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- Duration: 1:01:13
- Updated: 12 Mar 2013
- published: 16 May 2012
- views: 19845273
- author: miiiicho
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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 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.
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. (April 2009) |
Bob Sinclar | |
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Background information | |
Birth name | Christophe Le Friant |
Also known as | The Mighty Bop, Reminiscence Quartet, Yellow Productions, Chris The French Kiss, Bob From Paris, Desmond K |
Born | 10 May 1969 |
Origin | Douarnenez, France |
Genres | House, reggae fusion, raggamuffin, electro house, dance, french house, electronic, hip house |
Occupations | Producer, DJ |
Instruments | Turntables |
Years active | 1987–present |
Labels | Yellow Productions Ministry of Sound Australia |
Associated acts | Africanism All Stars |
Website | www.bobsinclar.com |
Bob Sinclar (born Christophe Le Friant, 10 May 1969), is a French record producer, house music DJ, remixer and the owner of the label Yellow Productions.[1] He is known for popularising the "French touch" of house music with heavy use of sampled and filtered disco strings. He describes his musical style as inspired by "peace, love, and house-music".[2]
Several of Sinclar's songs have became international hits, being particularly popular in Europe. Some of his most popular hits include "Love Generation" (with Gary Pine) and "World, Hold On" (with Steve Edwards).
Contents |
Year | Single | Chart positions | Album | |||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|
UK[4][5] | MEX | SPA | FRA | ITA | AUS | GER | NL | BEL | Europe | |||
1999 | "My Only Love" (featuring Lee Genesis) |
56 | - | - | 78 | - | - | - | - | - | - | Paradise |
2000 | "I Feel for You" | 9 | - | 14 | 44 | 33 | - | 94 | - | - | - | Champs Elysées |
2001 | "Darlin'" (featuring vs. Cutee B., James "D-Train" Williams) |
46 | - | - | 40 | - | - | - | - | - | - | |
2003 | "Kiss My Eyes" | 67 | - | - | 34 | - | - | - | - | 17 | 67 | III |
"The Beat Goes On" | 33 | - | - | 22 | - | - | - | - | 25 | 32 | ||
2005 | "Love Generation" (featuring Gary Pine) |
12 | 2 | 6 | 3 | 9 | 1 | 1 | 2 | 1 | - | Western Dream |
2006 | "World, Hold On (Children of the Sky)" (featuring Steve Edwards) |
9 | 2 | 1 | 2 | 4 | 19 | 19 | 5 | 3 | 4 | |
"Hard" (with The Hard Boys) |
- | - | 27 | - | - | - | - | - | - | - | ||
"Rock This Party (Everybody Dance Now)" (featuring Cutee B, Dollarman and Big Ali) |
3 | 3 | 1 | 3 | 11 | 6 | 18 | 9 | 1 | 3 | ||
2007 | "Tennessee" (featuring Farrell Lennon) |
- | - | - | - | 21 | - | - | - | 25 | 104 | |
"Everybody Movin'" (featuring Ron Carroll and Mz Toni) |
- | - | 1 | - | - | - | - | - | - | - | ||
"Give a Lil' Love" (featuring Duane Harden and Gary Pine) |
- | - | 2 | - | 10 | - | - | - | - | 86 | ||
"Sound of Freedom" (featuring Cutee B., Gary Pine and Dollarman) |
9 | 4 | 3 | 6 | 7 | 22 | 44 | 11 | 9 | 20 | Soundz of Freedom | |
"Meu Carnaval" (presents Africanism, featuring Rolando Faria) |
- | - | 11 | - | - | - | - | - | - | - | non album single | |
"Together" (featuring Steve Edwards) |
- | - | 1 | - | 8 | - | - | 7 | 21 | 90 | Soundz of Freedom | |
"The Rhythm of the Night" (vs Habakus Whistle, featuring Corona) |
- | - | 13 | - | - | - | - | - | - | - | non album single | |
"What I Want" (pres. Fireball) |
52 | - | 1 | 6 | - | - | - | 7 | 8 | 34 | Soundz of Freedom | |
2008 | "What a Wonderful World" (vs Axwell, The Chicago Superstars and Ron Carroll) |
48 | - | 1 | - | 47 | - | - | 12 | - | - | Born in 69 |
2009 | "Lala Song" (with Wonder Mike and Master Gee from Sugarhill Gang) |
- | - | 26 | 90 | 6 | - | 55 | 5 | 9 | - | |
"New, New, New" |
- | - | - | 3 | - | 10 | - | - | 14 | - | ||
"Love You No More" (featuring Shabba Ranks) |
- | - | - | - | - | - | - | - | 34 | - | ||
2010 | "I Wanna" (featuring Shaggy and Sahara) |
- | - | - | - | - | - | 87 | - | 24 | - | Made In Jamaïca |
"Rainbow of Love" (featuring Ben Onono) |
- | - | - | - | 5 | - | - | |||||
"Tik Tok" (featuring Sean Paul) |
- | - | - | - | - | - | 37 | 50 | 18 | - | Disco Crash | |
2011 | "Far l'amore" (featuring Raffaella Carrà) |
- | - | 7 | 33 | 6 | - | 64 | 16 | 15 | 70 | |
"Me Not a Gangsta" (featuring Mr Shammi & Colonel Reyel) |
- | - | - | - | - | - | - | - | - | - | ||
2012 | "Rock the Boat" (featuring Pitbull, Dragonfly and Fatman Scoop) |
- | - | - | 22 | - | 39 | 45 | - | 15[6] | - | |
"F*** With You" (featuring Sophie Ellis-Bextor) |
- | - | - | - | 7[7] | - | - | - | - | - |
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Asaf Avidan | |
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Asaf Avidan |
|
Background information | |
Born | Jerusalem |
March 23, 1980
Genres | Folk, Folk rock, Rock, Blues |
Instruments | Vocals, Guitar, Harmonica, Piano |
Years active | 2000s–present |
Labels | Telmavar Records, Sony-Columbia |
Associated acts | Asaf Avidan & The Mojos |
Website | www.asafavidanmusic.com |
Asaf Avidan (Hebrew: אסף אבידן) (born March 23, 1980) is an Israeli singer-songwriter and musician, best known for his voice, often compared to Janis Joplin and Robert Plant. He is also the creative force and front-man of folk/rock band Asaf Avidan & the Mojos.
Contents |
Avidan was born in Jerusalem in 1980. His parents were diplomats for the Israeli Foreign Office, and he spent four years of his childhood in Jamaica. After the mandatory army service in Israel, Avidan studied animation at Jerusalem’s Bezalel Academy of Arts & Design. His final project short film, “Find Love Now”, won its category at the Haifa Film Festival that year. After his studies, Avidan moved to Tel Aviv and worked as an animator, until a breakup with his long-time girlfriend shook his world and made him move back to Jerusalem, quit his job and turn full time to his up-till-then hobby – music. Six songs about that breakup and subsequent heartache would constitute his debut EP, “Now That You’re Leaving”, which was released independently in 2006 to critical acclaim.
In late 2006, while playing solo shows across Israel, Avidan put together a support cast of musicians who would become The Mojos (Ran Nir – Bass, Yoni Sheleg – Drums, Roi Peled – Guitar, Hadas Kleinman – cello). The group played extensively in Israel, and also played a few New York shows, including MEANY Fest, where they advanced to the finals. In 2007 the band went into the recording studio together for the first time, and recorded “The Reckoning”. The album’s 15 tracks blended rock, folk and blues with Avidan’s lyrics about relationships and betrayal. By now the band had accumulated a huge live following in Israel and most record labels expressed interest. But Avidan decided to continue on the independent path, and founded (with his brother and manager, Roie Avidan) Telmavar Records, on which “The Reckoning” was released in March 2008. It reached Gold status in a year, platinum later, and would become the biggest selling independent record of all time in Israel. It was chosen as Album of the Year (2008) by various media, including TimeOut Tel Aviv. “Weak”, the second single of the album, became a huge radio hit and its video was Video of the Year on Israel’s music channel. “Weak” would also be the title song of the film "L'Arbre" by Julie Bertuccelli, which starred Charlotte Gainsbourg and was the closing film at Cannes Film Festival 2010.
While several European labels put offers on the table, the band opted to embark on a self-funded summer tour in 2009, playing dozens of festivals and venues across Europe. By the end of that summer, Telmavar Records signed a licensing deal with Sony-Columbia in Europe, for "The Reckoning" and for the band's future second LP.
The Reckoning was released in parts of Europe in 2009, to generally good reviews. In France iTunes chart it would peak at #8.
"Poor Boy/Lucky Man", the band's second album, was released in Israel on 9/9/09. The album's title song and main theme would revolve around a boy born with a hole instead of a heart. The album was originally released in two different names and covers, leaving it up to the audience to decide whether this figure was poor or lucky. It would reach Gold status in Israel in 5 months, and garner ecstatic reviews. It was released in parts of Europe in April 2011. Among others, it was album of the month on France's national FIP radio, in the newspaper Liberacion, and in Germany's Eclipsed magazine.
The band continued to tour non-stop from 2009 all through 2011 (mostly in Israel and Europe but also in the US, Canada, China and India), building up a devoted following and a reputation for a legendary live show. Amongst the hundreds of shows, they played at Brandenburg Bridge at The World Championship of Athletics in Berlin; at the closing event at Cannes Film Festival 2010; at China’s biggest May 1 festivals; and at a tribute concert for The Who in Carnegie Hall, New York. They would play dozens of festivals across Europe (including Solidays France, Latitude UK, Paleo Switzerland, Frequency Austria, and Haldern Pop Germany) as well as countless radio and TV shows (including Taratata and One Shot Not in France, and two Rockpalast performances in Germany).
On November 30, 2010 the band released their 3rd album in Israel, "Through the Gale", a concept album telling the tale of the voyage of a blind and stubborn captain and his loyal crew in search of immortality, to the realms of the gods themselves, only to understand at the end that a voyage with no home, that a life without death, is meaningless.
In July 2011, following another summer tour that saw them sharing the stage with Robert Plant, Ben Harper and Lou Reed among others, Asaf Avidan & the Mojos announced that they are taking an indefinite creative break.
Avidan had continuously played solo and duo acoustic shows throughout the band's career, including "regular" venue shows as well as a TED Global Conference performance, supporting Bob Dylan, playing a tribute concert for The Who at Carnegie Hall and many radio and TV performances.
Avidan is set to continue touring and plans to go into the recording studio in the winter with a yet-unknown support cast of musicians.
Flo Rida | |
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Flo Rida on the set of "Sugar" in 2009. |
|
Background information | |
Birth name | Tramar Dillard |
Born | Carol City, Florida, U.S. |
December 16, 1979
Genres | Hip hop |
Occupations | Rapper, songwriter, actor |
Years active | 2006–present |
Labels | Atlantic, Poe Boy, International Music Group, Strong Arm |
Associated acts | Akon, Brisco, Lady Gaga, Timbaland, David Guetta, Kesha, T-Pain, Nicki Minaj , Taio Cruz, Sia Furler, Ne-Yo, Avicii |
Website | officialflo.com |
Tramar Dillard (born December 16, 1979) better known by his stage name Flo Rida (pronounced /floʊ ˈraɪdə/), is an American rapper. He released his debut album, Mail on Sunday, in March 2008. His debut single "Low", featuring T-Pain, was a No. 1 hit for ten weeks in United States in early 2008. Two other singles resulted from Mail on Sunday: "Elevator" and "In the Ayer". In 2009, his second album R.O.O.T.S. was released; its most successful single "Right Round" was at the top of the Hot 100 for six weeks. Since then, he has released his third studio album titled Only One Flo (Part 1), which will see a sequel titled Wild Ones.
Contents |
Tramar Dillard was born in the 187th Street projects of Carol City, Florida.[1] His mother raised him and his seven sisters, some of whom sang in a local gospel group.[2] Dillard's brother-in-law was a hypeman for local rap group 2 Live Crew, and while in ninth grade, Dillard formed his own amateur group with some friends called the GroundHoggz.[3] Born and raised in Miami, the GroundHoggz formed in the 187 apartments in Carol City. Similar to Goodie Mob, they were making music for the love of the art and to feed their souls. With only three members, 1Bred, Key Lime, and Fist, they found their missing link when Flo Rida, who lived in the same apartments, spit a verse for them. They were instantly impressed. Together for eight years, they started recording at underground studios in Carver Ranches.[4] His work with 2 Live Crew member Fresh Kid Ice attracted the attention of DeVante Swing, a member of the band Jodeci. However, he was rejected by several of the major labels, so he sought many other jobs outside of music.[5] After graduating from high school in 1998, he studied international business management at the University of Nevada, Las Vegas for two years and attended Barry University for two months.[5][6] He returned to Florida to continue pursuing his music career after receiving a phone call from a representative of the independent label Poe Boy Entertainment.[5] Dillard signed with Poe Boy in 2006, and as Flo Rida he began affiliating with other artists, such as Rick Ross, Trina, T-Pain, and Trick Daddy. A promotional street single entitled "Birthday", featuring Rick Ross, was his first significant release. He made his debut guest appearance with the song "Bitch I'm from Dade County" on DJ Khaled's album We the Best, which featured Trick Daddy, Trina, Rick Ross, Brisco, C-Ride, and Dre.[7]
Flo Rida's first single was "Low", featuring T-Pain. It was his first official single from his debut album Mail On Sunday and the soundtrack to the movie Step Up 2: The Streets. "Low" reached No. 1 on the Billboard Hot 100 chart.[7] "Elevator", featuring Timbaland, "In the Ayer" featuring will.i.am, and "Roll" featuring Sean Kingston followed and all charted on the Hot 100 and other charts.[8]
T-Pain, who laced the first single, is only one of the many featured guests throughout the album. Timbaland, who produced the second single "Elevator", is also featured on the track. Rick Ross, and Trey Songz made appearances as well.[9] Lil Wayne has also been added to the list[9] with assistance on the "American Superstar" track while Sean Kingston appears on the J. R. Rotem-produced "Roll" the concept was created, and co-written by Compton rapper Spitfiya, from The Bullets Production Team, Various other guests include Birdman, Brisco, and Yung Joc. The third single is "In the Ayer" featuring Will.i.am. The fourth single was scheduled to be "Money Right" featuring Brisco, and Rick Ross, but was canceled due to the release of his upcoming second studio album R.O.O.T.S. His second collaboration with T-Pain, "I Bet", as well as his collaboration with Trina, named "Bout It", both didn't make the final tracklist, but were recorded. As for production, J. R. Rotem, DJ Montay, and Timbaland all provided tracks for Mail on Sunday, among others.
After the success of Mail on Sunday, Flo Rida made guest performances on other R&B, rap, and pop singles, including "Move Shake Drop" by DJ Laz, "We Break the Dawn" by Michelle Williams, the remix of "4 Minutes" by Madonna, "Running Back" by Australian R&B singer Jessica Mauboy, "Feel It" by DJ Felli Fel, and the remix of "Speedin'" by Rick Ross. During the summer of 2008, he did live performances on the Fox dance competition program So You Think You Can Dance in the US[10] and 2008 MuchMusic Video Awards in Canada.[11] He appeared on the albums We Global by DJ Khaled, Gutta by Ace Hood, and The Fame by Lady Gaga, among others.
According to Billboard magazine, Flo Rida began recording his sophomore nine months after Mail On Sunday. The album is titled R.O.O.T.S. and was released on March 31, 2009.[12] The first single "Right Round" featured Ke$ha and was released for airplay in January 2009. "Right Round" jumped from number 58 to the top spot in one week in late February. The song broke a record for the most digital one week sales in the U.S., with 636,000, beating the previous record he had set himself with "Low".[13] "Right Round" sampled "You Spin Me Round (Like a Record)", a 1985 hit by Dead or Alive.[14] The second official single was "Sugar", which featured R&B singer Wynter Gordon. The song reached No. 5 on the Billboard Hot 100. "Jump" is the third official single and was released on July 27, 2009 in the UK, and July 28, 2009 worldwide.[15] The song features Canadian singer Nelly Furtado. As of August 13, 2009 it has peaked at number fifty-four in the US, number twenty-seven in Canada, number twenty-one in the UK, and number eighteen in Australia. "Be on You" has been confirmed as the album's fourth official single for a release on October 6, 2009. The song features American singer Ne-Yo. When the album was released the single debuted at number ninety in the US. The song has received airplay since the albums release, and has since peaked at number nineteen in the US, and number fifty-one in the UK. "Available" was going to be released on iTunes but was cancelled. It charted at number 120 in Ireland. The song features Akon. A music video was also shot in mid-2009.[16] R.O.O.T.S. debuted at number eight on the Billboard 200 chart, selling 55,000 copies in its first week.[17] As of August, 2009, the album has sold 223,000 copies in the United States, and 536,000 worldwide. By the end of 2009, the album sold 247,000 copies becoming the eighth best selling rap album of 2009.[18]
Flo Rida made guest performances on "Feel It" by DJ Felli Fel, "Starstruck" by Lady Gaga, and "Feel It" by Three 6 Mafia. "Bad Boys", the first single by winner of British reality show The X Factor Alexandra Burke that featured Flo Rida, debuted at No. 1 on the UK Singles Chart in October.[19]
Flo Rida's third album Only One Flo (Part 1) was released on November 24, 2010. In March 2010, Flo Rida announced on Twitter that the album would be titled The Only One.[20] Billboard reported that The Only One was to be a double album.[21] A promo single, titled "Zoosk Girl", which features T-Pain, was released on the internet, though the song is not featured on the album, the single does have its own music video. On June 28, 2010, Flo Rida released the song "Club Can't Handle Me" featuring David Guetta, which was stated to be the official first single for the album. The song was also featured in the Step Up 3D soundtrack.[22] On November 2, 2010, "Come with Me" was released as the first promo single for the album, along with "Puzzle", produced, and featuring by Electrixx, which isn't featured on the album. On November 16, 2010, "Turn Around (5, 4, 3, 2, 1)" was released as the second official promo single for the album via the iTunes Store.[23] It debuted on the Australian Singles Chart at number thirty-four on November 29, 2010.[24] After the release of the album in the UK, "Who Dat Girl" started to receive a strong amount of downloads, thus causing it to debut at number 136[25] on the UK Singles Chart and chart at a current peak of number thirty-one on the UK R&B Chart.[26] "Why You Up In Here" was released as the fourth single, and third promo single, on May 11, 2011. The song features Ludacris, Gucci Mane, and Git Fresh.
Flo Rida also made guest appearances on "iYiYi", a song by Australian teen singer Cody Simpson, and on the song "Out My Video" by Bulgarian singer LiLana. Flo Rida collaborated with UK girl group The Saturdays, recording a new version of the girl's single, "Higher".[27] In December 2010, the Associated Press reported that Flo Rida had created his own label, International Music Group, inspired by Nicki Minaj's signing with Lil Wayne's. He has signed an 18 year-old rapper, Brianna[28] and Git Fresh[29] to International. Lately, Flo Rida has teamed up with the Malaysian singer, Mizz Nina, on a song called Take Over.
On June 9, 2011, Flo Rida was arrested in Miami Beach, Florida for DUI and driving with a suspended license.[30][31] Flo Rida was released from jail after he posted $2,000 bail and obtained a signed court order allowing him to travel to Asia for a series of previously scheduled concerts in Bangkok over the weekend.[32]
The first single from Rida's upcoming album, Wild Ones, originally Only One Rida (Part 2), is "Good Feeling", released on August 29, 2011.[33] The songs samples "Levels" by Avicii, which samples Etta James' 1962 song, "Something's Got a Hold on Me". Following the death of Etta James on January 20, 2012, Flo Rida dedicated the song in her memory.[34] The song has peaked at No. 3 on the Hot 100,[35] topped the charts in Austria,[36] Germany,[37] Scotland,[38] and the UK. It has also reached the top five in nine different countries worldwide.
On April 1, Flo Rida made an appearance at WrestleMania XXVIII and have a segment with Heath Slater, Curt Hawkins and Tyler Reks where Heath calls Flo Rida "Florida" and Flo Rida shoves him into a wall; making Tyler and Curt come out laughing at Heath. Later that night Flo Rida performed "Wild Ones" and "Good Feeling" before Dwayne "The Rock" Johnson came out to battle John Cena. On April 6, 2012 and exclusive Australian EP entitled Good Feeling was released in Australia which contains six of his biggest hits and two remixes.[39] It debuted at No. 21 on the Australian ARIA Albums Chart[40] On May 22, 2012, Flo Rida performed and closed the show at the first Q102 Springle Ball Concert, the following day he performed "Goin' In" with Jennifer Lopez on the America Idol finale.
Year | Type | Award | Result |
---|---|---|---|
2008 | American Music Awards | Breakthrough Performer[41] | Nominated |
Favorite Male Hip-Hop Artist | Nominated | ||
BET Awards | Best New Artist[42] | Nominated | |
Best Collaboration ("Low" with T-Pain)[43] | Nominated | ||
BET Hip Hop Awards | Ringtone of the Year ("Low" with T-Pain)[44] | Nominated | |
Rookie of the Year[45] | Nominated | ||
Best Hip-Hop Collabo ("Low" with T-Pain)[46] | Nominated | ||
MuchMusic Video Awards | Best International Video ("Low" with T-Pain)[47] | Nominated | |
People's Choice Favorite International Video ("Low" with T-Pain) | Nominated | ||
MTV Video Music Awards | Best Hip-Hop Video ("Low" with T-Pain) | Nominated | |
Best Male Video ("Low" with T-Pain)[48] | Nominated | ||
Ozone Awards | Breathrough Artist[49] | Nominated | |
Club Banger of the Year ("Low" with T-Pain) | Nominated | ||
Teen Choice Awards | Choice Breakout Artist[50] | Nominated | |
Choice Rap Artist | Nominated | ||
Choice Hook-Up ("Low" with T-Pain) | Nominated | ||
2009 | ARIA Music Awards | Breakthrough Artist Single ("Running Back" with Jessica Mauboy)[51] | Nominated |
Highest Selling Single ("Running Back" with Jessica Mauboy) | Won | ||
APRA Awards | Urban Work of the Year ("Running Back" with Jessica Mauboy)[52] | Won | |
Grammy Awards | Best Rap/Sung Collaboration ("Low" with T-Pain) | Nominated | |
Best Rap Song ("Low" with T-Pain) | Nominated | ||
MOBO Awards | Best Song ("Low" with T-Pain)[53] | Nominated | |
MTV Australia Awards | Best Video ("Low" with T-Pain) | Nominated | |
Best Collaboration ("Running Back" with Jessica Mauboy)[54] | Nominated | ||
MTV Video Music Awards | Best Hip-Hop Video ("Right Round" with Kesha)[55] | Nominated | |
NT Indigenous Music Awards | Single Release of the Year ("Running Back" with Jessica Mauboy)[56] | Won | |
People's Choice Awards | Favorite Hip-Hop Song ("Low" with T-Pain)[57] | Won | |
Teen Choice Awards | Best Hip-Hop Rap Track ("Right Round" with Kesha) | Nominated | |
2010 | APRA Awards | Urban Work of the Year ("Running Back" with Jessica Mauboy) | Nominated |
Grammy Awards | Best Rap Album (R.O.O.T.S.)[58] | Nominated | |
People's Choice Awards | Hip-Hop Artist of the Year | Nominated |
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