period include Alan Freed, Wolfman Jack, Kasey Kasem,[9] and their British counterparts such as the BBC's Brian Matthew, Radio London's John Peel, and later in the 60s, Radio Caroline's Tony Blackburn.[10]
Freed is commonly referred to as the "father of rock and roll" due to his promotion of the music and his introduction of the phrase "rock and roll" on radio in the early 1950s. Freed also made a practice of presenting music by African-American artists rather than cover versions by white artists on his radio program. Freed's career ended when it was shown that he had accepted payola, a practice that was highly controversial at the time, resulting in his being fired from his job at WABC.[11]
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 continued to be a problem and one result of 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.
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. (This technique had long been used in radio.)
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 an 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,[12] 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.
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.
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 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.
Jason Jollins performing at Pacha, Buenos Aires
Jeff Mills, live with 3 CD and a Roland TR-909 drum machine, 2007
Trance DJ Ferry Corsten in Canada
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DJ Fresh | |
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Background information | |
Birth name | Daniel Stein |
Also known as | DJ Fresh, Fresh, Mosquito, Absolute Zero |
Origin | England |
Genres | Drum and bass, Dubstep |
Occupations | Record producer, DJ, Musician |
Years active | 1996–present |
Labels | 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, Rita Ora, Dizzee Rascal. |
Website | http://www.thedjfresh.com/ |
DJ Fresh (born as Daniel Stein) is an English Drum & Bass and Dubstep producer and DJ. He was one of the principal members of drum & bass supergroup, Bad Company,[1] alongside Darren White (dBridge), Jason Maldini, and Michael Wojcicki (Vegas). He also owns and runs the pioneering drum & bass label Breakbeat Kaos with Adam F.
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Along with the three other members of Bad Company, Fresh founded the record label BC Recordings, as well as the website Dogs On Acid.[2] Bad Company are heralded as one of the finest drum & bass acts ever, having produced numerous genre-defining tracks. Undoubtedly their most renowned track is "The Nine", a track released in 1998 when Fresh was just 21 years old. "The Nine" was later voted the greatest drum & bass track of all time by readers of Knowledge Magazine[3]
Resuming his solo career in 2002, Fresh founded Breakbeat Punk, which merged with Adam F's Kaos Recordings to become Breakbeat Kaos in 2003.[4] 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, whom he signed to Breakbeat Kaos in 2005.[5]
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.
A 100% Pure Mix of X Project was featured in the video games Wipeout Pulse (2007) and Wipeout HD (2008).
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.[6] Fresh subsequently released "Hypercaine" (including a remix from Nero) in September 2009,[7] 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. 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.
The first single from his Third Album, "Louder" was released on July 3, 2011. The song was used as part of a Lucozade Lite advertising campaign in 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 was the first ever Dubstep Number 1 on the UK Singles Chart.
On February 12, 2012 the second single "Hot Right Now" featuring British/Albanian singer Rita Ora which became his second number one in the UK, and the first Drum & Bass song to chart at Number 1 in the UK. The third single from the album, "The Power",features Dizzee Rascal is due to be officially released on June 3rd 2012.
His third album is due for release in September 2012.
In late 2011, DJ Fresh began a new aspect of his career by launching 'FRESH/LIVE'. This live show incorporates a drummer, guitarist, vocalist, an MC and Fresh himself on keys to perform identical renditions of his studio-produced hits in live settings.
Fresh handpicked the musicians that made up the band, calling on people he had encountered at various stages of his career. On the drums was Kodish, a man with over ten years experience as a drummer in the drum & bass scene, having performed with such eminent acts as Moving Fusion, Bad Company, and Pendulum. Guitarist Richard de Rosa founded the Ska/Swing band Scubaroots, with whom he has performed to thousands of people at countless festivals. Seemingly a master of all trades, he also produced the band's album, was nominated for producer of the year at the 2011 South West Music Awards, and had previously performed on BBC Radio 1's Live Lounge with Example and Fresh. Vocalist Fleur exploded onto the scene after performing on X Factor to 9 million TV viewers in 2005 and had also previously performed with Fresh on Live Lounge, and with Ms Dynamite on 1Xtra. The MC comes in the form of Drum and Bass' rising star Messy MC, who has previously performed and toured extensively with Pendulum, The EZ Rollers, Nero, Camo and Crooked and the Hospital Records tour nights Hospitality. He also received the Award for Best Newcomer MC in 2010 at the DNBA Awards and was then subsequently nominated in 2011 for Best MC.
The UK-wide tour completely sold out, taking in seven prestigious venues: The Arches in Glasgow, Alexandra Palace in London, The Big Reunion in Skegness, Manchester Club Academy, Waterfront in Norwich, Concorde 2 in Brighton, and the Student Union in Leeds. FRESH/LIVE is set to return in Spring 2012.
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DJ Kentaro | |
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Origin | Tokyo, Japan |
Genres | Hip hop, electro, drum and bass |
Occupations | Musician, Disc Jockey |
Years active | 2000-present |
Labels | Ninja Tune |
DJ Kentaro is a hip hop DJ from Japan. He came 3rd in the Technics DMC World DJ Final in 2001 and won it in 2002 at the age of 20. In doing so, he became one of the first ever Asians to win the DMC World DJ Final, receiving the highest score in DMC history in the process.
He was signed to Ninja Tune independent record label and released a Solid Steel DJ mix album in September 2005, entitled On The Wheels of Solid Steel. The tracks on the album come exclusively from Ninja Tune's back catalogue.
Kentaro recently supported hip-hop artists The Roots and The Pharcyde. Kentaro is well-known for having remixed various songs of Japanese megastar Ayumi Hamasaki
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DJ Antoine | |
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![]() MC Roby Rob (left) and DJ Antoine (right). |
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Background information | |
Birth name | Antoine Konrad |
Born | June 23, 1975 |
Origin | Switzerland |
Genres | Electro House, House, Vocal House |
Occupations | DJ, record producer |
Years active | 1998–present |
Associated acts | Tom Dice, Mad Mark |
Website | http://www.djantoine.com/ |
Antoine Konrad (born June 23, 1975), better known as DJ Antoine, is a Swiss-Lebanese house and electro DJ and producer, from Beirut, Lebanon. He has had a number of successful single and album releases in Western Europe, in particular Switzerland and France. DJ Antoine's first notable release was the 2000 album Houseworks 01, and he has since released many albums in the last years. One of his releases, Jealousy (released in 2007) was one of his best selling albums.Also, In 2010, he released the summer hits "Welcome To St. Tropez (Feat. Kalenna)" and "Sunlight (Feat. Tom Dice).[citation needed]
With more than 1,5 million sold albums, 34 gold records, 5 platinum awards, 1 double-platin award and owning the record label „Houseworks“, DJ Antoine is the internationally most successful DJ of Switzerland.
His career officially took off in 1995, when he opened his club called House Café in the city of Basel. This club is the benchmark for the progress of the whole scene in Basel and the cult-parties are still in fond memories. After a short tip into the Swiss Hip Hop scene, DJ Antoine had quickly switched genre, getting hooked on the Pumping-House-Wave. In 1998, he released his first album “DJ Antoine – The Pumpin’ House Mix”. 1999 “Houseworks 1” won the first gold award. After that, things started to move very fast. Until this day, DJ Antoine has produced 51 CDs, strongly establishing his music and himself in the music and clubbing scene. Since 2003 he has been hosting his own weekly radio show, which is broadcasted by radio stations all over the world.
In 2006, DJ Antoine achieved his international breakthrough with the album “DJ Antoine – Live in Moscow” and the single “This Time”. Ever since, he has been a highly demanded act in popular and trendy clubs all over the world. Gigs in New York, Chicago, Miami, Montreal, Moscow, Dubai, Bangkok, Oslo, Vienna and Cairo have turned into a regular but exciting part of his everyday life. Acknowledging his international success, All Around The World Records, the electronic music label owned by Universal Music UK, Blanco y Negro Spain, Happy Music France, Emi Music South Africa, Ultra Records USA and Kontor Records Germany signed the single “This Time” in 2009.
The many awards he won in the recent years prove that DJ Antoine is one of the best in this industry. 2001 he won the Ericsson Dance Music Award for the best and most successful artist of the year 2000 in the category „House / UK Garage / Progressive House“. In 2008, DJ Antoine created a stir with his sociocritical album “DJ Antoine –Stop!”, on which he openly spoke out against juvenile violence, calling for more civil courage. In spring 2009, the record was priced with the Swiss Music Award for “Best National Dance Album”. The following year, he defended that title with his CD “DJ Antoine – 2009” and, on top of that, received the Swiss Prix Walo. In 2010 he achieved his biggest success in Switzerland so far: For his album “DJ Antoine – 2010” he was awarded with a platinum record. This platinum record was also nominated for this year Swiss Music Award in the category “Best Album Dance National”.
In the studio DJ Antoine works with his long-term business partner Fabio Antoniali also known as Mad Mark. Well-known musicians such as Mary J. Blige, P. Diddy, Pitbull, Cindy Lauper, Robin S., Roberto Blanco and Ivana Trump have had their tracks exclusively remixed by the two artists. In 2010, DJ Antoine produced songs for Timati, Snoop Dogg, DJ Smash and Bob Sinclar. That same year, the charismatic House-legend Mr. Mike joined the team as a vocalist, also accompanying the DJ to selected performances.
Another highlight of his career is now the first collaboration with Timati and Kalenna Harper (Dirty Money) for the hit single "Welcome to St. Tropez", which was released in Germany and Austria by none other than the dance label Kontor Records.
DJ Antoine keeps setting new trends with his music, attracting worldwide attention to his brand. Labels like Maurice Lacroix, Perrier-Jouët „Belle Epoque“ champagne and the Swiss custom tailor SuitArt all trust in his image. For VIP-Events, DJ Antoine has had the chance to work with nameable partners such as Sony Ericsson, Campari, Moonlight, Edo Popken, Crysler, Dodge, Maybach, Cadillac, Moet Hennessy, J. Lindeberg, Paco Rabanne and the German TV station Pro7.
Alongside his work as a DJ, Antoine Konrad manages his own production and booking companies Global Productions GmbH and Global Bookings. For his VIP-Events, he regularly creates extensive and individual concepts, in tune with the clients and guests needs and wishes. His exclusive event concepts represent lifestyle and luxury and he inspires his customers with his ideas. His team currently consists of ten employees, all based in Switzerland. Antoine has sold over 1,000,000 CDs,[citation needed] and runs his own labels, Houseworks and Egoïste. He has gained popularity all over Europe and also overseas in Canada and the United States.
DJ Craze | |
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Background information | |
Birth name | Aristh Delgado |
Born | Managua, Nicaragua |
November 19, 1977
Origin | Miami, Florida, United States |
Genres | Hip hop, Miami bass, Dubstep, drum n bass |
Occupations | Record producer, DJ |
Instruments | Sampler Turntable |
Years active | 1997 – present |
Labels | Slumerican Records, Cartel Records, Slow Roast Records |
Associated acts | Yelawolf, A-Trak, DJ Shiftee |
Website | Craze |
DJ Craze (November 19, 1977-), born Aristh Delgado, is a Nicaraguan American DJ who plays hip hop, Miami bass, breaks, Dubstep, drum n bass, and practices turntablism.[1] He is the only solo DJ in history to claim the DMC World DJ Championships trophy three times consecutively (1998–2000).[2]
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DJ Craze was born in Managua, Nicaragua. At the age of 3, in 1980,[1] he fled the country with his family during the war which lasted throughout the 1980s.[2] Craze and his family moved to San Francisco, California, where they lived for a short while, before moving to Miami, Florida, where he currently resides.[3]
The style of his music carries many of his past musical influences. Initially influenced by the Miami Bass movement when he was younger, Craze has gone on to incorporate elements of hip-hop, drum n bass, and breaks in his turntable routines. Recently, Craze has shifted his emphasis to DJ'ing and producing drum n bass with his own record label "Cartel".
Craze released his first album in 1999, Crazee Musick, and a second in 2002, Scratch nerds. He also released an album called D-Day in 2002 with his turntable crew, The Allies.[4]
Craze has released two of the most popular battle records ever, "Bully Breaks" and "Bully Breaks 2".
Craze was Kanye West's DJ for his Glow in the Dark tour in 2008 while A-Trak worked on his Fool's Gold record label and tour.
Craze was featured on the Native-Instruments website demonstrating the Traktor X1 Controller.
Recently, Craze created his own record label with fellow DJ & friend Kill The Noise, Slow Roast Records. Slow Roast is distributed by Fool's Gold, the record label shared by A-Trak and Nick Catchdubs. Other than Craze and Kill The Noise, Klever and Senor Stereo also release material under the Slow Roast label.[5]
In February 2011 DJ Craze and DJ Shiftee worked together, spinning on-stage with controllerist and Traktor S4 consultant Ean Golden at Club EVE in downtown Miami for the Midi Fight Club event. Between the two of them, DJ Craze and DJ Shiftee had 7 DMC world championships behind them. The event highlighted the use of Native Instruments controllers, such as the X1, S4 and Maschine.[6]
In September 2011, DJ Craze became Yelawolf's DJ, and signed a deal to his label Slumerican Records. He was featured on Yelawolf "Hard White Tour", along with Rittz.
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