Club Eifel's DJ Blaze performing at the 2009 Air Force Ball.

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.

Equipment and techniques[link]

Technics 1200 MK2, Technics 1210 MK2 & Pioneer DJM-500 shown in a common DJ configuration

A DJ at Sundance Film Festival 2003

Club 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 (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 subharmonic 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.
• A Midi Controller used to trigger different aspects of DJ Software, such as Serato Scratch Live, Virtual Dj, and Traktor.

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[link]

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)

19th century to 1920s[link]

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.

1930s–1950s[link]

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.

1960s and 1970s[link]

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.

1980s[link]

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[link]

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.

Photo gallery[link]

• 

  Club Sevillas's DJ 2CAN performing in a local club in the Inland Empire of California.

• 

  Romina Cohn @ Sobremonte (Mar del Plata, Argentina)

• JasonJollinsPachaBsAs.jpg

  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

• 

  DJ Hazel

• 

  Dj Markus radio Dj (exDFM)

See also[link]

• Computer DJ
• Digital DJ licensing
• Disc or disk (spelling)
• Live PA
• Mixset
• Record collecting
• Seoul World DJ Festival

Notes[link]

References[link]

• 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.
• Corrado Rizza, Marco Trani, "I love the nightlife"' Wax Production (Roma), 2010
• 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[link]

Wikiquote has a collection of quotations related to: Disc jockey

Wikimedia Commons has media related to: Disc jockey

• DJs at the Open Directory Project

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (December 2010)

Barry Upton (born 25 February 1954, Hastings, Sussex) is an English songwriter, arranger, musician and producer of various forms of pop music. He is also a audio engineer and stage performer having appeared around the world in various capacities.

Career[link]

In the early 1980s, Upton was a member of Brotherhood of Man, appearing in concert with them internationally. Although not a member of the band at the time of their Eurovision win, he was their musical arranger and co-wrote a lot of their material during his time with them. In 1997 he created the million selling pop band, Steps.

His writing and/or production credits include:

• DJ. Pattaya People Radio

References[link]

External links[link]

• Official website

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (March 2010)

Adriano Celentano
Background information
Born	(1938-01-06) 6 January 1938 (age 74)
Origin	Milan, Italy
Genres	Pop, rock
Occupations	Singer-songwriter, musician, actor, director, television presenter
Instruments	Vocals, guitar
Years active	1957–present
Labels	Jolly, Clan Celentano
Associated acts	I Ribelli, Mina
Website	www.clancelentano.it

Adriano Celentano (Italian pronunciation: [adriˈano tʃelenˈtano]; born 6 January 1938) is an Italian singer, songwriter, comedian, actor, film director and TV host.

Celentano is the best-selling artist in Italy with Mina, and the best-selling male italian singer with more than 150 million records to date.^[1][2]

Biography[link]

Celentano was born in Milan at 14 Via Gluck, about which he later wrote the famous song "Il ragazzo della via Gluck" ("The boy from Gluck Street"). His parents were from Foggia, in Apulia, and had moved north for work.^[3]

According to urban legend, before beginning his singing career, Celentano was a student of Ghigo Agosti during Agosti's 1955-1956 Northern Italian tour, which was also guitarist Giorgio Gaber's debut.

Heavily influenced by his idol Elvis Presley and the 1950s rock revolution and by the American actor Jerry Lewis,^[4] he has retained his popularity in Italy for the last 40 years, selling millions of records and appearing in numerous TV shows and movies. In the latter respect, he has also been a creator of a comic genre, with his characteristic walking and his facial expressions. For the most part, his films were commercially successful; indeed in the 1970s and part of the 1980s, he was the king of the Italian box office in low budget movies. As an actor, critics point to Serafino (1968), directed by Pietro Germi, as his best performance.

As a director he frequently casts Ornella Muti, Eleonora Giorgi and his wife Claudia Mori. He and Claudia have three children; Rosita, Giacomo and Rosalinda Celentano, most notable to worldwide audiences for playing Satan in Mel Gibson's The Passion of the Christ. He also often works as a host on several Italian television shows.

He has released forty albums, comprising twenty nine studio albums, three live albums, and eight compilations. His most famous songs are "La coppia piu' bella del mondo", which sold over one million copies, and was awarded a gold disc;^[5] "Azzurro" (1968), written by Paolo Conte; and "Prisencolinensinainciusol" (1972).

Celentano was referenced in the 1979 Ian Dury and the Blockheads song and single, "Reasons to be Cheerful, Part 3", as one of the aforementioned "reasons to be cheerful," and in Fellini's 1986 film Ginger and Fred.

Adriano Celentano has been a vegetarian since 2005 and defends animal rights.^[6]

Discography[link]

Albums[link]

Studio albums

• 1960: Adriano Celentano with Giulio Libano and his Orchestra - Jolly LPJ 5008
• 1960: Furore - Jolly LPJ 5017
• 1962: Peppermint Twist - Jolly LPJ 5021
• 1963: A New Orleans - Jolly LPJ 5025
• 1965: Non mi dir - Clan, ACC 40002
• 1966: La festa - Clan, ACC 40006
• 1966: Il ragazzo della via Gluck - Clan, ACC 40007
• 1968: Azzurro/Una carezza in un pugno - Clan, ACC 40011
• 1968: Adriano rock - Clan, BF 501
• 1969: Le robe che ha detto Adriano - Clan, BF 502
• 1969: Pioggia di successi
• 1970: Il forestiero - Clan, BFM 700
• 1971: Er più - Storia d'amore e di coltello - Clan, BFM 602
• 1972: I mali del secolo - Clan, BFM 701
• 1973: La storia di uno... Adriano Celentano
• 1973: Nostalrock - Clan, CLN 65764
• 1975: Yuppi du - Clan, CLN 69120
• 1976: Svalutation - Clan, CLN 86013
• 1977: Disco dance - Clan, CLN 86026
• 1977: Tecadisk - Clan, CLN 86033
• 1978: Ti avrò - Clan, CLN 20053
• 1978: Geppo il folle - Clan, CLN 20099
• 1979: Il concerto di Adriano - Clan, CLN 22203
• 1979: Soli - Clan, CLN 20150
• 1980: Un po' artista un po' no - Clan, CLN 20201
• 1980: Tu non mi lascerai
• 1981: Deus - Clan, CLN 20257
• 1982: Uh... uh... - Clan, CLN 20324
• 1982: Storia d'amore
• 1983: Atmosfera - Clan, CLN 20380
• 1984: I miei americani - Clan, CLN 20445
• 1985: Joan Lui - Clan, CLN 20485
• 1986: I miei americani 2 - Clan, CLN 20545
• 1987: La pubblica ottusità - Clan, CLN 20699
• 1991: Il re degli ignoranti - Clan, 9031 74439-1
• 1994: Quel punto - Clan, 4509 97319-1
• 1996: Arrivano gli uomini - Clan, CLCD 74321 381192
• 1998: Mina Celentano - Clan/PDU, 90011 (by Mina and Adriano Celentano)
• 1999: Io non so parlar d'amore - Clan, CLN 13641
• 2000: Esco di rado e parlo ancora meno - Clan, CLN 20482
• 2002: Per sempre - Clan, CLN 20511
• 2004: C'è sempre un motivo - Clan, CLN 20551
• 2005: C'è sempre un motivo + L'Indiano - Clan, CLN 20551
• 2007: Dormi amore, la situazione non è buona - Clan, CLN 2058
• 2011: Facciamo finta che sia vero - Clan, CLN 2098

Collection albums

• 1969: Pioggia di successi - Clan, BF LP 506
• 1970: Adriano hits - Clan, BF LP 600 nostal rock
• 1973: La storia di uno...Adriano Celentano - Clan, CLN 68215
• 1975: Il meglio di Adriano Celentano - Clan, CLN 69133
• 1978: Celentanando - Clan, 1978 CGD / CLAN
• 1979: Antologia ('57-'80) - Clan, CLN 22504
• 1980: Il tempo se ne va compilation musica
• 1982: Il cinema di Adriano - Clan, CLN 25037
• 1983: Le volte che Adriano è stato primo - CLN 20391
• 1988: Antologia '57-'87 (6 discs) - Clan, CLN 77002
• 1992: Superbest - Clan, 4509 91216-1
• 1995: Alla corte del ReMix - Clan, CLCD 74321 331042
• 1997: Le origini di Adriano Celentano vol.1 - RTI Music, 11611
• 1997: Und immer Azzurro - Seine 20 größten Erfolge 1962-1997 - Clan, CD 74314905623
• 1999: Le origini di Adriano Celentano vol.2 - Clan, 496155
• 2000: Questa è la storia di uno di noi (cofanetto)
• 2001: Il cuore, la voce - Clan, CLN 20501
• 2003: Le volte che Celentano è stato 1 - Clan, CLN 20521
• 2003: TRE
• 2005: Una stella in mezzo al ciel
• 2006: Le più belle canzoni di Adriano Celentano
• 2006: Unicamente Celentano - Clan, CLN 20571
• 2008: L'animale - Clan
• 2010: Il ribelle rock! - Sony Music
• 2010: Il meglio di Adriano Celentano - NAR International
• 2010: Antologia Italian Style - Venus Distribuzione

Singles[link]

45 rpms

• 1958: "Rip It Up/Jailhouse Rock" - Music 2223
• 1958: "Blueberry Hill/Tutti frutti" - Music 2224
• 1958: "Man Smart/I Love You Baby" - Music 2232
• 1958: "Tell Me That You Love Me/The Stroll" - Music 2233
• 1958: "Happy Days Are Here Again/Buona sera signorina" - Jolly J 20032
• 1958: "Hoola Hop Rock/La febbre dell'hoola hop" - Jolly J 20045
• 1959: "Ciao ti dirò/Un'ora con te" - Jolly J 20057
• 1959: "Il ribelle/Nessuno crederà" - Jolly J 20063
• 1959: "Il tuo bacio è come un rock/I ragazzi del juke-box" - Jolly J 20064
• 1959: "Teddy Girl/Desidero te" - Jolly J 20068
• 1959: "Pronto pronto/Idaho" - Jolly J 20069
• 1960: "Nikita Rock/Blue Jeans Rock" - Jolly J 20079
• 1960: "Rock matto/Impazzivo per te" - Jolly J 20080
• 1960: "Impazzivo per te/Crazy Rock" - Jolly J 20080
• 1960: "Personality/Il mondo gira" - Jolly J 20089
• 1960: "Così no/La gatta che scotta" - Jolly J 20090
• 1960: "Piccola/Ritorna lo shimmy" - Jolly J 20092
• 1960: "Pitagora/A cosa serve soffrire" - Jolly J 20106
• 1960: "Giarrettiera rossa/Che dritta!" - Jolly J 20107
• 1960: "Furore/Movimento di rock" - Jolly J 20124
• 1961: "24 mila baci/Aulì-ulè" - Jolly J 20127
• 1961: "Non esiste l'amor/Basta" - Jolly J 20137
• 1961: "Gilly/Coccolona" - Jolly J 20144
• 1961: "Nata per me/Non essere timida" - Jolly J 20150
• 1962: "Forse forse/Peppermint Twist" - Jolly J 20153
• 1962: "Ciao amore/Veleno" - Caramba Jolly C 11000
• 1962: "Si è spento il sole/La mezza luna" - Jolly J 20178
• 1962: "Stai lontana da me/Sei rimasta sola/Amami e baciami" - Clan, ACC 24001
• 1962: "24 mila baci/Il tuo bacio è come un rock" - Jolly J 20185
• 1962: "Pregherò (prima parte)/Pasticcio in Paradiso" - Clan, ACC 24005
• 1963: "A New Orleans/Un sole caldo caldo caldo" - Jolly J 20197
• 1963: "Il tangaccio/Grazie, prego, scusi" - Clan, ACC 24009
• 1963: "Serafino campanaro/Ehi stella" - Jolly J 20220
• 1963: "Sabato triste/Le notti lunghe" - Clan, ACC 24012
• 1964: "Una notte vicino al mare/Hello Mary Lou" - Jolly J 20228
• 1964: "Non mi dir/Non piangerò" - Clan, ACC 24015
• 1964: "Il problema più importante/È inutile davvero" - Clan, ACC 24016
• 1964: "L'angelo custode/Bambini miei" - Clan, ACC 24019
• 1965: "Ciao ragazzi/Chi ce l'ha con me" - Clan, ACC 24022
• 1965: "Sono un simpatico/E voi ballate/Due tipi come noi" - Clan, ACC 24024
• 1965: "La festa/Ringo" - Clan, ACC 24027
• 1966: "Il ragazzo della via Gluck"/"Chi era lui" - Clan, ACC 24032
• 1966: "Mondo in mi 7°/Una festa sui prati" - Clan, ACC 24040
• 1967: "La coppia più bella del mondo/Torno sui miei passi" - Clan, ACC 24051
• 1967: "Tre passi avanti/Eravamo in 100.000" - Clan, ACC 24058
• 1967: "30 donne nel west/Più forte che puoi" - Clan, ACC 24063
• 1968: "Canzone/Un bimbo sul leone" - Clan, ACC 24073
• 1968: "Azzurro/Una carezza in un pugno" - Clan, ACC 24080
• 1968: "L'attore/La tana del re" - Clan, BF 69001
• 1969: "La storia di Serafino/La pelle" - Clan, BF 69013
• 1969: "Storia d'amore/Straordinariamente" - Clan, BF 69014
• 1969: "Lirica d'inverno/L'uomo nasce nudo" - Clan, BF 69030
• 1970: "Chi non lavora non fa l'amore/Due nemici innamorati" - Clan, BF 69040
• 1970: "Chi non lavora non fa l'amore /EA" - Clan, BF 69041
• 1970: "Viola/Se sapevo non crescevo" - Clan, BF 69051
• 1971: "Sotto le lenzuola/Il forestiero" - Clan, BF 70000
• 1971: "Una storia come questa/Brutta" - Clan, BF 70010
• 1971: "Er più/Una storia d'amore e di coltello" - Clan, BF 70015
• 1972: "Un albero di trenta piani/Forse eri meglio di lei" - Clan, BF 70018
• 1972: "La ballata di Pinocchio/I Will Drink the Wine" - Clan, BF 70022
• 1972: "Prisencolinensinainciusol"/"Disc Jockey" - Clan, BF 70026
• 1973: "L'unica chance/Quel signore del piano di sopra" - Clan, CLN 1319
• 1973: "Only You/We're Gonna Move" - Clan, CLN 1887
• 1974: "Bellissima/Stringimi a te" - Clan, CLN 2443
• 1975: "Yuppi du/La ballata" - Clan, CLN 3208
• 1975: "Un'altra volta chiudi la porta/Do dap" - Clan, CLN 3633
• 1976: "Svalutation/La barca" - Clan, CLN 4375
• 1977: "A Woman in Love/Rock Around the Clock/Don't Play That Song (You Lied)" - Clan, CLN 5048
• 1977: "When Love/Somebody Save Me" - Clan, CLN 5403
• 1978: "Ti avrò/La moglie, l'amante, l'amica" - Clan, CLN 10089
• 1979: "Che cosa ti farei/Geppo" - Clan, CLN 10120
• 1979: "Soli/Io e te" - Clan, CLN 10174
• 1980: "Qua la mano/Gocce d'acqua" - Clan, CLN 10251
• 1980: "Il tempo se ne va/Non se ne parla nemmeno" - Clan, CLN 10252
• 1980: "Innamorata, incavolata a vita/Se non è amore" - Clan, CLN 10305
• 1981: "L'artigiano (1ª parte)/L'artigiano (2ª parte)" - Clan, CLN 10326
• 1982: "Crazy Movie/Roma che fa...te innamora" - Clan, CLN 10371
• 1982: "Uel mae sae/We're Gonna Move" - Clan, CLN 10393
• 1982: "Uh...uh.../Jungla di città" - Clan, CLN 10442
• 1984: "Susanna/Il cantante folle" - Clan, CLN 23001
• 1987: "Mi attrai/La luce del sole" - Clan, CLN 10786

More singles

• 1995: "Voglio prendere il sole"
• 1995: "Prisencolinensinainciusol (Remixes - maxi single)
• 1996: "Cosi come sei"
• 1996: "Arrivano gli uomini"
• 1996: "Solo da un quarto d'ora"
• 1998: "Acqua e sale"
• 1998: "Brivido felino"
• 1998: "Che taggia dì"
• 1999: "Gelosia"
• 1999: "L'emozione non ha voce"
• 1999: "L'uomo di cartone"
• 1999: "Una rosa pericolosa"
• 1999: "Qual è la direzione"
• 1999: "Mi domando"
• 1999: "L'arcobaleno"
• 2000: "Senz'amore"
• 2000: "Le pesche d'inverno"
• 2000: "Per averti"
• 2001: "Apri il cuore"
• 2001: "Ti prenderò"
• 2001: "Quello che non ti ho detto mai"
• 2001: "Tir"
• 2001: "Le stesse cose"
• 2002: "Confessa"
• 2003: "Per sempre"
• 2003: "Più di un sogno"
• 2003: "Mi fa male"
• 2004: "C'è sempre un motivo"
• 2004: "Marì Marì"
• 2005: "Ancora vivo"
• 2005: "Valeva la pena"
• 2005: "L'indiano"
• 2006: "Oh Diana"
• 2007: "Hai bucato la mia vita"
• 2007: "La situazione non è buona"
• 2008: "Dormi amore"
• 2008: "Fiori"
• 2008: "Aria...non sei più tu"
• 2008: "Sognando Chernobyl"
• 2008: "La cura"
• 2011: "Non ti accorgevi di me"

Films[link]

• La Dolce Vita (1960)
• Il monaco di Monza (1963)
• Super rapina a Milano (1965)
• Serafino (1968)
• Er Più - storia d'amore e di coltello (1971)
• Bianco rosso e... (1972)
• L'emigrante (1973)
• Rugantino (1973)
• The Five Days aka Le Cinque Giornate (1973)
• Yuppi du (1974)
• Di che segno sei? (1975)
• Culastrisce nobile veneziano (1976)
• Bluff - storia di truffe e di imbroglioni (1976)
• Ecco noi per esempio (1977)
• L'altra metà del cielo (1977)
• Geppo il folle (1978)
• Zio Adolfo in arte Führer (1978)
• Mani di velluto (1979)
• La locandiera (1980)
• Qua la mano (1980)
• Sabato, domenica e venerdì (1980)
• Il bisbetico domato (1980)
• Innamorato pazzo (1981)
• Asso (1981)
• Bingo Bongo (1982)
• Grand Hotel Excelsior (1982)
• The Mystery of the Third Planet (1982) (Mediaset version) (Gromozeka) (voice)
• Segni particolari: bellissimo (1983)
• Sing Sing (1983)
• Lui è peggio di me (1984)
• Joan Lui (1985)
• Il burbero (1986)
• Jackpot (1991)

See also[link]

Biography portal

• List of best-selling music artists

References[link]

External links[link]

• Official website
• Adriano Celentano at the Internet Movie Database
• Adriano Celentano discography at iMusic.am
• The complete Adriano Celentano discography (from Music City)
• (Italian) (English) (Russian) Adriano Celentano - Russian Pages
• (Italian) (English) (Dutch) Adriano Celentano - International
• (Italian) Unofficial fanclub
• Youtube movie video
• Adriano Celentano Filmography

Wilfrido Vargas
Wilfrido Vargas in 2008
Background information
Birth name	Wilfrido Radamés Vargas Martínez
Born	(1949-04-24) April 24, 1949 (age 63) Altamira, Puerto Plata, Dominican Republic<
Genres	Merengue
Occupations	Singer, musician, songwriter, composer, arranger, trumpeter, actor
Instruments	Vocals, Trumpet
Years active	1974–present
Labels	Karen, Sonotone, Rodven, RCA Intl, Sony BMG
Associated acts	Johnny Ventura, Fania All-Stars, Denny Dias, Las Chicas del Can

	Wilfrido Vargas - Abusadora noicon 30 second sample from Wilfrido Vargas "Abusadora", from the compilation Serie 2000: Wilfrido Vargas.
Problems listening to this file? See media help.

Wilfrido Radamés Vargas Martínez^[1] (born April 24, 1949) was born in Altamira, Puerto Plata, Dominican Republic.^[2]

He was surrounded by musical influences; namely, his father Ramón, an accordionist and guitarist, and his mother Bienvenida, a flute player and guitarist.^[3] Vargas began his musical studies early, attending the Municipal Academy of Music beginning at age 10.^[1]

He has been a trumpeter and a vocalist,^[4] but has also arranged, composed, and led his band, and is also a producer.^[1]

Career[link]

1970's[link]

He began his career with the band "Wilfrido Vargas y sus Beduinos" by recording his first album in 1974.^[5]

Alongside many Latin music super stars, he performed during the 1979 music festival Havana Jam.^[6]

1980's[link]

During the 1980s he had international commercial success with songs such as: "El Barbarazo", "El Jardinero", "La Medicina", and "El Loco y La Luna".

Wilfrido acted in the 1989 film "Que viva el merengue y la lambada".^[7]

1990's[link]

He was nominated in 1991 for the 33rd Grammy Awards in the Best Tropical Latin Performance for his album Animation.^[3] He won a "Gaviota de Plata" (Silver Seagull) in the 1992 Viña del Mar International Song Festival.^[8] And in 1993 decorated by the Dominican president Joaquín Balaguer with the Order of Christopher Columbus in the Knight grade, alongside the Dominican musicians Jorge Taveras, Manuel Tejada and Julio Gautreaux for their contribution to the development and divulgation of the national music.^[9]

For the telenovela Bellisima, Wilfrido performed the theme song, "Amor Casual" and also performed the song "Que Sera" for the 1997 film Out to Sea.^[10]

2000's[link]

In 2003 he acted in the drama film "Exito por intercambio".^[11][12]

Vargas participated in 2007 at the Colombian version of the X Factor, as the groups mentor.^[13]

Today Vargas is one of the best-known artists in America with hit songs such as "El Africano" (written by Calixto Ochoa^[14]), "Abusadora", "Comején", "A Mover la Colita", "El Baile del Perrito" and "Volveré".

As of 2010, he lives in Colombia.^[15]

Discography[link]

Grammy Nomination[link]

• Best Tropical Latin Performance – Animation (1990)

Filmography[link]

References[link]